1 00:00:00,560 --> 00:00:01,320 Speaker 1: Taking a Walk. 2 00:00:01,680 --> 00:00:04,200 Speaker 2: I like to hear performances and I like to hear 3 00:00:04,240 --> 00:00:08,480 Speaker 2: some humanity, and when it's not in music, I just 4 00:00:08,880 --> 00:00:10,200 Speaker 2: it is hard to get interested. 5 00:00:10,280 --> 00:00:10,440 Speaker 3: Man. 6 00:00:10,760 --> 00:00:13,080 Speaker 4: For me at this point, I'm buzz night and welcome 7 00:00:13,119 --> 00:00:15,440 Speaker 4: back to the Taking a Walk Podcast. I'm your host, 8 00:00:15,480 --> 00:00:18,200 Speaker 4: and today I'm excited to be joined by someone whose 9 00:00:18,239 --> 00:00:21,600 Speaker 4: words you've probably sung along to without even realizing it. 10 00:00:21,960 --> 00:00:23,080 Speaker 3: His name is Adam Wright. 11 00:00:23,120 --> 00:00:26,520 Speaker 5: He's a Nashville songwriter who's crafted some of country music's 12 00:00:26,560 --> 00:00:32,159 Speaker 5: most memorable hits, with a career spanning decades decades great work. 13 00:00:32,200 --> 00:00:36,200 Speaker 5: His songs have this rare quality feeling both timeless and fresh, 14 00:00:36,240 --> 00:00:38,800 Speaker 5: the kind of writing that makes you always want to 15 00:00:38,880 --> 00:00:41,720 Speaker 5: hit repeat. And we're here to celebrate his brand new 16 00:00:41,800 --> 00:00:45,440 Speaker 5: music called Nature of Necessity. So he's stepping out of 17 00:00:45,479 --> 00:00:49,080 Speaker 5: the writer's room onto the spotlight talking to Adam Wright 18 00:00:49,520 --> 00:00:55,240 Speaker 5: next on Taking a Walk. Taking a Walk, Adam Wright, 19 00:00:55,360 --> 00:00:57,080 Speaker 5: Welcome to the Taking a Walk Podcast. 20 00:00:57,080 --> 00:00:58,279 Speaker 3: It's so nice to have you on. 21 00:00:59,080 --> 00:01:01,680 Speaker 2: Thanks for having me. I appreciate it. Buzz yeah. 22 00:01:01,720 --> 00:01:04,120 Speaker 5: So we're going to talk about Nature of Necessity, your 23 00:01:04,120 --> 00:01:06,360 Speaker 5: brand new project. But first I'm not going to let 24 00:01:06,360 --> 00:01:09,279 Speaker 5: you escape our signature opening question. 25 00:01:10,080 --> 00:01:11,880 Speaker 3: I hope you're strapped in and ready. 26 00:01:13,480 --> 00:01:15,640 Speaker 5: If you could take a walk with somebody living or dead, 27 00:01:16,200 --> 00:01:18,480 Speaker 5: who would you take a walk with? And where would 28 00:01:18,520 --> 00:01:21,080 Speaker 5: you take that walk with him? 29 00:01:21,280 --> 00:01:27,119 Speaker 2: Okay? Probably, And I think I might regret it having 30 00:01:27,200 --> 00:01:30,160 Speaker 2: done it, but I think I would want to take 31 00:01:30,200 --> 00:01:32,679 Speaker 2: a walk with because there are so many people that 32 00:01:32,800 --> 00:01:36,200 Speaker 2: be fascinating to walk with. I think I would take 33 00:01:36,200 --> 00:01:42,399 Speaker 2: a walk with James Joyce, and probably around Dublin so 34 00:01:42,440 --> 00:01:45,160 Speaker 2: you could show me all the haunts. Ulysses like blew 35 00:01:45,240 --> 00:01:48,280 Speaker 2: my mind, Like I read it like three times, and 36 00:01:49,160 --> 00:01:52,800 Speaker 2: what blew my mind about it was the difference between 37 00:01:54,080 --> 00:01:56,840 Speaker 2: portrait of the artist as a young man in Ulysses, 38 00:01:56,840 --> 00:02:02,000 Speaker 2: whereas a perfectly good novel by a very good writer 39 00:02:03,160 --> 00:02:07,400 Speaker 2: becoming a you know, a great novelist and a popular novelist, 40 00:02:07,560 --> 00:02:17,080 Speaker 2: and then this radical explosion of literary inventiveness that was Ulysses, Like, 41 00:02:17,280 --> 00:02:20,160 Speaker 2: I want to know what happened between this novel and 42 00:02:20,240 --> 00:02:26,480 Speaker 2: this novel and just with that amount of brilliance and activity, 43 00:02:26,840 --> 00:02:29,000 Speaker 2: I just wondered what it would have been like to 44 00:02:29,120 --> 00:02:32,639 Speaker 2: just walk around with him. And I can almost guarantee 45 00:02:32,639 --> 00:02:36,919 Speaker 2: you that I would probably regret it, but I think I'm. 46 00:02:36,760 --> 00:02:40,400 Speaker 5: Going to go with that, James Joyce, as you were 47 00:02:40,440 --> 00:02:46,840 Speaker 5: saying at My Furry Recollection too. When I posed that 48 00:02:47,000 --> 00:02:50,640 Speaker 5: question to Amanda Schier's I think that was her answer. 