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Speaker 1: All right, welcome to episode with Jim Beaver, which you

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Speaker 1: come in and we've been up here before. Just the

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Speaker 1: whole setup wasn't up. Yeah, I've never seen the lights

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Speaker 1: up here, talking to the talking to the mica. Sorry,

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Speaker 1: I've never done this before with this, this is literally

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Speaker 1: my first podcast, a first Bobby Cat. I'm sorry. Have

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Speaker 1: you ever done a podcast? Oh you haven't. An we'll welcome.

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Speaker 1: I'm like, just you've talked in a microphone. Here's my

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Speaker 1: story with Jim real quick. So we go out and

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Speaker 1: Jim and Jim and we go out. Alright, we go

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Speaker 1: out and we're an Amarillo in El Paso one weekend

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Speaker 1: and I think it was El Paso where you came

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Speaker 1: up on stage, uh where you called me up from

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Speaker 1: stage speak. We're playing. Jim has been writing songs with

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Speaker 1: me in a little bit with Eddie two for this record.

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Speaker 1: We're about to cut and by the time you hear this,

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Speaker 1: it may already be out. But so Gem's in the

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Speaker 1: audience and I'm like, Jim Beever's come up in Plass

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Speaker 1: the Gym's written such songs as you know, uh five

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Speaker 1: oh from Dirk spend Lee and Red Solo A Cup

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Speaker 1: and watching airplanes. I'm like, Jim, come up. And I

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Speaker 1: was like, oh wow, we got a real live Nashville song,

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Speaker 1: right and yeah, having for you pretty cool. And Jim

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Speaker 1: walks up and does like three words. I was like,

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Speaker 1: thank you, good night everybody, or like, come on, well,

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Speaker 1: I didn't I had no idea. I didn't know that

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Speaker 1: call me. Yeah, I didn't know. I don't want to

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Speaker 1: give your heads up. Yeah, I know it's not because

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Speaker 1: if I go, because we've been for two days, we've

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Speaker 1: been together, just writing songs in the road, haven't you know,

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Speaker 1: talking And I said, Hey, I'm gonna call you up

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Speaker 1: on stage tonight at the end of the show. Yeah,

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Speaker 1: you would have spent a lot of the time that

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Speaker 1: we were creating going, oh you god, I gotta go

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Speaker 1: singing in front of two thousand people. I would have

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Speaker 1: been thinking about it the whole time, and and I

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Speaker 1: wouldn't been to enjoy your show. I was trying to

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Speaker 1: watch your show just two because I hadn't seen it before,

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Speaker 1: so I was really trying to be like an audience member,

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Speaker 1: and that would have changed my point of view. So

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Speaker 1: I'm glad. I'm glad in retrospect that you didn't so

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Speaker 1: strategic move on my strategic strategic in the highest level. Yeah,

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Speaker 1: no question. And I think you you came out and

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Speaker 1: did a little bit of red solo coup and then

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Speaker 1: you wrote drink a beer, and you went out and

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Speaker 1: you went, I don't drink beer, thank you very much,

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Speaker 1: and we're like, come on, I just gave a chorus.

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Speaker 1: I just came in. Course. I didn't know how long

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Speaker 1: you want to be up there. I was. I was

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Speaker 1: just trying to get off stage. But you see how

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Speaker 1: tightly loose we run a ship. Yes, I do now, yes,

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Speaker 1: like you would look at it and go, oh, they

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Speaker 1: don't know what they're doing. They're just out there doing

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Speaker 1: whatever they want as as loosely as possible. However, not

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Speaker 1: the case. A lot of it is package to look

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Speaker 1: like we're running loose, and there's an art to that.

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Speaker 1: And I know that there's a high level of skill

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Speaker 1: to to moderate level let's go well, but it's it's

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Speaker 1: like we kind of when we go into studio. You know,

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Speaker 1: if you're cutting demos or even cutting a record or

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Speaker 1: something you have, you may have very clear ideas of

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Speaker 1: what you think you want to hear, but you've also

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Speaker 1: got to allow for some magic to happen that you

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Speaker 1: didn't plan on, whether it's the musicians or just a

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Speaker 1: happy accident. So I think you obviously have a You

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Speaker 1: do a lot of this, so you know you know

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Speaker 1: how to balance it out. But I wasn't ready to

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Speaker 1: come on stage. I don't know it was a blur.

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Speaker 1: But you did have your nice T shirt. I did

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Speaker 1: have a nice T shirt because even before this show,

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Speaker 1: You're like, I've got a nice Mizzi top T shirt

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Speaker 1: a show shirt. Yeah, it's nice and tight and black.

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Speaker 1: I didn't want you to wear your show short and

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Speaker 1: not be able to do a show. Had man spank,

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Speaker 1: so didn't yeah side of it. It had everything. You

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Speaker 1: look great, Thanks bro, Thank you. All Right, so we're here,

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Speaker 1: I'm gonna run through before we start talking about the

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Speaker 1: life of Jim Beavers. I'm gonna mention and play some

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Speaker 1: of the clips from songs will come back to them.

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Speaker 1: Five one five oh from Dirk Spenley. The song went

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Speaker 1: number one. Congratulations on now thanks to wote that one?

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Speaker 1: Am I the only one from Dirk Spenley bo when

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Speaker 1: number one? Congrats on that appreciate that Sideways from Dirk Spentley,

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Speaker 1: All up tempo All fun went number one. Congratulations like

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Speaker 1: I'm very uh, why don't we just dance? From Josh Turner,

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Speaker 1: he wrote that one we just stay right on the

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Speaker 1: hook when number one drink of here. Number one wrote

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Speaker 1: that fell good on my lips. Tim McGraw went number one,

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Speaker 1: So we'll walk. There's some more of those in amount,

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Speaker 1: some other songs you wrote, but I wanted to highlight

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Speaker 1: one to three, four, five, six, number one. You have

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Speaker 1: a lot of number two's and some songs that I

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Speaker 1: thought went number one. For example, we'll come back to

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Speaker 1: Red Solo Cup what you wrote, which only piked a

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Speaker 1: number nine, But I think maybe remember more than any

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Speaker 1: of those number ones. Oddly, I mean Red Solo Cup

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Speaker 1: is just it's a song that I, you know, I

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Speaker 1: have to I have to talk about on a weekly basis.

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Speaker 1: Somebody brings it up. It had a huge impact, and

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Speaker 1: and it was you and I talked about it one time.

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Speaker 1: It's like that that song, to me, is a perfect

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Speaker 1: example of that song was wanting to be written because

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Speaker 1: that that that notion of good times and that cup

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Speaker 1: was just floating in the ether and somebody just had

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Speaker 1: to put a name to it. And that's all we did.

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Speaker 1: It was like it was just a more than that.

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Speaker 1: More than that, you're not giving yourself enough credit the songs.

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Speaker 1: Songs don't just float. Yeah, you you have to be

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Speaker 1: Why don't we just digging on this one for a second. Things?

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Speaker 1: I like that, first of all, let's relax. Yeah, maybe

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Speaker 1: I'm not saying the song itself, for the lyrics were floating.

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Speaker 1: But you can't sit down and manufacture or predict what

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Speaker 1: happened with that song. I guess what I'm trying to

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Speaker 1: say is that one and one really did make three.

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Speaker 1: It was like, but who noticed that that was such

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Speaker 1: a part of everybody's everyday life? There you go, Huh

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Speaker 1: where the idea come from? Yeah? Like that? There's so

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Speaker 1: many red cups when no one's writing about that. Well,

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Speaker 1: I mean I had the idea for a long all

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Speaker 1: all songwriters or most songwriters, I assume, uh you know, now,

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Speaker 1: on our phones, you can just keep a running list

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Speaker 1: of any little tidbit could be an idea. It could

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Speaker 1: be just a hook, could be anything. And um my

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Speaker 1: son and I were going to a Vanderbilt football game,

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Speaker 1: and he was a little little boy, and we were

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Speaker 1: walking through the tailgate area and and I don't only

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Speaker 1: remember this in retrospect because the song became so big,

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Speaker 1: But I remember walking through and I noticed, for some reason,

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Speaker 1: everybody was drinking out these red cups. I was like,

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Speaker 1: red cups many, but everybody's got the red cup. So

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Speaker 1: I pulled my phone out and I typed in red

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Speaker 1: plastic cup. And when I wrote down and um, I

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Speaker 1: didn't think anything else about it, because it joined the

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Speaker 1: list of I don't know, two thousand ideas or more

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Speaker 1: that most never turned into anything, but I always on

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Speaker 1: the discipline just try to write them down. But then,

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Speaker 1: but then within a couple of weeks either I can't.

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Speaker 1: I think I was at my house and I was

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Speaker 1: walking through the room and on TV it was either

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Speaker 1: commercial or a movie or something, but there was a

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Speaker 1: scene of playing beer pong and they had the red

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Speaker 1: cups again, and so that really made my spidy sense tangle.

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Speaker 1: Can I say that I have to take it to corner?

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Speaker 1: This is? This is not? And so that made immediately

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Speaker 1: go back, well, there it is again, And so then

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Speaker 1: I thought there was something there, and I thought maybe

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Speaker 1: I don't know, I don't really believe this. Maybe the

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Speaker 1: universe was telling me that there's something there. And and

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Speaker 1: then um, I was sitting out by myself one night

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Speaker 1: on my on my back deck, playing my guitar and

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Speaker 1: spoke in a cigar where you know, a lot of

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Speaker 1: a lot of ideas and and songs have gone up

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Speaker 1: and hits have started for me. I don't know why.

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Speaker 1: So that's why I spoke a lot. Now I need

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Speaker 1: to smoke more. And um, and I just it just

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Speaker 1: kind of popped into my head just at that chorus.

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Speaker 1: And then I got together with with guys, you know,

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Speaker 1: the Warren brothers and my brothers. So it was unique

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Speaker 1: that there were two sets of brothers and we were

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Speaker 1: just trying to make each other laugh. We never in

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Speaker 1: a million years thought anything would have happen with that

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Speaker 1: song or anybody would cut it. So it was just crazy.

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Speaker 1: Still is so whenever you decide to, you know, to

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Speaker 1: do that song, and I mean, you write it, and

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Speaker 1: you said you didn't expect you want to cut it? Like,

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Speaker 1: what do you do with it? We we actually the

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Speaker 1: true story is, um, we were over at a studio

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Speaker 1: in berry Hill called Station West that a buddy of

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Speaker 1: all of ours named Luke Wooten runs and I think

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Speaker 1: the Warren the Warren brothers and the Beavers brothers. We

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Speaker 1: caught ourselves the Warren Beavers, which is obvious. We were

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Speaker 1: writing i think every other Wednesday or something. We just

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Speaker 1: had a regular writing point. We also wrote Felting on

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Speaker 1: My Lips. It was kind of that same crew. We

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Speaker 1: were just trying to come up with something and Luke

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Speaker 1: Wooden was walking by and heard us in there singing

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Speaker 1: and he poked his head. He goes, what is that?

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Speaker 1: You know, it's just a stupid song or just cutting up.

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Speaker 1: It's about a red cup, you know whatever. Anyway, he

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Speaker 1: loved it, and that day before we left, he came

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Speaker 1: and he said, y'all come in here and just put

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Speaker 1: it down. Just put it down. So we literally walked

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Speaker 1: into the studio. He had one microphone set up and

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Speaker 1: we just cut it one time for him because he

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Speaker 1: wanted it. And then that is what got out, and

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Speaker 1: and what and now how does the song get out?

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Speaker 1: What did that mean? What does that think? People started

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Speaker 1: forwarding it, forwarding it around to each other, and then

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Speaker 1: we actually made a little kind of fake CD that

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Speaker 1: had like five or six songs on it that we

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Speaker 1: had written, and Red Soil Cup we put on there

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Speaker 1: and felt felting on. My ups were was on there

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Speaker 1: as well, and it was more just kind of us

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Speaker 1: a vehicle to pitch the songs we had written to

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Speaker 1: the town, you know, so artists would would maybe cut them,

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Speaker 1: or at least somebody would laugh and have have fun. Anyway,

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Speaker 1: So Red Soil Cup just started jumping out and nobody

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Speaker 1: was talking about it, and people started calling us, wanted

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Speaker 1: to write with us because they heard it. I mean,

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Speaker 1: you know, I could have never predicted it anyway. I

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Speaker 1: don't know exactly how it happened, but somehow it got

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Speaker 1: to you know, the story of hers. It got to

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Speaker 1: Toby Keith out on the road somewhere and you know,

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Speaker 1: people were listening to it on their busses and he

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Speaker 1: heard it and he said, you know the story he

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Speaker 1: tells is you know the song ended. He said, that's

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Speaker 1: the stupidest thing I've ever heard my life played again,

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Speaker 1: and they did. He said, I want to cut it,

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Speaker 1: and they did. So that was it. Man, did anyone

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Speaker 1: before Toby come, I go, I want to cut it.

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Speaker 1: Tim McGraw at one point said he was gonna cut

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Speaker 1: it and put it on his record, like as an

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Speaker 1: hidden track or something, not the target, the dreaded maybe

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Speaker 1: the best buy, a limited edition only in the Southeast,

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Speaker 1: you know, I don't. I don't know how serious he was.

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Speaker 1: But and that didn't come to fruition, No, it didn't

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Speaker 1: far as I don't know. And maybe so hidden, I

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Speaker 1: mean right, it may be on one target CD, so

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Speaker 1: so secret, so secret. No, it never did happen. Is

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Speaker 1: that exciting when they go, hey, Tim mccross thinking about it?

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Speaker 1: And then is it deflating when they go, You're not

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Speaker 1: gonna do it? Uh? Yeah, I mean you can't. You

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Speaker 1: can't help but get your hopes up. At least me,

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Speaker 1: I can only speak for myself. I still get my

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Speaker 1: hopes up. You know about songs that that I feel

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Speaker 1: a strong connection to her or or just that I

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Speaker 1: think are really great and I really wish somebody would

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Speaker 1: um sing them, or that people could hear them, And um,

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Speaker 1: you're inevitably you're you're gonna be disappointed about of the time.

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Speaker 1: And I've got a lot better at not getting emotionally

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Speaker 1: invested in songs. Um, but I still do. I still do.

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Speaker 1: You can't. I think if you lose that ability, then

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Speaker 1: you may lose your reason for writing. So I don't

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Speaker 1: want to lose at all, but I have gotten better

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Speaker 1: kind of smoothing out the emotional wavelengths of highs and

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Speaker 1: lows and get your hopes up and stuff like that.

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Speaker 1: With a song like Red So Look Up, which peaked

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Speaker 1: at nine, which is what I'm looking at here. I

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Speaker 1: would have thought had you just asked me that that

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Speaker 1: was the number one song, with the impact that it

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Speaker 1: had kind of on the country music culture, it lasts.

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Speaker 1: I still play it sometimes inside of our dance party,

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Speaker 1: like that's still a fun song. And just monetarily speaking,

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Speaker 1: does that song make anywhere close to let's say I

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Speaker 1: felt good on my lips because of the downloads, like

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Speaker 1: I would probably not if you just want to get

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Speaker 1: in the weeds of the business. No, the the majority

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Speaker 1: of our money is all made, you know, on how

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Speaker 1: long the song stays in the top five. To be honest,

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Speaker 1: and the way things are now with songwriters, it's like

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Speaker 1: you you really can only make a living if you're

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Speaker 1: having hits hits on the radio. I mean, streaming has

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Speaker 1: not been good to us. Um, there's really not a

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Speaker 1: lot of synchronization rights to be to be spoken of.

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Speaker 1: So no, I would say that felt good on my

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Speaker 1: lips probably made more money than than a Red Soak Up,

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Speaker 1: although Red Soak Up I'm sure had a bigger you know,

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Speaker 1: cultural impact. Now it may have sold you know, Red

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Speaker 1: Soak Cup probably sold more you know copies. And like

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Speaker 1: I said, like you said, without question, if I play

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Speaker 1: a writer's round or something. You know, even people who

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Speaker 1: don't know or like country music, they always know that song.

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Speaker 1: That's the one I know I can do, and they'll go, oh, oh, yeah,

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Speaker 1: my cousin, Yeah I got drunk to that or something.

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Speaker 1: So I think everybody's cousin got drunk to that. Every

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Speaker 1: cousin got drunk to that song. Maybe maybe lots of cousins.

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Speaker 1: You grew up in Texas, I did, wh what town? Um?

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Speaker 1: I lived um in a town called Garland, Um for

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Speaker 1: a while, and then I went to high school in Jacksonville,

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Speaker 1: which is in East Texas, not far from Tyler and

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Speaker 1: part of the Piney Woods, which I know you grew

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Speaker 1: up in the pines. So well, I got up a

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Speaker 1: mountain pine Arkansas. I mean even have the word pine

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Speaker 1: in the end of your town. We're also probably cousins. Yeah,

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Speaker 1: that's well, you know, that's how it works down there

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Speaker 1: and you go from there? And did you study music

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Speaker 1: in school? Were you that kid? Were the music kid?

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Speaker 1: I didn't study. No, I played. I didn't. I never

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Speaker 1: studied music. Um, but I played. I started playing banjo

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Speaker 1: and I was probably about thirteen on which to uh

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Speaker 1: the church camp and uh I saw a guy named

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Speaker 1: I'll be Porter playing banjo one afternoon at one of

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Speaker 1: our little you know where all the kids have to

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Speaker 1: walk over and listen to somebody do something, and uh,

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Speaker 1: I was remember just it was a real watershed kind

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Speaker 1: of moment. I was very besmerized by it, and I

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Speaker 1: was taking lessons from him, you know, a week later

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Speaker 1: and uh So I played banjo for a while and

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Speaker 1: I started playing guitar just a couple of years after that.

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Speaker 1: But I never formally studied. You tell your folks i'd

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Speaker 1: like a banjo. Yeah, I did. I had to go

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Speaker 1: in and say, mom, dad, I have some bad news.

