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Speaker 1: All right, welcome to episode sixty three of The Bobby

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Speaker 1: Cast and with Jesse Alexander. Jessie Hello, I have a

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Speaker 1: lot of clips with her. What I like to do

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Speaker 1: when we start this is just kind of run through

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Speaker 1: these and we'll come back. We'll come back to him.

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Speaker 1: But let's see. These are some Jesse Alexander songs that

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Speaker 1: you may know. Here's I Drive Your Truck from Lee Bryce. Alright,

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Speaker 1: this one is this the one, that's the one. It's

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Speaker 1: definitely the one for country music. But the Climbs, that's

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Speaker 1: and and I'll come back. That's the first time ever

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Speaker 1: saw you play you play the climb. I'll talk about

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Speaker 1: that in a minute. But the climb, Holy cow's mildy.

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Speaker 1: The climbs is always going to be another mountain. I'm

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Speaker 1: always gonna wanna make him move, always gonna be in

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Speaker 1: a bill battle sometimes at this Blake Shelton, mine will

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Speaker 1: be you sing background plan, drink on it. I thank you,

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Speaker 1: and I should just drink. One of my bestest friends,

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Speaker 1: Eric pass Lay song about a girl, A girl A

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Speaker 1: song now that's climbing the charts. Morgan wall in the

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Speaker 1: way I talk, it's sad that around the male knot

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Speaker 1: out we're gonna come back to these, but I like

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Speaker 1: people to have an idea of the brilliance they're about

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Speaker 1: to listen to, so they know. So you and I'll

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Speaker 1: type of the first time I ever saw you. So

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Speaker 1: I was. I do a lot with St. Jude, Yes,

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Speaker 1: And I was at the St. Jude Country Cares And

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Speaker 1: normally I can't stay the whole weekend because of work,

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Speaker 1: but it was the one time I got to stay.

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Speaker 1: And it was you and I think your husband the

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Speaker 1: other there too, and John Oates was it, yeah, and

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Speaker 1: John Oates was John Ates and somebody else I can't remember.

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Speaker 1: Frank Sinatro, yes, azing around. So you're up there. I

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Speaker 1: didn't know you were. I didn't know anybody was. I

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Speaker 1: still don't know people are for the most part. And

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Speaker 1: I was like, she started telling the story about the climb,

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Speaker 1: and I was like, whoa, she wrote the climb? Like

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Speaker 1: I love that song. And then I started thinking, you

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Speaker 1: know what, the climb does kind of feel like a

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Speaker 1: country song totally. So when you wrote the climb, first

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Speaker 1: of all, did you write it in l A to

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Speaker 1: write it in Nahville? I wrote it here. I've been

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Speaker 1: writing songs for nine years as a published songwriter nine years,

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Speaker 1: been writing songs, trying to get cut. They've been paying

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Speaker 1: you for nine years. Yeah, so that song was really written,

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Speaker 1: you know, out of frustration. I mean, you listen to

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Speaker 1: the lyrics. I'm really talking to myself. You know. We

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Speaker 1: me and John maybe, my co writer, both really underdogs

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Speaker 1: at that time. We both neither have had I had cuts,

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Speaker 1: you know, I had like that's Patty Lovelace whatnot. But

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Speaker 1: I've never had like a song on the radio that

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Speaker 1: really is doing doing something. And it's, like my mentor

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Speaker 1: told me, it's like it's almost like you've been hitting

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Speaker 1: swinging for so long. I mean, finally when the ball

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Speaker 1: hit the bat, it just it went and I just

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Speaker 1: I couldn't believe it. I remember Miley seeing her at

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Speaker 1: the b m I Awards and she said, we're about

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Speaker 1: to go five formats with the song, and I was like, no,

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Speaker 1: you don't understand. That doesn't happen for me. I've been

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Speaker 1: here nine years, Like that doesn't happen. I'm wondering how

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Speaker 1: the song goes from Nashville and writing room there and

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Speaker 1: it lands in Miley's hands. That's great story. Actually, um

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Speaker 1: So I was writing at Disney at the time, as

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Speaker 1: in my probably first or second year there, and my publisher,

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Speaker 1: Earle Sa Ramsey found out that they were coming here

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Speaker 1: to make that handham Ontana the movie here in Nashville,

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Speaker 1: and she's like, wait a minute, gonna come here to

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Speaker 1: Nashville and you're not going to use any of the

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Speaker 1: Nashville songs and songwriters because at that time all the

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Speaker 1: Disney franchise stuff was basically written out of l A.

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Speaker 1: So she like found the director Peter Chisholm and talked

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Speaker 1: him into coming to our office in Nashville while they

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Speaker 1: were scouting locations, and we literally put on like an

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Speaker 1: old school picking like with guitars, like we just played

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Speaker 1: songs that we loved, and he was taken by my voice,

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Speaker 1: and you know, just we hit it off and he said,

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Speaker 1: would you please just make me a CD and you know,

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Speaker 1: put some songs on there. And I thought, oh my god,

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Speaker 1: this is my moment, and I didn't have anything. The

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Speaker 1: song that we wrote was called It's the Climb. It

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Speaker 1: was a guy song John Maybe was singing it. It

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Speaker 1: was a little more spiritual. But he called us like

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Speaker 1: a week later, said if you'll rewrite this song, I'm

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Speaker 1: going to rewrite the whole movie around this song. And you'

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Speaker 1: what does that mean? Because I had written it more

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Speaker 1: it headlines like these prayers are praying. You know, it

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Speaker 1: was very much more spiritual. It's more adult. You gotta

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Speaker 1: remember Miley Cyrus was fifteen at that time. So we did.

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Speaker 1: We rewrote it and sent it back and he was like,

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Speaker 1: you don't understand, Like she's gonna be She's gonna be

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Speaker 1: writing this song in the movie, like this is going

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Speaker 1: to be part of them the whole movie. But I

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Speaker 1: still didn't believe him. I just thought, No, there's gonna

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Speaker 1: be some l a writer. It's gonna beat me, you

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Speaker 1: know into the song. Someone's going to write a better song.

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Speaker 1: Is that because so many times you get told something

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Speaker 1: at the last minutes. Yes, by that point I was

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Speaker 1: so used to know that, Yes, I couldn't even understand that,

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Speaker 1: And um, it was so odd to have something so

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Speaker 1: much about my struggle be the thing that gives me success.

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Speaker 1: Do you know what I'm saying? Like how does that happen?

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Speaker 1: You know? And it was just such a blessing just

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Speaker 1: to watch my dreams come true and now I get

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Speaker 1: to see, you know, people on the American idol sing it.

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Speaker 1: I've seen, you know, I've had letters from people that

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Speaker 1: use that during chemo treatments or aroundom marathon, to my

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Speaker 1: daughters sing it at her pre K graduation. You know,

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Speaker 1: it's just it's like the song that people have taken

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Speaker 1: so personally. I love this song. I played it because

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Speaker 1: I was on poperating at the time. I played all time. Yeah,

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Speaker 1: I had no idea you were influencing my life even then.

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Speaker 1: So I have the climb. Is this her singing a Mike? Okay?

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Speaker 1: And christ is that what this is? Yeah? Well here

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Speaker 1: Chris and Morgan, here we go. It's so al it's

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Speaker 1: gonna be another mountain. Hold on? What is this from this?

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Speaker 1: Sounds amazing? I made a record, Bobby with that song

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Speaker 1: after Miley put it on. Yes, when you tell me

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Speaker 1: I want to bother one? When did you make this record?

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Speaker 1: Like a couple of years ago, Dirk's this sing in

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Speaker 1: mine would be you with me day? Okay, hold on,

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Speaker 1: let me hear this. Let me tell you it's any good?

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Speaker 1: Hold on, let me listen. Who's on this track? This

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Speaker 1: is Chris Stapleton in Morgan Stapleton in me. Okay, So

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Speaker 1: it's gonna be another mountain, always gonna want to make

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Speaker 1: and al it's gonna be in up Peel bad. Sometimes

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Speaker 1: I'm gonna have to hate about how fast again, hat

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Speaker 1: about waiting only use. Yeah, it's the class these BOOSUM

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Speaker 1: prey chances, UM take it? Did you go back and

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Speaker 1: make the original version on your record? I just kind

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Speaker 1: of sang it the way we wrote it. Um. This

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Speaker 1: whole record that I made is really acoustic. Um. People

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Speaker 1: will come hear me play and they'll say, gosh, I

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Speaker 1: love your version of I Drive your chuck. It's so

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Speaker 1: different coming from a female's perspective. So when I made

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Speaker 1: this record, I wanted them to have a Bluebird experience,

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Speaker 1: Like literally, I want them to walk away after just

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Speaker 1: seeing me play the Bluebird and put it in and

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Speaker 1: be like, that's exactly what I just heard. So the

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Speaker 1: common denominator is me and a guitar, my husband I

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Speaker 1: get the guitar, and Richard Bennett. It was very sparse

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Speaker 1: the way we recorded it, but on every song there's

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Speaker 1: a special guest like Sheryl Crow sings on it, Charlie Worsham. Um,

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Speaker 1: We'll hope like I've got all my friends singing kind

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Speaker 1: of a special feature of the song. So I'll bring

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Speaker 1: you on. I'll just download it when you leave. I

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Speaker 1: don't even have a disc play. I don't have a

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Speaker 1: discal You have a disc hoal in your life, No,

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Speaker 1: I don't have a discoal either for anything, So I

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Speaker 1: haven't You have a much CD laying around. People give

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Speaker 1: me CDs all the time, Like, I don't know what

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Speaker 1: to do with this? What's it? What's the name of

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Speaker 1: the record? I felt so ignorant called down Home because

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Speaker 1: me and brothers I was born wrote a song on

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Speaker 1: their record they recorded as well. Um, but Christofferson is

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Speaker 1: on there, and there's some really cool songs that I

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Speaker 1: wrote for the record. Man, look at you. I remember

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Speaker 1: the first time meeting I was timitated to talk to you.

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Speaker 1: I told you this. I was like, I'm such a

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Speaker 1: big fan because I saw you play and then I

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Speaker 1: knew what you had written a songwriter geek, and and

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Speaker 1: you're really nice to me and not nice? Isn't nice?

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Speaker 1: You were very friendly, You're very warm. There's a difference

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Speaker 1: in nice and warm, and you're very warm to me.

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Speaker 1: And I was like, man, people aren't warming to me

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Speaker 1: because everybody's like, either scared because they I'm get on

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Speaker 1: the radio and say something about them, or they just

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Speaker 1: don't like me because I said something about him. Well

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Speaker 1: you might have said something about me if I did.

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Speaker 1: It was awesome. I said, I want to Okay, so

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Speaker 1: let's Miley the clan. That's that was my introduction to you.

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Speaker 1: That was the one. What's the third clip of the

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Speaker 1: Mica over here? There's one of black whites? Okay, no,

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Speaker 1: we'll see Okay, Okay, we did that one. So I

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Speaker 1: drive your truck, Lee Bryan. I mean that one, one,

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Speaker 1: one everything. I mean that's did. That's because I wonder

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Speaker 1: what the Miley song inside of our little bubble here

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Speaker 1: in Nashville. If that really made you like whoa She's

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Speaker 1: because I wouldn't think it would, didn't. It was very

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Speaker 1: surreal because you know, I'm a Nashville songwriter. I grew

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Speaker 1: I grew up. You know, I wanted to write country

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Speaker 1: songs like he stopped loving her today. That's my bar,

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Speaker 1: you know, so you know, I'll be honest. I don't

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Speaker 1: listen a lot of pop radio. It wasn't influenced by

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Speaker 1: pop radio, so it was so weird to have a number,

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Speaker 1: you know, one song on pop radio number in fourteen

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Speaker 1: weeks at number one on a C and all these

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Speaker 1: formats that I didn't really listen to and other country.

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Speaker 1: So surreal. Yeah, and so you're right, like I thought

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Speaker 1: it would open all these doors in Nashville, but really

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Speaker 1: what happened was it was almost like all these day

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Speaker 1: and our people and people that have been looking at

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Speaker 1: me all these years, it was almost like they went, oh, ce,

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Speaker 1: she should have been doing that, you know what I mean.

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Speaker 1: It was it was and it really kind of messed

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Speaker 1: with me too, like well, maybe I should have been

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Speaker 1: writing female songs all this time, like maybe you know,

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Speaker 1: it was a head trip and it took two years.

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Speaker 1: It was kind of this crash, you know. It was

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Speaker 1: like this high having the song and then nothing else happened.

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Speaker 1: And it was because that's not the kind of writer, um,

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Speaker 1: you know, because they're Disney was like, you gotta go

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Speaker 1: to l A. You gotta write, you know. I got

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Speaker 1: to write with some incredible l A writers. But I

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Speaker 1: got out there, It's like, this isn't I'm a Nashville songwriter.

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Speaker 1: What's the difference. A lot of friends go out in

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Speaker 1: there right in l A. And there let's come back

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Speaker 1: and like, not for me, But what's the difference in

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Speaker 1: l A rite the Nashville, right? I think it's just

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Speaker 1: the like craftsmanship. You know. I'm I'm raised on hooks

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Speaker 1: and you know, lyrics basically, I mean that's everything for me.

