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Speaker 1: All. Welcome to episode sixty one The Bobby Cast with

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Speaker 1: Nicole Galleon, who, by the way, we're gonna tell you

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Speaker 1: before I walked on, everybody's has super nice things about you.

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Speaker 1: And in this town, that's that's happened with everybody. It's

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Speaker 1: such a like everybody's like, God, i' have an opinion

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Speaker 1: on that person. Everybody's has super nice things about you.

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Speaker 1: We don't search for dirt, but we're like, hey, Mike,

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Speaker 1: wouldn't you agree? Like everybody we talked to was like, oh,

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Speaker 1: you will love her. First person universally we've ever had that.

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Speaker 1: Someone said, you'll everybody you love no pressure, no pressure

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Speaker 1: at all. Um. You know who was up here was

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Speaker 1: fantastic as Natalie Himby and she loves you love her.

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Speaker 1: And if anybody have nowally loves somebody were pretty cool.

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Speaker 1: She'll let you know. She doesn't. Yeah, I just let

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Speaker 1: you know real quick too. So let's see. I want

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Speaker 1: to tell you how because I want to run through

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Speaker 1: your resume real quick, and then we'll come back to

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Speaker 1: it because I like people to know who we're talking

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Speaker 1: to it first. So just some songs that Nicole has

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Speaker 1: has written here, I which actually wrote this jingle for

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Speaker 1: our show. This is a really amazing tune. You can

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Speaker 1: um no like for example automatic by the way, you

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Speaker 1: know it was with today. That's what Frank Lidel. We

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Speaker 1: were sitting at a table for like three hours. I'm

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Speaker 1: assuming he produced yeah, um, because he produces, you know,

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Speaker 1: random stuff. We set for about three hours at a

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Speaker 1: table today and talked about the future of the business

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Speaker 1: and and at a at a seminar of his brutal

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Speaker 1: and I like Frank and we were both like, I'm

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Speaker 1: over it, but yeah, Frank produced that. Let's see we

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Speaker 1: were Keith, you pumped your fist on that one. We're

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Speaker 1: gonna come back to that line things like and I

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Speaker 1: have a whole opinion and we can get to this

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Speaker 1: and I'll rant a bit but love triangle from Raylan

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Speaker 1: Lantic whoever heartened and the long swabs and then a

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Speaker 1: lot of other stuff. But I want to tell you

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Speaker 1: how it was introduced to you because I am the

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Speaker 1: biggest Walker Hayes fan and like that's my friend too,

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Speaker 1: and I took him on tour. We just finished our

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Speaker 1: last show together. We did January through May, and he

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Speaker 1: opened from my stand up comedy tour and months ago

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Speaker 1: I mean before he even had I was just like, dude,

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Speaker 1: this stuff is next level. Like when this Volume one

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Speaker 1: came out, I was playing it on the radio and

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Speaker 1: I was like, I love it. I love everybody of it.

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Speaker 1: White this Halloween song and you sing it and you

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Speaker 1: wrote it with them, and I'm hearing this song and

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Speaker 1: it was just before I play I remember hearing it

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Speaker 1: and kind of listening to the message and it was,

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Speaker 1: you know, Halloween ended and all the things I pretended

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Speaker 1: to be, Like, you met somebody and you don't have

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Speaker 1: to dress up and be this character anymore. You can

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Speaker 1: just be yourself. And I was like, I don't know

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Speaker 1: where this came from, but this is like next level stuff.

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Speaker 1: And not only did you write it with him, you

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Speaker 1: sang it with them. So I'm gonna play it and

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Speaker 1: then we're gonna talk to you. I'm done with my

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Speaker 1: whole spill up front Halloween to look at all these talents.

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Speaker 1: I love this song, man, I love this song. Halloween. Hell.

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Speaker 1: I don't know why. I'm like, that's a dam Like

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Speaker 1: I was so good. He's so good, He's so good,

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Speaker 1: Like and when he finally I've saved tweets from like

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Speaker 1: a year ago, and I'm like, everybody's gonna be sorry

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Speaker 1: they didn't sign Walker's because he's that good and I've

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Speaker 1: been written with him and he is a different level.

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Speaker 1: He's he's so wordy, but like in this amazingly like

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Speaker 1: precise way. So enough enough, enough of me rambling. We'll

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Speaker 1: come back to that. Okay, come back about you. So

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Speaker 1: where did you grow up and how did you get here?

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Speaker 1: I grew up in Kansas the Middle. I grew up

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Speaker 1: in a little farm town of like two thousand people

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Speaker 1: where West Town then gown. Okay, well, I guess if

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Speaker 1: we went to town, we went to another smallest town

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Speaker 1: called Hutchinson. I know. Well yeah, so, um that's where

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Speaker 1: we would go to the Target or the Applebee's for

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Speaker 1: or for a date or something like that. Um, but

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Speaker 1: that was probably thirty miles away. So how long ago

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Speaker 1: did you move to Nashville. I'm the tier in two

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Speaker 1: thousand two, right when I graduated from high school. So

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Speaker 1: this is my fifteen year Nashville versari. Um. I came

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Speaker 1: here and went to Belmont. At that time, I had

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Speaker 1: never sung I go. You know, I actually got into

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Speaker 1: the business backwards because I came here wanting to be

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Speaker 1: a manager. Really, I had never written a song, I

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Speaker 1: never sung in front of anybody. When I moved here,

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Speaker 1: I you know, I was like the anti girl moving

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Speaker 1: to Nashville who had grown up singing out every county

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Speaker 1: fair wanting to be in the music business. You know,

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Speaker 1: I just want to be on the business side. What

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Speaker 1: made you want to be a manager? Like growing up

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Speaker 1: in a small town in Kansas, I wouldn't again, I'm

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Speaker 1: a tight town in Arkansas. I never even knew managers

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Speaker 1: were a thing. Well, I was just obsessed with the music.

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Speaker 1: I was just obsessed with country music. And so for me,

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Speaker 1: I was like I was raised real blue collar, like

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Speaker 1: my dad and his brother's all poor concrete that's still

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Speaker 1: what they do. And so for me it was like

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Speaker 1: I was very business minded and how can I how

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Speaker 1: can I work and be in the music business. I

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Speaker 1: never had that. I mean, I grew up playing classical

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Speaker 1: piano hardcore like one competitions. It was like my thing.

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Speaker 1: But what does that mean hard course? Did you start

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Speaker 1: training at a young age, like like at three and

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Speaker 1: then I would like play in these like symphony orchestra things.

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Speaker 1: When I was in high school. I was very disciplined

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Speaker 1: but like, I never saw a way for that to

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Speaker 1: connect with my passion, which was country music. I mean,

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Speaker 1: my mom and I went to every concert. We were like,

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Speaker 1: you know, we were those fans, you know, but playing

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Speaker 1: classical piano and loving the Dixie Chicks. How do you

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Speaker 1: where's the middle ground between those two? And so for me,

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Speaker 1: I was I'm actually I actually thought that I was

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Speaker 1: a manager because of the way that I'm made. I'm

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Speaker 1: not made like a creative like most of the people

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Speaker 1: who write songs. I'm type A. I'm very like like

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Speaker 1: I could be really happy in a suit and tie job.

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Speaker 1: Like I thought that, And that's actually the way that

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Speaker 1: I operate in process and wire and I'm wired and stuff.

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Speaker 1: So I was like, well, that makes sense. You're passionatest

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Speaker 1: country music and your type A and you're wired like this,

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Speaker 1: you must be something behind the scenes. So that's what

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Speaker 1: got me here. You're going to manage artists. I moved here.

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Speaker 1: I went to Belmont thinking that I was going to

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Speaker 1: get this degree and manage artists and got here and

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Speaker 1: just started meeting songwriters. And literally the first time I

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Speaker 1: sat in someone's living room and saw guitar pool, I

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Speaker 1: thought I can do that, and it wasn't like it

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Speaker 1: wasn't pride, and it wasn't I didn't. I had never

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Speaker 1: written a song, but I just knew myself and knew

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Speaker 1: that I could do that. And so I was like

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Speaker 1: a closeted songwriter for many years. Even as you're playing

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Speaker 1: piano all those years, you never wrote a song. So

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Speaker 1: what did you do play? I dropped off. Yes, I

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Speaker 1: played Beethoven. I played like study because that's what was

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Speaker 1: available in the country. Was like choral mute. Like if

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Speaker 1: I sang, I sang in a quiet choral music because

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Speaker 1: that's what you do in a small town. That was

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Speaker 1: no band. There was no one learning guitar, no one.

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Speaker 1: It was you know. It wasn't until I got here

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Speaker 1: that I figured out that I could put all that

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Speaker 1: stuff together. Did you sing solos in your choir? If

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Speaker 1: you have to think about it, there there are no

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Speaker 1: distinct memories of you just rocking in a solo. I

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Speaker 1: think they made me. My choir director made me do

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Speaker 1: one like my senior year, and it was kind of

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Speaker 1: a joke, and it wasn't. I mean, I don't have

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Speaker 1: like a great choral voice. I don't think of myself

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Speaker 1: as a singer still. Um So, I definitely didn't think

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Speaker 1: of myself as a singer when I was seventeen, as

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Speaker 1: I thought a singer was Martin McBride. That was the

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Speaker 1: only way you could sing and be a good singer.

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Speaker 1: And then I got here and met songwriters and I'm like, oh,

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Speaker 1: you're all artists in your own way, and you don't

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Speaker 1: sound like Martina McBride or Faith Hell. You know the

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Speaker 1: people that have these huge voices, and I don't have

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Speaker 1: that voice. So I never considered myself a singer. At

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Speaker 1: what point did it turn for you? And you go, Okay,

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Speaker 1: maybe I don't want to manage. I want to be

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Speaker 1: someone who creates. Um well, probably you kind of have

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Speaker 1: to note kind of what was going on the side too.

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Speaker 1: I worked for a booking agent at William Morris all

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Speaker 1: through college as I was like his assistant for four years,

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Speaker 1: and part of my job was helping him throw parties.

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Speaker 1: So we would throw these parties at his house with

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Speaker 1: all these people in the music business and then everyone

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Speaker 1: would be drunk and at the end of the party,

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Speaker 1: he knew I was writing songs because he was kind

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Speaker 1: of he kind of became family to me and he'd

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Speaker 1: be like, Nick, get up there and play a song

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Speaker 1: and I he would always put me on the spot,

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Speaker 1: and I would always be so scared. But something in

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Speaker 1: me just loved songwriting enough that I was like, if

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Speaker 1: you can't do this, you're never going to be a songwriter.

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Speaker 1: So did you start playing guitar when you moved here?

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Speaker 1: I just read on piano, So you don't play guitar now?

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Speaker 1: And I still don't plays Wow, So you write on piano.

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Speaker 1: So Walker, just like Walking Walker writes and plays piano.

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Speaker 1: Some on YouTube it said, like the doling It's like

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Speaker 1: Billy Joel and Elton John. I went to the concerts

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Speaker 1: like doing pianos. He out, I don't, I don't. I

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Speaker 1: rarely play in the room anymore. And that's the weird thing.

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Speaker 1: Like the first I got a publishing deal in two

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Speaker 1: thousand seven, and I pretty much wrote at the piano.

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Speaker 1: I was the girl. I was like the country Sarah barellis,

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Speaker 1: I guess, for lack of a better, the description when

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Speaker 1: I first had a publishing deal and and I was

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Speaker 1: just given that when you write, when the coolst she

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Speaker 1: writes on the piano. And then this whole track Guy

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Speaker 1: Revolution happened with songwriting, where all these guys were incredible.

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Speaker 1: You know, they've had these incredible tracks. So then I

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Speaker 1: started walking in and I became more of a top liner.

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Speaker 1: Basically top line. The top line is pretty much anything

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Speaker 1: you would sing in karaoke, So lyric, melody, whatever the

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Speaker 1: singer does in karaoke is what top lining is. And

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Speaker 1: that's more of like an l a pop way of

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Speaker 1: talking about writing. We don't say that as much here

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Speaker 1: in Nashville because everyone just kind of is chameleon and

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Speaker 1: everyone does everything in the room. But when I got

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Speaker 1: rid of my piano, which is ultimately what got me

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Speaker 1: into writing in the first place. That so when I

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Speaker 1: really started to blossom. That sounds so dumb blossom who

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Speaker 1: says that? But do you write with piano now? Maybe

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Speaker 1: like a handful of times a year? Wow? Really do

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Speaker 1: you play it for fine? Still? A little bit? Yeah?

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Speaker 1: I mean, are you burnt at all from it? I'm

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Speaker 1: like I got to the point on a writing front

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Speaker 1: where I was um uninspired by everything I was playing

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Speaker 1: because I was just playing everything and writing for the

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Speaker 1: country market. There's a lot of kinds of songs that

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Speaker 1: I wanted to write that just don't pay off in

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Speaker 1: the room on piano, Like I can't write a song

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Speaker 1: to pitch to Luke Brian most of the time writing

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Speaker 1: on piano, you can't write a lot of the same fields.

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Speaker 1: It would just sound like bad Billy Joel you know,

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Speaker 1: it would just sound like terrible Elton John. You know.

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Speaker 1: I just didn't sound like anything anyone would ever cut,

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Speaker 1: and it wasn't inspiring. So I just kind of gave

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Speaker 1: that up. So you got your first publishing Gilts, which

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Speaker 1: means they start paying you'd write songs. Yeah, So what

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Speaker 1: was your first bit of success, meaning who was the

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Speaker 1: first one ever put a song on hold and go oh,

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Speaker 1: even if you didn't get it where you kind of

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Speaker 1: got a little bit excited. I don't remember the like

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Speaker 1: a substantial hold, but I remember are you familiar with

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Speaker 1: Josh Kelly? Not country but kind of Americana acoustic And

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Speaker 1: at the time, all I knew of him was that

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Speaker 1: he had been a pop artist and was coming to

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Speaker 1: Nashville and um was making a country record and he

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Speaker 1: I wrote a song with him that was going to

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Speaker 1: be his first single, and it was going to be

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Speaker 1: my first time to hear something that I had written

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Speaker 1: on the radio, and the last minute they changed their

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Speaker 1: mind and went with another song and it kind of struggled,

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Speaker 1: and then I think they kind of like used all

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Speaker 1: their bullets per se on that song, and then then

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Speaker 1: they put ours out and it just like died at fifty,

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Speaker 1: which is such a rite of passage for every songwriter.

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Speaker 1: Do you all dream of getting, you know, your first single,

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Speaker 1: because in your mind you think if I get a single,

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Speaker 1: I get a hit. Will Those are two very different things.

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Speaker 1: So you get the single and then it fails, and

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Speaker 1: then you go, okay, now my new goal is a hit.

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Speaker 1: So you get a song with Josh Kelly. Yes, no

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Speaker 1: real success, but it is at least a song. You

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Speaker 1: probably heard it on the radio a couple times. It's

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Speaker 1: gonna be cool, right, Yeah, that was cool? Okay, So

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Speaker 1: then what was your first song where you finally got

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Speaker 1: to actually be okay, this thing has a shot? Was

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Speaker 1: we were us Wow, that's a that was a monster,

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Speaker 1: Like that was your first real one and it was

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Speaker 1: that big. I had a song on the song that

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Speaker 1: always feels like my career kind of like happened after this.

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Speaker 1: Ahead you can talk keep it low so we can

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Speaker 1: talk over what was this song the Lady annabelleum cut

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Speaker 1: of mine called it Ain't Pretty. I had that one

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Speaker 1: right here here, So you thought this song in myself

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Speaker 1: fall it ain't pretty, it ain't pretty heartbreak. So this

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Speaker 1: was a cut before we were This was a cut

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Speaker 1: before we rest. This was a song that It's funny

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Speaker 1: because like my publisher always says, you know, song said

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Speaker 1: off your purposes, Nicole, And we all as writers, all

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Speaker 1: we think is songs need to be hits or also

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Speaker 1: we're not gonna have a job. But this song had

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Speaker 1: a different purpose, which was to just make other people

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Speaker 1: aware of me as a writer. And a lot of

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Speaker 1: people wrote with me because they were like, who wrote that?

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Speaker 1: I wrote this with Eric Kasli, one of my one

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Speaker 1: of my best friends in the whole world. Everyone knew Eric,

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Speaker 1: but then they were like, this is a female song.

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Speaker 1: Who's the missing who's the new variable in this song?