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Speaker 1: What is this son? I want to take banjo lessons? Oh? God,

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Speaker 1: anything but that please. So how did they get you

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Speaker 1: a banjo? They go the pawn shop. Where do you

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Speaker 1: get a banjo? Music stores? Yeah, I went with Bobby.

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Speaker 1: He took me and um, he took me to a

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Speaker 1: music store and helped me pick one out. Yeah, were

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Speaker 1: you the banjo kid at cool Um? Yeah, I don't

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Speaker 1: think there are any other one, so I probably was

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Speaker 1: the banjo kid. And they were like, there's a little

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Speaker 1: Jimmy Jimmy banjo, Mr Banjo. They call me banjo beavers

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Speaker 1: a couple of guys, And I know you love Steve

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Speaker 1: Martin and I would love. I loved Steve Barton. And

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Speaker 1: on the I had the forty five of King and

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Speaker 1: on the flip side was him playing a banjo song.

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Speaker 1: And that also was another reason why I wanted to learn.

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Speaker 1: It's called Sally Good and it's an old banjo standard

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Speaker 1: that he's played. It's the flip side. So so you're studying,

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Speaker 1: I know you're you're learning. I studying learning to me

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Speaker 1: the same, you're not studying it. I know you how

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Speaker 1: are you learning? It? Were just playing? We just playing.

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Speaker 1: I had an older brother who played a little bit

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Speaker 1: um and I had a good friend named Dale. He

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Speaker 1: took guitar lessons from Bobby. I took banjo lessons from Bobby,

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Speaker 1: and he was my best friend. And on the weekends.

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Speaker 1: You know, this is pre good video games or any

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Speaker 1: kind of cell phone or any kind of mazing. I mean,

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Speaker 1: that's that's all we did. We said around, We picked

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Speaker 1: and we listened to records, and we tried to slow

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Speaker 1: him down figure amount. I was, Um, you know, I

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Speaker 1: had a cassette and I would wait for the radio

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Speaker 1: to play my favorite song and I'd missed the intro,

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Speaker 1: but I'd get the rest of it, and I sit

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Speaker 1: there and try to learn the song. And uh, And

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Speaker 1: I think that tactile, you know, relationship with music, which

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Speaker 1: we don't have anymore. I think that was real, you know,

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Speaker 1: no punitentid real instrumental in just me, you know, being

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Speaker 1: all in and being into it. And then you know,

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Speaker 1: you start meeting other people and weirdos like you, and

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Speaker 1: you start putting together bands, and you know, you just

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Speaker 1: do it because you love it. You're not really thinking why,

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Speaker 1: you just want to do it. So whenever you're going

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Speaker 1: to school, going to college, are you wanting to persue music? No?

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Speaker 1: I went to UH. I went to school at Baylor

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Speaker 1: in Waco, Texas, and I was a business UH and

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Speaker 1: broadcasting major. Um. They probably didn't have any kind of

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Speaker 1: commercial music program that I know of. I'm sure they

339
00:15:31,960 --> 00:15:33,640
Speaker 1: had a music program. But I had no interest in

340
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Speaker 1: learning how to read music or being in an orchestra.

341
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Speaker 1: That never. I wanted to go play in Honkey Talks,

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Speaker 1: So I did that. So you kept playing though as

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Speaker 1: you're playing in business, you kept playing music. Oh yeah, yeah,

344
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Speaker 1: I played the band. In fact, I played the band.

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Speaker 1: Played a couple of bands, but want the band. I

346
00:15:48,800 --> 00:15:51,200
Speaker 1: ended up playing at Baylor and back then this is

347
00:15:51,240 --> 00:15:53,480
Speaker 1: the late eighties, and then you know, the country was

348
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Speaker 1: really about It's really about the boom Big in the

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Speaker 1: early nine he's been the late eighties. In Texas, it

350
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Speaker 1: was a thing, man, and you could back a for

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00:16:00,320 --> 00:16:03,560
Speaker 1: a for a a college kid. I mean, I made

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Speaker 1: good money on the weekends. And there's so many dance

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Speaker 1: holes and places down there and they're still there and

354
00:16:08,320 --> 00:16:11,320
Speaker 1: everybody danced, and so you just go play top fourty covers. Man.

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Speaker 1: That was great for my playing and writing. I had to, hey,

356
00:16:14,200 --> 00:16:16,080
Speaker 1: we need to learn this new Dwight Yoacom song for

357
00:16:16,080 --> 00:16:19,040
Speaker 1: this weekend and stuff like that. So and that band

358
00:16:19,120 --> 00:16:21,080
Speaker 1: was called Sons of the Desert. They actually ended up

359
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Speaker 1: getting a record deal after I don't have to move

360
00:16:23,840 --> 00:16:26,560
Speaker 1: up here, and then they got better when the guy

361
00:16:26,600 --> 00:16:29,960
Speaker 1: that replaced me. Really, I mean, no, kid, he's a

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Speaker 1: really good lead singer. Were you the singer? Yeah, yeah,

363
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Speaker 1: kind of the main singer. And then I got Drew

364
00:16:35,000 --> 00:16:37,800
Speaker 1: Walwick replaced me. And then they came up here and

365
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Speaker 1: got a record deal after I had already moved up here.

366
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Speaker 1: So it's kind of a weird, weird circle weird. And

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Speaker 1: were you jealous a little bit? I really was, because

368
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Speaker 1: I had no interest in being an artist or having

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Speaker 1: a record deal, with being involved with that stuff. I

370
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Speaker 1: was more just happy and thought it was cool and

371
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Speaker 1: happy for them, you know, and thought it would be

372
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Speaker 1: an interesting thing to be a piece of, you know. So,

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Speaker 1: so he moved to Nashville after a graduation from Baylor. Correct,

374
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Speaker 1: you move here, and what's the plan? What do you

375
00:17:04,480 --> 00:17:08,359
Speaker 1: want to do? I wanted to, um run a record company. Someday,

376
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Speaker 1: That's what I want to do. My first job in town,

377
00:17:10,400 --> 00:17:12,840
Speaker 1: I had a couple of unpaid internships. My first job

378
00:17:12,920 --> 00:17:17,040
Speaker 1: was mail room at Capital UM fifteen grand a year

379
00:17:17,080 --> 00:17:20,320
Speaker 1: and maybe the happiest I've ever been to get a job,

380
00:17:20,440 --> 00:17:23,600
Speaker 1: you know. UM. And so that was my first job

381
00:17:23,640 --> 00:17:26,520
Speaker 1: here and UM and then I kind of moved into

382
00:17:26,560 --> 00:17:30,000
Speaker 1: the finance department because they had a job opening and

383
00:17:30,160 --> 00:17:32,520
Speaker 1: I really didn't want to do finance, but it was

384
00:17:32,520 --> 00:17:34,080
Speaker 1: the first way out of the mail room, so I

385
00:17:34,119 --> 00:17:37,600
Speaker 1: took it. And in retrospect, it was a great, really

386
00:17:37,640 --> 00:17:40,600
Speaker 1: great opportunity to learn so much about just the business

387
00:17:40,600 --> 00:17:42,159
Speaker 1: side of of how everything. If you know where the

388
00:17:42,200 --> 00:17:43,879
Speaker 1: money is going, you know, then you kind of have

389
00:17:44,000 --> 00:17:47,520
Speaker 1: to figure out everything else. At that time, Garth was exploding,

390
00:17:48,440 --> 00:17:52,200
Speaker 1: and so there was just so much financial stuff going

391
00:17:52,280 --> 00:17:55,920
Speaker 1: on and so much energy at the label that it

392
00:17:55,920 --> 00:17:59,280
Speaker 1: it was a great educational experience for me. That's where

393
00:17:59,280 --> 00:18:04,080
Speaker 1: I'm met Tom. So my manager, Tom Betchy was the

394
00:18:04,080 --> 00:18:05,159
Speaker 1: guy who was like, hey, you know, I think you're

395
00:18:05,200 --> 00:18:06,399
Speaker 1: like I think you're like Jim Bieber's. He kind of

396
00:18:06,400 --> 00:18:07,879
Speaker 1: set us up on our blind day, he did. He

397
00:18:07,960 --> 00:18:09,800
Speaker 1: was my boss for a while, that's right. And I

398
00:18:09,840 --> 00:18:11,480
Speaker 1: was talking to him today. We were flying back from

399
00:18:11,480 --> 00:18:14,040
Speaker 1: New York and we were talking about some stuff and

400
00:18:14,040 --> 00:18:16,000
Speaker 1: he goes, let me tell you about Jim. I said,

401
00:18:16,000 --> 00:18:18,359
Speaker 1: what's up? Because that guy used to play guitar in

402
00:18:18,400 --> 00:18:20,679
Speaker 1: his office when he should have been working, right. It

403
00:18:20,760 --> 00:18:22,280
Speaker 1: was like he should have been doing like what he's

404
00:18:22,280 --> 00:18:24,119
Speaker 1: supposed to be doing, but we'd walk by and he'd

405
00:18:24,160 --> 00:18:26,840
Speaker 1: be over there writing songs. And that's true, it's true.

406
00:18:26,840 --> 00:18:28,720
Speaker 1: But I was just really quick with my work. And

407
00:18:28,720 --> 00:18:31,080
Speaker 1: then i'd keep the guitar in office and I, you know,

408
00:18:31,240 --> 00:18:33,480
Speaker 1: make up funny songs for people, and I'd write, you know,

409
00:18:33,520 --> 00:18:35,800
Speaker 1: all that kind of stuff. So when I look back,

410
00:18:35,840 --> 00:18:38,919
Speaker 1: it makes complete sense of what happened and kind of

411
00:18:38,960 --> 00:18:41,200
Speaker 1: where I ended up. But at the time I didn't.

412
00:18:41,240 --> 00:18:43,200
Speaker 1: I could never have predicted it or thought it would

413
00:18:43,400 --> 00:18:45,320
Speaker 1: happen like this, you know, I'd be sitting here with

414
00:18:45,440 --> 00:18:47,240
Speaker 1: you or it's just this is a big highlight of

415
00:18:47,240 --> 00:18:48,840
Speaker 1: your life. I mean, this is it. I mean I

416
00:18:48,880 --> 00:18:50,840
Speaker 1: told my wife this is it, and we're moving back

417
00:18:50,840 --> 00:18:53,399
Speaker 1: to Texas tonight. You've hit the Apex after actor to

418
00:18:53,600 --> 00:18:56,960
Speaker 1: haul in your driveway right now. You newly and Walmack

419
00:18:57,160 --> 00:19:01,040
Speaker 1: from before in Nashville High School high school. UM, when

420
00:19:01,040 --> 00:19:03,480
Speaker 1: I moved to Jacksonville, Texas, where I went to high school,

421
00:19:03,560 --> 00:19:06,080
Speaker 1: she lived about a quarter of the miles down the

422
00:19:06,119 --> 00:19:09,720
Speaker 1: street from me, and my dad was the superintendent of

423
00:19:09,760 --> 00:19:13,280
Speaker 1: the new superintendent of the school district. And Um, either

424
00:19:13,280 --> 00:19:15,040
Speaker 1: her mom or dad worked for the school and my

425
00:19:15,119 --> 00:19:18,280
Speaker 1: dad he came in. He got a forty five and

426
00:19:18,320 --> 00:19:20,560
Speaker 1: I still have it. He said, Hey, this is this

427
00:19:20,600 --> 00:19:23,320
Speaker 1: is a girl that that lives here and she likes

428
00:19:23,400 --> 00:19:25,440
Speaker 1: contributed to and and her. He went, your name is

429
00:19:25,520 --> 00:19:29,040
Speaker 1: Leon Womack, which is how we pronounced it and U

430
00:19:29,760 --> 00:19:31,440
Speaker 1: and it was a forty five of her singing a

431
00:19:31,440 --> 00:19:34,280
Speaker 1: Patsy Cline song and uh, he said, oh't know, you

432
00:19:34,320 --> 00:19:36,720
Speaker 1: got thought it anyway. I remember going down Lion's house

433
00:19:36,760 --> 00:19:39,520
Speaker 1: and playing Judd songs and her singing. And so I

434
00:19:39,640 --> 00:19:42,760
Speaker 1: was sixteen, and uh, I saw her today. As a

435
00:19:42,760 --> 00:19:44,560
Speaker 1: matter of fact, you know, thirty something years later, I

436
00:19:44,560 --> 00:19:46,639
Speaker 1: saw he today. So I ended up playing on the

437
00:19:46,720 --> 00:19:48,640
Speaker 1: road with her son. Once she got her record deal.

438
00:19:48,680 --> 00:19:51,240
Speaker 1: I was a road manager for a while and uh,

439
00:19:51,480 --> 00:19:54,200
Speaker 1: your road manager, and then played guitar something for her. Yeah. First,

440
00:19:54,400 --> 00:19:56,800
Speaker 1: like my first gig with her was right when she

441
00:19:56,840 --> 00:19:58,920
Speaker 1: got started in like ninety seven. I went out as

442
00:19:58,920 --> 00:20:02,119
Speaker 1: her road manager, and um, that was another great just

443
00:20:02,920 --> 00:20:04,840
Speaker 1: crazy experience where I got to learn about how the

444
00:20:04,920 --> 00:20:06,920
Speaker 1: road works. And and you know, we're playing these huge

445
00:20:06,920 --> 00:20:10,400
Speaker 1: tours and playing these George Straight Stadium, sold out all

446
00:20:10,440 --> 00:20:12,880
Speaker 1: day events and then playing these little clubs where you gotta,

447
00:20:13,680 --> 00:20:16,280
Speaker 1: you know, go get paid in cash and and hope

448
00:20:16,280 --> 00:20:17,800
Speaker 1: you make it back to the bus kind of stuff.

449
00:20:17,840 --> 00:20:21,560
Speaker 1: So it's just really great educational And then I went

450
00:20:21,640 --> 00:20:23,760
Speaker 1: back and played on the road with her for a

451
00:20:23,800 --> 00:20:26,840
Speaker 1: few years. Like when There's More where that came from

452
00:20:26,880 --> 00:20:30,359
Speaker 1: came out, which is probably oh five ish, Were you

453
00:20:30,400 --> 00:20:33,520
Speaker 1: with her when I hope you dance it? Um? No,

454
00:20:33,680 --> 00:20:36,200
Speaker 1: Actually that was there in the gap where I wasn't

455
00:20:36,240 --> 00:20:38,400
Speaker 1: with her, but it was so bad. Yeah, I mean,

456
00:20:38,400 --> 00:20:41,280
Speaker 1: there's no question that. But but the the funny side

457
00:20:41,320 --> 00:20:44,080
Speaker 1: note is going back to the Suns. I told you

458
00:20:44,080 --> 00:20:46,720
Speaker 1: about the Suns of the Desert. They're the ones singing

459
00:20:46,760 --> 00:20:48,840
Speaker 1: background on that song. They're the ones who sing the

460
00:20:48,920 --> 00:20:52,119
Speaker 1: you know, time is a wheel and cuts them. So

461
00:20:52,200 --> 00:20:54,560
Speaker 1: the band that I started in college, so you influence

462
00:20:54,600 --> 00:20:56,480
Speaker 1: that whole song, is what you're saying. Every part of

463
00:20:56,480 --> 00:21:00,560
Speaker 1: that song was influence, I feel. So the band I

464
00:21:00,600 --> 00:21:04,399
Speaker 1: started in college and left ended up singing background on

465
00:21:04,440 --> 00:21:08,480
Speaker 1: the hugest hit of my high school friends. Pretty cool.

466
00:21:08,600 --> 00:21:12,640
Speaker 1: Crazy what happened to that band? They? You know, as

467
00:21:12,760 --> 00:21:14,840
Speaker 1: as the Wheels of Nashville Turn, I guess, I guess

468
00:21:14,880 --> 00:21:17,080
Speaker 1: it just didn't work out. Did ever get a hit? Ever?

469
00:21:17,080 --> 00:21:19,920
Speaker 1: We get a song. I think they had you a

470
00:21:19,960 --> 00:21:23,600
Speaker 1: couple of marginal you know, semi hits, nothing nothing big

471
00:21:23,680 --> 00:21:25,680
Speaker 1: broke all the way through for them, and they were great.

472
00:21:25,760 --> 00:21:27,280
Speaker 1: You know. I think they were actually a little ahead

473
00:21:27,280 --> 00:21:30,040
Speaker 1: of their time if you asked me, so you did

474
00:21:30,040 --> 00:21:32,920
Speaker 1: the deal with Leanne, you wrapped up your second stand

475
00:21:33,000 --> 00:21:35,040
Speaker 1: with her, and then what I used the songwriter there

476
00:21:35,240 --> 00:21:37,720
Speaker 1: By that time I was song writting. After I went

477
00:21:37,760 --> 00:21:40,920
Speaker 1: on a road with her the first time, I ended

478
00:21:41,000 --> 00:21:44,800
Speaker 1: up getting back in the label game. Um, there was

479
00:21:44,840 --> 00:21:47,160
Speaker 1: a Virgin Records for a hot minute here in town

480
00:21:47,359 --> 00:21:49,600
Speaker 1: that Scott Hendricks open, and I wouldn't worked for them.

481
00:21:49,640 --> 00:21:52,880
Speaker 1: I don't think we were open two years. And then

482
00:21:52,880 --> 00:21:56,400
Speaker 1: I went and worked for um, Mike Dungan at Capital,

483
00:21:56,440 --> 00:21:58,680
Speaker 1: who I know you recently did a Bobby cast with

484
00:21:59,480 --> 00:22:06,720
Speaker 1: and at Capital and then they had a massive, you know, layoff,

485
00:22:07,359 --> 00:22:10,040
Speaker 1: and I was one of those people. So I always

486
00:22:10,160 --> 00:22:12,200
Speaker 1: and and and at that point I had already been

487
00:22:12,240 --> 00:22:14,640
Speaker 1: deciding and thinking, like, I think I'm in the wrong

488
00:22:14,680 --> 00:22:16,359
Speaker 1: side of business. I don't think I'm supposed to be

489
00:22:16,359 --> 00:22:18,280
Speaker 1: doing the label stuff. I think I want to be writing.