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Speaker 1: A lyric and um out there. It's like, you know,

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Speaker 1: you're bringing that to the party. But it's all happening

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Speaker 1: so fast. The way they write so different. I'm very

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Speaker 1: Sixteenth Avenue. You know, I grew up wanting to be

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Speaker 1: Harlan Howard and those kind of writers. So I think

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Speaker 1: they knew I was an imposter too, you know, but

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Speaker 1: they come here now because they want to get away

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Speaker 1: from that environment. Yeah, you know, I'm Alo Black come

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Speaker 1: into the studio and he said, I don't know if

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Speaker 1: you know Alo at all. He said, um, you know,

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Speaker 1: he's an R B singer. And he was like, I

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Speaker 1: came here because people really write songs here. Yeah, And

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Speaker 1: I think and I'm just paraphrasing, and he's like, in

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Speaker 1: l A they just kind of turn out music. In Nashville,

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Speaker 1: they write songs. We craft. We're craftsman. I mean, we

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Speaker 1: were making the finest cabinet you can make of the

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Speaker 1: finest shoes, like we don't we're going deeper than the surface. Um.

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Speaker 1: And I respect pop music so much, like you know,

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Speaker 1: the way what they can do with the melodies and

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Speaker 1: tracks and and lyrics. But it's just, you know, I

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Speaker 1: grew up on country music and certain kinds of songs.

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Speaker 1: So that's my bar um. And so what happened was

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Speaker 1: I had to reinvent myself, believe it or not, after

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Speaker 1: going in twleven, after I had this huge song, UM,

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Speaker 1: I had to re change everything. And that's when you know,

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Speaker 1: I was writing female songs. I wasn't get anything recorded,

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Speaker 1: and I remember thinking, I've got to just start writing

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Speaker 1: men's songs. It's really not that hard. I love men's songs.

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Speaker 1: I grew up on men's songs, you know. So my

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Speaker 1: first coming back to that was one of the first

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Speaker 1: co writes of that year was Rodney Clawson and we

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Speaker 1: wrote Drink on it, and that was I had to

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Speaker 1: prove myself why I'm a girl being in a man's room.

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Speaker 1: You know, I had to retra so write this. We

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Speaker 1: wrote that with John Randall and my Husban and it

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Speaker 1: was like finally I was like, yes, you know, I've

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Speaker 1: got a man song. I mean, that's what I needed

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Speaker 1: to then kick into mind with you and I drive

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Speaker 1: your truck. Well, let's talk about this one for a second.

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Speaker 1: So you're right, drink on it. And when do you

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Speaker 1: know that one? Blake has put it on hold because

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Speaker 1: it's a process. Put it on hold, then cut it.

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Speaker 1: Then it's a single like walt Me through those Steps. Okay,

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Speaker 1: this is a great story. Actually, you know, me and

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Speaker 1: Blake Shelton have been friends for a long time. Um,

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Speaker 1: but he's very cryptic and mysterious when he's when he's

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Speaker 1: going into cut. So I didn't even know they cut

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Speaker 1: it until two days after they cut it. Yes, and

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Speaker 1: you know believe actually, me and Rodney and we we

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Speaker 1: are we liked the song. We all you know have

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Speaker 1: fibbed and stuff. But it wasn't like that's a smash,

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Speaker 1: you know. So we recorded it and then he recorded

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Speaker 1: it and they put it there. Yeah, you're right, but

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Speaker 1: it was still just like holds a hold. I mean,

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Speaker 1: I'm sure you've heard that term. We say it all

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Speaker 1: the time, like I get holds, you know, but it cuts.

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Speaker 1: It's a big leap between a hold and a cut.

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Speaker 1: And um, so he records it and then he I

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Speaker 1: was pregnant with our twins. He asked me to come

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Speaker 1: sing on it because I sang on the demo and

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Speaker 1: that was a really cool experience. Um, and then um,

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Speaker 1: the weight is am I going to get a single?

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Speaker 1: Because in my world, if you don't got a single,

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Speaker 1: then you know, it's really hard to make a living

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Speaker 1: now with you know, piracy and everything. So um, the

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Speaker 1: day before I went in to deliver the twins, I

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Speaker 1: get an email from Scott Hendricks, which is his producer

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Speaker 1: and like label head, and he said, I just want

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Speaker 1: you to go in knowing that you have the next

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Speaker 1: Blake Shelton single. And so I have brand new babies

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Speaker 1: and I had a song go number one for two weeks,

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Speaker 1: one for each twin, and they don't go number one

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Speaker 1: for two weeks very often. That's actually a big deal.

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Speaker 1: And so think you and I should just dress. Was

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Speaker 1: it the first single off the record? I can't remember

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Speaker 1: what was before it, It was maybe third or four.

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Speaker 1: So do you start to wonder after the first one

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Speaker 1: and something like, oh, am I gonna get And you're

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Speaker 1: probably already listening to that, going well, this song is

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Speaker 1: probably going to be the single and not not not

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Speaker 1: ours totally, and so you get the and then do

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Speaker 1: you believe it though right when you get the email,

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Speaker 1: or do you still think and have that can eurosis

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Speaker 1: of oh, I wonder somebody who's gonna change their mind.

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Speaker 1: I still go through that, but I have a lot

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Speaker 1: of now. I mean, you know, I've got faith that

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Speaker 1: you know, I'm supposed to now. I feel like these

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Speaker 1: songs are supposed to be heard and sometimes you know,

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Speaker 1: like drive your Truck and those songs that're it's like

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Speaker 1: they're bigger than me. So I mean, I don't I

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Speaker 1: was really scared of that one. That was the third

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Speaker 1: single that the song had already been released on the album,

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Speaker 1: and I remember us thinking, gosh, someone's going to rewrite

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Speaker 1: that title or that concept. You know, we're sweating it.

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Speaker 1: And he came a woman like you and then he

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Speaker 1: came with hard to Love. You know you're on DRU

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Speaker 1: but it I mean, yeah, we we I'm worried right now.

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Speaker 1: Songs I have out, you know that you know, where

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Speaker 1: are they going to release it? And they may never.

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Speaker 1: So let me talk about express pros for one second.

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Speaker 1: Did you know the average number of people who apply

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00:16:18,360 --> 00:16:21,320
Speaker 1: for any given job is one hundred and eighteen people

312
00:16:21,440 --> 00:16:23,200
Speaker 1: plan for every job, so if you're applying for it,

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00:16:23,920 --> 00:16:26,960
Speaker 1: basically you're up against hundred and seventeen other people. Only

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00:16:27,000 --> 00:16:30,160
Speaker 1: twenty percent of those applicants get an interview. Because many

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00:16:30,160 --> 00:16:34,080
Speaker 1: companies you software to screen out applications before anyone even

316
00:16:34,120 --> 00:16:37,160
Speaker 1: sees your resume. Simply uploading your resume won't get you

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Speaker 1: a job. You need to hire an advocate. Express Employment

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Speaker 1: Expresses more than eighteen thousand jobs available weekly. When you

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Speaker 1: interviewed Express, they assess your skills, they connect you with

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323
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Speaker 1: applying and not you ring back? View your locally owned

324
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Speaker 1: Express office today and speak with professionals connected to the

325
00:17:04,400 --> 00:17:07,520
Speaker 1: available jobs in your community. Express never charges the job

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00:17:07,560 --> 00:17:11,439
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00:17:11,480 --> 00:17:15,520
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328
00:17:15,640 --> 00:17:18,480
Speaker 1: dot Com, or visit an office near you today. Okay,

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Speaker 1: so I do want to talk about um Let's I

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Speaker 1: have a lot and I have some notes here. How

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Speaker 1: about let's just talk about Lee Brice for a second.

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Speaker 1: And this wasn't the first single from the record. Here's

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Speaker 1: the third single, the biggest. This was this is his

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Speaker 1: career song. Like I mean, not easily, this is his

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Speaker 1: career song. You know what's always awkward and I don't

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Speaker 1: you don't have to deal with this because you're the

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Speaker 1: writer of the song. But you know what's awkward for

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Speaker 1: an artist because it is such a powerful song, is

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Speaker 1: that Lee or artist A will go places. And people

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Speaker 1: don't know that songwriters write songs a lot of the

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Speaker 1: time for the artist, not all the time, most of

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Speaker 1: the time. And so do you know how many times

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Speaker 1: he was asked, hey, when you wrote this song? And

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Speaker 1: he had to be like, I didn't really write I

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Speaker 1: didn't write the song. How does that make you feel

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Speaker 1: that it's a really listen. I'm lucky enough that I

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00:18:12,400 --> 00:18:16,439
Speaker 1: know better because I have friends that are songwriters, but

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Speaker 1: I don't. Most people don't because it's just not a

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Speaker 1: thing that's put out there. I know. I think that

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Speaker 1: that's why I was horrible at being an artist, because

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Speaker 1: I've never really wanted to be in the front. So

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Speaker 1: it actually makes me just kind of smile inside knowing

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Speaker 1: that you know it doesn't offend me. I mean people

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Speaker 1: thought Miley wrote that song, you know, and they think

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Speaker 1: every artist writing so and so, and I get that

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Speaker 1: default awkward though for Lee m M, I don't. I mean,

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Speaker 1: he's been so he's been so supportive, but I can

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Speaker 1: see because he is a good songwriter, he needs to

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Speaker 1: be support That's the biggest song of his career. I

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Speaker 1: mean that changed it. He had hits, but but there

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Speaker 1: are career songs, you know, just in the past two years.

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Speaker 1: Uh t Rette die happy Man. That's a career song. Um,

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Speaker 1: I mean even for I mean, Sam's had a few,

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Speaker 1: but this last one body like a back road, It's

365
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Speaker 1: gonna cross over and that's his career That's Lee's career song. Yeah,

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Speaker 1: and that's what put him. So you go and you win?

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Speaker 1: Because I were watching the award you won what with

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Speaker 1: that song? A C M and C M A and

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Speaker 1: A N S A. I did? I Actually my friends

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Speaker 1: like the President, Lee, So do you have do you

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Speaker 1: go and talk? Like in d C? I used to

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Speaker 1: a lot, but I kind of did. I did a

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Speaker 1: lot of those and smart like I'm gonna I'm gonna

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Speaker 1: do it again. I'm gonna do it again. But yeah, right,

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Speaker 1: sing you go testify from testify do so, you're right, Okay,

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Speaker 1: I want to know about the process if I drive

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Speaker 1: your truck. This is a great story. Okay. Connie Harrington,

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Speaker 1: who I had written a ton of songs with, Okay,

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Speaker 1: remember this is the era where I was overwriting female songs.

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Speaker 1: If I never I'm done, I'm I'm gone. Bro. I'm like,

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Speaker 1: I'm a dude. I'm like, I'm walking in the door.

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Speaker 1: I'm thinking like a man. I've got to make a living.

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Speaker 1: I've got three kids. I mean that's literally all. That's

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Speaker 1: where my headspace was. So Connie and I even looking

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Speaker 1: at the book that day, thinking, well, me and Connie,

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Speaker 1: we're gonna write a female song. You know. Um. She

387
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Speaker 1: she has her all these notes, she always has all

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Speaker 1: these great song ideas, and she came to this one

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Speaker 1: and she couldn't even talk about it. She started crying,

390
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Speaker 1: and I knew that was the one we were going

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Speaker 1: to write. She finally gets out. Okay. She's driving home

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Speaker 1: from Dixon, Tennessee, to Nashville. She's listening to NPR and

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Speaker 1: she kind of hears the middle of this interview. It's

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Speaker 1: a father talking about his son who had lost in

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Speaker 1: Afghanistan and the interviewer says, what are you gonna do

396
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Speaker 1: to any your son? And he just says, I don't know, man,

397
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Speaker 1: I guess I'm just gonna go drive his truck today. Connie,

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00:20:41,920 --> 00:20:44,440
Speaker 1: being an amazing songwriter, she has pulls over with post

399
00:20:44,480 --> 00:20:46,800
Speaker 1: it notes and starts taking down everything she can about

400
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Speaker 1: this truck. And that's all she had. She I mean,

401
00:20:49,440 --> 00:20:51,040
Speaker 1: it wasn't I don't even if it was really that title.

402
00:20:51,080 --> 00:20:55,199
Speaker 1: It's just the concept. And I just remember thinking, we

403
00:20:55,320 --> 00:20:58,480
Speaker 1: just can't mess this up. This is so important. Grief

404
00:20:59,080 --> 00:21:01,159
Speaker 1: something that I've dealt with a lot in my life.

405
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Speaker 1: I've always wanted to write a song about grief, being

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Speaker 1: on the other side, you know, being the person that

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00:21:07,040 --> 00:21:10,359
Speaker 1: has to deal with you know that. And it was

408
00:21:11,720 --> 00:21:15,399
Speaker 1: instantly like we're just writing, writing, writing all these you

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Speaker 1: know things about this truck. My grandma kept my granddaddy's

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Speaker 1: truck and Jackson, Tennessee, where I'm from, parked, and when

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Speaker 1: I go home for the summers, i'd go get in

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Speaker 1: his truck and it was always like mint condition to

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Speaker 1: wait the way he left it. So a lot of

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00:21:26,840 --> 00:21:29,879
Speaker 1: those images, the change in the ashtray, and you know,

415
00:21:30,080 --> 00:21:32,800
Speaker 1: the ball cap all. That's a lot coming from my granddaddy.

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00:21:32,840 --> 00:21:36,120
Speaker 1: But we really both felt like, if we don't get

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Speaker 1: a man in here to sing this and help us

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Speaker 1: write this from a man's point of view, then we

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Speaker 1: can mess it up. And that's when, you know, I

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00:21:43,119 --> 00:21:45,520
Speaker 1: feel like, you know, got intervened, and it's like we

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00:21:45,520 --> 00:21:47,840
Speaker 1: could have picked any guy, I mean any you know,

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Speaker 1: any songwriter, but Jimmy Arrey was the right guy. He

423
00:21:51,480 --> 00:21:53,359
Speaker 1: walked in, We called him, gave him the idea, and

424
00:21:53,880 --> 00:21:57,919
Speaker 1: rebooked another session and he had a lot of it started,

425
00:21:58,240 --> 00:22:01,040
Speaker 1: you know, with those lyrics, and when we finished it,

426
00:22:01,160 --> 00:22:03,520
Speaker 1: we all just wept. I mean literally, it was just

427
00:22:03,760 --> 00:22:05,880
Speaker 1: I've never had an experience like that as a songwriter.

