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Speaker 1: Pushkin. John Hyatt is a Nashville based singer songwriter whose

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Speaker 1: songs have been covered by a wide range of popular artists,

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Speaker 1: including Iggy Pop, Paula Duel and Jimmy Buffett, Missus Sip

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Speaker 1: of Bone Boom, and A Middle of the Night Bugs,

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Speaker 1: Flying every Well, Crazy Against Stage Online. Hyatt signed his

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Speaker 1: first record deal in nineteen seventy four, and in the

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Speaker 1: years since he's released twenty four albums. His latest Leftover Feelings,

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Speaker 1: he recorded with the Jerry Douglas band. Douglas, who's feigned

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Speaker 1: producer and session musician, as one fourteen Grammys for solo

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Speaker 1: work and collaborations that they slew of successful musicians. He's

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Speaker 1: also known as one of the foremost masters of the

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Speaker 1: dough bro an instrument similar to the lapsteal guitar. On

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Speaker 1: today's episode, John Hyatt and Jerry Douglas performed three songs

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Speaker 1: off their new album and talk to Bruce Head them

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Speaker 1: about how they came together to record that album and

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Speaker 1: the studio that's known as the birthplace of the Nashville Sad.

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Speaker 1: John Hyatt also explains how one of his new songs

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Speaker 1: helped him forgive the horrific abuse he endor from his

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Speaker 1: older brother when he was growing up. This is broken

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Speaker 1: record liner notes for the digital age. I'm justin Richmond.

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Speaker 1: Here's Bruce Head them with John Hyatt and Jerry Douglas.

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Speaker 1: Tell me a bit about you hadn't worked together. I

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Speaker 1: don't think he'd worked directly together before. How did it

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Speaker 1: even come about that you were working together? Jerry? How

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Speaker 1: in the hell did we wind up with each other? Well,

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Speaker 1: we're both suddenly under the same managerial umbrella. Our managers

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Speaker 1: got together and talked and said, well, why don't those

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Speaker 1: guys do a record together? They know each other, Why

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Speaker 1: haven't they ever recorded together? And we actually have recorded

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Speaker 1: together on the second circle be Unbroken Record. I was

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Speaker 1: in the house band that played every day and John

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Speaker 1: came through with Roseanne Cash. We did a song for

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Speaker 1: that and Jerry was, yeah, Jerry played with everybody. Yeah,

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Speaker 1: so we were We did do that, and we've done

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Speaker 1: each other for a long time and had some great conversations.

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Speaker 1: When it came up, I thought, yeah, that'd be great man.

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Speaker 1: Who wouldn't want to do it? Record with John Hyatt anyway?

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Speaker 1: So I felt the same way. I was excited about

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Speaker 1: the ideas idea of playing with you know the man

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Speaker 1: who was the logical next prince of the Dobroud Taylor

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Speaker 1: to Older and Josh Grays, and then you have Jerry

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Speaker 1: Douglas Boom. Now did you come in with all the

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Speaker 1: songs ready to go or was it were you picking

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Speaker 1: through songs and looking through files? And I sent Jerry

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Speaker 1: about fifteen tunes, a couple of older ones, one of

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Speaker 1: which we did on the record, a song called Little

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Speaker 1: good Night, which I wrote when my thirty three year

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Speaker 1: old daughter was born, but I had never recorded it,

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Speaker 1: so that was kind of fun. And then we redid

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Speaker 1: a song All the Lilacs in Ohio, which was on

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Speaker 1: a record I put out in two thousand and three.

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Speaker 1: Everything else was relatively new, About five or six of

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Speaker 1: them I wrote, I'd call them pandemic songs. We were

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Speaker 1: both ready to do the record and everything, and one

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Speaker 1: of the cool things, especially for me, is we were

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Speaker 1: going to use my band is going to be on

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Speaker 1: the tour and did all the recording as well with John,

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Speaker 1: so it just gave him a completely a different twist

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Speaker 1: on John Hyatt. We didn't know what it was gonna

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Speaker 1: sound like either, which I was very excited about. Of course,

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Speaker 1: we never do really, but I'm interested when you did

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Speaker 1: you Know all the Lilacs, which is, as you said,

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Speaker 1: a song about almost twenty years old. I mean, who

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Speaker 1: said we got to do that song and put it

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Speaker 1: in a very different It's still fast, it's still got

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Speaker 1: a lot of energy, but it's very different setting. Well.

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Speaker 1: I sent it to Jeried because I talked with him

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Speaker 1: in his band, you know, fiddle and upright bass and dobro,

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Speaker 1: that it would really lend itself to the song. And

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Speaker 1: I felt like the song, although I thought it was

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Speaker 1: a successful recording for what it was, but I felt

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Speaker 1: like the story in the song it might have gotten

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Speaker 1: a little lost. This to me, is a little more

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Speaker 1: focused in terms of being able to follow this story,

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Speaker 1: which was basically an idea I stole from one of

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Speaker 1: my favorite movies, Lost Weekend, and it was actually a

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Speaker 1: line in the movie Ray in the land talking to

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Speaker 1: Sam and the bartender telling him. Ray plays a drunk

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Speaker 1: who wants to write weren't we all? And don't we

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Speaker 1: all want to? We've been through that part too. Yeah.

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Speaker 1: He talks about this girl he's just met. They're in

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Speaker 1: New York City and he says, you know, I go

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Speaker 1: to see her and the sunlight hits the gray of

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Speaker 1: the drain pipe on her building. And then she can't

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Speaker 1: meet me at the assigned time, but she sends a

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Speaker 1: note down to be given to me by the doorman,

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Speaker 1: and I opened it and it smells like all the

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Speaker 1: lilacs in Ohio? Is that right? Is that what that

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Speaker 1: came from? Yeah? I didn't do that. Oh that's it's

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Speaker 1: so beautiful. It's a beautiful story. And I'm from Ohio

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Speaker 1: and I never saw any lilacs in Ohio, so I

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Speaker 1: really was concerned. Yeah, you should just be stealing songs

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Speaker 1: from old movies, because like those old kind of tough

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Speaker 1: guy ben Hecked dialogue. Listen, I'll steal from anywhere, any

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Speaker 1: idea there's laying about. So when you heard the songs, Jerry,

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Speaker 1: now you've produced a lot of records, But what did

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Speaker 1: you think, said? I mean, you knew it was going

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Speaker 1: to be your band, But did a certain sound, at

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Speaker 1: a kind of atmosphere come to mind when you were

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Speaker 1: going through the songs? Well, yeah, I always thought of

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Speaker 1: us the band as an electric band. I mean, I

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Speaker 1: didn't take away. We're making a record with John Hyatt,

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Speaker 1: We're gonna sound like John Hyatt. You know, we're just

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Speaker 1: gonna be chameleons and tap into whatever it is that

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Speaker 1: he's hearing here, and we're just gonna give it legs.

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Speaker 1: The song All the Lilacs in Ohio. I've heard it

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Speaker 1: as like a sing along for a lot of people

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Speaker 1: in an audience, you know, when it gets to the

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Speaker 1: line all the Lilacs in Ohio, and it's a real

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Speaker 1: easy thing for people to pick up and attach themselves

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Speaker 1: to sing it, you know, sing it loud. I love

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Speaker 1: to be a great live concert kind of song. I

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Speaker 1: always kind of try to imagine us on stage playing

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Speaker 1: songs for somebody. Well, that's interesting because it's pretty much

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Speaker 1: all we did in the studio. Well, they were live performances.