490
00:22:18,520 --> 00:22:22,240
Speaker 1: I've been writing at home and uh, just for fun

491
00:22:22,520 --> 00:22:25,240
Speaker 1: and had fallen into a couple of cuts, and like

492
00:22:25,280 --> 00:22:27,560
Speaker 1: I said in retrospect, now I know how unusual that

493
00:22:27,720 --> 00:22:30,920
Speaker 1: is um and I just didn't see all the signs.

494
00:22:31,040 --> 00:22:33,200
Speaker 1: And then by that, by the early two thousand's, I'd

495
00:22:33,200 --> 00:22:36,600
Speaker 1: already had a pretty sneaking suspicion that I was I

496
00:22:36,640 --> 00:22:38,560
Speaker 1: should be writing songs. So that's when I kind of

497
00:22:39,040 --> 00:22:41,320
Speaker 1: when I got finally laid off from Capital, that's when

498
00:22:41,359 --> 00:22:43,200
Speaker 1: I said, all right, this is my chance. I think

499
00:22:43,240 --> 00:22:45,440
Speaker 1: I had a little bit of severan spay or something,

500
00:22:45,880 --> 00:22:49,359
Speaker 1: had a brand new baby at home, and uh, I

501
00:22:49,440 --> 00:22:52,680
Speaker 1: was like it's now or ever and thank goodness at work,

502
00:22:52,800 --> 00:22:55,160
Speaker 1: so you know, it was it was really just like

503
00:22:55,359 --> 00:22:56,919
Speaker 1: I may have to go back to Texas if this

504
00:22:56,960 --> 00:22:59,760
Speaker 1: doesn't work, because the label side doesn't want me to

505
00:23:00,119 --> 00:23:08,680
Speaker 1: not working working out for me. What was the first

506
00:23:08,680 --> 00:23:11,080
Speaker 1: one that you wrote? They kind of got a little

507
00:23:11,119 --> 00:23:12,679
Speaker 1: play and you're like, oh, maybe I can do this,

508
00:23:12,760 --> 00:23:14,360
Speaker 1: Like I got a little bit of radio cut, well

509
00:23:14,400 --> 00:23:17,359
Speaker 1: not radio play, the first cut that made me think

510
00:23:17,800 --> 00:23:20,240
Speaker 1: maybe this won't be as bad as hard as I think.

511
00:23:20,280 --> 00:23:22,800
Speaker 1: I got one on the My Town record for Montgomery Genter,

512
00:23:22,840 --> 00:23:24,879
Speaker 1: but it was just now I'm cut. But if you

513
00:23:24,880 --> 00:23:27,720
Speaker 1: want to bring Dirk Spentley into this. I mean, that's

514
00:23:27,720 --> 00:23:32,520
Speaker 1: what just absolutely saved me. Derk's I had met because

515
00:23:32,560 --> 00:23:35,600
Speaker 1: he was a newly signed artist on Capitol and so

516
00:23:35,680 --> 00:23:38,360
Speaker 1: he hadn't come out yet. And I had met him

517
00:23:38,359 --> 00:23:40,840
Speaker 1: not only at the label, but my brother was writing

518
00:23:40,840 --> 00:23:43,720
Speaker 1: songs with him is and and my brother ended up

519
00:23:43,720 --> 00:23:46,000
Speaker 1: being a producer for like the first if I think,

520
00:23:46,000 --> 00:23:50,520
Speaker 1: four records. But so Dirk Snod just like guys, kind

521
00:23:50,560 --> 00:23:52,520
Speaker 1: of became buddies and went to lunch a few times,

522
00:23:52,520 --> 00:23:54,480
Speaker 1: and then all of a sudden he got a record deal,

523
00:23:54,640 --> 00:23:57,359
Speaker 1: and and I was I think I was still working

524
00:23:57,400 --> 00:24:02,600
Speaker 1: at Capitol, and we I said, you know, I don't

525
00:24:02,600 --> 00:24:05,040
Speaker 1: know if you know, man, but I'm writing songs too.

526
00:24:05,080 --> 00:24:07,359
Speaker 1: Oh really really a label? Gay it write songs or whatever?

527
00:24:07,440 --> 00:24:11,960
Speaker 1: And we wrote one day, we wrote one song. He

528
00:24:12,040 --> 00:24:15,280
Speaker 1: ended up cutting it, which is asking any songwriter, they'll

529
00:24:15,320 --> 00:24:17,440
Speaker 1: be like, I gotta write thirty songs to get one. Anyway,

530
00:24:17,480 --> 00:24:19,920
Speaker 1: we wrote one day, we wrote one song. He caught

531
00:24:19,920 --> 00:24:22,240
Speaker 1: it and then it was a single and it was

532
00:24:22,280 --> 00:24:26,560
Speaker 1: a hit, and it literally saved saved me and my family,

533
00:24:26,840 --> 00:24:28,439
Speaker 1: you know, and it gave me I didn't have a

534
00:24:28,440 --> 00:24:30,600
Speaker 1: publishing deal. I could not get a publishing deal in town,

535
00:24:31,280 --> 00:24:33,439
Speaker 1: and so, um, what was the song? It's called how

536
00:24:33,480 --> 00:24:37,120
Speaker 1: am I doing? And uh I even wrote it under

537
00:24:37,160 --> 00:24:39,320
Speaker 1: a pseudonym because I was still at the label. I

538
00:24:39,320 --> 00:24:42,359
Speaker 1: wrote it under a name called writer X. And it

539
00:24:42,440 --> 00:24:44,960
Speaker 1: really piste off a lot of people in town because

540
00:24:45,680 --> 00:24:48,200
Speaker 1: they just, uh, piste off man, I'll be the right word.

541
00:24:48,280 --> 00:24:51,200
Speaker 1: It created a lot of interest and it peaked a

542
00:24:51,200 --> 00:24:53,119
Speaker 1: lot of people's curiosity of like, we all try so

543
00:24:53,160 --> 00:24:54,640
Speaker 1: hard to get our names from songs and then there's

544
00:24:54,680 --> 00:24:57,440
Speaker 1: somebody who's using an assume name and who is it

545
00:24:57,600 --> 00:25:00,800
Speaker 1: and all this stuff. So it was fun. It was

546
00:25:00,920 --> 00:25:03,560
Speaker 1: a talking point for Dirks and it wasn't that well

547
00:25:03,640 --> 00:25:06,480
Speaker 1: kept in the secret. But like Red Solo Cup, you know,

548
00:25:07,440 --> 00:25:10,040
Speaker 1: fifteen seventeen years later, as somebody still called me writer

549
00:25:10,320 --> 00:25:12,159
Speaker 1: X every week, they just thought it was funny that

550
00:25:12,280 --> 00:25:14,399
Speaker 1: somebody did that. So this song you wrote this on

551
00:25:14,440 --> 00:25:15,879
Speaker 1: where did they? Where did they hit? You remember? Got

552
00:25:16,000 --> 00:25:19,160
Speaker 1: number four? Really yeah? And it was the first song

553
00:25:19,200 --> 00:25:22,720
Speaker 1: you wrote like with dirts with dirt pers and uh yeah,

554
00:25:22,880 --> 00:25:25,720
Speaker 1: So does that open up other doors with Dirks? Specifically,

555
00:25:25,840 --> 00:25:28,080
Speaker 1: like if you have a hit with Dirk's top five song,

556
00:25:28,480 --> 00:25:30,080
Speaker 1: does he go, hey, we should get back together right

557
00:25:30,119 --> 00:25:32,200
Speaker 1: some more? Well with him, it did because we were

558
00:25:32,400 --> 00:25:34,639
Speaker 1: we were and our friends, you know, we have an

559
00:25:34,680 --> 00:25:38,480
Speaker 1: actual real relationship and um, so yeah we then then

560
00:25:38,720 --> 00:25:40,760
Speaker 1: I mean he went out and killed the road, like

561
00:25:40,880 --> 00:25:43,160
Speaker 1: he was gone two or fifty days a year. But

562
00:25:43,240 --> 00:25:45,800
Speaker 1: you know it started writing regularly, oh and making me right.

563
00:25:45,880 --> 00:25:47,719
Speaker 1: And it wasn't like we were writing every week, but

564
00:25:48,200 --> 00:25:50,360
Speaker 1: you know, I would try to come up with ideas

565
00:25:50,359 --> 00:25:53,239
Speaker 1: for him, and when he could squeeze a day in

566
00:25:53,280 --> 00:25:56,320
Speaker 1: with me, we would write and and you know, he's

567
00:25:56,680 --> 00:26:00,359
Speaker 1: he's been the biggest factor of my career, you know,

568
00:26:00,400 --> 00:26:03,040
Speaker 1: to this to this date, and we're still great friends.

569
00:26:03,080 --> 00:26:05,399
Speaker 1: And I've he's cut you know, a bunch of songs

570
00:26:05,400 --> 00:26:08,000
Speaker 1: of mine and for other artists. A lot of times

571
00:26:08,040 --> 00:26:09,760
Speaker 1: it's you know a lot of these other songs you played.

572
00:26:09,800 --> 00:26:12,720
Speaker 1: I don't meet the artists until the number one party,

573
00:26:12,800 --> 00:26:14,399
Speaker 1: like you know, it just got played for them and

574
00:26:14,440 --> 00:26:17,000
Speaker 1: they liked it, and then they cut it and you

575
00:26:17,080 --> 00:26:18,639
Speaker 1: just had the right song at the right time. So

576
00:26:18,880 --> 00:26:21,680
Speaker 1: the relationship really wasn't there. And sometimes you get one

577
00:26:21,720 --> 00:26:23,359
Speaker 1: with him and sometimes you don't see him again. So

578
00:26:23,600 --> 00:26:25,600
Speaker 1: it's kind of weird. What was the one where you're like, oh,

579
00:26:25,600 --> 00:26:27,679
Speaker 1: I can't believe that artist has decided to cut my song, Like,

580
00:26:27,720 --> 00:26:29,640
Speaker 1: of all the artists, that's really weird that they they're

581
00:26:29,640 --> 00:26:33,560
Speaker 1: the one who liked that song. Yeah, well besides Tobey

582
00:26:33,600 --> 00:26:38,399
Speaker 1: Keith cutting, anybody cutting red solo cup um? Uh? Josh

583
00:26:38,400 --> 00:26:41,000
Speaker 1: Turner cutting? Uh? Why don't we just dance? I didn't

584
00:26:41,000 --> 00:26:42,920
Speaker 1: know him, and I thought it was a great song.

585
00:26:42,960 --> 00:26:44,640
Speaker 1: I didn't. I do remember thinking, I said, I think

586
00:26:44,640 --> 00:26:46,199
Speaker 1: this would be a really big song of somebody, and

587
00:26:46,240 --> 00:26:48,200
Speaker 1: he was the perfect artist to do it, and and

588
00:26:48,320 --> 00:26:49,960
Speaker 1: but I didn't realize until I heard him singing it.

589
00:26:50,000 --> 00:26:56,000
Speaker 1: I was like, dude, that say, it's like you didn't know. No,

590
00:26:56,000 --> 00:27:00,399
Speaker 1: now here's the question. After you Josh Turner or Luke

591
00:27:00,640 --> 00:27:03,399
Speaker 1: or even like Eastern Corbin, after you have a hit

592
00:27:03,440 --> 00:27:05,879
Speaker 1: with these artists, then do you like exchange cellphone numbers

593
00:27:05,880 --> 00:27:07,240
Speaker 1: and can text them any time? Or is it just

594
00:27:07,280 --> 00:27:09,639
Speaker 1: kind of like hello goodbye? Um? It can be a

595
00:27:09,680 --> 00:27:12,560
Speaker 1: little both. It depends on my experience has been. It

596
00:27:12,600 --> 00:27:14,440
Speaker 1: depends on where they are in their career. If it's

597
00:27:14,520 --> 00:27:17,840
Speaker 1: Luke and he's already Luke Brian and and you know,

598
00:27:17,920 --> 00:27:20,000
Speaker 1: he's just got people coming out of the woodwork trying

599
00:27:20,000 --> 00:27:24,320
Speaker 1: to write with him or get him songs, and and uh,

600
00:27:24,520 --> 00:27:27,040
Speaker 1: it's only natural that these people are gonna have a

601
00:27:27,080 --> 00:27:29,480
Speaker 1: little bit of a more closed circle. It's not like, well,

602
00:27:29,520 --> 00:27:32,480
Speaker 1: he heard a song you wrote, so now you're you know, hunting, fishing,

603
00:27:32,560 --> 00:27:36,800
Speaker 1: loving every day with him or something. So, um, it's

604
00:27:36,880 --> 00:27:38,919
Speaker 1: usually more like that. If you're coming around later in

605
00:27:38,920 --> 00:27:41,199
Speaker 1: life and they're just hearing a song, you're you know,

606
00:27:41,359 --> 00:27:42,960
Speaker 1: you may have a little bit more of an open

607
00:27:42,960 --> 00:27:45,480
Speaker 1: door to them. But I've never had another Luke Bryant cut,

608
00:27:45,640 --> 00:27:47,439
Speaker 1: you know, I've never had a j Sharner cut. Do

609
00:27:47,440 --> 00:27:49,720
Speaker 1: you have Josh on her cellphone number? I think I do.

610
00:27:49,720 --> 00:27:52,520
Speaker 1: Do you have Luke Bryan's No, I text them today?

611
00:27:52,520 --> 00:27:55,320
Speaker 1: You want to just saying it on the air, and

612
00:27:55,359 --> 00:27:58,000
Speaker 1: already did. Yeah, can you imagine that? Pistic? I have

613
00:27:58,040 --> 00:27:59,760
Speaker 1: a Luke on my phone three different times I text

614
00:27:59,800 --> 00:28:01,399
Speaker 1: the two people that aren't Luke anymore because I have

615
00:28:01,440 --> 00:28:03,959
Speaker 1: it as Luke Luke Bran New and Luke bran New

616
00:28:04,000 --> 00:28:07,919
Speaker 1: Real And so I stop taking your number. You're not famous.

617
00:28:08,600 --> 00:28:11,600
Speaker 1: Chase you around the most famous guy in our format? Um,

618
00:28:11,760 --> 00:28:14,199
Speaker 1: how about Gary Allen. Do you have a number? I

619
00:28:14,240 --> 00:28:16,240
Speaker 1: have Gary Allen's number. I've written with him a couple

620
00:28:16,240 --> 00:28:19,240
Speaker 1: of times since Watching Airplanes. Yeah, here's the Watching Airplanes,

621
00:28:19,240 --> 00:28:21,600
Speaker 1: which peaked at number two, the most frustrating. It actually

622
00:28:21,640 --> 00:28:24,000
Speaker 1: got number one on one chart. Yeah, that's the charted them.

623
00:28:24,200 --> 00:28:26,600
Speaker 1: I thought that all chart. I call it another do

624
00:28:26,680 --> 00:28:29,480
Speaker 1: you say my first number one? Of course it was

625
00:28:29,560 --> 00:28:32,199
Speaker 1: number one. I would contest that I would raise if

626
00:28:32,200 --> 00:28:34,720
Speaker 1: I was in the crowd. But excuse me, sir, songwriters,

627
00:28:34,840 --> 00:28:37,000
Speaker 1: like if you sniffed it if it was number if

628
00:28:37,040 --> 00:28:39,120
Speaker 1: it was number one for you know half of course

629
00:28:39,160 --> 00:28:42,200
Speaker 1: on Saturday night the canail. That's fair. Now here's what

630
00:28:42,280 --> 00:28:44,520
Speaker 1: I say. I have a kid's song that went number

631
00:28:44,560 --> 00:28:46,760
Speaker 1: one on like three different charts. There's not really a

632
00:28:46,840 --> 00:28:50,320
Speaker 1: kid's official chart though. Then there's like it was number

633
00:28:50,320 --> 00:28:52,880
Speaker 1: one iTunes for two weeks. It was number one on

634
00:28:52,880 --> 00:28:56,200
Speaker 1: the Disney Airplay number one, right, so I guess that counts.

635
00:28:56,360 --> 00:28:59,200
Speaker 1: I can't make funny any chart. It's my mom's favorite.

636
00:28:59,200 --> 00:29:03,560
Speaker 1: It's my mom's number one number one. This was a

637
00:29:03,680 --> 00:29:06,080
Speaker 1: jam though this a jam, still a jam. Yeah, they

638
00:29:06,080 --> 00:29:09,440
Speaker 1: still play the crap out of the song. Um, it's

639
00:29:09,440 --> 00:29:11,280
Speaker 1: so it's it's that's one of my favorite songs I've

640
00:29:11,280 --> 00:29:13,320
Speaker 1: ever had out. Did you write that with him? No?

641
00:29:13,400 --> 00:29:16,840
Speaker 1: I wrote it with Jonathan Singleton and so, but then

642
00:29:16,880 --> 00:29:18,720
Speaker 1: you when you wrote with him afterwards, you and Gary

643
00:29:18,720 --> 00:29:22,200
Speaker 1: wrote another songs, not until it's probably six or seven

644
00:29:22,320 --> 00:29:25,160
Speaker 1: years after that. Really, Yeah, well that's kind of while

645
00:29:25,760 --> 00:29:28,560
Speaker 1: you become friends way later when you're not even connected. Yeah,

646
00:29:28,760 --> 00:29:31,520
Speaker 1: you know, it's just it. I don't know, I'm you know,

647
00:29:31,680 --> 00:29:34,080
Speaker 1: some of these some of these writers are like their

648
00:29:34,120 --> 00:29:37,080
Speaker 1: best buddies with everybody, and they're they're they're hitting them up.