428
00:22:06,680 --> 00:22:10,880
Speaker 1: And um are fearless leader. Rusty Gatson, who's our publisher,

429
00:22:10,920 --> 00:22:12,880
Speaker 1: He's the guy that goes and then has to get

430
00:22:12,880 --> 00:22:16,600
Speaker 1: the song recorded. He had a meeting with Lee Bryce

431
00:22:16,640 --> 00:22:19,440
Speaker 1: and Lie said to him, don't play me any ballads.

432
00:22:20,320 --> 00:22:24,919
Speaker 1: I only want tempo show openers. And Rusty's said, well,

433
00:22:24,960 --> 00:22:26,159
Speaker 1: I don't have that, but I have a song of

434
00:22:26,160 --> 00:22:30,240
Speaker 1: the year, and he plays him I drive your truck

435
00:22:30,240 --> 00:22:33,560
Speaker 1: and lead like looks up afterwards he has tears rolling

436
00:22:33,600 --> 00:22:36,159
Speaker 1: down his face and he said, really, I get to

437
00:22:36,200 --> 00:22:40,000
Speaker 1: have that song and Rusty said yep. And so that's

438
00:22:40,040 --> 00:22:43,400
Speaker 1: when the waiting game. I mean, that's you know, we've

439
00:22:43,400 --> 00:22:46,200
Speaker 1: basically had our baby, but we're waiting, you know, where

440
00:22:46,200 --> 00:22:48,199
Speaker 1: we've made a baby, waiting for to be delivered, you know,

441
00:22:48,240 --> 00:22:51,280
Speaker 1: and that's the hardest part. And so you know it

442
00:22:51,359 --> 00:22:53,879
Speaker 1: comes out. It's everything we wanted to be. When you

443
00:22:53,960 --> 00:22:57,080
Speaker 1: hear it the first time, and how did you You

444
00:22:57,080 --> 00:23:00,919
Speaker 1: hadn't heard the finished project yet, like pride beyond, like

445
00:23:01,400 --> 00:23:04,480
Speaker 1: it's your baby. It's like that's the greatest feeling in

446
00:23:04,560 --> 00:23:07,359
Speaker 1: the world for a songwriter and to know that that

447
00:23:07,480 --> 00:23:10,760
Speaker 1: dad somewhere might hear it. Where did you hear it

448
00:23:10,800 --> 00:23:17,960
Speaker 1: the first time on the radio? Um? I feel like

449
00:23:18,080 --> 00:23:21,840
Speaker 1: we called us in to hear it because usually that's

450
00:23:21,880 --> 00:23:24,520
Speaker 1: how it happens. And I remember us just feel like

451
00:23:24,560 --> 00:23:28,080
Speaker 1: he nailed it. Like his vocal and his demographic people

452
00:23:28,119 --> 00:23:30,879
Speaker 1: he sings to every night, these are those people, you know,

453
00:23:31,800 --> 00:23:35,320
Speaker 1: and it was just incredible. Man, I could be wrong

454
00:23:35,320 --> 00:23:37,159
Speaker 1: about this because I'm just going from memory. There are

455
00:23:37,200 --> 00:23:40,720
Speaker 1: people who passed on the song right, definitely yes, And

456
00:23:40,760 --> 00:23:42,920
Speaker 1: he was the first person I pitched it too, because

457
00:23:42,960 --> 00:23:45,120
Speaker 1: Dark is a good friend of mine and he had

458
00:23:45,240 --> 00:23:49,159
Speaker 1: just like literally days before, written home and he but

459
00:23:49,240 --> 00:23:50,480
Speaker 1: you know what he did. This is when a great

460
00:23:50,520 --> 00:23:53,160
Speaker 1: guys like I'm sending this to Kenney Jesney for you,

461
00:23:53,359 --> 00:23:57,000
Speaker 1: I'm sending I think you might even send it Aldine Um.

462
00:23:57,080 --> 00:24:00,600
Speaker 1: But we This is where you know, faith comes in play,

463
00:24:00,640 --> 00:24:04,479
Speaker 1: and just these songs, they will come through if they

464
00:24:04,480 --> 00:24:06,440
Speaker 1: are fromant too. I'm gonna have to believe that if

465
00:24:06,480 --> 00:24:10,600
Speaker 1: not all go crazy. You know here you are singing it. Here,

466
00:24:10,720 --> 00:24:15,520
Speaker 1: here's Jesse singing. I drive your true? Who's with you?

467
00:24:16,920 --> 00:24:26,320
Speaker 1: Everyonedow down bird, every back road in this town. I

468
00:24:26,480 --> 00:24:31,040
Speaker 1: find a field, tear it up to all the paint

469
00:24:31,800 --> 00:24:39,400
Speaker 1: cloud up dust. Just sometimes I drive you true? So

470
00:24:39,480 --> 00:24:42,320
Speaker 1: what happened with the artist thing? Like you sing you

471
00:24:42,400 --> 00:24:48,480
Speaker 1: look the part you write the part? Yeah, what what happened?

472
00:24:48,720 --> 00:24:52,000
Speaker 1: I think? I truly think that there might have been

473
00:24:52,000 --> 00:24:57,159
Speaker 1: some like self, Well I don't know, like maybe I didn't.

474
00:24:58,640 --> 00:25:01,159
Speaker 1: There's some part of me that didn't want it, do

475
00:25:01,200 --> 00:25:03,120
Speaker 1: you know what I mean? Like most of you did

476
00:25:03,119 --> 00:25:06,000
Speaker 1: you try to want it? Not really? I mean I'm

477
00:25:06,119 --> 00:25:08,960
Speaker 1: very passionate and I like put everything I got into something.

478
00:25:09,000 --> 00:25:11,080
Speaker 1: So I know that if I really had wanted that,

479
00:25:11,680 --> 00:25:13,760
Speaker 1: I would have gone hard for it. So why come

480
00:25:13,800 --> 00:25:16,160
Speaker 1: to town. I came to town to make a living

481
00:25:16,880 --> 00:25:19,720
Speaker 1: for real. I mean like I had worked every day

482
00:25:19,840 --> 00:25:24,520
Speaker 1: weird job, subway car, auction sears, I mean, like you

483
00:25:24,600 --> 00:25:27,840
Speaker 1: name it, in a small town. I did it um

484
00:25:27,960 --> 00:25:31,560
Speaker 1: and truly just the thought of I quit college. First

485
00:25:31,560 --> 00:25:33,520
Speaker 1: of all. I went to Mt. Sue for four years

486
00:25:34,119 --> 00:25:36,200
Speaker 1: and my professor pulled me aside one day and said,

487
00:25:36,840 --> 00:25:39,040
Speaker 1: you need to quit school. I mean I was playing

488
00:25:39,040 --> 00:25:41,359
Speaker 1: in bar bands and singing out at night, and I

489
00:25:41,480 --> 00:25:42,800
Speaker 1: just wanted to be I didn't know what I wanted

490
00:25:42,840 --> 00:25:45,919
Speaker 1: to be a harmony singer songwriter. I mean I didn't know.

491
00:25:46,320 --> 00:25:49,640
Speaker 1: I just knew that there was literally no major for me.

492
00:25:49,760 --> 00:25:52,240
Speaker 1: There was no diploma. I mean, I'm not really good

493
00:25:52,240 --> 00:25:56,760
Speaker 1: at anything else. So I would just, you know, quit

494
00:25:57,160 --> 00:25:59,840
Speaker 1: quit school and moved here. And within days I got

495
00:25:59,880 --> 00:26:02,560
Speaker 1: my first backup singing gig. And who was that for

496
00:26:02,800 --> 00:26:05,400
Speaker 1: it was a great artist. His name is Matt King

497
00:26:05,720 --> 00:26:08,800
Speaker 1: and he at the time was on Atlantic And I

498
00:26:08,840 --> 00:26:11,119
Speaker 1: mean I was literally on a bus to Beaumont tuned

499
00:26:11,480 --> 00:26:14,160
Speaker 1: two or three days after moving here. Whenever that happens

500
00:26:14,200 --> 00:26:15,520
Speaker 1: and it's so quick. Do you think, well, this is

501
00:26:15,560 --> 00:26:17,840
Speaker 1: just how it happens. I think it was kind of

502
00:26:17,840 --> 00:26:20,080
Speaker 1: a fairy tale. And then there was the hard fall.

503
00:26:20,160 --> 00:26:22,120
Speaker 1: You know. It was like I was on the road

504
00:26:22,200 --> 00:26:24,160
Speaker 1: for like two years with him, and then I came

505
00:26:24,200 --> 00:26:26,680
Speaker 1: home and I was like, now get back in line,

506
00:26:27,040 --> 00:26:29,679
Speaker 1: you know. And that's when people started to hear my

507
00:26:30,000 --> 00:26:32,080
Speaker 1: songs that I was writing, like who aren't you an artist?

508
00:26:32,880 --> 00:26:34,639
Speaker 1: And I had a lot of great people around me,

509
00:26:34,680 --> 00:26:36,720
Speaker 1: going you should be an artist. But the problem was

510
00:26:36,800 --> 00:26:40,160
Speaker 1: at that time, there wasn't Americana. There was. You had

511
00:26:40,160 --> 00:26:43,520
Speaker 1: two extremes. You're either a country you know, Nashville country

512
00:26:43,600 --> 00:26:46,840
Speaker 1: artist singer, or you're like loosen to Williams. You know.

513
00:26:47,320 --> 00:26:50,680
Speaker 1: There wasn't um A Casey Musgraves. You know, there wasn't

514
00:26:50,760 --> 00:26:53,879
Speaker 1: Chris Stapleton. There no one has done that really, and

515
00:26:53,920 --> 00:26:56,720
Speaker 1: I didn't fit in either. I have very commercial sensibilities

516
00:26:56,920 --> 00:26:59,680
Speaker 1: and I also have artistic you know, so I was

517
00:26:59,680 --> 00:27:02,280
Speaker 1: always read in the line. But beyond all that, I

518
00:27:02,280 --> 00:27:04,400
Speaker 1: think I would have gotten bored being an artist sing

519
00:27:04,400 --> 00:27:06,879
Speaker 1: the same song every night. That's why I love my

520
00:27:07,000 --> 00:27:09,080
Speaker 1: job is I like to get in every day like

521
00:27:09,119 --> 00:27:10,800
Speaker 1: are we going to write the blues today? We're gonna

522
00:27:10,800 --> 00:27:13,560
Speaker 1: write bluegrass, We're gonna write country. Like you know, it's

523
00:27:13,600 --> 00:27:15,800
Speaker 1: more exciting for me to be on in the back.

524
00:27:16,240 --> 00:27:19,240
Speaker 1: Did you write today? What kind of song did you write?

525
00:27:19,520 --> 00:27:23,600
Speaker 1: I wrote, um like sounds like dark side of the

526
00:27:23,600 --> 00:27:26,800
Speaker 1: Moon pl Pink Floyd literally and I mean this is

527
00:27:26,880 --> 00:27:29,880
Speaker 1: a wild Who did you write with Matt drags Rum

528
00:27:29,920 --> 00:27:32,320
Speaker 1: and Josh Osborne? I saw Jock day of the night.

529
00:27:33,560 --> 00:27:35,520
Speaker 1: I guess I saw anybody during sem a week and

530
00:27:35,520 --> 00:27:37,760
Speaker 1: like it was two days yesterday. I wrote with Tony

531
00:27:37,840 --> 00:27:39,960
Speaker 1: Lane and Travis Danning wrote one of the country's songs

532
00:27:39,960 --> 00:27:42,520
Speaker 1: I've ever written. I mean, I love that when you're

533
00:27:42,560 --> 00:27:44,399
Speaker 1: writing it and I don't know what the song is,

534
00:27:44,440 --> 00:27:47,720
Speaker 1: but you write a Pink Floyd type song, Where do

535
00:27:47,760 --> 00:27:50,160
Speaker 1: you expect that to land? Or is it just you're

536
00:27:50,160 --> 00:27:51,760
Speaker 1: in a room and you're feeling and it's just to

537
00:27:51,800 --> 00:27:55,320
Speaker 1: see that you throw out and hope that it catches something.

538
00:27:55,760 --> 00:27:59,200
Speaker 1: It's I mean, it's so scary, like because you can think, well,

539
00:27:59,320 --> 00:28:01,240
Speaker 1: wasted a day. I don't know. I mean, we just

540
00:28:01,960 --> 00:28:03,800
Speaker 1: I just have to show up. I mean that's kind

541
00:28:03,840 --> 00:28:07,160
Speaker 1: of my motto is you know I'm not very strategic,

542
00:28:07,480 --> 00:28:10,119
Speaker 1: but I'll work, you know, I can. I can work.

543
00:28:10,320 --> 00:28:13,200
Speaker 1: I can work, and I can you know, bring heart

544
00:28:13,359 --> 00:28:15,720
Speaker 1: and soul just to it. That's really all I know.

545
00:28:16,240 --> 00:28:18,399
Speaker 1: Beyond that, I have to really lean on other people

546
00:28:18,440 --> 00:28:21,399
Speaker 1: to be like, this is al Deane, this is you know,

547
00:28:21,440 --> 00:28:23,560
Speaker 1: if we do this, it'll be Dirks. The only artist

548
00:28:23,600 --> 00:28:26,879
Speaker 1: I feel like I have luck really steering it is Blake.

