1 00:00:01,040 --> 00:00:03,080 Speaker 1: All right, this is very special episode for us, episode 2 00:00:03,080 --> 00:00:07,080 Speaker 1: one hundred. I always said from the infancy stages of 3 00:00:07,120 --> 00:00:09,280 Speaker 1: this podcast, and once we hit one hundred, we are 4 00:00:09,280 --> 00:00:12,600 Speaker 1: officially a real podcast. So after this episode concludes with 5 00:00:12,680 --> 00:00:15,520 Speaker 1: Christian Bush, we will be a real podcast. And I 6 00:00:16,239 --> 00:00:18,040 Speaker 1: thank you all for listening to this thing and making 7 00:00:18,079 --> 00:00:23,200 Speaker 1: a big and relatively speaking big and might deep good job. 8 00:00:23,280 --> 00:00:27,960 Speaker 1: My friend been been at it since the beginning. I 9 00:00:28,120 --> 00:00:30,960 Speaker 1: bought all the equipment, didn't tell the company what we're 10 00:00:30,960 --> 00:00:34,599 Speaker 1: doing it. Mike set it up, been in two houses 11 00:00:35,320 --> 00:00:37,280 Speaker 1: and here we are episode one. How didn't get your 12 00:00:37,280 --> 00:00:44,159 Speaker 1: hands up? We're about to start with a Christian in 13 00:00:44,159 --> 00:00:46,640 Speaker 1: a second. But I just want to say thank you 14 00:00:46,680 --> 00:00:48,720 Speaker 1: so much for listening. We're trying to get on songwriters 15 00:00:48,720 --> 00:00:52,040 Speaker 1: and producers and artists and have our long conversations you 16 00:00:52,120 --> 00:00:53,760 Speaker 1: can't hear anywhere else. I think we've been able to 17 00:00:53,760 --> 00:00:56,160 Speaker 1: do that. And check out just scroll through and check 18 00:00:56,160 --> 00:01:01,040 Speaker 1: out Mary Moore's, Chris Stapleton and Ross Comperiman and Shane McNally. 19 00:01:01,080 --> 00:01:04,480 Speaker 1: There are so many, they're just stories of one stories. 20 00:01:04,959 --> 00:01:08,319 Speaker 1: We've tried to bring that to you. Even John Oates 21 00:01:08,480 --> 00:01:11,039 Speaker 1: from Hall of Notes. You know, we've had a John 22 00:01:11,080 --> 00:01:12,840 Speaker 1: Mayer a lot, a lot of ones that aren't in 23 00:01:12,880 --> 00:01:15,280 Speaker 1: the format too. So I want to say that on 24 00:01:15,319 --> 00:01:17,680 Speaker 1: the Nashville Podcast Network and here we are, Episode one hundred, 25 00:01:17,680 --> 00:01:19,679 Speaker 1: we also have a network of shows. I like to 26 00:01:19,720 --> 00:01:22,840 Speaker 1: encourage you to check out Good Company with Jake Owen. 27 00:01:23,520 --> 00:01:25,319 Speaker 1: I like to encourage you to check out Geeking Out 28 00:01:25,319 --> 00:01:28,280 Speaker 1: with Christian Bush, which is not even about music, really, 29 00:01:28,319 --> 00:01:31,840 Speaker 1: it's just about people geeking out over things. Whiskey ref 30 00:01:31,959 --> 00:01:33,880 Speaker 1: Raff with the guest from Whiskey Riff to a show 31 00:01:33,920 --> 00:01:37,520 Speaker 1: from Chicago about country music kind the fans perspective. So 32 00:01:37,640 --> 00:01:39,360 Speaker 1: thank you for letting us do that special music for 33 00:01:39,400 --> 00:01:41,680 Speaker 1: episode one hundred. Although I might keep this and I'll 34 00:01:41,720 --> 00:01:43,320 Speaker 1: like to you like it, I'll kind of fell I 35 00:01:43,360 --> 00:01:46,880 Speaker 1: love that. Get your hands up. Here we are Episode 36 00:01:46,880 --> 00:01:52,560 Speaker 1: one hundred. Here we are, Episode one hundred. Didn't know 37 00:01:52,680 --> 00:01:58,480 Speaker 1: would be so much fun in episode one hundred. All right, 38 00:01:59,280 --> 00:02:01,600 Speaker 1: I'm gonna in this down. We're gonna start with Christian Bush. 39 00:02:01,600 --> 00:02:04,960 Speaker 1: But appreciate everybody for listening. And Mike, let's keep this music, 40 00:02:05,240 --> 00:02:12,520 Speaker 1: okay because I feel like eating something human. It feels 41 00:02:12,520 --> 00:02:15,919 Speaker 1: like a zombie movie. He's right. Christian Bush, Episode hundred. 42 00:02:15,960 --> 00:02:20,320 Speaker 1: Here we go. I welcome to the biggest episode in 43 00:02:20,320 --> 00:02:22,760 Speaker 1: the history of our podcast. For two reasons, yeah, for 44 00:02:22,800 --> 00:02:29,400 Speaker 1: two reasons. One, it's our one episode. Yes, oh my god. 45 00:02:30,000 --> 00:02:32,560 Speaker 1: We were going to do some sort of special for 46 00:02:32,600 --> 00:02:36,040 Speaker 1: one hundred. This is honest, god truth, and I said, well, 47 00:02:36,240 --> 00:02:38,840 Speaker 1: Christian is going to come up in the next few weeks. 48 00:02:39,360 --> 00:02:42,080 Speaker 1: So we saved episode one hundred because I wanted it 49 00:02:42,120 --> 00:02:45,200 Speaker 1: to be you, and that's why. So it's all. And 50 00:02:45,240 --> 00:02:50,920 Speaker 1: I've always said a car or something, no does everybody 51 00:02:50,960 --> 00:02:55,520 Speaker 1: in the room is a thing. Not so much. But 52 00:02:55,639 --> 00:02:58,280 Speaker 1: you can have my hat. I guess we can trade hats. 53 00:02:59,639 --> 00:03:01,800 Speaker 1: So it's are I've always said to myself, you're not 54 00:03:01,880 --> 00:03:05,000 Speaker 1: a legitimate podcast that has proven that you will stay 55 00:03:05,040 --> 00:03:07,119 Speaker 1: the test of time until you hit one hundred. Episodes 56 00:03:07,560 --> 00:03:10,360 Speaker 1: can be, but you needed a hundred so people trust 57 00:03:10,360 --> 00:03:12,040 Speaker 1: that you were going to be there. And so we 58 00:03:12,160 --> 00:03:16,960 Speaker 1: have over a hundred hours of content of artists, producers, songwriters, 59 00:03:16,960 --> 00:03:19,240 Speaker 1: and this is our one hundred. So we're officially today. 60 00:03:19,639 --> 00:03:22,160 Speaker 1: We're really yes, that's right, we are a real podcast. 61 00:03:22,240 --> 00:03:27,000 Speaker 1: Everyone yep, So that decide. I'm very happy you're here. 62 00:03:27,120 --> 00:03:29,240 Speaker 1: Mr Christian. Well, thank you for having me, but so 63 00:03:29,320 --> 00:03:32,440 Speaker 1: much to talk about. And I feel like, why don't 64 00:03:32,440 --> 00:03:34,800 Speaker 1: we start with today? Because Christian has a new podcast 65 00:03:34,960 --> 00:03:38,320 Speaker 1: that's up now and we'll get to that, and we're 66 00:03:38,320 --> 00:03:41,720 Speaker 1: gonna get to life. But why don't we just start 67 00:03:41,720 --> 00:03:44,760 Speaker 1: with today and let's talk about sugar Land coming back. 68 00:03:45,440 --> 00:03:48,520 Speaker 1: So I had mentioned to you that it was difficult 69 00:03:48,560 --> 00:03:51,320 Speaker 1: for me to interview you and Jennifer because I just 70 00:03:51,400 --> 00:03:53,080 Speaker 1: knew too much. I knew you guys were coming back 71 00:03:53,120 --> 00:03:56,320 Speaker 1: together before, and I'm a good secret keeper. Yeah, but 72 00:03:56,320 --> 00:03:58,960 Speaker 1: we'll backstory that. Okay, I'll back story for you. And 73 00:03:59,120 --> 00:04:02,880 Speaker 1: this microphone the right one. O. UM, I remember the 74 00:04:02,920 --> 00:04:10,640 Speaker 1: moment where uh, my phone blew up because um, people 75 00:04:10,840 --> 00:04:13,400 Speaker 1: in the that were listeners, and especially people in the 76 00:04:13,400 --> 00:04:15,640 Speaker 1: industry knew that you and I knew each other because 77 00:04:15,680 --> 00:04:18,440 Speaker 1: I you invited me to write on your your first record, 78 00:04:19,040 --> 00:04:22,479 Speaker 1: and you had said something on the air about, you 79 00:04:22,520 --> 00:04:27,680 Speaker 1: know what, why don't we bring sugar Land back together together? 80 00:04:27,920 --> 00:04:30,839 Speaker 1: And that was like a week after I had gotten 81 00:04:30,839 --> 00:04:35,360 Speaker 1: a phone call that said, hey, so, if by chance, 82 00:04:35,400 --> 00:04:38,920 Speaker 1: would this be something you'd be interested in from Jennifer 83 00:04:39,520 --> 00:04:42,680 Speaker 1: and and her people, And I was like huh, and 84 00:04:42,720 --> 00:04:45,840 Speaker 1: she said, look, do you can't tell anybody that I've 85 00:04:45,880 --> 00:04:48,520 Speaker 1: called you. And the first thing that I thought to 86 00:04:48,600 --> 00:04:51,880 Speaker 1: myself was, oh, my god, they think I told Bobby, 87 00:04:52,520 --> 00:04:57,080 Speaker 1: And well, that's what I was worried because I have 88 00:04:57,279 --> 00:05:00,240 Speaker 1: like five friends on Earth, and I would consider you 89 00:05:00,400 --> 00:05:02,400 Speaker 1: one of them. But I'm not sure I would have 90 00:05:02,520 --> 00:05:05,880 Speaker 1: disclosed that to you even if we were friends. Didn't 91 00:05:06,080 --> 00:05:11,400 Speaker 1: I did not, but I immediately thought that I was Oh. 92 00:05:11,680 --> 00:05:14,400 Speaker 1: So I called my people and say, can you call 93 00:05:14,440 --> 00:05:17,880 Speaker 1: Bobby's people and tell him that he's too close to 94 00:05:17,920 --> 00:05:23,880 Speaker 1: the truth. He's flying deep throat, is too close to Watergate. 95 00:05:24,320 --> 00:05:26,840 Speaker 1: You know, I'm random. And because I got a call 96 00:05:26,920 --> 00:05:29,960 Speaker 1: that day from Tom, who we both worked with, and 97 00:05:30,040 --> 00:05:34,880 Speaker 1: Tom says, hey, can you come to the office, I said, yeah, sure, 98 00:05:35,800 --> 00:05:40,120 Speaker 1: I really get called in. He just didn't want to 99 00:05:40,160 --> 00:05:42,920 Speaker 1: tie text anything or he goes, hey, I need to 100 00:05:42,960 --> 00:05:45,200 Speaker 1: not talk about sugar Land. So I think it's a 101 00:05:45,240 --> 00:05:47,080 Speaker 1: great idea. What if we got him back together for 102 00:05:47,160 --> 00:05:50,160 Speaker 1: one show? Hey, we need to not talk about sugar 103 00:05:50,240 --> 00:05:53,840 Speaker 1: Land because they're talking about sugar Land. And I was like, oh, 104 00:05:53,880 --> 00:05:58,839 Speaker 1: I'm out nothing. It was completely random and rare, and 105 00:05:58,880 --> 00:06:02,000 Speaker 1: I just felt my heart like they should be together again. 106 00:06:02,560 --> 00:06:05,039 Speaker 1: And I'm if for everybody listening that thinks maybe there 107 00:06:05,400 --> 00:06:10,000 Speaker 1: was nothing up. No, but I love your Apparently it 108 00:06:10,040 --> 00:06:13,279 Speaker 1: has the ability to will things into existence. So I'd 109 00:06:13,320 --> 00:06:15,000 Speaker 1: like you to say some other things on the on 110 00:06:15,040 --> 00:06:17,920 Speaker 1: the air, like, you know, still the same number one record. 111 00:06:18,080 --> 00:06:21,920 Speaker 1: I feel still the same should be a number one record. 112 00:06:22,320 --> 00:06:26,520 Speaker 1: So I was trying to think back because I don't 113 00:06:26,600 --> 00:06:29,919 Speaker 1: know how we know, how we actually met met? Okay, 114 00:06:29,920 --> 00:06:33,320 Speaker 1: I do, I do? I do. I loved Southern your record, 115 00:06:33,520 --> 00:06:36,560 Speaker 1: That's what I want. What I felt was because I 116 00:06:36,560 --> 00:06:38,600 Speaker 1: didn't know you. I felt like Trailer Hitch was one 117 00:06:38,600 --> 00:06:40,599 Speaker 1: of those songs they screwed up on Big Time because 118 00:06:40,600 --> 00:06:43,560 Speaker 1: it was so good and radio didn't give it the 119 00:06:43,560 --> 00:06:47,320 Speaker 1: shot that it deserved. And I remember just screaming about 120 00:06:47,680 --> 00:06:51,640 Speaker 1: radio just I couldn't believe that that was not a 121 00:06:51,680 --> 00:06:56,120 Speaker 1: massive hit because it was so good, and I was 122 00:06:56,160 --> 00:07:01,000 Speaker 1: a little bit upset everybody, and I said, hey, why 123 00:07:01,040 --> 00:07:03,400 Speaker 1: aren't we helping this song? It's so good. I didn't 124 00:07:03,400 --> 00:07:06,520 Speaker 1: know you. We never met, and that was the first 125 00:07:06,520 --> 00:07:08,520 Speaker 1: time that someone said, hey, you would you like to 126 00:07:08,560 --> 00:07:12,200 Speaker 1: meet Christian And I was like, yeah, sings and I 127 00:07:12,360 --> 00:07:16,400 Speaker 1: didn't know came up, came to the studio. We talk. 128 00:07:16,480 --> 00:07:18,040 Speaker 1: We talked a bit, but a lot of people come 129 00:07:18,040 --> 00:07:19,280 Speaker 1: to the studio. I talked a lot of people. And 130 00:07:19,280 --> 00:07:21,640 Speaker 1: I don't ever even do anything outside of my bubble. 131 00:07:22,560 --> 00:07:24,640 Speaker 1: And uh, I say hey, we should get together, and 132 00:07:24,640 --> 00:07:26,320 Speaker 1: never do I follow that up because I never think 133 00:07:26,320 --> 00:07:28,120 Speaker 1: it's real. But for some reason I felt like you 134 00:07:28,160 --> 00:07:30,680 Speaker 1: were real, Like you like, hey, you want to come 135 00:07:30,720 --> 00:07:34,240 Speaker 1: over and we'll do something, we'll write And so you 136 00:07:34,280 --> 00:07:37,239 Speaker 1: were back in town because your permanent residences in Atlanta, 137 00:07:37,360 --> 00:07:40,320 Speaker 1: your main residence, and you're like, hey, I'm not gonna place, 138 00:07:40,360 --> 00:07:43,000 Speaker 1: come over. Well, I was writing a record and I 139 00:07:43,040 --> 00:07:46,239 Speaker 1: went over and we wrote every day is a good day. 140 00:07:46,360 --> 00:07:48,880 Speaker 1: Every day it is a good day, and that's how. 141 00:07:48,960 --> 00:07:50,200 Speaker 1: And I was like, I have to be friends with 142 00:07:50,200 --> 00:07:52,320 Speaker 1: that dude. He has three iPads going seven guitars to 143 00:07:52,480 --> 00:07:54,520 Speaker 1: mandolin's his whif he's playing with his feet on a 144 00:07:54,560 --> 00:07:56,480 Speaker 1: poco ball. It was the craziest thing I've ever seen. 145 00:07:57,000 --> 00:07:58,680 Speaker 1: He's crazy, like I have it in a different way. 146 00:07:59,080 --> 00:08:01,240 Speaker 1: And then I thought, yeah, we should be friend. And 147 00:08:01,280 --> 00:08:04,160 Speaker 1: then since then we've actually kept up a relationship. I mean, 148 00:08:04,240 --> 00:08:06,000 Speaker 1: I don't live here, so I can't. I don't have 149 00:08:06,040 --> 00:08:08,880 Speaker 1: a whole lot of you know, time, But I also 150 00:08:08,880 --> 00:08:11,080 Speaker 1: I'm not here very often. I know you're not, but 151 00:08:11,160 --> 00:08:14,920 Speaker 1: I do appreciate it. You know. It's I've been doing 152 00:08:14,960 --> 00:08:16,640 Speaker 1: this for a very long time, and it's very rare 153 00:08:16,680 --> 00:08:18,920 Speaker 1: that you find like minded people within the same work 154 00:08:18,960 --> 00:08:22,840 Speaker 1: that you do or and like minded for me also 155 00:08:22,920 --> 00:08:27,920 Speaker 1: includes this um passion would drive of things that you 156 00:08:27,960 --> 00:08:30,120 Speaker 1: want to do. You know, It's like I wake up 157 00:08:30,120 --> 00:08:32,199 Speaker 1: in the morning and I feel like there's just not 158 00:08:32,320 --> 00:08:34,319 Speaker 1: enough time left to write all the songs I want 159 00:08:34,320 --> 00:08:36,280 Speaker 1: to write, or to do all the things I want 160 00:08:36,280 --> 00:08:39,040 Speaker 1: to do, and I kind of get that off of 161 00:08:39,080 --> 00:08:41,480 Speaker 1: you when I'm around you, Like I get that feeling 162 00:08:41,600 --> 00:08:43,000 Speaker 1: like and I may be wrong, I don't know if 163 00:08:43,000 --> 00:08:47,160 Speaker 1: I'm being presumptuous, but you got a lot you know 164 00:08:47,280 --> 00:08:51,080 Speaker 1: that you're that you're it feels like in my imagination 165 00:08:51,080 --> 00:08:53,920 Speaker 1: that you want to jump into if it's a movie time, 166 00:08:53,960 --> 00:08:56,160 Speaker 1: you'd be like, yeah, let's make a movie, Like hey, 167 00:08:56,200 --> 00:08:57,880 Speaker 1: you want to go, you know, do we have enough 168 00:08:57,880 --> 00:08:59,880 Speaker 1: money with Let's let's buy a take it on SpaceX, 169 00:09:00,440 --> 00:09:03,360 Speaker 1: you know, let's you know whatever it is. My therapist, 170 00:09:03,360 --> 00:09:04,880 Speaker 1: you nail me and I kind of but I like 171 00:09:05,000 --> 00:09:09,080 Speaker 1: that about and I you know, I'm super suspicious of 172 00:09:09,160 --> 00:09:13,400 Speaker 1: human beings after doing this long enough that not everyone's 173 00:09:13,440 --> 00:09:15,559 Speaker 1: intentions are out in front of them. They're always a 174 00:09:15,559 --> 00:09:18,800 Speaker 1: little bit guarded, and your intentions are always in front. 175 00:09:18,800 --> 00:09:22,200 Speaker 1: So I appreciate that about you. You know, it's funny too, 176 00:09:22,240 --> 00:09:24,439 Speaker 1: as I was mentioning to you before we started, can 177 00:09:24,440 --> 00:09:25,720 Speaker 1: you turn the air down a bit? It's a little 178 00:09:25,720 --> 00:09:27,600 Speaker 1: hot near and Mr Bush isn't a coat, and I 179 00:09:27,600 --> 00:09:29,720 Speaker 1: want to make sure I'm in my French provincial outfit. 180 00:09:29,800 --> 00:09:32,400 Speaker 1: To me a vest under a nice jacket. Well it's 181 00:09:32,440 --> 00:09:35,079 Speaker 1: actually stitched into the jail. What the jacket with the 182 00:09:35,120 --> 00:09:38,800 Speaker 1: best built in? How about that? Very lazily French? And 183 00:09:38,840 --> 00:09:41,520 Speaker 1: then there's a little French up here. We French. What 184 00:09:41,559 --> 00:09:43,560 Speaker 1: did you do today to be so dressed? You know? 185 00:09:44,080 --> 00:09:46,920 Speaker 1: And look I I even put on my leopard glass, 186 00:09:46,920 --> 00:09:51,080 Speaker 1: my kind of leopard breathing glasses. Um. I was helping 187 00:09:51,320 --> 00:09:54,120 Speaker 1: Tyler Farr pick songs for his new record that I'm producing, 188 00:09:54,320 --> 00:09:57,600 Speaker 1: and I thought that, um, the way I would intimidate 189 00:09:58,120 --> 00:10:00,439 Speaker 1: the song pictures that I'm the the side of the 190 00:10:00,480 --> 00:10:03,880 Speaker 1: table was to bring my pencils and my pencil sharpener 191 00:10:04,600 --> 00:10:07,599 Speaker 1: and dressed this way today, this is the opposite of 192 00:10:07,640 --> 00:10:12,840 Speaker 1: Tyler farr And and just quietly sharpened my pencils to 193 00:10:12,880 --> 00:10:15,040 Speaker 1: a fine point while I looked at their songs as 194 00:10:15,040 --> 00:10:18,800 Speaker 1: they pitched me crappy songs and then and then yeah, 195 00:10:18,880 --> 00:10:22,000 Speaker 1: I just needed I needed something today to intimidate, because 196 00:10:22,000 --> 00:10:26,240 Speaker 1: I'm the least intimidating person on earth in my imagination 197 00:10:26,240 --> 00:10:27,760 Speaker 1: when I woke up that this is this is what 198 00:10:27,800 --> 00:10:31,200 Speaker 1: would help. It's crazy and cool that you're working with Tyler, 199 00:10:31,360 --> 00:10:34,199 Speaker 1: because I like Tyler a lot, and I feel like 200 00:10:34,400 --> 00:10:37,200 Speaker 1: because now I kind of know you as a producer 201 00:10:37,240 --> 00:10:41,280 Speaker 1: because a Lindsay and you know, you did a wildly 202 00:10:41,320 --> 00:10:44,160 Speaker 1: successful album and it's not even started to be a 203 00:10:44,200 --> 00:10:47,480 Speaker 1: successful it's going to be. And you did it with 204 00:10:48,120 --> 00:10:49,560 Speaker 1: at a time with Lindsay when they did have a 205 00:10:49,559 --> 00:10:51,640 Speaker 1: single out, like they did an odd thing and said 206 00:10:51,640 --> 00:10:53,520 Speaker 1: go make a record, and you and Lindsay go make 207 00:10:53,520 --> 00:10:56,680 Speaker 1: a record and there was no single plan, there was nothing. Yeah, 208 00:10:56,880 --> 00:11:00,200 Speaker 1: you made a record with going into it with out 209 00:11:00,240 --> 00:11:03,360 Speaker 1: of sound a sign to you, right, And I think 210 00:11:03,360 --> 00:11:07,160 Speaker 1: that's maybe where I can help when it's an artist 211 00:11:07,280 --> 00:11:08,960 Speaker 1: and you did with her, and I was, you know, 212 00:11:09,520 --> 00:11:11,640 Speaker 1: Lindy and I are still close, but we were really 213 00:11:11,679 --> 00:11:14,560 Speaker 1: closed in Apparently I was the very last to know. 214 00:11:15,520 --> 00:11:18,760 Speaker 1: Oh really as her producer, yeah, you know, and I 215 00:11:18,880 --> 00:11:20,600 Speaker 1: live here and you and I knew each other, but 216 00:11:20,800 --> 00:11:23,480 Speaker 1: I had no idea. And so I'm in there like 217 00:11:23,559 --> 00:11:25,840 Speaker 1: helping her pick songs and like, oh, I hear you're 218 00:11:25,840 --> 00:11:27,679 Speaker 1: writing this. I don't know, what do you think about this? 219 00:11:27,800 --> 00:11:30,200 Speaker 1: You know? And I just never brought up the question, 220 00:11:30,240 --> 00:11:34,719 Speaker 1: like in relationship songs that sounds like you're feeling good 221 00:11:34,720 --> 00:11:39,240 Speaker 1: about a relationship. I never asked what relationship. So finally 222 00:11:39,280 --> 00:11:42,480 Speaker 1: she had to actually stop me and go, hey, I 223 00:11:42,520 --> 00:11:44,280 Speaker 1: just want you to know. I know you don't listen 224 00:11:44,320 --> 00:11:46,720 Speaker 1: to the radio often and because in Atlanta we don't 225 00:11:46,720 --> 00:11:51,839 Speaker 1: get your show. Uh and um, She's like, I want 226 00:11:51,880 --> 00:11:54,240 Speaker 1: you to know that you know, Bobby and I are dating. 