649
00:29:37,120 --> 00:29:40,480
Speaker 1: And then I don't know if I'm just not that

650
00:29:40,560 --> 00:29:42,080
Speaker 1: kind of person or if I don't know how to

651
00:29:42,080 --> 00:29:44,320
Speaker 1: do it. I'm definitely not very good at it. I

652
00:29:44,320 --> 00:29:48,880
Speaker 1: don't I don't really get in always. I'd like to think, man,

653
00:29:48,920 --> 00:29:50,520
Speaker 1: if if they like my song, they like my song,

654
00:29:50,600 --> 00:29:52,280
Speaker 1: and that ought to be good enough. But I'm not

655
00:29:52,320 --> 00:29:55,760
Speaker 1: real good at working it. But but yeah, you do,

656
00:29:55,880 --> 00:29:57,840
Speaker 1: you'll run into them, and like I said, there may

657
00:29:57,880 --> 00:29:59,960
Speaker 1: be an open door, like, hey, Gary, you should listen

658
00:30:00,000 --> 00:30:03,280
Speaker 1: a song this guy wrote watching you know. Maybe that's

659
00:30:03,280 --> 00:30:05,320
Speaker 1: as far as it goes. I don't know, Billy Currington,

660
00:30:05,360 --> 00:30:07,360
Speaker 1: you have his number. I don't think I'm gonna say

661
00:30:07,360 --> 00:30:09,560
Speaker 1: no to that one. Yeah, you're feeling at the way

662
00:30:09,560 --> 00:30:11,120
Speaker 1: I'm I'm feeling a note because I know Billy a

663
00:30:11,160 --> 00:30:14,400
Speaker 1: little bit and I like Billy, but I don't have

664
00:30:14,440 --> 00:30:16,400
Speaker 1: Billy's number. And once Billy comes up and he brought

665
00:30:16,440 --> 00:30:18,520
Speaker 1: to do a piece paper and he goes, writes this

666
00:30:18,560 --> 00:30:20,600
Speaker 1: thing down, it's right, and then he folds it up.

667
00:30:21,000 --> 00:30:23,480
Speaker 1: He takes my hand and he shoves it in my

668
00:30:23,520 --> 00:30:26,040
Speaker 1: hand and then shuts my hand. It goes it's for you,

669
00:30:26,440 --> 00:30:29,600
Speaker 1: And I'm like, what what is this? Is a Billy art?

670
00:30:29,680 --> 00:30:31,960
Speaker 1: Is it a Billy original? And I opened it up

671
00:30:31,960 --> 00:30:33,400
Speaker 1: and it wasn't even his cell phone number. It was

672
00:30:33,440 --> 00:30:36,280
Speaker 1: his email address. He put his email down and was like,

673
00:30:36,600 --> 00:30:38,760
Speaker 1: hit me up, we'll go surfing, whan I never served

674
00:30:38,800 --> 00:30:41,200
Speaker 1: in my life. And too, he didn't write a cell

675
00:30:41,200 --> 00:30:42,640
Speaker 1: phone number down, which was weird. So I felt like

676
00:30:42,640 --> 00:30:44,400
Speaker 1: he didn't give a cell phone number out. Maybe he

677
00:30:44,400 --> 00:30:47,360
Speaker 1: doesn't have a phone dot com address. I do think

678
00:30:47,360 --> 00:30:48,840
Speaker 1: it was kind of an old school address though it

679
00:30:48,920 --> 00:30:51,280
Speaker 1: was like it was like a Yahoo. Maybe that was

680
00:30:51,360 --> 00:30:53,280
Speaker 1: the artist version of the girl in the bar that

681
00:30:53,360 --> 00:30:54,800
Speaker 1: doesn't want to give you a real maybe, But I

682
00:30:54,840 --> 00:30:57,600
Speaker 1: didn't ask for it. I didn't ask for anything. Yeah,

683
00:30:57,600 --> 00:31:00,200
Speaker 1: he volunteered it. You wrote, don't here you go, here's

684
00:31:00,200 --> 00:31:07,480
Speaker 1: Billy Carrington. Dun't this? Do you count? This is the

685
00:31:07,560 --> 00:31:10,280
Speaker 1: number one? That was the number one? He did too?

686
00:31:10,440 --> 00:31:13,200
Speaker 1: What chart you looking at? Man? I count it as

687
00:31:13,240 --> 00:31:14,840
Speaker 1: a number one? Okay? Then number one it is, because

688
00:31:14,840 --> 00:31:16,840
Speaker 1: at that time there were two charts. There's Billboard and

689
00:31:16,880 --> 00:31:19,520
Speaker 1: air check. If either one of them got number one,

690
00:31:19,560 --> 00:31:21,680
Speaker 1: we were throwing part I'll tell you this. I went

691
00:31:21,720 --> 00:31:23,240
Speaker 1: to a number one party for that song, and I

692
00:31:23,280 --> 00:31:25,160
Speaker 1: went to number one party for watching airplanes. So if

693
00:31:25,160 --> 00:31:26,840
Speaker 1: that don't mean number one, I don't know what I

694
00:31:26,840 --> 00:31:28,840
Speaker 1: mean number ones? Do you have nine? Nine? Okay that

695
00:31:28,920 --> 00:31:32,800
Speaker 1: I know of? Oh no, that's kids. Sorry Eastern Corman.

696
00:31:32,880 --> 00:31:35,160
Speaker 1: Loving you was fun? Oh it is, isn't it fun?

697
00:31:35,880 --> 00:31:38,680
Speaker 1: Is this the number one? That's a four? Don't you

698
00:31:38,720 --> 00:31:42,640
Speaker 1: sound like a four? Apparently there's like some station that

699
00:31:42,680 --> 00:31:44,600
Speaker 1: refuses to play him, so he can never have a

700
00:31:44,680 --> 00:31:47,520
Speaker 1: number one. I'm probably did divulging thing. No, but you

701
00:31:47,560 --> 00:31:49,880
Speaker 1: know that's a thing where some people just won't play

702
00:31:49,880 --> 00:31:52,360
Speaker 1: certain people that they really pissed him off. That might

703
00:31:52,400 --> 00:31:54,680
Speaker 1: have happened with him, which is detriment. There's a few

704
00:31:55,360 --> 00:31:58,600
Speaker 1: like big Time. Yeah, there's a few world and now

705
00:31:58,720 --> 00:32:00,520
Speaker 1: it's I've called a few of them out publicly and

706
00:32:00,520 --> 00:32:02,239
Speaker 1: they stopped doing that a little bit good. Where I've

707
00:32:02,280 --> 00:32:04,560
Speaker 1: been like, hey, and what will happen is you go,

708
00:32:04,640 --> 00:32:07,800
Speaker 1: I'm just gonna say, hey, John Smith, not a person

709
00:32:07,840 --> 00:32:10,400
Speaker 1: in Houston is a city, but not one I'm referring to.

710
00:32:10,840 --> 00:32:13,560
Speaker 1: I hear that you're not playing certain artists on the air.

711
00:32:14,000 --> 00:32:16,000
Speaker 1: Let's not make that a thing. And usually if they

712
00:32:16,040 --> 00:32:18,320
Speaker 1: know somebody knows and we'll call them out, they'll stop

713
00:32:18,360 --> 00:32:21,840
Speaker 1: doing Wow the Bobby Bone shame play. I like it. Well,

714
00:32:21,880 --> 00:32:27,120
Speaker 1: you just shouldn't penalize art if you don't love the artist,

715
00:32:27,200 --> 00:32:29,400
Speaker 1: and your job is to share, like that's that's your job.

716
00:32:29,880 --> 00:32:32,240
Speaker 1: It's some one that's researching. Don't let your personal beliefs

717
00:32:32,600 --> 00:32:35,000
Speaker 1: hold back what you think would be best for your station.

718
00:32:35,200 --> 00:32:37,080
Speaker 1: But yeah, I've heard that, not about Easton, but about

719
00:32:37,080 --> 00:32:39,440
Speaker 1: a couple of people. I'm pretty sure it's the case

720
00:32:39,520 --> 00:32:42,840
Speaker 1: with him or it was Chris Stabled and Parachute. Yes

721
00:32:42,920 --> 00:32:45,680
Speaker 1: you wrote that with Chris, do you? Because she's write

722
00:32:45,680 --> 00:32:48,160
Speaker 1: regular right now? We did, We wrote very regularly for

723
00:32:48,280 --> 00:32:51,360
Speaker 1: um for a few years, for several years, like every

724
00:32:51,400 --> 00:32:53,040
Speaker 1: you know, one of those usually if you have like

725
00:32:53,160 --> 00:32:55,400
Speaker 1: what we call a standing appointment, it will be every

726
00:32:55,400 --> 00:32:58,680
Speaker 1: two weeks or every month. You know, you'll where every

727
00:32:58,680 --> 00:33:01,160
Speaker 1: other Wednesday or where the first tuesdays every month. You know,

728
00:33:01,160 --> 00:33:03,280
Speaker 1: when you go look at your calendar that way, you

729
00:33:03,320 --> 00:33:06,360
Speaker 1: know you've got you've got the appointments coming up. So

730
00:33:06,400 --> 00:33:08,200
Speaker 1: you can kind of get in a groove with somebody

731
00:33:08,360 --> 00:33:10,520
Speaker 1: if you if you enjoy writing with them, or if

732
00:33:10,560 --> 00:33:12,280
Speaker 1: you do well with them, and you know, if you

733
00:33:12,280 --> 00:33:14,040
Speaker 1: don't finish the song that day, all right, we'll get

734
00:33:14,040 --> 00:33:16,600
Speaker 1: it next time. Or so christ did write a lot

735
00:33:17,080 --> 00:33:20,280
Speaker 1: regularly for for years. I was looking at the hoodie

736
00:33:21,200 --> 00:33:23,160
Speaker 1: track list because I love Darius, has been prints with

737
00:33:23,200 --> 00:33:25,920
Speaker 1: Darius since I was seventeen. My first ever radio and

738
00:33:25,960 --> 00:33:28,920
Speaker 1: you met him. I listened to your book. Yeah, oh thanks, Yeah,

739
00:33:29,400 --> 00:33:32,920
Speaker 1: that's my dude. Right, So, like we through format changes

740
00:33:33,120 --> 00:33:36,120
Speaker 1: and you know, we've kind of bounced around, and um,

741
00:33:36,160 --> 00:33:38,440
Speaker 1: so I'm a huge hoodie fan. And I was looking

742
00:33:38,480 --> 00:33:40,640
Speaker 1: at the songwriter listening and I see you and Chris

743
00:33:40,680 --> 00:33:43,600
Speaker 1: Stapleton wrote one of the Hoodie songs. I think maybe

744
00:33:44,120 --> 00:33:46,840
Speaker 1: the only one or maybe two that weren't written by

745
00:33:46,880 --> 00:33:49,360
Speaker 1: hooting the Blowfish. I saw the track listening. I think

746
00:33:49,360 --> 00:33:52,560
Speaker 1: it is the only one that that that Hoodie or

747
00:33:52,560 --> 00:33:54,560
Speaker 1: a Blowfish was not on. And I don't have the

748
00:33:54,560 --> 00:33:58,080
Speaker 1: clip because it's not out yet. But how does that?

749
00:33:58,400 --> 00:34:00,000
Speaker 1: First of all, how long go to during christ Depton? Right?

750
00:34:00,040 --> 00:34:03,200
Speaker 1: That song? That song is called hold On and it's

751
00:34:03,240 --> 00:34:07,120
Speaker 1: probably four years old? Yeah, And how does this song

752
00:34:07,200 --> 00:34:09,799
Speaker 1: last for four years and then get to somebody? Well,

753
00:34:09,880 --> 00:34:12,800
Speaker 1: if you want know the specific story about that song. Um,

754
00:34:12,840 --> 00:34:16,600
Speaker 1: I was meeting with um Brian Wright, who is the

755
00:34:16,640 --> 00:34:19,320
Speaker 1: head of A and R at Universal Records, and they're

756
00:34:19,320 --> 00:34:22,920
Speaker 1: the people who are in charge of signing new artists

757
00:34:22,920 --> 00:34:25,960
Speaker 1: and kind of overseeing recording projects. I was meeting with

758
00:34:26,040 --> 00:34:30,160
Speaker 1: him probably four months ago about a completely unrelated thing,

759
00:34:31,160 --> 00:34:33,120
Speaker 1: and at the end of the conversation, he goes, man,

760
00:34:33,120 --> 00:34:34,880
Speaker 1: do you have anything for who you need to blowfish?

761
00:34:34,920 --> 00:34:37,080
Speaker 1: He said, I just got just we're having a hard time.

762
00:34:37,160 --> 00:34:39,359
Speaker 1: Just find it just the perfect thing for them. They're

763
00:34:39,360 --> 00:34:41,840
Speaker 1: writing some good stuff, but we're just looking for something.

764
00:34:42,040 --> 00:34:44,360
Speaker 1: And I said, I actually have something I think we

765
00:34:44,480 --> 00:34:46,320
Speaker 1: perform and I played it for him right there. He

766
00:34:46,360 --> 00:34:50,080
Speaker 1: already knew the song because he works with Stapleton, and

767
00:34:50,320 --> 00:34:52,040
Speaker 1: you know, he just kind of lit up. He goes,

768
00:34:52,440 --> 00:34:54,160
Speaker 1: that's it. He said, that's the best one I've heard.

769
00:34:54,160 --> 00:34:55,719
Speaker 1: That's it, and then they ended up cutting it. So

770
00:34:56,200 --> 00:34:58,600
Speaker 1: I was just if he hadn't brought that up to

771
00:34:58,640 --> 00:35:00,640
Speaker 1: me that thought, you wouldn't be missing that song right now.

772
00:35:00,719 --> 00:35:02,279
Speaker 1: That's how weird the business, and you know how weird

773
00:35:02,320 --> 00:35:04,520
Speaker 1: this business city. It's a little thing like that can

774
00:35:04,680 --> 00:35:07,800
Speaker 1: make or break, and a song can be recorded not recorded.

775
00:35:07,840 --> 00:35:10,279
Speaker 1: It was literally in passing at the end of a meeting,

776
00:35:10,360 --> 00:35:12,319
Speaker 1: he said, I'm looking for something, and I just happen

777
00:35:12,320 --> 00:35:14,920
Speaker 1: to think of that one song. So so if anybody

778
00:35:14,920 --> 00:35:16,840
Speaker 1: at any time goes, hey, I need that song for

779
00:35:16,840 --> 00:35:18,960
Speaker 1: Slean Dion and you really don't have one, but you

780
00:35:18,960 --> 00:35:20,640
Speaker 1: have a bunch of songs, like of course, here's you

781
00:35:20,680 --> 00:35:22,120
Speaker 1: go and just pick one of them up play it.

782
00:35:23,560 --> 00:35:25,560
Speaker 1: I would only do that if I really didn't think

783
00:35:25,560 --> 00:35:27,239
Speaker 1: I have I wouldn't have said that to Brian if

784
00:35:27,280 --> 00:35:29,359
Speaker 1: I didn't honestly believe I had a song that they

785
00:35:29,400 --> 00:35:31,799
Speaker 1: would do very well, because that's now you're talking about

786
00:35:31,800 --> 00:35:34,320
Speaker 1: your credibility, right And if you and if you have

787
00:35:34,440 --> 00:35:37,520
Speaker 1: that one shot with somebody and you play them a

788
00:35:37,520 --> 00:35:40,320
Speaker 1: piece of crowd, then then they may not ask again.

789
00:35:40,440 --> 00:35:43,480
Speaker 1: So that specific song you're talking about, who Neian Bluefish

790
00:35:43,680 --> 00:35:46,240
Speaker 1: has always been one of my most favorite uncut songs.

791
00:35:46,239 --> 00:35:48,800
Speaker 1: So I have no I have no problem selling the

792
00:35:48,880 --> 00:35:50,640
Speaker 1: song if I really really believe it. And there's not

793
00:35:50,680 --> 00:35:52,480
Speaker 1: that many I really really believe in, but that's one

794
00:35:52,760 --> 00:35:54,920
Speaker 1: for sure. So I don't know. If I if I

795
00:35:55,080 --> 00:35:58,799
Speaker 1: probably wouldn't have a slingdon songs be honest and yeah

796
00:35:58,920 --> 00:36:00,760
Speaker 1: that we'll go back to drinking here for a second.

797
00:36:01,160 --> 00:36:04,080
Speaker 1: Uh did you is that a U and stable toon track? Correct?

798
00:36:04,280 --> 00:36:10,360
Speaker 1: Because stables and singing right? And so they didn't invite

799
00:36:10,400 --> 00:36:12,160
Speaker 1: me to come in that day. I don't know. Maybe

800
00:36:12,200 --> 00:36:15,160
Speaker 1: they gave me the wrong studio. You probably displaced. I

801
00:36:15,160 --> 00:36:16,640
Speaker 1: get a lot of invites that don't actually get to

802
00:36:16,640 --> 00:36:18,200
Speaker 1: me too, like, oh, we meant that, I'm gonna go

803
00:36:18,200 --> 00:36:19,440
Speaker 1: with that one of that, I want to go with that.

804
00:36:19,520 --> 00:36:22,440
Speaker 1: What's what's the story in this song? Um? This is

805
00:36:22,480 --> 00:36:25,239
Speaker 1: another one where UM I was sitting on my back

806
00:36:25,280 --> 00:36:29,640
Speaker 1: porch smoking a cigar, playing my guitar, and um, I

807
00:36:30,160 --> 00:36:33,680
Speaker 1: remember that that the chorus came to me um or,

808
00:36:33,719 --> 00:36:37,040
Speaker 1: as writers like to say, God whispered it in my ear? Bobby,

809
00:36:37,160 --> 00:36:38,720
Speaker 1: do you like that? Is that a little more poetic?