549
00:28:27,160 --> 00:28:29,920
Speaker 1: I don't know why. I just well probably have to

550
00:28:30,760 --> 00:28:34,159
Speaker 1: hits from Blake. Yeah, and like pretty much record who

551
00:28:34,200 --> 00:28:36,240
Speaker 1: you know the last I think four records I've had,

552
00:28:36,440 --> 00:28:39,600
Speaker 1: you know, two songs recorded. We just speak the same language,

553
00:28:40,120 --> 00:28:42,080
Speaker 1: and you know him and I know him and him

554
00:28:42,240 --> 00:28:45,160
Speaker 1: it's just he's as a male artist, he's kind of

555
00:28:45,160 --> 00:28:47,440
Speaker 1: my voice. Do you know Blake well enough to send

556
00:28:47,480 --> 00:28:50,160
Speaker 1: him a song yourself? All the time. We wrote two

557
00:28:50,200 --> 00:28:52,280
Speaker 1: songs on this last his last record, and we just

558
00:28:52,280 --> 00:28:53,880
Speaker 1: wrote one for his new record. Okay, so you go

559
00:28:54,000 --> 00:28:55,680
Speaker 1: email him straight up and you won't go to the

560
00:28:55,680 --> 00:28:57,560
Speaker 1: proper channels and you'll just be like, hey wrote this,

561
00:28:57,960 --> 00:29:00,200
Speaker 1: do you get your young start? He's like, not for me, no,

562
00:29:01,120 --> 00:29:03,640
Speaker 1: because um, we have like kind of a thing where

563
00:29:03,760 --> 00:29:07,040
Speaker 1: if he doesn't reply, then he passes, that's fine, But

564
00:29:07,120 --> 00:29:10,120
Speaker 1: I never send him something. I mean I send probably three.

565
00:29:10,520 --> 00:29:11,880
Speaker 1: You know, mine would be You might have been the

566
00:29:11,920 --> 00:29:14,400
Speaker 1: only song I sent him for that record, in this

567
00:29:14,440 --> 00:29:16,920
Speaker 1: record that he just made us send him maybe two

568
00:29:16,920 --> 00:29:19,800
Speaker 1: songs and he cut one of them like I pretty bad.

569
00:29:19,960 --> 00:29:24,600
Speaker 1: I know, I know his the way his mind works. Crazy.

570
00:29:26,480 --> 00:29:28,160
Speaker 1: Mine would be here, man, that was a jam too.

571
00:29:30,600 --> 00:29:33,480
Speaker 1: Of all of these songs, I'm thinking I've probably made

572
00:29:33,480 --> 00:29:36,040
Speaker 1: the most from Miley, right because it was an international song. Yeah,

573
00:29:36,400 --> 00:29:39,240
Speaker 1: And then I would imagine Lee was probably too, and

574
00:29:39,280 --> 00:29:41,400
Speaker 1: that least song that's a money maker for everybody except

575
00:29:41,440 --> 00:29:43,640
Speaker 1: you had a Miley song that was an all format

576
00:29:44,160 --> 00:29:48,760
Speaker 1: it's crazy and all in countries in movies. Oh my goodness,

577
00:29:48,760 --> 00:29:51,920
Speaker 1: I want to hear you do. And there's Dirk. Let's

578
00:29:51,920 --> 00:29:57,600
Speaker 1: see here. This is Dirk sing with you that road

579
00:29:57,680 --> 00:30:02,640
Speaker 1: fly send lot crazy it fools, make it up, all

580
00:30:03,560 --> 00:30:08,960
Speaker 1: laugh until it may. I had a truth my best

581
00:30:09,040 --> 00:30:17,080
Speaker 1: day five step but while the stream come true, Yeah,

582
00:30:19,520 --> 00:30:22,840
Speaker 1: mine would be. So why did you make a record?

583
00:30:23,880 --> 00:30:26,680
Speaker 1: Because I play a lot of shows. Um, I get

584
00:30:26,680 --> 00:30:28,280
Speaker 1: out and do a lot of private shows kind of

585
00:30:28,280 --> 00:30:32,200
Speaker 1: bluebird style with other writers. And there's so many times

586
00:30:32,360 --> 00:30:35,360
Speaker 1: people would come up and ask me for a record.

587
00:30:35,440 --> 00:30:37,840
Speaker 1: I mean, it just got to the point where like,

588
00:30:37,880 --> 00:30:39,640
Speaker 1: why don't I have a record? Why don't I have?

589
00:30:39,840 --> 00:30:43,280
Speaker 1: I mean, is that two thousand five record that's it?

590
00:30:43,840 --> 00:30:46,160
Speaker 1: You know, and my kid's gonna hear that, that's gonna

591
00:30:46,200 --> 00:30:49,040
Speaker 1: be it. It had nothing to do with like artistic

592
00:30:49,320 --> 00:30:52,120
Speaker 1: like vision necessarily. It's really just to have something in

593
00:30:52,120 --> 00:30:55,560
Speaker 1: my hands that represents me at this age, at this

594
00:30:55,640 --> 00:30:57,880
Speaker 1: time in my life. And I'll probably make another one,

595
00:30:58,280 --> 00:31:00,680
Speaker 1: but for me, it's really songs that have been recorded.

596
00:31:00,720 --> 00:31:04,040
Speaker 1: I don't have any you know, desire to write an

597
00:31:04,080 --> 00:31:07,080
Speaker 1: album for myself. You know, I don't really have something

598
00:31:07,080 --> 00:31:08,840
Speaker 1: I want to say as an artist, you know yet

599
00:31:09,640 --> 00:31:13,360
Speaker 1: yet you never know. You can wake up tomorrow. You

600
00:31:13,440 --> 00:31:15,400
Speaker 1: know what I want to do a hip hop I mean,

601
00:31:15,520 --> 00:31:19,560
Speaker 1: damn country music. When I wrote that UM song, that

602
00:31:19,640 --> 00:31:24,080
Speaker 1: was the first time that I thought maybe I'm going

603
00:31:24,120 --> 00:31:26,520
Speaker 1: to make a dirt country record. You know that that

604
00:31:26,600 --> 00:31:29,160
Speaker 1: aspires me if I could write ten more of those.

605
00:31:29,800 --> 00:31:32,720
Speaker 1: So here's a question for you. When McGrath puts the

606
00:31:32,720 --> 00:31:35,760
Speaker 1: record on and this is the name of the record too,

607
00:31:36,360 --> 00:31:38,400
Speaker 1: don't you think it should be a single because the

608
00:31:38,480 --> 00:31:41,640
Speaker 1: record is named after it. Heartbreaker. I mean, that's that one, right,

609
00:31:41,640 --> 00:31:46,080
Speaker 1: there is one that hurts, you know, because me and

610
00:31:46,160 --> 00:31:48,640
Speaker 1: Kerry Barlow and Josh Thompson, when we wrote that song,

611
00:31:48,720 --> 00:31:51,120
Speaker 1: we thought we'll never get Hirer. I mean to be

612
00:31:51,440 --> 00:31:54,760
Speaker 1: to be honest, as a crafted song, I felt like

613
00:31:54,880 --> 00:31:57,440
Speaker 1: that was more crafted than any of my other songs,

614
00:31:57,440 --> 00:32:00,480
Speaker 1: like as far as like ringing the Bell. That was

615
00:32:00,560 --> 00:32:03,440
Speaker 1: from for me, ringing the Bell and I had to

616
00:32:03,560 --> 00:32:07,480
Speaker 1: kind of kind of grieve that one, and we thought,

617
00:32:07,520 --> 00:32:09,000
Speaker 1: we kept thinking he was going to come with it,

618
00:32:09,160 --> 00:32:11,560
Speaker 1: and we were told that the record was named after

619
00:32:11,640 --> 00:32:14,280
Speaker 1: I would think that too. Yeah, just if you're okay,

620
00:32:14,280 --> 00:32:17,520
Speaker 1: he's putting mcgras in the project, he's named it after

621
00:32:17,720 --> 00:32:21,120
Speaker 1: the song that we wrote. Yes, and it's that's a

622
00:32:21,160 --> 00:32:24,120
Speaker 1: hard and then I'm still like kind of getting past that,

623
00:32:24,360 --> 00:32:27,040
Speaker 1: you know, but you just have to believe you're gonna

624
00:32:27,080 --> 00:32:29,640
Speaker 1: get another idea, You're gonna get another song, You're gonna

625
00:32:29,760 --> 00:32:31,880
Speaker 1: ring the bell again. And every day I got to

626
00:32:31,920 --> 00:32:33,760
Speaker 1: try to do that. You know, my friends, is always

627
00:32:33,760 --> 00:32:37,479
Speaker 1: getting to the mountain. There's always you're always gonna want

628
00:32:37,480 --> 00:32:41,520
Speaker 1: to make a name. It's always going to be another mountain.

629
00:32:41,920 --> 00:32:47,840
Speaker 1: I'm always going to making okay, okay about this one.

630
00:32:47,960 --> 00:32:51,680
Speaker 1: So it's a song about a girl, song about a girl.

631
00:32:53,040 --> 00:32:56,360
Speaker 1: Eric Passley and Gordy Sampson so much fun. We probably

632
00:32:56,360 --> 00:33:00,920
Speaker 1: wrote in an hour. And I love him and I'm

633
00:33:01,000 --> 00:33:02,920
Speaker 1: part listen yes, and I'm partially because he's one of

634
00:33:02,960 --> 00:33:10,280
Speaker 1: my closest friends. Just love him. He's so good. Gets

635
00:33:10,280 --> 00:33:13,760
Speaker 1: so frustrated for him because like he just and he

636
00:33:13,800 --> 00:33:16,320
Speaker 1: gets frustrated. Frankly, we have had talks when he's like,

637
00:33:16,360 --> 00:33:19,640
Speaker 1: what what what is it? Like? What iposed to do?

638
00:33:19,840 --> 00:33:22,320
Speaker 1: And there is no answer. The thing is, there is

639
00:33:22,400 --> 00:33:25,440
Speaker 1: no answer. I know. There's no right or wrong in

640
00:33:25,520 --> 00:33:29,920
Speaker 1: creative m there's what works right now, what's not. But

641
00:33:29,960 --> 00:33:31,800
Speaker 1: what's not might work tomorrow. Is the weird thing all

642
00:33:31,800 --> 00:33:34,000
Speaker 1: of a sudden it could be it could beat the

643
00:33:34,040 --> 00:33:37,000
Speaker 1: exact right thing. It's because some people, I'm sure they

644
00:33:37,040 --> 00:33:39,320
Speaker 1: come to you two like, hey, how do you? When

645
00:33:39,360 --> 00:33:42,560
Speaker 1: do I? What is the there is There is no

646
00:33:42,720 --> 00:33:45,120
Speaker 1: There's never a right answer. I know. There is one

647
00:33:45,480 --> 00:33:48,120
Speaker 1: one thing that I do believe though, and I've just

648
00:33:48,160 --> 00:33:51,320
Speaker 1: seen it now as I've been here so long. Don't

649
00:33:51,400 --> 00:33:54,320
Speaker 1: go away. That's the only that's the only thing I

650
00:33:54,360 --> 00:33:57,200
Speaker 1: know because I promise you meet in a little big town.

651
00:33:57,440 --> 00:34:01,160
Speaker 1: Got signed Orner Chapel the same year on I saw

652
00:34:01,240 --> 00:34:05,840
Speaker 1: them make records, change labels, change producers. They wouldn't go away,

653
00:34:05,960 --> 00:34:09,200
Speaker 1: and they just kept bringing music. And I've just seen

654
00:34:09,239 --> 00:34:11,920
Speaker 1: that with writers. There's a writer right now that's killing it.

655
00:34:12,040 --> 00:34:15,400
Speaker 1: She's been Kelly Archer. She she just kept She's not

656
00:34:15,440 --> 00:34:18,640
Speaker 1: gonna quit. She just keeps bringing songs, keep showing up

657
00:34:18,640 --> 00:34:20,960
Speaker 1: to the party. And I do believe that if you

658
00:34:21,040 --> 00:34:23,600
Speaker 1: don't go away, they will give you something. That's my motto.

659
00:34:23,719 --> 00:34:25,040
Speaker 1: It's funny you say that. And I don't know if

660
00:34:25,040 --> 00:34:28,439
Speaker 1: you know Carly Pierce at all, but um so, Carly's now.

661
00:34:29,719 --> 00:34:31,239
Speaker 1: I think she's in the twenties or something, but she's

662
00:34:31,280 --> 00:34:34,959
Speaker 1: been to the world. She's new because she is new,

663
00:34:35,320 --> 00:34:37,480
Speaker 1: and I've got to know Carly a bit. She's opening

664
00:34:37,560 --> 00:34:39,560
Speaker 1: up on my stand up tour for the next two

665
00:34:39,640 --> 00:34:43,120
Speaker 1: or three months, and so she's really good. She's so good.