227 00:11:54,240 --> 00:11:57,160 Speaker 1: I was like, you're freaking kidding me for a while 228 00:11:57,960 --> 00:12:00,360 Speaker 1: and she was like no, really, I was like, well, thanks, 229 00:12:00,880 --> 00:12:04,079 Speaker 1: I appreciate it. So which songs am I ascribing to this? 230 00:12:05,200 --> 00:12:08,600 Speaker 1: You like to think of me in the head and 231 00:12:08,679 --> 00:12:10,760 Speaker 1: you have right now she has at the time of 232 00:12:10,840 --> 00:12:16,760 Speaker 1: us recording, this her highest song ever with Criminal. Yeah 233 00:12:16,800 --> 00:12:19,600 Speaker 1: it's a twenty nine right now her highest song ever. 234 00:12:21,280 --> 00:12:23,320 Speaker 1: And I remember hearing the work text and then after 235 00:12:23,400 --> 00:12:24,679 Speaker 1: she was done with you, I was like, oh yeah, 236 00:12:24,760 --> 00:12:28,000 Speaker 1: Christians adding a whole live bit. It's like, too brilliant. 237 00:12:29,120 --> 00:12:32,080 Speaker 1: It's really cool to see you in that element. I've 238 00:12:32,080 --> 00:12:35,520 Speaker 1: been able to see all the sides except the dad's side. 239 00:12:35,679 --> 00:12:37,400 Speaker 1: Have me as your kid, and then I'll have it all. 240 00:12:37,559 --> 00:12:39,440 Speaker 1: I'll know at all. Let me come live with every 241 00:12:39,480 --> 00:12:41,160 Speaker 1: one of your kids, and I get it. My kids 242 00:12:41,200 --> 00:12:44,800 Speaker 1: are pretty cool. Yeah, yeah, well that's okay. I got 243 00:12:44,800 --> 00:12:47,520 Speaker 1: sidetracked by far. You are doing Tyler's I'm doing Tyler's 244 00:12:47,520 --> 00:12:50,720 Speaker 1: record with him right now, and Matson and Budlines record. Pardon, 245 00:12:50,920 --> 00:12:56,160 Speaker 1: Who's who's the duo? You did? Uh? Walker McGuire. I 246 00:12:56,160 --> 00:12:58,199 Speaker 1: didn't produce that, but I wrote their song that's on 247 00:12:58,240 --> 00:13:00,560 Speaker 1: the radio now. That's what it is called. Okay, that's 248 00:13:00,600 --> 00:13:02,160 Speaker 1: why you put it in the force. I was in 249 00:13:02,200 --> 00:13:04,840 Speaker 1: that little box. I was just it was I'm having 250 00:13:04,840 --> 00:13:07,240 Speaker 1: to pinch myself recently. You know, you you do this 251 00:13:07,280 --> 00:13:10,080 Speaker 1: work for so long and you have to get no 252 00:13:10,640 --> 00:13:14,080 Speaker 1: so often that there are times in which things fall 253 00:13:14,120 --> 00:13:16,760 Speaker 1: into place, much like you know you see actors on 254 00:13:17,320 --> 00:13:20,160 Speaker 1: movies like suddenly they look like they're super hot because 255 00:13:20,160 --> 00:13:22,360 Speaker 1: they're in five movies at the same time. Well that 256 00:13:22,400 --> 00:13:24,880 Speaker 1: wasn't really the case. They made the movies at different times, 257 00:13:24,880 --> 00:13:27,400 Speaker 1: and the studios just accidentally released them all at the 258 00:13:27,440 --> 00:13:31,439 Speaker 1: same time. And suddenly, you know, Iron Man is you know, 259 00:13:31,559 --> 00:13:34,760 Speaker 1: Robert Downey Jr. Has a comeback or something, so well 260 00:13:35,840 --> 00:13:38,680 Speaker 1: is you know, all this stuff happened, And now it 261 00:13:38,760 --> 00:13:42,079 Speaker 1: wasn't didn't happen on top of each other. It just 262 00:13:42,160 --> 00:13:45,520 Speaker 1: released on top of each other. And I have a 263 00:13:45,679 --> 00:13:50,880 Speaker 1: very difficult time taking the moment to stick of candles 264 00:13:50,920 --> 00:13:52,800 Speaker 1: into a cake and light them and then blow them 265 00:13:52,840 --> 00:13:56,440 Speaker 1: out and take a moment to acknowledge what's happening. So 266 00:13:56,559 --> 00:13:59,000 Speaker 1: I've been trying to do that this year a little bit, 267 00:13:59,040 --> 00:14:01,240 Speaker 1: and things have been all in on top of each other. 268 00:14:01,280 --> 00:14:04,880 Speaker 1: I mean, I'm just so proud of the work that 269 00:14:05,200 --> 00:14:07,640 Speaker 1: that Lindsey did and and and edited with her. And 270 00:14:07,640 --> 00:14:10,160 Speaker 1: then it's Walker McGuire single. I had no idea. I mean, 271 00:14:10,200 --> 00:14:13,079 Speaker 1: we wrote that in forty five minutes at high noon 272 00:14:13,440 --> 00:14:17,280 Speaker 1: on a Tuesday at a lake somewhere. I didn't even 273 00:14:17,280 --> 00:14:20,360 Speaker 1: know these guys, and I loved the song. But then 274 00:14:20,360 --> 00:14:22,440 Speaker 1: they decided to record it, and I'm not sure I've 275 00:14:22,480 --> 00:14:25,480 Speaker 1: had a song on the charts with someone else. I didn't. 276 00:14:26,360 --> 00:14:30,480 Speaker 1: I wasn't in the band at the same time that surely, 277 00:14:30,560 --> 00:14:33,400 Speaker 1: and now's we're back in the things that all these 278 00:14:33,400 --> 00:14:35,240 Speaker 1: songs are kind of hitting at the same time. And 279 00:14:35,720 --> 00:14:39,120 Speaker 1: I was giggling the other day because someone said, Okay, 280 00:14:39,160 --> 00:14:43,040 Speaker 1: so it's either you or you that's going to be 281 00:14:43,080 --> 00:14:44,680 Speaker 1: the most added this week. And I was like, what 282 00:14:44,720 --> 00:14:47,680 Speaker 1: do you mean? And I was like, Oh my gosh, 283 00:14:47,720 --> 00:14:51,200 Speaker 1: are you kidding me? So I've always wondered about these 284 00:14:51,400 --> 00:14:53,360 Speaker 1: guys who live here in town and they have like 285 00:14:53,520 --> 00:14:56,520 Speaker 1: nine number ones in a year or something something astronomical. 286 00:14:56,600 --> 00:15:01,400 Speaker 1: I'm like, how does that happen? Um? Now I now 287 00:15:01,440 --> 00:15:03,640 Speaker 1: at least know what kind of the storm looks like. 288 00:15:03,680 --> 00:15:05,760 Speaker 1: I don't know if it's the perfect storm. I hope 289 00:15:05,760 --> 00:15:10,200 Speaker 1: there are many perfect storms to come. Man. I guess 290 00:15:10,200 --> 00:15:15,160 Speaker 1: I missed the first round of sugar Land. I didn't 291 00:15:15,160 --> 00:15:16,600 Speaker 1: miss it as a fan because I went to a 292 00:15:16,600 --> 00:15:19,520 Speaker 1: Sugarland show even as a fan better yeah, but I 293 00:15:19,640 --> 00:15:21,880 Speaker 1: missed it in Laurel, Arkansas. I went and watch sugar Land. 294 00:15:22,000 --> 00:15:25,840 Speaker 1: I wouldn't watched you guys play with Kenny so, and 295 00:15:25,840 --> 00:15:29,400 Speaker 1: that's where I saw all the excitement and jumping around, 296 00:15:29,480 --> 00:15:33,240 Speaker 1: and it's I mean, it's a lot, that's what I remember, Yeah, 297 00:15:33,680 --> 00:15:36,880 Speaker 1: very much. So, lots of bodies moving around and so. 298 00:15:37,800 --> 00:15:39,560 Speaker 1: But I was a sugar Land fan more so than 299 00:15:39,600 --> 00:15:42,200 Speaker 1: a Kenney fan, frankly at the time. So I went 300 00:15:42,200 --> 00:15:46,880 Speaker 1: to the show and before I moved to Nashville. You 301 00:15:46,920 --> 00:15:50,960 Speaker 1: guys weren't sugar Land, right, We never crossed paths, right, 302 00:15:51,280 --> 00:15:52,840 Speaker 1: So the first time we crossed paths was you doing 303 00:15:52,880 --> 00:15:55,560 Speaker 1: your solo record, which I think is cool too because 304 00:15:55,600 --> 00:15:57,480 Speaker 1: I liked you for you. So when everybody gets out 305 00:15:57,520 --> 00:16:01,400 Speaker 1: to stay and be my friend, just remember I liked 306 00:16:01,400 --> 00:16:04,360 Speaker 1: you for you, just like Blessing do the souls. She 307 00:16:04,480 --> 00:16:08,320 Speaker 1: likes me for me. You remember those guys. Did you 308 00:16:08,360 --> 00:16:10,120 Speaker 1: know those guys? I did not know them, but I 309 00:16:10,120 --> 00:16:11,840 Speaker 1: know this. Let me talk about this for a second. 310 00:16:11,960 --> 00:16:15,080 Speaker 1: So sleep number, Oh yes, So I did this podcast 311 00:16:15,080 --> 00:16:17,440 Speaker 1: in my bedrooms actually, which about the way we have 312 00:16:17,480 --> 00:16:19,640 Speaker 1: to like shut the door and Michael, people come up 313 00:16:19,640 --> 00:16:23,320 Speaker 1: here because it's weird my bedroom doors open, but I 314 00:16:23,320 --> 00:16:25,360 Speaker 1: guess they do see the old sleep number bed in there. 315 00:16:26,040 --> 00:16:28,480 Speaker 1: I have a sleep number because for me, I do 316 00:16:28,600 --> 00:16:31,280 Speaker 1: struggle with sleep. And the great thing about sleep number 317 00:16:31,320 --> 00:16:33,800 Speaker 1: is it's actually for me. It's the ideal firmness for me. 318 00:16:34,160 --> 00:16:35,880 Speaker 1: I went into a sleep number store where you buy 319 00:16:35,880 --> 00:16:37,840 Speaker 1: the bed and you can lay on the bed there 320 00:16:37,840 --> 00:16:39,320 Speaker 1: and there's a screen the one I went to the 321 00:16:39,360 --> 00:16:41,480 Speaker 1: screen above and you look at it and it shows 322 00:16:41,480 --> 00:16:43,200 Speaker 1: you how you're laying and maybe why you're not laying 323 00:16:43,240 --> 00:16:44,680 Speaker 1: right or not getting the right amount of sleep. And 324 00:16:44,680 --> 00:16:46,600 Speaker 1: they give you a sleep number that's just for you. 325 00:16:47,040 --> 00:16:49,920 Speaker 1: And my sleep number setting was and I've been back since. 326 00:16:49,920 --> 00:16:53,080 Speaker 1: But it's a thirty. And if your partner has a 327 00:16:53,080 --> 00:16:55,560 Speaker 1: different one, you both can have your own sleep number setting. 328 00:16:55,840 --> 00:16:57,600 Speaker 1: The beds are so smart they sent you every move 329 00:16:57,640 --> 00:17:00,640 Speaker 1: that automatically adjust to you, keeping you sleep comfortably to 330 00:17:00,680 --> 00:17:02,760 Speaker 1: the night. There's even adjustment for snow and lift up 331 00:17:02,760 --> 00:17:04,040 Speaker 1: a little bit. I don't know if your bed does that. 332 00:17:04,160 --> 00:17:06,440 Speaker 1: And honor of fift two weeks of an honor of 333 00:17:06,480 --> 00:17:08,960 Speaker 1: fifty two years of football, not weeks, but years of football. 334 00:17:09,400 --> 00:17:12,440 Speaker 1: Take fifty dollars off any item from over a hundred 335 00:17:12,480 --> 00:17:14,320 Speaker 1: bucks from Sleep Number, which, by the way, the pillars 336 00:17:14,320 --> 00:17:17,200 Speaker 1: are awesome there too. Sleep number dot com slash Big 337 00:17:17,200 --> 00:17:19,800 Speaker 1: Game to because you're fifty two dollar coupon now through 338 00:17:19,920 --> 00:17:22,920 Speaker 1: February four again sleep number dot com slash Big Game. 339 00:17:23,320 --> 00:17:27,399 Speaker 1: So I don't really know the origin of you, you 340 00:17:27,440 --> 00:17:32,159 Speaker 1: guys coming together. She really was this interesting beginning, you know. 341 00:17:32,359 --> 00:17:38,280 Speaker 1: Um yeah, if you put it in time. Um. I 342 00:17:39,040 --> 00:17:41,080 Speaker 1: was signed to a record deal in Atlantic Records in 343 00:17:41,080 --> 00:17:43,320 Speaker 1: New York as a rock act, like a folk rock 344 00:17:43,359 --> 00:17:47,199 Speaker 1: act called Billy Pilgrim, and we were kind of a 345 00:17:47,240 --> 00:17:51,000 Speaker 1: critics Darling and for us we were a huge success. 346 00:17:51,040 --> 00:17:54,159 Speaker 1: But compared to our label mates, which were like Matchbox 347 00:17:54,200 --> 00:17:56,919 Speaker 1: twenty was signed the same time we were in Hooty 348 00:17:56,960 --> 00:18:04,119 Speaker 1: and the Blowfish and and uh Ed Roland and and 349 00:18:04,160 --> 00:18:05,720 Speaker 1: those guys, we were all at you know, it was 350 00:18:05,760 --> 00:18:07,680 Speaker 1: all out of the Southeast at the exact same time. 351 00:18:08,160 --> 00:18:12,560 Speaker 1: And our band, um, you know, Rolling Stone loved it. 352 00:18:12,680 --> 00:18:14,760 Speaker 1: Like the review of our first album was in the 353 00:18:14,840 --> 00:18:19,040 Speaker 1: Kurt Cobing issue when he died. So if you ever 354 00:18:19,119 --> 00:18:22,679 Speaker 1: want to go read my first band's first national review, 355 00:18:23,560 --> 00:18:28,400 Speaker 1: it wasn't that issue. Yeah you can find it. Oh yeah, 356 00:18:28,800 --> 00:18:44,920 Speaker 1: there you go crazy over my hair? Who's Insomniac's what's 357 00:18:44,920 --> 00:18:48,479 Speaker 1: the vocal situation here? That's me singing and my partner 358 00:18:48,520 --> 00:18:52,440 Speaker 1: Andrew was also a singer. And that's my friend Ellis 359 00:18:52,440 --> 00:18:55,640 Speaker 1: Paul there in the background going, but I'm the lead 360 00:18:55,640 --> 00:19:06,800 Speaker 1: singer on this again. Down the Black Cands, sad the textures? 361 00:19:07,680 --> 00:19:10,200 Speaker 1: Do you sing? Do you sing different? And a little bit. 362 00:19:10,240 --> 00:19:14,200 Speaker 1: I mean I was twenty two, you know, but I've 363 00:19:14,200 --> 00:19:17,639 Speaker 1: always had a raspy quality of my voice. But I 364 00:19:17,680 --> 00:19:20,879 Speaker 1: was worried that country music wasn't gonna take it. It 365 00:19:21,000 --> 00:19:23,679 Speaker 1: wasn't going to accept my raspy voice. And at the time, 366 00:19:24,080 --> 00:19:26,879 Speaker 1: Billy Pilgrim was kind of in its waning years. We 367 00:19:26,960 --> 00:19:30,280 Speaker 1: had had a really pretty good run of it, you know, 368 00:19:30,400 --> 00:19:32,959 Speaker 1: hundreds of thousands of records, which for us was giant. 369 00:19:33,640 --> 00:19:35,760 Speaker 1: And we've been on tour around the world. Like I 370 00:19:35,760 --> 00:19:37,919 Speaker 1: we opened from all Ethadge for a couple of years, 371 00:19:37,960 --> 00:19:40,359 Speaker 1: and we had opened for Bob Dylan and Beck and 372 00:19:40,600 --> 00:19:43,680 Speaker 1: Tom Petty and all these bands, right and learned how 373 00:19:43,720 --> 00:19:48,080 Speaker 1: to travel the world playing arenas. And I wasn't even 374 00:19:48,080 --> 00:19:53,800 Speaker 1: twenty six yet, and I had a terrible tragedy. My 375 00:19:53,840 --> 00:19:58,520 Speaker 1: mom died. Um, then they flew the planes into the buildings. Um. 376 00:19:58,600 --> 00:20:00,880 Speaker 1: We I've been working on other people career. We'd helped 377 00:20:00,960 --> 00:20:05,399 Speaker 1: John John get started in Seawan Mallins and he had 378 00:20:05,400 --> 00:20:07,560 Speaker 1: moved to Atlanta. He had moved to Atlanta at the time, 379 00:20:07,640 --> 00:20:10,199 Speaker 1: and was he was Clay when I met him. He 380 00:20:10,200 --> 00:20:12,399 Speaker 1: and Clay were working and my brother Brandon worked on 381 00:20:12,400 --> 00:20:15,080 Speaker 1: that first record with them, and then worked on John's 382 00:20:15,119 --> 00:20:18,760 Speaker 1: first record. UM and our bass player from Billy Polgram 383 00:20:18,840 --> 00:20:22,199 Speaker 1: was Dave Labrier's first record. Do you mean like the 384 00:20:22,240 --> 00:20:26,320 Speaker 1: EP inside Once Out or over Squares which which UM 385 00:20:26,720 --> 00:20:31,600 Speaker 1: the first record on Aware, which was Room for Squares, 386 00:20:32,359 --> 00:20:34,480 Speaker 1: And then the one before that was kind of the 387 00:20:34,480 --> 00:20:38,639 Speaker 1: one that had like the sweatshirt song, And that's just 388 00:20:38,760 --> 00:20:41,440 Speaker 1: Brandon working on that. Your brother he worked on both 389 00:20:41,440 --> 00:20:45,520 Speaker 1: those records, and so that's that was the world I 390 00:20:45,560 --> 00:20:47,520 Speaker 1: was in. I was kind of trying to help new 391 00:20:47,600 --> 00:20:51,800 Speaker 1: artists get started um on the Coat Tails or whatever. 392 00:20:51,840 --> 00:20:54,119 Speaker 1: Billy Pilgrim was able to go forward, and that's how 393 00:20:54,200 --> 00:20:56,600 Speaker 1: I knew Jennifer as she was an opening act for 394 00:20:56,640 --> 00:21:00,320 Speaker 1: Billy Pogram as Jennifer Nettles as Jennifer Nettles and and 395 00:21:00,400 --> 00:21:02,919 Speaker 1: before that it was a duo she was in and 396 00:21:02,960 --> 00:21:05,919 Speaker 1: then they broke up, and and then she went on 397 00:21:06,119 --> 00:21:08,840 Speaker 1: by herself to keep making money in the Atlanta scene, 398 00:21:08,880 --> 00:21:11,800 Speaker 1: and I had a major label record deal, so that 399 00:21:11,840 --> 00:21:14,000 Speaker 1: was a it was a big feather in the cap 400 00:21:14,119 --> 00:21:16,040 Speaker 1: from down there. You they didn't hand them out like 401 00:21:16,119 --> 00:21:19,280 Speaker 1: candy like they do here. It was one at a time. 402 00:21:19,359 --> 00:21:23,920 Speaker 1: So we were after the Black Crows and before Sean Mullins. 