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Speaker 1: And so that that's that's how Shane mcinally became aware

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Speaker 1: of me was he heard me play this at a

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Speaker 1: lady and a bellum of it and was like, you

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Speaker 1: don't know me, but I can't believe that song. And

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Speaker 1: so now we're like great friends. So so this was

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Speaker 1: the first cut you ever got. It wasn't the first cut,

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Speaker 1: but it was like the first legit cut. What you did?

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Speaker 1: Thing like this night record was that on Golden So

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Speaker 1: just God. So people hear this and start to go, hey,

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Speaker 1: listen to the record, love that song? Who wrote it?

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Speaker 1: And that's how they started to track down like the

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Speaker 1: new new sound songwriters. I mean, I guess at least

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Speaker 1: within our writing community, it was, Oh, it's so funny

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Speaker 1: because it's like getting a cut like that is like

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Speaker 1: when one artist validates you and says your song is

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Speaker 1: worthy of my project, so many other artists feel more

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Speaker 1: confident in cutting your songs. And I think, and you know,

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Speaker 1: I just did an event with Lady a couple of

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Speaker 1: weeks ago and I played that song and I was like,

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Speaker 1: no one ever heard this song, But this song actually

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Speaker 1: changed everything for me, um because it made other artists go, oh,

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Speaker 1: what else are you writing? And you know, you have

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Speaker 1: to see the long game. When you do what we do,

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Speaker 1: you can't get can't put put all your eggs in

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Speaker 1: any songs basket. You know, it just has to be like, well,

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Speaker 1: if that was what that song's purpose was, then I

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Speaker 1: have peace with that. And all right, another one. I

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Speaker 1: was wondering because I have a lot of songwriter friends,

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Speaker 1: and there you write a song and it takes forever

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Speaker 1: for for it to come to fruition. So when you

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Speaker 1: write the song, you don't go, well, we'll see that

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Speaker 1: one next week or in a month. You kind of

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Speaker 1: just write a bunch of songs and then just let

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Speaker 1: them go about their day. You can almost forget about them,

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Speaker 1: and you just keep writing. And then eventually, after time

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Speaker 1: somebody go come back and go, oh, remever, that song

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Speaker 1: you wrote three months ago, this one's kind of been play.

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Speaker 1: Is that somewhat right? Yeah, I mean I think about it.

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Speaker 1: My husband is used to be a farmer. He's a

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Speaker 1: writer too, but I always use like the farming metaphor

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Speaker 1: of like every day we just plant seeds and like

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Speaker 1: then you look back and you like have this whole

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Speaker 1: field of songs, and some of them grow and some

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Speaker 1: of them don't, and you know, some of them you

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Speaker 1: really have to like work hard for another. You know,

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Speaker 1: they just kind of do their own thing. They have

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Speaker 1: this they have a whole life of their own beyond

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Speaker 1: what happens in the room. And that's like the most

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Speaker 1: intriguing part of the business. To me, is like how

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Speaker 1: certain songs go all the way around the world to

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Speaker 1: get cut. You know, it's really humbling, honestly, because you go,

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Speaker 1: I could have never orchestrated that. I could have never

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Speaker 1: been smart enough or made that happen on a business front.

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Speaker 1: That just happened on its own. That's really cool to watch.

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Speaker 1: Talking about wag Walker for just a second. I love

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Speaker 1: my dog. My dog is in the room right now

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Speaker 1: as we do the Bobby Cast buddy. So for me,

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Speaker 1: I love wag Walker. I just started using wag Walker

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Speaker 1: about three weeks ago. For me, my dog is a

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Speaker 1: part of my family, my dog and best friend, a

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Speaker 1: dog fourteen years old. And so wag Walker is awesome.

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Speaker 1: I think you should trust wag I trust wag If

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00:16:41,360 --> 00:16:42,400
Speaker 1: you listen to me at all, you know that I

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00:16:42,480 --> 00:16:45,600
Speaker 1: love my dog like more than anything. Here's how it works.

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Speaker 1: The booking options covered everything you need like a sapn demand.

336
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Speaker 1: They can get a walker there in less than an hour,

337
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Speaker 1: or you can schedule for later. Wag automatically pairs you

338
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Speaker 1: with the best walker nearest to you to your schedule.

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343
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Speaker 1: your dog uses the bathroom. I'm not not talking about this, Yip, Mike.

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00:17:12,640 --> 00:17:14,639
Speaker 1: Mike's giving me a time. This I'm telling you just

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348
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350
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Speaker 1: I know one over time, but it's really great. Okay,

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Speaker 1: so how about this. Let's talk about we were Us.

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Speaker 1: This was a monster. I mean, I don't think a

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Speaker 1: song in the past five years because I mean, this

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Speaker 1: is one of the bigger ones. So was it written

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Speaker 1: as a duet? It was? There was another artist that

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Speaker 1: we um had. I don't know. I never feel right

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Speaker 1: saying who it is. Everybody always says you don't have to,

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Speaker 1: but everybody always says, don't feel like you have to.

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Speaker 1: There was another artist that there was just like a

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Speaker 1: rumor that they were looking for a feature. It was

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Speaker 1: a female artist and looking for a feature. And it was,

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Speaker 1: to be quite honest, not as massive like not as

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Speaker 1: you know at the time, that artist didn't have you know,

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Speaker 1: hadn't had a song on the radio in years. Not

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Speaker 1: a feature. What what do you mean? Not a feature?

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Speaker 1: So Keith had the song already and they wanted to

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Speaker 1: know it was written as a female song to feature

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Speaker 1: a guy. Okay, got it. And then um, one of

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Speaker 1: the one of my core I wrote this song with

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Speaker 1: Jimmy Robbins and John Knight and one of my co writers,

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Speaker 1: Jimmy Robbins his he was actually published by Keith. So

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Speaker 1: Keith was getting to hear what he was writing before

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Speaker 1: any but before anyone else I ever heard it. So

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Speaker 1: he heard it, and then it never really actually made

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Speaker 1: it to that other artist. So Keith was like, I'll

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Speaker 1: take it. Actually, that's not true. He said, oh my god,

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Speaker 1: I have to have that song. In the meantime, we

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Speaker 1: had already sent it off to the other artists camp

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Speaker 1: and they came back and we're freaking out, like, oh

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Speaker 1: my gosh, we have to have this song, and we're like,

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Speaker 1: I'm so sorry you can't now because Keith wants it.

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Speaker 1: And that's always like a really that's what you dream

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Speaker 1: of those situations as a writer, but it, you know,

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Speaker 1: it kind of stunk. Did you have to have the conversation?

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Speaker 1: Did you know the other artist well enough? For I

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Speaker 1: did eventually, like I don't think I was. All of

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Speaker 1: us were connected to this, to this girl, and we

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Speaker 1: all love her and adore her. Um, but how could

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Speaker 1: we tell Keith no it was his? He had technically

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Speaker 1: owned the song, and are you kidding me? Like, are

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Speaker 1: you freaking kidding me? Why would we ever tell him? No? Ever,

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Speaker 1: Keith wants the song, gets the song, and then how

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Speaker 1: did Miranda get on it? I don't remember. I feel like,

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Speaker 1: there for a minute, there were other possibly like and

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Speaker 1: he might remember, I mean, he would obviously remember this

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Speaker 1: better than I would because and I'm even hesitant to say,

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Speaker 1: because all the information we get as songwriters is so third, fourth,

401
00:20:15,119 --> 00:20:18,040
Speaker 1: fifth hand that who even knows? I mean, but I

402
00:20:18,080 --> 00:20:20,040
Speaker 1: know there were other names that were thrown out in

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Speaker 1: the process that we were told. Now whether they were

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00:20:22,359 --> 00:20:24,560
Speaker 1: like every legit in the running, I don't know, but

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Speaker 1: I actually, um, I actually remember writing the day that

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Speaker 1: we wrote Automatic with Miranda, she was like, I sang

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Speaker 1: the vocal on that song. What's going on with that song?

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Speaker 1: And I was like, I don't know, you know, we

409
00:20:38,640 --> 00:20:40,600
Speaker 1: don't know anything. We're just that the first time you

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Speaker 1: heard that she had sang the vocal. And when she

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Speaker 1: told you that, UM, I think she I knew that

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Speaker 1: she had done the vocal, but it had been a minute,

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Speaker 1: and in my mind, I'm like, like, no news is

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Speaker 1: not always good news. You know, you want momentum, you

415
00:20:52,600 --> 00:20:55,119
Speaker 1: want excitement, you want feedback, and I hadn't heard anything,

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Speaker 1: and so I was like, oh, maybe it didn't work.

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Speaker 1: I don't know. Even Randon didn't know. It sounds like

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Speaker 1: like I sang the vocal, what's happening with that? So

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Speaker 1: she didn't even know at that point because and I

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Speaker 1: can tell you like I'm I'm pretty close to Keith

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Speaker 1: and like, I know things he's cut right now with

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Speaker 1: the other arts, and I know the other artists. I'm like,

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Speaker 1: you know what, I don't know where It's kind of

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Speaker 1: the same weird thing you would think everybody would be

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Speaker 1: in on it, but it's really everybody is really not well.

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Speaker 1: I think it's I think it's cool because they are

427
00:21:24,840 --> 00:21:26,320
Speaker 1: like you're I mean, I would think I'm not an

428
00:21:26,440 --> 00:21:28,359
Speaker 1: artist per se, but I would think that you would

429
00:21:28,359 --> 00:21:32,640
Speaker 1: want to be precious because information is I would say,

430
00:21:32,640 --> 00:21:35,840
Speaker 1: like as songwriters, like information is currency, you know, like

431
00:21:36,000 --> 00:21:39,560
Speaker 1: knowing all the songs that everyone's cut for their project,

432
00:21:39,640 --> 00:21:42,480
Speaker 1: that you know that or who's looking for water. I mean,

433
00:21:42,520 --> 00:21:46,520
Speaker 1: you'd be surprised just being close in proximity to an

434
00:21:46,640 --> 00:21:48,920
Speaker 1: artist what a heads up or you know what a

435
00:21:49,080 --> 00:21:52,240
Speaker 1: cut in line? I would say that is and getting

436
00:21:52,280 --> 00:21:55,320
Speaker 1: cuts because you just take for granted that knowing the

437
00:21:55,320 --> 00:21:57,600
Speaker 1: other things that are involved in the project really helps you.

438
00:21:57,640 --> 00:21:59,520
Speaker 1: And so I think artists are they're smart, and that

439
00:21:59,520 --> 00:22:02,760
Speaker 1: they're pretend active of the information that surrounds their projects

440
00:22:02,800 --> 00:22:05,119
Speaker 1: so that they can keep them precious. So tell me.

441
00:22:05,200 --> 00:22:09,280
Speaker 1: Then you hear the song, it's Keith, it's Miranda, you

442
00:22:09,320 --> 00:22:12,800
Speaker 1: know now it's Miranda and Carrie and then everybody else.

443
00:22:12,960 --> 00:22:16,120
Speaker 1: So you get the biggest I mean, you got Keith

444
00:22:16,200 --> 00:22:18,800
Speaker 1: Urban and the basically the biggest Chemale country artist on

445
00:22:18,840 --> 00:22:21,720
Speaker 1: the same song that you wrote. I mean, are you like, okay,

446
00:22:21,760 --> 00:22:24,800
Speaker 1: this is it? Like, yeah, that's in my mind. How

447
00:22:24,840 --> 00:22:26,840
Speaker 1: could it not be right? No, I did, and I

448
00:22:27,240 --> 00:22:29,399
Speaker 1: and I I would think that just by who was

449
00:22:29,440 --> 00:22:31,439
Speaker 1: singing it. But then when I heard it, I was

450
00:22:31,480 --> 00:22:33,520
Speaker 1: so blown away by the production on it, and they

451
00:22:33,520 --> 00:22:37,240
Speaker 1: suppoth sing their butts off. I was like, Wow, that

452
00:22:37,280 --> 00:22:40,520
Speaker 1: sounds amazing. I still when it comes on I still

453
00:22:40,560 --> 00:22:43,400
Speaker 1: I'm like, oh my god, that sounds so good. When

454
00:22:43,400 --> 00:22:44,800
Speaker 1: do you get to hear it over the first time

455
00:22:44,840 --> 00:22:47,320
Speaker 1: after it's all the way down in master sometimes like

456
00:22:47,359 --> 00:22:50,840
Speaker 1: when it gets released iTunes, I mean wow. That to me,

457
00:22:51,160 --> 00:22:55,760
Speaker 1: certain artists will have like a listening party or like um, hey,

458
00:22:55,760 --> 00:22:58,240
Speaker 1: come out to my house and or come to come

459
00:22:58,280 --> 00:23:00,159
Speaker 1: by a studio and we'll listen to the record. All

460
00:23:00,160 --> 00:23:02,439
Speaker 1: the writers get to come, but you know, or if

461
00:23:02,480 --> 00:23:04,600
Speaker 1: you're friends with the artists, they'll play something for you.

462
00:23:04,680 --> 00:23:07,040
Speaker 1: But a lot of times it's not until it comes

463
00:23:07,040 --> 00:23:09,680
Speaker 1: out at night. That's crazy to me. We don't find

464
00:23:09,720 --> 00:23:11,960
Speaker 1: out a lot of times if our song even made

465
00:23:11,960 --> 00:23:14,560
Speaker 1: the record until the track listing goes up on iTunes.

466
00:23:15,400 --> 00:23:17,600
Speaker 1: You know, we're just sitting there going, well, I got

467
00:23:17,640 --> 00:23:20,119
Speaker 1: three cuts, but I have they recorded three of my songs.

468
00:23:20,160 --> 00:23:22,600
Speaker 1: But I don't even know if I should tell my mom.

469
00:23:22,720 --> 00:23:25,359
Speaker 1: She'll start asking me about it every day, and I

470
00:23:25,400 --> 00:23:27,159
Speaker 1: don't want to let her down if they don't make it,

471
00:23:27,280 --> 00:23:30,399
Speaker 1: or I don't want you know, I don't know. So

472
00:23:30,400 --> 00:23:33,800
Speaker 1: so when what single was this off that record? It

473
00:23:33,920 --> 00:23:36,919
Speaker 1: was second? I think, did you know it wasn't going

474
00:23:36,960 --> 00:23:38,680
Speaker 1: to be the first single because it was a duet.

475
00:23:38,720 --> 00:23:40,200
Speaker 1: Maybe it's it's kind of weird to release the duet

476
00:23:40,240 --> 00:23:43,960
Speaker 1: as the first single. Well, we I feel like you're

477
00:23:44,000 --> 00:23:47,080
Speaker 1: always told you have the first single. It always feels

478
00:23:47,119 --> 00:23:49,399
Speaker 1: like when people get excited about a song, of course,

479
00:23:50,119 --> 00:23:53,119
Speaker 1: and our or you know, artists, I feel like someone

480
00:23:53,200 --> 00:23:54,920
Speaker 1: along and maybe it was just a co writer wish

481
00:23:54,920 --> 00:23:57,200
Speaker 1: fully thinking like I think this could be the first single.

482
00:23:57,240 --> 00:24:00,440
Speaker 1: But I know those words are said that the run around,

483
00:24:00,520 --> 00:24:06,280
Speaker 1: I don't remember. It was like two babies ago, literally literally,

484
00:24:07,560 --> 00:24:10,880
Speaker 1: so we were us hits. It's a smash and that

485
00:24:10,960 --> 00:24:14,240
Speaker 1: changed the whole game for you, right, like even lifestyle

486
00:24:14,280 --> 00:24:18,640
Speaker 1: like you can buy more food now. Well, I don't

487
00:24:18,680 --> 00:24:20,320
Speaker 1: know if you know this about me, but I'm married

488
00:24:20,359 --> 00:24:24,280
Speaker 1: to another songwriter who has much more success than I've

489
00:24:24,320 --> 00:24:27,200
Speaker 1: ever dreamed about having. Well, I dream about having it now.