666
00:34:43,200 --> 00:34:45,080
Speaker 1: And she came in and we're talking and she's like,

667
00:34:45,120 --> 00:34:48,200
Speaker 1: I've been the shiny thing multiple times, Like first I

668
00:34:48,280 --> 00:34:50,880
Speaker 1: was nineteen, Hey, I'm big start. Nope, never mind, No,

669
00:34:50,960 --> 00:34:53,439
Speaker 1: I'm not got a second shot. Damn I'm big start. Nope,

670
00:34:53,440 --> 00:34:54,920
Speaker 1: no I'm not, because the only thing that I did

671
00:34:54,920 --> 00:34:58,000
Speaker 1: was just keep trying. And that's it. Because I think

672
00:34:58,000 --> 00:35:00,359
Speaker 1: someone told her it's like, if you just keep fond,

673
00:35:00,360 --> 00:35:03,359
Speaker 1: the city will eventually give it, give you something eventually. Yeah,

674
00:35:03,400 --> 00:35:05,239
Speaker 1: it's like you'll get a consolation prize at least, like

675
00:35:05,360 --> 00:35:07,759
Speaker 1: something will happen. Good. I mean, what you said is

676
00:35:07,800 --> 00:35:10,759
Speaker 1: basically what she said. I mean, I'd really believe that.

677
00:35:10,840 --> 00:35:14,359
Speaker 1: I've just seen it too many times. But this song

678
00:35:14,480 --> 00:35:19,399
Speaker 1: here from the cartoon friends, Yeah, that was really fun.

679
00:35:19,480 --> 00:35:26,320
Speaker 1: It's really fun to get from Angry Birds. Do you

680
00:35:26,400 --> 00:35:29,440
Speaker 1: make any money from my cartoon movie song that doesn't

681
00:35:29,520 --> 00:35:31,640
Speaker 1: go on the radio? Like you still because it because

682
00:35:31,640 --> 00:35:33,680
Speaker 1: it's in the movie. The fun part about that is

683
00:35:33,719 --> 00:35:35,839
Speaker 1: you get paid up front, which is we don't ever.

684
00:35:36,000 --> 00:35:39,400
Speaker 1: That's so you get a and Blake of course, was

685
00:35:39,719 --> 00:35:43,360
Speaker 1: so generous and made it really fair for me. And

686
00:35:43,920 --> 00:35:45,880
Speaker 1: I was just sitting co writing with someone else that

687
00:35:46,000 --> 00:35:47,360
Speaker 1: the day that I got a text from him and

688
00:35:47,400 --> 00:35:50,160
Speaker 1: he said, hey, Sis, can you write a song for

689
00:35:50,239 --> 00:35:51,719
Speaker 1: me for this movie? I mean, I was like out

690
00:35:51,719 --> 00:35:55,480
Speaker 1: of nowhere, you know, I'm like, guys, hang on one second,

691
00:35:55,760 --> 00:35:57,480
Speaker 1: I don't want to say, Blake Shelton just text to me,

692
00:35:57,520 --> 00:36:00,160
Speaker 1: but um, I called him, like, what are you talking about? Out?

693
00:36:00,160 --> 00:36:02,799
Speaker 1: And I had a lot, a lot of history doing this,

694
00:36:02,840 --> 00:36:04,600
Speaker 1: And when I was at Disney, I wrote for so

695
00:36:04,680 --> 00:36:08,040
Speaker 1: many franchises, tinker Bell, Princess and the Frog, I mean

696
00:36:08,160 --> 00:36:13,560
Speaker 1: tons Like I was, you know, really where in Nashville.

697
00:36:14,040 --> 00:36:15,840
Speaker 1: But I would go to l A and write for

698
00:36:16,520 --> 00:36:20,000
Speaker 1: all their franchises and I was there. To be honest,

699
00:36:20,080 --> 00:36:21,840
Speaker 1: it's kind of easy compared to what I have to

700
00:36:21,880 --> 00:36:24,600
Speaker 1: do every day writing these crafted songs. To go out

701
00:36:24,640 --> 00:36:28,040
Speaker 1: there and write it was pretty. Um It's fun, but

702
00:36:28,080 --> 00:36:30,520
Speaker 1: not as fulfilling. Obviously, they pull you in and say, okay,

703
00:36:30,600 --> 00:36:34,800
Speaker 1: Jesse Pinocchio, so write a song and here's the scene.

704
00:36:35,680 --> 00:36:38,719
Speaker 1: It kind of gives you some and that's what he did.

705
00:36:38,760 --> 00:36:41,680
Speaker 1: He was like, so these pigs and these birds are fighting.

706
00:36:41,719 --> 00:36:44,080
Speaker 1: I mean, I'm like, what are you talking about? And

707
00:36:44,120 --> 00:36:46,480
Speaker 1: he got to see the movie at least, but he's like,

708
00:36:46,680 --> 00:36:49,160
Speaker 1: there's gonna be this moment that I come out. There's

709
00:36:49,160 --> 00:36:50,440
Speaker 1: this fight and the pigs and the birds and I

710
00:36:50,480 --> 00:36:53,520
Speaker 1: have to sing about us all getting along, and I

711
00:36:53,520 --> 00:36:55,960
Speaker 1: mean literally spring break and I'm supposed to be on

712
00:36:56,239 --> 00:36:58,880
Speaker 1: spring break with my kids. This is when you're happy

713
00:36:58,920 --> 00:37:00,640
Speaker 1: you're married to another songwrite her. But I have to

714
00:37:00,680 --> 00:37:03,640
Speaker 1: like leave all the time because Blake's out on the voice.

715
00:37:03,640 --> 00:37:06,480
Speaker 1: He's calling me like what you're texting me like what

716
00:37:06,520 --> 00:37:08,200
Speaker 1: do you think about this idea? And we're writing is

717
00:37:08,440 --> 00:37:10,560
Speaker 1: we only had a short window to write the song

718
00:37:11,160 --> 00:37:13,719
Speaker 1: and then we had to record it and send it

719
00:37:13,760 --> 00:37:15,480
Speaker 1: to him and then you wait and see if the

720
00:37:15,520 --> 00:37:18,439
Speaker 1: producer even likes it. And thank god he did. And

721
00:37:18,520 --> 00:37:20,560
Speaker 1: it was really neat though to have at the time,

722
00:37:20,760 --> 00:37:23,000
Speaker 1: four year olds, three year olds that get to take

723
00:37:23,080 --> 00:37:25,160
Speaker 1: to a movie. I got to go to the premiere

724
00:37:25,200 --> 00:37:28,080
Speaker 1: with Blake and I mean, there we are, you know,

725
00:37:28,440 --> 00:37:31,640
Speaker 1: Hollywood watching this song. So did they sit through the movie?

726
00:37:31,760 --> 00:37:34,480
Speaker 1: They did? They loved it. It was really cool. Did

727
00:37:34,560 --> 00:37:37,280
Speaker 1: they know? Did they know that you write that song?

728
00:37:38,360 --> 00:37:41,239
Speaker 1: We're just starting to figure this out. I mean, my

729
00:37:41,320 --> 00:37:45,800
Speaker 1: daughter definitely gets it now and she's put together, like okay,

730
00:37:45,960 --> 00:37:48,520
Speaker 1: mom goes and write songs. And then we hear him

731
00:37:48,560 --> 00:37:51,160
Speaker 1: on the radio. It's still very surreal that I mean

732
00:37:51,560 --> 00:37:53,600
Speaker 1: we I mean if I hear and when I hear,

733
00:37:53,680 --> 00:37:56,200
Speaker 1: please play when the way I talked, Because when we

734
00:37:56,239 --> 00:37:58,000
Speaker 1: hear a song like that that's new that we haven't

735
00:37:58,000 --> 00:38:01,040
Speaker 1: heard on the radio yet. It's like the whole family

736
00:38:01,040 --> 00:38:03,560
Speaker 1: goes crazy because it's like it's a big deal to

737
00:38:03,640 --> 00:38:08,279
Speaker 1: us every time. That's how you eat and and you know,

738
00:38:08,320 --> 00:38:11,000
Speaker 1: with writers, you're the first one to create the product

739
00:38:11,040 --> 00:38:13,719
Speaker 1: and you're the last one to get paid. Yes, I

740
00:38:13,760 --> 00:38:17,320
Speaker 1: mean it's sad, and now we get paid so little.

741
00:38:17,680 --> 00:38:21,200
Speaker 1: It sucks and it's and and everybody's kind of sticking

742
00:38:21,200 --> 00:38:24,200
Speaker 1: it to you from the streaming services. It's the wild

743
00:38:24,239 --> 00:38:27,359
Speaker 1: West steel and there are no rules. So they're not

744
00:38:27,400 --> 00:38:32,640
Speaker 1: breaking the rules because there are no right and so

745
00:38:32,880 --> 00:38:34,719
Speaker 1: you know, you get like the percentage of everybody giving.

746
00:38:35,200 --> 00:38:39,960
Speaker 1: But someone has got to make the rules, and that's

747
00:38:39,960 --> 00:38:42,319
Speaker 1: the hardest thing to do, the adjusting rules. They're not

748
00:38:42,360 --> 00:38:45,360
Speaker 1: looking at something and going, we don't think this is

749
00:38:45,440 --> 00:38:48,200
Speaker 1: working all the way. So let's there just aren't rules.

750
00:38:48,840 --> 00:38:50,640
Speaker 1: I know, we have to reinvent the wheel. And the

751
00:38:50,640 --> 00:38:53,279
Speaker 1: wheel is being reinvented as you're reinventing the wheel, like

752
00:38:53,320 --> 00:38:57,239
Speaker 1: streaming is happening. I mean, I spend you know, the

753
00:38:57,360 --> 00:39:01,960
Speaker 1: radio show gets five million downloads a month, much less

754
00:39:02,320 --> 00:39:05,160
Speaker 1: the millions people listen every week. So to me, you know,

755
00:39:05,200 --> 00:39:07,840
Speaker 1: I'm cannibalizing myself on purpose, and I do this, we

756
00:39:07,920 --> 00:39:12,520
Speaker 1: get million downloads a month and it's like, people, I

757
00:39:12,520 --> 00:39:14,440
Speaker 1: hope people listen to this. But because this is the

758
00:39:14,480 --> 00:39:18,359
Speaker 1: way it's all going, and I'm getting paid like more

759
00:39:18,360 --> 00:39:22,239
Speaker 1: as a backup singer on a record that yeah, Like,

760
00:39:22,680 --> 00:39:25,560
Speaker 1: I mean, it's insane that now I'm like, I used

761
00:39:25,560 --> 00:39:27,000
Speaker 1: to sing a lot of harmony and I kind of

762
00:39:27,080 --> 00:39:30,320
Speaker 1: quit doing it. Now I'm like singing on everyone's record

763
00:39:30,880 --> 00:39:34,040
Speaker 1: because because the money comes quicker. It's because, um, when

764
00:39:34,040 --> 00:39:36,960
Speaker 1: Spotify or whoever did the deals, they didn't necessarily do

765
00:39:37,000 --> 00:39:39,560
Speaker 1: a great deal with songwriters and publishers, but they great

766
00:39:39,600 --> 00:39:43,279
Speaker 1: deals for musicians, producers and singers. So I'm getting great

767
00:39:43,360 --> 00:39:45,640
Speaker 1: checks as a backup singer. So like a song like

768
00:39:45,719 --> 00:39:48,200
Speaker 1: Drink on It, I'm probably getting more paid as a

769
00:39:48,200 --> 00:39:50,319
Speaker 1: backup singer than I am as a songwriter. I'm I'm

770
00:39:50,360 --> 00:39:52,960
Speaker 1: guessing that. I'm bet so you think it's kind of

771
00:39:52,960 --> 00:39:56,080
Speaker 1: close the fact when someone streams drink on It and

772
00:39:56,120 --> 00:40:01,600
Speaker 1: I s I think it's more. I mean, I'm getting paid.

773
00:40:01,680 --> 00:40:05,879
Speaker 1: Point is mind blowing to me. And again, no, it's

774
00:40:05,920 --> 00:40:08,560
Speaker 1: the thing everybody wants to get angry at everybody. But

775
00:40:08,960 --> 00:40:10,399
Speaker 1: could you get mad, or you get out of radio,

776
00:40:10,480 --> 00:40:13,000
Speaker 1: you get matter? There are there. Nobody's breaking a rule,

777
00:40:13,040 --> 00:40:17,000
Speaker 1: but nobody has made a rule. And that's just as bad,

778
00:40:17,120 --> 00:40:21,400
Speaker 1: if not worse. But technologies moved so fastn't keep up,

779
00:40:21,520 --> 00:40:24,680
Speaker 1: and all the lawmakers are seventy year old white men

780
00:40:24,719 --> 00:40:27,560
Speaker 1: who don't have any idea what technology really means. I

781
00:40:28,000 --> 00:40:29,480
Speaker 1: have to tell you a fun story. When I went

782
00:40:29,520 --> 00:40:32,520
Speaker 1: to d C with Lee one time, the climb was out.

783
00:40:32,840 --> 00:40:34,279
Speaker 1: It had been out, I've been a hit, but it

784
00:40:34,360 --> 00:40:37,920
Speaker 1: was still really hot, and um I walked into one

785
00:40:37,960 --> 00:40:41,359
Speaker 1: of the congressman's office and the staffer was like, oh,

786
00:40:41,680 --> 00:40:43,480
Speaker 1: you're at the climb And I was like yeah. She goes,

787
00:40:44,120 --> 00:40:46,200
Speaker 1: did you see it last night on Glee? And I

788
00:40:46,239 --> 00:40:48,520
Speaker 1: was like, no, I didn't. I was flying here. She goes,

789
00:40:48,840 --> 00:40:52,239
Speaker 1: It's okay, you can watch it on YouTube. I said, exactly,

790
00:40:52,920 --> 00:40:55,560
Speaker 1: That's exactly why I'm here. It was the perfect setup

791
00:40:55,960 --> 00:40:58,200
Speaker 1: because in two thousand nine, the Climb was the most

792
00:40:58,600 --> 00:41:03,839
Speaker 1: watched song on YouTube, the most you know, streamed. And

793
00:41:04,120 --> 00:41:06,000
Speaker 1: do you know how much I got paid? I do

794
00:41:06,120 --> 00:41:13,760
Speaker 1: not know? Is the answer? Zero? Literally zero zero zero? YouTube?