403 00:21:25,480 --> 00:21:29,639 Speaker 1: Actually we would have been right after the Black Crows 404 00:21:29,680 --> 00:21:34,400 Speaker 1: and then Collective Soul, then Billy Pilgrim, then Sean, then 405 00:21:34,520 --> 00:21:40,920 Speaker 1: John Mayor, then back to sugar Land. Then this is 406 00:21:40,920 --> 00:21:43,760 Speaker 1: all out of the same four blocks. I mean, it's 407 00:21:43,760 --> 00:21:45,560 Speaker 1: all right there. It's all in one space. And if 408 00:21:45,600 --> 00:21:48,080 Speaker 1: you go backwards, it was the Indigo Girls, and then 409 00:21:48,119 --> 00:21:52,720 Speaker 1: it was Um Michelle Malone and Dragged the River, and 410 00:21:52,760 --> 00:21:55,000 Speaker 1: then you then you're kind of moving towards Athens, like 411 00:21:55,680 --> 00:21:59,200 Speaker 1: UM to be fifty two s R. Pylon and those 412 00:21:59,320 --> 00:22:02,600 Speaker 1: those bands UM and maybe after us there was hoped 413 00:22:02,640 --> 00:22:05,119 Speaker 1: for a Golden Summer, which was like a more Athens 414 00:22:05,200 --> 00:22:08,080 Speaker 1: Atlanta band and more alt. But did they start looking 415 00:22:08,119 --> 00:22:10,600 Speaker 1: for bands in that area since there was success because 416 00:22:10,640 --> 00:22:13,000 Speaker 1: a lot of times with the sound, well just use Seattle, 417 00:22:13,000 --> 00:22:14,480 Speaker 1: which is the one that choosed a lot when that 418 00:22:14,560 --> 00:22:19,720 Speaker 1: Seattle sound happens and Nirvana turns all the hair bands 419 00:22:19,760 --> 00:22:21,920 Speaker 1: into now it's grunge, and they go find Pearl Jam 420 00:22:21,920 --> 00:22:24,280 Speaker 1: and they go find out, they find they start to 421 00:22:24,280 --> 00:22:26,000 Speaker 1: search the scene from where do they do that in 422 00:22:26,040 --> 00:22:28,000 Speaker 1: Atlanta to where they Okay, we have a few, so 423 00:22:28,040 --> 00:22:30,160 Speaker 1: let's go see what else is in This did very much, 424 00:22:30,280 --> 00:22:32,159 Speaker 1: and and it would come through either a lawyer or 425 00:22:32,200 --> 00:22:34,200 Speaker 1: two that they were friends with, A and R people 426 00:22:34,280 --> 00:22:36,720 Speaker 1: on Sony or different places, and they would come and 427 00:22:36,760 --> 00:22:39,600 Speaker 1: they would you know, this this little club and we 428 00:22:39,680 --> 00:22:41,679 Speaker 1: played it was called track Side Tavern. And then the 429 00:22:41,720 --> 00:22:43,800 Speaker 1: guy who was the bartender of their name Eddio, and 430 00:22:43,880 --> 00:22:46,280 Speaker 1: opened up Eddie's at it, and so we all I 431 00:22:46,359 --> 00:22:48,960 Speaker 1: was the first show at Eddie's really painted the walls 432 00:22:49,000 --> 00:22:52,280 Speaker 1: the night before and opened for Michelle Malone on the Wednesday. 433 00:22:52,440 --> 00:22:56,320 Speaker 1: And I graduated from college three days later, and uh 434 00:22:57,240 --> 00:23:01,520 Speaker 1: and got a record deal that summer on Atlantic Records. 435 00:23:01,600 --> 00:23:04,120 Speaker 1: So I have had a major label record deal since 436 00:23:04,119 --> 00:23:07,960 Speaker 1: I got out of college, which is really like, it's 437 00:23:08,080 --> 00:23:13,840 Speaker 1: it's asinine, it's a it shouldn't probably have happened. But 438 00:23:14,040 --> 00:23:16,800 Speaker 1: did you and Jennifer when you met, was it, Hey, 439 00:23:16,880 --> 00:23:20,320 Speaker 1: we're just artists and we're our own respective artists, or 440 00:23:20,440 --> 00:23:24,320 Speaker 1: was it hey, we should maybe share ideas or saying 441 00:23:24,440 --> 00:23:27,800 Speaker 1: how does that happen? Because she's coming out of a duo, 442 00:23:27,920 --> 00:23:32,119 Speaker 1: obviously that's successful. Well, she it wasn't. Actually it was 443 00:23:32,160 --> 00:23:36,399 Speaker 1: an invitation. UM. I didn't know her very well. So 444 00:23:36,560 --> 00:23:38,439 Speaker 1: during Billy Pilgrim World, she came in and she was 445 00:23:38,520 --> 00:23:42,159 Speaker 1: recording with Corey I think in the studio where I 446 00:23:42,560 --> 00:23:45,040 Speaker 1: recorded all the time, and I remember walking in on 447 00:23:45,040 --> 00:23:47,280 Speaker 1: one of their sessions and going, oh, that's kind of cool. 448 00:23:47,560 --> 00:23:50,840 Speaker 1: But I didn't really know her, and she opened for us, 449 00:23:50,920 --> 00:23:53,760 Speaker 1: and I unfortunately have to say at that time I 450 00:23:53,800 --> 00:23:57,320 Speaker 1: didn't show up early to hear the openers all the time. UM, 451 00:23:57,480 --> 00:24:01,840 Speaker 1: And I regret that I do it a lot more now. UM. 452 00:24:01,880 --> 00:24:04,360 Speaker 1: But we never became friends. And then I remember being 453 00:24:04,400 --> 00:24:06,240 Speaker 1: on a writer's night with her, which I think is 454 00:24:06,280 --> 00:24:08,880 Speaker 1: irony at some we're not irony, but I think it's fascinating. 455 00:24:09,560 --> 00:24:12,000 Speaker 1: After Billy Pilgrim was kind of slowing down, I had 456 00:24:12,080 --> 00:24:16,920 Speaker 1: started um writing songs with a local songwriter named Kristin Hall, 457 00:24:17,200 --> 00:24:20,080 Speaker 1: and she was the third person in Sutterland at the 458 00:24:20,160 --> 00:24:25,440 Speaker 1: very beginning. Kristen was the guitar tech for the Indigo Girls. Yeah, 459 00:24:25,520 --> 00:24:27,920 Speaker 1: and they just knew that she was a great songwriter, 460 00:24:28,320 --> 00:24:30,960 Speaker 1: and she had moved back to Atlanta from l A 461 00:24:31,320 --> 00:24:34,680 Speaker 1: and she wanted to write songs and she knew me, 462 00:24:34,960 --> 00:24:37,000 Speaker 1: and she called and said, you have any songs left over? 463 00:24:37,000 --> 00:24:39,720 Speaker 1: And I was like, yeah, I have a lot because 464 00:24:39,840 --> 00:24:41,720 Speaker 1: Andrew and I aren't working as much, but I still 465 00:24:41,800 --> 00:24:44,359 Speaker 1: have the same amount of songs. She's like, well, why 466 00:24:44,359 --> 00:24:45,840 Speaker 1: don't you come over and help me and let me 467 00:24:45,840 --> 00:24:49,160 Speaker 1: help you finish them. It's like okay, and within two 468 00:24:49,240 --> 00:24:50,919 Speaker 1: or three weeks she's like, let's start a band. I 469 00:24:50,920 --> 00:24:52,320 Speaker 1: was like, I need a band, like I need a 470 00:24:52,320 --> 00:24:56,560 Speaker 1: hole in the head. I already have a band and 471 00:24:56,600 --> 00:24:59,360 Speaker 1: I don't need another band, but I would. I'm enjoying 472 00:24:59,400 --> 00:25:01,800 Speaker 1: writing with you. And so we asked Dave Librier to 473 00:25:01,840 --> 00:25:04,119 Speaker 1: come over and I was like, you know, I like 474 00:25:04,240 --> 00:25:06,440 Speaker 1: being in a band with him. He and John were 475 00:25:06,480 --> 00:25:09,080 Speaker 1: working at the time, and we wrote a song called 476 00:25:09,119 --> 00:25:11,280 Speaker 1: Girl called Tennessee and it was on the first sugar 477 00:25:11,320 --> 00:25:15,520 Speaker 1: Land record. And we just kept writing songs and pretty 478 00:25:15,560 --> 00:25:19,160 Speaker 1: soon Dave didn't show up anymore, but Kristen kept calling 479 00:25:19,160 --> 00:25:20,760 Speaker 1: and saying, look, I've got a band in the basement 480 00:25:20,800 --> 00:25:25,840 Speaker 1: where you come right. I was like, really okay, well, 481 00:25:26,040 --> 00:25:28,280 Speaker 1: all right, and I would show up and we would 482 00:25:28,320 --> 00:25:31,679 Speaker 1: audition a singer because I was pretty convinced that my 483 00:25:31,800 --> 00:25:34,600 Speaker 1: voice was not going to make it against Billy Currington. Okay, 484 00:25:34,600 --> 00:25:36,800 Speaker 1: so you thought that you thought I'm not going to 485 00:25:36,880 --> 00:25:38,800 Speaker 1: be the front voice. I don't. I didn't think I 486 00:25:38,800 --> 00:25:41,639 Speaker 1: could sell it because at the time two thousand and 487 00:25:41,680 --> 00:25:45,360 Speaker 1: two country music singers were all they were all smooth. 488 00:25:46,400 --> 00:25:50,399 Speaker 1: It was very interesting. And I kind of said, all right, well, 489 00:25:51,200 --> 00:25:53,120 Speaker 1: what do you suggest and she said, well, I suggest 490 00:25:53,160 --> 00:25:55,359 Speaker 1: we get a female singer because there's a big hole 491 00:25:55,440 --> 00:25:59,480 Speaker 1: in the world that's been left by the Dixie Chicks 492 00:26:00,080 --> 00:26:02,640 Speaker 1: them stopping working. I think it's some of the best 493 00:26:02,720 --> 00:26:05,680 Speaker 1: music I've heard. And I said, all right, I don't 494 00:26:05,680 --> 00:26:07,479 Speaker 1: know if I can get on board, but let me 495 00:26:07,520 --> 00:26:09,640 Speaker 1: work at this a little bit. And I went out 496 00:26:09,720 --> 00:26:12,680 Speaker 1: and I started. I bought UM an Emmy Lou Harris record, 497 00:26:14,080 --> 00:26:18,160 Speaker 1: uh that Daniel lamb Wide produced and it was called 498 00:26:18,160 --> 00:26:20,720 Speaker 1: Wrecking Ball. And the reason I bought it it's because 499 00:26:20,800 --> 00:26:24,240 Speaker 1: when my My the Billy Pilgrim record before that, I 500 00:26:24,280 --> 00:26:27,919 Speaker 1: want the guitar player who was hired. UM was producing 501 00:26:28,720 --> 00:26:31,040 Speaker 1: Emmy Lou Harris up until that moment, and he put 502 00:26:31,040 --> 00:26:32,720 Speaker 1: one of my songs on hold, and I had never 503 00:26:32,760 --> 00:26:34,240 Speaker 1: had a song on hold in my life. I didn't 504 00:26:34,240 --> 00:26:36,719 Speaker 1: know what that meant. And because I thought you had 505 00:26:36,760 --> 00:26:38,600 Speaker 1: to write the songs that you're sang, I didn't know 506 00:26:38,640 --> 00:26:44,280 Speaker 1: there were two different jobs. And I was fascinated because 507 00:26:44,320 --> 00:26:47,720 Speaker 1: the day after we finished that Billy Pilgrim record, or 508 00:26:47,760 --> 00:26:49,600 Speaker 1: the day we finished it, I walked out into the 509 00:26:49,640 --> 00:26:51,760 Speaker 1: hallway and left, and I met a guy named Steve 510 00:26:51,800 --> 00:26:55,520 Speaker 1: Earle that was in the waiting room, and and he 511 00:26:55,560 --> 00:26:57,600 Speaker 1: had just gotten out of jail, and he was he 512 00:26:57,680 --> 00:27:00,359 Speaker 1: was coming in to make as record with the same band, 513 00:27:01,160 --> 00:27:03,520 Speaker 1: with the same producer in the same building. And I 514 00:27:03,520 --> 00:27:07,160 Speaker 1: thought to myself, note to self, whenever this guy puts 515 00:27:07,160 --> 00:27:09,800 Speaker 1: out his record, go buy it, because it's gonna sound 516 00:27:09,880 --> 00:27:12,960 Speaker 1: exactly like your record. And wouldn't that be cool to 517 00:27:13,000 --> 00:27:15,280 Speaker 1: see what it sounds like when the same band plays 518 00:27:15,280 --> 00:27:19,600 Speaker 1: a different kind of songs. Right. Um. So I had 519 00:27:19,640 --> 00:27:23,080 Speaker 1: then bought also a Steve Earl record, very close to 520 00:27:23,119 --> 00:27:25,199 Speaker 1: the time I bought that Emmy Lou Harris record, and 521 00:27:25,600 --> 00:27:28,800 Speaker 1: between the two, um, I thought to myself, Well, if 522 00:27:28,840 --> 00:27:31,480 Speaker 1: this is country music, I can do this because it 523 00:27:31,560 --> 00:27:37,080 Speaker 1: sounds like YouTube plus country music, right, um. And what 524 00:27:37,200 --> 00:27:41,320 Speaker 1: I've quickly learned is that country music had nothing to 525 00:27:41,440 --> 00:27:47,800 Speaker 1: do with a fiddle, which actually was my first instrument. 526 00:27:47,920 --> 00:27:51,760 Speaker 1: Like it. It had more to do with the story 527 00:27:52,680 --> 00:27:56,000 Speaker 1: of this in the songwriting, and in the nineties, we 528 00:27:56,000 --> 00:28:00,760 Speaker 1: weren't telling stories. We were telling emotions, right we had. 529 00:28:00,960 --> 00:28:03,480 Speaker 1: We were just trying to make you feel what it 530 00:28:03,560 --> 00:28:07,600 Speaker 1: felt like it was in that lyric. And so as 531 00:28:07,600 --> 00:28:10,800 Speaker 1: soon as I knew this, I was like, oh, okay, 532 00:28:10,920 --> 00:28:12,520 Speaker 1: I think I can do that. I went over to 533 00:28:12,560 --> 00:28:14,480 Speaker 1: Christin's house and I started playing things, and we started 534 00:28:14,520 --> 00:28:17,200 Speaker 1: auditioning people, and there were five or six different people, 535 00:28:17,240 --> 00:28:19,879 Speaker 1: and we came up with rules where we had to 536 00:28:19,920 --> 00:28:22,040 Speaker 1: write a song or two with each audition to see 537 00:28:22,040 --> 00:28:24,720 Speaker 1: if we could write with them. And so if you 538 00:28:24,720 --> 00:28:26,520 Speaker 1: look at the first sugar Land record, five or six 539 00:28:26,600 --> 00:28:28,359 Speaker 1: of those songs have writers on it that none of 540 00:28:28,359 --> 00:28:32,040 Speaker 1: them are Jennifer because she wasn't even in the band yet. 541 00:28:33,080 --> 00:28:36,000 Speaker 1: Like we were just cycling through and the songs were 542 00:28:36,040 --> 00:28:39,160 Speaker 1: so good that we were getting and so when she 543 00:28:39,200 --> 00:28:42,520 Speaker 1: came into auditions and she sang the songs, and uh, 544 00:28:42,600 --> 00:28:44,960 Speaker 1: I remember there was one song. It was a song 545 00:28:45,000 --> 00:28:47,240 Speaker 1: that was the namesake of the band. It's called sugar Land, 546 00:28:47,280 --> 00:28:49,520 Speaker 1: and I kind of wrote it in my shower one 547 00:28:49,520 --> 00:28:51,880 Speaker 1: morning and came in and brought it to this group 548 00:28:51,920 --> 00:28:54,479 Speaker 1: of people in the basement of Christin's houses. Is it 549 00:28:54,520 --> 00:28:57,480 Speaker 1: wrong or a curse if I write a song with 550 00:28:58,440 --> 00:29:00,320 Speaker 1: called the name of the band that we heared out 551 00:29:00,400 --> 00:29:04,600 Speaker 1: last night? And she was like, I don't think so. 552 00:29:04,760 --> 00:29:07,160 Speaker 1: I think bad company has done it or things like this. 553 00:29:07,240 --> 00:29:08,560 Speaker 1: And I was like, all right, well, if this is 554 00:29:08,600 --> 00:29:13,280 Speaker 1: a curse, it's my fault. And Jennifer auditioned on that 555 00:29:13,400 --> 00:29:15,320 Speaker 1: song and when she got to the bridge of that 556 00:29:15,360 --> 00:29:17,800 Speaker 1: song and was singing it, I just about lost my mind. 557 00:29:17,840 --> 00:29:21,440 Speaker 1: I was like, that that I can do. And so 558 00:29:21,520 --> 00:29:23,440 Speaker 1: we sat down and we wrote two songs and the 559 00:29:23,520 --> 00:29:27,240 Speaker 1: first song was it was a song called honky Ton 560 00:29:27,360 --> 00:29:30,800 Speaker 1: Kevin and I don't think that it exists anywhere. We 561 00:29:30,880 --> 00:29:32,680 Speaker 1: recorded it, but we didn't give it, we didn't show 562 00:29:32,680 --> 00:29:34,840 Speaker 1: it to the label. And the second song we wrote 563 00:29:34,960 --> 00:29:39,720 Speaker 1: was a baby girl. Wow? Is that right? Damn? My dad? 564 00:29:47,760 --> 00:29:54,160 Speaker 1: How about that that quick found it? Found it? Did 565 00:29:54,160 --> 00:29:56,480 Speaker 1: you know you found it? I knew the song was good, 566 00:29:58,160 --> 00:30:03,640 Speaker 1: and so it's hard to know. So we decided to 567 00:30:03,640 --> 00:30:06,320 Speaker 1: play a show, and we only had four songs or 568 00:30:06,320 --> 00:30:10,200 Speaker 1: five songs that we could play, um, like four the 569 00:30:10,280 --> 00:30:12,920 Speaker 1: ones we had previously written, maybe six maybe. We played 570 00:30:12,920 --> 00:30:16,959 Speaker 1: hockeytoll Agaven that night and Baby Girl and no one 571 00:30:17,040 --> 00:30:20,120 Speaker 1: knew who our band was because we hadn't played out. 572 00:30:20,880 --> 00:30:23,920 Speaker 1: But we each had individual crowds, like Jennifer had a 573 00:30:24,000 --> 00:30:26,040 Speaker 1: crowd that we had two or three people that come 574 00:30:26,080 --> 00:30:29,360 Speaker 1: see her, and Billy Pilgrim, you know, we had a 575 00:30:29,400 --> 00:30:32,120 Speaker 1: couple or more people that would come to see us. 576 00:30:32,120 --> 00:30:34,640 Speaker 1: And Kristen had a following of people that would come 577 00:30:34,640 --> 00:30:36,000 Speaker 1: see her. And we thought, well, let's just play like 578 00:30:36,040 --> 00:30:38,680 Speaker 1: a Tuesday or something. Bill it as sugar Land and 579 00:30:38,680 --> 00:30:40,720 Speaker 1: then put our individual names in there and see if 580 00:30:40,760 --> 00:30:44,680 Speaker 1: anybody shows up. And we got to Baby Girl and 581 00:30:44,720 --> 00:30:49,440 Speaker 1: we played it and people cheered after the lad when 582 00:30:49,480 --> 00:30:51,200 Speaker 1: it got to the last course, they just got on 583 00:30:51,200 --> 00:30:54,640 Speaker 1: their feet and started cheering. And I was like, holy crap, 584 00:30:55,680 --> 00:30:59,280 Speaker 1: this must be what it's like if you're Darius Rucker 585 00:30:59,320 --> 00:31:01,320 Speaker 1: and you finally sing hold my Hand for the first 586 00:31:01,360 --> 00:31:07,959 Speaker 1: time and everybody goes bonkers, you know, and um, so 587 00:31:08,080 --> 00:31:10,480 Speaker 1: I remember telling her. I was like, look, I really 588 00:31:10,520 --> 00:31:12,880 Speaker 1: don't want to do this in a van. I want 589 00:31:12,920 --> 00:31:14,720 Speaker 1: if we're gonna do this, I've done this before. I 590 00:31:14,720 --> 00:31:15,920 Speaker 1: want to do it in a bus. And I want 591 00:31:15,960 --> 00:31:18,240 Speaker 1: to shoot for arenas or stadiums, like I want the 592 00:31:18,320 --> 00:31:22,120 Speaker 1: target to be so high that if we miss, it's 593 00:31:22,120 --> 00:31:27,960 Speaker 1: gonna be awesome. That costs money. We had no we 594 00:31:28,000 --> 00:31:30,720 Speaker 1: had nothing to even do it, so we we bankrolled 595 00:31:30,720 --> 00:31:34,320 Speaker 1: it all from our little place. Um. We got our 596 00:31:34,440 --> 00:31:38,520 Speaker 1: record deal because we we sold tickets on a gray 597 00:31:38,840 --> 00:31:42,440 Speaker 1: on a bus that we rented. I got a passenger bus. 598 00:31:42,960 --> 00:31:47,320 Speaker 1: We sold fifty dollar tickets to fifty fans, and we 599 00:31:47,400 --> 00:31:49,560 Speaker 1: bought a keg of beer and put it on the 600 00:31:49,560 --> 00:31:52,680 Speaker 1: bus and we got a gig at the last place 601 00:31:52,680 --> 00:31:55,080 Speaker 1: I had gotten a record deal out of Nashville, which 602 00:31:55,120 --> 00:31:57,320 Speaker 1: was Twelfth and Porter. I got my Billy Pogram record 603 00:31:57,360 --> 00:31:59,960 Speaker 1: deal out of that room. So I called the same piece, 604 00:32:01,480 --> 00:32:05,160 Speaker 1: can we play and that, you know, whatever your showcase 605 00:32:05,240 --> 00:32:08,160 Speaker 1: time is before you have to really open for business. 