1 00:00:02,920 --> 00:00:07,080 Speaker 1: Welcome to Episode three seventeen. Dina Carter is on with us. 2 00:00:07,640 --> 00:00:12,200 Speaker 1: Obviously Strawberry Wine talk about that writing you in tequila. 3 00:00:12,920 --> 00:00:16,360 Speaker 1: Fun fact she recorded it how Canny Chess and he 4 00:00:16,440 --> 00:00:19,239 Speaker 1: ended up getting that song to record later on. She 5 00:00:19,280 --> 00:00:22,080 Speaker 1: put it on the record too, So then that's one 6 00:00:22,079 --> 00:00:24,840 Speaker 1: of my favorite songs period in country music. You went 7 00:00:24,920 --> 00:00:27,800 Speaker 1: tequila make me crazy. I'm pretty good singing that too, 8 00:00:27,800 --> 00:00:31,280 Speaker 1: don't pretty good? Thank you? Also Randy Randy Travis ing 9 00:00:31,320 --> 00:00:33,440 Speaker 1: and demos at our house. Interesting story. So all coming 10 00:00:33,479 --> 00:00:35,559 Speaker 1: up from Dina Carter. I do want to do my 11 00:00:35,640 --> 00:00:38,640 Speaker 1: top five releases of the week. Morgan Evans has a 12 00:00:38,640 --> 00:00:47,760 Speaker 1: new song called Country out of My Girl you Can't 13 00:00:47,760 --> 00:00:52,760 Speaker 1: See the Country, but which we had in last week 14 00:00:52,800 --> 00:00:54,840 Speaker 1: at number three and people were like, hey, why was 15 00:00:54,880 --> 00:00:57,440 Speaker 1: audio different on the number three last week because we 16 00:00:57,440 --> 00:00:59,040 Speaker 1: were gonna put that there, but then it didn't come 17 00:00:59,080 --> 00:01:01,040 Speaker 1: out for some reason. Came out this week now, so 18 00:01:01,080 --> 00:01:03,120 Speaker 1: we bumped at the fives to show what's up, just 19 00:01:03,240 --> 00:01:06,440 Speaker 1: to show who the boss is. Number four. Taylor Acorn 20 00:01:06,480 --> 00:01:09,759 Speaker 1: has a new song called Uncomfortably Numb with the band 21 00:01:09,840 --> 00:01:12,679 Speaker 1: named Arrows in Action. It's a pop punk song. Here 22 00:01:12,720 --> 00:01:15,320 Speaker 1: you go, you see in all the breads out of 23 00:01:16,600 --> 00:01:20,720 Speaker 1: Scummy in the set song tell Me When did this? 24 00:01:20,800 --> 00:01:27,360 Speaker 1: Stumpy and fun and uncomfortably numb. At number three, Mickey 25 00:01:27,360 --> 00:01:29,679 Speaker 1: Guyton put out a record called Remember Her Name, and 26 00:01:29,720 --> 00:01:35,200 Speaker 1: this one's called Different. That's what makes You Differ one 27 00:01:35,319 --> 00:01:45,120 Speaker 1: and a billion. It kind of feels good that difference. 28 00:01:45,920 --> 00:01:48,120 Speaker 1: At number two, Ryan Heard has a new song called 29 00:01:48,160 --> 00:01:50,720 Speaker 1: tab with My Name on It from his upcoming album 30 00:01:50,760 --> 00:01:57,680 Speaker 1: that comes out October. Here you Go when It's with 31 00:02:01,680 --> 00:02:08,880 Speaker 1: my Name on It? And the number one Larry Fleet, 32 00:02:08,919 --> 00:02:10,400 Speaker 1: who I Love. I had the guy over at the house. 33 00:02:10,480 --> 00:02:13,880 Speaker 1: He did the talk show we did on Twitch. Yeah. Man, 34 00:02:14,000 --> 00:02:16,040 Speaker 1: that guy's good. Huh really good. He has a new 35 00:02:16,080 --> 00:02:18,680 Speaker 1: album out the people are going crazy about called Stack 36 00:02:18,720 --> 00:02:21,640 Speaker 1: of Records. Here's a clip of the title track if 37 00:02:21,680 --> 00:02:36,240 Speaker 1: you want to know. So there you go. Those are 38 00:02:36,280 --> 00:02:38,920 Speaker 1: the five releases that I'm recommending you check out This week. 39 00:02:39,160 --> 00:02:41,520 Speaker 1: In Music News, Walker Hayes lands in the Hot one 40 00:02:41,560 --> 00:02:46,480 Speaker 1: hundred top five. I mean can't stop, can't stop it. 41 00:02:47,040 --> 00:02:49,680 Speaker 1: They can try, They've tried. They can't stop it. Yeah, 42 00:02:49,720 --> 00:02:55,120 Speaker 1: you can't. He released a remix with Kesha I haven't 43 00:02:55,120 --> 00:02:56,799 Speaker 1: heard the Kesha one of You. I have. Yeah, I 44 00:02:56,800 --> 00:02:59,240 Speaker 1: won't pull it up. I can listen it later. You 45 00:02:59,320 --> 00:03:03,079 Speaker 1: like it, I mean, is it just Kesha on the 46 00:03:03,160 --> 00:03:05,320 Speaker 1: yah hook pretty much makes it a lot more pop 47 00:03:05,400 --> 00:03:08,440 Speaker 1: friendly for pop stations. Good for Walker, that's life changing 48 00:03:08,480 --> 00:03:11,320 Speaker 1: for him. I mean that's life changing money. The Apple 49 00:03:11,320 --> 00:03:14,839 Speaker 1: Beets commercial, the pop streams. That was cool to see 50 00:03:15,240 --> 00:03:18,720 Speaker 1: seeing him on that commercial is life changing. Just so pumped. 51 00:03:19,080 --> 00:03:23,079 Speaker 1: Put that dumb down. Take me to waffle House means 52 00:03:23,160 --> 00:03:30,240 Speaker 1: chilling in the deep sound Casey Musgraves and Brandy Carlyle 53 00:03:30,360 --> 00:03:32,959 Speaker 1: or set for Saturday Night Live. They're gonna both play 54 00:03:33,040 --> 00:03:35,280 Speaker 1: that show, not together, but they're both gonna play the show. 55 00:03:35,840 --> 00:03:40,119 Speaker 1: Let's see albums out today. Just I'll mention some Third 56 00:03:40,160 --> 00:03:43,120 Speaker 1: Eye Blind, Angels and Airwaves both I mentioned because Third 57 00:03:43,120 --> 00:03:45,640 Speaker 1: Eye Blind from being a kid and Angel Airwaves is 58 00:03:45,720 --> 00:03:49,040 Speaker 1: kind of blank one D two yeah side project Yeah um. 59 00:03:49,120 --> 00:03:53,400 Speaker 1: Randy Travis has a special edition thirty fifth anniversary of 60 00:03:53,440 --> 00:03:56,040 Speaker 1: Storms of Life Natalie and Brulia. A lot of this 61 00:03:56,080 --> 00:03:58,720 Speaker 1: is old school stuff. Do you remember her? Yeah? Secknd 62 00:03:58,760 --> 00:04:03,320 Speaker 1: inn ap tune, Oh little, I'm already to un damn 63 00:04:03,360 --> 00:04:05,920 Speaker 1: it do. But yeah, that's a jam um Okay, I 64 00:04:05,920 --> 00:04:08,080 Speaker 1: think that's it. We'll get to this Dina Carter interview. 65 00:04:08,360 --> 00:04:10,040 Speaker 1: Check out the Ashley McBride one if you didn't check 66 00:04:10,040 --> 00:04:12,800 Speaker 1: it out last week. It's great. It's just a plus 67 00:04:12,840 --> 00:04:15,080 Speaker 1: stuff there. They actually reached out to me and said, hey, 68 00:04:15,080 --> 00:04:18,560 Speaker 1: would you give us a quote for something to do 69 00:04:18,640 --> 00:04:22,360 Speaker 1: with the c m as and Ashley McBride, And I said, sure, 70 00:04:22,520 --> 00:04:24,279 Speaker 1: quote about her? Yeah, you want to hear my quote 71 00:04:24,279 --> 00:04:27,560 Speaker 1: I put in there. Let me scroll real quick. I'm 72 00:04:27,560 --> 00:04:31,719 Speaker 1: pretty proud of it. Find it. I said, Ashley McBride 73 00:04:31,760 --> 00:04:35,040 Speaker 1: did not compromise her credibility for commercial success. She earned 74 00:04:35,040 --> 00:04:37,440 Speaker 1: her credibility and now the commercial success has no choice 75 00:04:37,480 --> 00:04:39,920 Speaker 1: but to come chasing her and it can't run fast enough. 76 00:04:40,680 --> 00:04:43,760 Speaker 1: Good quote. Come on, come on, that's part of the 77 00:04:43,760 --> 00:04:46,880 Speaker 1: waiting a minute for me to scroll through my email. Okay, 78 00:04:46,920 --> 00:04:48,360 Speaker 1: that's the deal, you guys. Check out that one from 79 00:04:48,440 --> 00:04:50,760 Speaker 1: last week. Thanks for checking out this one this week. Uh. 80 00:04:50,880 --> 00:05:00,320 Speaker 1: Here's Dina Carter Inage a second in studio at Dena 81 00:05:00,400 --> 00:05:03,160 Speaker 1: Carter Who And I say this because so many people 82 00:05:03,360 --> 00:05:05,119 Speaker 1: call me the wrong name. I get called Bobby Jones 83 00:05:05,160 --> 00:05:07,599 Speaker 1: all the time. And I'll do and sometimes I'll do 84 00:05:07,640 --> 00:05:09,679 Speaker 1: a TV show and you know in the little description box, 85 00:05:09,960 --> 00:05:12,360 Speaker 1: what's like on American Idol this week? But Bobby Jones, 86 00:05:12,480 --> 00:05:15,000 Speaker 1: and it happens so often. I have to think that 87 00:05:15,040 --> 00:05:18,159 Speaker 1: people who don't know you like I do, or they're 88 00:05:18,160 --> 00:05:20,240 Speaker 1: a big fan of you, would be like, here's Deanna Carter, 89 00:05:20,440 --> 00:05:23,320 Speaker 1: like is that all the time, all the time. And 90 00:05:23,360 --> 00:05:25,840 Speaker 1: we've kind of fixed it. On the website and on 91 00:05:25,920 --> 00:05:30,440 Speaker 1: socials we put it's d e e e E n A. 92 00:05:30,640 --> 00:05:34,440 Speaker 1: It's Deana, And people do put two ends in my name, 93 00:05:34,520 --> 00:05:37,080 Speaker 1: so it's Dan, It's Dean d E A N with 94 00:05:37,160 --> 00:05:38,960 Speaker 1: an A on the end. I never thought about it 95 00:05:39,040 --> 00:05:42,640 Speaker 1: like that, Yes, that it's like the name Dean. Yeah, 96 00:05:42,880 --> 00:05:45,960 Speaker 1: like Dean Martin, that that's my dad. Um. Around the 97 00:05:45,960 --> 00:05:48,599 Speaker 1: time I was born, he had a cut on a 98 00:05:48,640 --> 00:05:52,680 Speaker 1: Dean Martin record called it just happened that way, ironically 99 00:05:52,680 --> 00:05:56,520 Speaker 1: that Jimmy Bowen produced, who signed me at Capital. So 100 00:05:57,000 --> 00:05:59,720 Speaker 1: that's why my name is spelled like it is. I 101 00:05:59,839 --> 00:06:02,599 Speaker 1: was at the I've done some comedy at the Governor's 102 00:06:03,040 --> 00:06:06,000 Speaker 1: Mansion in Arkansas a few months ago, and on it 103 00:06:06,120 --> 00:06:08,680 Speaker 1: was a big deal. Bobby on the place card said 104 00:06:08,680 --> 00:06:11,200 Speaker 1: Bobby Jones, Oh my gosh. And so when you were 105 00:06:11,200 --> 00:06:12,360 Speaker 1: coming in. I was like, I bet she gets it 106 00:06:12,400 --> 00:06:14,719 Speaker 1: all the time like I do from people who just don't. 107 00:06:14,760 --> 00:06:16,960 Speaker 1: For me. My name is so dumb that they go, 108 00:06:17,040 --> 00:06:19,960 Speaker 1: there's no way that's Bobby. That's