795
00:41:13,760 --> 00:41:15,560
Speaker 1: Doesn't I mean people can sing the Climb all day

796
00:41:15,560 --> 00:41:18,000
Speaker 1: long on the on YouTube right now, I could sing it.

797
00:41:18,040 --> 00:41:21,120
Speaker 1: No one's gonna ever tell me about it or pay zero.

798
00:41:22,520 --> 00:41:25,000
Speaker 1: So what do you do? Like, really, what in your

799
00:41:25,040 --> 00:41:29,879
Speaker 1: mind you try to get singles on? But that's that's

800
00:41:30,560 --> 00:41:32,560
Speaker 1: or you right for you know, you right for film

801
00:41:32,560 --> 00:41:36,279
Speaker 1: and TV? You sing harmony? Um, how do you change this? Though?

802
00:41:37,120 --> 00:41:39,640
Speaker 1: That's a better question for Lee or someone like that.

803
00:41:39,719 --> 00:41:42,839
Speaker 1: I mean, I would go crazy if I spent you know,

804
00:41:43,000 --> 00:41:44,600
Speaker 1: a lot of my energy trying to figure that. I

805
00:41:44,640 --> 00:41:46,880
Speaker 1: have no idea how you feel like the quality is

806
00:41:46,920 --> 00:41:49,560
Speaker 1: going to go down though, because people aren't focusing on

807
00:41:50,480 --> 00:41:55,800
Speaker 1: the just the quantity of quality song and everybody just

808
00:41:55,840 --> 00:41:59,279
Speaker 1: shooting for a quick single. And some of the best

809
00:41:59,280 --> 00:42:01,360
Speaker 1: songs in my life songs I ever heard on the

810
00:42:01,440 --> 00:42:03,560
Speaker 1: radio it was I would download a record I've downloaded

811
00:42:03,600 --> 00:42:05,759
Speaker 1: John Mayer record and here stop this train and be

812
00:42:05,800 --> 00:42:09,000
Speaker 1: like that's that's my favorite song. Yeah, but I would

813
00:42:09,000 --> 00:42:10,719
Speaker 1: never be on the radio. I don't. I don't know

814
00:42:10,760 --> 00:42:13,719
Speaker 1: what we're gonna do. I really don't. I mean, I

815
00:42:12,800 --> 00:42:16,920
Speaker 1: I fear what will happen to my occupation seriously, Like

816
00:42:17,000 --> 00:42:19,719
Speaker 1: I don't know, like what kind of business it's going

817
00:42:19,760 --> 00:42:22,480
Speaker 1: to be for someone like me fifty years from now,

818
00:42:22,960 --> 00:42:25,040
Speaker 1: it's already been. I mean in the time that you've

819
00:42:25,040 --> 00:42:28,160
Speaker 1: been here, you've seen it drastically reduced. And the amount

820
00:42:28,160 --> 00:42:29,759
Speaker 1: of people that just do it, Oh yeah, I mean

821
00:42:29,760 --> 00:42:34,040
Speaker 1: there's so few, and there's so few people like the

822
00:42:34,040 --> 00:42:36,040
Speaker 1: people that are having success or they're all having they're

823
00:42:36,040 --> 00:42:39,320
Speaker 1: having so much success. Like it's just really hard and

824
00:42:39,400 --> 00:42:41,080
Speaker 1: you know we have you know, there's so much writing

825
00:42:41,120 --> 00:42:44,240
Speaker 1: with artists now and so many camps in different ways

826
00:42:44,239 --> 00:42:46,840
Speaker 1: that it's it's just when you have a song on

827
00:42:46,880 --> 00:42:48,680
Speaker 1: the radio, that's what are you write a song like

828
00:42:48,760 --> 00:42:50,920
Speaker 1: damn country music or something you really feel like you

829
00:42:50,960 --> 00:42:52,879
Speaker 1: have a shot with. That's when why it hurts so bad,

830
00:42:52,880 --> 00:42:55,439
Speaker 1: because you know your shots are so few. What camp?

831
00:42:55,440 --> 00:42:58,000
Speaker 1: Are you in? The Blake camp? Obviously? Are you considered

832
00:42:58,000 --> 00:42:59,480
Speaker 1: in the Blake camp? Do you think I would? I

833
00:42:59,480 --> 00:43:03,520
Speaker 1: would say, though, but um, I don't really have I

834
00:43:03,560 --> 00:43:05,520
Speaker 1: have friends, you know, we all came up together. I

835
00:43:05,560 --> 00:43:07,839
Speaker 1: was at Dirk's showcase when he showcased for the label.

836
00:43:07,880 --> 00:43:10,520
Speaker 1: I mean these are people, Randa Lambert, we were signed together,

837
00:43:11,200 --> 00:43:14,319
Speaker 1: um at the same time at Sony. So I don't

838
00:43:14,360 --> 00:43:16,160
Speaker 1: know that I have camps. I just have friends, you know,

839
00:43:16,160 --> 00:43:18,239
Speaker 1: but there's so many new people coming up that you know,

840
00:43:18,280 --> 00:43:22,000
Speaker 1: I've got a there's so many people to meet. Um,

841
00:43:22,120 --> 00:43:23,560
Speaker 1: I don't know if I have a camp. Are you

842
00:43:24,120 --> 00:43:26,720
Speaker 1: and Dirk still close? Yes? Does he send you pictures

843
00:43:26,760 --> 00:43:31,440
Speaker 1: of his Hawker's What's because that's that's a guy thing.

844
00:43:31,560 --> 00:43:33,920
Speaker 1: I know if it was sure to my husband. But

845
00:43:34,520 --> 00:43:36,600
Speaker 1: it's the most disgusting thing. I don't want to see.

846
00:43:36,600 --> 00:43:38,080
Speaker 1: It's not a guy thing. It's a disgusting guy I

847
00:43:38,160 --> 00:43:39,600
Speaker 1: don't want to see that. That's a guy thing. People

848
00:43:39,600 --> 00:43:41,480
Speaker 1: like I check this out. Yeah, I'll be like, all right,

849
00:43:41,520 --> 00:43:45,719
Speaker 1: what's again? Boom, Yeah it's his because he gets Now

850
00:43:47,280 --> 00:43:49,440
Speaker 1: let me talk about Blue Apron for one second as

851
00:43:49,480 --> 00:43:52,279
Speaker 1: we do the shot. I am my house. In my house,

852
00:43:52,719 --> 00:43:55,680
Speaker 1: I have blue Apron, and I eat blue Apron. I mean,

853
00:43:55,760 --> 00:43:58,040
Speaker 1: it's not an apron. What it is? Blue Apron comes

854
00:43:58,080 --> 00:44:00,600
Speaker 1: in a box. It's pretty portion and greed. It's from

855
00:44:00,680 --> 00:44:02,080
Speaker 1: food that you get online. You like, I'd like to

856
00:44:02,120 --> 00:44:05,080
Speaker 1: try that recipe and then boom, this recipe card, all

857
00:44:05,160 --> 00:44:09,480
Speaker 1: the ingredients preportioned, and you make these awesome meals. Blue

858
00:44:09,520 --> 00:44:13,719
Speaker 1: Apron dot com slash Bobby cast Bobby Cast one word

859
00:44:14,040 --> 00:44:16,560
Speaker 1: and you get your first three meals for free with

860
00:44:16,719 --> 00:44:19,759
Speaker 1: free shipping. Blue Apron dot com slash Bobby Cast. Listen

861
00:44:19,840 --> 00:44:21,120
Speaker 1: to my voice, let me tell you a story. Here

862
00:44:21,680 --> 00:44:23,960
Speaker 1: for less than ten dollars per person per meal, Blue

863
00:44:24,000 --> 00:44:27,680
Speaker 1: Apron delivers seasonal recipes along with preportioned ingredients to make

864
00:44:27,760 --> 00:44:31,240
Speaker 1: delicious home cooked meals. Customized recipes each week based on preferences.

865
00:44:31,600 --> 00:44:33,319
Speaker 1: And again they have recipe cards. So for me, it's

866
00:44:33,320 --> 00:44:36,600
Speaker 1: a lifesaver because it's like a cookbook, but every time

867
00:44:36,640 --> 00:44:39,840
Speaker 1: it's something different. Again, less than ten dollars per person

868
00:44:39,960 --> 00:44:43,080
Speaker 1: per meal. I will say this again, Blue Apron dot

869
00:44:43,160 --> 00:44:46,000
Speaker 1: com slash Bobby Cast, check out the week's men. You

870
00:44:46,080 --> 00:44:48,479
Speaker 1: just do that Blue Apron dot com slash Bobby Cast

871
00:44:48,680 --> 00:44:51,400
Speaker 1: right now, your first three meals free with free shipping. Okay,

872
00:44:51,440 --> 00:44:53,640
Speaker 1: So I want to play this Morgan Wallen song which

873
00:44:53,719 --> 00:44:58,680
Speaker 1: is climbing a bit. Yeah, we're seeing some track. It's

874
00:44:58,680 --> 00:45:02,040
Speaker 1: called The Way I Talk throughout this Me and Chase

875
00:45:02,120 --> 00:45:06,600
Speaker 1: McGill and then haste. Look, when you write this song,

876
00:45:06,719 --> 00:45:08,719
Speaker 1: do you you write it for someone like Morgan? Or

877
00:45:09,000 --> 00:45:11,239
Speaker 1: do you write it and then it gets pitched around?

878
00:45:11,360 --> 00:45:15,040
Speaker 1: It gets pitched around. I mean, we obviously thought gosh,

879
00:45:15,120 --> 00:45:20,080
Speaker 1: we thought FHL, we thought, um, I mean anyway, Luke Jason.

880
00:45:21,560 --> 00:45:23,279
Speaker 1: But a lot of it has to do timing, like

881
00:45:23,320 --> 00:45:26,800
Speaker 1: who's looking right then? And Morgan needed a first single

882
00:45:27,239 --> 00:45:29,719
Speaker 1: and that's the magic word for me and for all

883
00:45:29,760 --> 00:45:31,719
Speaker 1: of us is single. You ever and I'm not gonna

884
00:45:31,719 --> 00:45:35,759
Speaker 1: ask your names. Do you ever say no to somebody? Yeah,

885
00:45:36,000 --> 00:45:38,360
Speaker 1: like you have and you're like, man, I really this

886
00:45:38,560 --> 00:45:41,680
Speaker 1: is a treasure to me and X wants it and

887
00:45:41,760 --> 00:45:44,120
Speaker 1: you're like, I just don't think that's the right fit. Definitely,

888
00:45:44,280 --> 00:45:47,280
Speaker 1: And that's why we have people like Rusty, our publisher,

889
00:45:47,440 --> 00:45:50,920
Speaker 1: that can kind of help you get be the bad guy,

890
00:45:51,040 --> 00:45:53,959
Speaker 1: be a buffer, because you know, we have high hopes

891
00:45:54,040 --> 00:45:55,560
Speaker 1: for these songs, like we don't know when our next

892
00:45:55,600 --> 00:45:57,879
Speaker 1: one is going to be written. So yeah, it's it's

893
00:45:58,040 --> 00:46:00,719
Speaker 1: it's all such a risk. That's hardest part. It's a

894
00:46:00,800 --> 00:46:03,879
Speaker 1: risky you know, you don't know. So your husband rights,

895
00:46:04,280 --> 00:46:07,200
Speaker 1: I've seen you guys played together, and so let's just

896
00:46:07,239 --> 00:46:09,600
Speaker 1: a few of his songs. Well, his biggest, you know,

897
00:46:10,200 --> 00:46:12,360
Speaker 1: song of the year, Whiskey Alla Bye was it was

898
00:46:12,400 --> 00:46:14,640
Speaker 1: a song of the Year and two thousand favorite Bay

899
00:46:14,880 --> 00:46:17,880
Speaker 1: song and I tell him that I'd like my favorite

900
00:46:18,680 --> 00:46:21,279
Speaker 1: song his year, Like what, I don't write that. I

901
00:46:21,280 --> 00:46:23,400
Speaker 1: don't care sell my favorite song ever. And so I

902
00:46:23,480 --> 00:46:25,680
Speaker 1: had to walk by that Song of the Year, you know,

903
00:46:26,000 --> 00:46:29,960
Speaker 1: UM award for years and look at it. And then

904
00:46:30,000 --> 00:46:32,719
Speaker 1: I was like yeah, But so he wrote that, he wrote,

905
00:46:32,760 --> 00:46:36,799
Speaker 1: am I the only one? Um? The only one? I have? Ye?

906
00:46:37,120 --> 00:46:39,640
Speaker 1: And then he also produced that up on the Ridge

907
00:46:39,680 --> 00:46:42,160
Speaker 1: Bluegrass record for Dirks, and then he wrote drink on it.

908
00:46:43,080 --> 00:46:46,239
Speaker 1: He's just an incredible songwriter. And you guys write together, Okay,

909
00:46:46,280 --> 00:46:48,920
Speaker 1: we do. We're right, We're really good together. Do you

910
00:46:49,000 --> 00:46:51,800
Speaker 1: ever just just a home on the couch? You do

911
00:46:51,960 --> 00:46:56,080
Speaker 1: talk shop? Yeah, that's that's tricky. I wonder if you

912
00:46:56,160 --> 00:46:58,480
Speaker 1: guys deal with that. It's it's hard because I know

913
00:46:58,600 --> 00:47:00,520
Speaker 1: too much about his job. You know, he can't just

914
00:47:01,120 --> 00:47:03,360
Speaker 1: have a bad day without me being but you but

915
00:47:03,520 --> 00:47:06,160
Speaker 1: you just got you know this on hold or whatever.