49 00:02:51,160 --> 00:02:54,000 Speaker 3: Oh, no, kidding, Yeah, Now she perceived. 50 00:02:53,560 --> 00:02:55,360 Speaker 5: There could have been like a maybe a little bit 51 00:02:55,400 --> 00:02:57,600 Speaker 5: of a drunken brawl or something that might have been. 52 00:02:59,160 --> 00:03:02,239 Speaker 2: There are stories of I don't know if they're true 53 00:03:02,320 --> 00:03:07,760 Speaker 2: or not, stories of Joyce and Hemingway bar hopping around Paris, 54 00:03:08,520 --> 00:03:12,799 Speaker 2: and the stories go that Joyce would be mouthing off 55 00:03:12,840 --> 00:03:17,799 Speaker 2: to people until they became, you know, violent, and then 56 00:03:17,880 --> 00:03:21,160 Speaker 2: he would go get Hemingway, and Hemingway would squash the 57 00:03:23,120 --> 00:03:26,480 Speaker 2: squash the violence, and then they would go to the 58 00:03:26,480 --> 00:03:28,560 Speaker 2: next bar and do the same thing. Who knows if 59 00:03:28,560 --> 00:03:30,640 Speaker 2: that's true. Yeah, I think I would regret it, but 60 00:03:30,760 --> 00:03:35,800 Speaker 2: I think I would. I would be remiss not to 61 00:03:35,840 --> 00:03:36,560 Speaker 2: give it a shot. 62 00:03:38,080 --> 00:03:41,080 Speaker 5: Is there anything in your career path so far that 63 00:03:41,200 --> 00:03:43,839 Speaker 5: you look back and you go, geez, I regret going 64 00:03:43,880 --> 00:03:44,600 Speaker 5: down that road? 65 00:03:45,960 --> 00:03:51,440 Speaker 2: Oh gosh, I don't know. Regrets funny, because like you 66 00:03:51,560 --> 00:03:56,160 Speaker 2: take one of those little things away and then you're 67 00:03:56,240 --> 00:04:01,080 Speaker 2: not where you are anymore. You know, there are things 68 00:04:01,120 --> 00:04:06,440 Speaker 2: that I found I guess difficult or didn't seem useful 69 00:04:06,520 --> 00:04:11,040 Speaker 2: or productive. But I don't know that you ever get 70 00:04:11,080 --> 00:04:14,880 Speaker 2: to where you're going if you don't go through those things. 71 00:04:14,920 --> 00:04:16,240 Speaker 2: I don't know. I don't know if I have a 72 00:04:16,240 --> 00:04:17,000 Speaker 2: lot of regrets. 73 00:04:17,040 --> 00:04:21,599 Speaker 5: Really yeah, I'm going to share one that I make 74 00:04:21,640 --> 00:04:24,159 Speaker 5: fun of a bit, because I'm sure if I really 75 00:04:24,200 --> 00:04:27,640 Speaker 5: look and reflect, there's some deeper regrets that I have. 76 00:04:27,800 --> 00:04:29,479 Speaker 3: But I kid you not. 77 00:04:30,240 --> 00:04:34,080 Speaker 5: One regret I have was many years ago being in 78 00:04:34,080 --> 00:04:38,600 Speaker 5: the company of Bob Dylan with about nine other people. 79 00:04:38,800 --> 00:04:44,520 Speaker 5: It was at a record company you know event, prior 80 00:04:44,560 --> 00:04:47,719 Speaker 5: to a show of his. As you would have guessed, 81 00:04:48,560 --> 00:04:52,119 Speaker 5: we met him. He made eye contact upon the first 82 00:04:52,160 --> 00:04:56,000 Speaker 5: introduction and then proceeded to never look us in the 83 00:04:56,040 --> 00:05:01,000 Speaker 5: eye after that because he was not comfortable in that situation, right, 84 00:05:01,240 --> 00:05:03,479 Speaker 5: that was the last thing he wanted to do. Sure, 85 00:05:03,520 --> 00:05:08,200 Speaker 5: But then at one point he did say, does anybody 86 00:05:08,200 --> 00:05:11,560 Speaker 5: want to do a shadow whiskey? And none of us 87 00:05:11,600 --> 00:05:14,960 Speaker 5: did because we were frightened because you know, this is 88 00:05:15,000 --> 00:05:18,600 Speaker 5: the voice of a generation, sure, and so no one 89 00:05:18,640 --> 00:05:21,800 Speaker 5: took them up on it. So I kiddingly, but I 90 00:05:21,880 --> 00:05:26,040 Speaker 5: really do mean it, because I'll never get that shot again, right, right, right, 91 00:05:26,360 --> 00:05:29,520 Speaker 5: So my regret is just that silly one of not 92 00:05:29,600 --> 00:05:31,200 Speaker 5: doing a shot of whiskey with Bob Dylan. 93 00:05:31,320 --> 00:05:35,840 Speaker 2: So oh, man, I get that probably would have been 94 00:05:35,839 --> 00:05:36,279 Speaker 2: worth it. 95 00:05:36,440 --> 00:05:38,479 Speaker 3: What did I have to lose? Right? What did I 96 00:05:38,520 --> 00:05:39,000 Speaker 3: have to lose? 97 00:05:39,080 --> 00:05:41,080 Speaker 2: It could have turned into a bottle of whiskey, and 98 00:05:41,120 --> 00:05:42,640 Speaker 2: then who knows what you're into? 99 00:05:42,760 --> 00:05:44,200 Speaker 3: Man? That's right right. 