810
00:36:39,840 --> 00:36:42,560
Speaker 1: You're not good nut going there? Okay, I think people

811
00:36:42,960 --> 00:36:45,520
Speaker 1: if you really feel that way. Um, I don't feel

812
00:36:45,560 --> 00:36:47,640
Speaker 1: like God's ever whispered a song in my I don't

813
00:36:47,640 --> 00:36:49,640
Speaker 1: feel like he has a mine. I don't know why,

814
00:36:49,680 --> 00:36:54,000
Speaker 1: but that that course came to me, um and in

815
00:36:54,080 --> 00:36:56,160
Speaker 1: its form, which is the four lines, you know, I'm

816
00:36:56,200 --> 00:36:57,680
Speaker 1: gonna sit right here on the ed this beer and

817
00:36:57,680 --> 00:36:59,919
Speaker 1: watch the sunset disappeared? Do you like to run pier

818
00:37:00,120 --> 00:37:04,719
Speaker 1: with beer and drink a beer? And so, I don't

819
00:37:04,719 --> 00:37:06,879
Speaker 1: know why it happened. It was with that guitar. There's

820
00:37:06,880 --> 00:37:09,680
Speaker 1: a picture in here I'm pointing to and um, I

821
00:37:09,719 --> 00:37:11,160
Speaker 1: put it on my phone. I was like, I kind

822
00:37:11,160 --> 00:37:13,239
Speaker 1: of like the sound of that. And then Chris and

823
00:37:13,280 --> 00:37:16,640
Speaker 1: I were getting together, and you know, like all writing appointments,

824
00:37:16,640 --> 00:37:18,680
Speaker 1: you kind of just start staring at each other and like,

825
00:37:18,719 --> 00:37:20,600
Speaker 1: you got anything. I don't know any anything, And I said, man,

826
00:37:20,640 --> 00:37:21,960
Speaker 1: I got this little thing. I only know it did,

827
00:37:22,000 --> 00:37:23,799
Speaker 1: and I'm played him the chorus and he remember he

828
00:37:23,880 --> 00:37:27,360
Speaker 1: laughed because how long I waited before I went Andrea

829
00:37:27,480 --> 00:37:30,240
Speaker 1: keo beer. He just thought it was funny. That's really long. Pause.

830
00:37:30,320 --> 00:37:33,320
Speaker 1: I said, I know, I know it's long, but it works,

831
00:37:33,360 --> 00:37:37,320
Speaker 1: you know. He said, it did work. And Uh, that song,

832
00:37:37,680 --> 00:37:44,239
Speaker 1: you know, has been another crazy learning experience for me because, um,

833
00:37:44,360 --> 00:37:46,080
Speaker 1: that song means a whole lot to a whole lot

834
00:37:46,080 --> 00:37:49,120
Speaker 1: of people. I will play a show and I'll play

835
00:37:49,160 --> 00:37:51,480
Speaker 1: that song, and invariably somebody will come up and say,

836
00:37:51,520 --> 00:37:54,320
Speaker 1: oh my gosh, that we played that at my grandfather's funeral,

837
00:37:54,520 --> 00:37:57,359
Speaker 1: or that was my's Usually somebody they've lost, you know,

838
00:37:58,160 --> 00:38:01,319
Speaker 1: which is is is powerful thing to hear as a

839
00:38:01,320 --> 00:38:04,920
Speaker 1: as a writer, and and to me, the weird story is,

840
00:38:05,000 --> 00:38:06,680
Speaker 1: you know, we had the chorus which if you listen

841
00:38:06,680 --> 00:38:08,680
Speaker 1: to the chorus, there's no context to it. It doesn't

842
00:38:08,680 --> 00:38:10,960
Speaker 1: say why this person is doing what they're doing. It's

843
00:38:11,000 --> 00:38:15,279
Speaker 1: just four lines, right. And so it was like Chris

844
00:38:15,280 --> 00:38:17,040
Speaker 1: and I knew the answer to the problem, to the

845
00:38:17,080 --> 00:38:18,600
Speaker 1: math question. Then we had to go figure out what

846
00:38:18,600 --> 00:38:20,920
Speaker 1: the actual problem was, and we tried a lot of

847
00:38:20,920 --> 00:38:22,560
Speaker 1: different ways to get what we thought it at all.

848
00:38:22,600 --> 00:38:24,279
Speaker 1: Maybe you just quit his job and it's kind of

849
00:38:24,280 --> 00:38:26,640
Speaker 1: a fun I'm gonna sit out here and we tried

850
00:38:26,719 --> 00:38:29,000
Speaker 1: and it never felt right, never felt right, never felt right,

851
00:38:29,920 --> 00:38:31,680
Speaker 1: And we tried a lot. I remember, we tried a

852
00:38:31,719 --> 00:38:33,919
Speaker 1: lot of different ways. And then I don't know which

853
00:38:33,920 --> 00:38:36,600
Speaker 1: one of us in the room it man, what if

854
00:38:36,600 --> 00:38:38,799
Speaker 1: the what if that person used to go do this

855
00:38:38,840 --> 00:38:42,200
Speaker 1: with somebody they just lost And then it just everything clicked,

856
00:38:42,520 --> 00:38:45,120
Speaker 1: just because we kept trying and kept trying, and the

857
00:38:45,200 --> 00:38:47,640
Speaker 1: song was there. And uh, did anyone else put that

858
00:38:47,640 --> 00:38:51,120
Speaker 1: song on hold before Luke got it? No? Um, it

859
00:38:51,160 --> 00:38:53,359
Speaker 1: was out for a while before before before we cut it.

860
00:38:53,440 --> 00:38:55,600
Speaker 1: I mean it was probably in town for six months

861
00:38:55,640 --> 00:38:58,640
Speaker 1: or a year. And then Jeff Stevens, his producer, heard

862
00:38:58,640 --> 00:39:01,040
Speaker 1: it and said, I think Luke would love that song.

863
00:39:01,480 --> 00:39:03,920
Speaker 1: And again it's another case where the song is just

864
00:39:04,000 --> 00:39:06,560
Speaker 1: a song, but then you match it with Luke and

865
00:39:06,640 --> 00:39:10,080
Speaker 1: Luke story and now it's the thing. And so again,

866
00:39:10,120 --> 00:39:12,200
Speaker 1: as a writer, you don't control that. It's just you're

867
00:39:12,239 --> 00:39:16,600
Speaker 1: just the You're just a conduit, you know, and and

868
00:39:16,680 --> 00:39:19,200
Speaker 1: the universe has different plans. You know, when you and

869
00:39:19,280 --> 00:39:21,480
Speaker 1: Chris the writing and you guys are gonna sing the

870
00:39:21,560 --> 00:39:24,759
Speaker 1: demo afterwards, you always make Chris sing, you know, he

871
00:39:24,800 --> 00:39:26,560
Speaker 1: always wants to be a sing because he likes to

872
00:39:26,560 --> 00:39:28,640
Speaker 1: steal his lips from me. I don't know a lot

873
00:39:28,680 --> 00:39:33,640
Speaker 1: of people don't know that. Um uh, not always, honestly,

874
00:39:33,719 --> 00:39:35,960
Speaker 1: not always. I've got work tapes where we've written and

875
00:39:36,000 --> 00:39:39,600
Speaker 1: I'm actually singing ill advisedly, I'm singing the the in

876
00:39:39,719 --> 00:39:43,719
Speaker 1: the phone, but but usually it's him yeah, and he's

877
00:39:43,800 --> 00:39:47,360
Speaker 1: in you know the do you want you want more? Inside?

878
00:39:47,360 --> 00:39:50,160
Speaker 1: And stuff like the hold On song that Hoodian a

879
00:39:50,200 --> 00:39:54,879
Speaker 1: Bluefish cut, that is. I had a drum loop going

880
00:39:54,880 --> 00:39:57,799
Speaker 1: in the room and I just recorded Chris singing it

881
00:39:58,280 --> 00:40:02,080
Speaker 1: on my iPhone and that's what we pitched. I mean,

882
00:40:02,120 --> 00:40:04,440
Speaker 1: we never did anything else. It was just Chris singing

883
00:40:04,440 --> 00:40:06,560
Speaker 1: in the room over a drum loop, over a drum

884
00:40:06,600 --> 00:40:08,920
Speaker 1: loop with us playing guitars, just like when you and

885
00:40:08,920 --> 00:40:10,319
Speaker 1: I wrote a song. We'll all right, let's put this

886
00:40:10,360 --> 00:40:12,920
Speaker 1: down so we'll remember how it went. And uh, we

887
00:40:13,000 --> 00:40:15,359
Speaker 1: never demoed it. We never did anything special. It's low,

888
00:40:15,480 --> 00:40:18,080
Speaker 1: very just the iPhone, just an iPhone work tape. Is

889
00:40:18,080 --> 00:40:21,319
Speaker 1: it on your phone? Probably? Let's let's hear a piece

890
00:40:21,320 --> 00:40:22,920
Speaker 1: of it, because you want to hear hold On? Yeah?

891
00:40:23,040 --> 00:40:25,960
Speaker 1: Just well yeah, let's let's tell any of them. Let

892
00:40:25,960 --> 00:40:27,359
Speaker 1: me see if I can pull that up, I bet

893
00:40:27,360 --> 00:40:35,400
Speaker 1: I have. Is your whole phone full of yes of it? All? Right?

894
00:40:35,480 --> 00:40:37,560
Speaker 1: This is this is I mean I can do we

895
00:40:37,560 --> 00:40:41,719
Speaker 1: can right, yeah, of course absolutely. Okay, Let's see if

896
00:40:41,760 --> 00:40:48,680
Speaker 1: I can pull it up. I'm trying. Which song is this?

897
00:40:48,680 --> 00:40:51,080
Speaker 1: This is hold on the one? Who do you got? Yeah?

898
00:40:51,440 --> 00:40:57,200
Speaker 1: Drum loop? That's my big fat drum loop. Can you

899
00:40:57,239 --> 00:41:02,360
Speaker 1: hear that? Yeah? And you're gonna hear the velvet cones

900
00:41:02,480 --> 00:41:14,959
Speaker 1: of ri state of tones in the second Claude Sick

901
00:41:15,160 --> 00:41:26,480
Speaker 1: Cloud seems like going wrong. It is this what you

902
00:41:26,520 --> 00:41:36,240
Speaker 1: play to your buddy? Wow? Okay you know when Darius

903
00:41:36,280 --> 00:41:39,680
Speaker 1: can sing that? Yeah? Man, I mean you gotta have

904
00:41:40,520 --> 00:41:44,279
Speaker 1: And what is that you with the fellows? Sorry? Is

905
00:41:44,280 --> 00:41:46,440
Speaker 1: this the wrong time for that? It's interesting that you

906
00:41:46,480 --> 00:41:48,919
Speaker 1: have that, because again, who can who can sing that

907
00:41:49,400 --> 00:41:51,560
Speaker 1: with that power? Unless it's somebody who can sing that,

908
00:41:51,840 --> 00:41:54,680
Speaker 1: I don't know. I just write them, man, I try

909
00:41:54,719 --> 00:41:57,120
Speaker 1: to write them. Yeah, yeah, but Darius can do it

910
00:41:57,239 --> 00:42:01,480
Speaker 1: like Hillary Lindsay will cut songs and the artist almost

911
00:42:01,560 --> 00:42:04,040
Speaker 1: can't sing what she writes. Carry the woods about one

912
00:42:04,040 --> 00:42:07,120
Speaker 1: of the few. Otherwise, I mean stay and if again

913
00:42:07,200 --> 00:42:10,600
Speaker 1: going real into the weeds, Stapleton had that effect on

914
00:42:10,640 --> 00:42:12,919
Speaker 1: people when he was primarily known as just a writer

915
00:42:13,040 --> 00:42:15,239
Speaker 1: in town. I mean, he would you know, sing his

916
00:42:15,280 --> 00:42:17,600
Speaker 1: own demos and it would intimidate the artist if the

917
00:42:17,600 --> 00:42:20,160
Speaker 1: song to beIN pitched too and they and they would

918
00:42:20,200 --> 00:42:23,400
Speaker 1: fall in love with the song and then they would

919
00:42:23,560 --> 00:42:26,480
Speaker 1: they'd go in to cut it and they'd come out going,

920
00:42:26,600 --> 00:42:28,360
Speaker 1: it's just not the same, right, Like, it's not as

921
00:42:28,400 --> 00:42:30,000
Speaker 1: good as a person who is saying and so what

922
00:42:30,000 --> 00:42:31,840
Speaker 1: they were they were falling in love with Chris, you know,

923
00:42:31,960 --> 00:42:34,400
Speaker 1: they were falling in love with that unbelievable vocal and

924
00:42:34,400 --> 00:42:38,120
Speaker 1: and you know it's that's very He's a perfect example that.

925
00:42:38,160 --> 00:42:41,080
Speaker 1: And so now a lot of times with with demo singers,

926
00:42:41,120 --> 00:42:42,719
Speaker 1: you know, the people who are actually singing the song

927
00:42:42,840 --> 00:42:44,839
Speaker 1: that we pitched to the artist, you don't want them

928
00:42:44,880 --> 00:42:49,560
Speaker 1: too good. And even if they're capable of like yeah,

929
00:42:49,680 --> 00:42:52,080
Speaker 1: so now I'm getting a lot of work lately. Um,

930
00:42:52,400 --> 00:42:55,759
Speaker 1: it's it's shocking. So uh no, so you eat and

931
00:42:55,760 --> 00:42:58,680
Speaker 1: even if they are a capable vocalist of like blowing

932
00:42:58,719 --> 00:43:01,080
Speaker 1: your mind, you will tell them just tone it down.

933
00:43:01,200 --> 00:43:04,600
Speaker 1: You want it, you want it pitched as generic that

934
00:43:04,680 --> 00:43:06,520
Speaker 1: you want to you want the song to be the star,

935
00:43:06,640 --> 00:43:08,960
Speaker 1: not the singer, you know, and they just have a vibe.

936
00:43:08,960 --> 00:43:11,040
Speaker 1: But it doesn't even have a vibe. It's just a vibe.

937
00:43:11,080 --> 00:43:14,480
Speaker 1: But no tricks, no crazy trills, because if that artist

938
00:43:14,560 --> 00:43:16,719
Speaker 1: doesn't like those things or it's not careful of those things,

939
00:43:16,719 --> 00:43:18,560
Speaker 1: they're gonna be thinking about it and they're going, well,

940
00:43:18,800 --> 00:43:21,120
Speaker 1: I can't do what they're doing. You want it, you

941
00:43:21,160 --> 00:43:23,920
Speaker 1: want the melody presented in a you know, in a

942
00:43:24,160 --> 00:43:27,759
Speaker 1: fairly generic way. It's it's, it's And it took me

943
00:43:27,760 --> 00:43:29,800
Speaker 1: a while to learn that too. I think Caitlin Sumiths

944
00:43:29,800 --> 00:43:32,840
Speaker 1: had that effect on people too. Blow away the track

945
00:43:33,160 --> 00:43:35,080
Speaker 1: and people were like, I don't know I can do that,

946
00:43:35,520 --> 00:43:37,560
Speaker 1: and it has nothing to do with the song even

947
00:43:37,600 --> 00:43:40,479
Speaker 1: and even you know, like some people's voice of mind,

948
00:43:40,560 --> 00:43:43,920
Speaker 1: probably it's just don't start with the camera. There's a

949
00:43:43,960 --> 00:43:45,440
Speaker 1: camera looking at you, but it's just part of the whole.

950
00:43:46,280 --> 00:43:49,120
Speaker 1: It's almost too twanging, you know. It's got a country

951
00:43:49,200 --> 00:43:51,600
Speaker 1: East Texas thing to it, and some people don't want

952
00:43:51,600 --> 00:43:54,120
Speaker 1: to listen to that. And so even though I'm singing

953
00:43:54,120 --> 00:43:56,839
Speaker 1: the exact same melody that's somebody else is singing. You know,

954
00:43:57,000 --> 00:43:58,959
Speaker 1: I know I should not sing this song, we gotta

955
00:43:58,960 --> 00:44:01,520
Speaker 1: get somebody else. It has nothing with the song. None

956
00:44:01,560 --> 00:44:03,440
Speaker 1: of the lyrics are different. No, the music is different.

957
00:44:03,960 --> 00:44:07,160
Speaker 1: It's just who who's communicating it, and it makes a big,

958
00:44:07,320 --> 00:44:09,160
Speaker 1: big deal. That's an interesting concept, and a lot of

959
00:44:09,160 --> 00:44:11,239
Speaker 1: people will bring their phones and play like work tapes

960
00:44:11,320 --> 00:44:15,160
Speaker 1: like that, and it's, um, it's pretty cool to hear that,

961
00:44:15,840 --> 00:44:19,839
Speaker 1: because rarely anymore are the work tapes just blowing things

962
00:44:19,880 --> 00:44:22,239
Speaker 1: out of the water, because again they're like, whoa if

963
00:44:22,280 --> 00:44:24,920
Speaker 1: if it's too too vocal, people were here and to

964
00:44:24,960 --> 00:44:26,920
Speaker 1: go why I can't do How would I cut that

965
00:44:26,960 --> 00:44:29,120
Speaker 1: song if I don't have that skill set as the

966
00:44:29,120 --> 00:44:31,840
Speaker 1: person who's singing the demo. I mean, there's lots of

967
00:44:31,880 --> 00:44:33,720
Speaker 1: little tricks, like you know, if you're gonna be pitching

968
00:44:33,800 --> 00:44:35,919
Speaker 1: a certain songs with a certain artist, you may try

969
00:44:35,960 --> 00:44:38,200
Speaker 1: to cut it in their key, you know. So you

970
00:44:38,280 --> 00:44:41,000
Speaker 1: imagine him driving around in their truck listening to demos

971
00:44:41,040 --> 00:44:42,400
Speaker 1: and I want this, but I want them to be

972
00:44:42,440 --> 00:44:44,920
Speaker 1: able to sing along, you know. So if it's a McGraw,

973
00:44:45,080 --> 00:44:46,719
Speaker 1: you may go lists put it in a McGraw key,

974
00:44:46,880 --> 00:44:48,480
Speaker 1: you know, and stuff like that. I mean, there's you know,

975
00:44:48,560 --> 00:44:51,160
Speaker 1: you try any little advantage you can get to make

976
00:44:51,200 --> 00:44:54,719
Speaker 1: your because they're listening to hundreds of songs. Possibly, So, yeah,

977
00:44:54,800 --> 00:44:56,200
Speaker 1: do you have what else you having your phone? That's

978
00:44:56,200 --> 00:44:58,439
Speaker 1: another one. I got watch of stuff on my phone.