not his real name. 109 00:06:20,240 --> 00:06:22,799 Speaker 1: But you mentioned your dad. Your dad was a studio 110 00:06:22,920 --> 00:06:26,440 Speaker 1: musician back in the day. Yeah, was he what was 111 00:06:26,480 --> 00:06:28,680 Speaker 1: he a guitar player? Yes, he was part of the 112 00:06:28,680 --> 00:06:31,120 Speaker 1: A team in Nashville on the road. So he played 113 00:06:31,800 --> 00:06:36,000 Speaker 1: on so many records in Nashville and in the sixties 114 00:06:36,000 --> 00:06:39,720 Speaker 1: and seventies, mostly UM, and he also signed. He would 115 00:06:39,720 --> 00:06:42,520 Speaker 1: work with artists, you know, he would like Randy Travis 116 00:06:42,920 --> 00:06:45,160 Speaker 1: was in our living room doing demos before he had 117 00:06:45,200 --> 00:06:48,360 Speaker 1: a deal, which is really the first guy. Always liked 118 00:06:48,440 --> 00:06:52,000 Speaker 1: rock as a young person, as a teenager. And when 119 00:06:52,000 --> 00:06:56,039 Speaker 1: I heard Randy Travis's voice in my house, like my 120 00:06:56,160 --> 00:06:58,680 Speaker 1: job at fourteen or whatever was bringing the coffee in 121 00:06:58,720 --> 00:07:03,080 Speaker 1: the cream and you know, host whoever was there, and um, 122 00:07:03,120 --> 00:07:06,320 Speaker 1: when I heard him down the hall, I was just like, wow, 123 00:07:07,040 --> 00:07:08,840 Speaker 1: this person. And so I thought he was going to 124 00:07:08,960 --> 00:07:11,880 Speaker 1: be about seven feet tall and this big guy, you know, 125 00:07:11,960 --> 00:07:14,960 Speaker 1: because his voice was so massive. And I walked in 126 00:07:15,040 --> 00:07:18,080 Speaker 1: and this just very humble guy. I was standing there, 127 00:07:18,280 --> 00:07:21,320 Speaker 1: you know, small framed. I mean, Randy was a tiny 128 00:07:21,360 --> 00:07:23,960 Speaker 1: little guy back in the day when he was getting started, 129 00:07:24,600 --> 00:07:26,920 Speaker 1: and I was mesmerized by his voice, and so I 130 00:07:26,960 --> 00:07:30,640 Speaker 1: really started paying attention to country on my own after that. 131 00:07:31,200 --> 00:07:34,480 Speaker 1: And John Anderson, my dad helped him early on. He 132 00:07:34,480 --> 00:07:36,960 Speaker 1: would come like at nineteen, was coming to the house, 133 00:07:37,080 --> 00:07:39,760 Speaker 1: and just a lot of people. But he also played 134 00:07:39,800 --> 00:07:43,800 Speaker 1: on records like, um, all the Simon Garfuncle things like 135 00:07:44,360 --> 00:07:46,560 Speaker 1: Bridge Over Trouble Water and the Box There, all that 136 00:07:46,600 --> 00:07:49,920 Speaker 1: guitar workers my dad on and the Bob Dylan the 137 00:07:49,920 --> 00:07:52,880 Speaker 1: Skyline record, and like Joan Baias and all these other 138 00:07:52,960 --> 00:07:55,480 Speaker 1: artists that would come through town would hire my dad 139 00:07:55,520 --> 00:07:58,600 Speaker 1: because he had just such an amazing sound. He kind 140 00:07:58,600 --> 00:08:00,200 Speaker 1: of stood out from the rest of the guy us 141 00:08:00,280 --> 00:08:03,680 Speaker 1: and um, he just plays. He's like played on the 142 00:08:03,680 --> 00:08:06,680 Speaker 1: soundtrack of Our Lives, you know, across all genres. So 143 00:08:07,040 --> 00:08:09,880 Speaker 1: I grew up with a very broad influence. Levon Helm 144 00:08:09,960 --> 00:08:13,840 Speaker 1: speaking of Arkansas, he and my dad played with Ronnie 145 00:08:13,840 --> 00:08:16,760 Speaker 1: and Dale Hawkins respectively and kind of started the band, 146 00:08:18,080 --> 00:08:20,960 Speaker 1: and Robbie Robertson took my dad's place in the band. 147 00:08:21,160 --> 00:08:25,160 Speaker 1: So a lot of very rich very southern, that Delta 148 00:08:25,280 --> 00:08:29,400 Speaker 1: history and feel musically that would uh permeate all the 149 00:08:29,400 --> 00:08:32,120 Speaker 1: records that he played on. You mentioned Randy Travis. I 150 00:08:32,200 --> 00:08:33,920 Speaker 1: can go back for a second. He's in your house 151 00:08:33,920 --> 00:08:36,600 Speaker 1: singing demos, his own demos or demos for other people. 152 00:08:37,000 --> 00:08:40,040 Speaker 1: Like what what was he doing? Just songs like that 153 00:08:40,080 --> 00:08:43,920 Speaker 1: my dad had written or UM. I think it was 154 00:08:43,960 --> 00:08:46,079 Speaker 1: some things he had brought in. You know, he's wanting 155 00:08:46,120 --> 00:08:48,920 Speaker 1: to get things on tape, and back then it was 156 00:08:49,000 --> 00:08:53,640 Speaker 1: lit legit tape and it was a two big real yeah. 157 00:08:53,679 --> 00:08:56,200 Speaker 1: And my dad had in a Kai, one of those 158 00:08:56,360 --> 00:09:00,000 Speaker 1: eight VHS ones. And so I was into gear too, 159 00:09:00,120 --> 00:09:02,800 Speaker 1: like I'm a geared nerd as far as studio goes, 160 00:09:02,920 --> 00:09:05,520 Speaker 1: and just being around all of that. He had a 161 00:09:05,559 --> 00:09:08,640 Speaker 1: studio growing up north of town like all the guys 162 00:09:08,679 --> 00:09:11,760 Speaker 1: did back then, Ohen Bradley and Johnny Cash, everybody had 163 00:09:11,760 --> 00:09:14,880 Speaker 1: a studio off the row as well. So I grew 164 00:09:14,960 --> 00:09:19,560 Speaker 1: up in a full fledged recording studio where people would 165 00:09:19,559 --> 00:09:23,240 Speaker 1: come in they recorded, I'm not Lisa there recorded. Uh. 166 00:09:23,440 --> 00:09:27,719 Speaker 1: He produced Sammy Smith's UM help Me Make It through 167 00:09:27,720 --> 00:09:31,080 Speaker 1: the Night. You know, all these great songs and monumental 168 00:09:31,480 --> 00:09:33,560 Speaker 1: writers that would come through. He just he was such 169 00:09:33,559 --> 00:09:38,880 Speaker 1: a lover of songwriters and artists and just like, would 170 00:09:39,320 --> 00:09:42,000 Speaker 1: you know, love them and and try to help them 171 00:09:42,000 --> 00:09:45,320 Speaker 1: along their path. Was being so close to country music? 172 00:09:45,720 --> 00:09:47,680 Speaker 1: What kept you from loving country music when you were 173 00:09:47,679 --> 00:09:51,360 Speaker 1: a kid. I think part of it was that our 174 00:09:51,480 --> 00:09:54,800 Speaker 1: our kim people, you know, would come from Louisiana and 175 00:09:54,840 --> 00:09:57,480 Speaker 1: Mississippi and all around, and they want to go to 176 00:09:57,559 --> 00:10:01,480 Speaker 1: the grandel Opry, the Hall of Fame and the Hermitage, 177 00:10:01,720 --> 00:10:05,120 Speaker 1: and so my brother and I were like, not the Hermitage, 178 00:10:05,480 --> 00:10:08,760 Speaker 1: not the opera, you know, because you just would go 179 00:10:09,040 --> 00:10:14,040 Speaker 1: with them. And I don't know, I think I appreciated it. 180 00:10:14,200 --> 00:10:16,160 Speaker 1: You know. I love Dolly Parton. I was a big 181 00:10:16,200 --> 00:10:18,760 Speaker 1: fan of her and being a little bitty kid and 182 00:10:18,840 --> 00:10:21,240 Speaker 1: watching her except her awards, I'd sit there with my 183 00:10:21,320 --> 00:10:24,280 Speaker 1: tissue and cry with her. You know. I just thought 184 00:10:24,360 --> 00:10:28,960 Speaker 1: she was so inspirational. And Eddie Arnold I met him 185 00:10:29,040 --> 00:10:31,559 Speaker 1: later in life, and he was just such a gentleman, 186 00:10:32,160 --> 00:10:35,480 Speaker 1: I mean, just suave. He was so he was this, 187 00:10:35,840 --> 00:10:38,559 Speaker 1: you know, giant man that was just this gentle giant 188 00:10:38,800 --> 00:10:42,000 Speaker 1: and his voice was amazing, and I think I just 189 00:10:42,440 --> 00:10:45,080 Speaker 1: I loved that they crossed over as well, you know, 190 00:10:45,760 --> 00:10:49,679 Speaker 1: I came up in the era of UM, the Variety Show. 191 00:10:49,720 --> 00:10:52,440 Speaker 1: Everybody had a TV show that was musical and and 192 00:10:52,520 --> 00:10:58,080 Speaker 1: so I was connecting things visually pretty early. Um the 193 00:10:58,120 --> 00:11:00,240 Speaker 1: effect that that had, and that the pool in the 194 00:11:00,320 --> 00:11:03,439 Speaker 1: draw and the outreach that that had for a very 195 00:11:03,559 --> 00:11:07,000 Speaker 1: large audience outside of Nashville as well. Just respected the 196 00:11:07,040 --> 00:11:09,840 Speaker 1: fact that they could sing and dance and do skits 197 00:11:09,880 --> 00:11:13,400 Speaker 1: and be funny and and be great you know musically. Yeah, 198 00:11:13,440 --> 00:11:15,559 Speaker 1: you had you really had to focus on more than 199 00:11:15,600 --> 00:11:18,120 Speaker 1: just one thing, you know, back in the day. Yeah, 200 00:11:18,280 --> 00:11:20,600 Speaker 1: I mean we used to watch and my grandmother had 201 00:11:20,640 --> 00:11:24,000 Speaker 1: some old tapes of Johnny Cash's UH show from the Rheyman. 202 00:11:24,440 --> 00:11:26,200 Speaker 1: I think it was shot in the Rieman if I'm 203 00:11:26,200 --> 00:11:29,480 Speaker 1: thinking back. Um. But then even watching like Hehaw and 204 00:11:29,520 --> 00:11:32,320 Speaker 1: I still watch HEV on now on Circle Network because 205 00:11:32,320 --> 00:11:34,720 Speaker 1: they I'll flip through us on Peacock and so and 206 00:11:34,720 --> 00:11:36,880 Speaker 1: I do the opery. I produced that the opera show 207 00:11:36,880 --> 00:11:38,960 Speaker 1: over there on the TV on the TV. I sound 208 00:11:38,960 --> 00:11:43,200 Speaker 1: like I'm but they had those They had to be 209 00:11:43,280 --> 00:11:46,240 Speaker 1: so good at so many things. They were funny, they 210 00:11:46,240 --> 00:11:48,880 Speaker 1: could play, they could sing, they could act, and that 211 00:11:49,000 --> 00:11:51,040 Speaker 1: was just accepted as well. You got to do this 212 00:11:51,120 --> 00:11:54,200 Speaker 1: to be well rounded in Nashville. Yeah, it was great. 