490
00:24:27,240 --> 00:24:29,119
Speaker 1: But you can say who is Well, I'm married to

491
00:24:29,200 --> 00:24:34,080
Speaker 1: Rodney Clawson, um, and so technically i'm Nicole Clawson, but

492
00:24:34,119 --> 00:24:39,480
Speaker 1: I'm Nicole Guyon by day and and so my motivation

493
00:24:39,600 --> 00:24:42,879
Speaker 1: for you know, I'm not technically the breadwinner in the

494
00:24:42,920 --> 00:24:45,600
Speaker 1: house as a writer, which is honestly such a gift

495
00:24:45,640 --> 00:24:49,040
Speaker 1: as a creative because I feel like, like not, I

496
00:24:49,040 --> 00:24:51,280
Speaker 1: don't have to. I can create out of a more

497
00:24:51,320 --> 00:24:53,280
Speaker 1: pure place. I can write what I love, I can

498
00:24:53,320 --> 00:24:55,760
Speaker 1: write what I would want to hear, and I'm I

499
00:24:55,800 --> 00:24:58,359
Speaker 1: can actually strike out more times and swing for the

500
00:24:58,400 --> 00:25:01,360
Speaker 1: fences because I'm not trying. It's not a utility bill

501
00:25:01,400 --> 00:25:04,080
Speaker 1: to me, it's a passion. And I want to tell

502
00:25:04,119 --> 00:25:06,160
Speaker 1: stories and I want to make sure that the art

503
00:25:06,240 --> 00:25:08,520
Speaker 1: is right and that the artist used to say what

504
00:25:08,560 --> 00:25:11,360
Speaker 1: they want to say. And it's so free to get them,

505
00:25:11,480 --> 00:25:14,080
Speaker 1: very very blessed and lucky to be in that position.

506
00:25:14,560 --> 00:25:16,879
Speaker 1: So no, for me, it wasn't ever about the money.

507
00:25:17,920 --> 00:25:21,320
Speaker 1: I don't think that, do you. What's the dynamic with

508
00:25:21,359 --> 00:25:23,280
Speaker 1: you and your husband when you write? Did you're write together?

509
00:25:24,160 --> 00:25:28,760
Speaker 1: So this year we've been married ten years? Wow? Um,

510
00:25:28,960 --> 00:25:32,320
Speaker 1: we when we got engaged, we made a very very

511
00:25:32,359 --> 00:25:36,080
Speaker 1: deliberate decision to not write together. Um. We had written,

512
00:25:36,160 --> 00:25:39,359
Speaker 1: we tried to write a couple of times, UM, and

513
00:25:39,440 --> 00:25:43,480
Speaker 1: it just it wasn't like we don't fight, but when

514
00:25:43,520 --> 00:25:45,719
Speaker 1: we wrote, it was like the most tints that we

515
00:25:45,760 --> 00:25:47,800
Speaker 1: ever were with each other. And the things that we

516
00:25:47,840 --> 00:25:51,520
Speaker 1: wrote were not special. So we were like, we don't

517
00:25:51,520 --> 00:25:53,879
Speaker 1: need to do that and on. And also he was

518
00:25:54,000 --> 00:25:56,120
Speaker 1: very sweet and saying, I don't want anybody to think

519
00:25:56,119 --> 00:25:58,399
Speaker 1: that you need me, because I know you don't. I

520
00:25:58,840 --> 00:26:01,520
Speaker 1: know that you're an awesome writer. And I had just

521
00:26:01,560 --> 00:26:04,239
Speaker 1: signed a publishing dope not too long before that. So

522
00:26:04,280 --> 00:26:06,199
Speaker 1: he was like, I just want to give you the

523
00:26:06,240 --> 00:26:09,520
Speaker 1: gift of your own lane, and I wanted. I'm very independent,

524
00:26:09,520 --> 00:26:10,919
Speaker 1: and I was like, I want my own lane. And

525
00:26:10,960 --> 00:26:13,119
Speaker 1: so we didn't write for nine and a half years,

526
00:26:14,480 --> 00:26:18,040
Speaker 1: and we just started writing about six months ago and

527
00:26:18,080 --> 00:26:20,440
Speaker 1: we wrote two songs. Are you nervous the first time

528
00:26:20,440 --> 00:26:23,359
Speaker 1: you're going to write together? I was nervous. Um. I

529
00:26:23,400 --> 00:26:25,480
Speaker 1: had felt it like a stirring for about a year,

530
00:26:25,520 --> 00:26:27,480
Speaker 1: like I think we're going to do something together and

531
00:26:27,520 --> 00:26:30,480
Speaker 1: I don't. And I was actually booked to write with

532
00:26:30,520 --> 00:26:35,280
Speaker 1: them with Ross Copperman and whoever. The third person was

533
00:26:35,359 --> 00:26:38,119
Speaker 1: like had just like bailed on us, and Ross had

534
00:26:38,160 --> 00:26:39,919
Speaker 1: been saying for a year, I want to be the

535
00:26:39,960 --> 00:26:42,840
Speaker 1: first one to write with you and Rodney, and I

536
00:26:42,880 --> 00:26:45,440
Speaker 1: think he I think it's a literal impression of Ross,

537
00:26:45,520 --> 00:26:49,320
Speaker 1: by the way, I want the first one, Oh my gosh.

538
00:26:49,400 --> 00:26:51,679
Speaker 1: And so I was like he was like Rodney and

539
00:26:51,720 --> 00:26:54,760
Speaker 1: I was like, well, i'll see like and he showed

540
00:26:54,840 --> 00:26:58,359
Speaker 1: up and the song actually got cut yeah, by a

541
00:26:58,359 --> 00:27:00,840
Speaker 1: big artist, like I'm freaking out about. Okay, So it's

542
00:27:00,840 --> 00:27:04,960
Speaker 1: still not out yet, it's not out, um, but it's

543
00:27:05,000 --> 00:27:08,040
Speaker 1: it's like an artist that I could have never dreamed

544
00:27:08,080 --> 00:27:16,119
Speaker 1: to have Blake No, mm hmm, Prince, No, it's in

545
00:27:16,160 --> 00:27:20,440
Speaker 1: our mark. But anyway, So yeah, so we're we're starting

546
00:27:20,440 --> 00:27:23,160
Speaker 1: to join forces a little bit now. So let's talk

547
00:27:23,160 --> 00:27:25,480
Speaker 1: about this one here and you can tell me if

548
00:27:25,480 --> 00:27:27,720
Speaker 1: this urban legend is true or not. So you wrote

549
00:27:27,720 --> 00:27:35,959
Speaker 1: automatic here even bigger, even bigger than than we were up.

550
00:27:39,600 --> 00:27:46,159
Speaker 1: He wrote this with Natalie, right, Natalie him, anybody and right?

551
00:27:47,160 --> 00:27:51,159
Speaker 1: And did you and Natalie meet on an airplane? So

552
00:27:51,240 --> 00:27:55,360
Speaker 1: the story is that who is were you scared to fly?

553
00:27:55,560 --> 00:27:58,760
Speaker 1: Was she scared? Scared? Natalie scared to fly, and so

554
00:27:58,800 --> 00:28:01,080
Speaker 1: you sat beside her and comfort did her. Well, I

555
00:28:01,119 --> 00:28:03,280
Speaker 1: had just met her. I was just meeting her basically

556
00:28:03,359 --> 00:28:05,320
Speaker 1: for the first time. I didn't even know. I had

557
00:28:05,359 --> 00:28:07,679
Speaker 1: never heard her sing, had never heard a song she

558
00:28:07,720 --> 00:28:09,480
Speaker 1: had written when we met. So I was she was

559
00:28:09,520 --> 00:28:12,840
Speaker 1: just a girl on a plane to me. And did

560
00:28:12,880 --> 00:28:16,040
Speaker 1: you know she was a songwriter? Though? Yeah, Actually Rodney

561
00:28:16,040 --> 00:28:19,240
Speaker 1: had told me she's she used to like be in

562
00:28:19,359 --> 00:28:20,600
Speaker 1: town and then she went to l A and now

563
00:28:20,600 --> 00:28:22,920
Speaker 1: she's back. She's an incredible writer. And I was like, oh, cool,

564
00:28:22,960 --> 00:28:25,040
Speaker 1: you know, really cool. I don't know what she's doing now.

565
00:28:25,080 --> 00:28:28,679
Speaker 1: But so we just started talking and we just became

566
00:28:28,800 --> 00:28:33,000
Speaker 1: fast friends. But we didn't we were friends first. Um,

567
00:28:33,080 --> 00:28:36,240
Speaker 1: and you know, she had success like shortly thereafter she

568
00:28:36,320 --> 00:28:39,440
Speaker 1: had some Miranda songs and and I didn't, and we

569
00:28:39,480 --> 00:28:41,960
Speaker 1: just kind of didn't write for a really really long time.

570
00:28:42,600 --> 00:28:46,000
Speaker 1: And then, um, just a few years. I guess it's

571
00:28:46,000 --> 00:28:49,960
Speaker 1: probably like four years ago we were we Um. I

572
00:28:50,000 --> 00:28:51,960
Speaker 1: had met ray Lynn and said I didn't have this

573
00:28:52,000 --> 00:28:54,920
Speaker 1: girl that I think that you would really appreciate, and

574
00:28:54,960 --> 00:28:57,480
Speaker 1: so we wrote. I was like, well, you write with her,

575
00:28:57,960 --> 00:29:00,800
Speaker 1: and and so the three of me Natalie wrote a

576
00:29:00,840 --> 00:29:04,400
Speaker 1: song called Golden Girls with Raylan, and we came out

577
00:29:04,400 --> 00:29:06,840
Speaker 1: of that right and Natalie and I were like, oh

578
00:29:06,880 --> 00:29:09,920
Speaker 1: my god, we have to write more. Like there's something

579
00:29:09,960 --> 00:29:12,800
Speaker 1: that's happening. Obviously Raylan and I have our thing, but

580
00:29:12,840 --> 00:29:14,640
Speaker 1: like me and Natalie were like, oh my god, we

581
00:29:14,720 --> 00:29:17,440
Speaker 1: have to write more. We went on to write five

582
00:29:17,480 --> 00:29:19,920
Speaker 1: songs that you're total together, and all five of them

583
00:29:19,960 --> 00:29:23,720
Speaker 1: were on Miranda's record. Yeah. So there was like this

584
00:29:23,760 --> 00:29:26,840
Speaker 1: little magic, the lightning in a bottle moment for us

585
00:29:27,000 --> 00:29:30,360
Speaker 1: as friends and co writers that year. But even since then,

586
00:29:31,160 --> 00:29:34,640
Speaker 1: I mean, that's just somebody that like we'll be We'll

587
00:29:34,680 --> 00:29:36,440
Speaker 1: be there when the other one dies, you know. So

588
00:29:36,520 --> 00:29:41,719
Speaker 1: tell me about this song, automatic like, where were you? Well? I, um,

589
00:29:41,760 --> 00:29:49,800
Speaker 1: I think I were we when we wrote it. So, um,

590
00:29:49,960 --> 00:29:54,880
Speaker 1: we wrote this song in Miranda's at the time Random

591
00:29:54,880 --> 00:29:59,320
Speaker 1: Blakes condo in Nashville. Um. I had never written with

592
00:29:59,360 --> 00:30:01,760
Speaker 1: Miranda before the only way that she knew of me

593
00:30:01,920 --> 00:30:05,120
Speaker 1: was because um, of songs that I was writing with

594
00:30:05,240 --> 00:30:09,120
Speaker 1: ray and Raylan was playing them from Miranda. Miranda is like, well,

595
00:30:09,160 --> 00:30:10,680
Speaker 1: I know that you're kind of a new songwriter. Who

596
00:30:10,720 --> 00:30:12,880
Speaker 1: are you writing these with? And so That's how she

597
00:30:13,000 --> 00:30:15,800
Speaker 1: became kind of prippy to what I was doing. And

598
00:30:15,840 --> 00:30:18,320
Speaker 1: then Natalie and I had our thing kind of going already,

599
00:30:18,400 --> 00:30:22,600
Speaker 1: So I got pulled into write literally like a month

600
00:30:22,640 --> 00:30:25,719
Speaker 1: after I just had a baby and if I wasn't writing,

601
00:30:25,760 --> 00:30:27,360
Speaker 1: like I swore, I was going to take all this

602
00:30:27,440 --> 00:30:29,800
Speaker 1: time off, and we were us hadn't come out on

603
00:30:29,840 --> 00:30:33,160
Speaker 1: the radio yet, so I hadn't had a hit, and

604
00:30:33,200 --> 00:30:35,960
Speaker 1: I was getting the opportunity to write with Miranda Lambert,

605
00:30:36,360 --> 00:30:40,440
Speaker 1: which is any songwriters like a list of co writes,

606
00:30:40,520 --> 00:30:43,560
Speaker 1: but especially for a female writer, because there's just things

607
00:30:43,560 --> 00:30:46,120
Speaker 1: that you can say with Miranda that you for a

608
00:30:46,160 --> 00:30:48,480
Speaker 1: Miranda project, that you could say nowhere else in town,

609
00:30:48,720 --> 00:30:50,560
Speaker 1: especially at the time. You know, now we have other

610
00:30:50,600 --> 00:30:54,120
Speaker 1: females that have really like gone there in their own way,

611
00:30:54,200 --> 00:30:56,520
Speaker 1: but at the time, she was just she was like

612
00:30:57,200 --> 00:30:59,920
Speaker 1: the dream co write. So I was obviously nervous and

613
00:31:00,040 --> 00:31:02,200
Speaker 1: tired and had any born baby, and we walked in

614
00:31:02,240 --> 00:31:05,360
Speaker 1: and we started talking about girls moving to Nashville wanting

615
00:31:05,400 --> 00:31:08,360
Speaker 1: to get record deals. They lived here for six minutes,

616
00:31:08,400 --> 00:31:09,760
Speaker 1: and they're like, why don't have a record deal yet?

617
00:31:09,800 --> 00:31:12,040
Speaker 1: We don't have a record deal yet, and and you know,

618
00:31:12,080 --> 00:31:14,000
Speaker 1: Miranda was kind of pouring her heart out, like don't

619
00:31:14,000 --> 00:31:16,680
Speaker 1: they understand, like I've played a hundred and fifty shows

620
00:31:16,680 --> 00:31:18,560
Speaker 1: in the back of a van with a bunch of

621
00:31:18,560 --> 00:31:22,000
Speaker 1: smelling guys for this many years before anything ever happened

622
00:31:22,000 --> 00:31:23,840
Speaker 1: from me. And then we kind of started sharing our

623
00:31:23,840 --> 00:31:27,640
Speaker 1: stories and that's kind of where the this song started

624
00:31:27,640 --> 00:31:31,560
Speaker 1: to get written. But the night before Natalie and I

625
00:31:31,600 --> 00:31:34,720
Speaker 1: see like for a rite like that, Natalie and I

626
00:31:34,720 --> 00:31:37,800
Speaker 1: would like, that's like a really big day. And Miranda's

627
00:31:37,840 --> 00:31:40,360
Speaker 1: times so precious, Like we would have normally sat down

628
00:31:40,400 --> 00:31:43,400
Speaker 1: and started three or four choruses or just something to

629
00:31:43,760 --> 00:31:46,480
Speaker 1: just to come in really prepared, because these artists don't

630
00:31:46,520 --> 00:31:48,200
Speaker 1: have very much time, you know, they have like a

631
00:31:48,200 --> 00:31:50,360
Speaker 1: couple of hours and you gotta just like make the

632
00:31:50,400 --> 00:31:52,800
Speaker 1: most of it and be ready. But her I just

633
00:31:52,840 --> 00:31:55,600
Speaker 1: had a newborn baby, and she her daughter got sick

634
00:31:55,680 --> 00:31:57,520
Speaker 1: or something, and so we were like on the phone

635
00:31:57,520 --> 00:31:59,920
Speaker 1: at midnight the night before just like throwing out titles

636
00:32:00,480 --> 00:32:03,640
Speaker 1: and concepts and um, we had the title automatic, but

637
00:32:03,680 --> 00:32:06,160
Speaker 1: it was going to be a love song, like nothing

638
00:32:06,200 --> 00:32:10,000
Speaker 1: about us and our love like came automatic, Like we've

639
00:32:10,040 --> 00:32:12,720
Speaker 1: had to work for whatever it is that we this

640
00:32:12,840 --> 00:32:16,280
Speaker 1: love that we have, and when that conversation started happening,

641
00:32:16,400 --> 00:32:20,959
Speaker 1: the whole thing shifted to then a story that Miranda

642
00:32:21,000 --> 00:32:24,640
Speaker 1: told about Patty Loveless telling her about all these artists

643
00:32:24,640 --> 00:32:27,600
Speaker 1: in the nineties taking like quarters in the bag when

644
00:32:27,600 --> 00:32:29,480
Speaker 1: they were on their tour bus when they were on tour,

645
00:32:29,520 --> 00:32:31,280
Speaker 1: because they would pull the tour bus over and have

646
00:32:31,360 --> 00:32:33,959
Speaker 1: to do all their radio phoners from payphones, and they

647
00:32:33,960 --> 00:32:37,000
Speaker 1: always had all these quarters with them, which is something

648
00:32:37,000 --> 00:32:39,120
Speaker 1: I would never even think happened, but of course it

649
00:32:39,160 --> 00:32:42,920
Speaker 1: had happened that way. And so that's where quordering payphone

650
00:32:42,920 --> 00:32:44,560
Speaker 1: came from, which is the first line of the song,

651
00:32:44,760 --> 00:32:47,800
Speaker 1: and then it just kind of wrote itself from there.