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Speaker 1: I played and sang live. What you what I played

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Speaker 1: is what you got. Yeah. The studio that we recorded

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Speaker 1: in our CEA studio Beat was one of the first

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Speaker 1: real recording studios in Nashville. It's owned by the Country

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Speaker 1: Music Hall of Fame and let us go in there

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Speaker 1: and record there, And people don't usually record in there anymore.

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Speaker 1: They run tourists through there. So we got in during COVID,

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Speaker 1: so there were no tourists, so nobody to bother us,

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Speaker 1: and we didn't have to tear down or anything. And

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Speaker 1: so we just set up and recorded. But like nine

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Speaker 1: months after we were supposed to. They gave us four days.

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Speaker 1: We made the record in four days, did a few

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Speaker 1: overdubs later, but the basic records was done, afforded. Is

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Speaker 1: that the fastest you've ever done a record, It's tied

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Speaker 1: Bring the Family was four days. It's a really good

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Speaker 1: way to do it. That's a good omen. So you

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Speaker 1: don't have time to overthink anything, that's for sure. Yeah.

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Speaker 1: Well you did the last one, Bring the Family. You

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Speaker 1: did with Nicolo, who's famous for not overthinking things. Yeah, No,

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Speaker 1: he's no overthinker. Yeah, he's an underthinker. That could be

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Speaker 1: his next album, could be Nicolo the Underthinker. Yeah. Yeah,

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Speaker 1: that was where he got his nickname, the Basher. His

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Speaker 1: motto was bash it down, tarted up. That's how he

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Speaker 1: made record, bash it down, tarted up. But you didn't

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Speaker 1: tart this one up. You just bashed it down. Now

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Speaker 1: we bashed it down pretty much, well, Jerry. They did

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Speaker 1: a bit of tarting. They did Christian Stellemer and Daniel

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Speaker 1: and put a little string section. These guys what blows

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Speaker 1: my mind on Jerry's band is these guys. These are

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Speaker 1: young guys who are schooled musicians, and they can play anything.

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Speaker 1: I mean, Jerry hasn't playing jazz We're goodness say, but

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Speaker 1: they can play songs, and that's to me, that's a

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Speaker 1: rare combination. They come from a country music background, you know,

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Speaker 1: sort of so they've played with country musicians. In country

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Speaker 1: musicians sort of backup vocals in a different way than

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Speaker 1: in a rock and roll tune or you know, any

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Speaker 1: other kind of music. You really listen to the singer

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Speaker 1: and you try to emote as the singer does and

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Speaker 1: try to accent the phrases that are really important in

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Speaker 1: the line. And you know, there're just some some unwritten

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Speaker 1: rules about how we do that here, especially internationale. Yeah,

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Speaker 1: it's true, it's very true. And that's what happened. I mean,

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Speaker 1: I felt like I was playing with a group of

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Speaker 1: singers or just painting around him. Well, that's that's interesting

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Speaker 1: because when I think of you're playing, Jerry, you know,

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Speaker 1: you are this virtuoso. You're the world's best best known

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Speaker 1: dobro player. You're not to the dobro with like Eric

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Speaker 1: Clapton is to the guitar. You're not going off on

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Speaker 1: your own, or maybe you do and I just don't

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Speaker 1: haven't heard it, but I almost feel like I think

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Speaker 1: I remember. I can remember the first song I heard

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Speaker 1: you play on. It was I don't Believe I've Met

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Speaker 1: my Baby with Alison Kraus, and I can still remember

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Speaker 1: that solo. If I could sing, I could sing it

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Speaker 1: for you. But you have this very kind of melodic

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Speaker 1: it's not background. But how do you compliment what's the

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Speaker 1: singers doing with your and not overpower the singer with

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Speaker 1: what you're doing. I'll tell you he had ten thousand

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Speaker 1: hours of schooling in the Nashville session tradition. It's a discipline,

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Speaker 1: it is, actually yeah, yeah, there are you know, don't

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Speaker 1: step on the singer, you know, stay stay out of

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Speaker 1: the singer's range. You know, don't detract. So there's this thing,

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Speaker 1: you know, that this sound spectrum that you don't want

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Speaker 1: to cancel anything out, so you don't want to get

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Speaker 1: up in the singer's range. You kind of stay away

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Speaker 1: from the singer and stay around the singer and sometimes

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Speaker 1: playing nothing, playing and playing nothing can can speak volumes,

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Speaker 1: you know, instead of playing notes. So when you say

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Speaker 1: his range. You literally mean his vocal range. You stay

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Speaker 1: out of the vocal range. Yeah, oh, I didn't. I've

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Speaker 1: never heard that. You play above a blow. Where I

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Speaker 1: learned that was from Brian or Hearne, who produced Emmy

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Speaker 1: Lou Harris's first records, and I was doing an overdub

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Speaker 1: for Brian and he said, that's all great, except he said,

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Speaker 1: stay out of her range because you know, you get

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Speaker 1: up there, we don't know which one of you it is,

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Speaker 1: you know, and you might cancel out at or something

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Speaker 1: that she sings, and so stay away from that little

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Speaker 1: box that she's in and it works. Wow, I'd never

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Speaker 1: heard that. That's completely fascinating. He's brilliant. I mean, Brian

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Speaker 1: or hearn Canadian Toronto guy and just amazing producer. But

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Speaker 1: after the Emmy Lou stuff pretty much he's kind of

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Speaker 1: stopped producing. He was amazing and I learned a lot

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Speaker 1: from him. Ricky Skaggs, did Rodney kraw all of the

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Speaker 1: guys that surrounded, you know, in the Emmy Lou Harris

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Speaker 1: or but we all learned how to make records from Brian. Yeah,

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Speaker 1: he's just a genius. I just feel that you've given

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Speaker 1: me some secret that should be locked up somewhere. It

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Speaker 1: seems like everybody kind of knows it, but it's unseid.

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Speaker 1: And when you say it out loud, you know, stay

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Speaker 1: out of the singer's range. You used to listen to

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Speaker 1: records and you hear that. You know, that's why you

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Speaker 1: can hear what the singer is saying. As a singer

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Speaker 1: and songwriter, from my point of view, I can tell

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Speaker 1: you that there's plenty of me musicians who do not

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Speaker 1: go And as Jerry was big, and I was thinking,

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Speaker 1: you know, it's not like he doesn't hit a note

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Speaker 1: that I've sang at some point in a song, it's

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Speaker 1: just where he does it. Do you guys want to

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Speaker 1: play a song now? And then we'll keep talking. Does

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Speaker 1: that make a great idea? We'll play your song. Here's

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Speaker 1: the lilac, the famous lilacs from Ohio that aren't in Ohio.

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Speaker 1: You man her there on a New York City stre

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Speaker 1: you were throw lean upon your shoe, trying to write

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Speaker 1: the great book, but it really had you shoot with

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Speaker 1: a bad case of win a time blue. You drank

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Speaker 1: her down to the ragged samtime share the taxi to

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Speaker 1: carry her home, and she left her handkerchief there beside

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Speaker 1: you on the seat, as if to emphasize that you

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Speaker 1: were all alone, smelled like springtime, and you were just

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Speaker 1: a boy, and all the lilac sino Hi, All the

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Speaker 1: lilac sino hi. There you go in the city streets,

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Speaker 1: in the thirty winter snow, all the lilacs sino Hi, hil.

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Speaker 1: She is the love story you speak up when you

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Speaker 1: talk to Sam at the bar, But it's in the details.