916
00:47:06,280 --> 00:47:08,600
Speaker 1: You know. It's sometimes I have to take off my

917
00:47:08,840 --> 00:47:12,120
Speaker 1: songwriter brain and just be, you know, a wife and friend.

918
00:47:12,960 --> 00:47:15,040
Speaker 1: But having kids helps out a lot because we I mean,

919
00:47:15,080 --> 00:47:17,080
Speaker 1: we're in the trenches. We have three kids under eight

920
00:47:17,160 --> 00:47:19,279
Speaker 1: years old, so we don't even have time to talk

921
00:47:19,320 --> 00:47:23,280
Speaker 1: about it. It's like we're making someone's dinner or fixing something.

922
00:47:23,440 --> 00:47:26,480
Speaker 1: You know, it's it's hectic in my house. You're right, though,

923
00:47:26,520 --> 00:47:30,440
Speaker 1: about because my girlfriend now, like I know what she's doing,

924
00:47:31,080 --> 00:47:33,520
Speaker 1: and she knows what I'm too much, too much, and

925
00:47:33,719 --> 00:47:35,680
Speaker 1: and it's likely she's frustrated us, And I'm like, but

926
00:47:36,040 --> 00:47:38,040
Speaker 1: but what about this? I just got booked for this

927
00:47:38,600 --> 00:47:41,200
Speaker 1: huge thing, like stop exactly, and you know what, some

928
00:47:41,239 --> 00:47:42,840
Speaker 1: people should just be allowed for a little bit to

929
00:47:42,920 --> 00:47:44,960
Speaker 1: be upset about things. I know. I had to really

930
00:47:45,040 --> 00:47:46,920
Speaker 1: learn that the hard way. It's like I haven't learned

931
00:47:46,920 --> 00:47:50,920
Speaker 1: it yet, and session it helps. It just helps to

932
00:47:51,520 --> 00:47:53,279
Speaker 1: pretend that like you're a banker for a minute and

933
00:47:53,400 --> 00:47:55,000
Speaker 1: like you have no idea what you're talking about, because

934
00:47:55,040 --> 00:47:57,480
Speaker 1: all they really want to hear is you're amazing and

935
00:47:57,719 --> 00:48:00,640
Speaker 1: this is gonna you're gonna kill it or just just support.

936
00:48:01,040 --> 00:48:02,560
Speaker 1: Do you ever feel like, though he gives you something,

937
00:48:02,600 --> 00:48:05,520
Speaker 1: you're like, isn't not that good? Down we both do,

938
00:48:05,760 --> 00:48:07,839
Speaker 1: you know, I'm sure he's you ever been really wrong

939
00:48:07,920 --> 00:48:10,200
Speaker 1: with that one? I don't know about this and it

940
00:48:10,320 --> 00:48:12,759
Speaker 1: ends up doing doing pretty good. I don't know. I mean,

941
00:48:12,880 --> 00:48:15,640
Speaker 1: usually you're right, I think I mean, I hear so

942
00:48:15,760 --> 00:48:19,680
Speaker 1: many songs, but yeah, I'm sure he definitely here's songs

943
00:48:19,760 --> 00:48:24,560
Speaker 1: that he's like, Yeah, that's great. But I'm a huge

944
00:48:24,600 --> 00:48:26,080
Speaker 1: fan of his. You know, we have a lot of

945
00:48:26,120 --> 00:48:29,600
Speaker 1: respect for each other musically. You guys, we're both songwriters.

946
00:48:29,960 --> 00:48:33,440
Speaker 1: When you met, yes and I mean, he he had

947
00:48:33,520 --> 00:48:36,239
Speaker 1: just written Whiskey All Bye. I remember him playing from

948
00:48:36,600 --> 00:48:39,040
Speaker 1: that for me in his first apartment and be thinking, all,

949
00:48:39,680 --> 00:48:42,120
Speaker 1: that's so cool, but like, no one will ever record that,

950
00:48:42,920 --> 00:48:45,600
Speaker 1: and then Brad Paisley put it on hold, and then

951
00:48:45,600 --> 00:48:47,759
Speaker 1: Alison Kraus sang on it, and then they said it's

952
00:48:47,760 --> 00:48:49,839
Speaker 1: going to be single. I mean, it's the craziest thing.

953
00:48:50,040 --> 00:48:53,560
Speaker 1: That's one of my favorite country murder suicide song on

954
00:48:53,640 --> 00:48:57,000
Speaker 1: the radio four minutes. I mean, it just broke. That's why,

955
00:48:57,320 --> 00:48:59,719
Speaker 1: you know, to answer your question from earlier, you know,

956
00:49:00,000 --> 00:49:02,439
Speaker 1: I could get in my head and try to force

957
00:49:02,560 --> 00:49:05,239
Speaker 1: these songs to be something every day, but if I

958
00:49:05,320 --> 00:49:07,120
Speaker 1: did that, I would miss out on I Drive your

959
00:49:07,120 --> 00:49:09,600
Speaker 1: Truck or Whiskey, a little by type song. So I

960
00:49:09,680 --> 00:49:12,560
Speaker 1: try to let the song when the day. If something

961
00:49:12,640 --> 00:49:15,239
Speaker 1: wants to be written, I want to be there. So

962
00:49:15,840 --> 00:49:19,160
Speaker 1: why is it that you want because we're how we

963
00:49:19,280 --> 00:49:21,440
Speaker 1: officially met as we're on the A c M board together,

964
00:49:22,080 --> 00:49:23,799
Speaker 1: and I've about I would never be on a board

965
00:49:23,840 --> 00:49:25,239
Speaker 1: because I never want to be on the inside until

966
00:49:25,239 --> 00:49:26,479
Speaker 1: I started to realize I could be on the inside

967
00:49:26,520 --> 00:49:28,600
Speaker 1: and change the outside a little bit, a little bit,

968
00:49:28,680 --> 00:49:30,880
Speaker 1: so I had to dabble a little bit just so

969
00:49:31,000 --> 00:49:33,200
Speaker 1: I can kind of dump the egg from the inside.

970
00:49:33,960 --> 00:49:38,560
Speaker 1: So why why you? Why are we doing this now? Um?

971
00:49:38,880 --> 00:49:40,960
Speaker 1: The same I think winning you know, winning the A

972
00:49:41,040 --> 00:49:42,960
Speaker 1: C M Award and kind of being a part of

973
00:49:43,000 --> 00:49:46,760
Speaker 1: that and realizing, you know, we have to the questions

974
00:49:46,760 --> 00:49:48,759
Speaker 1: you're asking earlier about how are we going to change

975
00:49:48,840 --> 00:49:51,879
Speaker 1: this and what's the future for a songwriter and what's

976
00:49:51,880 --> 00:49:55,080
Speaker 1: the future of our format? Things like that. It's important.

977
00:49:55,120 --> 00:49:57,919
Speaker 1: I'm in a place in my career where I feel

978
00:49:57,960 --> 00:50:00,759
Speaker 1: like I need to give back in different areas. Um,

979
00:50:00,800 --> 00:50:04,200
Speaker 1: I've tried to mentor a couple of songwriters. UM. Yeah,

980
00:50:04,200 --> 00:50:06,160
Speaker 1: I'm just in that place in my life where I

981
00:50:06,200 --> 00:50:08,920
Speaker 1: want to make try to be a part of the change.

982
00:50:09,520 --> 00:50:12,120
Speaker 1: So yeah, I'm with you. It's I feel like a

983
00:50:12,120 --> 00:50:14,319
Speaker 1: fish out of water there too. It's weird. It's weird.

984
00:50:14,360 --> 00:50:17,000
Speaker 1: It's weird because We're walking to a wheel that's already

985
00:50:17,040 --> 00:50:22,799
Speaker 1: been built, and we're kind of a square peg that's

986
00:50:22,880 --> 00:50:24,400
Speaker 1: make and we just get in the way, Like I

987
00:50:24,719 --> 00:50:26,360
Speaker 1: feel like in the way because we joke, you and

988
00:50:26,400 --> 00:50:27,520
Speaker 1: I joke about it. We go on to these meetings.

989
00:50:27,520 --> 00:50:29,680
Speaker 1: I think I want to just like spit do spitballs

990
00:50:29,719 --> 00:50:32,359
Speaker 1: at you and like we do want to change. Yeah,

991
00:50:32,400 --> 00:50:33,640
Speaker 1: we we do, but we don't know what to do

992
00:50:33,760 --> 00:50:35,719
Speaker 1: and how to do it. We don't know what to do,

993
00:50:36,000 --> 00:50:38,719
Speaker 1: that's for sure. No, man, this has been fun. So

994
00:50:38,760 --> 00:50:40,200
Speaker 1: if I'll look like this for a year quick, here's

995
00:50:40,400 --> 00:50:53,799
Speaker 1: Patty loveless. Yeah, just how much I want this one?

996
00:50:54,760 --> 00:50:59,040
Speaker 1: Oh man, that's so fun. Me and al Anderson. In

997
00:50:59,120 --> 00:51:02,000
Speaker 1: a conversation, Gary Nicholson wrote this one of my first

998
00:51:02,800 --> 00:51:05,080
Speaker 1: You know, I probably wrote this in the first three

999
00:51:05,160 --> 00:51:10,600
Speaker 1: years I'm living here. I love Patty Levels. Get Patty

1000
00:51:10,680 --> 00:51:13,000
Speaker 1: Levels cut at that time was huge for me. It

1001
00:51:13,040 --> 00:51:16,200
Speaker 1: would be huge for me right now. Tricia Yearwood, all

1002
00:51:16,200 --> 00:51:20,040
Speaker 1: those females. It had to have somebody that you like, admired,

1003
00:51:20,440 --> 00:51:23,560
Speaker 1: regardless of money, especially early on, because there are two

1004
00:51:23,640 --> 00:51:27,400
Speaker 1: stages where it's cool early on and way late, because

1005
00:51:27,440 --> 00:51:29,760
Speaker 1: early on you're looking for anything and anything and somebody

1006
00:51:29,800 --> 00:51:33,520
Speaker 1: that you admire, it actually gives you that to keep going.

1007
00:51:33,880 --> 00:51:35,400
Speaker 1: Yes and way late, it's like, well I've done a

1008
00:51:35,440 --> 00:51:36,800
Speaker 1: lot of those stuff. Now it's cool for me to

1009
00:51:36,800 --> 00:51:39,000
Speaker 1: be able to do things with people that I admire.

1010
00:51:39,920 --> 00:51:42,120
Speaker 1: So the first time you heard that song, would you

1011
00:51:42,160 --> 00:51:45,120
Speaker 1: think I was blown away? I remember hearing that on

1012
00:51:45,200 --> 00:51:48,120
Speaker 1: country radio around here and it was just man, it's

1013
00:51:48,120 --> 00:51:52,399
Speaker 1: just crazy. I mean, it's there's no way to ever

1014
00:51:53,200 --> 00:51:55,359
Speaker 1: express what it's like for a songwriter to hear your

1015
00:51:55,400 --> 00:51:59,120
Speaker 1: song on the radio. It's still still I mean, you

1016
00:51:59,160 --> 00:52:01,440
Speaker 1: guys play my and we be you. We usually want

1017
00:52:01,440 --> 00:52:03,640
Speaker 1: to hear on Then it's like it's like the first

1018
00:52:03,680 --> 00:52:05,920
Speaker 1: time or like when I get I just got to go.

1019
00:52:06,160 --> 00:52:08,759
Speaker 1: You know, here's some some new things that have been cut,

1020
00:52:08,880 --> 00:52:11,680
Speaker 1: and it's like it's like a ride, you know, and

1021
00:52:11,880 --> 00:52:13,800
Speaker 1: it's a rush. You just want to ride again. Do

1022
00:52:13,880 --> 00:52:16,600
Speaker 1: you ever hear one that's cut no names and you're like,

1023
00:52:16,760 --> 00:52:18,960
Speaker 1: mm hmmm, I don't really think that as good as

1024
00:52:18,960 --> 00:52:21,320
Speaker 1: I hoped it would be. Definitely, it's gonna be a

1025
00:52:21,360 --> 00:52:25,360
Speaker 1: little deflating. It's very tough, you know, because we we

1026
00:52:25,600 --> 00:52:27,759
Speaker 1: kind of hear how it should be, you know, that's

1027
00:52:27,800 --> 00:52:30,200
Speaker 1: what we do demos, you know that process. So we

1028
00:52:30,280 --> 00:52:32,680
Speaker 1: write the song and then we get in the studio

1029
00:52:32,719 --> 00:52:35,480
Speaker 1: with a bunch of amazing musicians and we do a

1030
00:52:35,560 --> 00:52:38,719
Speaker 1: demonstration of it, which we call a demo, and then

1031
00:52:38,840 --> 00:52:42,480
Speaker 1: usually the artist takes that demo and does it pretty

1032
00:52:42,560 --> 00:52:45,479
Speaker 1: close to the demo, but obviously makes it even better

1033
00:52:45,880 --> 00:52:50,200
Speaker 1: because we only have like twenty minutes to cut small, right,

1034
00:52:50,640 --> 00:52:52,719
Speaker 1: and they have like a full day, you know. So

1035
00:52:53,400 --> 00:52:56,440
Speaker 1: it's just weird sometimes when they're like, maybe make it

1036
00:52:56,560 --> 00:52:59,480
Speaker 1: not as good as the demo. That can be a heartbreaker.