979
00:44:58,480 --> 00:45:00,080
Speaker 1: Do you have a lot of stuff that you and

980
00:45:00,120 --> 00:45:04,000
Speaker 1: I've written? Do you want to I might have like

981
00:45:04,080 --> 00:45:06,480
Speaker 1: the drink a beer? Yes, if you can find that one,

982
00:45:06,239 --> 00:45:12,600
Speaker 1: let me see, let me see you know, and do

983
00:45:12,680 --> 00:45:15,399
Speaker 1: you archive any of those or if you just lose

984
00:45:15,400 --> 00:45:17,680
Speaker 1: your phone, I'm just searching for it and they don't

985
00:45:17,680 --> 00:45:20,040
Speaker 1: come in the cloud, You're they're just gone. What about

986
00:45:20,120 --> 00:45:23,239
Speaker 1: the gym beavers? Muse them after you die. Yeah, well

987
00:45:23,480 --> 00:45:26,640
Speaker 1: there's already a vibrant one right now in East Texas.

988
00:45:26,920 --> 00:45:30,680
Speaker 1: Um Um, this is this is stable thing. Drink of beer? Right?

989
00:45:31,160 --> 00:45:33,000
Speaker 1: Is it okay for me? We play him? Chris has

990
00:45:33,000 --> 00:45:38,120
Speaker 1: played on our show? Okay, I say, you know him

991
00:45:38,160 --> 00:45:45,480
Speaker 1: being a recording artist. I don't know why. God, Yes,

992
00:45:45,600 --> 00:45:58,279
Speaker 1: they were routed. Do you guys put the phone down

993
00:45:58,320 --> 00:45:59,440
Speaker 1: in the middle of you and just get over the

994
00:45:59,480 --> 00:46:00,960
Speaker 1: top of the phone to play up. Yeah, well you'll

995
00:46:00,960 --> 00:46:03,200
Speaker 1: know you're normally sliding about three quarters of the way

996
00:46:03,280 --> 00:46:06,279
Speaker 1: closest to the singer. There's the best way. I'm gonna

997
00:46:06,280 --> 00:46:11,520
Speaker 1: come in here and take the course for about That's

998
00:46:11,520 --> 00:46:18,719
Speaker 1: the day we wrote It's cool. Is that cool? Yeah,

999
00:46:18,719 --> 00:46:21,280
Speaker 1: that's cool. I didn't had that on there when Chris

1000
00:46:21,320 --> 00:46:23,600
Speaker 1: because we would have Chris in the studio before he hit,

1001
00:46:24,040 --> 00:46:26,040
Speaker 1: because he was just a songwriter that I thought was

1002
00:46:26,040 --> 00:46:27,799
Speaker 1: awesome and I was getting a lot of trouble for

1003
00:46:27,800 --> 00:46:31,120
Speaker 1: bringing random songwriters perform um. And luckily Chris hit. It

1004
00:46:31,200 --> 00:46:34,160
Speaker 1: was not luckily for him for me because once he hit,

1005
00:46:34,480 --> 00:46:37,560
Speaker 1: everybody left me alone. That kind of validated your opinion,

1006
00:46:37,600 --> 00:46:41,120
Speaker 1: crushed it. Just they were like front in front, they

1007
00:46:41,120 --> 00:46:43,240
Speaker 1: were like we're gonna stop you, just do you because

1008
00:46:43,239 --> 00:46:45,000
Speaker 1: I you know, I had had some success of bringing

1009
00:46:45,000 --> 00:46:47,400
Speaker 1: a couple of artists, but I was getting heat from people,

1010
00:46:47,719 --> 00:46:51,359
Speaker 1: um like my high ups that did no country music

1011
00:46:51,360 --> 00:46:52,960
Speaker 1: go and you you shouldn't bring on And I was

1012
00:46:53,040 --> 00:46:54,799
Speaker 1: still pretty new, and the idea was like he's an

1013
00:46:54,840 --> 00:46:57,279
Speaker 1: unknown and yeah, completely unknown. But I was like, yeah,

1014
00:46:57,320 --> 00:47:01,840
Speaker 1: he was doing Josh Turner, um your main in and

1015
00:47:01,880 --> 00:47:03,759
Speaker 1: he did. He come in and he played drinking beer

1016
00:47:04,120 --> 00:47:05,759
Speaker 1: and he played and they were like, you know, I

1017
00:47:05,760 --> 00:47:07,520
Speaker 1: know he's written these songs, but I just don't think

1018
00:47:07,520 --> 00:47:09,480
Speaker 1: that you should have one, and I'm like, well, first,

1019
00:47:09,480 --> 00:47:11,160
Speaker 1: it's my show, Like you didn't bring me over here

1020
00:47:11,160 --> 00:47:13,560
Speaker 1: to do what you want to do, and no disrespect,

1021
00:47:13,640 --> 00:47:16,000
Speaker 1: but let me. And when he hit, I was still

1022
00:47:16,040 --> 00:47:19,759
Speaker 1: thinking it was just because then and I wasn't. I

1023
00:47:19,840 --> 00:47:21,920
Speaker 1: was just following what I thought was good. Go with

1024
00:47:21,960 --> 00:47:23,839
Speaker 1: the genius thing. It's always better. I was number one

1025
00:47:24,200 --> 00:47:26,239
Speaker 1: on the genius chart. Yeah, it was amazing. Case. I've

1026
00:47:26,280 --> 00:47:28,120
Speaker 1: run with that every sence I've been number one, every

1027
00:47:28,160 --> 00:47:31,560
Speaker 1: sense you knows it's is it whenever songwriters come into

1028
00:47:31,560 --> 00:47:34,040
Speaker 1: our room together and you both have had some success

1029
00:47:34,040 --> 00:47:35,480
Speaker 1: in the past, because I'll compare it to you and

1030
00:47:35,520 --> 00:47:37,520
Speaker 1: I where I haven't had success as a real life songwriter,

1031
00:47:37,680 --> 00:47:39,320
Speaker 1: but I've written a bunch of stuff, either books or

1032
00:47:39,440 --> 00:47:42,680
Speaker 1: some dopey songs, and you go for me, you know,

1033
00:47:43,200 --> 00:47:44,360
Speaker 1: working with you, I go, I don't know if I

1034
00:47:44,360 --> 00:47:46,040
Speaker 1: want to pitch this idea, but I haven't poison ivying

1035
00:47:46,080 --> 00:47:48,560
Speaker 1: your genitals. And I'm like, I don't even know really

1036
00:47:48,600 --> 00:47:52,799
Speaker 1: know this guy already. Yeah, sorry, And it's like that

1037
00:47:52,840 --> 00:47:56,920
Speaker 1: one specifically, I was like, I got this idea and

1038
00:47:56,960 --> 00:47:58,919
Speaker 1: it's about you're with a girl, and it's like, hey,

1039
00:47:59,440 --> 00:48:01,879
Speaker 1: don't run Awa, it just got it's just poison ivy

1040
00:48:02,239 --> 00:48:05,000
Speaker 1: And here you are would drink a beer and parachute

1041
00:48:05,200 --> 00:48:09,880
Speaker 1: and and I can, but I don't know that right.

1042
00:48:09,920 --> 00:48:11,759
Speaker 1: But I guess my question is is there ever that

1043
00:48:11,800 --> 00:48:14,440
Speaker 1: awkward feeling from you when you have this idea? And

1044
00:48:14,480 --> 00:48:17,040
Speaker 1: maybe it's not you know, as dopey as as that one,

1045
00:48:17,080 --> 00:48:19,200
Speaker 1: because now we have a rhythm and we have ideas

1046
00:48:19,239 --> 00:48:21,319
Speaker 1: it or to dope and we're like, maybe not that one.

1047
00:48:21,440 --> 00:48:24,480
Speaker 1: There's the comfortability after about the third rite? Do you

1048
00:48:24,480 --> 00:48:27,359
Speaker 1: ever go? Man, I don't want to go, and you

1049
00:48:27,400 --> 00:48:29,799
Speaker 1: have to go to maybe the warm Brothers are Chris

1050
00:48:29,840 --> 00:48:31,960
Speaker 1: Stables and be like, I have this idea that you know,

1051
00:48:32,040 --> 00:48:36,560
Speaker 1: a sausage factory. Yeah, and then the sadness after it closes. Yeah,

1052
00:48:36,600 --> 00:48:39,040
Speaker 1: it is sad. If you love sausage, it's really sad

1053
00:48:39,440 --> 00:48:42,719
Speaker 1: and it's the only one around. So um yeah. I

1054
00:48:42,719 --> 00:48:45,399
Speaker 1: mean I think you learned really quickly for doing this

1055
00:48:45,480 --> 00:48:48,480
Speaker 1: every day. If you're not willing to be vulnerable then

1056
00:48:48,360 --> 00:48:50,920
Speaker 1: and and to look, you know, we all you've heard it.

1057
00:48:51,040 --> 00:48:53,160
Speaker 1: We say, dare to suck and you'll usually you'll prefer

1058
00:48:53,200 --> 00:48:54,719
Speaker 1: I'm all right, I'm gonna dare to suck and then

1059
00:48:54,719 --> 00:48:57,120
Speaker 1: you'll you're just letting them know you're about to say

1060
00:48:57,160 --> 00:48:59,719
Speaker 1: the stupidest thing. And usually it's half baked. You don't

1061
00:48:59,760 --> 00:49:01,720
Speaker 1: even know what it means, but you think there's something

1062
00:49:01,760 --> 00:49:05,359
Speaker 1: in there. And then sometimes somebody's like, oh, what if

1063
00:49:05,400 --> 00:49:07,120
Speaker 1: you bump, and they'll twist it to be like, that's

1064
00:49:07,160 --> 00:49:08,880
Speaker 1: exactly why I had to say it out loud, and

1065
00:49:08,920 --> 00:49:11,719
Speaker 1: it will make perfect sense. So but with with you,

1066
00:49:11,760 --> 00:49:13,760
Speaker 1: and I like trying to write like funny songs and stuff.

1067
00:49:13,800 --> 00:49:15,359
Speaker 1: I knew, I knew I had to come in here

1068
00:49:15,360 --> 00:49:18,200
Speaker 1: and be willing to look stupid. I didn't know you

1069
00:49:18,320 --> 00:49:20,600
Speaker 1: very well. I really didn't know you at all. I

1070
00:49:20,640 --> 00:49:24,440
Speaker 1: didn't know your sense of humor, your personality. But you know,

1071
00:49:24,480 --> 00:49:26,560
Speaker 1: we found each other and and and now, like you said,

1072
00:49:26,600 --> 00:49:29,200
Speaker 1: we're comfortable and I can play you something. You can go, yeah,

1073
00:49:29,200 --> 00:49:31,400
Speaker 1: they doesn't really work, and I don't. That's fine with me.

1074
00:49:31,440 --> 00:49:33,239
Speaker 1: It's like, oh, because I know other things will work.

1075
00:49:33,280 --> 00:49:36,160
Speaker 1: You know it's funny too. Actually I trust your instincts,

1076
00:49:36,160 --> 00:49:38,520
Speaker 1: you know, because I very much trust your instincts. So

1077
00:49:39,600 --> 00:49:42,480
Speaker 1: whenever we were sitting in a hotel room and maybe Amarillo,

1078
00:49:42,520 --> 00:49:45,280
Speaker 1: and it was like four and just plus were wet,

1079
00:49:46,400 --> 00:49:48,239
Speaker 1: we were well, I was laying down in the bed,

1080
00:49:48,440 --> 00:49:56,680
Speaker 1: you were sitting and we were and I'm not sure

1081
00:49:56,840 --> 00:49:59,560
Speaker 1: who actually, maybe it was me. I hate to say

1082
00:49:59,600 --> 00:50:00,759
Speaker 1: it was me. If it wasn't, maybe it was me.

1083
00:50:00,800 --> 00:50:02,919
Speaker 1: Who goes we should do a song about a Fannie pack.

1084
00:50:03,600 --> 00:50:07,000
Speaker 1: I'm not sure was it you? Was it? But I

1085
00:50:07,040 --> 00:50:09,160
Speaker 1: turned into a no, no, it doesn't matter to me either.

1086
00:50:09,239 --> 00:50:10,239
Speaker 1: But it was like, why don't we do it as

1087
00:50:10,239 --> 00:50:11,960
Speaker 1: a rap song? Because that's where it came in with me,

1088
00:50:12,080 --> 00:50:14,200
Speaker 1: because I told my wife about your show? Is that

1089
00:50:14,239 --> 00:50:16,279
Speaker 1: what it was? He's got this funny song where he

1090
00:50:16,320 --> 00:50:19,239
Speaker 1: puts these georgs on stage, and she said, did you

1091
00:50:19,280 --> 00:50:21,759
Speaker 1: have a Fannie pack? I said, nobody should, because that

1092
00:50:21,760 --> 00:50:23,879
Speaker 1: would be like the next gag, you know, And then

1093
00:50:24,280 --> 00:50:26,400
Speaker 1: I just that literally just happened. Maybe that morning I

1094
00:50:26,440 --> 00:50:28,560
Speaker 1: was tell my wife about watching the Raging Idiots. Maybe

1095
00:50:28,560 --> 00:50:30,120
Speaker 1: I shouldn't know who has ideas, because then I was like,

1096
00:50:30,120 --> 00:50:32,239
Speaker 1: I don't know who had this idea. Yeah it doesn't matter,

1097
00:50:32,400 --> 00:50:35,520
Speaker 1: but it does not matter to songwriters when you're some

1098
00:50:35,520 --> 00:50:38,239
Speaker 1: people get butt hurt over it. Yeah, okay, it shouldn't

1099
00:50:38,520 --> 00:50:42,520
Speaker 1: um because I mean the way I look at it

1100
00:50:42,560 --> 00:50:45,719
Speaker 1: is it's it's if you brought the idea and even

1101
00:50:45,719 --> 00:50:49,279
Speaker 1: if you wrote ninety percent of the song that I

1102
00:50:49,400 --> 00:50:51,440
Speaker 1: look at it like that song would not have existed

1103
00:50:51,480 --> 00:50:54,319
Speaker 1: if you had not given birth to it the way

1104
00:50:54,360 --> 00:50:56,839
Speaker 1: it was given birth to. You know, Now, unless you've

1105
00:50:56,840 --> 00:50:59,040
Speaker 1: got to fully realized song, you just kind of come

1106
00:50:59,120 --> 00:51:01,399
Speaker 1: in and too an R this or somebody and being like, hey,

1107
00:51:01,600 --> 00:51:04,399
Speaker 1: maybe we could change the third line. You know, that's

1108
00:51:04,400 --> 00:51:06,799
Speaker 1: a different thing, and that always feels very schevy to me.

1109
00:51:06,920 --> 00:51:11,840
Speaker 1: But um, and I also believe if you're serious about

1110
00:51:11,840 --> 00:51:13,560
Speaker 1: doing this for a living, it's gonna work itself out.

1111
00:51:13,600 --> 00:51:16,320
Speaker 1: There's gonna be other times where you're the dummy in

1112
00:51:16,360 --> 00:51:18,160
Speaker 1: the room and you just caught it like your break

1113
00:51:18,160 --> 00:51:20,279
Speaker 1: and somebody was on fire, you know. And and that's

1114
00:51:20,320 --> 00:51:22,160
Speaker 1: just part of the process. If if you if you

1115
00:51:22,280 --> 00:51:25,560
Speaker 1: run around worry about credit or who did the line,

1116
00:51:25,719 --> 00:51:28,000
Speaker 1: whose whose idea was this? Who came up with that,

1117
00:51:28,120 --> 00:51:32,040
Speaker 1: you'll drive yourself nights man and and people humans want

1118
00:51:32,080 --> 00:51:34,319
Speaker 1: to do that, but you gotta fight that, I think

1119
00:51:34,400 --> 00:51:36,279
Speaker 1: if you want to be healthy. Well, so I had

1120
00:51:36,320 --> 00:51:38,600
Speaker 1: this idea by a fanny pack, right, really interesting because

1121
00:51:38,600 --> 00:51:42,360
Speaker 1: I've already written it. So but I remember where it

1122
00:51:42,400 --> 00:51:45,279
Speaker 1: came from. You where and probably you know what? It

1123
00:51:45,280 --> 00:51:47,439
Speaker 1: probably came from my wife? See, so should I? Should

1124
00:51:47,440 --> 00:51:49,600
Speaker 1: I be sitting there taking credit for her? She's the

1125
00:51:49,600 --> 00:51:51,640
Speaker 1: one who said that she should get the writing credit.

1126
00:51:51,640 --> 00:51:54,960
Speaker 1: You see it, not writing credit, but credit. But but

1127
00:51:55,040 --> 00:51:57,040
Speaker 1: let's back it up if you want. If I hadn't

1128
00:51:57,040 --> 00:51:58,879
Speaker 1: told her about George, she wouldn't have said Fanny Pack.

1129
00:51:59,040 --> 00:52:01,719
Speaker 1: So so I get the credit, So back to me.

1130
00:52:01,920 --> 00:52:04,160
Speaker 1: But honestly, you can follow that thread all the way.

1131
00:52:04,200 --> 00:52:06,920
Speaker 1: It's like, well, then where do you stop? So this song,

1132
00:52:07,480 --> 00:52:10,120
Speaker 1: Fannie Pack? You pitched the idea and I was like, great,

1133
00:52:10,160 --> 00:52:11,400
Speaker 1: I do remember. Going ahead, let's make it like a

1134
00:52:11,440 --> 00:52:12,839
Speaker 1: rap song. And I don't know if you've ever written

1135
00:52:12,840 --> 00:52:15,719
Speaker 1: a rap song before? Have you? Of course? Which one?