213 00:11:54,520 --> 00:11:59,880 Speaker 1: The timing, their timing was impeccable. And I think, you know, 214 00:12:00,720 --> 00:12:04,160 Speaker 1: after my record came out in ninety six and then 215 00:12:04,240 --> 00:12:06,440 Speaker 1: seven and eight, we were touring and busy and it 216 00:12:06,520 --> 00:12:10,240 Speaker 1: was just amazing and crazy. I started getting offers to 217 00:12:10,240 --> 00:12:13,880 Speaker 1: go to l A and beyond TV shows and do 218 00:12:14,040 --> 00:12:17,360 Speaker 1: like King of the Hill and um, do some movies 219 00:12:17,360 --> 00:12:20,480 Speaker 1: and things, and so I moved out there to pursue 220 00:12:20,520 --> 00:12:24,560 Speaker 1: that because of my roots system in watching artists out 221 00:12:24,559 --> 00:12:28,600 Speaker 1: of Nashville have such a broad reach on TV. And 222 00:12:29,960 --> 00:12:32,960 Speaker 1: but the it wasn't like my show, you know, it 223 00:12:33,080 --> 00:12:35,400 Speaker 1: was like spread myself a little thin trying to do 224 00:12:35,480 --> 00:12:38,040 Speaker 1: all these things. And I think that that hurt me 225 00:12:38,080 --> 00:12:42,040 Speaker 1: a little bit, leaving town, leaving the community that I 226 00:12:42,080 --> 00:12:44,320 Speaker 1: love so much. I mean, I'm from born and race 227 00:12:44,440 --> 00:12:48,640 Speaker 1: here in Nashville, and um, it's hard when you're not here, 228 00:12:48,840 --> 00:12:51,120 Speaker 1: if you're not in the circle and being a part 229 00:12:51,160 --> 00:12:54,240 Speaker 1: of the community, you know, and they're always open arms 230 00:12:54,240 --> 00:12:55,840 Speaker 1: for you to come back and be a part of it. 231 00:12:55,920 --> 00:13:00,640 Speaker 1: But um, the TV era just kind of went away, 232 00:13:01,000 --> 00:13:02,720 Speaker 1: and I'd love to see it come back. I would 233 00:13:02,720 --> 00:13:04,640 Speaker 1: love to see it a new he Hall. I would 234 00:13:04,679 --> 00:13:08,800 Speaker 1: love to see some programming for artists in a variety 235 00:13:08,880 --> 00:13:10,520 Speaker 1: kind of way. And we have the voice and we 236 00:13:10,559 --> 00:13:15,560 Speaker 1: have you know, things that involve artists in the music business. 237 00:13:15,559 --> 00:13:17,839 Speaker 1: But it just be fun to do it more theatrically 238 00:13:17,840 --> 00:13:20,400 Speaker 1: in the way they do it like Carol Burnett ish, 239 00:13:20,480 --> 00:13:22,960 Speaker 1: you know, like they used to. He has a great example. Yeah, 240 00:13:23,000 --> 00:13:26,400 Speaker 1: there's not really a new buck Owings. You could do it, 241 00:13:26,400 --> 00:13:28,040 Speaker 1: and I watch buck Owings now and I'm my only crap. 242 00:13:28,080 --> 00:13:31,280 Speaker 1: The guy could do it. Obviously, could sing play. He's 243 00:13:31,320 --> 00:13:34,200 Speaker 1: so funny. He's so funny. It's so funny. Yeah, you 244 00:13:34,240 --> 00:13:37,080 Speaker 1: mentioned the record, which is really the reason we're here. 245 00:13:37,080 --> 00:13:39,520 Speaker 1: We'll talk about more than that. But um, nineties six 246 00:13:39,920 --> 00:13:42,960 Speaker 1: the record came out. It's been twenty five years, and 247 00:13:43,000 --> 00:13:45,800 Speaker 1: so by the time this has heard on Friday, I 248 00:13:46,000 --> 00:13:48,400 Speaker 1: will have already talked about the announcement on the radio show. 249 00:13:48,679 --> 00:13:51,040 Speaker 1: But that being said, let's act like no one's heard it, Okay, 250 00:13:51,760 --> 00:13:55,920 Speaker 1: So tell me, tell me exactly what is happening. Well, 251 00:13:56,200 --> 00:14:00,360 Speaker 1: we are celebrating the twenty fifth anniversary of I Shave 252 00:14:00,400 --> 00:14:03,440 Speaker 1: my Legs for this the album, and it came out 253 00:14:04,120 --> 00:14:09,960 Speaker 1: September three, actually of n was the release date, and 254 00:14:11,120 --> 00:14:13,640 Speaker 1: I got to go in and re record Strawberry one 255 00:14:13,840 --> 00:14:15,680 Speaker 1: and did I shave my legs for this, those two 256 00:14:15,679 --> 00:14:22,520 Speaker 1: songs with collaborations, and I wanted to pull in some girls, 257 00:14:22,560 --> 00:14:26,280 Speaker 1: some artists that I felt like had either mentioned me 258 00:14:26,520 --> 00:14:30,360 Speaker 1: or acknowledged me or something my songs through their songs, 259 00:14:30,640 --> 00:14:34,600 Speaker 1: you know. So we invited a couple of girls to 260 00:14:34,680 --> 00:14:38,880 Speaker 1: come on board, and Vince Gill played guitar on these 261 00:14:38,880 --> 00:14:42,640 Speaker 1: two tracks. Um, being the kid of a guitar player, 262 00:14:42,800 --> 00:14:46,480 Speaker 1: I was like, Okay, my dad's not around, so we 263 00:14:46,560 --> 00:14:49,400 Speaker 1: gotta go with the next best thing. And Vince is 264 00:14:49,440 --> 00:14:53,920 Speaker 1: just incredible. So and Vince was monumental in my um 265 00:14:54,040 --> 00:14:56,880 Speaker 1: the launch of that record initially back in nine because 266 00:14:56,920 --> 00:14:59,440 Speaker 1: he came down to tow our records on West End 267 00:14:59,640 --> 00:15:02,040 Speaker 1: and in the back of the room and you could 268 00:15:02,080 --> 00:15:04,800 Speaker 1: just when we had an in store to celebrate the 269 00:15:04,840 --> 00:15:08,000 Speaker 1: release of the album, and you could just hear the 270 00:15:08,080 --> 00:15:12,720 Speaker 1: room go, you know, and Vince was standing back there, 271 00:15:12,760 --> 00:15:16,200 Speaker 1: like just him being there was an endorsement to what 272 00:15:16,240 --> 00:15:19,160 Speaker 1: we were doing. So I always told him, we're going 273 00:15:19,200 --> 00:15:23,440 Speaker 1: to do something together. And I'm a man of my word. Yeah, 274 00:15:23,480 --> 00:15:25,640 Speaker 1: this is it. It's like I told you we were 275 00:15:25,640 --> 00:15:28,240 Speaker 1: going to give you the exclusive when we do it. 276 00:15:28,320 --> 00:15:30,120 Speaker 1: It was a few years back, and then we're like, 277 00:15:30,160 --> 00:15:32,280 Speaker 1: here we are, so we have to go to Bobby first. 278 00:15:32,320 --> 00:15:35,040 Speaker 1: I told him we would, So here we are. It's Vince. 279 00:15:35,080 --> 00:15:37,240 Speaker 1: I can say who's on the song, right, Okay, it's Vince, 280 00:15:38,120 --> 00:15:43,600 Speaker 1: Martina McBride, Lauren Elena, Ashley McBride, and Kylie Morgan. Yeah, 281 00:15:43,640 --> 00:15:46,480 Speaker 1: that's on Strawberry. That's on Strawberry specifically because Vince is 282 00:15:46,480 --> 00:15:49,320 Speaker 1: playing the guitar there. And so, I mean it's a 283 00:15:49,360 --> 00:15:52,320 Speaker 1: pretty so like group. I'm sure nobody said I don't know, 284 00:15:52,440 --> 00:15:54,200 Speaker 1: let me check on my people. I'm sure they all 285 00:15:54,280 --> 00:15:58,160 Speaker 1: ran screaming yes to you to do this. Well. It 286 00:15:58,280 --> 00:16:01,520 Speaker 1: was amazing because I got to work with Actually, Lisa 287 00:16:01,600 --> 00:16:05,440 Speaker 1: Lee organized um a performance on a c M Honors 288 00:16:05,560 --> 00:16:08,480 Speaker 1: a couple of years ago with Ashley McBride and Laurena. 289 00:16:08,600 --> 00:16:12,000 Speaker 1: Lena and Ashley was brand new at the time and 290 00:16:12,160 --> 00:16:14,720 Speaker 1: just blew it, like knocked it out the park and 291 00:16:14,760 --> 00:16:18,600 Speaker 1: we got to perform together. And then Lauren had released 292 00:16:18,600 --> 00:16:22,320 Speaker 1: her you know nineties song that was kind of a 293 00:16:22,320 --> 00:16:24,640 Speaker 1: tip in the hat to Strawberry wine, which is really cool. 294 00:16:24,720 --> 00:16:30,000 Speaker 1: So having them on board was the perfect combo and Martina. 295 00:16:30,120 --> 00:16:32,480 Speaker 1: Of course, Martina came out before I did, and I 296 00:16:32,560 --> 00:16:34,760 Speaker 1: used to look up to her so much. She just 297 00:16:35,080 --> 00:16:37,960 Speaker 1: again this little bitty person with this giant voice, and 298 00:16:38,560 --> 00:16:40,640 Speaker 1: she was very unique when she came out and helped 299 00:16:40,680 --> 00:16:44,320 Speaker 1: the genre kind of progress. So I had to have 300 00:16:44,400 --> 00:16:46,880 Speaker 1: her part of it. And Kylie more going to be 301 00:16:46,880 --> 00:16:49,240 Speaker 1: in a brand new artist. Her voice is so unique 302 00:16:49,240 --> 00:16:51,840 Speaker 1: and cool, we wanted her to be a part of 303 00:16:51,840 --> 00:16:54,800 Speaker 1: it too. The did I shape my Legs for this 304 00:16:54,920 --> 00:16:58,880 Speaker 1: has events. It has Terry Clark, Sarah Evans and also 305 00:16:58,920 --> 00:17:03,480 Speaker 1: Ashley mcbrian and so do I why that group for 306 00:17:03,600 --> 00:17:07,719 Speaker 1: that song? Well, I've worked with Sarah and Terry you know, 307 00:17:07,800 --> 00:17:10,080 Speaker 1: through the years, and they're kind of I consider them 308 00:17:10,119 --> 00:17:12,880 Speaker 1: we're all from the same era, and what I love 309 00:17:12,920 --> 00:17:17,200 Speaker 1: about them their uniqueness, how they stand out artistically, and 310 00:17:17,320 --> 00:17:21,440 Speaker 1: their sense of humor, and just seeing Ashley's sense of 311 00:17:21,520 --> 00:17:25,560 Speaker 1: humor as well, and her kind of following suit in 312 00:17:25,600 --> 00:17:28,720 Speaker 1: that way and her songwriting just blows me away as 313 00:17:28,760 --> 00:17:31,560 Speaker 1: far as her what she has to say, you know, 314 00:17:31,680 --> 00:17:34,920 Speaker 1: in such a unique way. So and that is representative 315 00:17:34,960 --> 00:17:37,199 Speaker 1: of shapes, so I wanted to make sure that she 316 00:17:37,320 --> 00:17:40,840 Speaker 1: was included in that. So it's it is a select few, 317 00:17:41,080 --> 00:17:46,560 Speaker 1: which is cool. When will those singles be out? Well, 318 00:17:46,680 --> 00:17:49,720 Speaker 1: we are still figuring it out. Yeah we are. We're 319 00:17:49,720 --> 00:17:54,040 Speaker 1: going we're actually sending a thank you to to radio. 