100 00:05:44,680 --> 00:05:47,200 Speaker 5: There's a couple of people I want to corner you 101 00:05:47,240 --> 00:05:52,880 Speaker 5: on that you've penned songs in particular. For first of all, 102 00:05:52,920 --> 00:05:55,680 Speaker 5: one of them who I love and we had on 103 00:05:55,720 --> 00:05:59,400 Speaker 5: the podcast was Sierra Hull, So what was what was 104 00:05:59,400 --> 00:06:02,400 Speaker 5: that process of writing for Sierra? 105 00:06:04,080 --> 00:06:06,559 Speaker 2: The first time we wrote, I think was like during 106 00:06:06,600 --> 00:06:10,039 Speaker 2: COVID and it was a zoom right, And I'd forgotten 107 00:06:10,080 --> 00:06:13,240 Speaker 2: that it was a zoom right because the first time 108 00:06:13,279 --> 00:06:16,400 Speaker 2: I actually saw her in person was not writing. It 109 00:06:16,480 --> 00:06:19,320 Speaker 2: was we were on a show together up in North Carolina. 110 00:06:19,400 --> 00:06:24,920 Speaker 2: It was like a festival thing and I was like, oh, Sierra, 111 00:06:25,200 --> 00:06:27,360 Speaker 2: and it took her a minute. She was like wait 112 00:06:27,400 --> 00:06:29,760 Speaker 2: what And it just took her a minute to like 113 00:06:30,440 --> 00:06:33,560 Speaker 2: click that you know who I was because we had 114 00:06:33,600 --> 00:06:37,040 Speaker 2: not really seen each other in person. So the zoom 115 00:06:37,120 --> 00:06:41,320 Speaker 2: right was. You know, they're a little awkward sometimes, but 116 00:06:41,320 --> 00:06:44,720 Speaker 2: but it was one of the better zoom rights I 117 00:06:44,720 --> 00:06:49,200 Speaker 2: had during the zoom writing era. That was Covid. But man, 118 00:06:49,440 --> 00:06:51,960 Speaker 2: I mean I love writing with her in person. She's 119 00:06:52,000 --> 00:06:59,120 Speaker 2: she's so bright, and she's so musically in tune with 120 00:06:59,440 --> 00:07:05,760 Speaker 2: her artistry, Like like that's just not a problem, you know, 121 00:07:06,080 --> 00:07:08,279 Speaker 2: like if you have a if you have a group 122 00:07:08,320 --> 00:07:11,560 Speaker 2: of words or a concept or an idea, it's like this. 123 00:07:11,760 --> 00:07:16,080 Speaker 2: This is like this musical cauldron is just always boiling. 124 00:07:16,160 --> 00:07:20,080 Speaker 2: She just seems like always ready to spew musical brilliance, 125 00:07:22,080 --> 00:07:24,040 Speaker 2: you know, for the sake of a song. It's a 126 00:07:24,680 --> 00:07:26,880 Speaker 2: She's great man. I just I like her a lot. 127 00:07:26,960 --> 00:07:30,120 Speaker 2: She's a great hang and we always get good songs. 128 00:07:31,680 --> 00:07:35,040 Speaker 5: What is your take on this phenomenal crop of people 129 00:07:35,240 --> 00:07:39,160 Speaker 5: that she is is one of them. I consider her 130 00:07:40,000 --> 00:07:43,600 Speaker 5: the other of course billy strings. We can't leave billy 131 00:07:43,600 --> 00:07:48,360 Speaker 5: strings out. But and then this, like the Molly Tuttle 132 00:07:48,520 --> 00:07:53,679 Speaker 5: as well, this phenomenal you know, infusion that has happened 133 00:07:53,760 --> 00:07:58,640 Speaker 5: inside country bluegrass. What's your take on the state of 134 00:07:58,680 --> 00:08:00,240 Speaker 5: this because I think it's fascinating. 135 00:08:00,760 --> 00:08:03,120 Speaker 2: I do too. I'm glad to see it like it 136 00:08:03,160 --> 00:08:09,600 Speaker 2: felt like musicianship had sort of fallen out of fashion, 137 00:08:09,960 --> 00:08:15,320 Speaker 2: like high musicianship for a minute, and maybe I just 138 00:08:15,400 --> 00:08:18,520 Speaker 2: wasn't paying attention to things. I'm perfectly guilty of not 139 00:08:18,720 --> 00:08:21,520 Speaker 2: being aware of what's going on out in the world, 140 00:08:22,800 --> 00:08:27,320 Speaker 2: you know, But man, I'm writing, I mean, like in 141 00:08:27,320 --> 00:08:29,680 Speaker 2: the last I don't know how many years, ten years 142 00:08:29,840 --> 00:08:34,640 Speaker 2: or so, Like you just they're just popping up everywhere, man, 143 00:08:34,800 --> 00:08:41,040 Speaker 2: I mean just these I mean mind blowing musicians and 144 00:08:41,080 --> 00:08:44,440 Speaker 2: they're making great music. You know, they're cutting cool songs. 