652
00:32:49,240 --> 00:32:52,880
Speaker 1: The night before you write with Miranda, let's aside from

653
00:32:52,880 --> 00:32:55,920
Speaker 1: you talking to Natalie even the week before. Is it like,

654
00:32:56,360 --> 00:32:58,560
Speaker 1: I mean, I'm I'm a little nervous about this, It's crazy,

655
00:32:58,560 --> 00:33:00,240
Speaker 1: it's freaking rain the Lambert Like, you know, you don't

656
00:33:00,240 --> 00:33:01,920
Speaker 1: want to go on to look at a chomp, Like,

657
00:33:02,080 --> 00:33:05,000
Speaker 1: is there that added pressure? Oh? For sure, I mean

658
00:33:06,240 --> 00:33:08,840
Speaker 1: I would feel nervous going to write with Miranda tomorrow.

659
00:33:08,840 --> 00:33:12,000
Speaker 1: I would feel pressure tomorrow. And this is like four

660
00:33:12,080 --> 00:33:14,480
Speaker 1: or five years after that word. Now I've had get

661
00:33:14,480 --> 00:33:16,920
Speaker 1: to write with all the artists that I could ever

662
00:33:17,040 --> 00:33:21,360
Speaker 1: dream of now, you know, but at that time that

663
00:33:21,360 --> 00:33:23,280
Speaker 1: that was like a once in a lifetime for me.

664
00:33:23,320 --> 00:33:25,240
Speaker 1: I'm like, this is like, we either get a good

665
00:33:25,240 --> 00:33:27,840
Speaker 1: song or she's never write with me again. That's what

666
00:33:27,960 --> 00:33:30,120
Speaker 1: I think. Now I'm not saying she's like that, but

667
00:33:30,200 --> 00:33:33,440
Speaker 1: that's what how I take it. I gotta like deliver something,

668
00:33:34,000 --> 00:33:37,840
Speaker 1: and so this song cleaned up. This is the biggest

669
00:33:37,840 --> 00:33:43,160
Speaker 1: song that's not for me. That's one of the biggest songs. Again,

670
00:33:44,080 --> 00:33:47,200
Speaker 1: you have two anthems here, but oddly once you all

671
00:33:47,200 --> 00:33:54,280
Speaker 1: have random endom. Yeah, is it still fun to hear? Like?

672
00:33:54,440 --> 00:33:56,640
Speaker 1: Is it cool to hear? Like? Still? Like it still

673
00:33:56,640 --> 00:33:59,040
Speaker 1: makes you feel something and it's not numb because you've

674
00:33:59,040 --> 00:34:02,240
Speaker 1: heard it so many times? No, I don't. A lot

675
00:34:02,240 --> 00:34:04,360
Speaker 1: of songwriters are really jaded, and a lot of them

676
00:34:04,400 --> 00:34:07,000
Speaker 1: like they can never they get caught up in the

677
00:34:07,120 --> 00:34:08,919
Speaker 1: what's the next thing I'm going to do all the time,

678
00:34:08,960 --> 00:34:11,200
Speaker 1: and they can't even enjoy where they are. Like I'm

679
00:34:11,239 --> 00:34:14,239
Speaker 1: actually one of the most nostalgic people that I know,

680
00:34:14,360 --> 00:34:16,919
Speaker 1: and I like it's fun, not it's And I don't

681
00:34:16,920 --> 00:34:19,560
Speaker 1: think it's like a coincidence that both of those songs

682
00:34:19,560 --> 00:34:22,920
Speaker 1: are looking back songs, because that's like my heart and

683
00:34:23,080 --> 00:34:26,480
Speaker 1: anytime something awesome, like when I hear that I'm seventeen

684
00:34:26,800 --> 00:34:29,400
Speaker 1: and I'm like, oh my god, like a girl in

685
00:34:29,440 --> 00:34:31,560
Speaker 1: my hometown is listening to this song right now, and

686
00:34:31,680 --> 00:34:34,080
Speaker 1: kan's just like, that's how I process it. I mean,

687
00:34:34,920 --> 00:34:38,440
Speaker 1: I I don't know. I still feel like I'm seventeen.

688
00:34:38,719 --> 00:34:40,919
Speaker 1: I don't know how I got here. That's how that's

689
00:34:40,920 --> 00:34:42,960
Speaker 1: my perspective. It doesn't matter how old I get or

690
00:34:42,960 --> 00:34:46,640
Speaker 1: how many opportunities I get. I'm just like, how did

691
00:34:46,640 --> 00:34:49,279
Speaker 1: this happen to me? You know? And I'm not like

692
00:34:49,320 --> 00:34:52,520
Speaker 1: the biggest songwriter in town by any stretch of the imagination,

693
00:34:52,600 --> 00:34:55,520
Speaker 1: but I just can't. I'm always in awe every time

694
00:34:55,560 --> 00:34:57,879
Speaker 1: it comes on. So I want to play this one here.

695
00:35:01,520 --> 00:35:06,960
Speaker 1: I played this one Where's Raylan Love Triangle, And I've

696
00:35:06,960 --> 00:35:08,840
Speaker 1: said this on the I felt like this song got Johns.

697
00:35:09,200 --> 00:35:10,719
Speaker 1: I feel like this song got and if it had

698
00:35:10,719 --> 00:35:13,480
Speaker 1: been a dude singing it, it's a number one song.

699
00:35:13,719 --> 00:35:15,160
Speaker 1: Like really, I there'd have been this has been a

700
00:35:15,239 --> 00:35:16,879
Speaker 1: dude singing this song. It's a number one song. Funny.

701
00:35:16,880 --> 00:35:19,920
Speaker 1: I've never even thought about it as a never considered

702
00:35:19,960 --> 00:35:21,799
Speaker 1: that as a guy like that that would even be

703
00:35:21,840 --> 00:35:27,240
Speaker 1: an option. Two things. One, it's it's tougher for women

704
00:35:27,320 --> 00:35:31,560
Speaker 1: right now because labels stopped building the farm system first

705
00:35:31,560 --> 00:35:33,200
Speaker 1: of all, when it was all dudes all the time.

706
00:35:33,280 --> 00:35:36,720
Speaker 1: They stop even cultivating from the bottom of building females

707
00:35:37,000 --> 00:35:40,680
Speaker 1: to even get to radio. So radio is kind of

708
00:35:41,400 --> 00:35:44,240
Speaker 1: waiting on the minor leagues to give us these artists.

709
00:35:44,239 --> 00:35:47,719
Speaker 1: But record I was just stopped making females a priority.

710
00:35:48,360 --> 00:35:51,319
Speaker 1: So here we are again and radio struggling to find

711
00:35:51,320 --> 00:35:55,600
Speaker 1: these females to put on, and it's harder and harder

712
00:35:55,640 --> 00:35:57,960
Speaker 1: to find them. And ballads are hard because everybody so

713
00:35:58,000 --> 00:35:59,480
Speaker 1: a d D and if something slow on the radio,

714
00:35:59,719 --> 00:36:02,040
Speaker 1: like research goes, if something slow, boom, they change it

715
00:36:02,040 --> 00:36:06,000
Speaker 1: because it's like again, it's a female and it's a

716
00:36:06,080 --> 00:36:08,839
Speaker 1: Baladi song. If it had been a male, it would

717
00:36:08,880 --> 00:36:11,399
Speaker 1: have been it had been a hit because it's such

718
00:36:11,440 --> 00:36:14,840
Speaker 1: a good song. And that's not even a dig at

719
00:36:14,920 --> 00:36:17,000
Speaker 1: ray Lan. It's opposite. Raylan can sing her brains out

720
00:36:17,360 --> 00:36:20,799
Speaker 1: and she sings it wonderfully, and I just felt like

721
00:36:20,800 --> 00:36:22,400
Speaker 1: it was such a good song and I saw a

722
00:36:22,440 --> 00:36:26,040
Speaker 1: couple weeks ago, whenever they stopped promoting I was like, oh,

723
00:36:26,120 --> 00:36:29,520
Speaker 1: that sucks, because any other scenario you give it to

724
00:36:29,560 --> 00:36:33,760
Speaker 1: a dude, and that's probably man. I've never even thought.

725
00:36:34,080 --> 00:36:35,680
Speaker 1: I guess I've just been so wrapped up in that

726
00:36:35,719 --> 00:36:37,880
Speaker 1: as her that's her story, that I never thought of

727
00:36:37,920 --> 00:36:40,759
Speaker 1: it as a song that from even a pitching standpoint

728
00:36:40,800 --> 00:36:43,080
Speaker 1: of who could sing it and and what would it

729
00:36:43,120 --> 00:36:44,960
Speaker 1: be if someone else did it? And to me it

730
00:36:45,000 --> 00:36:46,879
Speaker 1: wasn't even a pitching thing. It was just that so good.

731
00:36:46,920 --> 00:36:50,480
Speaker 1: I think that people and I again, I'm on the radio,

732
00:36:50,560 --> 00:36:54,000
Speaker 1: but I'm still so anti the establishment of radio that

733
00:36:54,120 --> 00:36:56,120
Speaker 1: I think you have a lot of program directors that

734
00:36:56,160 --> 00:36:58,440
Speaker 1: are like, well, it's slow and it's female. It's got

735
00:36:58,480 --> 00:37:01,120
Speaker 1: two strikes against it already. As soon as there's a bomb,

736
00:37:01,160 --> 00:37:02,799
Speaker 1: we're gonna go ahead and pull out of it. What's

737
00:37:02,840 --> 00:37:05,080
Speaker 1: so crazy, though, is like those are the songs that,

738
00:37:05,800 --> 00:37:08,359
Speaker 1: when they do get through, they are song of the year.

739
00:37:08,560 --> 00:37:12,120
Speaker 1: They're the songs that are industry puts on a pedestal

740
00:37:12,200 --> 00:37:14,440
Speaker 1: in such a highway. So it's it's like you've got

741
00:37:14,560 --> 00:37:17,759
Speaker 1: to swing for the fences occasionally, not like not every day.

742
00:37:17,920 --> 00:37:21,120
Speaker 1: Am I gonna be willing to write. I'm not gonna

743
00:37:21,160 --> 00:37:23,560
Speaker 1: write a hundred songs a year about divorce and ballads

744
00:37:23,600 --> 00:37:26,880
Speaker 1: for girls, you know. But when the song presents itself,

745
00:37:26,960 --> 00:37:29,560
Speaker 1: you owe it to the idea, and you owe it

746
00:37:29,600 --> 00:37:32,400
Speaker 1: to the artist and the to to make it the

747
00:37:32,440 --> 00:37:34,479
Speaker 1: best that it can be, even if it doesn't make sense,

748
00:37:34,480 --> 00:37:37,560
Speaker 1: for even if radio doesn't understand. Well, I just want

749
00:37:37,560 --> 00:37:39,239
Speaker 1: to say I love the song. I always love the song.

750
00:37:39,280 --> 00:37:40,440
Speaker 1: I loved it for the first time I heard. I

751
00:37:40,480 --> 00:37:42,280
Speaker 1: was like, holy cow, that song like speaks to people,

752
00:37:42,800 --> 00:37:44,759
Speaker 1: you know, and I think a lot of people will

753
00:37:44,840 --> 00:37:48,320
Speaker 1: understand it. And I just felt happy for it whenever

754
00:37:48,560 --> 00:37:50,759
Speaker 1: they quit on it. And it wasn't even their fault

755
00:37:50,760 --> 00:37:52,440
Speaker 1: for quitting on it, because it was people wouldn't they

756
00:37:52,480 --> 00:37:54,959
Speaker 1: weren't playing it, and it two strikes again, one strike

757
00:37:55,040 --> 00:37:56,239
Speaker 1: could be in a ballot. I think it's it would

758
00:37:56,239 --> 00:37:58,640
Speaker 1: have made it. The feedback that I had heard kind

759
00:37:58,640 --> 00:38:01,600
Speaker 1: of through label people, and it's interesting was like certain markets.

760
00:38:01,640 --> 00:38:04,080
Speaker 1: It was like one of the highest researching in Nashville.

761
00:38:04,120 --> 00:38:06,040
Speaker 1: It was testing like great, like I can tell you

762
00:38:06,080 --> 00:38:08,080
Speaker 1: here because I see I see all the research, right,

763
00:38:08,120 --> 00:38:11,120
Speaker 1: I'm lucky enough to see national research in Nashville it

764
00:38:11,160 --> 00:38:13,200
Speaker 1: was one of the best songs that we had like

765
00:38:13,280 --> 00:38:15,239
Speaker 1: to play, yeah, and then in other markets it was

766
00:38:15,280 --> 00:38:17,799
Speaker 1: like the worst one of the at the bottom of

767
00:38:17,840 --> 00:38:21,279
Speaker 1: in the research. And I just that's always so like

768
00:38:21,320 --> 00:38:23,520
Speaker 1: it makes my brain turn of like, what culturally is

769
00:38:23,520 --> 00:38:27,600
Speaker 1: different between Nashville and San Diego? You know what I mean?

770
00:38:27,719 --> 00:38:31,960
Speaker 1: Is it the real answer? At least my We all

771
00:38:31,960 --> 00:38:35,480
Speaker 1: have different perspectives. And again, I have a radio show.

772
00:38:35,600 --> 00:38:38,600
Speaker 1: I'm not in the programming and picking songs, but I'm

773
00:38:38,680 --> 00:38:40,439
Speaker 1: involved and I get to see a lot of stuff

774
00:38:40,480 --> 00:38:42,080
Speaker 1: and I get a champion artist, which is a fun

775
00:38:42,080 --> 00:38:44,560
Speaker 1: thing for me. But a lot of it is just

776
00:38:44,640 --> 00:38:46,960
Speaker 1: the timing and what lucky group you get to do

777
00:38:47,000 --> 00:38:50,719
Speaker 1: the research? Like really, that's it. There are songs. I

778
00:38:50,800 --> 00:38:52,560
Speaker 1: give you an example either probably can we were talking

779
00:38:52,560 --> 00:38:56,280
Speaker 1: about this. My church tested terribly forever for many more terribly.