320 00:17:54,119 --> 00:17:57,240 Speaker 1: Can I say that no one's listening to me and 321 00:17:57,280 --> 00:18:00,679 Speaker 1: you okay, it's October nineteenth that we're going to be 322 00:18:00,720 --> 00:18:04,840 Speaker 1: sending out sort of an unofficial you know, here you go, 323 00:18:05,000 --> 00:18:09,080 Speaker 1: thank you so much, and I've like pounding my fists 324 00:18:09,080 --> 00:18:11,359 Speaker 1: on the table. We cannot leave radio out of the 325 00:18:11,400 --> 00:18:16,280 Speaker 1: mix because they're the reason that the fans got to 326 00:18:16,280 --> 00:18:18,760 Speaker 1: hear the song in the first place. They were willing 327 00:18:18,800 --> 00:18:21,000 Speaker 1: to back when we answered phones, and you know, they're 328 00:18:21,040 --> 00:18:24,680 Speaker 1: they're blowing up, very receptive, to the point that all 329 00:18:24,720 --> 00:18:28,919 Speaker 1: the regionals, we're getting calls from the station saying, you 330 00:18:29,000 --> 00:18:31,920 Speaker 1: got to scrap this other single we were planning on releasing, 331 00:18:31,960 --> 00:18:34,720 Speaker 1: which was I've loved enough to know and you've got 332 00:18:34,720 --> 00:18:37,760 Speaker 1: to go a strawberry wine. So Scott Hendricks listened to 333 00:18:37,960 --> 00:18:42,320 Speaker 1: the radio folks and put Strawberry out instead, and the 334 00:18:42,359 --> 00:18:44,600 Speaker 1: rest is history. So you have to go and thank them. 335 00:18:44,640 --> 00:18:47,040 Speaker 1: We cannot do this like and leave radio out of 336 00:18:47,040 --> 00:18:49,080 Speaker 1: the mix. How far did you get with that other single, 337 00:18:50,080 --> 00:18:53,199 Speaker 1: which one the first one that you mentioned, Oh, not 338 00:18:53,359 --> 00:18:56,960 Speaker 1: at all. It didn't even we pulled it before release date. 339 00:18:57,000 --> 00:18:58,840 Speaker 1: It was two weeks prior. So I was going out 340 00:18:58,880 --> 00:19:02,959 Speaker 1: and mom and radio visits. But no, it hadn't been 341 00:19:03,000 --> 00:19:05,680 Speaker 1: released to radio yet. And so you do all the 342 00:19:05,720 --> 00:19:07,480 Speaker 1: promo going hey, it's coming, and then you have to 343 00:19:07,520 --> 00:19:11,119 Speaker 1: call him back and go okay, never mind, okay, So 344 00:19:11,200 --> 00:19:13,680 Speaker 1: why Strawberry Wine? What was it about that song that 345 00:19:13,840 --> 00:19:16,720 Speaker 1: kind of took over? Was it playing it live? Was 346 00:19:16,760 --> 00:19:19,399 Speaker 1: it it was we would play I've Loved Enough to Know. 347 00:19:19,480 --> 00:19:21,280 Speaker 1: We already had a video in the can, We had 348 00:19:21,280 --> 00:19:25,359 Speaker 1: all these cassettes, you know, for everybody, and um, then 349 00:19:25,400 --> 00:19:28,600 Speaker 1: I'd pick up my guitar and play Strawberry Wine, maybe 350 00:19:28,600 --> 00:19:30,840 Speaker 1: before we ever heard of buy something acoustic in the 351 00:19:30,880 --> 00:19:35,359 Speaker 1: studio and everybody was just going bananas over Strawberry Wine. 352 00:19:35,800 --> 00:19:38,400 Speaker 1: And that's what made the phones light up, like, well, wait, 353 00:19:38,480 --> 00:19:41,080 Speaker 1: what was that song? And I've Loved Enough to Know 354 00:19:41,240 --> 00:19:45,840 Speaker 1: was like this up tempo, happy song, and Strawberry was 355 00:19:45,920 --> 00:19:50,879 Speaker 1: just this very heartfelt, honest, six minute waltz, you know, 356 00:19:50,880 --> 00:19:52,840 Speaker 1: and I thought, in my heart, this may be the 357 00:19:52,880 --> 00:19:55,399 Speaker 1: only time people hear this song because it's never going 358 00:19:55,440 --> 00:19:58,040 Speaker 1: to get played on the radio from a new artist, 359 00:19:58,160 --> 00:20:01,399 Speaker 1: A six minute waltz, you know about your first I 360 00:20:01,440 --> 00:20:03,320 Speaker 1: don't think so, So I'm going to get it in 361 00:20:03,320 --> 00:20:06,840 Speaker 1: while we can. And it just really resonated with the 362 00:20:06,880 --> 00:20:11,560 Speaker 1: fans when you say six minute waltz. The song wasn't 363 00:20:11,600 --> 00:20:14,760 Speaker 1: six minutes long, was it? Yeah? It really was almost, 364 00:20:15,280 --> 00:20:18,520 Speaker 1: wasn't it five seven? That's why I didn't know that 365 00:20:18,560 --> 00:20:21,240 Speaker 1: would never happen today. I mean even the version that 366 00:20:21,240 --> 00:20:22,920 Speaker 1: I played now, because I'll still played on our show 367 00:20:22,960 --> 00:20:25,240 Speaker 1: sometimes they've cut it down to three and a half 368 00:20:25,320 --> 00:20:29,879 Speaker 1: minutes at this point, no outro um, but you know 369 00:20:30,160 --> 00:20:32,680 Speaker 1: it was. It was just groundbreaking for the time. I 370 00:20:32,760 --> 00:20:35,040 Speaker 1: can't believe the song was almost six minutes long. That's 371 00:20:35,040 --> 00:20:37,399 Speaker 1: a that's a song when I was doing early in 372 00:20:37,520 --> 00:20:39,560 Speaker 1: radio and we had to actually put in disks and stuff. 373 00:20:39,600 --> 00:20:40,880 Speaker 1: You're trying to find a five and a half minutes 374 00:20:40,880 --> 00:20:42,560 Speaker 1: so long to go to the bathroom, and so you 375 00:20:43,359 --> 00:20:45,320 Speaker 1: I would find like an old Matchbox twenty song from 376 00:20:45,320 --> 00:20:47,359 Speaker 1: my first record that on it was way long. But 377 00:20:47,440 --> 00:20:48,919 Speaker 1: that sounds like one of those songs that like the 378 00:20:49,040 --> 00:20:51,200 Speaker 1: radio person could stick in no, people would like it 379 00:20:51,280 --> 00:20:53,399 Speaker 1: and they could go pee and get back in time exactly. 380 00:20:53,560 --> 00:20:58,920 Speaker 1: That probably helped me a lot, right, Yes, absolutely, And 381 00:20:59,080 --> 00:21:01,040 Speaker 1: there's a lot of money that the label has to 382 00:21:01,080 --> 00:21:03,640 Speaker 1: give up because they've are like you said, they've already 383 00:21:03,640 --> 00:21:06,159 Speaker 1: made a bunch of promotional materials. Yeah, for sure. And 384 00:21:06,240 --> 00:21:07,720 Speaker 1: so you're going, hey, all the money you just spend 385 00:21:07,720 --> 00:21:09,280 Speaker 1: on that song, and we were gonna go with we 386 00:21:09,320 --> 00:21:12,120 Speaker 1: need you to get just write that off and let's 387 00:21:12,119 --> 00:21:15,520 Speaker 1: start over. How hard was was that conversation though, to 388 00:21:15,560 --> 00:21:17,680 Speaker 1: get them to go, Okay, we believe in what you're 389 00:21:17,720 --> 00:21:21,040 Speaker 1: saying and what you're seeing. It was harder for them 390 00:21:21,040 --> 00:21:24,320 Speaker 1: to convince me to change it. Scott Hendricks called me 391 00:21:24,440 --> 00:21:26,520 Speaker 1: on the road in Texas. I was in the car 392 00:21:26,560 --> 00:21:30,399 Speaker 1: with my regional at the time, and he said, Dina, 393 00:21:30,760 --> 00:21:34,000 Speaker 1: everybody's resonating with strawberry wine. We got to change the single. 394 00:21:34,280 --> 00:21:36,760 Speaker 1: And I had already waited like four years. It had 395 00:21:36,760 --> 00:21:39,639 Speaker 1: been such a long haul up to this point, and 396 00:21:39,680 --> 00:21:44,560 Speaker 1: I said, no, we're two weeks out, no way, And uh, 397 00:21:44,760 --> 00:21:46,800 Speaker 1: I said, if you promised me that we can stay 398 00:21:46,840 --> 00:21:49,159 Speaker 1: on schedule and you can get this turned around in 399 00:21:49,200 --> 00:21:52,120 Speaker 1: two weeks so I don't get bumped again. Then I'm 400 00:21:52,160 --> 00:21:54,639 Speaker 1: all for it. And he said, we'll make it happen. 401 00:21:54,720 --> 00:21:57,600 Speaker 1: And Scott Hendricks was a hero because he did that. 402 00:21:57,680 --> 00:22:01,159 Speaker 1: He pulled everything, didn't he He pulled everything and just 403 00:22:01,320 --> 00:22:05,280 Speaker 1: like fast forward, just hot box the whole process and 404 00:22:05,359 --> 00:22:08,800 Speaker 1: made it happen on delivery day and get a bump 405 00:22:08,880 --> 00:22:10,480 Speaker 1: to the thing. Because if you lose your spot, you know, 406 00:22:10,480 --> 00:22:12,159 Speaker 1: they've got an other artists and other single so they 407 00:22:12,160 --> 00:22:14,600 Speaker 1: have lined up. Yes, absolutely, so he still made that 408 00:22:14,640 --> 00:22:17,199 Speaker 1: spot happen. He did, and it even happened when we 409 00:22:17,240 --> 00:22:20,640 Speaker 1: had five females coming on that Tuesday, the same day 410 00:22:20,720 --> 00:22:25,440 Speaker 1: we had it was me, Reba Martine or excuse me, um, 411 00:22:25,520 --> 00:22:29,800 Speaker 1: Kathy Mattea. I want to say, maybe Mila Mason and 412 00:22:29,880 --> 00:22:32,560 Speaker 1: Mindy McCready or I can't even remember who it was, 413 00:22:32,600 --> 00:22:34,880 Speaker 1: but it was five women. You know, it's like you're 414 00:22:34,880 --> 00:22:36,960 Speaker 1: at the race track, you're on the horse and you're 415 00:22:36,960 --> 00:22:38,879 Speaker 1: all getting waiting for the gun to go so you 416 00:22:38,880 --> 00:22:42,840 Speaker 1: can just take off. And it was unheard of to 417 00:22:42,920 --> 00:22:45,800 Speaker 1: have five women coming on that day, some new artists 418 00:22:45,800 --> 00:22:48,960 Speaker 1: and established artists, you know, and see how the the 419 00:22:49,080 --> 00:22:57,520 Speaker 1: race was gonna turn out. What was the rise of 420 00:22:57,520 --> 00:23:01,359 Speaker 1: that song, Like, was it Holy Moley, this is rolling 421 00:23:01,440 --> 00:23:04,879 Speaker 1: quick or was it okay just hanging there slow and steady. 