145 00:08:44,480 --> 00:08:50,760 Speaker 2: They can all sing. I mean it's really cool. I 146 00:08:50,840 --> 00:08:55,160 Speaker 2: love it. The playing fascinates me, Like I mean I started, 147 00:08:55,280 --> 00:08:58,160 Speaker 2: I got into that kind of music too late to 148 00:08:58,280 --> 00:09:01,559 Speaker 2: really be able to do it very well just physically. 149 00:09:03,000 --> 00:09:07,600 Speaker 2: So I'm fascinated by the musicianship of some of these 150 00:09:07,640 --> 00:09:09,679 Speaker 2: flat pickers, I mean all of them really. I mean 151 00:09:10,240 --> 00:09:13,360 Speaker 2: so I like hanging out with them selfishly just so 152 00:09:13,440 --> 00:09:16,360 Speaker 2: I can just see them play, which they don't want 153 00:09:16,400 --> 00:09:18,000 Speaker 2: to do like that. Like I think the one I 154 00:09:18,000 --> 00:09:20,240 Speaker 2: wrote was here. I don't even think she touched an instrument. 155 00:09:20,360 --> 00:09:22,640 Speaker 2: I think we just wrote a song and she just 156 00:09:22,800 --> 00:09:27,440 Speaker 2: watched me fumble through guitar chords like you know, eventually, 157 00:09:28,320 --> 00:09:30,720 Speaker 2: you know, she kind of got down on it and 158 00:09:31,320 --> 00:09:35,640 Speaker 2: you know, made something out of it. But yeah, I'm 159 00:09:35,760 --> 00:09:41,040 Speaker 2: fascinated with just the mechanics, just the sheer physicality of 160 00:09:41,120 --> 00:09:44,280 Speaker 2: what some of those people can do on an instrument. 161 00:09:44,400 --> 00:09:46,080 Speaker 2: Like it's thrilling to me. 162 00:09:47,120 --> 00:09:49,760 Speaker 3: I love it too, Yeah, I love it too. 163 00:09:49,960 --> 00:09:53,280 Speaker 5: The other person that you worked with that you wrote 164 00:09:53,480 --> 00:09:59,200 Speaker 5: for is is Randy Newman. And some weeks back I 165 00:09:59,280 --> 00:10:02,920 Speaker 5: had I had Billy Joel's daughter on Alexa Ray Joel, 166 00:10:03,600 --> 00:10:08,040 Speaker 5: and she professed, you know, of course her love for 167 00:10:08,080 --> 00:10:13,120 Speaker 5: her father's work, but her love and shared that her 168 00:10:13,160 --> 00:10:18,640 Speaker 5: father's love also for Randy Newman was so incredibly strong. 169 00:10:18,840 --> 00:10:20,560 Speaker 3: What was your experience with Randy? 170 00:10:21,520 --> 00:10:23,760 Speaker 2: Well, I didn't. I didn't get to really have the 171 00:10:23,880 --> 00:10:27,000 Speaker 2: Randy experience except that I got to hear him sing 172 00:10:27,400 --> 00:10:30,480 Speaker 2: words that I wrote, which is that's good enough for me. 173 00:10:31,600 --> 00:10:35,720 Speaker 2: But Brandy Clark and I wrote that song Bigger Boat, 174 00:10:36,360 --> 00:10:42,240 Speaker 2: and she knew Randy somehow. I don't. I don't know 175 00:10:42,280 --> 00:10:46,320 Speaker 2: that I remember how our ever knew how, I don't know, 176 00:10:46,360 --> 00:10:48,800 Speaker 2: but I know she knew Randy and she thought that 177 00:10:48,880 --> 00:10:52,760 Speaker 2: it would be fun to see if he would sing 178 00:10:52,800 --> 00:10:56,960 Speaker 2: on it, and he dug the song and sang a 179 00:10:57,000 --> 00:10:59,000 Speaker 2: duet with her on this. So that was the extent 180 00:10:59,080 --> 00:11:00,480 Speaker 2: of my Randy ex experience. 181 00:11:01,400 --> 00:11:05,520 Speaker 5: Kind of an unsung musical, you know, hero in many regards, 182 00:11:05,559 --> 00:11:06,480 Speaker 5: don't you talk, oh. 183 00:11:06,280 --> 00:11:09,400 Speaker 2: Man, I mean just I mean he's in the you know, 184 00:11:09,760 --> 00:11:13,480 Speaker 2: he's on the short list of the most brilliant songwriters. 185 00:11:12,920 --> 00:11:20,080 Speaker 3: You know, no doubt who would you put on that list. Additionally, well, 186 00:11:20,200 --> 00:11:21,800 Speaker 3: Martin Offler is like my favorite. 