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Speaker 1: Your story always fails me. Your close but no cigar,

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Speaker 1: And you might see your own ass in a double

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Speaker 1: whiskey glass, but cannot erase her smile. And you'll never

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Speaker 1: write it down, never find her in this town the

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Speaker 1: fanom dreams and fingernail fires. It was springtime and you

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Speaker 1: are just a boy. And all the lilacs seen, or

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Speaker 1: how all the lights seen, nor how in the city

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Speaker 1: streets and the dirt and winter slow, all the lilacs

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Speaker 1: see RhI. So you beIN her handkerchief till clean white

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Speaker 1: linen shoots, and you want make your beIN crawling you

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Speaker 1: imagining her there, and you're tangled in her hair, and

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Speaker 1: she smells like flowers, and it's springtime, and you are

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Speaker 1: just a boy. And how the Lilacs FINOHI? How the

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Speaker 1: lilaxino Hi? There you go in the city streets and

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Speaker 1: a doted winter snow. How the lilaxino Hi? Hi. That's

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Speaker 1: John Hyatt and Jerry Douglas with All the Lilacs in

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Speaker 1: Ohio from their new album Left Over Feelings. We'll be

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Speaker 1: back with more after a quick break. We're back with

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Speaker 1: more from John Hyatt and Jerry Douglas. On a previous

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Speaker 1: show that Malcolm and Rip did with Jack White, Jack

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Speaker 1: White said you could never you could never write a

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Speaker 1: good song about a tesla old contrary, Jackie, Well, then

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Speaker 1: you always had to write about Oh you know, why

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Speaker 1: is it we have to write about old technology? But

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Speaker 1: then you wrote the first the first song on this album,

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Speaker 1: which is Dynamite, isn't about an electric Cadillac. Maybe because

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Speaker 1: it's not a tesla, it's a Cadillac. What made you

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Speaker 1: want to write a song about an electric car? Well,

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Speaker 1: first off, writing in a song about a Cadillac is

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Speaker 1: sort of in my dna. I guess I've probably written

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Speaker 1: a couple it's dreaming. You know who who wouldn't want

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Speaker 1: an electric Cadillac that goes a thousand miles between charges.

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Speaker 1: Bring it on, you know, I'll order one if you know.

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Speaker 1: If I got the dough, I want an old one

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Speaker 1: with an electric motor. World. Sure we can retro fit.

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Speaker 1: I'm thinking about it now. Jack whites it. He's from Detroit.

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Speaker 1: He shouldn't even say the word tesla. That's probably well,

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Speaker 1: I mean point taken and Jack Jack, I get it.

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Speaker 1: I get what he's saying absolutely. But it is true

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Speaker 1: that a lot of the technology, like you know, there's

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Speaker 1: still trained songs because people used to tell the time

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Speaker 1: before they watches by the trains. They still sing train songs.

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Speaker 1: But everybody's got to watch now. In fact, nobody has

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Speaker 1: to watch because everybody has a phone. And I can't

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Speaker 1: think of a good country song about a cell phone

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Speaker 1: that's interesting. You'd bring up trains. When I first came

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Speaker 1: here in nineteen seventy, I lived on Music Row. In

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Speaker 1: those days it was a much more humble business, and

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Speaker 1: all the publishing companies, all the riot songwriters houses were

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Speaker 1: next door to the publishing companies, which were in houses,

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Speaker 1: and a lot of the studios were in houses. Coming

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Speaker 1: from Indianapolis, I had had no clue what a country,

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Speaker 1: how to write a country song, or even what you know.

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Speaker 1: I mean, I knew about Hank Williams, and I was

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Speaker 1: about it. But I got a deal with a publishing

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Speaker 1: company and I was in a house full of young,

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Speaker 1: hopeful songwriters and I remember asking this kid from Birmingham.

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Speaker 1: I said, so, how do you write a country song?

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Speaker 1: Because he was you know, that was his thing. And

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Speaker 1: he said, well, you're gonna need a train song, train song,

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Speaker 1: a murder ballad, something to do with the fire. Did

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Speaker 1: you write a train song? Then? I did train to

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Speaker 1: Birmingham and I wrote it when I was nineteen. You know,

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Speaker 1: it's really because of this guy, Richard, I can't think

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Speaker 1: of his last name. Why did you show up to

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Speaker 1: Nashville to be a songwriter if you couldn't write a

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Speaker 1: country song? I had met a guy named Bob Frank

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Speaker 1: who was in Nashville, but he was from Memphis and

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Speaker 1: he was a folk singer. He had a deal with

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Speaker 1: Tree Publishing company. I met him the year before I

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Speaker 1: moved here, passing through Nashville. He said, man, you got

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Speaker 1: to come down here. This is a good place. And

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Speaker 1: so I went home and spent the year kind of

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Speaker 1: trying to get a little dough together and eighteen. I

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Speaker 1: came down to Nashville and a thirty five dollars corvet

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Speaker 1: that I bought from a buddy burned five quarts of

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Speaker 1: oil on the way down. It's only a three hundred

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Speaker 1: mile trip, and check the gas and fill it up

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Speaker 1: with oil. That was it. And I came down here

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Speaker 1: and I went to different publishing companies the first few days,

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Speaker 1: and I made a tape which I thought was my opus,

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Speaker 1: you know, where I played all the instruments and we

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Speaker 1: bounced them back between two Wallen Sack stereotape recorders I had.

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Speaker 1: Buddy had a pair of them, and so I made

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Speaker 1: my masterpiece and I brought it to Nashville. But it

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Speaker 1: was all these bad songs, terrible songs, trying to kind

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Speaker 1: of be a rock guy. I played him for three

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Speaker 1: or four companies and struck out, and I saved the

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Speaker 1: publishing company that Bob Frank wrote for. I saved it

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Speaker 1: till last Tree Tree Publishing, and I called the guy

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Speaker 1: and said, you know, I'd like to for you to

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Speaker 1: listen to some of my stuff. And he said, do

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Speaker 1: you have a tape? And I did, but I lied

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Speaker 1: and I said, nope, I don't have a tape because

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Speaker 1: it wouldn't get me anywhere. I said, I'll have to

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Speaker 1: come in and play him. This turned out to be

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Speaker 1: Larry Henley, who was the lead singer for the was

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Speaker 1: at the New Beach or the I Like Bread and Butter,

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Speaker 1: remember that song I love? Yeah, he worked for Tree,

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Speaker 1: So that was the guy that I called. And he said, well, okay,

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Speaker 1: it's it. We don't usually do that, but come on in.

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Speaker 1: And I sat down and sign him three or four songs.

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Speaker 1: And I have no idea why they decided to sign

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Speaker 1: me because it was just quirky singer songwriter, weird stuff,

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Speaker 1: didn't have anything to do with what's going on in Nashville.

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Speaker 1: They were refreshed by that. Apparently, I don't know, but

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Speaker 1: it was not good stuff. But God bless him. He

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Speaker 1: brought the boss down, Bud. He killed him, and they said, well,

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Speaker 1: what do you want? And I remember what Bob was

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Speaker 1: getting as an advanced weekly advance, and I said, I

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Speaker 1: want twenty five dollars a week. Yeah, I said, They said, okay,

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Speaker 1: so I was a professional songwriter. Wow, And I thought

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Speaker 1: i'd you know, I thought I'd made it for Christ's sake?

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Speaker 1: Was it a good life? Did you like it. It's

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Speaker 1: where I learned. I put in what's Malcolm's thing about ten?