422 00:23:05,000 --> 00:23:08,840 Speaker 1: It was slow. I think it was sixteen weeks to chart, well, 423 00:23:08,920 --> 00:23:10,640 Speaker 1: not even be number one, to just hit the top, 424 00:23:10,720 --> 00:23:14,600 Speaker 1: wasn't it. It might have been that it took sixteen 425 00:23:14,600 --> 00:23:17,919 Speaker 1: weeks to climb the chart. But it was slow going 426 00:23:18,080 --> 00:23:21,480 Speaker 1: in the beginning. And then Alan Jackson took us on 427 00:23:21,520 --> 00:23:24,600 Speaker 1: the road and that was amazing. We got to do 428 00:23:24,680 --> 00:23:27,840 Speaker 1: major arenas and be with him, and we saw a 429 00:23:27,840 --> 00:23:31,160 Speaker 1: few lighters flickering on Strawberry Wine, and then a few 430 00:23:31,160 --> 00:23:33,000 Speaker 1: more and a few more, and as we went, like 431 00:23:33,080 --> 00:23:35,080 Speaker 1: a year and a half on the road with him 432 00:23:35,280 --> 00:23:39,800 Speaker 1: solid it was really taken off and um, So it 433 00:23:39,880 --> 00:23:42,000 Speaker 1: was slow in the beginning, and then it was just 434 00:23:42,119 --> 00:23:46,080 Speaker 1: like wildfire amazing and we came right behind Strawberry Wine 435 00:23:46,119 --> 00:23:49,159 Speaker 1: with which was a number one UM with we danced 436 00:23:49,200 --> 00:23:51,680 Speaker 1: anyway with the cool video and that went number one. 437 00:23:51,720 --> 00:23:54,040 Speaker 1: And then how Do I Get There was the first 438 00:23:54,240 --> 00:23:56,600 Speaker 1: song on country radio to have a drum loop in it, 439 00:23:56,880 --> 00:24:00,800 Speaker 1: kind of a funky feel um and that went number one, 440 00:24:01,760 --> 00:24:04,520 Speaker 1: and then count Me In went up the chart, you know, 441 00:24:04,600 --> 00:24:07,360 Speaker 1: to number two, I believe and then shave. So it's 442 00:24:07,400 --> 00:24:10,359 Speaker 1: five singles for a new artist off the first record, 443 00:24:10,440 --> 00:24:13,760 Speaker 1: which was had never happened in Nashville before. Let's roll 444 00:24:13,800 --> 00:24:16,800 Speaker 1: through some of those Milay, a little bit strawberry wine. 445 00:24:17,200 --> 00:24:26,320 Speaker 1: It's funny. I'm sure you have to hear this, Dina 446 00:24:26,440 --> 00:24:30,720 Speaker 1: at times and places you're changing your oil or your 447 00:24:31,000 --> 00:24:34,520 Speaker 1: you know, Kroger, and you just hear because this, this 448 00:24:34,720 --> 00:24:37,320 Speaker 1: the song is everywhere. You know. What do you ever 449 00:24:37,359 --> 00:24:39,240 Speaker 1: just wanted pointing yourself? I was playing to be like, hey, guys, 450 00:24:39,240 --> 00:24:41,239 Speaker 1: this is me, this is me the song you're all 451 00:24:41,280 --> 00:24:43,800 Speaker 1: singing too? Right here? Or have you ever been somewhere 452 00:24:43,880 --> 00:24:46,800 Speaker 1: someone's covering it? Oh? Yes, and maybe they don't know 453 00:24:46,880 --> 00:24:50,840 Speaker 1: you're in the crowd, you know. I was. I posted 454 00:24:50,880 --> 00:24:53,080 Speaker 1: something on socials a couple of years ago because we 455 00:24:53,080 --> 00:24:57,080 Speaker 1: were driving down Broadway, which is rare. We're just on 456 00:24:57,119 --> 00:24:59,920 Speaker 1: this side road over by the Palm at a red Law, 457 00:25:00,200 --> 00:25:02,920 Speaker 1: and I heard this girl upstairs in the open air 458 00:25:03,200 --> 00:25:06,560 Speaker 1: sports bar up there singing it, and I'm like, stop 459 00:25:06,640 --> 00:25:08,959 Speaker 1: the car, and I get out of the car and 460 00:25:09,000 --> 00:25:12,919 Speaker 1: I run up there and I'm standing watching her and 461 00:25:13,040 --> 00:25:14,840 Speaker 1: she freaking We got it all on camp. You know, 462 00:25:15,359 --> 00:25:17,760 Speaker 1: she freaks out and I went up and hugged her 463 00:25:17,800 --> 00:25:20,200 Speaker 1: and it was just like a super moment for both 464 00:25:20,320 --> 00:25:23,080 Speaker 1: of us. That was really cool on Broadway to hear 465 00:25:23,119 --> 00:25:25,600 Speaker 1: someone covering it up. So that's pretty cool that you heard. Cool, 466 00:25:25,840 --> 00:25:27,680 Speaker 1: but cool for her too that you happen to be 467 00:25:27,760 --> 00:25:29,600 Speaker 1: driving by and then you ran up the stairs to 468 00:25:30,440 --> 00:25:33,239 Speaker 1: kind of acknowledge her. So crazy. And the thing that 469 00:25:33,320 --> 00:25:36,320 Speaker 1: I am just in love with right now is TikTok 470 00:25:36,480 --> 00:25:39,240 Speaker 1: and being able to do duets and and thumbs up 471 00:25:39,240 --> 00:25:42,080 Speaker 1: people and seeing all the love. But there's a lot 472 00:25:42,119 --> 00:25:46,600 Speaker 1: of TikTok people singing Strawberry Wine. It's millions, millions, Like 473 00:25:46,720 --> 00:25:49,760 Speaker 1: I'm going, there's where all my people are, you know, 474 00:25:49,800 --> 00:25:52,280 Speaker 1: I feel like that I've finally found. I just joined 475 00:25:52,320 --> 00:25:56,960 Speaker 1: two weeks ago and there's millions. So people sing that. 476 00:25:57,720 --> 00:25:59,840 Speaker 1: Because I've worked on American Idol the last four years, 477 00:26:00,119 --> 00:26:04,320 Speaker 1: they will sing that auditioning because it's an arena to 478 00:26:04,400 --> 00:26:07,080 Speaker 1: showcase your voice. I mean, not only is that a 479 00:26:07,119 --> 00:26:10,199 Speaker 1: great song, but you hit some notes in that song 480 00:26:10,440 --> 00:26:13,240 Speaker 1: that are that everybody can't hit. And so I heard 481 00:26:13,240 --> 00:26:14,560 Speaker 1: that song a lot too, and I think That's why 482 00:26:14,560 --> 00:26:16,399 Speaker 1: it's probably saying a lot on TikTok is because if 483 00:26:16,400 --> 00:26:18,800 Speaker 1: you can sing that and sing it right, you'll get 484 00:26:18,800 --> 00:26:21,159 Speaker 1: the wow because it's a tough song to sing it is. 485 00:26:21,359 --> 00:26:26,040 Speaker 1: I love it. I love even people that aren't singers 486 00:26:26,240 --> 00:26:28,399 Speaker 1: or you know that are just in their bedroom just 487 00:26:28,480 --> 00:26:32,120 Speaker 1: trying it out. The innocence of that, like that touches 488 00:26:32,160 --> 00:26:35,399 Speaker 1: my heart so much. And then you've got like Raleigh 489 00:26:35,400 --> 00:26:38,760 Speaker 1: Green covered it, and um just all the people that 490 00:26:38,800 --> 00:26:42,240 Speaker 1: have covered the song it's and have made statements about, 491 00:26:42,520 --> 00:26:44,160 Speaker 1: you know, what it meant to them in their career. 492 00:26:44,200 --> 00:26:47,159 Speaker 1: These artists coming out, it's just been super cool. And 493 00:26:47,200 --> 00:26:50,240 Speaker 1: the record went up and it's sold over five million 494 00:26:50,280 --> 00:26:53,320 Speaker 1: albums for a new artist that was it just broke 495 00:26:53,359 --> 00:26:55,960 Speaker 1: all these records, not even on purpose. It's like the 496 00:26:56,640 --> 00:27:02,719 Speaker 1: proof that authenticity and honesty and your your story resonates 497 00:27:02,760 --> 00:27:05,560 Speaker 1: with someone's story. You know that. That is really the 498 00:27:05,600 --> 00:27:08,439 Speaker 1: crux of the whole thing for me is that song 499 00:27:08,600 --> 00:27:13,760 Speaker 1: was written like Matraca Bergen Carrie and Gary Harrison wrote 500 00:27:13,800 --> 00:27:16,680 Speaker 1: the song And when I heard it, if I was 501 00:27:16,720 --> 00:27:19,040 Speaker 1: going to have to do outside songs, I was like, 502 00:27:19,240 --> 00:27:21,600 Speaker 1: oh my god, this is my life. How do they know, 503 00:27:21,800 --> 00:27:24,080 Speaker 1: how do they know? I had a grand my grandparents 504 00:27:24,080 --> 00:27:26,760 Speaker 1: had a farm and first love and all that stuff, 505 00:27:26,800 --> 00:27:29,480 Speaker 1: you know, And they just poetically said the truth so 506 00:27:29,560 --> 00:27:32,719 Speaker 1: beautifully that I could not sing it. It was my story, 507 00:27:33,000 --> 00:27:35,960 Speaker 1: and it turned out to be millions of people's story. 508 00:27:36,440 --> 00:27:39,399 Speaker 1: Dan and Shay have tequila, and they get tequila everywhere 509 00:27:39,440 --> 00:27:41,879 Speaker 1: they go, not because they want it, because everyone's like, well, 510 00:27:41,880 --> 00:27:44,440 Speaker 1: they have a song about tequila, so let's just shower 511 00:27:44,680 --> 00:27:48,800 Speaker 1: or pummel them with tequila. Was there a time when 512 00:27:48,840 --> 00:27:51,520 Speaker 1: it was people giving you strawberry wine everywhere you went? 513 00:27:51,600 --> 00:27:53,360 Speaker 1: Or is that still a thing? It's still a thing, 514 00:27:53,880 --> 00:27:57,200 Speaker 1: still a thing. Like I'm so happy Rose came out 515 00:27:57,280 --> 00:28:00,600 Speaker 1: because it kind of emulates strawberry wine. You know, the 516 00:28:00,680 --> 00:28:04,640 Speaker 1: hue of it is uh fun and yummy and and 517 00:28:04,800 --> 00:28:07,520 Speaker 1: it works. It's it's a little better. I have to 518 00:28:07,560 --> 00:28:10,480 Speaker 1: tell you, though. I did find some strawberry wine in 519 00:28:10,840 --> 00:28:13,800 Speaker 1: Ohio at a vineyard. We had a gig out there 520 00:28:13,920 --> 00:28:18,639 Speaker 1: that was amazing, and like sixty people were at this show. 521 00:28:19,040 --> 00:28:21,520 Speaker 1: So on the way home, I saw the vineyard, I'm like, 522 00:28:21,760 --> 00:28:24,440 Speaker 1: let's pull in. We tried it and they had strawberry wine, 523 00:28:24,640 --> 00:28:27,400 Speaker 1: and I brought home bottles of Strawberry wine, which it's 524 00:28:27,440 --> 00:28:30,919 Speaker 1: been decades, but it's really good. It's verse I Venue 525 00:28:31,520 --> 00:28:35,240 Speaker 1: VERSI Vineyard in Ohio. It's so good when that song 526 00:28:35,320 --> 00:28:39,080 Speaker 1: was was at its peak and you have all these 527 00:28:39,200 --> 00:28:41,600 Speaker 1: number ones. I mean, was there ever ever a moment 528 00:28:41,600 --> 00:28:42,960 Speaker 1: where you're singing that song you look out of the 529 00:28:43,000 --> 00:28:45,719 Speaker 1: crowd and you're like, this venue or this show or 530 00:28:45,760 --> 00:28:50,040 Speaker 1: this is happening right now, Like it's kind of unbelievable. Absolutely, 531 00:28:50,360 --> 00:28:53,400 Speaker 1: I still feel that way. It never gets it never 532 00:28:53,480 --> 00:28:58,120 Speaker 1: gets old. I'm so humbled watching people sing it. That's 533 00:28:58,120 --> 00:29:01,920 Speaker 1: what gets me because it could little kids like four 534 00:29:01,960 --> 00:29:05,400 Speaker 1: year olds or seventy year olds. It is such a 535 00:29:05,440 --> 00:29:10,360 Speaker 1: generational thing that connects everybody. It's just unbelievable. I can't 536 00:29:10,400 --> 00:29:13,320 Speaker 1: even believe that it's it's just like keeps going and going. 