187 00:11:22,920 --> 00:11:26,360 Speaker 2: He just does it all for me, man, Like I 188 00:11:26,520 --> 00:11:33,280 Speaker 2: just just in terms of like character sketches and stories 189 00:11:33,320 --> 00:11:40,200 Speaker 2: and just moments and pieces of snatches of history or 190 00:11:40,280 --> 00:11:44,120 Speaker 2: just roots music. I mean, he does all of that. 191 00:11:44,800 --> 00:11:49,800 Speaker 2: He's a fine craftsman in his playing, in his writing, 192 00:11:50,080 --> 00:11:56,679 Speaker 2: and sort of the penultimate for me is Martinofler. John 193 00:11:56,720 --> 00:12:00,640 Speaker 2: Prime would belong up there. He's just the art and 194 00:12:00,840 --> 00:12:04,520 Speaker 2: wit and the way he can mix humor and gravity 195 00:12:05,120 --> 00:12:09,040 Speaker 2: is special. But I don't think anybody else has really 196 00:12:10,200 --> 00:12:14,360 Speaker 2: done that in that way. Roger Miller sort of for 197 00:12:14,400 --> 00:12:17,960 Speaker 2: the same reason, but also just this wild brilliance, Like 198 00:12:18,200 --> 00:12:22,960 Speaker 2: you get the impression listening to like the breath of 199 00:12:23,520 --> 00:12:28,160 Speaker 2: Roger Miller's writing that he could have done anything because 200 00:12:28,160 --> 00:12:29,800 Speaker 2: he did a lot of it. You know, there are 201 00:12:29,840 --> 00:12:32,680 Speaker 2: a lot of very serious songs, you know, in his 202 00:12:33,480 --> 00:12:36,160 Speaker 2: catalog as well. I mean, the goofy stuff is you know, 203 00:12:36,200 --> 00:12:42,080 Speaker 2: it's clever and fun, but it belies the genius writer 204 00:12:42,280 --> 00:12:45,800 Speaker 2: that he was. So and then after that, I don't know, 205 00:12:45,840 --> 00:12:48,080 Speaker 2: I have a tough time after those three. 206 00:12:48,640 --> 00:12:51,199 Speaker 3: It's a pretty good it's a pretty good list, you know. 207 00:12:51,440 --> 00:12:54,320 Speaker 2: Man, you study those three, you can get a lot done. 208 00:12:55,520 --> 00:13:00,320 Speaker 2: Leonard Cohen is a funny one. Like it's so it's 209 00:13:00,720 --> 00:13:10,640 Speaker 2: such serious writing, and it's so intentional. It's like it's 210 00:13:10,640 --> 00:13:14,080 Speaker 2: the hardware department, you know. Leonard Cohen's the hardware department, 211 00:13:14,160 --> 00:13:17,400 Speaker 2: Like you can get hurt in there. It's pretty serious, man. 212 00:13:18,559 --> 00:13:20,280 Speaker 2: And it took me a long time to I kind 213 00:13:20,320 --> 00:13:23,760 Speaker 2: of bumped my head on him for a long time 214 00:13:23,920 --> 00:13:26,160 Speaker 2: trying to find a way into it, you know, and 215 00:13:26,200 --> 00:13:29,800 Speaker 2: it was kind of resistant. I would just one winter, 216 00:13:30,320 --> 00:13:32,880 Speaker 2: I would just get up really early and just go 217 00:13:33,040 --> 00:13:36,120 Speaker 2: sit downstairs in the kitchen by the big bay window 218 00:13:36,160 --> 00:13:38,199 Speaker 2: in the dark, you know, before the sun came up, 219 00:13:38,760 --> 00:13:42,440 Speaker 2: and I would just listen to Leonard Cohen albums and 220 00:13:42,520 --> 00:13:46,560 Speaker 2: drink coffee and just wait for a way in, you know, 221 00:13:46,640 --> 00:13:49,880 Speaker 2: and I don't think like Hallelujah doesn't count, Like I 222 00:13:49,880 --> 00:13:53,440 Speaker 2: don't think that counts. Like everybody gets that song and 223 00:13:53,480 --> 00:13:55,600 Speaker 2: it can appreciate it and feel it. You have to 224 00:13:55,640 --> 00:13:58,640 Speaker 2: take that away and then get into the other stuff 225 00:13:58,679 --> 00:14:00,280 Speaker 2: and then see if you can find a way into 226 00:14:00,360 --> 00:14:02,720 Speaker 2: that to see if he's like one of your people. 227 00:14:03,280 --> 00:14:07,400 Speaker 2: And I think it was like Famous Blue rain Coat 228 00:14:07,520 --> 00:14:10,760 Speaker 2: or something that I listened to maybe the fourteenth time 229 00:14:11,640 --> 00:14:15,439 Speaker 2: and not not even understanding it, but just I don't know, 230 00:14:15,640 --> 00:14:19,320 Speaker 2: appreciating it for how I was going to be able 231 00:14:19,360 --> 00:14:22,800 Speaker 2: to appreciate it. And one morning, man, it just kind 232 00:14:22,800 --> 00:14:26,400 Speaker 2: of hit and I was like, oh, he's kind of 233 00:14:26,400 --> 00:14:32,720 Speaker 2: the best. I still don't think his music is it's 234 00:14:33,080 --> 00:14:36,640 Speaker 2: really enjoyable to listen to for me, like, but I 235 00:14:36,720 --> 00:14:38,800 Speaker 2: don't think that was the point of his music either, 236 00:14:40,120 --> 00:14:42,720 Speaker 2: which kind of brings me back to Martin Kopfler. Like 237 00:14:42,800 --> 00:14:45,760 Speaker 2: he I think he has the kind of gravity and 238 00:14:45,920 --> 00:14:51,880 Speaker 2: seriousness and command of the situation that somebody like Leonard 239 00:14:51,960 --> 00:14:55,800 Speaker 2: Cohen has, but he's also more tuneful. To me, he's 240 00:14:55,800 --> 00:14:57,680 Speaker 2: just because he's such a great guitar player, and I'm 241 00:14:57,720 --> 00:15:00,200 Speaker 2: just a guitar nerd and he puts it together there 242 00:15:00,200 --> 00:15:03,320 Speaker 2: in a way that kind of just does all the 243 00:15:03,360 --> 00:15:05,000 Speaker 2: stuff for me. I guess I don't know. 244 00:15:05,120 --> 00:15:09,240 Speaker 3: Sorry. I love it. No, I love how. 245 00:15:09,120 --> 00:15:14,040 Speaker 5: You you're sharing the window into your mind and you know, 246 00:15:14,160 --> 00:15:17,880 Speaker 5: being an artist and songwriter, it's fascinating to hear that 247 00:15:17,880 --> 00:15:18,480 Speaker 5: that window. 248 00:15:19,080 --> 00:15:22,200 Speaker 1: We'll be right back with more the Taking a Walk Podcast. 249 00:15:27,080 --> 00:15:29,479 Speaker 1: Welcome back to the Taking a Walk Podcast. 250 00:15:30,440 --> 00:15:32,840 Speaker 5: If you want to see something really cool, if you 251 00:15:32,880 --> 00:15:37,480 Speaker 5: haven't seen it, uh, it's on YouTube. It's this interview 252 00:15:38,120 --> 00:15:41,600 Speaker 5: with Brian Johnson from a C d C that he 253 00:15:41,720 --> 00:15:42,960 Speaker 5: did with Mark Knopfler. 254 00:15:43,040 --> 00:15:45,480 Speaker 3: They're out. That isn't that amazing? 255 00:15:45,880 --> 00:15:46,680 Speaker 2: It's amazing. 256 00:15:47,040 --> 00:15:50,200 Speaker 3: Yeah, it's it's so fun and you. 257 00:15:50,120 --> 00:15:52,640 Speaker 2: Know, yeah, it's fun. Yeah. Seeing the two of them 258 00:15:52,680 --> 00:15:55,600 Speaker 2: hang out and talk really that was really cool. 259 00:15:55,880 --> 00:16:00,560 Speaker 5: Yeah, it's really really cool. Back to john did your 260 00:16:00,560 --> 00:16:03,720 Speaker 5: World ever intersect him while he was stole Alive? 261 00:16:04,880 --> 00:16:04,960 Speaker 1: No? 262 00:16:05,160 --> 00:16:07,600 Speaker 2: But you know what, he used to have his office, like, 263 00:16:07,680 --> 00:16:10,160 Speaker 2: oh boy, used to be like right across the street 264 00:16:10,200 --> 00:16:13,560 Speaker 2: from where I am on the Music Grow And when 265 00:16:13,600 --> 00:16:16,680 Speaker 2: we first got to town, I used to go over 266 00:16:16,720 --> 00:16:20,000 Speaker 2: there and like tape CDs to the door because I 267 00:16:20,080 --> 00:16:21,760 Speaker 2: didn't I didn't mean I didn't. I don't know how 268 00:16:21,760 --> 00:16:23,520 Speaker 2: to get in touch with anybody. You know, I was 269 00:16:24,040 --> 00:16:29,400 Speaker 2: very ineffective as a salesperson and a promoter of my 270 00:16:29,480 --> 00:16:33,880 Speaker 2: own you know wares. It was just hopeless, and so 271 00:16:33,960 --> 00:16:36,080 Speaker 2: I would I would just go take little CDs that 272 00:16:36,120 --> 00:16:37,960 Speaker 2: I made and just like leave them on the door, 273 00:16:38,520 --> 00:16:40,920 Speaker 2: and you know, it's like panhandling. I don't know, I 274 00:16:40,960 --> 00:16:43,360 Speaker 2: think I think I did that to like Gillian Welch 275 00:16:43,400 --> 00:16:46,720 Speaker 2: and Dave Rawlings studio one time too. I did end 276 00:16:46,800 --> 00:16:48,680 Speaker 2: up getting to know them through a friend of her friend, 277 00:16:48,720 --> 00:16:51,720 Speaker 2: and they were nice and lovely. But I did not 278 00:16:51,760 --> 00:16:53,680 Speaker 2: bring up the fact that I probably left a bunch 279 00:16:53,720 --> 00:16:56,760 Speaker 2: of CDs on their door. But no, I never I 280 00:16:56,800 --> 00:16:59,960 Speaker 2: never met Uh well, no that's not true. I did 281 00:17:00,120 --> 00:17:04,000 Speaker 2: meet him the first time I ever saw him play 282 00:17:04,520 --> 00:17:07,320 Speaker 2: when we first moved to town. There was uh I 283 00:17:07,359 --> 00:17:09,399 Speaker 2: think the bar is still. There's a place called the 284 00:17:09,520 --> 00:17:12,520 Speaker 2: Crow's Nest over in Green Hills and it's just a 285 00:17:12,560 --> 00:17:16,359 Speaker 2: little sports bar. Nothing cool about it at all, really, sorry, 286 00:17:16,400 --> 00:17:18,560 Speaker 2: Crow's Nest And it was no stage. 