1037
00:53:00,200 --> 00:53:03,359
Speaker 1: But now with the songs that I'm having recorded, I mean,

1038
00:53:03,400 --> 00:53:09,120
Speaker 1: we're talking about the best of the best, incredible musicians, producers, singers,

1039
00:53:09,200 --> 00:53:12,400
Speaker 1: So I don't really deal with that a ton anymore.

1040
00:53:12,480 --> 00:53:15,279
Speaker 1: But yeah, it can be deflating. I'll play it one more.

1041
00:53:15,920 --> 00:53:17,480
Speaker 1: I was with Blake in l A and he was

1042
00:53:17,920 --> 00:53:22,880
Speaker 1: and he goes his first time to play this to

1043
00:53:23,520 --> 00:53:32,680
Speaker 1: break me. My sweet Jesus long, forsake me safe. You

1044
00:53:33,160 --> 00:53:38,600
Speaker 1: shed We're I'm supposed to tell me about this one.

1045
00:53:40,160 --> 00:53:44,360
Speaker 1: This is a surreal day. Um. We moved, me and

1046
00:53:44,400 --> 00:53:48,200
Speaker 1: my husband moved to a better house for our family,

1047
00:53:48,320 --> 00:53:50,600
Speaker 1: and it was not really like that big of a

1048
00:53:50,800 --> 00:53:53,200
Speaker 1: step financially. But it was just just moving and just

1049
00:53:54,080 --> 00:53:55,520
Speaker 1: we had a lot of weight on us, you know,

1050
00:53:55,880 --> 00:53:58,160
Speaker 1: as being just being parents, being you know, in the

1051
00:53:58,239 --> 00:54:01,319
Speaker 1: stage of our life. And I remember, we're literally moving

1052
00:54:01,360 --> 00:54:03,279
Speaker 1: and I beat the moving trucks to the house. I

1053
00:54:03,480 --> 00:54:05,880
Speaker 1: had the first load of boxes, and I'm unloading boxes

1054
00:54:06,440 --> 00:54:09,640
Speaker 1: and I heard ding, you know, from my phone, and

1055
00:54:10,000 --> 00:54:11,560
Speaker 1: I had a lot of just I was in this

1056
00:54:11,680 --> 00:54:15,719
Speaker 1: new home by myself, and it was Blake and he said, hey, Sis,

1057
00:54:16,800 --> 00:54:18,560
Speaker 1: I need you to listen to something and help me

1058
00:54:18,640 --> 00:54:20,920
Speaker 1: write it. And he said, I had a dream last

1059
00:54:21,040 --> 00:54:24,839
Speaker 1: night and I wrote this chorus in my in my dream,

1060
00:54:25,160 --> 00:54:26,760
Speaker 1: and you know, he was going through all that stuff

1061
00:54:26,760 --> 00:54:30,080
Speaker 1: with Miranda, and I don't even think. I don't I

1062
00:54:30,120 --> 00:54:31,880
Speaker 1: don't even know if the news was out yet, but

1063
00:54:32,360 --> 00:54:34,759
Speaker 1: I knew kind of what was going on. And I

1064
00:54:34,760 --> 00:54:37,640
Speaker 1: mean I was wrecked. I mean, just imagine him singing

1065
00:54:37,719 --> 00:54:40,200
Speaker 1: that on your phone, just by himself, not with a guitar,

1066
00:54:40,360 --> 00:54:43,040
Speaker 1: just singing that, and it sounded like old Rugged Cross

1067
00:54:43,160 --> 00:54:46,080
Speaker 1: or Amazing Grace or one of those classic gospel songs.

1068
00:54:46,120 --> 00:54:49,399
Speaker 1: And I mean, never mind unpacking. I mean Jerr walks

1069
00:54:49,400 --> 00:54:52,040
Speaker 1: into where I'm like, I mean, here we are again,

1070
00:54:52,120 --> 00:54:55,520
Speaker 1: like we have to write this right now, and um,

1071
00:54:55,840 --> 00:54:58,960
Speaker 1: Blake was just we were all just it was just

1072
00:54:59,120 --> 00:55:01,560
Speaker 1: very emotional for you know, to go there with him,

1073
00:55:01,600 --> 00:55:03,600
Speaker 1: and it meant a lot to him and meant a

1074
00:55:03,640 --> 00:55:05,880
Speaker 1: lot to us that he shared it with us. And

1075
00:55:05,960 --> 00:55:09,319
Speaker 1: then that's us singing on it. Oh it is yeah,

1076
00:55:09,480 --> 00:55:12,279
Speaker 1: and that's me, Me and JR and Blake. He flew

1077
00:55:12,360 --> 00:55:13,880
Speaker 1: here for us to do the demo and that's what

1078
00:55:13,960 --> 00:55:16,319
Speaker 1: they ended up using, except we put like twenty five

1079
00:55:16,360 --> 00:55:24,320
Speaker 1: strings orchestra on it. Try to break me, my sweet

1080
00:55:24,640 --> 00:55:35,200
Speaker 1: Jesus long forsake me and saved you shed where to

1081
00:55:36,719 --> 00:55:41,239
Speaker 1: good really good stand. So I was an honor that

1082
00:55:41,239 --> 00:55:44,239
Speaker 1: it really was. Oh but JR. I meant to mention

1083
00:55:44,320 --> 00:55:47,680
Speaker 1: he has ten men out with R. So I'm trying

1084
00:55:47,680 --> 00:55:50,239
Speaker 1: to think of other songs he had. Um. Yeah, and

1085
00:55:50,760 --> 00:55:53,040
Speaker 1: that's Blake has been good to me. Do you guys

1086
00:55:53,040 --> 00:55:55,360
Speaker 1: get proud of each other? Oh my god, yeah, I

1087
00:55:55,440 --> 00:55:58,960
Speaker 1: mean so I get so proud. It's like when he

1088
00:55:59,080 --> 00:56:01,160
Speaker 1: gets it cuts like I to cut, you know, um,

1089
00:56:01,520 --> 00:56:03,960
Speaker 1: and vice versa. And we've just been doing this for

1090
00:56:04,120 --> 00:56:07,560
Speaker 1: so long together that I mean almost fifteen years and

1091
00:56:07,640 --> 00:56:10,440
Speaker 1: so it's crazy just to see our journey and the

1092
00:56:10,480 --> 00:56:14,600
Speaker 1: way our paths changed, and you know, we're just still

1093
00:56:14,760 --> 00:56:16,320
Speaker 1: We just both feel lucky to still get to be

1094
00:56:16,400 --> 00:56:18,880
Speaker 1: doing it. To be honest, you know, it's just really awesome.

1095
00:56:19,160 --> 00:56:24,120
Speaker 1: What makes you happy right now? That's a great question.

1096
00:56:24,760 --> 00:56:29,080
Speaker 1: I mean, I'm so into writing songs. The company that

1097
00:56:29,120 --> 00:56:32,439
Speaker 1: I'm at with, the people I'm riding with my Mini

1098
00:56:32,520 --> 00:56:37,880
Speaker 1: Cooper convertible makes me really happy. Um, traveling makes me happy.

1099
00:56:38,520 --> 00:56:42,600
Speaker 1: Of course. My kids watching them grow and just become

1100
00:56:42,680 --> 00:56:44,600
Speaker 1: people now, like they you know, we're out of the

1101
00:56:44,640 --> 00:56:46,840
Speaker 1: baby face and they're just like little humans and have

1102
00:56:47,080 --> 00:56:51,880
Speaker 1: like real conversations. Um, what else. So I mean, just

1103
00:56:52,640 --> 00:56:56,560
Speaker 1: like getting to live the dream. Man, I'm here, you know,

1104
00:56:56,640 --> 00:56:58,000
Speaker 1: I got I got to where I wanted to be,

1105
00:56:58,239 --> 00:57:01,000
Speaker 1: and so that's out. It's I call it like the

1106
00:57:01,040 --> 00:57:03,600
Speaker 1: gravy now. Now, I just got to enjoy the gravy

1107
00:57:03,719 --> 00:57:08,000
Speaker 1: part and try not to blink and just enjoy it.

1108
00:57:08,520 --> 00:57:13,480
Speaker 1: We'll frustrate you right now. Ah, that's a good that's

1109
00:57:13,480 --> 00:57:20,200
Speaker 1: a good question. I think negativity. Um, I tried really

1110
00:57:20,280 --> 00:57:23,480
Speaker 1: hard to bring a lot of energy and positive even

1111
00:57:23,520 --> 00:57:25,360
Speaker 1: where we're at in the format or where we're at,

1112
00:57:26,040 --> 00:57:29,240
Speaker 1: you know, with with everything in the music business. I

1113
00:57:29,320 --> 00:57:32,000
Speaker 1: think that's such a turn off now because it's like

1114
00:57:33,040 --> 00:57:37,640
Speaker 1: I try to really stay engaged in the positivity. UM,

1115
00:57:37,720 --> 00:57:41,000
Speaker 1: so that's frustrating sometimes. Well, I appreciate coming over these

1116
00:57:41,880 --> 00:57:43,840
Speaker 1: I'm a fan. I told you the first time I

1117
00:57:43,880 --> 00:57:46,000
Speaker 1: was geeking out a little bit. I was like, hey, Bobby,

1118
00:57:49,920 --> 00:57:51,760
Speaker 1: that's how you play ones, And I thought you're awesome.

1119
00:57:52,040 --> 00:57:54,520
Speaker 1: And I listened to you. I mean, I'm usually got

1120
00:57:54,600 --> 00:57:56,400
Speaker 1: a car full of kids. I can I'm hearing every

1121
00:57:56,440 --> 00:57:59,320
Speaker 1: other word, but I listen to you guys, and I

1122
00:57:59,400 --> 00:58:01,160
Speaker 1: love what all y'all do with pimp and joy and

1123
00:58:01,200 --> 00:58:03,160
Speaker 1: there's so much great stuff you are doing. Thank you

1124
00:58:03,280 --> 00:58:05,520
Speaker 1: very much. Well, this has been a good one, Mike.

1125
00:58:05,560 --> 00:58:06,960
Speaker 1: Did you have anything you want to ask her? Do

1126
00:58:07,000 --> 00:58:11,120
Speaker 1: you never get like approached by companies to write stuff

1127
00:58:11,160 --> 00:58:13,880
Speaker 1: like that? If I wish, I hope that's something I

1128
00:58:14,120 --> 00:58:16,680
Speaker 1: really want to do more of. Um the company that

1129
00:58:16,720 --> 00:58:20,280
Speaker 1: I'm with, we have like an ad side. I would

1130
00:58:20,400 --> 00:58:23,720
Speaker 1: love to do that. There's so much like it's not

1131
00:58:23,840 --> 00:58:25,360
Speaker 1: easy because you got to get to a place to

1132
00:58:25,400 --> 00:58:28,400
Speaker 1: get it. There's so much good money in corporate Like

1133
00:58:28,480 --> 00:58:31,920
Speaker 1: I just got hired on to do a corporate hosting thing, right,

1134
00:58:32,840 --> 00:58:37,840
Speaker 1: I mean crazy, It's just it's a I can't say

1135
00:58:37,880 --> 00:58:39,240
Speaker 1: what it is right now. I would tell you off there,

1136
00:58:39,280 --> 00:58:41,280
Speaker 1: but we haven't sign the contract yet. But it's a

1137
00:58:41,400 --> 00:58:44,560
Speaker 1: national corporate and it's all their shareholders coming. It's not Walmart.

1138
00:58:44,680 --> 00:58:46,800
Speaker 1: I wish it were Walmart because then I'll be balling.

1139
00:58:47,800 --> 00:58:49,960
Speaker 1: But it's a big one. And they're like, hey, want

1140
00:58:50,000 --> 00:58:53,080
Speaker 1: you to come write some jokes, host it. It's a

1141
00:58:53,160 --> 00:58:55,120
Speaker 1: real thing. And they're like and I'm like, okay, I

1142
00:58:55,160 --> 00:58:57,560
Speaker 1: don't know what's the Thursday And they're like, well, it's

1143
00:58:57,640 --> 00:59:01,880
Speaker 1: this many dollars. Why did you say this is a third?

1144
00:59:01,960 --> 00:59:07,880
Speaker 1: I love the funniest on Thursdays. But thank you so

1145
00:59:07,960 --> 00:59:11,960
Speaker 1: much for that's good. Alright, So that's episode number sixty three.

1146
00:59:12,120 --> 00:59:17,760
Speaker 1: Thanks to our sponsors. Our sponsors, Express Pros and Blue Apron,

1147
00:59:18,320 --> 00:59:20,480
Speaker 1: thank you so much. Because of our responsors, we get

1148
00:59:20,480 --> 00:59:23,000
Speaker 1: to have songwriters in and and hear the stories not

1149
00:59:23,160 --> 00:59:25,400
Speaker 1: just about behind the songs, but the stories about why

1150
00:59:25,520 --> 00:59:27,200
Speaker 1: the song, the stories about why do you do what

1151
00:59:27,320 --> 00:59:29,520
Speaker 1: you do? The struggles of the songwriter, like and then

1152
00:59:29,880 --> 00:59:33,320
Speaker 1: I think you really, I mean I've learned from did

1153
00:59:33,360 --> 00:59:36,760
Speaker 1: you learn something? Yeah, I didn't learn something. Awesome. You're

1154
00:59:36,760 --> 00:59:39,640
Speaker 1: the coolest, all right, Jesse Alexander, and we'll see you

1155
00:59:39,880 --> 00:59:40,600
Speaker 1: next episode, right,