780
00:38:56,800 --> 00:39:00,239
Speaker 1: We had to sit on it and continue to play, play, play,

781
00:39:00,280 --> 00:39:03,760
Speaker 1: play play as it tested horribly just because we knew

782
00:39:03,840 --> 00:39:07,000
Speaker 1: that you couldn't listen to that song and go this

783
00:39:07,040 --> 00:39:09,680
Speaker 1: is an amazing song. I remember sitting in a meeting

784
00:39:09,960 --> 00:39:12,800
Speaker 1: because I have a wall here and and this is

785
00:39:12,840 --> 00:39:14,560
Speaker 1: just a wall of people that I've been really close

786
00:39:14,600 --> 00:39:17,080
Speaker 1: to everybody, from Eric, who is one of my closest friends,

787
00:39:17,080 --> 00:39:19,319
Speaker 1: to Keith to man. It's people that I would bring

788
00:39:19,320 --> 00:39:23,600
Speaker 1: in before they've been record deals. And I was so

789
00:39:23,719 --> 00:39:27,640
Speaker 1: I say this with full like the truth that like

790
00:39:27,719 --> 00:39:30,239
Speaker 1: I was a huge Marin fan. So I wanted to

791
00:39:30,280 --> 00:39:33,959
Speaker 1: succeed as well, just personally and selfishly because I thought,

792
00:39:34,000 --> 00:39:37,400
Speaker 1: and I think Marion's awesome, but I would this song

793
00:39:37,480 --> 00:39:40,279
Speaker 1: was selling like crazy one and two. It was just

794
00:39:40,320 --> 00:39:44,240
Speaker 1: an awesome song. And so sometimes ears are over brain

795
00:39:44,400 --> 00:39:46,520
Speaker 1: whenever you're just seeing data and we just hung. I

796
00:39:46,520 --> 00:39:48,600
Speaker 1: wish people would have just hung with this song. We

797
00:39:48,640 --> 00:39:50,880
Speaker 1: just couldn't get enough people to hang because there was

798
00:39:50,920 --> 00:39:52,480
Speaker 1: a fight. There really was a fight, Like this is

799
00:39:52,520 --> 00:39:56,600
Speaker 1: a song. We just couldn't get enough old middle aged

800
00:39:56,600 --> 00:40:00,640
Speaker 1: white men to go. Let's keep playing it, okay, all

801
00:40:00,680 --> 00:40:04,680
Speaker 1: the music, yeah, a k A. Every program tote, some

802
00:40:04,719 --> 00:40:06,200
Speaker 1: of them were some of them were fight. But I

803
00:40:06,239 --> 00:40:07,560
Speaker 1: just wanted you to know that because I'm on the

804
00:40:07,560 --> 00:40:11,880
Speaker 1: inside that fantastic. Thank you. I appreciate that information because

805
00:40:12,520 --> 00:40:14,560
Speaker 1: I you know, I think that song like really helped

806
00:40:14,760 --> 00:40:17,880
Speaker 1: um show the evolution. You know, like as I said earlier,

807
00:40:17,880 --> 00:40:21,400
Speaker 1: like the purposes of songs that helped rebrand her, you know,

808
00:40:21,480 --> 00:40:24,719
Speaker 1: and show her evolve into something new, and hopefully that

809
00:40:24,760 --> 00:40:27,759
Speaker 1: will just be, if nothing else, a gateway into who

810
00:40:27,840 --> 00:40:30,040
Speaker 1: she is now. You know, you wrote a lot with

811
00:40:30,080 --> 00:40:36,239
Speaker 1: her on her last record, which is Wild and Horsey. Um,

812
00:40:36,320 --> 00:40:38,799
Speaker 1: how many songs did you I had eight songs on there,

813
00:40:39,080 --> 00:40:40,880
Speaker 1: So you guys just sat and wrote. Did you write

814
00:40:40,880 --> 00:40:44,760
Speaker 1: purposely to write a record with her? No, it just happened.

815
00:40:44,840 --> 00:40:47,400
Speaker 1: But it happened like three or four years ago. It

816
00:40:47,480 --> 00:40:49,680
Speaker 1: happened around the time that I told you, like Miranda

817
00:40:49,719 --> 00:40:51,719
Speaker 1: started hearing songs I was writing. We wrote all those

818
00:40:51,760 --> 00:40:54,040
Speaker 1: songs I love Trunckcle. Those songs are four years old.

819
00:40:54,800 --> 00:40:57,640
Speaker 1: We wrote like probably eight of her record, me and

820
00:40:57,680 --> 00:41:03,359
Speaker 1: Jimmy Robbins and ray Like and probably a nine month

821
00:41:03,440 --> 00:41:06,239
Speaker 1: period we just kind of had that. There was like

822
00:41:06,239 --> 00:41:08,920
Speaker 1: a season where we all just kind of clicked and

823
00:41:08,440 --> 00:41:10,480
Speaker 1: and and I think it started to feel like an

824
00:41:10,520 --> 00:41:12,400
Speaker 1: album to us then. But we didn't know that it

825
00:41:12,440 --> 00:41:15,120
Speaker 1: would be three or four years before she would get

826
00:41:15,120 --> 00:41:17,040
Speaker 1: a real shot and and really get to put it

827
00:41:17,080 --> 00:41:18,960
Speaker 1: out as is. And then we ended up co producing it.

828
00:41:18,960 --> 00:41:21,160
Speaker 1: I don't know if you know that, but I actually

829
00:41:21,160 --> 00:41:23,319
Speaker 1: got to co produce the record, which when was the

830
00:41:23,400 --> 00:41:26,240
Speaker 1: last time a female ever got to co produce anything.

831
00:41:27,040 --> 00:41:30,760
Speaker 1: So I'm super proud of a lot of things beyond

832
00:41:30,880 --> 00:41:34,239
Speaker 1: radio success with that with that project. For me, from

833
00:41:34,239 --> 00:41:37,440
Speaker 1: my standpoint, how did you guys become friends? Because I

834
00:41:37,480 --> 00:41:41,839
Speaker 1: was on the voice with her the same year? Really yea?

835
00:41:42,760 --> 00:41:46,920
Speaker 1: But what season was that? Season two? That was early yeah,

836
00:41:47,000 --> 00:41:51,719
Speaker 1: and I left addle. There's a There are a lot

837
00:41:51,719 --> 00:41:55,319
Speaker 1: of gaps in the story, which you know, which we've

838
00:41:55,360 --> 00:41:58,000
Speaker 1: jumped around, but like if you heard it all chronologically,

839
00:41:58,000 --> 00:41:59,600
Speaker 1: it would make sense. But you know, I had had

840
00:41:59,640 --> 00:42:02,440
Speaker 1: a publish deal for probably three or four or five

841
00:42:02,480 --> 00:42:04,640
Speaker 1: years at that point, was having any success, and I

842
00:42:04,719 --> 00:42:07,120
Speaker 1: kept getting feedback from like A and R at labels

843
00:42:07,120 --> 00:42:08,680
Speaker 1: when they'd pitched my songs and they'd be like, Oh,

844
00:42:08,680 --> 00:42:10,600
Speaker 1: that's in a cool song. That's in a cool song.

845
00:42:10,680 --> 00:42:12,680
Speaker 1: And I was getting to be a better singer because

846
00:42:12,680 --> 00:42:14,680
Speaker 1: I was singing every day and I had gotten the

847
00:42:14,719 --> 00:42:17,360
Speaker 1: bravery to do it, you know, and and I was

848
00:42:17,400 --> 00:42:20,239
Speaker 1: recording and this like I got I was so late

849
00:42:20,280 --> 00:42:22,320
Speaker 1: to the game. All these girls grew up making demos

850
00:42:22,320 --> 00:42:24,000
Speaker 1: in the studio when they're twelve, and I was like

851
00:42:24,080 --> 00:42:27,040
Speaker 1: learning it like twenty three how to do this, and

852
00:42:27,160 --> 00:42:29,400
Speaker 1: um so I was kind of like, well, screw it.

853
00:42:29,440 --> 00:42:32,120
Speaker 1: I'm not getting nobody's cutting my songs. Maybe I'm supposed

854
00:42:32,160 --> 00:42:34,719
Speaker 1: to make a record and because and it. But it

855
00:42:34,760 --> 00:42:36,799
Speaker 1: was never like I want to perform. I want to sing.

856
00:42:36,960 --> 00:42:39,920
Speaker 1: I told my songs out there. So I kind of

857
00:42:40,000 --> 00:42:41,600
Speaker 1: was working with a manager for a minute, trying to

858
00:42:41,600 --> 00:42:43,719
Speaker 1: get my house in order to approach labels, and then

859
00:42:43,760 --> 00:42:46,640
Speaker 1: this manager sits me down and it's like, you're not

860
00:42:46,719 --> 00:42:49,160
Speaker 1: an artist. You're never going to be an artist. You're

861
00:42:49,160 --> 00:42:52,080
Speaker 1: going to be a successful songwriter, but you're not an artist.

862
00:42:52,120 --> 00:42:54,680
Speaker 1: But through that process, people had started to brand me

863
00:42:54,719 --> 00:42:56,439
Speaker 1: more as like a girl that wanted a record deal.

864
00:42:56,480 --> 00:42:58,080
Speaker 1: And so I got referred to try out for the

865
00:42:58,160 --> 00:43:02,480
Speaker 1: voice and is the ringer kind of that friends that

866
00:43:02,560 --> 00:43:04,120
Speaker 1: have been ringers on this show. I have a bunch

867
00:43:04,160 --> 00:43:06,840
Speaker 1: of friends that have been like they recruit I said, ringer. Yeah,

868
00:43:06,920 --> 00:43:09,440
Speaker 1: well it was so early on it wasn't quite as

869
00:43:09,440 --> 00:43:12,120
Speaker 1: strategic as it probably is now because it was so

870
00:43:12,239 --> 00:43:15,040
Speaker 1: fresh the show that season was kind of just ending

871
00:43:15,080 --> 00:43:17,000
Speaker 1: and they were like, well the show is blowing up,

872
00:43:17,040 --> 00:43:18,440
Speaker 1: Like would you want to do this? And it was

873
00:43:18,760 --> 00:43:20,520
Speaker 1: it was like the perfect time to get to do it,

874
00:43:20,560 --> 00:43:23,040
Speaker 1: you know. But I didn't make it very far. I didn't.

875
00:43:23,120 --> 00:43:25,200
Speaker 1: I was only on a couple of episodes. But I

876
00:43:25,239 --> 00:43:28,839
Speaker 1: had actually written with ray this girl Rachel Woodward at

877
00:43:28,840 --> 00:43:32,319
Speaker 1: the time two days before that audition, not the one

878
00:43:32,360 --> 00:43:34,120
Speaker 1: that you see on TV, but like the audition to

879
00:43:34,400 --> 00:43:37,600
Speaker 1: like to sing here in Nashville, like the preferred kind

880
00:43:37,600 --> 00:43:40,359
Speaker 1: of thing. And and I met her and I was like,

881
00:43:40,840 --> 00:43:42,600
Speaker 1: are you in town this week? Because at the time,

882
00:43:42,640 --> 00:43:44,279
Speaker 1: she's like sixteen, And I was like, are you in

883
00:43:44,320 --> 00:43:46,320
Speaker 1: town by chance? Because you're trying out for the voice?

884
00:43:46,360 --> 00:43:48,080
Speaker 1: And she's like no, And I was like, you have

885
00:43:48,160 --> 00:43:50,520
Speaker 1: to do it. You are made for TV. Wait, so

886
00:43:50,640 --> 00:43:53,680
Speaker 1: you convinced raight Lynda to try for the voice? And

887
00:43:53,719 --> 00:43:56,839
Speaker 1: I met her before she was ray Lynn and told

888
00:43:56,840 --> 00:43:58,839
Speaker 1: her to try it for the voice. We both ended

889
00:43:58,880 --> 00:44:02,799
Speaker 1: up trying out and made it it. And then I

890
00:44:02,880 --> 00:44:06,520
Speaker 1: was kind of like like while we were on the show, um,

891
00:44:06,600 --> 00:44:08,560
Speaker 1: she was a minor and so like during production, like

892
00:44:08,600 --> 00:44:10,239
Speaker 1: she always had to have a parent with her, and

893
00:44:10,280 --> 00:44:11,960
Speaker 1: so like there would be days that like her mom

894
00:44:12,000 --> 00:44:13,520
Speaker 1: flew out in the morning and then her dad didn't

895
00:44:13,520 --> 00:44:15,080
Speaker 1: get there n til the night. So production would call

896
00:44:15,120 --> 00:44:16,680
Speaker 1: and say, hey, Ray wants to go to the mall.

897
00:44:17,120 --> 00:44:19,880
Speaker 1: We can't leave. Could she hang with you today? I

898
00:44:19,960 --> 00:44:23,480
Speaker 1: was like her big sister slash mom, and so you know,

899
00:44:23,600 --> 00:44:26,360
Speaker 1: and we just I don't know. I just um, to

900
00:44:26,440 --> 00:44:29,520
Speaker 1: be honest, I think I was becoming like a mother.

901
00:44:30,080 --> 00:44:31,759
Speaker 1: I think I was kind of getting the bug to

902
00:44:31,840 --> 00:44:34,000
Speaker 1: be a mom myself. And she was like a little

903
00:44:34,040 --> 00:44:36,520
Speaker 1: kid and so cuddly and just she just has this

904
00:44:36,640 --> 00:44:39,319
Speaker 1: childlike thing about her. And I was like, took her

905
00:44:39,400 --> 00:44:41,440
Speaker 1: under my wing and we just had this bond. So

906
00:44:41,480 --> 00:44:44,120
Speaker 1: when we came back from filming the show before it

907
00:44:44,640 --> 00:44:46,840
Speaker 1: before it started airing on TV, I knew that she

908
00:44:46,960 --> 00:44:48,640
Speaker 1: was like a front runner, and I knew that Blake

909
00:44:48,680 --> 00:44:51,200
Speaker 1: and Miranda had basically adopted her. And I was like,

910
00:44:51,239 --> 00:44:52,840
Speaker 1: we need to write, Like you need to be writing

911
00:44:52,920 --> 00:44:55,400
Speaker 1: right now because you need to have songs before you

912
00:44:55,400 --> 00:44:57,400
Speaker 1: get a record deal and before like when you walk in,

913
00:44:57,560 --> 00:44:59,440
Speaker 1: you need to have as much to say before they

914
00:44:59,440 --> 00:45:01,799
Speaker 1: tell you what say. So I was just writing with her,

915
00:45:01,800 --> 00:45:04,040
Speaker 1: and that's where I was like, Hey, Natalie, I got

916
00:45:04,040 --> 00:45:06,920
Speaker 1: this girl. So if you go back into my story,

917
00:45:07,920 --> 00:45:10,360
Speaker 1: you take out the voice. Everything is different for me.

918
00:45:10,560 --> 00:45:14,000
Speaker 1: I'm not saying I wouldn't have found some success eventually,

919
00:45:14,200 --> 00:45:16,640
Speaker 1: but the voice has nothing to do with songwriting, and

920
00:45:16,680 --> 00:45:19,799
Speaker 1: it literally is one of the most crucial parts of

921
00:45:19,800 --> 00:45:23,560
Speaker 1: my story. It's still insane to me because the ray,

922
00:45:23,760 --> 00:45:27,239
Speaker 1: because of Natalie, because of Moray, that Domino all the

923
00:45:27,239 --> 00:45:30,320
Speaker 1: way through. Very odd because the voice was the butterfly

924
00:45:30,360 --> 00:45:32,640
Speaker 1: in your butterfly effect. It was. When I came back

925
00:45:32,680 --> 00:45:35,320
Speaker 1: from that show, everything started clicking, even outside of the

926
00:45:35,360 --> 00:45:37,680
Speaker 1: stuff that we've talked about, Like I was like a

927
00:45:37,719 --> 00:45:40,640
Speaker 1: different writer. It's so weird. How far did you get?

928
00:45:41,360 --> 00:45:43,360
Speaker 1: I had lost in the battle rounds? Do you have

929
00:45:43,360 --> 00:45:45,239
Speaker 1: to get in the boxing ring and singing? It's somebody, Yeah,

930
00:45:45,320 --> 00:45:49,560
Speaker 1: that's the battle round thing. I don't I don't have

931
00:45:49,640 --> 00:45:52,240
Speaker 1: seen a bunch of the voice, but I have friends

932
00:45:52,360 --> 00:45:55,239
Speaker 1: that this is a funny side voice, side side thing

933
00:45:55,239 --> 00:45:57,879
Speaker 1: of the voice that had their own part of the show, right,

934
00:45:57,960 --> 00:46:00,480
Speaker 1: and they were they were like, hey, and I won't

935
00:46:00,480 --> 00:46:03,200
Speaker 1: say who it is, but um they said they were

936
00:46:03,200 --> 00:46:06,879
Speaker 1: given the option of do you want to own part

937
00:46:06,880 --> 00:46:09,080
Speaker 1: of the TV show or do you want to own

938
00:46:09,080 --> 00:46:12,840
Speaker 1: the contracts of the artists that come after the show?