287 00:17:18,760 --> 00:17:21,000 Speaker 3: That's part of the charm at them, right, it. 288 00:17:20,840 --> 00:17:23,040 Speaker 2: Is part of the charm. Yeah, maybe that's they designed 289 00:17:23,080 --> 00:17:24,800 Speaker 2: it that way. But they had all these you know, 290 00:17:24,880 --> 00:17:27,600 Speaker 2: a bunch of TVs everywhere, like you know, like three 291 00:17:27,640 --> 00:17:29,640 Speaker 2: games going at once. It's just that kind of place, 292 00:17:29,680 --> 00:17:33,720 Speaker 2: a sports bar. And somebody said, hey, man, John Prime's 293 00:17:33,760 --> 00:17:38,640 Speaker 2: playing at this place, and I was like, at that place. Yeah, 294 00:17:38,760 --> 00:17:40,639 Speaker 2: we had just been to town like a week or something. 295 00:17:41,720 --> 00:17:46,080 Speaker 2: And so my wife Shannon and I we go meet 296 00:17:46,119 --> 00:17:48,080 Speaker 2: whoever we met. I can't even remember who they were 297 00:17:48,119 --> 00:17:50,879 Speaker 2: at the time, but we go in. It's like just 298 00:17:50,920 --> 00:17:54,240 Speaker 2: a bunch of like regular chairs, like you know, just 299 00:17:54,359 --> 00:17:57,920 Speaker 2: like folding chairs, and we're all sitting. I mean, it 300 00:17:58,000 --> 00:18:00,320 Speaker 2: was like, you know, twenty of us and kind filled 301 00:18:00,400 --> 00:18:04,080 Speaker 2: up the place. And man, he's just standing four feet 302 00:18:04,119 --> 00:18:07,159 Speaker 2: away and I think it was Pat o'clock though, was 303 00:18:07,200 --> 00:18:09,280 Speaker 2: with him. I can't remember who was playing guitar with him. 304 00:18:09,320 --> 00:18:11,159 Speaker 2: I think that's who it was. And man, it was 305 00:18:11,200 --> 00:18:13,199 Speaker 2: just the two of them and they played for like 306 00:18:13,560 --> 00:18:16,560 Speaker 2: an hour and a half like that, that close, and 307 00:18:16,640 --> 00:18:21,159 Speaker 2: I thought, Nashville is the greatest place in the world, 308 00:18:21,400 --> 00:18:24,680 Speaker 2: Like you could just go to a bar like this 309 00:18:24,760 --> 00:18:28,199 Speaker 2: and John Prime is playing, like this is incredible, right, 310 00:18:28,240 --> 00:18:31,879 Speaker 2: And then it never never happened again like that, nothing 311 00:18:31,920 --> 00:18:35,040 Speaker 2: that cool ever happened again in the twenty five years 312 00:18:35,080 --> 00:18:37,400 Speaker 2: that I've been here, but it was enough to make 313 00:18:37,480 --> 00:18:38,439 Speaker 2: us stay. 314 00:18:38,880 --> 00:18:40,440 Speaker 3: Oh that is fantastic. 315 00:18:40,720 --> 00:18:46,159 Speaker 2: I played with Leanne at a show at a I 316 00:18:46,160 --> 00:18:48,600 Speaker 2: think it was BlackBerry Farms, I think is the name 317 00:18:48,640 --> 00:18:53,880 Speaker 2: of the place out in somewhere in Tennessee, and Leanne 318 00:18:55,119 --> 00:18:58,960 Speaker 2: was playing, and John was playing with his band Dave 319 00:18:59,080 --> 00:19:02,159 Speaker 2: Jakeson his company is to have my name escapes me 320 00:19:02,160 --> 00:19:06,200 Speaker 2: at the moment. So I did get to meet him 321 00:19:06,240 --> 00:19:09,159 Speaker 2: then and play a show with him. Really, but you know, 322 00:19:09,240 --> 00:19:11,159 Speaker 2: we weren't pals. I wish we were. He was a 323 00:19:11,760 --> 00:19:13,000 Speaker 2: seemed like a wonderful guy. 324 00:19:13,480 --> 00:19:16,720 Speaker 5: Oh man, he's uh, he's a certainly he's certainly a 325 00:19:16,760 --> 00:19:18,720 Speaker 5: soundtrack to my my life for sure. 326 00:19:19,080 --> 00:19:19,520 Speaker 3: Yeah. 327 00:19:19,640 --> 00:19:23,760 Speaker 5: Every twist and turn. So congratulations on nature of necessity. 328 00:19:23,880 --> 00:19:27,120 Speaker 5: It must feel really amazing putting this out to the world. 329 00:19:27,200 --> 00:19:28,600 Speaker 5: Tell me how you're feeling. 330 00:19:28,320 --> 00:19:32,160 Speaker 2: About it, man, You know, I feel good about it. 331 00:19:32,160 --> 00:19:39,880 Speaker 2: It's like it's well received by people whose accolades respect 332 00:19:40,400 --> 00:19:46,480 Speaker 2: and appreciate, people whose opinions I care about seem to 333 00:19:46,600 --> 00:19:50,719 Speaker 2: appreciate that this record was made and is available, and 334 00:19:50,760 --> 00:19:53,760 Speaker 2: that means a lot. And you know, we've got a small, 335 00:19:53,840 --> 00:19:57,439 Speaker 2: mighty team of people over here at the Carnival Music 336 00:19:57,520 --> 00:20:02,000 Speaker 2: and partners with you know, people like Short Fire Empire. 