537 00:29:14,280 --> 00:29:17,640 Speaker 1: It's amazing. Uh we danced anyway might be my favorite, 538 00:29:17,800 --> 00:29:25,320 Speaker 1: not the Strawberry Way. It's not just here, same record, 539 00:29:25,640 --> 00:29:28,280 Speaker 1: but I think this this one is my favorite. Yeah, 540 00:29:29,240 --> 00:29:33,080 Speaker 1: so you put this out second. It's amid. I called it. 541 00:29:33,200 --> 00:29:35,880 Speaker 1: I called a mid tempo song. Yeah you know what 542 00:29:36,120 --> 00:29:37,680 Speaker 1: did the label go? Hey, we need to switch stuf 543 00:29:37,720 --> 00:29:39,800 Speaker 1: and go with an up tempo or because to go 544 00:29:39,880 --> 00:29:42,880 Speaker 1: with a slow song and then amid again kind of 545 00:29:42,920 --> 00:29:45,960 Speaker 1: a risk. Yes, why did they choose this is the 546 00:29:46,000 --> 00:29:47,680 Speaker 1: second single when it wasn't even gonna be the first. 547 00:29:47,720 --> 00:29:48,800 Speaker 1: You know, he's going to have gone back to the 548 00:29:48,800 --> 00:29:51,560 Speaker 1: first one. I think it was just it was a 549 00:29:51,600 --> 00:29:56,800 Speaker 1: reprieve from the the storyline of Strawberry One, like it 550 00:29:56,880 --> 00:29:59,960 Speaker 1: was the follow up with a good, feel feel good 551 00:30:00,040 --> 00:30:04,480 Speaker 1: love song. Yeah, the message was lighthearted, and I think 552 00:30:04,560 --> 00:30:08,800 Speaker 1: the production the music was lighthearted. The video we didn't 553 00:30:08,840 --> 00:30:11,840 Speaker 1: send Juan, you know, like vacation and just let your 554 00:30:11,840 --> 00:30:14,640 Speaker 1: hair down, and it was important to have that kind 555 00:30:14,640 --> 00:30:17,960 Speaker 1: of follow up to Strawberry Wine and show the lighter 556 00:30:18,040 --> 00:30:21,800 Speaker 1: side of me. It was pretty genius in my opinion, 557 00:30:22,000 --> 00:30:25,200 Speaker 1: to come with it that way. You know, it's like 558 00:30:25,280 --> 00:30:30,560 Speaker 1: sequencing the album. I always prioritize it being a rollercoaster ride, right, 559 00:30:31,040 --> 00:30:34,000 Speaker 1: You want the music to take you in different directions, 560 00:30:34,640 --> 00:30:36,640 Speaker 1: and we do it with the set list when we 561 00:30:36,680 --> 00:30:39,600 Speaker 1: play shows, make sure that we're not too balad e 562 00:30:39,720 --> 00:30:42,640 Speaker 1: in the middle or whatever, and so sequencing the record 563 00:30:42,720 --> 00:30:45,160 Speaker 1: was like that. The releases of the singles are like 564 00:30:45,280 --> 00:30:50,240 Speaker 1: that's very very thought out, and um, I guess it's 565 00:30:50,440 --> 00:30:53,720 Speaker 1: you know, a communal decision with the label and me 566 00:30:53,960 --> 00:30:57,200 Speaker 1: and and us talking about it. The label was so 567 00:30:57,640 --> 00:31:01,080 Speaker 1: monumental in the success of this record. They worked hard 568 00:31:01,360 --> 00:31:03,600 Speaker 1: and they did a great job. Follow that up with 569 00:31:03,600 --> 00:31:07,640 Speaker 1: another number one? How do I get there? Get this? 570 00:31:11,240 --> 00:31:18,080 Speaker 1: How I tell So this is the first number one 571 00:31:18,120 --> 00:31:21,280 Speaker 1: that you've written though, which had to be satisfying, because 572 00:31:21,280 --> 00:31:23,880 Speaker 1: you've got two number one. That's amazing. You're first of all, 573 00:31:23,880 --> 00:31:25,640 Speaker 1: you have your hit, then you're not a one hit wonder, 574 00:31:25,680 --> 00:31:27,560 Speaker 1: and now you have a song that you wrote that 575 00:31:27,640 --> 00:31:31,040 Speaker 1: hit number one. Yes, I gotta imagine that feels pretty good, amazing, 576 00:31:31,520 --> 00:31:35,000 Speaker 1: really amazing, and it it felt good because I've I've 577 00:31:35,040 --> 00:31:38,480 Speaker 1: really wanted that drum loop on the song because I've 578 00:31:38,560 --> 00:31:41,640 Speaker 1: never heard it on country radio. Like I feel rhythm 579 00:31:41,640 --> 00:31:43,600 Speaker 1: in two and four, I don't feel it in one 580 00:31:43,600 --> 00:31:47,120 Speaker 1: and three, and country music can sometimes be very like 581 00:31:47,240 --> 00:31:51,480 Speaker 1: one and three oriented, just traditional um four on the 582 00:31:51,520 --> 00:31:54,520 Speaker 1: floor rhythms, and I don't I feel like I call 583 00:31:54,560 --> 00:31:56,640 Speaker 1: it I have funky, but I can't help it, like 584 00:31:57,080 --> 00:32:01,200 Speaker 1: that's how I feel music. And it was really important 585 00:32:01,240 --> 00:32:03,240 Speaker 1: to fight to have the not to fight, but I 586 00:32:03,240 --> 00:32:07,600 Speaker 1: mean this too creatively. Make sure that that drum loop 587 00:32:07,680 --> 00:32:11,640 Speaker 1: was heard on country radio, and and it was, and 588 00:32:11,680 --> 00:32:15,840 Speaker 1: I think people just resonated with the feel being again 589 00:32:16,000 --> 00:32:19,880 Speaker 1: lighthearted and following up dance anyway with that, and I 590 00:32:19,920 --> 00:32:22,640 Speaker 1: think it if honestly, I think that was a marker 591 00:32:22,720 --> 00:32:28,080 Speaker 1: on country radio that kind of hit the trajectory for 592 00:32:28,280 --> 00:32:31,959 Speaker 1: artists to step out a little bit and come in. 593 00:32:32,040 --> 00:32:35,800 Speaker 1: You know. We had instrumentation that was reflective of seventies rock, 594 00:32:36,000 --> 00:32:39,160 Speaker 1: the guitar solos and things like that, the sounds I'd 595 00:32:39,200 --> 00:32:44,320 Speaker 1: bring in references from Bread and Journey or whatever, because 596 00:32:44,360 --> 00:32:48,760 Speaker 1: I wanted this record to represent me as a whole person. 597 00:32:49,240 --> 00:32:50,960 Speaker 1: You know, in country music is part of it, but 598 00:32:51,040 --> 00:32:54,280 Speaker 1: also funky, but it's part of it, and also red 599 00:32:54,280 --> 00:32:56,320 Speaker 1: fro rock is part of it. And I just think 600 00:32:56,320 --> 00:32:59,320 Speaker 1: people really connected with the fact that it was sort 601 00:32:59,360 --> 00:33:03,280 Speaker 1: of this corny copy ofs of fields and sounds and stuff. 602 00:33:03,560 --> 00:33:06,880 Speaker 1: Did you ever get the tag, hey, she's doing things different, 603 00:33:06,880 --> 00:33:11,880 Speaker 1: this is a country I did get that early on UM, 604 00:33:11,920 --> 00:33:14,280 Speaker 1: but you put my voice on it and it pulls 605 00:33:14,320 --> 00:33:17,760 Speaker 1: it right back in. You know. I don't have the 606 00:33:17,880 --> 00:33:22,640 Speaker 1: luxury of being vocally talented like Marion Morris and a 607 00:33:22,640 --> 00:33:25,720 Speaker 1: lot of these saying, you know people that just can 608 00:33:25,800 --> 00:33:29,040 Speaker 1: sing different genres and knock it out. Um, you put 609 00:33:29,080 --> 00:33:31,840 Speaker 1: my voice on anything and it's going to be straight 610 00:33:31,840 --> 00:33:36,080 Speaker 1: down the pike country pretty much. You know, this happens 611 00:33:36,120 --> 00:33:37,560 Speaker 1: a lot now. I just did a whole thing I 612 00:33:37,600 --> 00:33:41,600 Speaker 1: take talk about people are sounds that are told, hey, 613 00:33:41,640 --> 00:33:43,200 Speaker 1: this is not country, and then how we look at 614 00:33:43,240 --> 00:33:44,960 Speaker 1: it now and go of obviously that was country. I 615 00:33:44,960 --> 00:33:47,200 Speaker 1: mean even the drums, the drums weren't country forever. They 616 00:33:47,200 --> 00:33:49,520 Speaker 1: weren't allowed on the opery stage until you know, it 617 00:33:49,600 --> 00:33:52,400 Speaker 1: was from the drums to you know, Johnny Cash was 618 00:33:52,440 --> 00:33:54,400 Speaker 1: too rock and roll. He wasn't. You know, there's always 619 00:33:54,440 --> 00:33:58,240 Speaker 1: been ok at Elvis. I mean we could do a 620 00:33:58,280 --> 00:34:01,640 Speaker 1: hundred deep right, and every generation you have that group 621 00:34:01,680 --> 00:34:04,960 Speaker 1: of that ain't country Garth for example. I mean I've 622 00:34:04,960 --> 00:34:06,880 Speaker 1: sat with Garth and Garths like, hey man, I had 623 00:34:06,920 --> 00:34:09,040 Speaker 1: the biggest group of that ain't country people against me 624 00:34:09,120 --> 00:34:11,600 Speaker 1: because you know, one he said his stage shows and 625 00:34:11,640 --> 00:34:15,279 Speaker 1: too you know, he was crediting people like Journey like 626 00:34:15,320 --> 00:34:17,319 Speaker 1: all these the same kind of band you mentioned as 627 00:34:17,360 --> 00:34:19,799 Speaker 1: influences in him, and people said, well, that's not country. 628 00:34:20,160 --> 00:34:23,440 Speaker 1: But what happens is if the format ever stays the 629 00:34:23,480 --> 00:34:26,799 Speaker 1: same generationally, anything, If anything stays the same, it dies, 630 00:34:27,440 --> 00:34:29,439 Speaker 1: you know. Even with with you talking about the drum loop. 631 00:34:29,960 --> 00:34:32,279 Speaker 1: You know, Nico Moon as a guy, as a new artist, 632 00:34:32,360 --> 00:34:34,759 Speaker 1: now who put you know, put drums on like real 633 00:34:34,840 --> 00:34:36,400 Speaker 1: drums that it's like, you know what, I want to 634 00:34:36,480 --> 00:34:38,399 Speaker 1: loop this instead, And he had the number one song 635 00:34:38,400 --> 00:34:39,880 Speaker 1: and he was like, people were telling me I shouldn't 636 00:34:39,920 --> 00:34:43,319 Speaker 1: do that, but it's cyclical, right, Like you had this 637 00:34:43,600 --> 00:34:46,319 Speaker 1: similar situation with you where you're like, I just like 638 00:34:46,480 --> 00:34:49,839 Speaker 1: this loop, let's do this next thing, you know, boom 639 00:34:49,920 --> 00:34:51,600 Speaker 1: number one and then everybody goes oh, of course, but 640 00:34:51,640 --> 00:34:53,960 Speaker 1: at the time it probably wasn't the easiest decision. It 641 00:34:54,080 --> 00:34:56,719 Speaker 1: wasn't and but it fits the song, you know, that 642 00:34:56,800 --> 00:35:01,040 Speaker 1: was the thing. It really fit the feel. And I'm 643 00:35:01,160 --> 00:35:03,880 Speaker 1: very glad that that we did that because I do 644 00:35:04,000 --> 00:35:07,799 Speaker 1: think that it sort of helped the genre expand and 645 00:35:07,840 --> 00:35:10,239 Speaker 1: breathe a little bit, you know. And the thing about 646 00:35:10,239 --> 00:35:14,319 Speaker 1: the nineties that is so amazing is that we had 647 00:35:14,400 --> 00:35:17,640 Speaker 1: so many artists that sounded so different. You know, there 648 00:35:17,719 --> 00:35:21,960 Speaker 1: was room for everybody, and I mean you had duos 649 00:35:22,040 --> 00:35:24,880 Speaker 1: and you had bands, and you had all the girls 650 00:35:25,280 --> 00:35:28,960 Speaker 1: sounded unique and there was so you weren't really competing 651 00:35:28,960 --> 00:35:31,359 Speaker 1: with one another. It was just a matter of when 652 00:35:31,400 --> 00:35:33,239 Speaker 1: your song is gonna go up and the other ones 653 00:35:33,280 --> 00:35:37,520 Speaker 1: coming down, and vice versa. Right to make room for everybody. 