606 00:32:08,200 --> 00:32:10,720 Speaker 1: And they said sure, and they said you know you're 607 00:32:11,040 --> 00:32:13,000 Speaker 1: you can only have the tickets that you sell. And 608 00:32:13,000 --> 00:32:14,440 Speaker 1: I was like, that's cool, we don't need to sell 609 00:32:14,440 --> 00:32:15,840 Speaker 1: any tickets. And they were like, what do you mean, 610 00:32:15,880 --> 00:32:19,360 Speaker 1: we're like, we're we're bringing all of our people. They 611 00:32:19,360 --> 00:32:23,120 Speaker 1: were like okay, and they were kind of confused, and 612 00:32:23,120 --> 00:32:24,720 Speaker 1: and we said, what we really need are the seats 613 00:32:24,760 --> 00:32:27,600 Speaker 1: for the like record people, because we couldn't get anyone 614 00:32:27,640 --> 00:32:29,880 Speaker 1: to come to Atlanta where we actually had two or 615 00:32:29,880 --> 00:32:32,760 Speaker 1: three people that show up. So we bust everybody in 616 00:32:33,720 --> 00:32:37,640 Speaker 1: and walked in and played our five or six seven 617 00:32:37,640 --> 00:32:41,000 Speaker 1: songs and then handed our copy of our homemade record 618 00:32:41,040 --> 00:32:43,200 Speaker 1: out to the record label and Luke Lewis signed us 619 00:32:43,280 --> 00:32:47,720 Speaker 1: that night. Did you feel like this might be a 620 00:32:47,760 --> 00:32:51,200 Speaker 1: little too fast? Did you feel like we're ready? Oh, 621 00:32:51,240 --> 00:32:53,880 Speaker 1: there's no such thing as that. For me, I had 622 00:32:53,880 --> 00:32:55,360 Speaker 1: already done it. It It might have felt that way had 623 00:32:55,400 --> 00:32:57,880 Speaker 1: other people, but I've been on a major label for 624 00:32:57,960 --> 00:32:59,800 Speaker 1: eight years before then. But you had to be with that. 625 00:33:00,400 --> 00:33:03,480 Speaker 1: And for me, that's and with what are I do 626 00:33:03,520 --> 00:33:07,080 Speaker 1: In all aspects of my life, chemistry is the most 627 00:33:07,120 --> 00:33:09,640 Speaker 1: important thing because I can't do anything with that great 628 00:33:09,640 --> 00:33:12,680 Speaker 1: people around me. Even when I do stand up, if 629 00:33:12,680 --> 00:33:14,560 Speaker 1: I don't have the right people running lights and sound, 630 00:33:15,400 --> 00:33:17,200 Speaker 1: I have to surround myself with better people than what 631 00:33:17,280 --> 00:33:19,680 Speaker 1: I do because it makes me better. So here you are, 632 00:33:19,760 --> 00:33:22,080 Speaker 1: there are three of you you haven't spent a ton 633 00:33:22,120 --> 00:33:25,240 Speaker 1: of time together and now you're embarking on this new 634 00:33:25,320 --> 00:33:28,720 Speaker 1: life a little was there any apprehension like, man, I 635 00:33:28,760 --> 00:33:31,600 Speaker 1: don't even know if I like these people. Well, I 636 00:33:31,600 --> 00:33:34,080 Speaker 1: think there's this kind of a joy and at least 637 00:33:34,080 --> 00:33:40,360 Speaker 1: shared ambition. Um I knew Kristen kind of. I didn't 638 00:33:40,400 --> 00:33:43,560 Speaker 1: know enough that men. Maybe I did that she was 639 00:33:43,600 --> 00:33:46,000 Speaker 1: going to get anxious like that was not really a 640 00:33:46,080 --> 00:33:49,200 Speaker 1: life she wanted. Um. I didn't know Jennifer very well 641 00:33:49,240 --> 00:33:54,200 Speaker 1: at all. But um, we both seem to have the 642 00:33:54,320 --> 00:33:59,240 Speaker 1: skill to be in duo's you know. Um we knew 643 00:33:59,240 --> 00:34:01,040 Speaker 1: how to, we knew how make music. It wasn't our 644 00:34:01,080 --> 00:34:04,280 Speaker 1: first time. This is where we gotta pay the bills 645 00:34:04,320 --> 00:34:07,520 Speaker 1: real quick. I'd hand it to you like I love 646 00:34:07,600 --> 00:34:09,960 Speaker 1: Christian grabbing for the spot. I get so into the 647 00:34:09,960 --> 00:34:12,359 Speaker 1: stories to forget to do well. We get to keep 648 00:34:12,360 --> 00:34:15,000 Speaker 1: the lights on here. Tax seasons approaching in this week 649 00:34:15,120 --> 00:34:18,359 Speaker 1: is tax Identity Theft Awareness Week. So what you're looking 650 00:34:18,360 --> 00:34:21,240 Speaker 1: forward to getting your tax refund, which everybody is, tax 651 00:34:21,400 --> 00:34:23,600 Speaker 1: identity thieves might be looking forward to it too. So 652 00:34:24,200 --> 00:34:28,359 Speaker 1: frosters Basically they use I R S imposter scams. They 653 00:34:28,440 --> 00:34:30,719 Speaker 1: just take numbers because they're so readily available, and they 654 00:34:30,800 --> 00:34:32,880 Speaker 1: use those numbers to get information about you. One or 655 00:34:32,880 --> 00:34:35,480 Speaker 1: four people have experienced identity sept and if you're only 656 00:34:35,520 --> 00:34:37,920 Speaker 1: monitoring your credit, your identity can still be stolen in 657 00:34:38,000 --> 00:34:40,120 Speaker 1: ways that you may not detect. Thieves could sell your 658 00:34:40,120 --> 00:34:42,440 Speaker 1: information on the dark web or get an online payday 659 00:34:42,480 --> 00:34:45,920 Speaker 1: loan in your name boom. That's why live flock exists. 660 00:34:45,960 --> 00:34:48,759 Speaker 1: That's why I have had life flock four years, way 661 00:34:48,800 --> 00:34:50,840 Speaker 1: before there ever a sponsor or client or whatever you 662 00:34:50,880 --> 00:34:53,839 Speaker 1: call a partner on the podcast for the show, I 663 00:34:53,880 --> 00:34:55,759 Speaker 1: was using life flock away before that, which makes it 664 00:34:55,760 --> 00:34:58,399 Speaker 1: easy to talk about. Life flock detect a wide range 665 00:34:58,440 --> 00:35:00,960 Speaker 1: identity of threats. If they detect, your information is being 666 00:35:01,040 --> 00:35:03,080 Speaker 1: used to get alerts on your phone and your email. 667 00:35:03,640 --> 00:35:06,240 Speaker 1: They smoke signal all kinds of things. If there's a problem, 668 00:35:06,440 --> 00:35:09,239 Speaker 1: US based restoration specialists work to fix it. No one 669 00:35:09,280 --> 00:35:11,960 Speaker 1: can prevent all identities, have to monitor all transactions at 670 00:35:11,960 --> 00:35:14,560 Speaker 1: all businesses. But LifeLock can uncover the threats that you 671 00:35:14,600 --> 00:35:16,640 Speaker 1: missed ten percent off if you used the promo code 672 00:35:16,760 --> 00:35:21,400 Speaker 1: boneslock use bones or LifeLock dot com. Use the promo 673 00:35:21,480 --> 00:35:24,520 Speaker 1: code bones and save ten percent now and there you go. 674 00:35:24,800 --> 00:35:27,920 Speaker 1: They see that's how we do it. You are really 675 00:35:27,920 --> 00:35:31,120 Speaker 1: good at this job. That's all I know how to do. 676 00:35:31,160 --> 00:35:32,279 Speaker 1: You have to find what you know how to do 677 00:35:32,320 --> 00:35:36,920 Speaker 1: in really tard go right into it. So what was 678 00:35:36,960 --> 00:35:41,000 Speaker 1: the first single for sugar Land? Wasn't baby Girl? It 679 00:35:41,040 --> 00:35:45,720 Speaker 1: was the first song, and um, yeah, it took forever. 680 00:35:46,880 --> 00:35:50,880 Speaker 1: It was fifty two weeks, the whole year, and uh 681 00:35:51,000 --> 00:35:54,239 Speaker 1: it died a couple of times. Revisionist history. This is 682 00:35:54,239 --> 00:35:56,320 Speaker 1: just a huge song that made you guys instantly famous. 683 00:35:56,360 --> 00:36:00,680 Speaker 1: It was never it was never number one. Why it's 684 00:36:00,680 --> 00:36:02,840 Speaker 1: so funny because I want to about Sundays kept it 685 00:36:02,880 --> 00:36:06,600 Speaker 1: out of number one? What I lack about? Yeah, Craig Morgan. 686 00:36:07,200 --> 00:36:09,040 Speaker 1: So I was talking to Keith. He but it's funny 687 00:36:09,080 --> 00:36:10,719 Speaker 1: you say this, and Keith and I were talking about 688 00:36:10,800 --> 00:36:12,920 Speaker 1: number one. I think I was talking about whatever at 689 00:36:12,960 --> 00:36:15,759 Speaker 1: this convert I'm so fascinated with number ones for the 690 00:36:15,760 --> 00:36:19,160 Speaker 1: sake of it, and how this format throws them away 691 00:36:19,200 --> 00:36:22,320 Speaker 1: so much that the number ones, it's a nice little 692 00:36:22,400 --> 00:36:25,080 Speaker 1: you get a trophy. But those aren't the songs that last. 693 00:36:25,760 --> 00:36:28,600 Speaker 1: They were not. I mean, it wasn't always this. It 694 00:36:28,640 --> 00:36:31,440 Speaker 1: wasn't always this way. Okay, so I know the way now, 695 00:36:31,480 --> 00:36:33,640 Speaker 1: and I completely grab I got about the system so 696 00:36:33,719 --> 00:36:37,040 Speaker 1: much and nausea people, it's and we're also not able 697 00:36:37,080 --> 00:36:39,600 Speaker 1: to live with music because we're just cycling through so 698 00:36:39,719 --> 00:36:42,360 Speaker 1: much quick now. But the fact that that wasn't a 699 00:36:42,440 --> 00:36:45,680 Speaker 1: number one song and could quite possibly be one of 700 00:36:45,719 --> 00:36:48,439 Speaker 1: the three biggest songs that people associate with sugar Land 701 00:36:48,480 --> 00:36:51,520 Speaker 1: ever and you guys are grant you guys have done 702 00:36:51,520 --> 00:36:55,040 Speaker 1: at all, and that wasn't a number one. That just 703 00:36:55,120 --> 00:36:57,560 Speaker 1: shows you that a song doesn't have to be given 704 00:36:57,560 --> 00:37:00,680 Speaker 1: a ranking to last to test the time, right, Well, 705 00:37:00,719 --> 00:37:03,880 Speaker 1: I mean whether what I learned very quickly is that 706 00:37:04,800 --> 00:37:07,800 Speaker 1: the check that you get is the exact same for 707 00:37:07,880 --> 00:37:12,080 Speaker 1: number two as you get for number one. It's basically 708 00:37:12,120 --> 00:37:14,400 Speaker 1: the same. And and I didn't know that it was 709 00:37:14,440 --> 00:37:18,000 Speaker 1: such a science or a chess game to move up 710 00:37:18,040 --> 00:37:22,080 Speaker 1: a chart. And it was a real humbling for me because, um, 711 00:37:22,120 --> 00:37:25,160 Speaker 1: in Billy Pilgrim, we had we had four number ones 712 00:37:25,800 --> 00:37:29,279 Speaker 1: in triple A, you know, and we we thought that 713 00:37:29,360 --> 00:37:32,680 Speaker 1: was fantastic, but we didn't really know what that meant 714 00:37:33,040 --> 00:37:35,080 Speaker 1: because at the time you couldn't really tell what was 715 00:37:35,120 --> 00:37:38,879 Speaker 1: the real chart or wasn't. And we remember stepping off 716 00:37:38,880 --> 00:37:41,400 Speaker 1: an elevator at the A C M S and the 717 00:37:42,560 --> 00:37:44,719 Speaker 1: David Moberly or maybe it was John Anger, one of 718 00:37:44,719 --> 00:37:46,480 Speaker 1: the radio guys came to me and shook my hand 719 00:37:46,520 --> 00:37:49,560 Speaker 1: and said congratulations and said congratulations for what. They were like, 720 00:37:50,280 --> 00:37:54,400 Speaker 1: you have the longest charting single and recorded country music history. 721 00:37:54,640 --> 00:38:00,279 Speaker 1: And I was like, what does that mean? And they were, well, 722 00:38:00,320 --> 00:38:02,600 Speaker 1: it stayed on the chart the longest, it went up, 723 00:38:02,640 --> 00:38:07,640 Speaker 1: the slowest it it It had the longest arc, and 724 00:38:08,040 --> 00:38:11,400 Speaker 1: I've never forgotten that moment. I'm sure it's been surpassed 725 00:38:11,440 --> 00:38:14,279 Speaker 1: because I think I think Lee Brice ended up beating 726 00:38:14,320 --> 00:38:17,879 Speaker 1: it with like fifty seven weeks. But I would say 727 00:38:17,880 --> 00:38:21,440 Speaker 1: that I love the idea that even if it goes slow, 728 00:38:21,520 --> 00:38:24,200 Speaker 1: as long as it goes, what you're doing is just 729 00:38:24,239 --> 00:38:30,000 Speaker 1: reaching more people. I'm really agnostic about the award. I 730 00:38:30,000 --> 00:38:33,400 Speaker 1: don't really care, but my my ambition has always been 731 00:38:33,400 --> 00:38:35,640 Speaker 1: reached the most amount of people that you can reach. 732 00:38:35,920 --> 00:38:39,040 Speaker 1: What doesn't matter what it is. Put it in a commercial, 733 00:38:39,120 --> 00:38:41,919 Speaker 1: give the song away, put it on the radio, put 734 00:38:41,920 --> 00:38:45,120 Speaker 1: it on television. I don't care. Just I want to 735 00:38:45,160 --> 00:38:49,960 Speaker 1: reach the most amount of people. So the song takes 736 00:38:50,120 --> 00:38:52,200 Speaker 1: fifty let's just say fifty two weeks, let's sake of 737 00:38:52,200 --> 00:38:55,640 Speaker 1: the story. That also to credit your label because I 738 00:38:55,680 --> 00:38:59,439 Speaker 1: wasn't involved. That costs money to continue pushing a song, 739 00:38:59,520 --> 00:39:02,440 Speaker 1: and not only that, it takes their heart being in 740 00:39:02,520 --> 00:39:05,800 Speaker 1: it to go. We know that this song is moving slow, 741 00:39:05,960 --> 00:39:08,480 Speaker 1: but we have faith and not only the song but 742 00:39:08,640 --> 00:39:11,800 Speaker 1: the band. And there's something to be said about commitment 743 00:39:12,160 --> 00:39:15,680 Speaker 1: these days in the creative industry, and even these last 744 00:39:15,680 --> 00:39:17,920 Speaker 1: fifty years, there's something to be said about that. So 745 00:39:18,000 --> 00:39:20,960 Speaker 1: did you feel like, okay, they have our back a bit, 746 00:39:21,080 --> 00:39:24,960 Speaker 1: like they sat and pushed us for fifty weeks to 747 00:39:25,120 --> 00:39:29,200 Speaker 1: record to radio stations. Yeah, well I was. I was impressed. 748 00:39:29,560 --> 00:39:32,799 Speaker 1: I had I've really had quite a run with record 749 00:39:32,880 --> 00:39:36,520 Speaker 1: label presidents. I was signed by it they turnover. Yeah, 750 00:39:36,560 --> 00:39:39,320 Speaker 1: well I was signed by Ahmed Ard again to Atlantic 751 00:39:39,400 --> 00:39:42,800 Speaker 1: Records with his very first female and our person. It 752 00:39:42,920 --> 00:39:46,080 Speaker 1: was Jennifer Stark and she she she's the one who 753 00:39:46,120 --> 00:39:49,920 Speaker 1: signed Billy Pilgrim and he was in lieu of uncle Tupelo. 754 00:39:50,040 --> 00:39:57,480 Speaker 1: I guess they didn't accept the deal they became and 755 00:39:57,480 --> 00:40:00,040 Speaker 1: all that stuff and and uh we you know, we 756 00:40:00,040 --> 00:40:02,520 Speaker 1: were the second choice. But I have to say that 757 00:40:02,600 --> 00:40:06,319 Speaker 1: the commitment that I learned from those employees and and 758 00:40:06,360 --> 00:40:11,359 Speaker 1: the habits I learned, you know, um translated. So when 759 00:40:11,360 --> 00:40:13,920 Speaker 1: I got to Mercury and it was Luke Lewis and 760 00:40:13,920 --> 00:40:16,680 Speaker 1: and and all of the people that worked there at 761 00:40:16,680 --> 00:40:20,040 Speaker 1: the time, they were into making artists. They were not 762 00:40:20,200 --> 00:40:25,400 Speaker 1: into making singles. And I understood that and it made sense, 763 00:40:25,760 --> 00:40:30,239 Speaker 1: you know. Um Shania Twain was the big winner on 764 00:40:30,280 --> 00:40:35,160 Speaker 1: that label when we signed, and uh, George Strait was 765 00:40:35,320 --> 00:40:39,120 Speaker 1: pulling in a lot of money, and Billy Currington was 766 00:40:39,160 --> 00:40:43,759 Speaker 1: the new signing, and you know, like it was very 767 00:40:43,800 --> 00:40:47,319 Speaker 1: interesting at the time, and I knew how to stay 768 00:40:47,320 --> 00:40:51,279 Speaker 1: off their radar to keep from draining their coffers because 769 00:40:51,320 --> 00:40:53,759 Speaker 1: I had learned it ten years earlier. Probably had to 770 00:40:53,800 --> 00:40:58,200 Speaker 1: do it just for your own sake. Yeah, and we didn't. 771 00:40:58,520 --> 00:41:02,000 Speaker 1: We didn't take an advance really, you know, we didn't 772 00:41:02,080 --> 00:41:05,080 Speaker 1: take to our support. We we never took anything from 773 00:41:05,080 --> 00:41:06,600 Speaker 1: the label. I want one of the few bands that 774 00:41:06,680 --> 00:41:11,439 Speaker 1: I think at that label UM got checks, which makes 775 00:41:11,440 --> 00:41:13,160 Speaker 1: it easier to spend money on you if you're not 776 00:41:13,200 --> 00:41:16,200 Speaker 1: taking money already. Yeah, I wanted that was my idea. 777 00:41:16,280 --> 00:41:18,680 Speaker 1: That's what I had learned in the nineties was all 778 00:41:18,800 --> 00:41:23,760 Speaker 1: my education, which I you know, I absorbed everything about 779 00:41:23,760 --> 00:41:26,200 Speaker 1: how to be in the record business as as early 780 00:41:26,239 --> 00:41:30,680 Speaker 1: as I could, and got out of college and applied 781 00:41:30,719 --> 00:41:33,440 Speaker 1: that knowledge as fast as I could. And by the 782 00:41:33,480 --> 00:41:36,360 Speaker 1: time we got here, Um, they were still in the 783 00:41:36,440 --> 00:41:38,600 Speaker 1: business of spending money, but they just didn't have to 784 00:41:38,640 --> 00:41:43,120 Speaker 1: spend it on us. So after that song runs its 785 00:41:43,160 --> 00:41:46,960 Speaker 1: course and puts you guys on the map, what did it? 786 00:41:46,960 --> 00:41:51,040 Speaker 1: What did it? Peak Number two it was there's a moment. 787 00:41:51,080 --> 00:41:53,279 Speaker 1: You can do this. You can have this moment if 788 00:41:53,280 --> 00:41:56,320 Speaker 1: you want it. Get online, go to YouTube and type 789 00:41:56,320 --> 00:41:58,480 Speaker 1: in Sherland playing baby Girl the A C N S 790 00:41:59,320 --> 00:42:05,200 Speaker 1: and you will see people who are broke closing the show. 791 00:42:07,040 --> 00:42:10,920 Speaker 1: We were broke. I was forty in debt. Was that 792 00:42:10,960 --> 00:42:15,680 Speaker 1: when Jenny had our shoes off? So that show we 793 00:42:15,680 --> 00:42:19,760 Speaker 1: were supposed to sing thirty seconds of Baby Girl into 794 00:42:19,800 --> 00:42:23,920 Speaker 1: the presenter microphone early in the show. Did something happened 795 00:42:23,960 --> 00:42:26,480 Speaker 1: with a closing eye? Something happened. So if you go 796 00:42:26,560 --> 00:42:29,359 Speaker 1: back and figure it all out, there was there were 797 00:42:29,360 --> 00:42:32,719 Speaker 1: two or three things that went down, and suddenly they 798 00:42:32,760 --> 00:42:35,279 Speaker 1: asked us, hey, can you sing a minute instead of 799 00:42:35,280 --> 00:42:37,080 Speaker 1: thirty seconds? And do you have your instruments. And we 800 00:42:37,120 --> 00:42:40,400 Speaker 1: were like sure, and they said, okay, I know this 801 00:42:40,440 --> 00:42:42,040 Speaker 1: is short notice, but can you get a band here 802 00:42:42,080 --> 00:42:45,000 Speaker 1: in two days? We're like why. They're like, well, can 803 00:42:45,000 --> 00:42:47,680 Speaker 1: you do an abbreviated version of your song like a 804 00:42:47,680 --> 00:42:49,440 Speaker 1: a real performance? Can you get a drummer? Do you 805 00:42:49,440 --> 00:42:51,759 Speaker 1: have a track? What can you sing to it? We're 806 00:42:51,800 --> 00:42:55,399 Speaker 1: like yeah, we're on the phone calling me. And then 807 00:42:55,440 --> 00:42:58,360 Speaker 1: there they got up to the rehearsal day before the 808 00:42:58,360 --> 00:43:01,400 Speaker 1: show and they said, so, George Straits, that's what it was. 809 00:43:01,480 --> 00:43:04,400 Speaker 1: I remember that sick and we were wondering if you 810 00:43:04,440 --> 00:43:07,840 Speaker 1: would close the show, and so we closed the show. 811 00:43:08,120 --> 00:43:12,560 Speaker 1: We were people that nobody knew. And Jennifer had on 812 00:43:12,840 --> 00:43:16,279 Speaker 1: the same shoes as like Sarah Evans or something, and 813 00:43:16,320 --> 00:43:18,440 Speaker 1: she's like, oh, forget it and just threw them off 814 00:43:18,960 --> 00:43:22,400 Speaker 1: and ran out there. And then the curtain goes up 815 00:43:22,480 --> 00:43:27,600 Speaker 1: and we start singing baby Girl right and I'll never 816 00:43:27,680 --> 00:43:32,480 Speaker 1: forget and I will forever be grateful. There was this, 817 00:43:32,880 --> 00:43:37,840 Speaker 1: to me, incredible pause between us finishing the last note 818 00:43:38,200 --> 00:43:41,880 Speaker 1: and people clapping. It was just nothing. It was like dead. 819 00:43:43,160 --> 00:43:46,000 Speaker 1: And I watched Tim mcgrawl and Faith Hill stand up 820 00:43:46,040 --> 00:43:49,080 Speaker 1: and they were dead sinner in that room, and they 821 00:43:49,120 --> 00:43:51,759 Speaker 1: stood up and started clapping, and then every in my 822 00:43:51,800 --> 00:43:57,040 Speaker 1: mind they guilted everyone looking back. When do you as 823 00:43:57,120 --> 00:44:00,680 Speaker 1: signed that silence to that break? What do you assign 824 00:44:00,680 --> 00:44:05,280 Speaker 1: it to huge amounts of adrenaline and shame and worry? 825 00:44:06,200 --> 00:44:09,480 Speaker 1: Like you know, adrenaline slows down your perception. So I 826 00:44:09,480 --> 00:44:12,000 Speaker 1: think we hit the last note. And I didn't know 827 00:44:12,040 --> 00:44:14,839 Speaker 1: if we had sucked or if we hadn't, or if 828 00:44:14,840 --> 00:44:16,799 Speaker 1: we sounded good or if we didn't. I didn't know 829 00:44:16,880 --> 00:44:21,719 Speaker 1: anything about performing on television like that, and sure enough, 830 00:44:22,680 --> 00:44:26,600 Speaker 1: you know, people talk about that day as, oh, that's 831 00:44:26,600 --> 00:44:28,400 Speaker 1: when we found out who you were. That's when I 832 00:44:28,719 --> 00:44:32,360 Speaker 1: remember the shooting, when you started. That's something. I remember 833 00:44:32,440 --> 00:44:35,520 Speaker 1: seeing her on with no shoes, and I was like, 834 00:44:35,840 --> 00:44:39,480 Speaker 1: that's really cool. They seem like normal folks were just 835 00:44:39,600 --> 00:44:43,120 Speaker 1: that alone. That's small and it wasn't a contrived thing. 