939
00:46:12,920 --> 00:46:16,160
Speaker 1: As they go and uh, you know, pursue music careers,

940
00:46:16,520 --> 00:46:20,560
Speaker 1: and they chose the artists. I know, that's the same

941
00:46:20,600 --> 00:46:22,839
Speaker 1: thing they did. They were like a terrible decision. They

942
00:46:22,840 --> 00:46:25,120
Speaker 1: were like, we made the worst decision ever. They said,

943
00:46:25,120 --> 00:46:27,520
Speaker 1: we could have taken the chairs and this is no

944
00:46:27,920 --> 00:46:30,560
Speaker 1: slight Cassidy or Ray or any of these girls who

945
00:46:30,640 --> 00:46:33,600
Speaker 1: later It took a minute, but they were like, we

946
00:46:33,640 --> 00:46:35,759
Speaker 1: get toward the chairs and they would have toward better

947
00:46:36,400 --> 00:46:38,600
Speaker 1: because even I don't, because even I don't was losing

948
00:46:38,640 --> 00:46:40,239
Speaker 1: their star power. It was becoming more of a TV

949
00:46:40,280 --> 00:46:43,320
Speaker 1: show than it was let's produce somebody that America is

950
00:46:43,320 --> 00:46:48,239
Speaker 1: going to consume. It's more of a TV show. So um,

951
00:46:48,280 --> 00:46:50,480
Speaker 1: they don't have the infrastructure and they never have on

952
00:46:50,520 --> 00:46:53,680
Speaker 1: that show to do to work with artists. They've never

953
00:46:53,719 --> 00:46:56,279
Speaker 1: had a label involved, like you know, like they have

954
00:46:56,400 --> 00:46:59,120
Speaker 1: had labels involved, but it hasn't been in house, like

955
00:46:59,160 --> 00:47:02,560
Speaker 1: the infrastructure on idol isn't there. They it's like a

956
00:47:02,640 --> 00:47:05,799
Speaker 1: similar line. They know what to do, you know. There

957
00:47:06,600 --> 00:47:09,319
Speaker 1: The voice feels so much more TV, but yet it

958
00:47:09,360 --> 00:47:12,200
Speaker 1: also feels a lot more from my taste, a lot

959
00:47:12,200 --> 00:47:15,840
Speaker 1: more authentic to an artist than maybe being on an idol.

960
00:47:16,000 --> 00:47:18,480
Speaker 1: Maybe I'm going to hate myself for saying that tomorrow.

961
00:47:18,960 --> 00:47:20,920
Speaker 1: But I have friends have been on both, and I

962
00:47:20,920 --> 00:47:22,799
Speaker 1: think they two of them, and they I think they

963
00:47:22,840 --> 00:47:25,680
Speaker 1: both say the same thing. I can only say that

964
00:47:25,719 --> 00:47:29,040
Speaker 1: from experience the short time that I was there, where

965
00:47:29,040 --> 00:47:31,640
Speaker 1: I felt like I was treated like an artist, not

966
00:47:31,760 --> 00:47:34,440
Speaker 1: a contestant on a game show, whereas I think a

967
00:47:34,440 --> 00:47:36,880
Speaker 1: lot of people that are on reality TV shows sometimes

968
00:47:36,880 --> 00:47:38,719
Speaker 1: come away feeling like I'm not even a person. I'm

969
00:47:38,760 --> 00:47:41,600
Speaker 1: just like a casting here. They lock you away for

970
00:47:41,600 --> 00:47:45,120
Speaker 1: a long time. No, no, oh, they do. Now they

971
00:47:45,160 --> 00:47:46,799
Speaker 1: lock you away for a long time. Well maybe they

972
00:47:46,840 --> 00:47:49,359
Speaker 1: do if you win, but I was like, free and clear.

973
00:47:49,520 --> 00:47:52,200
Speaker 1: They lock your away now like I have a buddy,

974
00:47:52,520 --> 00:47:54,160
Speaker 1: even if you don't do well. And yeah, they like

975
00:47:54,280 --> 00:47:56,560
Speaker 1: it before the traven starts if you're one of the select.

976
00:47:57,200 --> 00:47:59,399
Speaker 1: Because I have a friend, a guy friend who ended

977
00:47:59,480 --> 00:48:02,200
Speaker 1: up being a fine like being and even before he

978
00:48:02,239 --> 00:48:03,680
Speaker 1: went on the show, they put him a hotel for

979
00:48:03,760 --> 00:48:07,759
Speaker 1: months before the show even started. And so but again,

980
00:48:07,800 --> 00:48:09,879
Speaker 1: it's become bigger, it's become more of a thing. Who

981
00:48:09,880 --> 00:48:12,200
Speaker 1: knows she's the one? Two? Season three? If it's really

982
00:48:12,440 --> 00:48:14,680
Speaker 1: going to become a thing, who did you lose tour

983
00:48:14,719 --> 00:48:16,439
Speaker 1: in the battle on Do you remember this girl named

984
00:48:16,520 --> 00:48:18,759
Speaker 1: this really sweet girl who was in She was the

985
00:48:18,880 --> 00:48:23,040
Speaker 1: nursing student from such and such Mattai. Her name was

986
00:48:23,160 --> 00:48:25,720
Speaker 1: Mattie and she was precious. And what do you sing?

987
00:48:26,040 --> 00:48:29,239
Speaker 1: We sang um Sarah Barella's love song, which when I

988
00:48:29,280 --> 00:48:32,600
Speaker 1: was given that song because I was on team Adam, Um,

989
00:48:32,760 --> 00:48:35,080
Speaker 1: why did you? I didn't choose he chose me and

990
00:48:35,080 --> 00:48:37,080
Speaker 1: he was the only person that his his chair is

991
00:48:37,120 --> 00:48:38,879
Speaker 1: only one that turned for you? Adam was yeah, were

992
00:48:38,880 --> 00:48:41,279
Speaker 1: you disappointed that Blake's chair didn't turn? Or were you

993
00:48:41,280 --> 00:48:45,680
Speaker 1: just looking for any chair to turn? I can you cuss?

994
00:48:45,719 --> 00:48:48,160
Speaker 1: On the ship? I was so scared shitless to do

995
00:48:48,200 --> 00:48:52,799
Speaker 1: it that I was like, I was doing that just

996
00:48:53,360 --> 00:48:55,680
Speaker 1: I said yes, I would go to this first tryout

997
00:48:56,440 --> 00:48:58,400
Speaker 1: so that I could have peace that I wasn't supposed

998
00:48:58,440 --> 00:49:00,080
Speaker 1: to do it, because that's how I am. I'm I

999
00:49:00,080 --> 00:49:03,319
Speaker 1: could just just say yes, and it's worked for me

1000
00:49:03,480 --> 00:49:05,400
Speaker 1: long term. When I really look back, I'm willing to

1001
00:49:05,440 --> 00:49:07,480
Speaker 1: go fail at a bunch of things. It's okay, that

1002
00:49:07,560 --> 00:49:09,960
Speaker 1: doesn't affect me. So I was willing to go try

1003
00:49:10,080 --> 00:49:12,680
Speaker 1: this thing that scared me so much. But I kept

1004
00:49:12,719 --> 00:49:16,160
Speaker 1: making it and they made me like so I was like,

1005
00:49:16,320 --> 00:49:19,239
Speaker 1: oh god, now I'm singing for Oh God, now I'm

1006
00:49:19,280 --> 00:49:21,640
Speaker 1: singing for Carson. Oh I'm getting really close. Now I

1007
00:49:21,719 --> 00:49:24,400
Speaker 1: gotta really do this. Now I've like sign paperwork. So

1008
00:49:24,400 --> 00:49:26,239
Speaker 1: when I went out, I was like, I just have

1009
00:49:26,360 --> 00:49:30,160
Speaker 1: to get through it. That was my thing. I can't cry,

1010
00:49:30,719 --> 00:49:33,360
Speaker 1: like like, honestly, I was so scared. I hate performing.

1011
00:49:33,600 --> 00:49:35,840
Speaker 1: That's another reason I'm never going to be an artist,

1012
00:49:36,239 --> 00:49:39,960
Speaker 1: or was never gonna be. And I don't think that

1013
00:49:40,000 --> 00:49:42,279
Speaker 1: I'm a great live singer. I think that, yeah, And

1014
00:49:42,320 --> 00:49:44,520
Speaker 1: I had just come off that manager telling me I

1015
00:49:44,560 --> 00:49:46,760
Speaker 1: wasn't gonna be an artist, and probably for that reason

1016
00:49:46,800 --> 00:49:49,720
Speaker 1: because I'm not good at performing live with a band

1017
00:49:49,719 --> 00:49:53,080
Speaker 1: and stuff. So having to go out on live TV

1018
00:49:53,320 --> 00:49:55,560
Speaker 1: in my mind and my weird sick minds like, well,

1019
00:49:55,640 --> 00:49:57,560
Speaker 1: that's no better way to figure out if you got

1020
00:49:57,560 --> 00:50:00,000
Speaker 1: what it takes, and I go do it on national television.

1021
00:50:00,040 --> 00:50:01,880
Speaker 1: And but I never thought I would make it. I

1022
00:50:01,920 --> 00:50:04,200
Speaker 1: still never thought i'd do it. I mean, so when

1023
00:50:04,200 --> 00:50:07,120
Speaker 1: he hit the button, I think I came back from

1024
00:50:07,120 --> 00:50:11,279
Speaker 1: that whole experience because he hit the button as like,

1025
00:50:11,640 --> 00:50:14,480
Speaker 1: oh my god, if that can happen, anything can happen.

1026
00:50:14,960 --> 00:50:17,200
Speaker 1: That goes to show how little faith I had that

1027
00:50:17,239 --> 00:50:19,799
Speaker 1: I would actually make the show. So when I made

1028
00:50:19,800 --> 00:50:24,080
Speaker 1: the show, I was like, I can totally write songs.

1029
00:50:24,400 --> 00:50:27,080
Speaker 1: It's while that that turned into writing automatic because we

1030
00:50:27,120 --> 00:50:28,439
Speaker 1: look back at a lot of things in our life

1031
00:50:28,440 --> 00:50:32,120
Speaker 1: and how we got here, like you going okay and

1032
00:50:32,120 --> 00:50:33,800
Speaker 1: then telling her she should go on the show, and

1033
00:50:33,840 --> 00:50:36,960
Speaker 1: then you two writing together, and then the next thing,

1034
00:50:36,960 --> 00:50:45,160
Speaker 1: you know this that's such a magical, such a magical

1035
00:50:45,280 --> 00:50:47,359
Speaker 1: chapter in my life. When I looked back on it,

1036
00:50:49,640 --> 00:50:52,640
Speaker 1: it's really humbling because do you think that any anybody's

1037
00:50:52,680 --> 00:50:54,759
Speaker 1: smart enough to try to write their own story like that?

1038
00:50:55,800 --> 00:50:58,239
Speaker 1: I think it's kind of impossible to do to write

1039
00:50:58,280 --> 00:51:01,600
Speaker 1: your own story. Okay, okay, let me talk about this

1040
00:51:01,640 --> 00:51:03,399
Speaker 1: because I think you're on the verge of another one

1041
00:51:03,440 --> 00:51:07,000
Speaker 1: here this song that you wrote for Lee Bryce Boy,

1042
00:51:07,480 --> 00:51:09,319
Speaker 1: So tell me about soon. Did you write this with?

1043
00:51:09,480 --> 00:51:11,239
Speaker 1: I write this with John Knight, who also wrote We

1044
00:51:11,360 --> 00:51:17,399
Speaker 1: Arrest with just You're gonna dry the kids, thro rob

1045
00:51:17,800 --> 00:51:22,600
Speaker 1: way too fast. You're gonna drop the ball, get all

1046
00:51:22,960 --> 00:51:28,239
Speaker 1: and bring some hard to that class. I know you will. Did.

1047
00:51:28,239 --> 00:51:32,480
Speaker 1: You're a part of me and the part of you

1048
00:51:34,120 --> 00:51:40,360
Speaker 1: who will always be boy. So tell me about this

1049
00:51:40,400 --> 00:51:42,440
Speaker 1: one here, because this right now, this is a big

1050
00:51:42,480 --> 00:51:45,759
Speaker 1: buy song. It's like, yeah, it is, well it is

1051
00:51:45,800 --> 00:51:48,000
Speaker 1: in my world, but that's just because my cousins are

1052
00:51:48,000 --> 00:51:52,279
Speaker 1: calling me about it. I mean I don't know. Um uh.

1053
00:51:52,520 --> 00:51:56,439
Speaker 1: Last song I wrote before I had my son, when

1054
00:51:56,480 --> 00:51:58,080
Speaker 1: did you know it was gonna be a son? So

1055
00:51:58,440 --> 00:52:00,160
Speaker 1: I know I was having a boy. Um. I was

1056
00:52:00,160 --> 00:52:02,200
Speaker 1: writing with John Night that day is my last day

1057
00:52:02,200 --> 00:52:04,320
Speaker 1: on the books. I was not thirty nine weeks pregnant.

1058
00:52:04,400 --> 00:52:07,880
Speaker 1: I was huge, and I had like I kept throwing

1059
00:52:07,880 --> 00:52:10,040
Speaker 1: out ideas and John was like, no, that's not I

1060
00:52:10,040 --> 00:52:11,880
Speaker 1: don't like that at no, no, no, and he was like,

1061
00:52:12,160 --> 00:52:14,160
Speaker 1: you know what I think. He was kind of like,

1062
00:52:14,520 --> 00:52:17,279
Speaker 1: Nicole doesn't really have any good ideas today. You know

1063
00:52:17,280 --> 00:52:19,319
Speaker 1: what we should just do, no pressure. We should just

1064
00:52:19,320 --> 00:52:22,279
Speaker 1: write a song for your son, like because John has

1065
00:52:22,280 --> 00:52:23,600
Speaker 1: a son at the time, he had a two year

1066
00:52:23,640 --> 00:52:27,880
Speaker 1: old son and m and so we just wrote that.

1067
00:52:28,000 --> 00:52:31,400
Speaker 1: I mean we both were bawling and then the craziest

1068
00:52:31,440 --> 00:52:34,520
Speaker 1: part of the whole thing to me, But that song

1069
00:52:34,640 --> 00:52:36,319
Speaker 1: is two weeks later, the a c M s were

1070
00:52:36,320 --> 00:52:39,759
Speaker 1: on I had my son, like a week later. Ten

1071
00:52:39,840 --> 00:52:42,520
Speaker 1: days later, four days after I had my son, we

1072
00:52:42,520 --> 00:52:43,920
Speaker 1: win Song of the Year at the a c M

1073
00:52:43,960 --> 00:52:47,359
Speaker 1: S for Automatic and I can't be there to win

1074
00:52:47,440 --> 00:52:51,040
Speaker 1: Song of the Year because I had just had this boy.

1075
00:52:51,480 --> 00:52:53,960
Speaker 1: And so now it's like I hate to even say

1076
00:52:53,960 --> 00:52:56,719
Speaker 1: it out loud, but everyone's like texting me, going like, so, yeah,

1077
00:52:56,760 --> 00:52:59,600
Speaker 1: a song of your material and I'm like, how, I'm

1078
00:52:59,600 --> 00:53:00,960
Speaker 1: only going to say it because I want to put

1079
00:53:01,000 --> 00:53:03,080
Speaker 1: it out in the universe, But like, how amazing would

1080
00:53:03,080 --> 00:53:04,839
Speaker 1: it be to be nominated for Song of the Year

1081
00:53:04,840 --> 00:53:08,440
Speaker 1: and get to take my son as my date? The

1082
00:53:08,480 --> 00:53:10,880
Speaker 1: guy that kept me from you know, because that that

1083
00:53:11,040 --> 00:53:13,040
Speaker 1: year at the SAMs was like a Texas when it

1084
00:53:13,120 --> 00:53:18,520
Speaker 1: was like the Guinness's million people there anniversary doesn't get it.

1085
00:53:18,560 --> 00:53:20,399
Speaker 1: You can't think, You can't dream of a bigger moment

1086
00:53:20,440 --> 00:53:22,239
Speaker 1: for a songwriter. And I wasn't there, you know, because

1087
00:53:22,239 --> 00:53:24,160
Speaker 1: of my son. So this is like my this is

1088
00:53:24,200 --> 00:53:27,680
Speaker 1: my like come back, Well, congratulations on that song, because

1089
00:53:27,760 --> 00:53:30,000
Speaker 1: right now it's the song that everybody's tweeting and talking

1090
00:53:30,040 --> 00:53:32,239
Speaker 1: about and texting about, and you know how it's who knows,

1091
00:53:32,920 --> 00:53:36,399
Speaker 1: there's no it could do love Triangle? You know if

1092
00:53:36,480 --> 00:53:40,120
Speaker 1: Lee Bray sang Love Triangle. That's a hit, man, I know,

1093
00:53:40,239 --> 00:53:42,360
Speaker 1: And again, not slight toward Ryland at all. It's just

1094
00:53:42,440 --> 00:53:44,360
Speaker 1: tough to be a female and have a ballad. It

1095
00:53:45,280 --> 00:53:47,759
Speaker 1: won't be It's better than it was a year ago,

1096
00:53:47,880 --> 00:53:49,239
Speaker 1: and in a year it's going to be even better

1097
00:53:49,239 --> 00:53:52,760
Speaker 1: than it is now. But there just is no farm system.