654 00:35:37,560 --> 00:35:39,439 Speaker 1: And we were all touring on the road and we'd 655 00:35:39,640 --> 00:35:42,560 Speaker 1: pull over our buses and have flying jay parties and 656 00:35:42,920 --> 00:35:46,360 Speaker 1: it was a real community that um and it was 657 00:35:46,440 --> 00:35:50,440 Speaker 1: before obviously social media and you know, I mean cell 658 00:35:50,480 --> 00:35:54,400 Speaker 1: phones were coming in early on. It was just we 659 00:35:54,520 --> 00:35:56,880 Speaker 1: see beat it on the road and would meet and 660 00:35:57,040 --> 00:36:00,239 Speaker 1: just it was very intentional to be together as a 661 00:36:00,280 --> 00:36:05,280 Speaker 1: community of artists on these massive shows and festivals and things, 662 00:36:05,880 --> 00:36:09,600 Speaker 1: but and to support each other in the community, supported 663 00:36:09,920 --> 00:36:12,480 Speaker 1: you know, all the labels. It was like we would 664 00:36:12,560 --> 00:36:14,719 Speaker 1: vote for them and they'd vote for us, and you know, 665 00:36:14,880 --> 00:36:19,400 Speaker 1: it was just this win when time on the row 666 00:36:19,600 --> 00:36:22,400 Speaker 1: and in town. I just I'm so grateful to being 667 00:36:22,400 --> 00:36:25,120 Speaker 1: a part of it. I just still pinched myself being 668 00:36:25,160 --> 00:36:29,440 Speaker 1: from Nashville, that that I've had any success at all, 669 00:36:29,520 --> 00:36:37,520 Speaker 1: because it could have gone the other way. Were there 670 00:36:37,560 --> 00:36:40,439 Speaker 1: any artists or a single artist that said, hey, DNA, 671 00:36:40,560 --> 00:36:42,440 Speaker 1: like I'm gonna mentor you in a way. I've been 672 00:36:42,480 --> 00:36:45,560 Speaker 1: around town for five ten years got some success, Like, 673 00:36:45,640 --> 00:36:49,840 Speaker 1: let me give you a little bit of advice, um, 674 00:36:49,920 --> 00:36:51,719 Speaker 1: or did you even need it since you had been here? 675 00:36:51,760 --> 00:36:54,560 Speaker 1: Because that's that's a rare thing that someone who grew 676 00:36:54,640 --> 00:36:58,080 Speaker 1: up here stays here and then becomes super successful. I think, 677 00:36:58,120 --> 00:37:00,200 Speaker 1: as I asked that question, you're kind of a you know, 678 00:37:00,280 --> 00:37:03,759 Speaker 1: corn in a way because most people, do you know, 679 00:37:03,800 --> 00:37:06,000 Speaker 1: do this come from somewhere else? Yes, and haven't been 680 00:37:06,080 --> 00:37:08,120 Speaker 1: raised in it. So maybe you should have been giving 681 00:37:08,160 --> 00:37:11,239 Speaker 1: advice before you were even you know a number one artists. Well, 682 00:37:11,239 --> 00:37:13,560 Speaker 1: I'm waiting for American Idol to call me. I've got 683 00:37:13,560 --> 00:37:17,319 Speaker 1: a lot of help I can give you. Don't hire 684 00:37:17,320 --> 00:37:20,640 Speaker 1: anybody apparently, No, I don't know. I'm teasing, but um, 685 00:37:20,680 --> 00:37:24,520 Speaker 1: in all truth, Uh, probably my dad. You know, he 686 00:37:24,640 --> 00:37:28,480 Speaker 1: was always very vocal about what I shouldn't shouldn't do 687 00:37:28,640 --> 00:37:33,200 Speaker 1: and um being respectful. And he's one that would say, 688 00:37:33,440 --> 00:37:35,759 Speaker 1: you know, you need to play the opry because when 689 00:37:35,760 --> 00:37:39,439 Speaker 1: you're gray haired, it could be paying your bills. It's 690 00:37:39,440 --> 00:37:41,960 Speaker 1: a faithful format. You need to be doing this. You 691 00:37:42,000 --> 00:37:43,880 Speaker 1: need to be planting these siegs, you need to be 692 00:37:44,000 --> 00:37:48,080 Speaker 1: nurturing the community. You know, he was very community oriented 693 00:37:48,120 --> 00:37:52,759 Speaker 1: for Nashville, and um, just great advice. He told me. 694 00:37:52,800 --> 00:37:55,319 Speaker 1: He's like the most important thing before I ever had 695 00:37:55,320 --> 00:37:58,320 Speaker 1: a deal. He said, you have to write a song 696 00:37:58,719 --> 00:38:01,680 Speaker 1: by yourself and be able to perform it by yourself 697 00:38:02,400 --> 00:38:06,760 Speaker 1: about something that's authentic, like a universal thing that people 698 00:38:06,800 --> 00:38:09,040 Speaker 1: can relate to. And if you can do that, you'll 699 00:38:09,080 --> 00:38:12,040 Speaker 1: always have a friend, You'll always have a meal. You're 700 00:38:12,040 --> 00:38:17,000 Speaker 1: gonna be okay. So I was really protective of my 701 00:38:17,080 --> 00:38:20,719 Speaker 1: songwriting and songs. To release two songs that I did 702 00:38:20,760 --> 00:38:25,640 Speaker 1: not write initially off this record was a real challenge 703 00:38:26,160 --> 00:38:29,839 Speaker 1: for me if it hadn't been the truth that I 704 00:38:29,880 --> 00:38:32,919 Speaker 1: had lived, you know, to find that song that someone 705 00:38:32,960 --> 00:38:36,320 Speaker 1: had written that was about my life, that was huge 706 00:38:37,600 --> 00:38:41,160 Speaker 1: Talking about songwriting, I mean, you wrote one of my 707 00:38:41,239 --> 00:38:43,239 Speaker 1: favorite I mean, I was a top ten Country songs 708 00:38:43,239 --> 00:38:46,480 Speaker 1: of all time and you and Tequila, which is I mean, 709 00:38:46,520 --> 00:38:48,600 Speaker 1: if I were just to start listing off my favorites, 710 00:38:48,760 --> 00:38:52,400 Speaker 1: this always is in my list and Kenny Chesney and 711 00:38:52,400 --> 00:38:54,319 Speaker 1: Grace Potter cut it went number one. It's such a 712 00:38:54,360 --> 00:38:57,960 Speaker 1: massive song. I mean, and I know you cut it too, 713 00:38:59,520 --> 00:39:01,960 Speaker 1: How Like, how does that process going? Does can he 714 00:39:02,040 --> 00:39:03,560 Speaker 1: call you and go? I just love the song can 715 00:39:03,560 --> 00:39:05,560 Speaker 1: I cut it even though you've already I mean, what 716 00:39:05,600 --> 00:39:08,280 Speaker 1: was that and was it hard to allow? Well? I 717 00:39:08,320 --> 00:39:10,520 Speaker 1: was on the road, you know, I had recorded it 718 00:39:10,640 --> 00:39:13,680 Speaker 1: for my record I'm Just a Girl album for Arista, 719 00:39:14,520 --> 00:39:16,520 Speaker 1: and I was on tour with Kenny and Keith, and 720 00:39:16,520 --> 00:39:19,439 Speaker 1: I've sing that song during the show and they would 721 00:39:19,440 --> 00:39:21,640 Speaker 1: come out and sit at the soundboard every night and 722 00:39:21,680 --> 00:39:24,160 Speaker 1: watch me sing that song, and then they'd go get 723 00:39:24,160 --> 00:39:28,880 Speaker 1: ready for their show. And so fast forward ten years 724 00:39:29,160 --> 00:39:32,120 Speaker 1: and Kenny went through a divorce and he said that 725 00:39:32,400 --> 00:39:34,040 Speaker 1: when he was in l A he would write up 726 00:39:34,040 --> 00:39:37,080 Speaker 1: down the coast and that that song, my song got 727 00:39:37,160 --> 00:39:39,719 Speaker 1: him through that time in his life because it has 728 00:39:39,719 --> 00:39:43,240 Speaker 1: a lot of California references and things in it. And 729 00:39:44,440 --> 00:39:47,000 Speaker 1: I didn't even know he had recorded the song. I 730 00:39:47,040 --> 00:39:49,080 Speaker 1: had no idea that he had cut the song. But 731 00:39:49,200 --> 00:39:52,120 Speaker 1: Tresa had had the song demo with the guy singer. 732 00:39:52,400 --> 00:39:55,520 Speaker 1: I had nothing to do with that, and pitched it 733 00:39:55,600 --> 00:40:00,600 Speaker 1: and he recorded it. So you know, it's a testimony 734 00:40:00,640 --> 00:40:04,240 Speaker 1: to God, know in my heart with wine and tequila, 735 00:40:05,520 --> 00:40:09,879 Speaker 1: that he is like allowed the success from those two 736 00:40:09,920 --> 00:40:13,759 Speaker 1: major things like the grace in it, the willingness to 737 00:40:14,000 --> 00:40:19,480 Speaker 1: humble yourself and allow um someone else to be in 738 00:40:19,520 --> 00:40:21,960 Speaker 1: front of the line, you know, all that, all the 739 00:40:22,040 --> 00:40:25,560 Speaker 1: lifeless and stuff. Without getting too heavy. I really associate 740 00:40:25,640 --> 00:40:28,960 Speaker 1: it all along with my career, with how it has 741 00:40:29,000 --> 00:40:31,880 Speaker 1: gone down, and I think that that's part of the 742 00:40:31,960 --> 00:40:35,600 Speaker 1: longevity of it is given God credit for it, and 743 00:40:35,640 --> 00:40:40,440 Speaker 1: being willing to applaud other people, you know, being willing 744 00:40:40,760 --> 00:40:44,480 Speaker 1: to let someone else run with something. That's it. That is, 745 00:40:46,160 --> 00:40:49,080 Speaker 1: it shouldn't be hard to do, but that is important. 746 00:40:49,600 --> 00:40:51,200 Speaker 1: I have to imagine too, there will be some knock 747 00:40:51,239 --> 00:40:54,600 Speaker 1: ahead kids in the crowd as you're singing that, thinking 748 00:40:54,600 --> 00:40:58,520 Speaker 1: you're covering a Kenny Chesney song. Oh yeah, I love it. 749 00:40:58,920 --> 00:41:01,640 Speaker 1: I love to see You may not know that I 750 00:41:01,680 --> 00:41:04,640 Speaker 1: co wrote this song, and I always say because I 751 00:41:04,680 --> 00:41:07,279 Speaker 1: showed up at my Traces to write for that record, 752 00:41:07,600 --> 00:41:10,560 Speaker 1: and she had a hangover and I had a heartache. 