836 00:44:43,239 --> 00:44:44,720 Speaker 1: I guess she was just one of the same shoes 837 00:44:44,719 --> 00:44:47,359 Speaker 1: as someone else. Yet still didn't Oh yeah, I wasn't 838 00:44:47,360 --> 00:44:49,879 Speaker 1: on purpose. But I mean, if you put in your head, 839 00:44:49,960 --> 00:44:52,279 Speaker 1: I mean, I try to remind new artists of this 840 00:44:52,320 --> 00:44:55,080 Speaker 1: all the time, that you can close the A C M. 841 00:44:55,160 --> 00:44:58,520 Speaker 1: S and seven hours earlier, you were in your hotel 842 00:44:58,600 --> 00:45:01,239 Speaker 1: room trying to do computer programming in order to pay 843 00:45:01,239 --> 00:45:04,799 Speaker 1: your bills. Because you in the hole like that's real, 844 00:45:05,280 --> 00:45:08,719 Speaker 1: that's going to happen, and you're gonna have to make 845 00:45:08,719 --> 00:45:11,520 Speaker 1: those choices. Early on, we didn't take publishing deals, we 846 00:45:11,520 --> 00:45:15,920 Speaker 1: didn't take anything, you know, we just went the long way. 847 00:45:16,080 --> 00:45:19,880 Speaker 1: And sometimes that's the right choice. It's not always the 848 00:45:19,960 --> 00:45:23,920 Speaker 1: right choice for everyone, especially not today, but um, at 849 00:45:23,960 --> 00:45:26,200 Speaker 1: the time, that's what it is. So there's this kind 850 00:45:26,239 --> 00:45:32,719 Speaker 1: of authenticity to the song being performed by people who 851 00:45:32,760 --> 00:45:42,480 Speaker 1: actually done right. Um. But in retrospect, you know, I 852 00:45:42,640 --> 00:45:45,840 Speaker 1: we didn't have a number one song until our second album. 853 00:45:46,360 --> 00:45:48,319 Speaker 1: We had hit on that. Yeah, on the first On 854 00:45:48,360 --> 00:45:51,320 Speaker 1: the first record, you had what talking what were the hits? Um, 855 00:45:51,360 --> 00:45:54,479 Speaker 1: we had a baby girl, and then we had something more. 856 00:45:55,000 --> 00:45:56,680 Speaker 1: Now I know all the answers to this as you're 857 00:45:56,680 --> 00:46:00,960 Speaker 1: talking through that, I'm not letting you tell I know 858 00:46:01,000 --> 00:46:02,680 Speaker 1: all the answer. I don't like to know all the answer. 859 00:46:03,600 --> 00:46:05,200 Speaker 1: We had a we had a song called Jess Might 860 00:46:05,200 --> 00:46:07,840 Speaker 1: Make Me Believe, which was Kristen's song. It was the 861 00:46:07,840 --> 00:46:10,120 Speaker 1: only song that she wrote myrself. And then we had 862 00:46:10,239 --> 00:46:14,240 Speaker 1: um uh down in Mississippi and up to No Good 863 00:46:14,760 --> 00:46:18,360 Speaker 1: which was on that record, and then they then Kristen 864 00:46:18,480 --> 00:46:21,520 Speaker 1: quit right at the end of that and we had 865 00:46:21,520 --> 00:46:23,640 Speaker 1: to go in and make a second record in two weeks. 866 00:46:24,560 --> 00:46:26,840 Speaker 1: So really she and I, Jennifer and I wrote that 867 00:46:26,880 --> 00:46:30,279 Speaker 1: whole second record in two weeks in January? Did you 868 00:46:30,320 --> 00:46:31,640 Speaker 1: not have to write the record? Had to shoot all 869 00:46:31,640 --> 00:46:34,040 Speaker 1: the photos and the whole image had to be kind 870 00:46:34,040 --> 00:46:36,200 Speaker 1: of altered, right because everything you had all this. Yeah, 871 00:46:36,239 --> 00:46:38,759 Speaker 1: we we started over, but it was kind of cool, 872 00:46:38,960 --> 00:46:40,480 Speaker 1: and we knew how to start over because we had 873 00:46:40,480 --> 00:46:43,279 Speaker 1: just done it, I guess a couple of times, you know. 874 00:46:43,719 --> 00:46:45,759 Speaker 1: So it was just I had to keep reminding us 875 00:46:45,760 --> 00:46:48,520 Speaker 1: that you just start over. And for Terryll and then 876 00:46:48,520 --> 00:46:52,000 Speaker 1: to want to was on that change and a minute 877 00:46:52,320 --> 00:46:56,000 Speaker 1: just kids could stop it Spann and we could bake 878 00:46:56,160 --> 00:47:07,040 Speaker 1: it three and then um my version of the Who 879 00:47:07,080 --> 00:47:14,160 Speaker 1: which was settling. That's cool. And if you listen to 880 00:47:14,239 --> 00:47:16,839 Speaker 1: that song and you listened to Sweet Louisiana Sound, you'll 881 00:47:16,880 --> 00:47:19,520 Speaker 1: hear a lot of the same stuff from Billy Posum. 882 00:47:19,560 --> 00:47:27,040 Speaker 1: Maybe I won't, but you would, because this is a jam. Yeah, 883 00:47:30,200 --> 00:47:39,280 Speaker 1: up straight, it's that to me. I hear the nineties 884 00:47:39,440 --> 00:47:43,480 Speaker 1: ish third Eye Blind on that Yeah, same thing, Yeah, 885 00:47:44,320 --> 00:47:47,719 Speaker 1: because that's where I'm from. Um, and then uh, what 886 00:47:49,080 --> 00:47:53,040 Speaker 1: Everyday America was the next single, and then we were 887 00:47:53,080 --> 00:47:55,839 Speaker 1: pulling from my bag of old billy pogram tricks during 888 00:47:55,880 --> 00:47:58,040 Speaker 1: that because we just needed songs. I was like, pull 889 00:47:58,080 --> 00:48:00,560 Speaker 1: out of this basket. We'll write whatever the lyric is. 890 00:48:00,640 --> 00:48:03,400 Speaker 1: And I had had that song for a lady named 891 00:48:03,400 --> 00:48:06,840 Speaker 1: Beth Wood in the early nineties and I just redid 892 00:48:06,880 --> 00:48:09,279 Speaker 1: it and we got to rewrite it with Lisa Carver 893 00:48:09,360 --> 00:48:11,359 Speaker 1: and Jennifer loved it, and so we rewrote that whole 894 00:48:11,360 --> 00:48:17,719 Speaker 1: song and then uh didn't stay. You should know we 895 00:48:17,760 --> 00:48:26,680 Speaker 1: don't have to live this way, don't. We recorded this 896 00:48:26,920 --> 00:48:29,279 Speaker 1: three or four times, and this is me and my 897 00:48:29,320 --> 00:48:34,440 Speaker 1: brother and Jennifer playing at once. So that's Brandon playing 898 00:48:34,680 --> 00:48:36,440 Speaker 1: him and he and I are looking at each other 899 00:48:36,480 --> 00:48:39,360 Speaker 1: and doing the little brother speak because there's no tempo, 900 00:48:40,680 --> 00:48:44,240 Speaker 1: and I'm watching her singing and we're doing it live. 901 00:48:44,400 --> 00:48:48,640 Speaker 1: So that's one performance. This track is one performance, no 902 00:48:48,800 --> 00:48:52,880 Speaker 1: click track, just visual cues. Yeah, that's it. And I 903 00:48:53,520 --> 00:48:56,040 Speaker 1: it was a song that she had written by herself 904 00:48:56,320 --> 00:48:59,880 Speaker 1: years before, and the Kristen who was in the band 905 00:49:00,000 --> 00:49:02,759 Speaker 1: didn't really like the song, and I kind of did, 906 00:49:03,320 --> 00:49:05,320 Speaker 1: and so when it came up on the second record, 907 00:49:05,400 --> 00:49:07,279 Speaker 1: it was I was like, hey, what do you think 908 00:49:07,280 --> 00:49:09,040 Speaker 1: about that? And she was like, oh, I love that song. 909 00:49:09,400 --> 00:49:11,320 Speaker 1: But we tried it with a band, We tried it 910 00:49:11,400 --> 00:49:13,480 Speaker 1: sound like the Black Crows. We tried all these different 911 00:49:13,960 --> 00:49:17,200 Speaker 1: different and it didn't work, and Uh, we were kind 912 00:49:17,200 --> 00:49:18,360 Speaker 1: of at the end of our rope. I was like, 913 00:49:18,400 --> 00:49:20,719 Speaker 1: can I just call my brother? Can we just do that? 914 00:49:21,320 --> 00:49:25,359 Speaker 1: It seems like sure? And it was magic. Was that 915 00:49:25,400 --> 00:49:32,560 Speaker 1: the song that stadiumed it for? You guys? Well, I 916 00:49:32,560 --> 00:49:39,239 Speaker 1: think that Kenny stadium Us is what happened. And we 917 00:49:39,239 --> 00:49:42,279 Speaker 1: were a very good compliment to his show. I went 918 00:49:42,360 --> 00:49:45,640 Speaker 1: to that show, were like, he taught us a lot 919 00:49:45,680 --> 00:49:48,040 Speaker 1: about how to take your music and do that. But 920 00:49:48,160 --> 00:49:52,480 Speaker 1: I think, um, I think settling probably turned us into 921 00:49:52,520 --> 00:50:01,359 Speaker 1: a stadium act. And stay Uh showed people that her 922 00:50:01,440 --> 00:50:08,000 Speaker 1: voice and her ability to emote was so highly developed. 923 00:50:09,040 --> 00:50:12,359 Speaker 1: The video moved people to when you think of over 924 00:50:12,400 --> 00:50:16,600 Speaker 1: the last ten years, the videos that really stick with you, 925 00:50:17,760 --> 00:50:20,640 Speaker 1: remember that video. So they we ran out of money 926 00:50:21,000 --> 00:50:22,480 Speaker 1: at the label. They didn't want to put out any 927 00:50:22,520 --> 00:50:25,920 Speaker 1: more songs, and we said but we want to why 928 00:50:25,920 --> 00:50:27,200 Speaker 1: don't we try this one? They were like, you want 929 00:50:27,239 --> 00:50:29,440 Speaker 1: to put out an almost five minute acoustic song for 930 00:50:29,520 --> 00:50:32,080 Speaker 1: the radio. And they're like, well, I mean, all you 931 00:50:32,120 --> 00:50:36,360 Speaker 1: have to say is no. And we said, can we 932 00:50:36,400 --> 00:50:39,120 Speaker 1: have a video budget? They're like, no, you're out of money. 933 00:50:40,160 --> 00:50:43,080 Speaker 1: You have like fifteen or thirty thousand dollars or something 934 00:50:43,120 --> 00:50:47,040 Speaker 1: to do this, which bought us half a day. So 935 00:50:47,080 --> 00:50:49,719 Speaker 1: that video is the way that it is because we 936 00:50:49,760 --> 00:50:53,480 Speaker 1: didn't have anything. We We had just played the stadium 937 00:50:53,600 --> 00:50:57,000 Speaker 1: in Philadelphia the night before we shot that, and we 938 00:50:57,000 --> 00:50:59,360 Speaker 1: were doing it in New York in a sound stage 939 00:50:59,400 --> 00:51:02,439 Speaker 1: that we could have word with somebody who would only 940 00:51:02,440 --> 00:51:06,319 Speaker 1: work until two or three o'clock. And I didn't even 941 00:51:06,360 --> 00:51:08,120 Speaker 1: have a good like my guitar. Tech forgot to put 942 00:51:08,120 --> 00:51:09,960 Speaker 1: a guitar in the back and I had to borrow 943 00:51:10,000 --> 00:51:12,759 Speaker 1: a guitar. Ended up buying the guitar a borrow and 944 00:51:12,840 --> 00:51:17,560 Speaker 1: I loved it so much, but um we we. We 945 00:51:17,600 --> 00:51:20,600 Speaker 1: went in and filmed two passes or three passes, and 946 00:51:21,200 --> 00:51:23,640 Speaker 1: Jennifer was on the edge in her personal life at 947 00:51:23,680 --> 00:51:28,839 Speaker 1: the time, and she just started weeping, absolutely real and 948 00:51:29,080 --> 00:51:32,480 Speaker 1: I got an upset the director. I was like Hey, 949 00:51:32,640 --> 00:51:35,239 Speaker 1: I was like a gorilla. It's like, why are you 950 00:51:35,400 --> 00:51:40,120 Speaker 1: mused making her do this? Everybody else? And she's like, 951 00:51:40,160 --> 00:51:42,239 Speaker 1: I'm okay, I'm okay, I'm okay, I'm okay. And then 952 00:51:43,920 --> 00:51:45,840 Speaker 1: there's a second pass of the video and then she 953 00:51:45,920 --> 00:51:48,120 Speaker 1: just kind of loses it, just stop singing at some point, 954 00:51:48,920 --> 00:51:51,879 Speaker 1: and we didn't have a chance to do anything other 955 00:51:51,920 --> 00:51:56,759 Speaker 1: than what you just saw. And the people at the 956 00:51:56,840 --> 00:51:59,359 Speaker 1: label loved it because it was so real and then 957 00:51:59,760 --> 00:52:02,319 Speaker 1: said it they sent it to the record company or 958 00:52:02,360 --> 00:52:04,799 Speaker 1: the radio stations, and I think the video is what 959 00:52:04,920 --> 00:52:09,759 Speaker 1: really helped the programmers get on board UM. And I'm 960 00:52:09,800 --> 00:52:13,200 Speaker 1: forever grateful. I mean, geez, that's on one of a Grammy, 961 00:52:13,600 --> 00:52:20,040 Speaker 1: you know, like that's unreal. The video, it just sits 962 00:52:20,400 --> 00:52:24,279 Speaker 1: with me. That's cool. And now that I know the story, 963 00:52:24,320 --> 00:52:28,319 Speaker 1: the video is so awesome. Guys you yeah, yeah, well, 964 00:52:28,440 --> 00:52:31,600 Speaker 1: I mean it was the end of what was going 965 00:52:31,640 --> 00:52:33,120 Speaker 1: to happen, and then we were supposed to just go 966 00:52:33,160 --> 00:52:36,680 Speaker 1: make another record. And I'm so happy that that song 967 00:52:36,760 --> 00:52:39,200 Speaker 1: had what it had because it it creates this thing 968 00:52:39,239 --> 00:52:41,680 Speaker 1: that I see a lot now, which is you get 969 00:52:41,719 --> 00:52:45,120 Speaker 1: momentum on something like um like girl Crush or something 970 00:52:45,200 --> 00:52:46,920 Speaker 1: like I was. I was telling those guys. I was like, 971 00:52:47,120 --> 00:52:50,600 Speaker 1: you guys, got one, You got one of those, because 972 00:52:50,640 --> 00:52:53,399 Speaker 1: your next one is going to be. All of the 973 00:52:53,440 --> 00:52:56,319 Speaker 1: fuel that that one generates you will burn on your 974 00:52:56,360 --> 00:53:02,840 Speaker 1: next rocket stage. And it's incalculable and you can't you 975 00:53:02,880 --> 00:53:05,319 Speaker 1: can't predict it. But if you keep your head down 976 00:53:05,360 --> 00:53:08,440 Speaker 1: and you keep working, you'll come across it. So that 977 00:53:08,560 --> 00:53:12,480 Speaker 1: song does what it does. There's an immense pressure to 978 00:53:12,520 --> 00:53:16,520 Speaker 1: follow up a monster with another monster, right, so what 979 00:53:16,600 --> 00:53:19,520 Speaker 1: do you do? We went to Atlanta and we told 980 00:53:19,520 --> 00:53:21,520 Speaker 1: everyone that we were no longer making records in Nashville 981 00:53:23,080 --> 00:53:24,879 Speaker 1: and you will have to come to us. And how 982 00:53:24,880 --> 00:53:29,000 Speaker 1: did that go over? Like a lead brick? But you know, 983 00:53:29,120 --> 00:53:31,480 Speaker 1: you gotta remember, like we rolled into the studio where 984 00:53:32,719 --> 00:53:36,920 Speaker 1: Springsteen had been making The Rising, where Stone Temple pilots 985 00:53:36,920 --> 00:53:38,760 Speaker 1: and made all their records, or Pearl Jam made their records. 986 00:53:38,800 --> 00:53:42,520 Speaker 1: We rolled into the exact same place, right, and we 987 00:53:42,600 --> 00:53:45,800 Speaker 1: brought our producer down in our our Nashville kind of players, 988 00:53:46,640 --> 00:53:50,840 Speaker 1: and we wrote that record while we were on the road. 989 00:53:51,800 --> 00:53:54,279 Speaker 1: But it took a while, and we were obsessed with 990 00:53:54,440 --> 00:53:58,560 Speaker 1: using the acoustic nous and the authenticity of the music 991 00:53:58,640 --> 00:54:01,000 Speaker 1: we grew up with in Atlay, which was like Garia 992 00:54:01,040 --> 00:54:04,000 Speaker 1: I'm and the Indigo Girls and and Black Crows and 993 00:54:04,040 --> 00:54:11,040 Speaker 1: all these kind of Atlanta southern but pop but rock. 994 00:54:11,320 --> 00:54:16,440 Speaker 1: But we're based primarily on country music, you know, um 995 00:54:16,560 --> 00:54:19,439 Speaker 1: Georgia satellites and all this stuff, and can we make 996 00:54:19,480 --> 00:54:22,080 Speaker 1: that kind of album? And I think everyone was expecting 997 00:54:22,160 --> 00:54:25,240 Speaker 1: us to go, at least in the in the record label. 998 00:54:25,280 --> 00:54:30,720 Speaker 1: They were hoping that we would go super anthemic, gigantic whatever, 999 00:54:30,800 --> 00:54:35,319 Speaker 1: and then we made this essentially acoustic rock record. Um 1000 00:54:35,719 --> 00:54:39,440 Speaker 1: love on the inside. I had all I want to do? 1001 00:54:43,280 --> 00:54:53,120 Speaker 1: I love that had U shi it happens? It happened. 1002 00:54:56,280 --> 00:54:59,640 Speaker 1: Did you try to go and write that on the CD? 1003 00:54:59,800 --> 00:55:01,880 Speaker 1: And they said make it happens. But we did that 1004 00:55:01,920 --> 00:55:03,680 Speaker 1: when we were writing it. We wrote that with Bobby Pinson. 1005 00:55:04,320 --> 00:55:08,799 Speaker 1: He kind of had the groove to it, and we're 1006 00:55:08,840 --> 00:55:11,879 Speaker 1: really fast writers together, and Bobby did a great job 1007 00:55:11,880 --> 00:55:15,640 Speaker 1: on that song. I was trying to get it in 1008 00:55:15,680 --> 00:55:18,000 Speaker 1: there because I thought would be funny, and then already 1009 00:55:18,040 --> 00:55:25,759 Speaker 1: gone was on that record. Any songs were going to 1010 00:55:25,840 --> 00:55:27,839 Speaker 1: the top of the chart in even ten weeks at 1011 00:55:27,840 --> 00:55:31,680 Speaker 1: a time, so where we had been fifty four weeks 1012 00:55:31,680 --> 00:55:33,960 Speaker 1: on our first song. We're now eight or nine weeks 1013 00:55:35,200 --> 00:55:37,680 Speaker 1: on a song, going from when it hits the chart 1014 00:55:37,719 --> 00:55:39,439 Speaker 1: to the top of the charts. We were burning through 1015 00:55:39,480 --> 00:55:44,360 Speaker 1: songs um and this tour ended up being on television, 1016 00:55:45,160 --> 00:55:48,520 Speaker 1: so we had a summer special. I was obsessed with 1017 00:55:49,440 --> 00:55:52,279 Speaker 1: remembering seeing concerts on television. I remember seeing the Arth 1018 00:55:52,320 --> 00:55:55,560 Speaker 1: Brooks concert and York New York one, and I was like, 1019 00:55:55,600 --> 00:55:58,480 Speaker 1: how do we do that? And this record, Jennifer and 1020 00:55:58,560 --> 00:56:03,000 Speaker 1: I were completely aware that the distance between what was 1021 00:56:03,040 --> 00:56:06,960 Speaker 1: happening in culture and what was happening on television was closing. 