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Speaker 1: I mean I started the ten Thousand Hours when I

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Speaker 1: was eleven, but I was really started working on it

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Speaker 1: when I got here. But you probably met a lot

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Speaker 1: of people once you got here that turned you onto

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Speaker 1: hod It. Oh absolutely. I mean there was a guy

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Speaker 1: Bobby Braddock wrote for Tree at the time. When he wrote,

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Speaker 1: you know, he stopped loving d I V O. RC and,

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Speaker 1: but he was a character, a lovely guy, and he

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Speaker 1: was sort of my little mentor. You know, he sort

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Speaker 1: of patted me on the shoulder and you know, kind

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Speaker 1: of like, you know, those quirked little songs are right,

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Speaker 1: It's okay, just keep riding, keep riding. Yeah, he's been

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Speaker 1: on the show two or three times. I think he's like,

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Speaker 1: he's pretty amazing. Yeah, incredible guy. I want to talk

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Speaker 1: about your next song on that because and I'm gonna

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Speaker 1: go through every song, but I thought it was so

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Speaker 1: great after long Black Electric Cadillac, that you have a

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Speaker 1: song called Mississippi Phone Booth that you know is not

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Speaker 1: in the present day, because well, maybe maybe I haven't

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Speaker 1: been to the Mississippi. Maybe there are a lot of

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Speaker 1: phone booths there still, but I doubt it. I doubt

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Speaker 1: there's even one. If there is a place with hass

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Speaker 1: phone booths, it's in mississip Tell me about that song,

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Speaker 1: how it came about. It was one of those COVID songs.

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Speaker 1: I was reflecting as when you hit my age, you

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Speaker 1: tend to do. There's more behind you than there is

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Speaker 1: in front of you, so they tell me. But anyway,

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Speaker 1: I remembered sort of my last my last drunk, which

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Speaker 1: was a spree, and I was down south. I had

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Speaker 1: come to Nashville, made a record that I don't remember making,

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Speaker 1: and then I rented a car. I brought a gal

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Speaker 1: over from Holland, who I met, and I said, I'm

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Speaker 1: going to show you the South, and we drove around.

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Speaker 1: We drove to New Orleans, so we drove to a

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Speaker 1: coast of Mississippi, Gulf Coast. I was drinking quartz of

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Speaker 1: vodka and twenty four packs of beer, and I had

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Speaker 1: eight balls of cocaine being sent to me from my

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Speaker 1: dealer in Nashville. And then I couldn't stop or weeping,

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Speaker 1: and I couldn't get drunk anymore, and I couldn't get

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Speaker 1: high anymore. It was the most amazing thing. It just

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Speaker 1: this girls sitting there like, what the hell am I

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Speaker 1: even doing it? You know who what swallow this guy?

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Speaker 1: And so anyway, I just it culminated at three in

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Speaker 1: the morning at a phone booth at a gas station

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Speaker 1: with the just just as that opening verse states bugs

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Speaker 1: everywhere the gas station light and basically trying to call home.

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Speaker 1: I was I was married, it's time for going to

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Speaker 1: say it's kind of quality life. I was hurting and time,

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00:23:35,076 --> 00:23:37,036
Speaker 1: but I called home and said I'm done. I like

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Speaker 1: the line where you say tell Jesus I'm out at times.

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00:23:41,196 --> 00:23:43,996
Speaker 1: That is a great just a great line. And maybe

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Speaker 1: this is why songs about modern technology aren't as interesting

398
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Speaker 1: because they don't connect people in the same way you're

399
00:23:49,236 --> 00:23:53,516
Speaker 1: talking to an operator, which I thought, yeah, so lovely. Well,

400
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Speaker 1: you know how how it went on the long distance

401
00:23:55,676 --> 00:23:57,596
Speaker 1: calls on the old phone booths. They did interrupt you

402
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Speaker 1: when you when your tie is up, and I'd be like,

403
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Speaker 1: oh wait shit, I don't love the sorry conversation over.

404
00:24:04,836 --> 00:24:07,236
Speaker 1: I think the most atmospheric song on the album is

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Speaker 1: I Keep wanting to say I'm in Nashville. It's I'm

406
00:24:09,596 --> 00:24:13,556
Speaker 1: in Asheville. It was titled differently. I originally titled the

407
00:24:13,556 --> 00:24:15,996
Speaker 1: song left Over Feelings, but the chorus, of course, is

408
00:24:16,556 --> 00:24:20,356
Speaker 1: in Asheville. Yeah, another winner of a fella in that one.

409
00:24:20,516 --> 00:24:24,276
Speaker 1: I love that guy. We're leaving somebody and saying I've

410
00:24:24,356 --> 00:24:27,156
Speaker 1: messed up, I'm sorry, I'm sorry. At the same time

411
00:24:27,156 --> 00:24:30,636
Speaker 1: he's driving away, he's kicking himself in the ass, but

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Speaker 1: he can't stop doing it. Tell me, just as an example, Jerry,

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Speaker 1: when you sat down to produce that, do you have

414
00:24:36,916 --> 00:24:38,956
Speaker 1: an idea immediately when you heard the song? This is

415
00:24:38,956 --> 00:24:41,516
Speaker 1: how it should sound, This is how I want the

416
00:24:41,516 --> 00:24:43,396
Speaker 1: instruments to move in and out. Or is this just

417
00:24:43,476 --> 00:24:46,196
Speaker 1: something you'd sit down and people start playing in the studio.

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Speaker 1: I think we sat down with the band and we

419
00:24:48,876 --> 00:24:52,316
Speaker 1: just started playing. We write charts, okay, we write, we

420
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Speaker 1: write out these musical charts. In Nashville, it's a number

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00:24:55,516 --> 00:24:57,756
Speaker 1: of system So I sat down with a band and

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Speaker 1: we just started playing the song, and it got this

423
00:25:00,316 --> 00:25:03,676
Speaker 1: sound all on its own. Mike Seal was playing electric guitar,

424
00:25:03,756 --> 00:25:07,276
Speaker 1: and he had this really beautiful tone going on, and

425
00:25:07,276 --> 00:25:11,036
Speaker 1: and all of these things were really beautiful against this

426
00:25:11,116 --> 00:25:15,396
Speaker 1: song that's so sad and so you want to grab

427
00:25:15,516 --> 00:25:18,876
Speaker 1: this guy, you know, and straighten him out the whole time.

428
00:25:18,916 --> 00:25:22,916
Speaker 1: But there's this really placid music, you know, underneath it,

429
00:25:23,156 --> 00:25:27,036
Speaker 1: and it's beautiful. The song itself is the chord structor,

430
00:25:27,036 --> 00:25:29,676
Speaker 1: and everything is just really beautiful. And we just played

431
00:25:29,676 --> 00:25:33,276
Speaker 1: did that. We didn't really pay attention to the lyrics

432
00:25:33,356 --> 00:25:37,716
Speaker 1: so much. We separated ourselves from the lyrics and just

433
00:25:37,956 --> 00:25:42,556
Speaker 1: laid down this nice bed of music for these words,

434
00:25:42,676 --> 00:25:46,276
Speaker 1: for these heartfelt words to lie upon. Yeah, it sounds

435
00:25:46,316 --> 00:25:49,756
Speaker 1: like a collective ache that you guys made. Do you

436
00:25:49,796 --> 00:25:52,316
Speaker 1: respond one of the lyrics on faster songs, because you've

437
00:25:52,316 --> 00:25:55,556
Speaker 1: got a couple almost rockabilly songs where you guys are

438
00:25:55,556 --> 00:25:58,076
Speaker 1: louder and kind of rocking out a little more. Yeah,

439
00:25:58,116 --> 00:26:01,636
Speaker 1: this song dictated that we stay to the ground and

440
00:26:01,796 --> 00:26:05,436
Speaker 1: not jump up, you know, no erratic behavior. It went

441
00:26:05,476 --> 00:26:08,156
Speaker 1: on the rockabilly kind of you know, the faster songs

442
00:26:08,196 --> 00:26:10,956
Speaker 1: and with and we are listening to the words. I

443
00:26:10,956 --> 00:26:15,556
Speaker 1: didn't mean that. We just divorced ourselves completely, hurting my feeling. Yeah,

444
00:26:15,836 --> 00:26:17,756
Speaker 1: I knew that. I saw the look on your face,

445
00:26:17,796 --> 00:26:20,636
Speaker 1: so I'm straighten to say the words they were great too.