1098
00:53:52,960 --> 00:53:54,960
Speaker 1: There is now starting to come back with female talent

1099
00:53:55,160 --> 00:53:56,840
Speaker 1: because they just abandoned it. They were just like, you

1100
00:53:56,880 --> 00:53:58,520
Speaker 1: know what, this is what's paying the bills right now,

1101
00:53:58,760 --> 00:54:00,799
Speaker 1: Let's just have more sounds like this. Yes, and it's

1102
00:54:00,800 --> 00:54:03,759
Speaker 1: nobody's fault. When somebody does something successful, everybody wants to

1103
00:54:03,760 --> 00:54:05,440
Speaker 1: replicate it, and they also want to be have success

1104
00:54:05,440 --> 00:54:07,360
Speaker 1: and make money. Bottom line the quarter a quarter a

1105
00:54:07,440 --> 00:54:10,880
Speaker 1: quarter um so. But yes, I think it's just man's

1106
00:54:10,880 --> 00:54:12,719
Speaker 1: such a love trying such a good song. I hated

1107
00:54:12,760 --> 00:54:15,319
Speaker 1: seeing that one. Go let me see what other do

1108
00:54:15,360 --> 00:54:16,759
Speaker 1: I like? What are the songs do I like here?

1109
00:54:16,760 --> 00:54:18,840
Speaker 1: That ever? First of all Halloween from Walker, which we

1110
00:54:18,880 --> 00:54:22,560
Speaker 1: talked about earlier. Like we'll just brag on hands as

1111
00:54:22,600 --> 00:54:25,360
Speaker 1: much as we can. I can't brag on him anymore.

1112
00:54:26,800 --> 00:54:29,800
Speaker 1: We've been on the road together five months after I

1113
00:54:29,960 --> 00:54:32,200
Speaker 1: just I listened to his record more than any the

1114
00:54:32,239 --> 00:54:36,880
Speaker 1: record last year period, but I can't Whenever it was like, hey,

1115
00:54:36,880 --> 00:54:39,239
Speaker 1: you should have you, I was like I know her

1116
00:54:39,320 --> 00:54:41,440
Speaker 1: from something other than I couldn't remember what it was,

1117
00:54:41,840 --> 00:54:43,759
Speaker 1: but it was having the song and seeing the name

1118
00:54:43,800 --> 00:54:46,480
Speaker 1: scroll across the screen so many times when I'm listening

1119
00:54:45,960 --> 00:54:49,000
Speaker 1: to it so flatter. When he kept me on it

1120
00:54:49,040 --> 00:54:51,480
Speaker 1: and he said he's gonna put it up, I mean,

1121
00:54:51,520 --> 00:54:53,160
Speaker 1: and I know he hasn't like put out his record

1122
00:54:53,200 --> 00:54:57,120
Speaker 1: record yet, and I'm sure they're gonna find somebody, but

1123
00:54:57,440 --> 00:55:01,400
Speaker 1: I and I'm excited about up, but like, there's just

1124
00:55:01,440 --> 00:55:04,520
Speaker 1: something magical about that little demo to me. It's a demo,

1125
00:55:04,680 --> 00:55:06,680
Speaker 1: I mean, yeah, I mean it's a it's a shot

1126
00:55:07,120 --> 00:55:13,400
Speaker 1: shot song. Yeah, it's such a like there's an Australian

1127
00:55:13,400 --> 00:55:16,960
Speaker 1: girl that that I know well. And she opened and

1128
00:55:16,960 --> 00:55:19,399
Speaker 1: then Walker's the feature music performer. Then I do stand

1129
00:55:19,480 --> 00:55:21,840
Speaker 1: up for an hour. We just finished Walker did where

1130
00:55:21,840 --> 00:55:23,239
Speaker 1: Carly Pearce is going to do it for now for

1131
00:55:23,239 --> 00:55:25,920
Speaker 1: the next four months. But Walker has been the guy

1132
00:55:26,200 --> 00:55:28,920
Speaker 1: and so I remember the first day the tour, Walker

1133
00:55:28,960 --> 00:55:32,719
Speaker 1: asks Nikita Carman, who's an Australian singer songwriter. He goes, hey, um,

1134
00:55:32,840 --> 00:55:34,560
Speaker 1: I do a song called Halloween, do you she I

1135
00:55:34,560 --> 00:55:37,440
Speaker 1: know every word of it? And I was like, wow,

1136
00:55:37,520 --> 00:55:41,000
Speaker 1: you know what, Like there, Walker is awesome, this song

1137
00:55:41,120 --> 00:55:46,000
Speaker 1: is awesome. So he had that I that concept sessed

1138
00:55:46,000 --> 00:55:49,200
Speaker 1: out way like a lot of it sessed out when

1139
00:55:49,200 --> 00:55:51,640
Speaker 1: I walked in that day. I mean, he's just I

1140
00:55:51,640 --> 00:55:55,200
Speaker 1: would love to see what his brain looks like on Yeah,

1141
00:55:55,280 --> 00:55:58,520
Speaker 1: it's crazy how it works. Here's a funny, embarrassing story

1142
00:55:58,640 --> 00:56:00,960
Speaker 1: and humble Bragg. At the same time, Walker and I

1143
00:56:00,960 --> 00:56:03,880
Speaker 1: were in which Tall We did two shows at the

1144
00:56:04,040 --> 00:56:05,799
Speaker 1: or film in which at All we did two nights,

1145
00:56:06,400 --> 00:56:08,760
Speaker 1: and so I text him because we were gonna write

1146
00:56:09,080 --> 00:56:11,759
Speaker 1: on that Saturday. We got to wait this Friday night,

1147
00:56:12,120 --> 00:56:13,640
Speaker 1: and so we had all day Saturday in the same town,

1148
00:56:13,640 --> 00:56:15,120
Speaker 1: and really do we need two shows in the same place?

1149
00:56:15,120 --> 00:56:16,759
Speaker 1: But it's we told at the theater both nights, so

1150
00:56:16,800 --> 00:56:18,600
Speaker 1: we were like, we just stayed. So I sent him

1151
00:56:18,600 --> 00:56:20,640
Speaker 1: a Texas Hey, do you still want to write? And

1152
00:56:20,760 --> 00:56:23,720
Speaker 1: get a message back, and then finally got a message

1153
00:56:23,719 --> 00:56:26,040
Speaker 1: back It's like yeah when and I was like, this

1154
00:56:26,080 --> 00:56:28,960
Speaker 1: is why would Walker say win? We're like four hotel

1155
00:56:29,040 --> 00:56:31,279
Speaker 1: rooms down from each other. And so I look and

1156
00:56:31,280 --> 00:56:37,319
Speaker 1: it actually texted Clay Walker, not Walker has and then

1157
00:56:37,880 --> 00:56:39,879
Speaker 1: and then and to me, I kind of nerd out

1158
00:56:39,920 --> 00:56:41,320
Speaker 1: Clay Walker because when I was a kid, that's what

1159
00:56:41,440 --> 00:56:44,319
Speaker 1: I listened to on the radio, nineties Country is Life. Yes,

1160
00:56:44,400 --> 00:56:47,120
Speaker 1: And so I was like, Clay, sorry, dude, I'm in

1161
00:56:47,200 --> 00:56:50,120
Speaker 1: Kansas with Walker. We were gonna write today. And so

1162
00:56:50,200 --> 00:56:52,640
Speaker 1: I text Walker and I was like, every that was

1163
00:56:53,000 --> 00:56:55,480
Speaker 1: kind of embarrassing, but still who gets who has Walker's

1164
00:56:55,480 --> 00:56:57,360
Speaker 1: and Clay Walker on their phones? Like it's a pretty

1165
00:56:57,360 --> 00:56:59,120
Speaker 1: cool life. No, I was gonna say, that's an awesome

1166
00:56:59,120 --> 00:57:01,640
Speaker 1: story that you should never forget. It's a pretty cool alive.

1167
00:57:01,760 --> 00:57:06,359
Speaker 1: And so now, yeah, it's it's cool and Walker's yeah, whatever,

1168
00:57:06,400 --> 00:57:07,879
Speaker 1: we can talk about Walker forever. I want to play

1169
00:57:07,960 --> 00:57:11,560
Speaker 1: some more stuff here. Um, how about Because I'm just

1170
00:57:11,560 --> 00:57:13,719
Speaker 1: a big fans of some of these people. For example,

1171
00:57:14,480 --> 00:57:16,080
Speaker 1: one of the first ever one of these that I did,

1172
00:57:16,080 --> 00:57:18,600
Speaker 1: when I start talking about songwriters, even before Ryan Hurd

1173
00:57:18,640 --> 00:57:20,520
Speaker 1: had his project out, I was like, Ryan, you have

1174
00:57:20,560 --> 00:57:23,000
Speaker 1: to come up because I'm just a fan of Ryan

1175
00:57:23,040 --> 00:57:25,800
Speaker 1: as a person, and I love his songwriting and now

1176
00:57:25,840 --> 00:57:27,920
Speaker 1: I love his music that he's put out. But you

1177
00:57:27,920 --> 00:57:39,760
Speaker 1: guys will hold you back. Yeah, a little bit. I

1178
00:57:39,800 --> 00:57:42,440
Speaker 1: don't know him that well as we've only we actually

1179
00:57:42,440 --> 00:57:45,120
Speaker 1: just wrote the other day. It's probably the first time

1180
00:57:45,160 --> 00:57:48,320
Speaker 1: we had written since we wrote that song. Um, he

1181
00:57:48,560 --> 00:57:53,920
Speaker 1: is so talented. He's one with the university, is he is.

1182
00:57:54,000 --> 00:57:55,880
Speaker 1: It's such a It's always whiplash for me because I

1183
00:57:55,880 --> 00:57:59,000
Speaker 1: go from like my domestic mom world and then I

1184
00:57:59,040 --> 00:58:00,840
Speaker 1: walk in. I'm like, here's a rock star. You know.

1185
00:58:00,880 --> 00:58:02,840
Speaker 1: He just has that presence about it. It's like, hey,

1186
00:58:02,880 --> 00:58:13,680
Speaker 1: it's so cool, Yeah, you kiss you good. Someone. A

1187
00:58:13,720 --> 00:58:15,400
Speaker 1: band that I've been fronts with for a long time,

1188
00:58:15,440 --> 00:58:17,600
Speaker 1: back when I lived in Texas and before they counted

1189
00:58:17,640 --> 00:58:20,720
Speaker 1: in the natural thing was Mike Eli Eli Young band.

1190
00:58:22,320 --> 00:58:29,480
Speaker 1: You guys throw this one saltwater gospel. Good about that

1191
00:58:29,520 --> 00:58:35,200
Speaker 1: song better? You know those guys have a It's a

1192
00:58:35,240 --> 00:58:38,160
Speaker 1: weird thing for Texas artists. And I can tell you

1193
00:58:38,280 --> 00:58:40,680
Speaker 1: firsthand because I still live in Texas part time, like

1194
00:58:40,720 --> 00:58:43,840
Speaker 1: I live in Austin. It's my I love Austin, like God,

1195
00:58:43,960 --> 00:58:48,560
Speaker 1: no better place. I got lucky that Austin Nashville two

1196
00:58:48,600 --> 00:58:51,600
Speaker 1: cities that I get to live and working like they're

1197
00:58:51,640 --> 00:58:56,560
Speaker 1: the best. And so with the Texas artist. Here's the

1198
00:58:56,600 --> 00:59:01,080
Speaker 1: weird thing, Like any Texas artists that tries for mainstream

1199
00:59:01,080 --> 00:59:03,920
Speaker 1: success gets screamed debt, sell out, sell out, so that

1200
00:59:03,960 --> 00:59:06,400
Speaker 1: there's like this weird thing where they and I'm talking

1201
00:59:06,400 --> 00:59:08,400
Speaker 1: about Eli Young band specifically, but where they have to

1202
00:59:08,440 --> 00:59:11,880
Speaker 1: like cater back to the Texas country while going I'm

1203
00:59:11,920 --> 00:59:14,160
Speaker 1: not a sell out. I'm still doing all the same

1204
00:59:14,320 --> 00:59:17,600
Speaker 1: red dirt stuff and it does impair them a bit.

1205
00:59:19,160 --> 00:59:21,840
Speaker 1: It's um, I mean, I'm not from Texas, but growing

1206
00:59:21,920 --> 00:59:24,080
Speaker 1: up in Kansas, all those Texas bands when I was

1207
00:59:24,080 --> 00:59:26,360
Speaker 1: in high school, that's what all my that's what all

1208
00:59:26,400 --> 00:59:29,040
Speaker 1: my friends listened to. The Pat Green, the Jason Boland, Cross,

1209
00:59:29,080 --> 00:59:33,200
Speaker 1: Canadian Red like CCR. I mean, there's so many of them.

1210
00:59:33,200 --> 00:59:37,000
Speaker 1: And I I kind of got to know Pat a

1211
00:59:37,000 --> 00:59:38,840
Speaker 1: little bit after I moved here, like and then I

1212
00:59:38,880 --> 00:59:41,960
Speaker 1: was like I was totally you know, seventeen again, like

1213
00:59:42,480 --> 00:59:45,280
Speaker 1: fan fan, growing out and just watching that happen with

1214
00:59:45,280 --> 00:59:47,439
Speaker 1: wav on Wave and like what that did for him

1215
00:59:47,600 --> 00:59:49,440
Speaker 1: and didn't do for him, you know, it just it

1216
00:59:49,480 --> 00:59:51,080
Speaker 1: helped him and hurt him at the same time. I

1217
00:59:51,080 --> 00:59:54,080
Speaker 1: remember what happening because Pat Green was Texas still and

1218
00:59:54,160 --> 00:59:56,800
Speaker 1: he is and he still is, and we just have

1219
00:59:56,840 --> 00:59:58,840
Speaker 1: Pat on the radio show Texas all the time. And

1220
00:59:58,840 --> 01:00:00,320
Speaker 1: I was doing Tough for You It's Time, but I

1221
01:00:00,480 --> 01:00:03,000
Speaker 1: had pad On and you know Eli Young and Dirk's.

1222
01:00:03,200 --> 01:00:04,600
Speaker 1: I was a country fan and I would put these

1223
01:00:04,600 --> 01:00:06,560
Speaker 1: country artists on a nationally syndicated pop shure. That's why

1224
01:00:06,600 --> 01:00:08,400
Speaker 1: ended up be doing country because it was better for me.

1225
01:00:09,120 --> 01:00:11,880
Speaker 1: But when wave on wave of hit, everyone's like, oh,

1226
01:00:11,960 --> 01:00:14,880
Speaker 1: what a sell out, and it's like, no, what a

1227
01:00:15,000 --> 01:00:16,640
Speaker 1: sell out me? And you get to put more music

1228
01:00:16,640 --> 01:00:19,080
Speaker 1: out for more people. I feel bad for guys like

1229
01:00:19,120 --> 01:00:22,920
Speaker 1: Granger because here's Granger, the best guy, just just a

1230
01:00:22,960 --> 01:00:25,160
Speaker 1: phenomenal guy, still lives in Texas, and people like, oh,

1231
01:00:25,160 --> 01:00:27,200
Speaker 1: you sell out. He's got a record deal. There, we

1232
01:00:27,240 --> 01:00:29,360
Speaker 1: get a record deal. It's not selling out. If you

1233
01:00:29,520 --> 01:00:33,320
Speaker 1: want to have a nicer life, you can still remain true,

1234
01:00:33,320 --> 01:00:35,560
Speaker 1: like I will always be an Arkansas razorback like in

1235
01:00:35,680 --> 01:00:37,560
Speaker 1: my blood. But you know I live in Nashville right now.

1236
01:00:37,560 --> 01:00:41,320
Speaker 1: That's mean I'm not an Arkansas Zack. You bother That

1237
01:00:41,360 --> 01:00:43,760
Speaker 1: part really bothers me because I love Texas and I

1238
01:00:43,800 --> 01:00:45,800
Speaker 1: love the people, and I have so many friends that

1239
01:00:45,840 --> 01:00:49,600
Speaker 1: do Texas country, but they there's an alienation at times

1240
01:00:49,640 --> 01:00:51,400
Speaker 1: where it's like some some of the artists like, well,

1241
01:00:51,400 --> 01:00:53,120
Speaker 1: if you like the Nashville artists, then you're not one

1242
01:00:53,160 --> 01:00:55,320
Speaker 1: of us. And it's why some of the arts only

1243
01:00:55,320 --> 01:00:58,720
Speaker 1: want tor in Texas because they feel like everybody hates them.