1022 00:56:08,480 --> 00:56:11,279 Speaker 1: The gap was closing, and we vowed to each other 1023 00:56:11,280 --> 00:56:13,600 Speaker 1: that every song on this record would be on television 1024 00:56:14,760 --> 00:56:17,600 Speaker 1: some way, somehow. We would make it so that every 1025 00:56:17,640 --> 00:56:19,799 Speaker 1: single song we would either perform or there'd be a 1026 00:56:19,880 --> 00:56:23,040 Speaker 1: video or something. And we did it. We pulled it off. 1027 00:56:24,360 --> 00:56:26,239 Speaker 1: And I don't know how we did it, but I mean, 1028 00:56:26,280 --> 00:56:29,080 Speaker 1: we're four performances later on the A c M. S 1029 00:56:29,080 --> 00:56:31,759 Speaker 1: playing what I'd Give or something. We're like in deep 1030 00:56:31,840 --> 00:56:35,400 Speaker 1: deep tracks. But we had a summer special in ABC. 1031 00:56:35,600 --> 00:56:38,719 Speaker 1: They allowed us to do this, now they didn't they 1032 00:56:38,760 --> 00:56:42,880 Speaker 1: We had to pay for it. Ourselves the entire filming 1033 00:56:43,000 --> 00:56:45,320 Speaker 1: and the recording and everything. So we took the money 1034 00:56:45,480 --> 00:56:48,200 Speaker 1: from our shows and we had a twenty two camera 1035 00:56:48,239 --> 00:56:53,440 Speaker 1: shoot in Lexington, Virginia. One time. We had one shot 1036 00:56:55,280 --> 00:56:57,880 Speaker 1: and then we took all the footage back and they 1037 00:56:58,000 --> 00:57:01,920 Speaker 1: edited it together and they made a an hour and 1038 00:57:01,920 --> 00:57:06,480 Speaker 1: a half concert video and then they edited it down 1039 00:57:06,480 --> 00:57:08,520 Speaker 1: to forty five minutes and put it as a primetime 1040 00:57:08,520 --> 00:57:11,520 Speaker 1: special in the summer. Did they buy that back from you? No, 1041 00:57:14,560 --> 00:57:17,200 Speaker 1: So you take your money and create it, they air it, 1042 00:57:17,240 --> 00:57:20,160 Speaker 1: but they don't buy it back from you. Um. We 1043 00:57:20,480 --> 00:57:26,800 Speaker 1: got the label paid us for our investment, but we 1044 00:57:26,840 --> 00:57:31,440 Speaker 1: didn't get any money after that. And UM, what we 1045 00:57:31,560 --> 00:57:36,640 Speaker 1: decided was they were going to put it out as ay, 1046 00:57:36,680 --> 00:57:40,120 Speaker 1: they were afraid people are gonna buy DVDs anymore, and 1047 00:57:40,440 --> 00:57:42,960 Speaker 1: uh so we put out a cover record to go 1048 00:57:43,080 --> 00:57:45,640 Speaker 1: with it, and they sold it. They were doing exclusives 1049 00:57:45,640 --> 00:57:48,000 Speaker 1: with different box stores and this one was with Walmart 1050 00:57:48,800 --> 00:57:51,920 Speaker 1: and so they bought three copies and then never came 1051 00:57:51,920 --> 00:57:53,480 Speaker 1: out again. I don't think you can get it anywhere 1052 00:57:53,560 --> 00:57:56,760 Speaker 1: right now. But that was the kind of trajectory, is 1053 00:57:56,760 --> 00:58:00,160 Speaker 1: that we had to keep investing in ourselves, and UM, 1054 00:58:00,760 --> 00:58:02,840 Speaker 1: using our money because the labels were going broke then 1055 00:58:02,880 --> 00:58:06,520 Speaker 1: remember less than less money was coming in and by 1056 00:58:06,640 --> 00:58:11,680 Speaker 1: love on the inside, we were making more sales for 1057 00:58:11,720 --> 00:58:14,400 Speaker 1: the label than anyone else in the label. So suddenly 1058 00:58:14,480 --> 00:58:16,640 Speaker 1: we're carrying the We're in the front of the cart 1059 00:58:17,280 --> 00:58:22,080 Speaker 1: where Shanaya used to be, and it was weird. And 1060 00:58:22,120 --> 00:58:26,320 Speaker 1: then we went and essentially made a rock record that 1061 00:58:26,440 --> 00:58:30,360 Speaker 1: everyone thought we were crazy for and now it's probably 1062 00:58:30,360 --> 00:58:33,000 Speaker 1: one of my favorite records we ever made. Was the 1063 00:58:33,040 --> 00:58:38,040 Speaker 1: incredible machine, you know, and it had it had stuck 1064 00:58:38,080 --> 00:58:46,880 Speaker 1: like glue on it. Again, did you write this one? Yeah? 1065 00:58:47,120 --> 00:58:49,760 Speaker 1: Did you write this with Kevin? It did? Actually Kevin 1066 00:58:49,760 --> 00:58:53,520 Speaker 1: pitched me the chorus to this song. So Kevin, by 1067 00:58:53,560 --> 00:58:56,600 Speaker 1: the way, Kevin Griffin from Better Than I probably went 1068 00:58:56,640 --> 00:58:59,520 Speaker 1: to twenty better than I was such a diehard better 1069 00:58:59,520 --> 00:59:01,280 Speaker 1: than as in. And so last night we played a 1070 00:59:01,320 --> 00:59:03,760 Speaker 1: show at the Rheman and I had Kevin came out 1071 00:59:03,800 --> 00:59:05,640 Speaker 1: and we did good and desperately wanting it was a 1072 00:59:05,680 --> 00:59:07,840 Speaker 1: great Christian I've got to play and do a lot 1073 00:59:07,880 --> 00:59:09,800 Speaker 1: of cool things in my life. Did that freak you out? 1074 00:59:10,480 --> 00:59:13,040 Speaker 1: It might have been my favorite musical moment that I've 1075 00:59:13,040 --> 00:59:16,080 Speaker 1: ever been a part of and so nice and kind 1076 00:59:16,120 --> 00:59:20,080 Speaker 1: and say whatever whatever you want to do, we'll do it. 1077 00:59:20,280 --> 00:59:23,280 Speaker 1: And I said, well, I would play deeper tracks like 1078 00:59:23,360 --> 00:59:26,320 Speaker 1: this time of year, or I said, but the the 1079 00:59:26,360 --> 00:59:29,560 Speaker 1: fans won't want to hear good obviously, And so we 1080 00:59:29,600 --> 00:59:32,320 Speaker 1: played good and desperately wanting and I was just doing 1081 00:59:32,440 --> 00:59:35,000 Speaker 1: b g VS. It was playing guitar and I knew 1082 00:59:35,000 --> 00:59:37,680 Speaker 1: this song when I was a kid, right, But and 1083 00:59:37,680 --> 00:59:39,880 Speaker 1: then he threw to me and let me. It really 1084 00:59:40,000 --> 00:59:42,640 Speaker 1: was full circle. There were two things that happened last night. 1085 00:59:43,000 --> 00:59:46,000 Speaker 1: And we had actually invited you guys to come play, 1086 00:59:46,600 --> 00:59:48,400 Speaker 1: and then you were hosting a different award. Then you 1087 00:59:48,440 --> 00:59:53,280 Speaker 1: got the flu and then every do but but um 1088 00:59:53,720 --> 00:59:56,200 Speaker 1: so Darius came out. And Darius is my first ever 1089 00:59:56,280 --> 00:59:58,800 Speaker 1: radio interview at seventeen years old, first person I ever interview, 1090 00:59:58,880 --> 01:00:01,360 Speaker 1: my gosh, and so Darius and I have paralleled with 1091 01:00:01,400 --> 01:00:05,640 Speaker 1: each other for a long time and yeah, and so 1092 01:00:06,160 --> 01:00:08,840 Speaker 1: he's been my guy, like in different formats. And so 1093 01:00:08,920 --> 01:00:10,920 Speaker 1: Darius comes out and he jumps on stage and the 1094 01:00:10,960 --> 01:00:13,320 Speaker 1: metal we're close enough for Darius just walks out the 1095 01:00:13,360 --> 01:00:15,760 Speaker 1: end of our set. He doesn't care, he just walks out. 1096 01:00:15,760 --> 01:00:17,840 Speaker 1: We're doing Purple Rain Darius walks out and starts singing 1097 01:00:17,840 --> 01:00:20,040 Speaker 1: Propple Rain with this, and he's like, I sing the 1098 01:00:20,040 --> 01:00:21,240 Speaker 1: song with my I said, I'm gonna sing it. So 1099 01:00:21,320 --> 01:00:23,360 Speaker 1: him and Natalie Soball are going back and forth and 1100 01:00:23,400 --> 01:00:25,720 Speaker 1: it's amazing. Than he does his new single that his 1101 01:00:25,720 --> 01:00:27,400 Speaker 1: wagon well, and I said, hey, you can't interrupt our 1102 01:00:27,440 --> 01:00:30,720 Speaker 1: set without me making you do something extra. So I 1103 01:00:30,800 --> 01:00:34,840 Speaker 1: played Cracked Review five million times on tape and then 1104 01:00:34,880 --> 01:00:37,880 Speaker 1: DVD all on CD, and I said, I would like 1105 01:00:37,920 --> 01:00:39,040 Speaker 1: for you to do hold in my Hand and I'd 1106 01:00:39,080 --> 01:00:41,560 Speaker 1: like to sing it with you, and he goes, okay 1107 01:00:41,760 --> 01:00:43,920 Speaker 1: with a little love and he passed it over and 1108 01:00:43,960 --> 01:00:45,760 Speaker 1: I'm like this Heaven I did better than ever and 1109 01:00:45,800 --> 01:00:50,480 Speaker 1: Hootie the same night. This is awesome. So that was 1110 01:00:50,520 --> 01:00:53,000 Speaker 1: pretty exciting. But Kevin Griffin wrote that song with you 1111 01:00:53,120 --> 01:00:56,520 Speaker 1: so and I have to say that I attribute our 1112 01:00:56,560 --> 01:01:01,040 Speaker 1: drummer Travis McNabb, who I have referenced a Tom's Our conversation. 1113 01:01:01,080 --> 01:01:05,880 Speaker 1: But Travis was originally who helped me and Billy Pilgrim 1114 01:01:05,960 --> 01:01:08,360 Speaker 1: get our record deal, and then he went on to 1115 01:01:08,400 --> 01:01:11,200 Speaker 1: play in a band called the Beggars, where maybe he 1116 01:01:11,240 --> 01:01:13,760 Speaker 1: was in Seven Simons. Then he worked with me and 1117 01:01:13,800 --> 01:01:15,320 Speaker 1: all my recordings, and then he went on to be 1118 01:01:15,320 --> 01:01:16,680 Speaker 1: in the Beggars, and then he went and joined Better 1119 01:01:16,680 --> 01:01:21,040 Speaker 1: Than Ezra for fifteen years. And I called him at 1120 01:01:21,080 --> 01:01:24,680 Speaker 1: some point when Sugarland had kind of graduated into Kenny 1121 01:01:24,760 --> 01:01:29,320 Speaker 1: Chesney stadium shows and said, hey, man, you're not gonna 1122 01:01:29,360 --> 01:01:31,720 Speaker 1: believe what I'm doing now, but I have a country 1123 01:01:31,760 --> 01:01:35,600 Speaker 1: band and I could really use your drumming awesomeness. I 1124 01:01:35,640 --> 01:01:38,040 Speaker 1: see that Better Than Ezra is not on the charts anymore. 1125 01:01:38,160 --> 01:01:42,120 Speaker 1: What are you doing? And he was like, oh, well, 1126 01:01:42,160 --> 01:01:45,760 Speaker 1: I'll come audition, and so he came an audition and 1127 01:01:45,840 --> 01:01:49,160 Speaker 1: eventually got the job right. And so I've always felt 1128 01:01:49,200 --> 01:01:55,800 Speaker 1: a little terrible that I had taken right. And uh 1129 01:01:56,040 --> 01:02:01,200 Speaker 1: So at some point Kevin uh try Us started representing, Hey, look, 1130 01:02:01,240 --> 01:02:02,920 Speaker 1: let me let Kevin pitch you a song. I said, well, 1131 01:02:03,000 --> 01:02:05,480 Speaker 1: Jennifer and I are writing incredible machine all by ourselves. 1132 01:02:05,480 --> 01:02:08,280 Speaker 1: We're not going to take outside songs. And if I 1133 01:02:08,280 --> 01:02:09,640 Speaker 1: if I open it up to that, I gotta call 1134 01:02:09,680 --> 01:02:12,120 Speaker 1: Bobby Penson. I gotta call all these people, you know 1135 01:02:12,880 --> 01:02:15,840 Speaker 1: that had been on our records, that a very small 1136 01:02:15,880 --> 01:02:18,440 Speaker 1: amount of writers that we had written with, because I'm 1137 01:02:18,440 --> 01:02:21,080 Speaker 1: taking money off their table. If I don't allow them in, 1138 01:02:21,360 --> 01:02:23,600 Speaker 1: and if I get one guy in and it happens 1139 01:02:23,640 --> 01:02:27,360 Speaker 1: to be the all rock guy, they're gonna kill me. 1140 01:02:27,920 --> 01:02:31,480 Speaker 1: I'm just starting to make friends, you know. He said, well, 1141 01:02:31,520 --> 01:02:34,480 Speaker 1: just let me pitch. Having pitched one thing, I said, 1142 01:02:34,480 --> 01:02:36,880 Speaker 1: we'll make sure it's not a full song and make 1143 01:02:36,920 --> 01:02:40,400 Speaker 1: sure that um if we if we don't like it, 1144 01:02:40,480 --> 01:02:42,400 Speaker 1: we don't have to take it. And if we do 1145 01:02:42,480 --> 01:02:45,000 Speaker 1: like it, then we can write it to make it 1146 01:02:45,040 --> 01:02:47,480 Speaker 1: fit as sugar Land because we're the only people who 1147 01:02:47,520 --> 01:02:49,720 Speaker 1: know how to make a Sugarland song. No, we've never 1148 01:02:49,960 --> 01:02:54,440 Speaker 1: cut an outside song. And uh he pitched us that chorus, 1149 01:02:54,480 --> 01:02:56,280 Speaker 1: and it freaked me out. I loved it so much. 1150 01:02:56,400 --> 01:03:03,120 Speaker 1: How does the chorus? It was the going Beat Again, 1151 01:03:03,320 --> 01:03:05,360 Speaker 1: hawk Beat Again, And he had a co writer named 1152 01:03:05,360 --> 01:03:08,880 Speaker 1: Shy Carter who was new in town. He was like 1153 01:03:08,920 --> 01:03:11,680 Speaker 1: a Nellie writer or had written in the Nellie's camp. 1154 01:03:12,400 --> 01:03:16,560 Speaker 1: And I was half being kind to Travis to just 1155 01:03:17,400 --> 01:03:20,120 Speaker 1: because he asked me, and I felt guilt. And then 1156 01:03:20,400 --> 01:03:22,960 Speaker 1: the other half is the song was so catchy and 1157 01:03:23,000 --> 01:03:25,640 Speaker 1: it was at the very end of our recording sessions, 1158 01:03:25,640 --> 01:03:28,640 Speaker 1: and I was like, geez, Jennifer I kind of like this. 1159 01:03:28,920 --> 01:03:30,960 Speaker 1: It scares me and I like things that scare me 1160 01:03:30,960 --> 01:03:34,080 Speaker 1: a little. And she listened to it and she's like, Okay, 1161 01:03:34,240 --> 01:03:37,600 Speaker 1: I'm game. So we wrote the rest of it and 1162 01:03:37,640 --> 01:03:39,560 Speaker 1: sent it back to them and said do you hate this? 1163 01:03:39,640 --> 01:03:41,600 Speaker 1: And they're like no, no, no. I got right ahead 1164 01:03:42,240 --> 01:03:49,440 Speaker 1: and we recorded it that day and Kevin, you know, 1165 01:03:49,480 --> 01:03:51,520 Speaker 1: I had to keep calling him because I said, you know, 1166 01:03:51,560 --> 01:03:54,040 Speaker 1: this is gonna be a single. The label likes it 1167 01:03:54,080 --> 01:03:57,439 Speaker 1: the most, and it's got to like a rap part 1168 01:03:57,480 --> 01:03:59,120 Speaker 1: in the back of it. I hope you don't hate it. 1169 01:03:59,160 --> 01:04:01,960 Speaker 1: But we were gonna we were going to get a 1170 01:04:01,960 --> 01:04:05,040 Speaker 1: guy from Atlanta to rap and he wanted like hard 1171 01:04:05,080 --> 01:04:09,840 Speaker 1: cold cash. We thought, well, with save the money and Jennifer, 1172 01:04:09,840 --> 01:04:11,440 Speaker 1: why don't you just do it? So I went upstairs 1173 01:04:11,440 --> 01:04:13,600 Speaker 1: and we wrote the rap in the back of it, 1174 01:04:14,000 --> 01:04:17,800 Speaker 1: and then people started on radio cutting the rap out 1175 01:04:18,680 --> 01:04:23,320 Speaker 1: and like radio programmers were shortening the song on their own, 1176 01:04:23,800 --> 01:04:25,960 Speaker 1: and it caused a bit of a stir, and so 1177 01:04:26,040 --> 01:04:28,160 Speaker 1: I had to call Kevin and say, Kevin, I don't 1178 01:04:28,200 --> 01:04:30,840 Speaker 1: know your co writer, but can you get him to 1179 01:04:30,920 --> 01:04:33,800 Speaker 1: keep signing off on these promos because the writers all 1180 01:04:33,840 --> 01:04:37,560 Speaker 1: have to agree to things, and I didn't know the guy, 1181 01:04:37,600 --> 01:04:40,160 Speaker 1: and he was causing trouble. He was like, no, I'm 1182 01:04:40,160 --> 01:04:42,120 Speaker 1: not gonna sign that, and I'm not gonna do this. 1183 01:04:42,200 --> 01:04:43,680 Speaker 1: And I was like, look, Kevin, you need to get 1184 01:04:43,680 --> 01:04:47,240 Speaker 1: your buddy in law because I've been over backwards to 1185 01:04:47,240 --> 01:04:49,360 Speaker 1: make this work and I love it and I think 1186 01:04:49,400 --> 01:04:54,520 Speaker 1: it's actually polarizing enough that people are listening to it, 1187 01:04:55,600 --> 01:04:58,440 Speaker 1: and it sounds enough like Shirleian, but also it was weird. 1188 01:04:59,320 --> 01:05:02,000 Speaker 1: You know, it's challenging people because no one had ever 1189 01:05:02,080 --> 01:05:04,960 Speaker 1: had a rap or anything all. Dean didn't exist with 1190 01:05:05,080 --> 01:05:11,960 Speaker 1: his collaborations yet and so we were kind of getting 1191 01:05:12,520 --> 01:05:17,360 Speaker 1: carved out of Oh. I think Jennifer and Christian went 1192 01:05:17,400 --> 01:05:19,840 Speaker 1: off the reservation. I think we're now done with the 1193 01:05:19,880 --> 01:05:23,120 Speaker 1: big string of hits with sugar Land and the record. 1194 01:05:23,160 --> 01:05:25,880 Speaker 1: They will kind of stayed on it, and Shy came 1195 01:05:25,920 --> 01:05:30,280 Speaker 1: around and started to understand that he could get more 1196 01:05:30,320 --> 01:05:33,560 Speaker 1: business if we did this, and uh, and then things 1197 01:05:33,600 --> 01:05:36,240 Speaker 1: started to smooth out and that that song went really 1198 01:05:36,280 --> 01:05:38,440 Speaker 1: well and the album sold really well, and we then 1199 01:05:38,440 --> 01:05:41,840 Speaker 1: we launched probably the most ambitious tour we've ever done 1200 01:05:42,560 --> 01:05:44,600 Speaker 1: was that tour. If you saw a sugar Land tour 1201 01:05:46,040 --> 01:05:48,960 Speaker 1: that you will never forget. It will be that. I 1202 01:05:49,000 --> 01:05:51,560 Speaker 1: remember we were playing and you've been nice enough to 1203 01:05:51,880 --> 01:05:54,840 Speaker 1: play with my goofy band, the Raging Idiots, and I 1204 01:05:55,760 --> 01:05:58,400 Speaker 1: was like, Christian I felt. I was like, we played, 1205 01:05:58,440 --> 01:06:00,520 Speaker 1: You're like, no problem, play get talking about with sing songs? 1206 01:06:00,960 --> 01:06:03,840 Speaker 1: And I ask and you said, Hey, when you're playing stadiums, like, 1207 01:06:03,960 --> 01:06:06,240 Speaker 1: is it just amazing? You know? You know what? Sometimes 1208 01:06:06,240 --> 01:06:08,400 Speaker 1: sound done work in stadiums. Either it's like you're playing 1209 01:06:08,400 --> 01:06:10,120 Speaker 1: at a bar, like you get it, you get one 1210 01:06:10,200 --> 01:06:15,760 Speaker 1: year that where it's just bigger. I still remember that conversation. 1211 01:06:16,040 --> 01:06:18,960 Speaker 1: You're like, you think it's everything's perfect, but sometimes it's 1212 01:06:19,000 --> 01:06:22,920 Speaker 1: worse because there's just so many more things to happen. Yeah, 1213 01:06:23,480 --> 01:06:25,280 Speaker 1: like that you're messing with in your head that nobody 1214 01:06:25,320 --> 01:06:28,560 Speaker 1: even knows. Yeah, there's a whole psychology to performance that 1215 01:06:29,040 --> 01:06:32,200 Speaker 1: on those large scales. That's that's super interesting, and it's 1216 01:06:32,200 --> 01:06:36,440 Speaker 1: there's no one to ask because not a lot of people, 1217 01:06:37,240 --> 01:06:39,080 Speaker 1: you know. I remember asking Kenny, how do you start 1218 01:06:39,120 --> 01:06:42,200 Speaker 1: your show in the back of the stadium and he said, oh, 1219 01:06:42,480 --> 01:06:44,800 Speaker 1: because you can't. Once you walk out in front of 1220 01:06:44,800 --> 01:06:48,600 Speaker 1: those stadium speakers. The delay is so great. That in 1221 01:06:48,680 --> 01:06:53,680 Speaker 1: your microphone. You're hearing yourself two or three seconds after 1222 01:06:53,720 --> 01:06:57,840 Speaker 1: you're singing right. And I said, how do you do 1223 01:06:57,880 --> 01:06:59,520 Speaker 1: it on the other end of the stadium when you're 1224 01:06:59,560 --> 01:07:03,080 Speaker 1: like come up out of the ground magically? He said, Oh, 1225 01:07:03,160 --> 01:07:06,760 Speaker 1: I learned this from the rolling stones. The flicker light. 1226 01:07:07,200 --> 01:07:10,000 Speaker 1: There's a strobe that keeps you on time. Just sing 1227 01:07:10,000 --> 01:07:13,480 Speaker 1: to the to the light. So how do you learn 1228 01:07:13,560 --> 01:07:16,120 Speaker 1: that unless somebody you're in a stadium of practice? Right? 1229 01:07:16,360 --> 01:07:17,760 Speaker 1: What is that? What you guys did? You're in a 1230 01:07:17,760 --> 01:07:21,040 Speaker 1: big space of practice, this singing to no no. But 1231 01:07:22,160 --> 01:07:24,720 Speaker 1: it's invaluable that kind of wisdom. And that's why I 1232 01:07:24,800 --> 01:07:28,520 Speaker 1: take my mentoring so seriously. When I'm working with new artist, 1233 01:07:28,600 --> 01:07:31,880 Speaker 1: is like, look, there's no book, and most of these 1234 01:07:31,880 --> 01:07:34,800 Speaker 1: people quit and the people who taught me are not 1235 01:07:34,840 --> 01:07:37,600 Speaker 1: here to teach you. So it's my job to pass 1236 01:07:37,640 --> 01:07:40,880 Speaker 1: this flag onto you. Here are the following tricks I learned. 