1136
00:52:15,760 --> 00:52:19,800
Speaker 1: You can't tell by looking at me? Nothing? Nothing you've heard? Um?

1137
00:52:19,840 --> 00:52:22,600
Speaker 1: And it turned into this, did this ever work for? You?

1138
00:52:22,600 --> 00:52:24,920
Speaker 1: Want to? Texted you? I got the second one worked,

1139
00:52:25,080 --> 00:52:27,160
Speaker 1: work worked, and I'll play a little bit of it.

1140
00:52:27,880 --> 00:52:32,080
Speaker 1: It turned out like a funk white boy. It's great

1141
00:52:32,160 --> 00:52:34,879
Speaker 1: to do, but my pants didn't have enough pocket root,

1142
00:52:35,000 --> 00:52:37,839
Speaker 1: I got my keys, my bones potastic to good thing.

1143
00:52:37,880 --> 00:52:42,560
Speaker 1: I got a pop like a kangaro if you need

1144
00:52:42,640 --> 00:52:49,359
Speaker 1: to band or got a lifestyle. I remember Brandon Rea,

1145
00:52:50,280 --> 00:52:52,520
Speaker 1: if you need an EPI pen to bring your granny back?

1146
00:52:52,560 --> 00:52:55,040
Speaker 1: And I thought that's the funniest line. It's really funny.

1147
00:52:55,120 --> 00:52:58,640
Speaker 1: You know that means granny was gone and you're needed

1148
00:52:58,760 --> 00:53:01,840
Speaker 1: an EPI pen. And so you know, and and we're like,

1149
00:53:03,120 --> 00:53:06,320
Speaker 1: that would have happened if if we for not written

1150
00:53:06,400 --> 00:53:08,799
Speaker 1: exactly where we wrote it. Agree, you know it's just

1151
00:53:08,880 --> 00:53:11,040
Speaker 1: and so you've got to let the process. To me,

1152
00:53:11,800 --> 00:53:13,480
Speaker 1: you're doing it right if you just if you say

1153
00:53:13,560 --> 00:53:15,680
Speaker 1: the song is a star, the song is a star,

1154
00:53:15,840 --> 00:53:18,200
Speaker 1: and all that matters is the song. If you when

1155
00:53:18,239 --> 00:53:20,759
Speaker 1: you walk in that room, that's what happened, checker. You

1156
00:53:20,760 --> 00:53:22,759
Speaker 1: go at the door and it's all about the song,

1157
00:53:22,840 --> 00:53:25,840
Speaker 1: and you walk out and you don't smack talk or

1158
00:53:25,840 --> 00:53:28,920
Speaker 1: anything about Well I did. And you know that's not

1159
00:53:29,000 --> 00:53:32,359
Speaker 1: in service of the song. You know that's my theory. Well,

1160
00:53:32,400 --> 00:53:33,440
Speaker 1: then for now I want to talk about that song.

1161
00:53:33,440 --> 00:53:35,080
Speaker 1: I'm gonna say, Well, so I had I wrote a

1162
00:53:35,080 --> 00:53:37,120
Speaker 1: song called George, and somebody got it came back all

1163
00:53:37,160 --> 00:53:41,040
Speaker 1: the way around. So then I wrote Fannie Pack whatever.

1164
00:53:41,640 --> 00:53:44,200
Speaker 1: But this is your your domain. This this stuff is

1165
00:53:44,239 --> 00:53:47,759
Speaker 1: your domain. Yeah, I'm totally playing um, but I think

1166
00:53:47,800 --> 00:53:50,239
Speaker 1: I think we're gonna cut because you're coming on the

1167
00:53:50,280 --> 00:53:53,359
Speaker 1: road this weekend and you're actually gonna play and we're

1168
00:53:53,360 --> 00:53:57,400
Speaker 1: gonna make the live record. So very excited. There's two

1169
00:53:57,440 --> 00:54:00,880
Speaker 1: shows in Little Rock, right, so no pressure. Yeah, I

1170
00:54:00,920 --> 00:54:03,719
Speaker 1: know your home. There's your home. There's only one show

1171
00:54:03,719 --> 00:54:05,960
Speaker 1: on the rock, so we gotta make it work or

1172
00:54:05,960 --> 00:54:07,680
Speaker 1: it doesn't count. All right, I'll do my best. We

1173
00:54:07,760 --> 00:54:10,239
Speaker 1: got got all the songs charted out, I really do.

1174
00:54:10,480 --> 00:54:13,239
Speaker 1: Is it weird? Is it cool? Maybe? Both? That when

1175
00:54:13,239 --> 00:54:14,560
Speaker 1: we write a song and I take it and I

1176
00:54:14,600 --> 00:54:17,360
Speaker 1: record and I played immediately and we record it and

1177
00:54:17,360 --> 00:54:19,799
Speaker 1: I send you the video. I mean, is is that

1178
00:54:19,880 --> 00:54:23,640
Speaker 1: different than what it's I've told you? It's the most refreshing,

1179
00:54:24,680 --> 00:54:28,560
Speaker 1: crazy thing for everybody listening. Like Bobby that literally the

1180
00:54:28,640 --> 00:54:31,000
Speaker 1: day of the show might write a song and he

1181
00:54:31,160 --> 00:54:32,799
Speaker 1: fairlessly will get up there and do it that night,

1182
00:54:32,800 --> 00:54:33,800
Speaker 1: and I'm like, how are you even going to know

1183
00:54:33,920 --> 00:54:36,960
Speaker 1: for the words? But he'll do it And sometimes I don't,

1184
00:54:37,000 --> 00:54:41,319
Speaker 1: But it doesn't matter. But immediate and immediate feedback and

1185
00:54:41,800 --> 00:54:44,000
Speaker 1: the way I way I work and I say oh,

1186
00:54:44,040 --> 00:54:45,400
Speaker 1: we should have done this, we can do this. It

1187
00:54:45,480 --> 00:54:50,439
Speaker 1: just tweaks tweaks, and I'll send them and go, okay,

1188
00:54:50,480 --> 00:54:52,200
Speaker 1: look at this. What do you think didn't work? What

1189
00:54:52,239 --> 00:54:54,640
Speaker 1: did work? Question? We've been changing songs we wrote four

1190
00:54:54,680 --> 00:54:57,760
Speaker 1: weeks ago. I mean, if Stein felt at his level

1191
00:54:57,800 --> 00:55:02,320
Speaker 1: can grind on timing and what I mean, then I

1192
00:55:02,640 --> 00:55:04,680
Speaker 1: wish songwriter to do it more. They don't. I I

1193
00:55:04,760 --> 00:55:07,560
Speaker 1: like to rewrite songs. I'm always like songs not done

1194
00:55:07,600 --> 00:55:12,000
Speaker 1: until it's cut. And you know, sometimes I'll completely rewrite

1195
00:55:12,000 --> 00:55:13,600
Speaker 1: a song and then realize the first way with the

1196
00:55:13,680 --> 00:55:15,240
Speaker 1: right way, and I'll spend I just did that recently

1197
00:55:15,400 --> 00:55:17,400
Speaker 1: with a song I wrote with my brother. I said, hey, man,

1198
00:55:17,400 --> 00:55:18,799
Speaker 1: I think we missed it would be this, and then

1199
00:55:18,800 --> 00:55:20,000
Speaker 1: I played it for him. He was like, yeah, I

1200
00:55:20,000 --> 00:55:21,560
Speaker 1: like the other one better. I said, I think I

1201
00:55:21,560 --> 00:55:24,480
Speaker 1: do too now, but I've spent hours, you know. But

1202
00:55:25,200 --> 00:55:28,239
Speaker 1: the immediate feedback of you playing a song live and

1203
00:55:28,440 --> 00:55:32,200
Speaker 1: knowing when people laugh, and me moving from country songwriter

1204
00:55:32,360 --> 00:55:36,879
Speaker 1: to you know, raging idiot writer um has been such

1205
00:55:36,920 --> 00:55:39,880
Speaker 1: a refreshing, uh mind mind thing for me because the

1206
00:55:40,239 --> 00:55:42,680
Speaker 1: lyrics are so important. You can't cram too many and

1207
00:55:42,719 --> 00:55:45,239
Speaker 1: because your audience has to hear every single word. It's

1208
00:55:45,239 --> 00:55:46,640
Speaker 1: like a joke. Like a joke if you don't have

1209
00:55:46,719 --> 00:55:50,000
Speaker 1: set up and the punch line doesn't matter. And of

1210
00:55:50,040 --> 00:55:53,040
Speaker 1: course you know vocally you stapled it. I mean, I

1211
00:55:53,040 --> 00:55:55,359
Speaker 1: can't even tell the difference. Why I don't cut songs,

1212
00:55:56,040 --> 00:55:57,759
Speaker 1: can't cut I get it. It's been so nice just

1213
00:55:57,800 --> 00:55:59,839
Speaker 1: to know guy he can do anything with this song.

1214
00:56:00,120 --> 00:56:03,280
Speaker 1: So uh no, it's been a dude, this is no bs.

1215
00:56:03,360 --> 00:56:06,040
Speaker 1: It's been the most fun I've had in such a

1216
00:56:06,040 --> 00:56:08,560
Speaker 1: long time. You can you can ask my wife. She's like,

1217
00:56:08,560 --> 00:56:10,040
Speaker 1: you're a new man. I was like, I know, it's

1218
00:56:10,080 --> 00:56:13,280
Speaker 1: been I was kind of born to end up probably

1219
00:56:13,680 --> 00:56:16,279
Speaker 1: getting to help somebody like you. So it's been great. Well,

1220
00:56:16,560 --> 00:56:17,920
Speaker 1: let me ask you a few questions here. They have

1221
00:56:17,960 --> 00:56:21,200
Speaker 1: nothing to do with your your career. You have any Grammys? No,

1222
00:56:21,280 --> 00:56:28,160
Speaker 1: I just want to grandmother say Granny's no grammy. I

1223
00:56:28,239 --> 00:56:31,040
Speaker 1: had two grannies. Do you have any Academy awards? My

1224
00:56:31,040 --> 00:56:33,759
Speaker 1: favorite thing he got my favorite thing to do the

1225
00:56:33,840 --> 00:56:35,680
Speaker 1: jim is. But if Timocraws song comes on the radio,

1226
00:56:35,800 --> 00:56:37,560
Speaker 1: Eddie and I do it every time, and then if

1227
00:56:37,560 --> 00:56:38,960
Speaker 1: as long as not the one he wrote, We're like, hey,

1228
00:56:39,000 --> 00:56:41,719
Speaker 1: do you write this one for the one? You write

1229
00:56:41,760 --> 00:56:45,080
Speaker 1: this one? We know he didn't knowingly. No, No, Grammy,

1230
00:56:45,239 --> 00:56:47,640
Speaker 1: I don't don't really have any any awards, No, except

1231
00:56:47,680 --> 00:56:49,680
Speaker 1: for all your number ones, your nine, number one. Yeah,

1232
00:56:50,040 --> 00:56:51,840
Speaker 1: except for I've never won like a CMA or a

1233
00:56:51,920 --> 00:56:55,200
Speaker 1: CM like one. What's the most number ones you've had

1234
00:56:55,200 --> 00:56:56,959
Speaker 1: in a year. Have you had two in a year before?

1235
00:56:57,239 --> 00:56:58,960
Speaker 1: I've had two in a year. I think I almost

1236
00:56:58,960 --> 00:57:00,920
Speaker 1: had three in a year one time, but it may

1237
00:57:00,920 --> 00:57:04,040
Speaker 1: have been thirteen months or somebody who's counting? Yeah, not you?

1238
00:57:04,960 --> 00:57:07,719
Speaker 1: Whose the year? Was it a certain year charts? You're

1239
00:57:07,719 --> 00:57:09,279
Speaker 1: the Aztec calendar? Maybe you got three in a year.

1240
00:57:09,320 --> 00:57:13,520
Speaker 1: Why not use that calendar? I'd love to use the Okay,

1241
00:57:13,600 --> 00:57:14,840
Speaker 1: let me ask you a few of these. What's the

1242
00:57:14,880 --> 00:57:18,920
Speaker 1: last movie you saw in theaters? Uh? My wife and

1243
00:57:18,960 --> 00:57:21,400
Speaker 1: I went once once upon a time in Hollywood. I

1244
00:57:21,480 --> 00:57:22,960
Speaker 1: haven't seen it. Mike's all you like it might have

1245
00:57:23,040 --> 00:57:25,480
Speaker 1: a good movie. I loved it. I like anything Tarantino,

1246
00:57:25,920 --> 00:57:28,560
Speaker 1: and I thought it was great. I like Brett Pitt,

1247
00:57:28,600 --> 00:57:30,880
Speaker 1: and I thought it was good. What's the last concert

1248
00:57:30,920 --> 00:57:39,680
Speaker 1: you buy tickets for? Oh my gosh, dude, I honestly

1249
00:57:39,720 --> 00:57:41,520
Speaker 1: cannot think of one. I'm being in the business, I

1250
00:57:41,560 --> 00:57:44,160
Speaker 1: can't think when I bought tickets for a concert. I

1251
00:57:44,200 --> 00:57:46,760
Speaker 1: think I might have paid, paid for, but not attended

1252
00:57:46,840 --> 00:57:49,840
Speaker 1: tickets for one direction for my daughter. So she went,

1253
00:57:50,000 --> 00:57:52,200
Speaker 1: she went, Do your kids think it's cool that you've

1254
00:57:52,240 --> 00:57:56,680
Speaker 1: written songs? Um? They might have at some point, but

1255
00:57:56,880 --> 00:57:59,320
Speaker 1: they don't. It doesn't seem to register with them as

1256
00:57:59,360 --> 00:58:03,240
Speaker 1: anything weird. Are they musical? Um? They both like music

1257
00:58:03,240 --> 00:58:06,680
Speaker 1: and they both can sing. Neither whet him really play anything. Um,

1258
00:58:06,800 --> 00:58:09,800
Speaker 1: but they both My son's fifteen and he loves like

1259
00:58:09,880 --> 00:58:14,160
Speaker 1: classic rock and Tom Petty and my daughter loves eighties

1260
00:58:14,160 --> 00:58:16,040
Speaker 1: George Straight. She's been wearing me out and listened to

1261
00:58:16,320 --> 00:58:18,320
Speaker 1: like early George Straight on the way to school the

1262
00:58:18,400 --> 00:58:21,440
Speaker 1: last few weeks. Um. So they have I think a

1263
00:58:21,480 --> 00:58:24,360
Speaker 1: lot of kids of their generation and very eclectic tastes,

1264
00:58:24,520 --> 00:58:27,000
Speaker 1: you know, and so. But but their musical in a

1265
00:58:27,080 --> 00:58:29,160
Speaker 1: sense that they like music and they can sing. So

1266
00:58:29,480 --> 00:58:31,280
Speaker 1: I give you one more instead of a last meal,

1267
00:58:31,640 --> 00:58:33,880
Speaker 1: you're offered a last song to sing before you die

1268
00:58:34,160 --> 00:58:36,200
Speaker 1: that I wrote to listen to before you have singing,

1269
00:58:36,200 --> 00:58:38,760
Speaker 1: because you're probably dying to listen to before you die,

1270
00:58:38,760 --> 00:58:40,160
Speaker 1: you have to write. It can be any song in

1271
00:58:40,200 --> 00:58:41,960
Speaker 1: the world before I die, like I know him like,

1272
00:58:42,360 --> 00:58:44,080
Speaker 1: it's like, as soon as the songs over, you're dead.

1273
00:58:44,240 --> 00:58:46,919
Speaker 1: So it's the last songs to you know what. It's

1274
00:58:46,960 --> 00:58:50,080
Speaker 1: interesting you say, a friend of mine named Troy Tomlinson

1275
00:58:50,120 --> 00:58:52,480
Speaker 1: who has been my publisher for a long time. He's

1276
00:58:52,520 --> 00:58:54,600
Speaker 1: a he's a big wig here in town. Turn me

1277
00:58:54,640 --> 00:58:56,360
Speaker 1: onto the song by the a Vip Brothers called No

1278
00:58:56,480 --> 00:58:59,600
Speaker 1: Hard Feelings. Have you ever heard that song? And just

1279
00:58:59,640 --> 00:59:01,200
Speaker 1: a few ago he said, you gotta listen to a

1280
00:59:01,240 --> 00:59:03,479
Speaker 1: song and it made me. It literally made me cried.

1281
00:59:03,520 --> 00:59:05,920
Speaker 1: I hardly cried anything. I mean I cried no one.

1282
00:59:05,920 --> 00:59:08,280
Speaker 1: I had to come over here. Um, I've tried no one.

1283
00:59:08,280 --> 00:59:11,480
Speaker 1: I'm gonna quote with you this weekend. So that's yeah, well,

1284
00:59:12,640 --> 00:59:21,440
Speaker 1: um yeah, and he's crying right now, down the tears.

1285
00:59:21,920 --> 00:59:25,120
Speaker 1: Let me end on this question here, Um, you've written

1286
00:59:25,200 --> 00:59:30,479
Speaker 1: with Taylor Swift? Which version of Taylor slif? I wrote

1287
00:59:30,480 --> 00:59:33,360
Speaker 1: with the fourteen year old version. So what's it like

1288
00:59:33,440 --> 00:59:37,840
Speaker 1: to write a song with fourteen year old Taylor Swift? Well,

1289
00:59:38,080 --> 00:59:40,800
Speaker 1: she was not you know, quote unquote Taylor Swift yet

1290
00:59:40,840 --> 00:59:43,520
Speaker 1: at that point obviously, So this is before she put

1291
00:59:43,520 --> 00:59:47,680
Speaker 1: out her first record. Um. She was pretty new to

1292
00:59:47,680 --> 00:59:50,880
Speaker 1: town and was making the rounds around town looking for

1293
00:59:50,960 --> 00:59:55,400
Speaker 1: co writes. UM. And I'm not sure who set us up, um,

1294
00:59:55,440 --> 00:59:58,440
Speaker 1: but she couldn't write until three thirty because she had school.