1244
01:00:58,720 --> 01:01:02,840
Speaker 1: It's weird. Yeah, it's like two steps forward, one step back,

1245
01:01:02,920 --> 01:01:05,560
Speaker 1: or even one step forward two steps back on that stuff.

1246
01:01:05,720 --> 01:01:08,640
Speaker 1: So guys like Eli young Man make it. You're like, man,

1247
01:01:09,120 --> 01:01:12,680
Speaker 1: that's awesome because then they got there, they kept kept

1248
01:01:12,680 --> 01:01:14,680
Speaker 1: their Texas and got their Nashville, and I thought it

1249
01:01:14,680 --> 01:01:16,480
Speaker 1: would do it too, but they just have this two

1250
01:01:16,520 --> 01:01:18,640
Speaker 1: sides are just pulling from both directions where I kind

1251
01:01:18,680 --> 01:01:21,280
Speaker 1: of felt bad for them. So I agree with that.

1252
01:01:21,280 --> 01:01:23,200
Speaker 1: I love the song. Would do better too that, but

1253
01:01:23,400 --> 01:01:31,640
Speaker 1: again I can't predict it. Let's see, let's see, let's see,

1254
01:01:31,680 --> 01:01:34,880
Speaker 1: let's see, let me do one more. How about I

1255
01:01:34,920 --> 01:01:41,080
Speaker 1: think it's downna take a home. How'd you getting the

1256
01:01:41,160 --> 01:01:46,760
Speaker 1: lady a camp? Because of it ain't pretty? Um, probably

1257
01:01:47,880 --> 01:01:52,680
Speaker 1: I don't actually remember. Actually, oh so my publisher. They

1258
01:01:52,680 --> 01:01:55,040
Speaker 1: were published by the same publisher that I was, um

1259
01:01:55,240 --> 01:01:58,000
Speaker 1: years ago. I've been at Warner Chapel the whole time.

1260
01:01:58,480 --> 01:02:00,800
Speaker 1: But they they were there and then they left. Now

1261
01:02:00,840 --> 01:02:04,000
Speaker 1: they're back. Um, but they were kind of were pitched

1262
01:02:04,040 --> 01:02:06,720
Speaker 1: a lot of my songs because we're all in the

1263
01:02:06,720 --> 01:02:09,160
Speaker 1: family together, and that's how it Ain't Pretty happened. But

1264
01:02:09,280 --> 01:02:11,640
Speaker 1: now I'm like super good friends with all of them,

1265
01:02:11,760 --> 01:02:13,720
Speaker 1: like family friends, Like they come over to our house

1266
01:02:13,720 --> 01:02:16,919
Speaker 1: for Halloween and our kids play that kind of thing. Um.

1267
01:02:16,960 --> 01:02:19,040
Speaker 1: In fact, when I play Heartbreak in my car, like

1268
01:02:19,080 --> 01:02:21,800
Speaker 1: my daughter's like, oh you wrote that with Easley's mommy.

1269
01:02:22,400 --> 01:02:26,000
Speaker 1: You know. It's that's my dynamic with them now. Um.

1270
01:02:26,040 --> 01:02:28,360
Speaker 1: And what's interesting is I thought it Ain't Pretty was

1271
01:02:28,400 --> 01:02:31,000
Speaker 1: going to be my first big hit, and it wasn't.

1272
01:02:31,040 --> 01:02:33,000
Speaker 1: And then right after that he asked about like the

1273
01:02:33,080 --> 01:02:35,520
Speaker 1: dynamic between Rodney and I. Rodney went out and wrote

1274
01:02:35,520 --> 01:02:38,360
Speaker 1: with them for the first time and wrote Bartender and

1275
01:02:38,480 --> 01:02:42,840
Speaker 1: he got The Big Lady a single, and UM, I

1276
01:02:42,880 --> 01:02:45,480
Speaker 1: remember thinking, damn, if I'm not gonna get it, then

1277
01:02:45,480 --> 01:02:47,120
Speaker 1: I guess I guess I want you to get it,

1278
01:02:47,160 --> 01:02:51,960
Speaker 1: you know, like that's my consolation prizes again, as all

1279
01:02:51,960 --> 01:02:54,400
Speaker 1: the docs are connecting, you and Eric wrote it Ain't Pretty.

1280
01:02:55,360 --> 01:02:59,200
Speaker 1: Eric wrote Friday Night, which was on their record, which

1281
01:02:59,200 --> 01:03:01,640
Speaker 1: they did not as a single, and Eric said, hey,

1282
01:03:01,640 --> 01:03:03,520
Speaker 1: you might if I have it back, got it back,

1283
01:03:03,600 --> 01:03:07,160
Speaker 1: cut it one number one. I mean, the whole world

1284
01:03:07,240 --> 01:03:11,120
Speaker 1: was weird and crazy and awesome and awful and amazing

1285
01:03:11,160 --> 01:03:15,080
Speaker 1: and terrible, and you just never know. It's all a

1286
01:03:15,080 --> 01:03:17,280
Speaker 1: long game, you know. You can't, like I said, you

1287
01:03:17,360 --> 01:03:23,240
Speaker 1: can't get one little disappointment dictate anything about your future.

1288
01:03:23,320 --> 01:03:25,240
Speaker 1: You just have to keep moving and keep writing more.

1289
01:03:25,640 --> 01:03:28,120
Speaker 1: Who who'd you write with today? Do right? Today? Today?

1290
01:03:28,160 --> 01:03:33,960
Speaker 1: I wrote with Um Josh Kerr and Cassie Ashton. Cassie's

1291
01:03:34,000 --> 01:03:37,400
Speaker 1: this girl that's on signed to Bethan Luke Laird's company,

1292
01:03:37,480 --> 01:03:42,280
Speaker 1: Creative Nation. We wrote a song called Wedding Cake and

1293
01:03:42,320 --> 01:03:45,560
Speaker 1: that girl is so much fun. Really, I know josh

1294
01:03:45,640 --> 01:03:48,280
Speaker 1: ka really well. Yeah, well he played guitar on the

1295
01:03:48,320 --> 01:03:50,040
Speaker 1: road to this for a long time and I'm on

1296
01:03:50,080 --> 01:03:54,120
Speaker 1: Black River. Oh yeah that's right. So yeah, so we wrote,

1297
01:03:54,320 --> 01:03:57,520
Speaker 1: we wrote, and then Cassie left, and then this other

1298
01:03:57,560 --> 01:04:00,160
Speaker 1: amazing artist named Emily Wiseman came in and we had

1299
01:04:00,200 --> 01:04:03,200
Speaker 1: to tweak another song um that we had written with.

1300
01:04:03,320 --> 01:04:07,480
Speaker 1: So Emily's his girlfriend right now? Yeah, I was like

1301
01:04:07,440 --> 01:04:09,840
Speaker 1: another amazing artist, like the Emily's girlfriend everybody knows that.

1302
01:04:10,080 --> 01:04:13,080
Speaker 1: I guess, oh yeah, yeah, it's out there. Yeah oh yeah,

1303
01:04:13,160 --> 01:04:15,920
Speaker 1: I mean their Instagram shows it. By the way, you

1304
01:04:15,920 --> 01:04:19,200
Speaker 1: don't have Twitter, which is weird. Why how can you

1305
01:04:19,240 --> 01:04:21,200
Speaker 1: look don't? I would get news in no other way.

1306
01:04:21,440 --> 01:04:24,480
Speaker 1: I don't know. I think I just um, I think

1307
01:04:24,520 --> 01:04:27,800
Speaker 1: it was a minute when I had a like, had

1308
01:04:27,840 --> 01:04:31,520
Speaker 1: a log in issue for some reason. Quit and I

1309
01:04:31,600 --> 01:04:34,720
Speaker 1: was just like, you know what, I love Instagram so much,

1310
01:04:34,880 --> 01:04:38,880
Speaker 1: and I love taking pictures like like I was the

1311
01:04:38,960 --> 01:04:41,840
Speaker 1: yearbook editor, loved taking pictures like I could care I

1312
01:04:41,880 --> 01:04:44,680
Speaker 1: carry a camera all the time, you know. Um, So

1313
01:04:45,040 --> 01:04:48,360
Speaker 1: that was just a good cleaning of the closet. On

1314
01:04:48,360 --> 01:04:51,240
Speaker 1: that one. I was just like, yeah, go away. I

1315
01:04:51,280 --> 01:04:54,200
Speaker 1: just didn't have enough time for it. Well, I appreciate

1316
01:04:54,200 --> 01:04:57,040
Speaker 1: you coming by, thanks for having me. My mom's going

1317
01:04:57,080 --> 01:05:00,640
Speaker 1: to think that I'm I've still made it. Now. Does

1318
01:05:00,720 --> 01:05:02,680
Speaker 1: your mom get to hear the show where she lives

1319
01:05:02,760 --> 01:05:06,320
Speaker 1: my radio show, Yes, because that's one of my favorite

1320
01:05:06,320 --> 01:05:07,960
Speaker 1: places to go in the whole world. Which saw that's

1321
01:05:08,000 --> 01:05:09,520
Speaker 1: what we just spent to. I mean, I'm telling you

1322
01:05:09,560 --> 01:05:12,440
Speaker 1: it is degree. Oh my show would not be nationally

1323
01:05:12,440 --> 01:05:15,920
Speaker 1: syndicated without which Dock Kansas. Well probably my mom. My

1324
01:05:15,960 --> 01:05:18,760
Speaker 1: mom's probably just probably has going on twenty seven radio,

1325
01:05:19,200 --> 01:05:21,360
Speaker 1: you know, devices in the house at the same time.

1326
01:05:21,440 --> 01:05:23,480
Speaker 1: And when you say Hutchinson, like, I know the area

1327
01:05:23,560 --> 01:05:26,160
Speaker 1: because I guess twelve years so ago I went, and

1328
01:05:26,760 --> 01:05:28,560
Speaker 1: not that you even care about since it is your hometown.

1329
01:05:28,560 --> 01:05:31,360
Speaker 1: I'll tell you. I went and begged a station in

1330
01:05:31,400 --> 01:05:33,560
Speaker 1: which it put my show on, and I paid for everything,

1331
01:05:34,040 --> 01:05:35,920
Speaker 1: Like I was like, I have this new technology I

1332
01:05:35,920 --> 01:05:38,040
Speaker 1: just bought trying to figure it out. I'll pay for everything.

1333
01:05:38,080 --> 01:05:40,280
Speaker 1: All the phone lines all don't pay me anything. And

1334
01:05:40,320 --> 01:05:42,080
Speaker 1: the very first station to ever pick up my show

1335
01:05:42,080 --> 01:05:45,520
Speaker 1: on syndication was Whichtock, Kansas. And every year I go

1336
01:05:45,560 --> 01:05:48,200
Speaker 1: back to three sometimes four times, which I just did

1337
01:05:48,320 --> 01:05:50,480
Speaker 1: two nights at the war film there, and then I'm

1338
01:05:50,480 --> 01:05:52,520
Speaker 1: going back to play. My band is the Raging AGAs

1339
01:05:52,520 --> 01:05:55,200
Speaker 1: were playing at festival with Granger in like three weeks.

1340
01:05:55,240 --> 01:05:57,520
Speaker 1: Like I can't get enough of that place, and for

1341
01:05:57,560 --> 01:06:00,320
Speaker 1: some reason they keep having me back. I love it there,

1342
01:06:00,480 --> 01:06:02,800
Speaker 1: Well I love you for loving it. We're actually building

1343
01:06:02,800 --> 01:06:07,040
Speaker 1: a house there, so yeah, I'll come and eat dinner.

1344
01:06:08,040 --> 01:06:10,919
Speaker 1: I do cook, yeah, yeah, I cook like a Midwestern though,

1345
01:06:11,200 --> 01:06:14,080
Speaker 1: So you cook chicken frides, well not fried that feels

1346
01:06:14,080 --> 01:06:17,720
Speaker 1: more southern, but just like steak and potatoes, like meat

1347
01:06:17,720 --> 01:06:21,480
Speaker 1: poatoes all day long. Well, I appreciate you coming by.

1348
01:06:21,520 --> 01:06:23,840
Speaker 1: Everybody was like, you have to have our She's amazing.

1349
01:06:23,880 --> 01:06:25,680
Speaker 1: You've got no bad reviews and everybody gets at least

1350
01:06:25,680 --> 01:06:27,800
Speaker 1: one bad review, right, Mike, Yeah, everybody get at least

1351
01:06:27,800 --> 01:06:31,040
Speaker 1: one bad review. Your yelp was amazing. It was spotless.

1352
01:06:31,440 --> 01:06:34,280
Speaker 1: Yeah it was, Yeah, it was. It was basically the

1353
01:06:34,360 --> 01:06:40,520
Speaker 1: Chipotle of songwriters. Like Chipole had liked it on the news,

1354
01:06:40,560 --> 01:06:43,520
Speaker 1: I'd be like, oh there's food pointing and Chipotle, Chipotle, Chippole,

1355
01:06:43,600 --> 01:06:46,640
Speaker 1: I need Chipotle, like it worked like that. Well, thank

1356
01:06:46,680 --> 01:06:51,400
Speaker 1: you so much for having me. Congratulations on just Man.

1357
01:06:51,640 --> 01:06:53,720
Speaker 1: You got some big songs and I think, yes, you

1358
01:06:53,840 --> 01:06:56,520
Speaker 1: got some coming this boy from Lee Bryce. Like I

1359
01:06:56,560 --> 01:06:58,160
Speaker 1: think in a year we look back at this, we're

1360
01:06:58,160 --> 01:07:02,400
Speaker 1: gonna we're talking about when Boy Just was released. So listen.

1361
01:07:02,440 --> 01:07:04,240
Speaker 1: And I'm not the jinks. I've said too many things

1362
01:07:04,280 --> 01:07:07,440
Speaker 1: that I went right. I'm not the drinks, Mike. I've

1363
01:07:07,480 --> 01:07:10,960
Speaker 1: actually yeah yeah, yeah, um, Well, thank you for coming buy.

1364
01:07:11,000 --> 01:07:14,520
Speaker 1: We really appreciating all right, and that's a wrap. What

1365
01:07:14,640 --> 01:07:22,040
Speaker 1: episode is Mike one and thanks to our sponsor. Oh

1366
01:07:22,560 --> 01:07:24,360
Speaker 1: that I'm telling you that you have a dog, you

1367
01:07:24,440 --> 01:07:27,000
Speaker 1: have kids, have kids? Do you have a dog? This

1368
01:07:27,200 --> 01:07:29,360
Speaker 1: wag Walker is the greatest app. It's not they're not

1369
01:07:29,560 --> 01:07:32,439
Speaker 1: paying me right now, Okay, like I'll do a freaking

1370
01:07:32,480 --> 01:07:34,240
Speaker 1: martial because it's so good. It's a dog walking service.

1371
01:07:34,360 --> 01:07:35,640
Speaker 1: It's app and you just get on your app and

1372
01:07:35,640 --> 01:07:36,840
Speaker 1: you go pay. They can walk to your kids. I

1373
01:07:36,880 --> 01:07:39,440
Speaker 1: don't know. So you hit it and you go. When

1374
01:07:39,480 --> 01:07:41,640
Speaker 1: you a dog walker and they're like thirty minutes hour,

1375
01:07:41,960 --> 01:07:43,800
Speaker 1: they come and have a lot and they push the

1376
01:07:43,800 --> 01:07:45,280
Speaker 1: little code in, they get a lock, open door, take

1377
01:07:45,320 --> 01:07:46,680
Speaker 1: my dog out. They take pictures of the dog. It

1378
01:07:46,760 --> 01:07:49,320
Speaker 1: texts you while it's going. When it poops like dog poop,

1379
01:07:49,360 --> 01:07:53,880
Speaker 1: they send you a text. It's amazing. Yeah, anyway, didn't

1380
01:07:53,880 --> 01:07:56,080
Speaker 1: pay me for that. I'm here, do you know wherever

1381
01:07:56,080 --> 01:07:58,080
Speaker 1: you want? Yeah? Yeah, I'll lets the story you. It's

1382
01:07:58,080 --> 01:08:00,520
Speaker 1: just story me. We're still on by the way. Huh,

1383
01:08:00,600 --> 01:08:04,280
Speaker 1: well good that fits my brand. I'm only a total INSTI.

1384
01:08:05,680 --> 01:08:07,720
Speaker 1: All right, we'll gonna thank you and we'll see you

1385
01:08:07,760 --> 01:08:08,439
Speaker 1: next time. My boy