1237 01:07:41,560 --> 01:07:46,600 Speaker 1: Go pass it on to somebody else. You guys have 1238 01:07:46,720 --> 01:07:49,920 Speaker 1: this phone conversation you're talking about coming back, and you 1239 01:07:50,040 --> 01:07:58,320 Speaker 1: come back, and then here's this song when you hear 1240 01:07:58,320 --> 01:08:01,200 Speaker 1: it on the radio again after you've been through it 1241 01:08:01,280 --> 01:08:03,880 Speaker 1: and not through it, and is it cool to here 1242 01:08:03,880 --> 01:08:06,320 Speaker 1: struggle in on the radio again. I haven't heard it yet. 1243 01:08:06,640 --> 01:08:10,240 Speaker 1: You have it. My friends have all heard it, and 1244 01:08:10,280 --> 01:08:12,280 Speaker 1: my kids have heard it, and I was like, oh, 1245 01:08:12,280 --> 01:08:14,320 Speaker 1: I can't wait for me to hear it. And you know, 1246 01:08:14,400 --> 01:08:17,400 Speaker 1: it doesn't count if someone knows you're listening and they 1247 01:08:17,400 --> 01:08:19,720 Speaker 1: play it. I tell this new artist too. If if 1248 01:08:19,720 --> 01:08:22,000 Speaker 1: you're in the station and they go, hey, Jimmy, Jim's 1249 01:08:22,000 --> 01:08:23,719 Speaker 1: coming in. Here's this new song. We know he's listening 1250 01:08:23,800 --> 01:08:29,439 Speaker 1: right now, that doesn't count. You gotta you gotta discover it, huh. 1251 01:08:29,680 --> 01:08:33,040 Speaker 1: And I'm really excited to know because as a producer, 1252 01:08:33,080 --> 01:08:34,880 Speaker 1: you know, I produced this song as well as wrote it. 1253 01:08:35,680 --> 01:08:38,920 Speaker 1: And there's things I want to know on because radio 1254 01:08:39,000 --> 01:08:42,599 Speaker 1: processing does something to songs. And I learned from Hugh Pagum, 1255 01:08:42,640 --> 01:08:45,560 Speaker 1: who's the guy who made the Police records and the 1256 01:08:45,960 --> 01:08:50,040 Speaker 1: Phil Collins records, and he taught me things about how 1257 01:08:50,080 --> 01:08:52,479 Speaker 1: to record stuff so that when it gets on the radio, 1258 01:08:52,600 --> 01:08:59,760 Speaker 1: it sounds bigger. And that was in three and his 1259 01:09:00,120 --> 01:09:02,720 Speaker 1: rules I applied to this song and I still want 1260 01:09:02,760 --> 01:09:05,720 Speaker 1: to see if it's true. Well, after you hear it 1261 01:09:05,760 --> 01:09:08,800 Speaker 1: on the radio, you let me know, because you know, 1262 01:09:08,880 --> 01:09:10,479 Speaker 1: I was just I was looking at a lot of 1263 01:09:10,520 --> 01:09:12,320 Speaker 1: you because I I love that solo album that you 1264 01:09:12,360 --> 01:09:13,960 Speaker 1: did too, and I know what I've been talking about that, 1265 01:09:13,960 --> 01:09:16,200 Speaker 1: But I even thought after the solo abum, I thought 1266 01:09:16,240 --> 01:09:19,040 Speaker 1: sing Along was such a freaking good song. You hear 1267 01:09:19,160 --> 01:09:27,920 Speaker 1: it going, so I remember playing it. Christian. I get 1268 01:09:28,000 --> 01:09:32,400 Speaker 1: really disenfranchised with the bubble of Nashville, which is why 1269 01:09:32,439 --> 01:09:35,360 Speaker 1: I'm also polarizing, because I will yell at myself, which 1270 01:09:35,400 --> 01:09:38,200 Speaker 1: means my people, and be like, what are you thinking? 1271 01:09:38,240 --> 01:09:40,519 Speaker 1: Like you're just not seeing the forest in the tree 1272 01:09:40,640 --> 01:09:44,559 Speaker 1: sometimes and I thought that twice with your songs with 1273 01:09:45,200 --> 01:09:47,479 Speaker 1: trailer Heads and sing Along. I remember playing sing Along 1274 01:09:47,520 --> 01:09:50,000 Speaker 1: like crazy, Hey, listen to this. You know who cares. 1275 01:09:50,040 --> 01:09:53,360 Speaker 1: I'm on a hundred stations and I have the like 1276 01:09:53,439 --> 01:09:55,639 Speaker 1: the love of this song. How can you and Paduca 1277 01:09:55,760 --> 01:09:58,479 Speaker 1: not love It's just you're not taking a risk. I 1278 01:09:58,479 --> 01:10:02,519 Speaker 1: don't know. It's so frustrated, Chase. Maybe well, I thank you, 1279 01:10:02,640 --> 01:10:05,200 Speaker 1: first of all. I'm not asking for thanks because I 1280 01:10:05,240 --> 01:10:07,519 Speaker 1: just thought it was that good. If you were not here, 1281 01:10:07,520 --> 01:10:10,680 Speaker 1: I would say the same thing. I'm so disappointed in 1282 01:10:11,200 --> 01:10:13,360 Speaker 1: just what the people that do what I do, and 1283 01:10:13,600 --> 01:10:16,519 Speaker 1: I disappoint people too. I know that, but they all 1284 01:10:16,520 --> 01:10:18,920 Speaker 1: disappointed me in this that sense. Well, you're a music fan, 1285 01:10:19,000 --> 01:10:22,519 Speaker 1: which is different than being a radio host, Okay, and 1286 01:10:22,680 --> 01:10:26,519 Speaker 1: I'll you gotta you gotta accept that. But um, I 1287 01:10:26,560 --> 01:10:32,080 Speaker 1: will say that, uh before this sugaring phono game, I've 1288 01:10:32,120 --> 01:10:35,360 Speaker 1: finished my next solo album which is now sitting here 1289 01:10:35,880 --> 01:10:40,559 Speaker 1: waiting and I cannot wait to play it for people. 1290 01:10:40,600 --> 01:10:45,080 Speaker 1: I can't do that yet, but um, holy smokes, I 1291 01:10:45,120 --> 01:10:49,599 Speaker 1: had no idea, um that all the stuff was gonna 1292 01:10:49,680 --> 01:10:53,320 Speaker 1: land on top of each other. But I'm very grateful. 1293 01:10:54,360 --> 01:10:56,160 Speaker 1: But I'll tell you this much, and I love it 1294 01:10:56,200 --> 01:10:58,160 Speaker 1: because I like it that you're the only one who 1295 01:10:58,240 --> 01:11:02,920 Speaker 1: kind of gets this information. Um. I got encouraged by 1296 01:11:02,960 --> 01:11:07,280 Speaker 1: my wonderful manager over there and uh and and my 1297 01:11:07,320 --> 01:11:11,640 Speaker 1: publisher at the time still what publisher, Julie and the 1298 01:11:11,720 --> 01:11:15,559 Speaker 1: two of them, I played a show on the fourth 1299 01:11:15,560 --> 01:11:18,519 Speaker 1: of July this past year, and I got asked to 1300 01:11:18,560 --> 01:11:20,640 Speaker 1: do it by the guys that I sit on the 1301 01:11:20,680 --> 01:11:24,400 Speaker 1: Grammy board in Atlanta with and a guy named h J. 1302 01:11:24,560 --> 01:11:27,880 Speaker 1: Fly who's the a drummer an R and B like 1303 01:11:28,000 --> 01:11:30,200 Speaker 1: huge session drummer, and he also played with like Bobby 1304 01:11:30,240 --> 01:11:33,839 Speaker 1: Brown and all sorts. Of people. And he said, Christian, 1305 01:11:33,920 --> 01:11:35,679 Speaker 1: will you please come out and play? I keep asking 1306 01:11:35,680 --> 01:11:37,639 Speaker 1: you every year, but will you and your brother please 1307 01:11:37,680 --> 01:11:40,120 Speaker 1: come out and play my Fourth of July show. It's 1308 01:11:40,160 --> 01:11:43,920 Speaker 1: on television. It's downtown in Centennial Park. And I was 1309 01:11:43,960 --> 01:11:48,519 Speaker 1: like absolutely. I had no excuse this year. I was like, okay, 1310 01:11:48,600 --> 01:11:51,040 Speaker 1: j I'll come because I really did need to and 1311 01:11:51,120 --> 01:11:54,080 Speaker 1: I had been busy the other years and this year 1312 01:11:54,160 --> 01:11:56,280 Speaker 1: I was free and there was no reason I shouldn't 1313 01:11:56,280 --> 01:11:58,479 Speaker 1: do that. But I told him, I said, Jay, you 1314 01:11:58,520 --> 01:12:02,240 Speaker 1: know I can't imagine that. You know, sixty African American 1315 01:12:02,280 --> 01:12:06,240 Speaker 1: people are going to know Trailer Hitch or baby Girl. 1316 01:12:06,520 --> 01:12:08,680 Speaker 1: So what do you want me to play? Like? I'm 1317 01:12:08,680 --> 01:12:11,000 Speaker 1: trying to be entertaining for you. I want to I 1318 01:12:11,000 --> 01:12:16,320 Speaker 1: want to reflect well on you help me. And He's like, oh, 1319 01:12:16,360 --> 01:12:19,840 Speaker 1: I love trailer which and I said okay, and I 1320 01:12:20,520 --> 01:12:23,000 Speaker 1: we we rolled in. We did sound check and they 1321 01:12:23,000 --> 01:12:26,879 Speaker 1: were five background singers and they're like seven horn players 1322 01:12:27,439 --> 01:12:34,040 Speaker 1: and three keyword guys and I they landed a freaking 1323 01:12:34,080 --> 01:12:37,360 Speaker 1: earth wind and Fire song on top of Trailer Hitch 1324 01:12:37,400 --> 01:12:40,360 Speaker 1: and I have never been so happy in my entire life. 1325 01:12:40,800 --> 01:12:43,599 Speaker 1: And I remember turning around after that after we had 1326 01:12:43,600 --> 01:12:47,720 Speaker 1: finished the song, and I watched sixty strangers dance to 1327 01:12:47,800 --> 01:12:51,360 Speaker 1: a song they probably never heard, and I turned around 1328 01:12:51,360 --> 01:12:54,880 Speaker 1: to Jay and I was like, country music meets this party. 1329 01:12:55,479 --> 01:12:57,559 Speaker 1: I don't think it's ever seen this party, and this 1330 01:12:57,560 --> 01:13:00,720 Speaker 1: party needs to happen, and we ever get a chance, 1331 01:13:00,800 --> 01:13:03,200 Speaker 1: let's do that. And I left the stage, and I 1332 01:13:03,240 --> 01:13:05,800 Speaker 1: thinked everybody, and I went on with my day, and 1333 01:13:07,760 --> 01:13:09,639 Speaker 1: I think I said the same thing to to Whitney 1334 01:13:09,640 --> 01:13:11,720 Speaker 1: and to Julian and even my brother Brandon. He's like, well, 1335 01:13:11,760 --> 01:13:13,240 Speaker 1: why don't we do it? And I'm like, oh no, 1336 01:13:13,439 --> 01:13:16,040 Speaker 1: we can never do that. I don't even think I 1337 01:13:16,080 --> 01:13:18,479 Speaker 1: have the songs for stuff like that. And they were like, 1338 01:13:18,520 --> 01:13:21,760 Speaker 1: you have millions of songs, just go through them and 1339 01:13:21,800 --> 01:13:25,479 Speaker 1: figure it out. So I had this crazy thing happened 1340 01:13:25,479 --> 01:13:28,080 Speaker 1: where I took songs that I normally write songs in 1341 01:13:28,080 --> 01:13:30,920 Speaker 1: Atlanta and bring them to Nashville and record them with 1342 01:13:31,000 --> 01:13:35,679 Speaker 1: Nashville great Nashville musicians, And in this case, I took 1343 01:13:35,680 --> 01:13:38,320 Speaker 1: a bunch of songs I wrote in Nashville and took 1344 01:13:38,360 --> 01:13:43,920 Speaker 1: them to Atlanta and played them with that band. And 1345 01:13:45,479 --> 01:13:48,800 Speaker 1: I couldn't be more confused as to how to ever 1346 01:13:48,920 --> 01:13:54,360 Speaker 1: perform these songs live. Like I I remember calling you 1347 01:13:54,560 --> 01:13:58,200 Speaker 1: and saying, I just recorded something I can never play 1348 01:13:58,439 --> 01:14:01,720 Speaker 1: because I don't know how to do it. Um. It 1349 01:14:01,800 --> 01:14:06,120 Speaker 1: was like Aretha Franklin's horn section and Jill Scott's horn section. 1350 01:14:06,200 --> 01:14:09,160 Speaker 1: And I was like justin timber Lakes music directors in there, 1351 01:14:09,360 --> 01:14:15,080 Speaker 1: and and and I mean it was insane what was happening. 1352 01:14:15,560 --> 01:14:18,760 Speaker 1: And I love the fact that it felt like I 1353 01:14:18,840 --> 01:14:22,599 Speaker 1: was coming so out of control. I was discovering my 1354 01:14:22,720 --> 01:14:27,760 Speaker 1: songs through the fingers and the mouths and the rhythms 1355 01:14:27,800 --> 01:14:31,120 Speaker 1: of people that were complete strangers to me. And it 1356 01:14:31,400 --> 01:14:37,040 Speaker 1: made so much sense. So in a lot of ways, Um, 1357 01:14:37,080 --> 01:14:39,639 Speaker 1: it felt a lot like what I had imagined Paul 1358 01:14:39,680 --> 01:14:42,760 Speaker 1: Simon felt like when he made Grace Land, Like you 1359 01:14:42,880 --> 01:14:45,960 Speaker 1: took songs that you knew in a place that you 1360 01:14:46,000 --> 01:14:50,400 Speaker 1: didn't know, and you stopped holding onto it so tightly 1361 01:14:50,960 --> 01:14:53,640 Speaker 1: and you started to discover what's going on around you. 1362 01:14:54,520 --> 01:14:56,160 Speaker 1: And when you say that, you think of that record, 1363 01:14:56,200 --> 01:14:59,839 Speaker 1: it's like, you know, diamonds, Yeah, and how that song start? 1364 01:15:00,439 --> 01:15:03,439 Speaker 1: I mean, I have that there are things on this 1365 01:15:03,640 --> 01:15:05,639 Speaker 1: set of recordings that I just did that I don't 1366 01:15:05,640 --> 01:15:09,639 Speaker 1: know how it happened. Well, I don't know when it's 1367 01:15:09,640 --> 01:15:12,160 Speaker 1: gonna come out, but I'll listen. I can't. I cannot 1368 01:15:12,200 --> 01:15:14,280 Speaker 1: wait to share it with everyone, and and I hope 1369 01:15:14,280 --> 01:15:18,439 Speaker 1: it happens this this calendar year. Um, maybe in pieces 1370 01:15:18,479 --> 01:15:22,960 Speaker 1: or parts it'll start to happen, especially with the you know, 1371 01:15:23,040 --> 01:15:25,400 Speaker 1: new attention on shore Land. I'm sure people will start 1372 01:15:25,439 --> 01:15:28,519 Speaker 1: digging backwards through our catalogs and our solo records and 1373 01:15:28,560 --> 01:15:31,439 Speaker 1: things and start to really assimilate. And I may be 1374 01:15:31,439 --> 01:15:33,080 Speaker 1: able to play some of these, I mean, if I 1375 01:15:33,080 --> 01:15:35,880 Speaker 1: can physically do it. UM, play some of these on 1376 01:15:35,960 --> 01:15:40,080 Speaker 1: while we're on tour. And I'm just super excited. So 1377 01:15:40,160 --> 01:15:43,519 Speaker 1: thank you for me for supporting things. Well, what I 1378 01:15:44,479 --> 01:15:47,439 Speaker 1: like you? But if it wasn't good, I was apported, Well, 1379 01:15:47,479 --> 01:15:50,400 Speaker 1: I I appreciate that. Like, don't play the ones that 1380 01:15:50,479 --> 01:15:56,000 Speaker 1: saw Yeah, I try not to have so much. Um, 1381 01:15:56,280 --> 01:15:58,280 Speaker 1: do you have any more spots that we could perfect? 1382 01:15:58,320 --> 01:16:00,559 Speaker 1: Because I have more things? Okay you brother? By the way, 1383 01:16:00,600 --> 01:16:05,280 Speaker 1: Brandon Brandon Bush just from Lindsey, I've been I've been 1384 01:16:05,280 --> 01:16:08,439 Speaker 1: Brandon before, but just from Lindsay working with she comes 1385 01:16:08,479 --> 01:16:10,120 Speaker 1: in It's like Brandon is one of the greatest musicians. 1386 01:16:10,120 --> 01:16:12,639 Speaker 1: I've ever seen him with my eyeball. And Brandon also 1387 01:16:12,640 --> 01:16:14,920 Speaker 1: played with Train, right, Yeah, he was the piano player 1388 01:16:14,960 --> 01:16:17,720 Speaker 1: and trained. He likes to call it the nadier of 1389 01:16:17,760 --> 01:16:22,040 Speaker 1: their career, but he he got the job after Drops 1390 01:16:22,040 --> 01:16:25,760 Speaker 1: the Jupiter because they didn't have a piano player and 1391 01:16:26,120 --> 01:16:27,720 Speaker 1: did they have to get one because of that song. 1392 01:16:29,400 --> 01:16:35,559 Speaker 1: Apparently that's what Brandon's job was. So um they they 1393 01:16:35,760 --> 01:16:38,280 Speaker 1: had the song happen and then they just put the 1394 01:16:38,320 --> 01:16:42,400 Speaker 1: piano on track because they didn't have anybody who played it. 1395 01:16:43,760 --> 01:16:45,960 Speaker 1: And then he went out to audition on the calling 1396 01:16:46,000 --> 01:16:48,800 Speaker 1: a meaning they're playing live for the computers. It's a 1397 01:16:48,840 --> 01:16:52,080 Speaker 1: button to play the piano. There was a computer playing 1398 01:16:52,080 --> 01:16:54,479 Speaker 1: the piano and then they played to the click in 1399 01:16:54,520 --> 01:16:58,280 Speaker 1: their ears. But that song was so popular that I 1400 01:16:58,320 --> 01:17:00,640 Speaker 1: don't care who you are once it comes on you 1401 01:17:00,640 --> 01:17:03,560 Speaker 1: start singing it. You know. It was It was Pavlaviam 1402 01:17:03,560 --> 01:17:05,559 Speaker 1: for me, and I loved the song. When it came 1403 01:17:05,600 --> 01:17:08,040 Speaker 1: on the radio, I was like, oh my gosh, this 1404 01:17:08,120 --> 01:17:11,160 Speaker 1: is everything I wanted from Elton John except through pat 1405 01:17:11,800 --> 01:17:17,280 Speaker 1: Yeh Monahan. You know. It was so good and um 1406 01:17:17,439 --> 01:17:19,040 Speaker 1: Train was kind of borne out of the same space 1407 01:17:19,040 --> 01:17:21,479 Speaker 1: as Billy Pilgrim and kind of a little bit before 1408 01:17:21,600 --> 01:17:23,200 Speaker 1: John Mayer. It was the same of the aware of 1409 01:17:23,240 --> 01:17:26,000 Speaker 1: people or the people Ladderman and all the people are 1410 01:17:26,240 --> 01:17:31,840 Speaker 1: that discovered both of them. And Brandon joined the band 1411 01:17:32,000 --> 01:17:34,559 Speaker 1: as a sideman, and then they were like, oh my god, 1412 01:17:34,560 --> 01:17:36,519 Speaker 1: the same thing as lindsay, you're so talented, can you 1413 01:17:36,560 --> 01:17:39,439 Speaker 1: just be a part of our band? So he joined 1414 01:17:39,439 --> 01:17:42,240 Speaker 1: into the band all right, as Calling All Angels. That 1415 01:17:42,280 --> 01:17:44,880 Speaker 1: next record came out, and he was there all the 1416 01:17:44,920 --> 01:17:47,280 Speaker 1: way through the Ascension of sugar Land. And when Pat 1417 01:17:47,320 --> 01:17:49,760 Speaker 1: started making solo records, I called Brandon. I said, Man, 1418 01:17:49,760 --> 01:17:52,320 Speaker 1: we're playing stadiums. Will you come. I think we can 1419 01:17:52,320 --> 01:17:56,760 Speaker 1: afford a keyboard player? And uh, he plays every record 1420 01:17:56,800 --> 01:18:02,280 Speaker 1: I've ever made since I was thirteen. There's not been 1421 01:18:02,320 --> 01:18:05,400 Speaker 1: a record he hasn't been on that I've either produced 1422 01:18:05,439 --> 01:18:10,559 Speaker 1: or it wasn't an artist. I mean two kids that 1423 01:18:10,880 --> 01:18:13,400 Speaker 1: because you played by ear, you know you would hear 1424 01:18:13,520 --> 01:18:17,599 Speaker 1: things and play things. And to get that once is 1425 01:18:17,920 --> 01:18:20,479 Speaker 1: a lottery win with a kid who but to get 1426 01:18:20,520 --> 01:18:24,400 Speaker 1: that twice with one the work ethic but to the 1427 01:18:24,520 --> 01:18:27,559 Speaker 1: natural ability, and it's always a combination. If you just 1428 01:18:27,600 --> 01:18:29,639 Speaker 1: have even a whole lot of one. It usually doesn't 1429 01:18:29,640 --> 01:18:32,439 Speaker 1: work out. You gotta have some collective of both, and 1430 01:18:32,479 --> 01:18:35,040 Speaker 1: they can be different levels. But you and your brother 1431 01:18:35,160 --> 01:18:38,519 Speaker 1: both where why where did that come from? I don't 1432 01:18:38,560 --> 01:18:42,000 Speaker 1: know that's that's so, but it was part of our 1433 01:18:42,120 --> 01:18:46,120 Speaker 1: our are raised like we were raised. Um, we both 1434 01:18:46,160 --> 01:18:50,320 Speaker 1: got signed up for the same Japanese experimental program. We were. 1435 01:18:50,439 --> 01:18:53,439 Speaker 1: We were kind of guinea pigs at the University of Tennessee. 1436 01:18:53,520 --> 01:18:56,720 Speaker 1: You're not making a joke. I'm not making a joke. Um. 1437 01:18:56,800 --> 01:18:58,960 Speaker 1: There is a program called the Suzuki method, which was 1438 01:18:59,000 --> 01:19:02,120 Speaker 1: this Japanese idea that if children learned music at the 1439 01:19:02,160 --> 01:19:04,599 Speaker 1: time their brains learned language, they would learn it as 1440 01:19:04,600 --> 01:19:07,360 Speaker 1: a language. And at the time, in the early seventies, 1441 01:19:07,400 --> 01:19:09,800 Speaker 1: it was just a theory that nobody had proved it, 1442 01:19:10,200 --> 01:19:13,519 Speaker 1: but they were running pilot programs around America, and the 1443 01:19:13,600 --> 01:19:16,160 Speaker 1: University of Tennessee Knoxville was one of the pilot programs. 1444 01:19:16,200 --> 01:19:17,960 Speaker 1: And my mother signed me up when I was three, 1445 01:19:18,880 --> 01:19:23,120 Speaker 1: and so I played violin and I was from not Knoxville. 