753 00:41:11,160 --> 00:41:14,319 Speaker 1: She had been out at the Um the wake for 754 00:41:14,360 --> 00:41:16,960 Speaker 1: Harlan Howard and they had had tequila the night before, 755 00:41:17,640 --> 00:41:21,000 Speaker 1: and I was having boy problems or whatever, and when 756 00:41:21,080 --> 00:41:23,200 Speaker 1: I showed up, it was just the perfect combo for 757 00:41:23,239 --> 00:41:27,840 Speaker 1: two girlfriends to get together and just speak, speak the 758 00:41:27,880 --> 00:41:31,919 Speaker 1: truth musically, What are you like running to Kenny? Though? 759 00:41:32,040 --> 00:41:35,799 Speaker 1: To like randomly out of places that I mean, when 760 00:41:35,800 --> 00:41:38,520 Speaker 1: you were in Nashville. Yes, he The first time I 761 00:41:38,560 --> 00:41:43,279 Speaker 1: met Kenny, I was writing at Tom Collins on the 762 00:41:43,360 --> 00:41:48,040 Speaker 1: corner of six and right there across from it's where 763 00:41:48,680 --> 00:41:50,920 Speaker 1: a new building is now, but it's across from R. C. A. 764 00:41:51,719 --> 00:41:55,480 Speaker 1: And there was this basket of keys because the parking 765 00:41:55,520 --> 00:41:58,080 Speaker 1: lot would get backed up and we'd all put our 766 00:41:58,120 --> 00:41:59,960 Speaker 1: car keys in there so that we could move car 767 00:42:00,040 --> 00:42:03,240 Speaker 1: is around. And he and I think he was blocking 768 00:42:03,239 --> 00:42:05,440 Speaker 1: me or something. And I had to go to my 769 00:42:05,480 --> 00:42:08,920 Speaker 1: waitress job and and and that's when we met, was 770 00:42:08,960 --> 00:42:12,040 Speaker 1: at Tom Collins Music back in Gosh, that was probably 771 00:42:12,080 --> 00:42:16,640 Speaker 1: ninety two. It's a long time, long time. I mean 772 00:42:16,680 --> 00:42:21,360 Speaker 1: that was yeah, way before, yeah, way before. Yeah. Okay, 773 00:42:21,360 --> 00:42:24,560 Speaker 1: well listen, we we were here. Let's let's say it 774 00:42:24,560 --> 00:42:28,600 Speaker 1: one more time. You have anniversary? Yes, did I shave 775 00:42:28,680 --> 00:42:32,040 Speaker 1: my legs for this? Which you're going to have strawberry 776 00:42:32,040 --> 00:42:33,600 Speaker 1: wine with U? Must if I can go for a 777 00:42:33,640 --> 00:42:41,400 Speaker 1: memory here Martina, Ashley McBride yet, Kylie Morgan, Lauren Elena Yeah, 778 00:42:41,560 --> 00:42:44,120 Speaker 1: and Ben Benski playing. I'm assumed he did a thing 779 00:42:44,239 --> 00:42:47,640 Speaker 1: though he doesn't. But look, I have to tell you 780 00:42:47,680 --> 00:42:52,480 Speaker 1: when I was pulling all this together and I had 781 00:42:54,360 --> 00:42:56,840 Speaker 1: were emailing back and forth the managers and all this stuff, 782 00:42:56,840 --> 00:42:59,600 Speaker 1: you know, and we were in a tom crunch to 783 00:42:59,600 --> 00:43:03,440 Speaker 1: get anything done. And Vince is a busy guy. I mean, 784 00:43:03,480 --> 00:43:06,200 Speaker 1: he's only you know, with the Eagles and on the 785 00:43:06,239 --> 00:43:09,960 Speaker 1: rud He's just amazing doing his thing. And my phone 786 00:43:10,040 --> 00:43:13,719 Speaker 1: rang and it said Vince Gill. Like I forgot that 787 00:43:13,760 --> 00:43:16,600 Speaker 1: I even had his contact in my phone. But I'm 788 00:43:16,640 --> 00:43:20,399 Speaker 1: out by the pool at my house in Florida, and uh, 789 00:43:20,520 --> 00:43:23,120 Speaker 1: I looked down and it says Vince Gill, and I 790 00:43:23,200 --> 00:43:27,680 Speaker 1: get so freaked out and nervous, just like hello, you know, 791 00:43:28,239 --> 00:43:32,360 Speaker 1: and he's going, what's up, buddy, And we just talked 792 00:43:32,360 --> 00:43:35,280 Speaker 1: about what was gonna go down and and him playing 793 00:43:35,280 --> 00:43:38,200 Speaker 1: the tracks and all that stuff, and he just he's 794 00:43:38,280 --> 00:43:41,719 Speaker 1: so awesome. Yeah, he's awesome. And he's just the nicest guy. Yes, 795 00:43:42,200 --> 00:43:44,120 Speaker 1: did I shave my legs for this? With Terry Clark, 796 00:43:44,200 --> 00:43:47,800 Speaker 1: Sarah Evans, Ashley McBride. Vince Gill remastered the other songs 797 00:43:47,840 --> 00:43:52,319 Speaker 1: are remastered the new tracks. Um, that's pretty cool. It's 798 00:43:52,400 --> 00:43:54,560 Speaker 1: very cool, you know what's cool too? And I was 799 00:43:54,560 --> 00:43:57,160 Speaker 1: a little nervous about this. But they've gone through the 800 00:43:57,200 --> 00:43:59,840 Speaker 1: catalog of all the songs that didn't make the record, 801 00:44:00,760 --> 00:44:03,640 Speaker 1: and a lot of things I did with Bowen, just 802 00:44:03,760 --> 00:44:06,080 Speaker 1: our demos that we were trying to see if the 803 00:44:06,120 --> 00:44:09,520 Speaker 1: songs were good enough to include on that first album. 804 00:44:09,560 --> 00:44:12,880 Speaker 1: So they're releasing a lot of unreleased material that we 805 00:44:13,000 --> 00:44:16,160 Speaker 1: worked on and recorded that you'll hear that I wrote. 806 00:44:16,160 --> 00:44:19,360 Speaker 1: I co wrote all of those, and um that didn't 807 00:44:19,400 --> 00:44:21,160 Speaker 1: make the cut. So it's kind of cool. They're just 808 00:44:21,239 --> 00:44:25,560 Speaker 1: including everything they could find from the vault and pulling 809 00:44:25,600 --> 00:44:27,880 Speaker 1: it all together, and there'll be some digital media with 810 00:44:27,960 --> 00:44:31,600 Speaker 1: it with the girls in the studio and interviews and 811 00:44:31,640 --> 00:44:34,600 Speaker 1: some snippets of that too, of the process for the remask, 812 00:44:34,800 --> 00:44:37,440 Speaker 1: the rerecording of everything, and the whole thing is coming 813 00:44:37,440 --> 00:44:40,719 Speaker 1: out November five. Okay, I don't know what a couple 814 00:44:40,719 --> 00:44:43,000 Speaker 1: of times, No, it's okay, the whole if you say it, 815 00:44:43,040 --> 00:44:44,719 Speaker 1: and and you're not supposed to say that, I don't 816 00:44:44,719 --> 00:44:48,399 Speaker 1: get in trouble. Yeah, the whole thing's come in November five. 817 00:44:48,800 --> 00:44:51,720 Speaker 1: You're doing the before we finish? Are you doing the 818 00:44:51,760 --> 00:44:57,360 Speaker 1: four thousand opery? Yes, right, yep, that would be awesome. 819 00:44:57,440 --> 00:45:00,279 Speaker 1: It will be and then we realize we're like, wait, 820 00:45:00,680 --> 00:45:03,640 Speaker 1: can we do the five thousand too? You know, but 821 00:45:03,760 --> 00:45:06,239 Speaker 1: they've had it booked for you for a long time, 822 00:45:07,120 --> 00:45:09,600 Speaker 1: so we'll be there warming up the crowd for everybody. 823 00:45:09,760 --> 00:45:12,320 Speaker 1: Thank you for coming by, thank you for having we're actually, 824 00:45:12,480 --> 00:45:14,480 Speaker 1: you know, I talked about your new on TikTok. You 825 00:45:14,520 --> 00:45:16,120 Speaker 1: talked about that. We're actually gonna go shoot a couple 826 00:45:16,120 --> 00:45:18,719 Speaker 1: of little videos for TikTok out there, and then we will, 827 00:45:19,320 --> 00:45:20,960 Speaker 1: I'm sure, see each other at the operation in the 828 00:45:21,000 --> 00:45:23,640 Speaker 1: next few weeks. I'm a lucky girl. I'm out there 829 00:45:23,640 --> 00:45:26,520 Speaker 1: every day. And congrats when you're married. Thank you very much, 830 00:45:26,600 --> 00:45:28,880 Speaker 1: very happy for you. Me too. Hopefully I don't have 831 00:45:28,920 --> 00:45:31,680 Speaker 1: to feel those two qui la songs, you know, if 832 00:45:31,719 --> 00:45:33,480 Speaker 1: they don't need that like to relate to, I can 833 00:45:33,560 --> 00:45:35,520 Speaker 1: listen to because I like it. That's right, Yes, all 834 00:45:35,600 --> 00:45:37,920 Speaker 1: right there. She has Dina Carter follow her on Instagram 835 00:45:38,480 --> 00:45:43,040 Speaker 1: at Dina Tunes. But Dean, like Dean Martin forever, I 836 00:45:43,040 --> 00:45:45,960 Speaker 1: have not gotten that. Yeah, I just thought you spelled 837 00:45:46,000 --> 00:45:48,239 Speaker 1: Dina weird. If you don't put two INDs in it, 838 00:45:48,320 --> 00:45:51,719 Speaker 1: it's Dina. That's the easy way to remember. Yeah, I 839 00:45:51,760 --> 00:45:54,759 Speaker 1: would still go Dion if I were just reading it, 840 00:45:55,080 --> 00:45:57,160 Speaker 1: you know, I have to tell a quick funny story. 841 00:45:57,200 --> 00:46:00,120 Speaker 1: There were some girls that came to a show and 842 00:46:00,360 --> 00:46:03,080 Speaker 1: they were calling me Diana, and I try to be 843 00:46:03,160 --> 00:46:05,840 Speaker 1: really nice. I don't want to hurt me body's feelings, obviously, 844 00:46:05,960 --> 00:46:08,080 Speaker 1: and it doesn't bother me, but I just don't want 845 00:46:08,080 --> 00:46:12,000 Speaker 1: to answer to a different name. And so I said, 846 00:46:12,040 --> 00:46:14,680 Speaker 1: it's actually Dina. And they were in their thirties and 847 00:46:14,719 --> 00:46:18,919 Speaker 1: they're like almost started crying. They go our whole childhood, 848 00:46:19,000 --> 00:46:21,680 Speaker 1: We've called you the wrong name. And they got all 849 00:46:21,760 --> 00:46:23,960 Speaker 1: upset and I was like, no, come here, and put 850 00:46:23,960 --> 00:46:26,320 Speaker 1: my arms around him. I was like, let's take pictures. 851 00:46:26,320 --> 00:46:28,920 Speaker 1: It's okay, Like I just wanted you to know. And 852 00:46:28,960 --> 00:46:34,000 Speaker 1: then those two people were Dan and Jay's funny. Okay, 853 00:46:34,080 --> 00:46:37,279 Speaker 1: Dina card everybody, you guys. November five is when that 854 00:46:37,320 --> 00:46:39,400 Speaker 1: comes out, and I'm sure we'll hear these two singles 855 00:46:39,440 --> 00:46:42,439 Speaker 1: maybe before that. Yeah, okay, great, all right, thank you, 856 00:46:42,640 --> 00:46:43,120 Speaker 1: thank you,