446
00:26:21,156 --> 00:26:24,116
Speaker 1: Their words were good too, But we were words the

447
00:26:24,316 --> 00:26:26,796
Speaker 1: faster songs. Yeah, you are listening to the words to

448
00:26:26,876 --> 00:26:29,716
Speaker 1: get clues about what to do, about how to play

449
00:26:29,756 --> 00:26:31,956
Speaker 1: against it. We should we should play that song. That

450
00:26:31,996 --> 00:26:50,196
Speaker 1: would be great. I'm in Ashville. I'm sorry. I guess

451
00:26:50,236 --> 00:27:00,636
Speaker 1: I really dropped the ball in this game we were played.

452
00:27:02,516 --> 00:27:12,116
Speaker 1: I thought I giving it my just to get us

453
00:27:12,236 --> 00:27:25,076
Speaker 1: back to zeal Or on some scoreboarding here. I'm in Ashfield.

454
00:27:25,516 --> 00:27:38,476
Speaker 1: I'm sorry all throwing in the town. That's sunlight ruled

455
00:27:38,476 --> 00:27:49,236
Speaker 1: the mountain. I'm the rain. It chased me down. I

456
00:27:49,436 --> 00:27:56,836
Speaker 1: could feel the heat from your face. Lord almost turned around.

457
00:28:02,236 --> 00:28:07,636
Speaker 1: There's some things you can't come back from. If there's

458
00:28:07,716 --> 00:28:18,036
Speaker 1: some things you won't go through. I'm in ashfil I'm sorry.

459
00:28:20,476 --> 00:28:56,396
Speaker 1: I wanted this with you on road. I never travel

460
00:28:58,476 --> 00:29:08,236
Speaker 1: to a place I never been from the east, left

461
00:29:08,356 --> 00:29:19,596
Speaker 1: old feeling. A vision of you comes up again and

462
00:29:19,836 --> 00:29:26,396
Speaker 1: you're dancing by the radio in some hotel room. In

463
00:29:26,476 --> 00:29:45,556
Speaker 1: my mind, I'm in Ashfield. I'm sorry for leaving you behind. Oh,

464
00:29:45,596 --> 00:30:04,876
Speaker 1: I'm in Ashville. I'm sorry for leaving you behind. That's amazing.

465
00:30:05,556 --> 00:30:07,716
Speaker 1: It occurs to me that I think one reason I

466
00:30:07,796 --> 00:30:12,396
Speaker 1: love that song is you don't actually say anything about Asheville.

467
00:30:14,716 --> 00:30:18,276
Speaker 1: Do you know what I mean? It's like usually people say, well,

468
00:30:18,396 --> 00:30:20,396
Speaker 1: I'm not even going to ask you what Asheville means

469
00:30:20,396 --> 00:30:22,996
Speaker 1: to you, because it's I don't want to wreck it

470
00:30:23,076 --> 00:30:25,116
Speaker 1: for other people. But I love those songs that are

471
00:30:25,116 --> 00:30:27,116
Speaker 1: about cities, but they don't say anything like I'm in

472
00:30:27,116 --> 00:30:29,876
Speaker 1: this city because it's cold, it's raindy reminds me. It's

473
00:30:29,916 --> 00:30:32,676
Speaker 1: it's like, um, that's how I got to Memphis by

474
00:30:32,836 --> 00:30:35,916
Speaker 1: Tom T. Hall. It's like that you don't know anything about.

475
00:30:36,116 --> 00:30:37,836
Speaker 1: It's just it's just like if you got a broken

476
00:30:37,836 --> 00:30:39,476
Speaker 1: heart and stuff, well that's how I got to Memphis,

477
00:30:39,476 --> 00:30:41,756
Speaker 1: and you're like okay. And it's also got the I'm

478
00:30:41,756 --> 00:30:43,956
Speaker 1: going to get this wrong. Some things you can't get

479
00:30:43,956 --> 00:30:46,796
Speaker 1: back from. Some things you can't come back from. If

480
00:30:46,836 --> 00:30:49,636
Speaker 1: there's some things you won't go through, that seems to

481
00:30:49,636 --> 00:30:53,516
Speaker 1: me the theme of almost the entire album. To me, Well,

482
00:30:53,556 --> 00:30:55,356
Speaker 1: I didn't. I don't mean that in a funny way.

483
00:30:55,396 --> 00:30:58,076
Speaker 1: I mean, so many of the narrators in this album

484
00:30:58,116 --> 00:31:00,876
Speaker 1: are people they're thinking back or they're trying to go

485
00:31:00,916 --> 00:31:04,436
Speaker 1: back to things and for whatever reason, they can't get there.

486
00:31:04,596 --> 00:31:06,916
Speaker 1: And you've been through a lot, but you have to

487
00:31:06,916 --> 00:31:09,036
Speaker 1: go through these things. First. There's a lot of regret

488
00:31:09,116 --> 00:31:11,156
Speaker 1: on the album about not being able to go back.

489
00:31:11,516 --> 00:31:14,276
Speaker 1: Were you thinking that when you were writing it. I

490
00:31:14,356 --> 00:31:17,916
Speaker 1: think it's less about regretting, just more about pointing that out.

491
00:31:18,996 --> 00:31:21,756
Speaker 1: I mean, some of us look at where where we've come.

492
00:31:21,836 --> 00:31:24,036
Speaker 1: A lot of it's look at how how far we've come.

493
00:31:24,396 --> 00:31:26,596
Speaker 1: That's really the story. At the end of the day,

494
00:31:26,836 --> 00:31:29,196
Speaker 1: we're gonna take a quick break and then we'll be

495
00:31:29,236 --> 00:31:32,436
Speaker 1: back with more of Bruce Headlam's conversation with John Hyatt

496
00:31:32,596 --> 00:31:44,396
Speaker 1: and Jerry Douglas. We're back with the rest of Bruce

497
00:31:44,436 --> 00:31:48,356
Speaker 1: Headlam's conversation with John Hyatt and Jerry Douglas, and just

498
00:31:48,396 --> 00:31:51,356
Speaker 1: a quick heads up. There's talk of sexual assault in

499
00:31:51,436 --> 00:31:55,556
Speaker 1: this next section. Tell me about light of a Bringing Sun. Yeah,

500
00:31:55,596 --> 00:32:00,516
Speaker 1: that's pretty much just an accounting of my brothers. He

501
00:32:00,676 --> 00:32:03,716
Speaker 1: took his own life when he was twenty one. I

502
00:32:03,876 --> 00:32:06,916
Speaker 1: was He was the oldest of seven kids, and I

503
00:32:07,036 --> 00:32:10,516
Speaker 1: was the next to youngest, so I was eleven. It's

504
00:32:10,556 --> 00:32:12,916
Speaker 1: like any kind of traumatic event in a person's life.