1446 01:19:23,160 --> 01:19:26,280 Speaker 1: I was from the mountains outside of Knoxville. So they 1447 01:19:26,280 --> 01:19:30,400 Speaker 1: called them fiddles. But I was playing like Bach and 1448 01:19:30,560 --> 01:19:36,240 Speaker 1: Vivaldi and stuff by ear and As soon as my 1449 01:19:36,320 --> 01:19:39,320 Speaker 1: brother was three years old, he did the same thing, 1450 01:19:40,840 --> 01:19:43,120 Speaker 1: and within a couple of years he was like, can 1451 01:19:43,200 --> 01:19:47,519 Speaker 1: I not play violin? Can I play piano? And that 1452 01:19:47,600 --> 01:19:50,960 Speaker 1: happened so that by the time I was in middle school, 1453 01:19:51,320 --> 01:19:56,120 Speaker 1: I was really being made fun of for moving a 1454 01:19:56,200 --> 01:19:58,719 Speaker 1: violin case around because I was being kind of shipped 1455 01:19:58,720 --> 01:20:02,760 Speaker 1: into the Knoxville for school. My parents like, we're trying 1456 01:20:02,800 --> 01:20:07,280 Speaker 1: to get me into a private school. And I begged 1457 01:20:07,320 --> 01:20:10,439 Speaker 1: my mother to let me play guitar. I just begged her, 1458 01:20:10,840 --> 01:20:13,760 Speaker 1: and she said, you know, if you can play one 1459 01:20:13,840 --> 01:20:16,760 Speaker 1: season in the youth Symphony, I'll let you do it. 1460 01:20:16,760 --> 01:20:20,040 Speaker 1: She knew I couldn't read music, so I I went 1461 01:20:20,080 --> 01:20:22,840 Speaker 1: the long way. I took my little walkman that should 1462 01:20:22,840 --> 01:20:25,400 Speaker 1: have just been invented at the time, and I've recorded 1463 01:20:25,439 --> 01:20:28,160 Speaker 1: the person next to me on Wednesdays and I would 1464 01:20:28,200 --> 01:20:30,479 Speaker 1: learn it on Thursday and Friday, and I would perform 1465 01:20:30,520 --> 01:20:33,920 Speaker 1: it on Saturday to it and then play it back. 1466 01:20:33,960 --> 01:20:36,200 Speaker 1: I played my ear and that's how I survived, and 1467 01:20:36,240 --> 01:20:38,160 Speaker 1: I got to learn to play guitar because once I 1468 01:20:38,200 --> 01:20:40,200 Speaker 1: got through that season, she gave me a guitar. And 1469 01:20:41,720 --> 01:20:44,240 Speaker 1: within a year I had said, Brandon, we need to 1470 01:20:44,240 --> 01:20:46,160 Speaker 1: make a record and I don't know how to do that. 1471 01:20:46,680 --> 01:20:50,799 Speaker 1: Let's figure it out. Do you believe in the Suzuki method? 1472 01:20:51,160 --> 01:20:53,599 Speaker 1: Oh yeah, I think it's pretty cool. It's changed a lot. 1473 01:20:54,120 --> 01:20:57,840 Speaker 1: That's my blood. And Brandon learned how to read music 1474 01:20:57,880 --> 01:21:01,880 Speaker 1: because they had incorporated it earlier than they did with me. 1475 01:21:02,000 --> 01:21:04,880 Speaker 1: I was so early in the program um and he 1476 01:21:05,280 --> 01:21:08,439 Speaker 1: is U an orchestrator. Now you know when I did 1477 01:21:08,439 --> 01:21:11,880 Speaker 1: the musical last year and Atlanta, he was the music director. 1478 01:21:11,920 --> 01:21:15,160 Speaker 1: He's he and I have scored things for turn of 1479 01:21:15,200 --> 01:21:19,600 Speaker 1: Classic movies like we we do things anytime. Sugarland has 1480 01:21:19,600 --> 01:21:22,240 Speaker 1: a string section like Still the same, the end of 1481 01:21:22,280 --> 01:21:26,280 Speaker 1: that has this giant string orchestra, and Brandon's scoring all 1482 01:21:26,320 --> 01:21:29,040 Speaker 1: of that. I mean, you got he did a musical 1483 01:21:29,800 --> 01:21:34,679 Speaker 1: yet your solo records sugar Land. You had a wedding 1484 01:21:34,720 --> 01:21:37,559 Speaker 1: song on the on the flupping Duke channels at one 1485 01:21:37,560 --> 01:21:40,240 Speaker 1: in the morning, and it's like Christian Buss sing about 1486 01:21:40,280 --> 01:21:45,400 Speaker 1: a dress on That's that's pretty nutty as nutty goes that. 1487 01:21:45,400 --> 01:21:49,400 Speaker 1: That is almost full Amon Joy crazy. I want to 1488 01:21:49,400 --> 01:21:52,160 Speaker 1: talk about your podcast, because let's talk about a podcast. 1489 01:21:52,840 --> 01:21:55,479 Speaker 1: It's called Geeking Out with Christian Bush. And it's about 1490 01:21:56,000 --> 01:21:59,680 Speaker 1: people that geek out about, not just music. No, it 1491 01:21:59,720 --> 01:22:01,160 Speaker 1: doesn't have to be you told me it didn't have 1492 01:22:01,200 --> 01:22:04,160 Speaker 1: to be done. And it's the best because in Granger 1493 01:22:04,240 --> 01:22:06,680 Speaker 1: you're talking to grand Smith in the first episode about beehives. 1494 01:22:07,000 --> 01:22:09,160 Speaker 1: I'm gonna tell you, I learned so much on this podcast. 1495 01:22:09,560 --> 01:22:10,840 Speaker 1: Have a friend that has be hives. But when you 1496 01:22:10,920 --> 01:22:14,880 Speaker 1: guys were sitting you're you're like talking and eating or after. 1497 01:22:15,439 --> 01:22:18,000 Speaker 1: But he's taught Granger Smith is so into beehives. And 1498 01:22:18,040 --> 01:22:20,559 Speaker 1: oh my god. First of all, I was a Grander. 1499 01:22:20,680 --> 01:22:22,599 Speaker 1: I know Grand you well, GRANDJ and I GRANJ lives 1500 01:22:22,600 --> 01:22:24,360 Speaker 1: in north of Boston. I lived on in the fourteen 1501 01:22:24,400 --> 01:22:26,800 Speaker 1: years that we have you know each other, yes, And 1502 01:22:26,840 --> 01:22:28,280 Speaker 1: I was thinking, I did not know you was to 1503 01:22:28,360 --> 01:22:30,519 Speaker 1: nerd about beehives. Then I thought, I didn't know behaves 1504 01:22:30,520 --> 01:22:33,759 Speaker 1: is so interesting. I had no idea. I had no idea. 1505 01:22:33,840 --> 01:22:36,080 Speaker 1: And that's what I love about this podcast. You know 1506 01:22:36,160 --> 01:22:39,799 Speaker 1: that when the when you had come to me and said, Christian, 1507 01:22:40,120 --> 01:22:42,439 Speaker 1: I'm interested in what you would be interested in. And 1508 01:22:42,479 --> 01:22:43,800 Speaker 1: I thought about it for a while and I think 1509 01:22:43,840 --> 01:22:48,720 Speaker 1: I sent you two or three ideas. And this has 1510 01:22:48,760 --> 01:22:52,200 Speaker 1: really stood the test of time. Of this concept that 1511 01:22:52,720 --> 01:22:56,280 Speaker 1: a podcast is good when you have rules, right, because 1512 01:22:56,280 --> 01:22:58,840 Speaker 1: they're boundaries that you can stay keep your conversations within. 1513 01:22:59,040 --> 01:23:01,400 Speaker 1: And so the rule for the podcast is, I want 1514 01:23:01,439 --> 01:23:03,760 Speaker 1: to talk to you about what you were completely into, 1515 01:23:03,800 --> 01:23:06,920 Speaker 1: what you are geeking out on that has nothing to 1516 01:23:06,960 --> 01:23:11,240 Speaker 1: do with your job. So people introduce themselves, they tell 1517 01:23:11,240 --> 01:23:13,320 Speaker 1: me what their job is, and then we stopped talking 1518 01:23:13,400 --> 01:23:17,559 Speaker 1: about their job, and they have to know what it 1519 01:23:17,640 --> 01:23:21,160 Speaker 1: is that you're interested in. And I learned so much 1520 01:23:22,360 --> 01:23:24,839 Speaker 1: you will not believe some of the things people say. 1521 01:23:25,160 --> 01:23:29,760 Speaker 1: I mean what Granger started talking about bees. I had 1522 01:23:29,800 --> 01:23:33,040 Speaker 1: so many questions and he had so many answers and 1523 01:23:33,160 --> 01:23:34,760 Speaker 1: all the answers, and I was also blown away at 1524 01:23:34,800 --> 01:23:38,920 Speaker 1: how much you knew about freaking beehives. Huh. But so 1525 01:23:39,040 --> 01:23:41,719 Speaker 1: I was this so on multi levels. I thought, Wow, 1526 01:23:41,720 --> 01:23:43,960 Speaker 1: that's weird Granger. Wow, bees do that. Wow, it's what 1527 01:23:44,040 --> 01:23:46,360 Speaker 1: Granger and bees do that. Christian, well you Christian just 1528 01:23:46,400 --> 01:23:49,120 Speaker 1: asked what I was thinking the whole thing. I was like, you, 1529 01:23:49,720 --> 01:23:51,920 Speaker 1: I'm interested if you like I told him, at some point, 1530 01:23:52,320 --> 01:23:54,400 Speaker 1: have you put a GoPro camera at the beginning at 1531 01:23:54,439 --> 01:23:56,479 Speaker 1: the opening of your beehive covers? I want to see 1532 01:23:56,479 --> 01:23:59,479 Speaker 1: the bouncers, you know that the bees that fight the 1533 01:23:59,479 --> 01:24:01,960 Speaker 1: other beasts you can't come in here, and who slips 1534 01:24:01,960 --> 01:24:05,479 Speaker 1: through and who doesn't. I mean, it's fascinating to me. 1535 01:24:05,680 --> 01:24:08,800 Speaker 1: And then the middle part of it, um I then 1536 01:24:08,840 --> 01:24:10,320 Speaker 1: we kind of take the same idea, but we do 1537 01:24:10,400 --> 01:24:13,120 Speaker 1: something really quick, like I trade you something, like I give, 1538 01:24:13,200 --> 01:24:14,840 Speaker 1: I turn you onto something, and then you turned me 1539 01:24:14,880 --> 01:24:19,920 Speaker 1: onto something. And he was talking about it's crazy cold 1540 01:24:19,960 --> 01:24:23,519 Speaker 1: water therapy where you dunk yourself into like fifty or 1541 01:24:23,520 --> 01:24:25,920 Speaker 1: forty degree water for a certain amount of time until 1542 01:24:26,000 --> 01:24:28,280 Speaker 1: all the blood rushes to your core and then you 1543 01:24:28,320 --> 01:24:30,479 Speaker 1: get out of the water and the blood all rushes 1544 01:24:30,520 --> 01:24:34,519 Speaker 1: back to your you know, extremities, and that somehow this 1545 01:24:35,320 --> 01:24:38,800 Speaker 1: cleanses your body like your bone marrow starts to make 1546 01:24:38,880 --> 01:24:43,960 Speaker 1: more blood, fresh blood, right, And I was just kind 1547 01:24:43,960 --> 01:24:46,640 Speaker 1: of looking at him like this is I had not 1548 01:24:46,920 --> 01:24:48,479 Speaker 1: was all I could see when I look at you 1549 01:24:48,520 --> 01:24:51,559 Speaker 1: as Earl Dibbeles Jr. And then like Granger Smith, and 1550 01:24:51,600 --> 01:24:55,000 Speaker 1: I just didn't expect naked Earl Dibbeles Jr. In a 1551 01:24:55,080 --> 01:24:59,280 Speaker 1: pool talking about bees, you know, like that is cool 1552 01:24:59,360 --> 01:25:02,759 Speaker 1: to me and is the most interesting part about people. 1553 01:25:02,880 --> 01:25:05,439 Speaker 1: And I love that this podcast is happening because I 1554 01:25:05,520 --> 01:25:09,080 Speaker 1: can't wait for other people to go through this process. Yeah, 1555 01:25:09,080 --> 01:25:11,760 Speaker 1: I went through and think my grander two is he 1556 01:25:11,760 --> 01:25:13,479 Speaker 1: he's really ripped like you wouldn't know it because can 1557 01:25:13,520 --> 01:25:17,160 Speaker 1: you just see Earl Oh, Yeah, man, Jack, he's and 1558 01:25:17,160 --> 01:25:19,760 Speaker 1: and you know, he doesn't seem like a guy that 1559 01:25:19,800 --> 01:25:23,920 Speaker 1: would tear his shirt off, right, But he's totally a 1560 01:25:23,960 --> 01:25:28,200 Speaker 1: guy who I can tell after meeting him and spending 1561 01:25:28,240 --> 01:25:30,680 Speaker 1: time with him. You know a lot of people when 1562 01:25:30,720 --> 01:25:32,160 Speaker 1: you feel like your life is out of control, you 1563 01:25:32,200 --> 01:25:34,519 Speaker 1: control the one thing you can your body, your haircut, 1564 01:25:34,560 --> 01:25:38,639 Speaker 1: your whatever. You control one thing that is completely within 1565 01:25:38,680 --> 01:25:42,880 Speaker 1: your control. And it seems like his life has brought 1566 01:25:43,000 --> 01:25:47,720 Speaker 1: him into a place of real joy controlling his body. 1567 01:25:47,920 --> 01:25:53,000 Speaker 1: And that's cool. I really enjoyed that guy. He's good. 1568 01:25:53,120 --> 01:25:56,559 Speaker 1: It's good guy, dude. And I gotta tell you. When 1569 01:25:56,600 --> 01:25:58,240 Speaker 1: I was on the record label and they told me 1570 01:25:58,280 --> 01:26:00,280 Speaker 1: they were signing him and I went in research him, 1571 01:26:00,320 --> 01:26:02,520 Speaker 1: I was like, I think this is a terrible idea. 1572 01:26:03,000 --> 01:26:06,439 Speaker 1: You know. I was really concerned about the message that 1573 01:26:06,439 --> 01:26:08,600 Speaker 1: the Earl Dibel's piece was doing. I was like, I 1574 01:26:08,640 --> 01:26:10,759 Speaker 1: don't think a lot of the fans know that he's kidding, 1575 01:26:11,000 --> 01:26:14,000 Speaker 1: so I'm talking. You know. I was like, I think, 1576 01:26:14,040 --> 01:26:16,920 Speaker 1: what I don't want white supremacis on my label, you know, 1577 01:26:17,120 --> 01:26:19,439 Speaker 1: like forget that. I don't think they understand that this 1578 01:26:19,520 --> 01:26:24,519 Speaker 1: is a farce. And uh it made me very nervous. 1579 01:26:24,600 --> 01:26:28,840 Speaker 1: And so I feel even doubly interested in him being 1580 01:26:28,840 --> 01:26:33,840 Speaker 1: the first guest, because I believe that um, in our 1581 01:26:33,880 --> 01:26:38,400 Speaker 1: time of bouncing through information so quickly, that someone would 1582 01:26:38,439 --> 01:26:41,080 Speaker 1: miss what a great guy he is. I think they can, 1583 01:26:41,200 --> 01:26:43,720 Speaker 1: and I think some do and some don't care. And 1584 01:26:44,040 --> 01:26:46,200 Speaker 1: you look at his accounts. I think Earl Dobels has 1585 01:26:46,400 --> 01:26:48,680 Speaker 1: a couple million followers, and Green Dress a couple tho. 1586 01:26:49,360 --> 01:26:51,719 Speaker 1: You know what, I'd be happy to provide a rabbit 1587 01:26:51,720 --> 01:26:54,400 Speaker 1: hole for people to go dive into to find out more. 1588 01:26:55,600 --> 01:26:58,360 Speaker 1: Geeking out Christian Bush, I think it's fantastic. I just 1589 01:26:58,520 --> 01:27:00,240 Speaker 1: I feel like we could sit here for three hours 1590 01:27:00,280 --> 01:27:04,559 Speaker 1: and just talk and then we have And I'll tell you, 1591 01:27:05,200 --> 01:27:07,240 Speaker 1: just because I got so close to the Lindsay project 1592 01:27:07,720 --> 01:27:10,519 Speaker 1: that I would hear the songs early and then I 1593 01:27:10,520 --> 01:27:13,200 Speaker 1: would hear them when they were done. What what you 1594 01:27:13,280 --> 01:27:15,880 Speaker 1: and Lindsay did with this song here? You make me 1595 01:27:16,040 --> 01:27:22,280 Speaker 1: feel Champagne the band. You know what's cool about us. 1596 01:27:22,280 --> 01:27:25,160 Speaker 1: So the backbeat is me playing acoustic guitar with my 1597 01:27:25,280 --> 01:27:31,479 Speaker 1: hand without a cord, so like muted, muted natural day, 1598 01:27:32,160 --> 01:27:40,280 Speaker 1: just call me rain until. So the rhythm is you 1599 01:27:40,360 --> 01:27:47,840 Speaker 1: holding a mutic chord. I can open my own door. 1600 01:27:47,960 --> 01:27:56,559 Speaker 1: I think music is beautiful when it's really simple. That's funny. 1601 01:27:56,600 --> 01:27:58,479 Speaker 1: You can hear that. I mean, you're so. I would 1602 01:27:58,479 --> 01:28:00,360 Speaker 1: have never heard that. And it happened in the right 1603 01:28:00,360 --> 01:28:04,160 Speaker 1: here in your left here went yeah, man here that. 1604 01:28:04,200 --> 01:28:06,160 Speaker 1: I'll be honest with you. Yeah, yeah, at different level. 1605 01:28:06,520 --> 01:28:11,360 Speaker 1: I didn't do it. I didn't do the old yamahal Suzuki. Yeah. 1606 01:28:11,400 --> 01:28:14,840 Speaker 1: You know. I learned to make records by listening in headphones. 1607 01:28:15,600 --> 01:28:18,600 Speaker 1: So it's a good rule that if you see my 1608 01:28:18,720 --> 01:28:21,360 Speaker 1: name on an album, either as an artist or as 1609 01:28:21,360 --> 01:28:24,040 Speaker 1: a producer or writer, even but mostly as an artist 1610 01:28:24,080 --> 01:28:26,960 Speaker 1: or profuser, you should take the minute to put on 1611 01:28:27,080 --> 01:28:31,559 Speaker 1: the big headphones, the big Princess Leah ones and listen. 1612 01:28:31,920 --> 01:28:36,840 Speaker 1: Because I left you secrets law east Reg's yeah and 1613 01:28:36,920 --> 01:28:38,560 Speaker 1: so depending when you hear this, and people listen to 1614 01:28:38,560 --> 01:28:41,599 Speaker 1: podcasts for years after. But as we do this, sugar 1615 01:28:41,640 --> 01:28:43,639 Speaker 1: Land is about to go out on the big tour, 1616 01:28:44,680 --> 01:28:49,240 Speaker 1: and I'll be coming for sure. I'll be coming, sugar Land. 1617 01:28:49,360 --> 01:28:53,000 Speaker 1: And you have Frankie Ballard and Claire Bowen out, and 1618 01:28:53,080 --> 01:28:57,320 Speaker 1: you have Lindsay l and you have Brandy Clark, who 1619 01:28:57,360 --> 01:29:01,200 Speaker 1: is one of my absolute favorite. I love Brandy Boss 1620 01:29:01,400 --> 01:29:06,400 Speaker 1: Lindsay's but front raisons again. But Brandy Clark, I don't know, 1621 01:29:06,520 --> 01:29:10,400 Speaker 1: man that she is good people, but Brandy is great. Man. 1622 01:29:10,800 --> 01:29:12,840 Speaker 1: I'm excited about our openers, you know, a little big 1623 01:29:12,840 --> 01:29:15,479 Speaker 1: town with our openers. For about three years, we just 1624 01:29:15,560 --> 01:29:19,400 Speaker 1: never gave up on them. I just kept thinking, these 1625 01:29:19,400 --> 01:29:23,360 Speaker 1: guys are so good and it's just not falling. The 1626 01:29:23,439 --> 01:29:26,760 Speaker 1: cards aren't falling for him, and they just put their 1627 01:29:26,760 --> 01:29:29,519 Speaker 1: head down and they just kept working and kept working. 1628 01:29:30,720 --> 01:29:33,519 Speaker 1: So I love the idea that people can come to 1629 01:29:33,600 --> 01:29:37,400 Speaker 1: a Shutland show and discover music they've never thought that 1630 01:29:37,479 --> 01:29:40,559 Speaker 1: they would be madly in love with. And if you 1631 01:29:40,600 --> 01:29:43,080 Speaker 1: can trust us for that, much like people trust you 1632 01:29:43,120 --> 01:29:46,000 Speaker 1: on your radio show for music, when you turn people 1633 01:29:46,040 --> 01:29:48,559 Speaker 1: onto something, I think it's the I think it's a 1634 01:29:48,640 --> 01:29:51,080 Speaker 1: trust that you earn and you got to do everything 1635 01:29:51,120 --> 01:29:54,360 Speaker 1: you can to keep it. I look at you, sugar Lands, 1636 01:29:54,400 --> 01:29:59,240 Speaker 1: back you gotta secret album. The Troubadour is Gonna go 1637 01:29:59,280 --> 01:30:04,720 Speaker 1: and Sarah So it's it's being stages in Florida. You 1638 01:30:04,800 --> 01:30:11,840 Speaker 1: gotta podcast, Yes, you got, you got a lot. Oh yeah, 1639 01:30:11,840 --> 01:30:13,400 Speaker 1: you're writing. You have a song on the radio that 1640 01:30:13,520 --> 01:30:16,240 Speaker 1: you wrote. You didn't even produce. You're seeing it. You 1641 01:30:16,479 --> 01:30:19,479 Speaker 1: wrote it. I mean, this has been a dry number 1642 01:30:19,520 --> 01:30:22,439 Speaker 1: of years. You're like Jennifer Lopez. Man, the desert has 1643 01:30:22,479 --> 01:30:26,120 Speaker 1: been a long desert. It's great to see water. Thank 1644 01:30:26,160 --> 01:30:28,080 Speaker 1: you for coming over to the house. I really appreciate 1645 01:30:28,120 --> 01:30:31,120 Speaker 1: you coming over. You know, I'm a huge fan. I'm 1646 01:30:31,000 --> 01:30:33,320 Speaker 1: a I'm a big fan of yours man. Christian Book 1647 01:30:33,360 --> 01:30:36,439 Speaker 1: episode one hundred and it's been a special episode one 1648 01:30:36,520 --> 01:30:38,200 Speaker 1: h Check out geeking out with Christian Bush. Go out 1649 01:30:38,200 --> 01:30:40,599 Speaker 1: and see sugar Land on the road. Give him coup bluck. 1650 01:30:40,600 --> 01:30:42,479 Speaker 1: See I'm walking down the road. Like you said, it 1651 01:30:42,520 --> 01:30:50,200 Speaker 1: doesn't been dry Box one hundred, one hundred and Webby 1652 01:30:50,280 --> 01:31:00,760 Speaker 1: cast it's episode hundred cast one hundred, one hundred. Thank 1653 01:31:00,840 --> 01:31:03,920 Speaker 1: one zeros. You appreciate you, My friend appreciate you. All right, 1654 01:31:04,080 --> 01:31:05,439 Speaker 1: thank you very much. You next time about you