1295
00:59:59,800 --> 01:00:01,680
Speaker 1: You and she and her mother would sit on the

1296
01:00:01,720 --> 01:00:06,720
Speaker 1: other side of the door, you know appropriately so and um,

1297
01:00:08,280 --> 01:00:10,120
Speaker 1: I I learned a great lesson if I told you

1298
01:00:10,160 --> 01:00:13,600
Speaker 1: this story before continue okay, UM, I learned a great

1299
01:00:13,640 --> 01:00:16,320
Speaker 1: lesson from her because you know, at that time, I was,

1300
01:00:16,360 --> 01:00:18,920
Speaker 1: I guess in my thirties or something, and thought I

1301
01:00:18,960 --> 01:00:20,960
Speaker 1: was this real songwriter or something. And I remember like,

1302
01:00:20,960 --> 01:00:22,360
Speaker 1: what am I doing the room with a fourteen year

1303
01:00:22,360 --> 01:00:23,840
Speaker 1: old girl? You know what, what what in the world

1304
01:00:23,920 --> 01:00:27,200
Speaker 1: can we have in common? And and uh, this is

1305
01:00:27,920 --> 01:00:32,280
Speaker 1: it still sounds crazy, right that that that a teenage

1306
01:00:32,320 --> 01:00:35,720
Speaker 1: girl became what she is and what she was. I mean,

1307
01:00:35,720 --> 01:00:40,280
Speaker 1: it's unbelievable. She's singular, you know. And so I remember

1308
01:00:40,360 --> 01:00:42,560
Speaker 1: having a bad attitude about the right like what am

1309
01:00:42,600 --> 01:00:45,400
Speaker 1: I doing? Why am I doing this? And then getting

1310
01:00:45,400 --> 01:00:48,040
Speaker 1: in the room with her, and she's very pleasant, but

1311
01:00:48,280 --> 01:00:52,640
Speaker 1: she knew exactly what she wanted to say. She was,

1312
01:00:52,720 --> 01:00:54,840
Speaker 1: you know, in a good way, pushing me around the room,

1313
01:00:55,000 --> 01:00:58,080
Speaker 1: like I'll go, well, um, an experienced writer like myself

1314
01:00:58,160 --> 01:01:00,240
Speaker 1: might say this, and she's like, no, no, it's not

1315
01:01:00,360 --> 01:01:02,520
Speaker 1: that's not how I would say, you know. And so

1316
01:01:02,920 --> 01:01:05,520
Speaker 1: what I learned from her is that from an artist perspective,

1317
01:01:05,560 --> 01:01:08,240
Speaker 1: she knew exactly who she was, she knew exactly what

1318
01:01:08,280 --> 01:01:10,600
Speaker 1: she wanted to say, she knew exactly where she was going.

1319
01:01:10,960 --> 01:01:13,920
Speaker 1: And to me, that is like, now, that's the number

1320
01:01:13,920 --> 01:01:15,480
Speaker 1: one thing I look for somebody. It's not even what

1321
01:01:15,520 --> 01:01:17,480
Speaker 1: their voice sound, flex, not what they look like. It's

1322
01:01:17,480 --> 01:01:20,720
Speaker 1: like if they have a vision and a focus of

1323
01:01:20,760 --> 01:01:24,200
Speaker 1: who they are, that that blows everything else away. Because

1324
01:01:24,200 --> 01:01:27,480
Speaker 1: then there's lots of great singers and great writers, and

1325
01:01:28,120 --> 01:01:30,320
Speaker 1: you know, turn on American Idol, you know you're on there.

1326
01:01:30,360 --> 01:01:32,880
Speaker 1: I mean, there's just great talent everywhere. But but the

1327
01:01:33,000 --> 01:01:36,080
Speaker 1: artists and the ones that connect, you know, no know

1328
01:01:36,160 --> 01:01:38,600
Speaker 1: why they're going to connect, and they connect with people.

1329
01:01:38,800 --> 01:01:41,320
Speaker 1: You know. And the song that you guys wrote, I

1330
01:01:41,360 --> 01:01:43,320
Speaker 1: don't remember the title. I don't even think we finished it.

1331
01:01:43,440 --> 01:01:45,480
Speaker 1: I think we wrote maybe twice and never finished it.

1332
01:01:46,160 --> 01:01:47,920
Speaker 1: You wrote two times. I think we wrote twice and

1333
01:01:47,960 --> 01:01:51,560
Speaker 1: didn't finish one song, and is that your fault? Probably

1334
01:01:51,880 --> 01:01:55,240
Speaker 1: she probably sense that I wouldn't find into her and

1335
01:01:55,400 --> 01:01:57,200
Speaker 1: probably ended the I don't want to speak for a

1336
01:01:57,240 --> 01:02:00,560
Speaker 1: probably ended the thing early and uh a little I'll

1337
01:02:00,560 --> 01:02:02,600
Speaker 1: give you a little coda to this story. We both

1338
01:02:02,640 --> 01:02:06,520
Speaker 1: wrote for Sony Publishing, which has tons and tons of writers,

1339
01:02:07,400 --> 01:02:11,280
Speaker 1: and several years later, UM Sony has this big every

1340
01:02:11,360 --> 01:02:15,080
Speaker 1: year they had this big annual uh Christmas brunch where

1341
01:02:15,200 --> 01:02:18,320
Speaker 1: they all the employees come, all the families, hundreds of people,

1342
01:02:18,880 --> 01:02:20,840
Speaker 1: and then they will give out awards. You know, there's

1343
01:02:20,840 --> 01:02:23,960
Speaker 1: always a uh Joe you know, who's worked here for

1344
01:02:24,040 --> 01:02:26,200
Speaker 1: twenty years award, who's worried five And then they'll have

1345
01:02:26,240 --> 01:02:29,640
Speaker 1: a Artist of the Year, artist Writer of the Year award,

1346
01:02:29,680 --> 01:02:32,000
Speaker 1: and a writer just a songwriter of the year award.

1347
01:02:32,800 --> 01:02:36,000
Speaker 1: And so that year I got I got the writer

1348
01:02:36,080 --> 01:02:37,480
Speaker 1: of the Year awards. She was going to get the

1349
01:02:37,560 --> 01:02:39,680
Speaker 1: artist Songwriter of the Year award. At this this is

1350
01:02:39,720 --> 01:02:42,360
Speaker 1: just a branch at a country club, right, and she

1351
01:02:42,480 --> 01:02:44,280
Speaker 1: was already Taylor Swift at this point. So we were

1352
01:02:44,280 --> 01:02:46,680
Speaker 1: sitting at the same table and I was going, Hey, Taylor,

1353
01:02:46,720 --> 01:02:50,080
Speaker 1: remember me, and she's like, oh yeah, yeah. Anyway, so

1354
01:02:50,240 --> 01:02:53,520
Speaker 1: they they awarded her and gave her her her award,

1355
01:02:53,560 --> 01:02:55,160
Speaker 1: and she she went up to say a few words,

1356
01:02:55,160 --> 01:02:57,280
Speaker 1: and she was just like, oh, Sony, you guys are

1357
01:02:58,240 --> 01:03:00,880
Speaker 1: always been my family. You believe to me. Nobody else did.

1358
01:03:01,880 --> 01:03:05,040
Speaker 1: I mean, I've just grown so much since I've've been

1359
01:03:05,080 --> 01:03:07,120
Speaker 1: associated with you guys. I mean, I remember when I

1360
01:03:07,160 --> 01:03:10,440
Speaker 1: first started, I was writing songs with people like and

1361
01:03:10,560 --> 01:03:14,760
Speaker 1: she looked over people like Jim Beavers. Um. I just

1362
01:03:14,800 --> 01:03:16,360
Speaker 1: always remember that. I thought it was great and I

1363
01:03:16,400 --> 01:03:17,880
Speaker 1: know how she met it, but I know how I

1364
01:03:17,880 --> 01:03:19,880
Speaker 1: took it. Like, so I was, you know, I thought

1365
01:03:19,880 --> 01:03:22,080
Speaker 1: that was funny. That's funny. That's about tape tape story.

1366
01:03:22,560 --> 01:03:24,680
Speaker 1: It's a good one. And it's also there's a lesson there,

1367
01:03:24,960 --> 01:03:27,280
Speaker 1: like if somebody knows who they are now I know,

1368
01:03:27,440 --> 01:03:30,360
Speaker 1: don't don't don't push back, and if and if they

1369
01:03:30,400 --> 01:03:33,480
Speaker 1: know how to connect, if they have a connection, if

1370
01:03:33,480 --> 01:03:35,240
Speaker 1: they know how to connect to people, even if it's

1371
01:03:35,240 --> 01:03:37,160
Speaker 1: not people I connect with. I pay a lot of

1372
01:03:37,200 --> 01:03:41,360
Speaker 1: attention to that because because that's, uh, that's an authenticity

1373
01:03:41,400 --> 01:03:45,120
Speaker 1: that you can't you can't make a song make somebody

1374
01:03:45,120 --> 01:03:48,120
Speaker 1: do that. You know. Well, in this podcast, Mike, I

1375
01:03:48,160 --> 01:03:50,160
Speaker 1: just caught him in a lie he did win an award.

1376
01:03:50,200 --> 01:03:51,640
Speaker 1: He just said he never won an award, and then

1377
01:03:51,640 --> 01:03:53,880
Speaker 1: three minutes later he goes, I wanted an award. I'm

1378
01:03:53,920 --> 01:03:58,080
Speaker 1: just saying, you just contracting the best best Jim Beavers

1379
01:03:58,120 --> 01:04:00,280
Speaker 1: at my own house or something. Awards? Have you won

1380
01:04:00,360 --> 01:04:03,240
Speaker 1: that I did? I did two times? Good for you? Yeah,

1381
01:04:03,360 --> 01:04:06,280
Speaker 1: Well listen, do you have anything? Um, you don't have

1382
01:04:06,320 --> 01:04:08,520
Speaker 1: to mention it as there are. There are songs out

1383
01:04:08,560 --> 01:04:09,800
Speaker 1: now that people like, Oh, I think I like this,

1384
01:04:09,840 --> 01:04:12,280
Speaker 1: Maybe it's on hold? Is that always a thing? It's

1385
01:04:12,280 --> 01:04:15,360
Speaker 1: all you're always wondering. You're always wondering. I'm wondering about

1386
01:04:15,400 --> 01:04:17,320
Speaker 1: the hoodie song. Will that be a single? Are they

1387
01:04:17,400 --> 01:04:18,919
Speaker 1: going to do a single? Will that be the one?

1388
01:04:19,080 --> 01:04:21,800
Speaker 1: I mean because I love the song? And um, so

1389
01:04:22,080 --> 01:04:24,280
Speaker 1: all you can do is sit and wait and then,

1390
01:04:24,480 --> 01:04:26,520
Speaker 1: you know, try not to get too depressed if it

1391
01:04:26,600 --> 01:04:29,160
Speaker 1: doesn't happen, you know, keep moving forward. Of all the

1392
01:04:29,200 --> 01:04:30,560
Speaker 1: ones that you wrote, of all the hits you had,

1393
01:04:30,680 --> 01:04:35,240
Speaker 1: what's the song that you want to remember for? Um?

1394
01:04:35,320 --> 01:04:41,960
Speaker 1: I'd probably can I say too? I sure? Well? Watching

1395
01:04:41,960 --> 01:04:44,480
Speaker 1: Airplane as well Aways be special because it's a wacky

1396
01:04:44,520 --> 01:04:46,520
Speaker 1: song and it was my first number one, and it

1397
01:04:46,640 --> 01:04:49,920
Speaker 1: was at number one, and then drink a beer. Um,

1398
01:04:50,000 --> 01:04:54,520
Speaker 1: solely because of how I've learned that people. That has

1399
01:04:54,560 --> 01:04:57,600
Speaker 1: affected people. Yeah, that's a thing. It's a thing that

1400
01:04:58,000 --> 01:05:03,160
Speaker 1: I did. I very very much underestimated the power of it.

1401
01:05:03,240 --> 01:05:05,960
Speaker 1: And and I don't take any kind of credit for it.

1402
01:05:06,160 --> 01:05:10,400
Speaker 1: Um and and yeah, so that that's even though it's

1403
01:05:10,440 --> 01:05:15,400
Speaker 1: kind of a sad connection, it's it's an emotional deal. Well,

1404
01:05:15,440 --> 01:05:16,960
Speaker 1: here's a little bit of drink of beer. We'll play

1405
01:05:16,960 --> 01:05:23,080
Speaker 1: it one more time, everybody. Jim Beepers Episode one. Jeff,

1406
01:05:24,200 --> 01:05:26,160
Speaker 1: I can't believe we've done. Now what you mean that's it?

1407
01:05:26,200 --> 01:05:30,120
Speaker 1: We've done over an hour? Yeah, seven o four five pm.

1408
01:05:30,200 --> 01:05:33,439
Speaker 1: Now come. It's easy when you're talking about yourself, right,

1409
01:05:35,080 --> 01:05:37,640
Speaker 1: it goes about quick. You know all the answer, you know,

1410
01:05:37,960 --> 01:05:39,880
Speaker 1: you know all the answer. I was nervous, man, I

1411
01:05:39,920 --> 01:05:41,440
Speaker 1: told my lifepisode I don't really know it. M was

1412
01:05:41,480 --> 01:05:43,920
Speaker 1: supposed to have stories ready or you know. I was

1413
01:05:43,960 --> 01:05:45,560
Speaker 1: asked that. I said, no, just having to show up.

1414
01:05:45,640 --> 01:05:47,200
Speaker 1: And one we already know each other. I'm not even

1415
01:05:47,200 --> 01:05:49,920
Speaker 1: wearing shoes. I'm nowhere in underwears. Yeah, so it works.

1416
01:05:50,200 --> 01:05:52,280
Speaker 1: I'm actually wearing your socks and youwhere in my underwear?

1417
01:05:52,640 --> 01:05:55,160
Speaker 1: So it's a whole um. All right, is there anything

1418
01:05:55,160 --> 01:05:58,240
Speaker 1: you want to promote? Okay, there we have an raging

1419
01:05:58,240 --> 01:06:00,640
Speaker 1: idiot show in Oklahoma City, Oklauma sitting on a rock.

1420
01:06:00,720 --> 01:06:02,919
Speaker 1: That's right. But by the time they hear this, it'll

1421
01:06:02,960 --> 01:06:05,640
Speaker 1: be too late. No, there'll be a couple of days.

1422
01:06:05,640 --> 01:06:09,640
Speaker 1: But I think they're both sold out, so you can

1423
01:06:10,040 --> 01:06:12,560
Speaker 1: be honest. Were you surprised when you would see the

1424
01:06:12,560 --> 01:06:15,720
Speaker 1: amount of people that would come to our shows? Yeah?

1425
01:06:16,080 --> 01:06:21,520
Speaker 1: Because why? Um, because I'm not a daily listener of

1426
01:06:21,600 --> 01:06:23,479
Speaker 1: yours and I haven't ever been. I have a five

1427
01:06:23,480 --> 01:06:26,880
Speaker 1: minute commute and so um. And I just didn't realize

1428
01:06:26,880 --> 01:06:31,200
Speaker 1: how big. I'm sorry, I didn't realize how big the

1429
01:06:31,240 --> 01:06:33,360
Speaker 1: impact was. And the way I told it to my

1430
01:06:33,360 --> 01:06:37,040
Speaker 1: wife was, it's like he's got a a very loyal

1431
01:06:38,360 --> 01:06:42,280
Speaker 1: like they're not passive Bobby Bones fans. I mean they

1432
01:06:42,800 --> 01:06:46,600
Speaker 1: there's like a it's a thing. I know that's not

1433
01:06:46,760 --> 01:06:49,240
Speaker 1: very well said, but it's a it's a I think

1434
01:06:49,280 --> 01:06:51,080
Speaker 1: you've you have it. When I talked about a connection

1435
01:06:51,120 --> 01:06:53,000
Speaker 1: like Taylor Swift having a connectional people, I think you

1436
01:06:53,000 --> 01:06:55,760
Speaker 1: have a very specific connection with a with a very

1437
01:06:55,760 --> 01:06:59,200
Speaker 1: specific pretty good sized group of people and it's beyond

1438
01:06:59,640 --> 01:07:02,840
Speaker 1: entertain m hmm, that's what I think, and that's what

1439
01:07:02,920 --> 01:07:04,920
Speaker 1: I told you to say, so thank you for so anyway.

1440
01:07:04,960 --> 01:07:07,960
Speaker 1: Do you still need this piece of don't? I don't. Alright,

1441
01:07:08,000 --> 01:07:10,120
Speaker 1: that's the episode one ninety nine with Jim Beavers. All right,

1442
01:07:10,160 --> 01:07:13,120
Speaker 1: and everybody you can watch. You can watch this up

1443
01:07:13,160 --> 01:07:15,480
Speaker 1: on YouTube. I'm playing my profile was the star here

1444
01:07:15,520 --> 01:07:19,560
Speaker 1: because well, no, it's not your strong And now he's

1445
01:07:19,560 --> 01:07:21,920
Speaker 1: doing wrap her hands to it. For some reason, he

1446
01:07:22,000 --> 01:07:24,480
Speaker 1: does one raps oh sorry mini rap gus that we

1447
01:07:24,520 --> 01:07:26,640
Speaker 1: don't know about yet. Alright, episode one night Night. Thank

1448
01:07:26,640 --> 01:07:28,880
Speaker 1: you very much, and don't forget to check out Velvet's

1449
01:07:28,920 --> 01:07:31,600
Speaker 1: Edge with Kelly Henderson and check out four Things with

1450
01:07:31,680 --> 01:07:33,920
Speaker 1: Amy Brown and a lot of the other podcasts here

1451
01:07:33,960 --> 01:07:35,800
Speaker 1: on the Nashville Podcast Network. Alright, bye, guys,