505
00:32:12,916 --> 00:32:17,596
Speaker 1: I've sort of dealt with it, you know, as I've

506
00:32:17,596 --> 00:32:20,276
Speaker 1: gone through life. I was relieved when I wrote the

507
00:32:20,276 --> 00:32:22,996
Speaker 1: song you have to kind of get some help and

508
00:32:23,036 --> 00:32:26,076
Speaker 1: work on these things. But I'm reminded of what Guy

509
00:32:26,116 --> 00:32:29,236
Speaker 1: Clarke used to say about his songs. And he played

510
00:32:29,236 --> 00:32:31,316
Speaker 1: a song and we'd go, oh man, you know, we'd

511
00:32:31,316 --> 00:32:33,396
Speaker 1: be stunned, and he'd go, yeah, you can't make that

512
00:32:33,436 --> 00:32:39,436
Speaker 1: shit up. So and so this was one that you

513
00:32:40,076 --> 00:32:42,676
Speaker 1: can't make that shit up. It's just a pretty much

514
00:32:42,716 --> 00:32:45,676
Speaker 1: just at accounting. Why do you think it took you

515
00:32:45,836 --> 00:32:49,236
Speaker 1: this long to to want to write that song? Things

516
00:32:49,276 --> 00:32:51,556
Speaker 1: come when they come, and it was such a as

517
00:32:51,596 --> 00:32:53,476
Speaker 1: I say, it was such a relief to write it,

518
00:32:53,516 --> 00:32:55,516
Speaker 1: and I think I've done some work. You know, the

519
00:32:55,596 --> 00:32:58,436
Speaker 1: family basically blew apart. It's like it says in a song,

520
00:32:58,596 --> 00:33:03,276
Speaker 1: family basically exploded, as families will when when a child

521
00:33:03,556 --> 00:33:05,756
Speaker 1: takes his own life, or even that child that dies.

522
00:33:06,236 --> 00:33:09,316
Speaker 1: And I didn't really know about recording it, to be

523
00:33:09,356 --> 00:33:11,316
Speaker 1: honest with you, but I had sent the song to Jerry,

524
00:33:11,476 --> 00:33:14,516
Speaker 1: so I must have thought that it was something to consider.

525
00:33:14,716 --> 00:33:17,356
Speaker 1: Glad you did. But anyway, Jerry, I said, Jerry, I

526
00:33:17,396 --> 00:33:19,116
Speaker 1: don't know about that. I think I called you after

527
00:33:19,156 --> 00:33:20,516
Speaker 1: I sent the songs. I said, you know, I don't

528
00:33:20,556 --> 00:33:22,716
Speaker 1: know about that. A lot of the burning, so it

529
00:33:22,756 --> 00:33:25,316
Speaker 1: was pretty dark. I said that people need to hear

530
00:33:25,396 --> 00:33:28,876
Speaker 1: this song. It is very very personal. I mean there

531
00:33:28,876 --> 00:33:32,036
Speaker 1: are things down to you know, found him in a

532
00:33:32,156 --> 00:33:38,196
Speaker 1: cornfield and the line that Reedy got me and the

533
00:33:38,316 --> 00:33:43,396
Speaker 1: song was talking about what his father did, selling uh

534
00:33:43,716 --> 00:33:47,716
Speaker 1: burn orange and avocado kitchens all across the Midwest. I

535
00:33:47,716 --> 00:33:51,516
Speaker 1: mean we've all been in houses that had those, you know,

536
00:33:52,636 --> 00:33:56,996
Speaker 1: an avocado refrigerator or stove or hey, but he built one.

537
00:33:57,036 --> 00:33:59,556
Speaker 1: He put one in for my mom. That's right. Yeah,

538
00:33:59,596 --> 00:34:02,236
Speaker 1: there was so much personal stuff about it, but it's

539
00:34:02,276 --> 00:34:05,836
Speaker 1: happening a lot. People need to hear it and need

540
00:34:05,876 --> 00:34:08,956
Speaker 1: to just need to raise the consciousness and raise the

541
00:34:09,116 --> 00:34:12,596
Speaker 1: awareness of it. I worked around that song that was

542
00:34:12,796 --> 00:34:15,676
Speaker 1: We framed that one in how do you mean you

543
00:34:15,796 --> 00:34:18,436
Speaker 1: wooked around the song? I put it in a place

544
00:34:18,476 --> 00:34:20,836
Speaker 1: in the record for a couple of different reasons. It

545
00:34:20,876 --> 00:34:25,076
Speaker 1: was right after, you know, a pretty raucous kind of song,

546
00:34:25,236 --> 00:34:28,356
Speaker 1: you know, before it the record needed to come down

547
00:34:28,516 --> 00:34:31,716
Speaker 1: to the needed to make a dip. And also when

548
00:34:31,756 --> 00:34:36,236
Speaker 1: you're making vinyl records, like we're talking about records now,

549
00:34:36,316 --> 00:34:39,436
Speaker 1: vinyl records, the closer you get to the center of

550
00:34:39,476 --> 00:34:42,956
Speaker 1: the album, the more distortion you pick up, so you

551
00:34:42,996 --> 00:34:45,556
Speaker 1: can't put a real loud song in the middle because

552
00:34:45,556 --> 00:34:47,596
Speaker 1: it's going to be distorted. You're gonna hear so much

553
00:34:48,116 --> 00:34:52,196
Speaker 1: cross talk. Mean, the grooves get very very small. You

554
00:34:52,236 --> 00:34:54,316
Speaker 1: mean it like at the end of side one when

555
00:34:54,316 --> 00:34:57,676
Speaker 1: you're making a record and decide one and decide two,

556
00:34:57,796 --> 00:35:00,916
Speaker 1: you always put a quieter song there, you know, And

557
00:35:00,956 --> 00:35:03,916
Speaker 1: I put a little space between it two. So on

558
00:35:03,916 --> 00:35:06,356
Speaker 1: a CD, so you get you actually get a chance

559
00:35:06,396 --> 00:35:09,236
Speaker 1: to think about it before the next song hits. You

560
00:35:09,316 --> 00:35:11,396
Speaker 1: kind of built in a side one on the side

561
00:35:11,396 --> 00:35:16,196
Speaker 1: two on the CD. I did? I did? I put

562
00:35:16,236 --> 00:35:19,396
Speaker 1: a little more good, more space in there. Speaking of

563
00:35:19,436 --> 00:35:22,556
Speaker 1: old technology, are you still thinking about records? I'm still

564
00:35:22,556 --> 00:35:25,356
Speaker 1: thinking about records even if I'm making It doesn't matter

565
00:35:25,436 --> 00:35:29,716
Speaker 1: what we're making. I think about pacing according to the

566
00:35:29,756 --> 00:35:32,436
Speaker 1: way we used to do. Vital Well, you know, records

567
00:35:32,476 --> 00:35:36,236
Speaker 1: now make more money than CDs. How about that they

568
00:35:36,276 --> 00:35:40,316
Speaker 1: outsold CDs last year? Yeah? Absolutely, are all the songs

569
00:35:40,596 --> 00:35:43,156
Speaker 1: details in the song like he wanted your brother wanted

570
00:35:43,196 --> 00:35:46,436
Speaker 1: to have a clothing, he did. He wanted his own clothing,

571
00:35:46,476 --> 00:35:48,836
Speaker 1: So my father put him to work. He was a

572
00:35:48,836 --> 00:35:52,476
Speaker 1: sole proprietor sold kitchen equipment, and he was a very

573
00:35:52,476 --> 00:35:54,996
Speaker 1: clever guy. He had his own team that would go

574
00:35:55,396 --> 00:35:58,116
Speaker 1: he went to these home shows and he would show

575
00:35:58,756 --> 00:36:02,996
Speaker 1: women shopping for new kitchens what he could do, what

576
00:36:03,396 --> 00:36:06,316
Speaker 1: magnificent kitchen he could install for them. And in those days,

577
00:36:06,356 --> 00:36:08,476
Speaker 1: there was no digital support or anything. So he had

578
00:36:08,516 --> 00:36:12,956
Speaker 1: these little, tiny, you know, miniatures of cabinets and he

579
00:36:12,996 --> 00:36:16,876
Speaker 1: could arrange him around on a twenty four twenty four

580
00:36:16,876 --> 00:36:19,956
Speaker 1: inch surface. He was a good salesman. He was excellent,

581
00:36:20,076 --> 00:36:22,516
Speaker 1: and he was a great storyteller. So he put my

582
00:36:22,596 --> 00:36:26,196
Speaker 1: brother to work, and my brother didn't want to sell kitchens.

583
00:36:26,436 --> 00:36:29,436
Speaker 1: He was the golden child as the states, and my

584
00:36:29,476 --> 00:36:32,156
Speaker 1: mother adored him. There was a lot of weight. I

585
00:36:32,236 --> 00:36:36,316
Speaker 1: know people who've lost kids, and in retrospect they're often well,

586
00:36:36,356 --> 00:36:39,316
Speaker 1: you know that was the one, and you know they

587
00:36:39,356 --> 00:36:41,236
Speaker 1: don't want to say I loved him or her the best.

588
00:36:41,356 --> 00:36:43,596
Speaker 1: But at the time, were you conscious that your brother

589
00:36:43,796 --> 00:36:46,676
Speaker 1: was the golden child? As you say, I'm just gonna

590
00:36:46,756 --> 00:36:48,476
Speaker 1: let it all hang out, Okay. I knew he was

591
00:36:48,516 --> 00:36:52,956
Speaker 1: a golden child. I worshiped him. He was so cool

592
00:36:53,676 --> 00:36:57,196
Speaker 1: with the skinny ties and the skinny pants and he

593
00:36:57,556 --> 00:37:01,396
Speaker 1: was so hip that he put on a dance and

594
00:37:01,556 --> 00:37:05,476
Speaker 1: actually brought Joey d and the Starlighters from New York City,

595
00:37:05,636 --> 00:37:09,676
Speaker 1: these kids. He got these kids together nineteen and rented

596
00:37:09,676 --> 00:37:12,196
Speaker 1: this place and had Joey Diana Starlighter's play, you know,

597
00:37:12,236 --> 00:37:16,316
Speaker 1: Peppermint Twist for God's Sake in Indianapolis, Indiana. But he

598
00:37:16,396 --> 00:37:20,676
Speaker 1: was also a predator, a sexual predator, and he raped

599
00:37:20,716 --> 00:37:23,796
Speaker 1: me when I was very young, so he was my hero.

600
00:37:24,556 --> 00:37:29,316
Speaker 1: He also had abused me, so it was it was

601
00:37:29,356 --> 00:37:32,076
Speaker 1: a it was a lot unopened over the years, and

602
00:37:32,116 --> 00:37:34,076
Speaker 1: it took me a lot of time. Yeah, I'm not

603
00:37:34,076 --> 00:37:37,076
Speaker 1: the only one, you know. I talk about my abuse

604
00:37:37,196 --> 00:37:39,076
Speaker 1: because I think it can help other people as well.

605
00:37:39,116 --> 00:37:42,356
Speaker 1: I know plenty of guys that were abused when they

606
00:37:42,396 --> 00:37:47,076
Speaker 1: were little kids. Did you have to forgive that part

607
00:37:47,116 --> 00:37:49,076
Speaker 1: of him in a sense before you could write the song?

608
00:37:49,796 --> 00:37:55,316
Speaker 1: I guess the song was probably the final bit of forgiveness.

609
00:37:56,116 --> 00:37:58,196
Speaker 1: I mean, I've I forgave him a long time ago.

610
00:37:58,276 --> 00:38:02,076
Speaker 1: I know. I mean I know that it wasn't who

611
00:38:02,196 --> 00:38:06,356
Speaker 1: he you know, wanted to be, and that he was driven.

612
00:38:06,916 --> 00:38:10,036
Speaker 1: You know, this stuff comes, this stuff. It's like some

613
00:38:10,116 --> 00:38:13,036
Speaker 1: of these genes they come out of the womb attached

614
00:38:13,036 --> 00:38:16,676
Speaker 1: to you from generations past, you know, so there's no

615
00:38:16,756 --> 00:38:21,076
Speaker 1: telling what propelled him to, you know, have a life

616
00:38:21,076 --> 00:38:25,596
Speaker 1: that was so so heartbreaking. Yeah, I mean you said it.

617
00:38:25,636 --> 00:38:27,996
Speaker 1: There are some things you can't get back from. There's

618
00:38:27,996 --> 00:38:29,436
Speaker 1: some things you won't go through. Yeah, I guess so.

619
00:38:30,756 --> 00:38:33,676
Speaker 1: But you know it's a god. I mean you to

620
00:38:33,916 --> 00:38:35,396
Speaker 1: turn to your left or turn to your right, and

621
00:38:35,396 --> 00:38:38,196
Speaker 1: you can talk to a person who's had a hell

622
00:38:38,236 --> 00:38:40,596
Speaker 1: of a harder ride than you have. You know, that's

623
00:38:40,636 --> 00:38:42,916
Speaker 1: my that's my experience. Anyway. I just want to ask

624
00:38:42,956 --> 00:38:45,476
Speaker 1: about two more songs, which is Changes in my Mind

625
00:38:45,476 --> 00:38:48,276
Speaker 1: and Sweet Dreams, which sort of feel like two sides

626
00:38:48,316 --> 00:38:50,316
Speaker 1: of the same coin to me, a little bit one

627
00:38:50,356 --> 00:38:53,556
Speaker 1: a little downbeat, one more upbeat. Changes in my Mind's

628
00:38:53,556 --> 00:38:56,556
Speaker 1: got It's got a very complex line, which is you

629
00:38:56,596 --> 00:38:59,396
Speaker 1: find changes in your mind in somebody else's heart. Can

630
00:38:59,436 --> 00:39:01,836
Speaker 1: you tell me a bit about that? Yeah? I just

631
00:39:02,156 --> 00:39:05,636
Speaker 1: think of my own marriage of thirty five years, and

632
00:39:05,916 --> 00:39:09,356
Speaker 1: my mind has been changed by the love of my

633
00:39:09,356 --> 00:39:12,676
Speaker 1: wife continually. That's what happens to me. Maybe I do

634
00:39:12,756 --> 00:39:14,596
Speaker 1: that as well with her and with my kids. I

635
00:39:14,596 --> 00:39:18,316
Speaker 1: don't know, you know, there's something about music. When you're

636
00:39:18,316 --> 00:39:21,596
Speaker 1: performing music or they're playing music, you can have the

637
00:39:21,636 --> 00:39:24,916
Speaker 1: worst argument of your whole life. You get in the

638
00:39:24,916 --> 00:39:27,836
Speaker 1: studio or wherever you are playing the music. As soon

639
00:39:27,836 --> 00:39:30,676
Speaker 1: as you start to play the music, it goes away

640
00:39:31,276 --> 00:39:34,116
Speaker 1: all that stuff that's talking about the heart of music.

641
00:39:34,156 --> 00:39:37,916
Speaker 1: Which that's what we do. Yeah, I mean, because we're

642
00:39:37,956 --> 00:39:42,116
Speaker 1: all tortured. But when we get strap on these guitars

643
00:39:42,156 --> 00:39:45,116
Speaker 1: and go out there and not even perform for people,

644
00:39:45,156 --> 00:39:51,516
Speaker 1: but just perform, just play, it saves anything that's going

645
00:39:51,636 --> 00:39:54,956
Speaker 1: on inside you that you don't know what to do with.

646
00:39:55,436 --> 00:39:58,716
Speaker 1: It actually is more than a band aid. It gives

647
00:39:58,716 --> 00:40:01,316
Speaker 1: you a time, time to think about it. It's healing.

648
00:40:01,796 --> 00:40:03,116
Speaker 1: All right. Well, I'm going to leave it to you

649
00:40:03,116 --> 00:40:04,916
Speaker 1: guys to figure out. How do you think we should

650
00:40:04,996 --> 00:40:07,076
Speaker 1: round this out? What do you want to play? Just

651
00:40:07,196 --> 00:40:20,036
Speaker 1: play sweet dreams okay aims like that eating honey from

652
00:40:20,076 --> 00:40:29,316
Speaker 1: the casket, And I thought about you. I haven't been

653
00:40:29,476 --> 00:40:34,316
Speaker 1: in that neck of the wood. I guess I'm long

654
00:40:34,636 --> 00:40:43,196
Speaker 1: over you. It's getting hard to leave this hollow. My

655
00:40:43,316 --> 00:40:49,596
Speaker 1: family has been two hundred years over letting me go

656
00:40:50,036 --> 00:40:58,956
Speaker 1: a little while to this sweet dream disappeared. I was

657
00:40:59,196 --> 00:41:08,636
Speaker 1: U bone back mountain, hitch higging in the dark, not

658
00:41:08,796 --> 00:41:15,356
Speaker 1: a light for our route. Things were looking pretty star

659
00:41:18,196 --> 00:41:23,676
Speaker 1: Now I think about that star and night all my

660
00:41:23,836 --> 00:41:30,396
Speaker 1: eyes well up with tea, letting me cry a little

661
00:41:30,436 --> 00:41:39,756
Speaker 1: while until this sweet dream disappeared. Step one time in

662
00:41:39,916 --> 00:41:48,956
Speaker 1: New Jersey, by the side of the route, and I

663
00:41:49,156 --> 00:41:55,596
Speaker 1: thought about your warm hall as I shivered in the cold.

664
00:41:58,556 --> 00:42:08,996
Speaker 1: Now I've stayed in fancy hotel with Crystal Shandely. Let

665
00:42:08,996 --> 00:42:14,676
Speaker 1: me stay here for a little while until this sweet

666
00:42:14,756 --> 00:43:03,476
Speaker 1: team disappears. Got a ride from a shoe sus He said,

667
00:43:03,556 --> 00:43:09,996
Speaker 1: I'll never come this way ever, and say built the

668
00:43:10,036 --> 00:43:19,036
Speaker 1: new rule. I don't know why I did today. That's

669
00:43:19,116 --> 00:43:29,036
Speaker 1: getting harder to travel. It gets harder every year over

670
00:43:29,236 --> 00:43:35,756
Speaker 1: Letting me go a little while until this sweet dream disappeared.

671
00:43:38,876 --> 00:43:45,636
Speaker 1: Eating honey from the catskin, and I thought about, you

672
00:43:48,956 --> 00:43:53,836
Speaker 1: haven't been in that neck of the wood. I guess

673
00:43:53,916 --> 00:44:00,916
Speaker 1: I'm a long overdue. We were a long time together,

674
00:44:03,916 --> 00:44:10,636
Speaker 1: and I've kept your memory. Let mis stay here for

675
00:44:10,676 --> 00:44:19,476
Speaker 1: a little while until this sweet dream disappeared. Let me

676
00:44:19,636 --> 00:44:26,516
Speaker 1: stay here for a little while, until this sweet dream disappeared.

677
00:44:33,636 --> 00:44:35,756
Speaker 1: That was just beautiful. I think I spoke too soon

678
00:44:35,796 --> 00:44:38,356
Speaker 1: though about Jerry, because you started to tear it up

679
00:44:38,396 --> 00:44:41,756
Speaker 1: there a little bit. I think maybe when you tour,

680
00:44:42,036 --> 00:44:43,796
Speaker 1: you should be the first guy ever to smash a

681
00:44:43,916 --> 00:44:48,356
Speaker 1: doughbro on stage. When you're done, it's a perfectly good

682
00:44:48,436 --> 00:44:51,436
Speaker 1: dough bro. Yeah, just at the end, just one night

683
00:44:51,476 --> 00:44:53,436
Speaker 1: at the end, just get a fake one and just

684
00:44:53,476 --> 00:44:55,596
Speaker 1: smash it with the one that I want to do

685
00:44:55,676 --> 00:44:57,636
Speaker 1: that too, but I just can't. Just bring it out.

686
00:44:58,476 --> 00:45:00,236
Speaker 1: Just bring it out now. It's the time you helped

687
00:45:00,236 --> 00:45:03,596
Speaker 1: me breaks the time that was wonderful. This was such

688
00:45:03,636 --> 00:45:06,236
Speaker 1: a thrill and the album is so beautiful. Everybody should listen.

689
00:45:06,476 --> 00:45:08,796
Speaker 1: Thank you, It was a real pleasure talking with you.

690
00:45:12,156 --> 00:45:14,636
Speaker 1: Thanks to John Hyatt and Jerry Douglas for singing and

691
00:45:14,716 --> 00:45:17,596
Speaker 1: chatting so candidly with Bruce. You can check out all

692
00:45:17,596 --> 00:45:19,956
Speaker 1: of our favorite John Hyatt and Jerry Douglas songs at

693
00:45:19,996 --> 00:45:23,396
Speaker 1: Broken Record podcast door. Be sure to subscribe to our

694
00:45:23,436 --> 00:45:27,436
Speaker 1: YouTube channel at YouTube dot com slash Broken Record Podcast,

695
00:45:27,796 --> 00:45:30,396
Speaker 1: where you can find all of our new episodes. You

696
00:45:30,436 --> 00:45:33,916
Speaker 1: can follow us on Twitter at broken Record. Broken Record

697
00:45:33,956 --> 00:45:37,876
Speaker 1: is produced with helpful Leah Rose, Jason Gambrel, Martin Gonzalez,

698
00:45:38,276 --> 00:45:42,596
Speaker 1: Eric Sandler, and Jennifer Sanchez, with engineering help from Nick Chafee.

699
00:45:42,596 --> 00:45:46,276
Speaker 1: Our executive producer is Mio Lobell. Broken Record is a

700
00:45:46,316 --> 00:45:49,716
Speaker 1: production of Pushkin Industries. If you love this show and

701
00:45:49,796 --> 00:45:53,516
Speaker 1: others from Pushkin, consider becoming a Pushnick. Pushnick is a

702
00:45:53,556 --> 00:45:58,076
Speaker 1: podcast subscription that offers bonus content an uninterrupted, ad free

703
00:45:58,076 --> 00:46:02,596
Speaker 1: listening for four ninety nine nine. Look for Pushnick exclusively

704
00:46:02,716 --> 00:46:06,236
Speaker 1: on Apple podcast subscriptions, and if you like the show,

705
00:46:06,276 --> 00:46:08,196
Speaker 1: please remember to share, rate, and review us on your

706
00:46:08,196 --> 00:46:11,116
Speaker 1: podcast app. At the music with like Candy Beats, I'm

707
00:46:11,156 --> 00:46:11,876
Speaker 1: Justin and Mitchell