337 00:20:02,119 --> 00:20:05,639 Speaker 2: They've helped us quite a bit, but it's a you know, 338 00:20:06,119 --> 00:20:10,560 Speaker 2: I think the the idea of the success of an 339 00:20:10,600 --> 00:20:16,160 Speaker 2: independent release to me is the fact that you released 340 00:20:16,200 --> 00:20:19,960 Speaker 2: it sort of in the like, not in the result 341 00:20:20,080 --> 00:20:24,000 Speaker 2: of what it brings you, but so much as you 342 00:20:24,119 --> 00:20:28,080 Speaker 2: made this thing, you make a plan, however humble it 343 00:20:28,160 --> 00:20:32,440 Speaker 2: might be, to present it, and then you follow that plan, 344 00:20:33,440 --> 00:20:37,679 Speaker 2: and then that's the best you can do. And this 345 00:20:37,800 --> 00:20:40,480 Speaker 2: has felt really good. It's the I think, the first 346 00:20:40,520 --> 00:20:44,199 Speaker 2: time I've spent this much time trying to promote a 347 00:20:44,240 --> 00:20:50,840 Speaker 2: thing that I didn't once at myself for doing it, 348 00:20:50,880 --> 00:20:56,000 Speaker 2: because it doesn't feel like I'm promoting myself. It feels 349 00:20:56,040 --> 00:20:58,919 Speaker 2: like I'm promoting some work I did with some people 350 00:20:59,080 --> 00:21:04,480 Speaker 2: I really love, and they've all worked so hard to 351 00:21:05,720 --> 00:21:09,840 Speaker 2: have this thing exist. The least that I can do 352 00:21:10,080 --> 00:21:13,280 Speaker 2: is get out and work as hard or harder to 353 00:21:13,359 --> 00:21:17,360 Speaker 2: make sure that people are aware of it, whoever might 354 00:21:17,359 --> 00:21:19,879 Speaker 2: appreciate it. So it feels great. I'm glad. 355 00:21:19,880 --> 00:21:25,119 Speaker 5: It's that it sounds fantastic, and it's it is getting 356 00:21:25,119 --> 00:21:26,120 Speaker 5: great reviews. 357 00:21:26,520 --> 00:21:29,920 Speaker 3: But go back to your your view of it. 358 00:21:31,200 --> 00:21:35,040 Speaker 5: How does an artist and a writer deal in a 359 00:21:35,080 --> 00:21:39,560 Speaker 5: world today where it's so easy to have perfection with everything, 360 00:21:40,119 --> 00:21:44,200 Speaker 5: and that perfection is so sought after. But yet when 361 00:21:44,200 --> 00:21:48,800 Speaker 5: we really reflect, we know imperfection has its own beauty. 362 00:21:48,920 --> 00:21:53,080 Speaker 5: So talk to me about the balance of perfection and imperfection. 363 00:21:54,720 --> 00:21:57,560 Speaker 5: You know about this project in particular in your mind? 364 00:21:58,400 --> 00:22:03,320 Speaker 2: Oh well, that's funny because with the idea of this record, 365 00:22:03,440 --> 00:22:06,399 Speaker 2: and I've been doing this with the last few things 366 00:22:06,400 --> 00:22:08,080 Speaker 2: that I've put out, a couple of EPs and then 367 00:22:08,080 --> 00:22:12,879 Speaker 2: a full album I called out Win like where I 368 00:22:13,000 --> 00:22:19,479 Speaker 2: just would everything had to be one pass, unedited, warts 369 00:22:19,560 --> 00:22:22,440 Speaker 2: and all lives with it. I just you're right, it's 370 00:22:22,480 --> 00:22:26,440 Speaker 2: so easy to make things perfect. Anybody can make anything perfect. 371 00:22:26,840 --> 00:22:32,560 Speaker 2: Now it just gets so boring, uninteresting, I guess. So 372 00:22:32,680 --> 00:22:36,439 Speaker 2: the once you start recording that way and listening to 373 00:22:36,520 --> 00:22:42,320 Speaker 2: things that way, it's hard not to keep going down 374 00:22:42,359 --> 00:22:45,439 Speaker 2: that path. You know, the flaws or what are what 375 00:22:45,680 --> 00:22:50,280 Speaker 2: becomes interesting and sometimes beautiful. So with this, we decided 376 00:22:50,320 --> 00:22:56,520 Speaker 2: to record live myself playing and singing, Glenn Warf on 377 00:22:56,600 --> 00:23:00,119 Speaker 2: bass and Matt Chamberlain on drums, and the idea and 378 00:23:00,240 --> 00:23:03,199 Speaker 2: nothing was coming to save us. This was it. Like 379 00:23:03,440 --> 00:23:05,440 Speaker 2: if something had to be big, we have to make 380 00:23:05,480 --> 00:23:08,880 Speaker 2: it big and that's it. And I remember telling Glenn 381 00:23:08,920 --> 00:23:11,920 Speaker 2: we were sitting in Frank's kitchen, Frank Lyddell, who produced 382 00:23:12,240 --> 00:23:16,040 Speaker 2: the album and is also my publisher, and I said, okay, Glenn, 383 00:23:16,119 --> 00:23:19,359 Speaker 2: like you're you're the lead instrument man. It's like I'm busy, 384 00:23:19,880 --> 00:23:24,959 Speaker 2: like I'm tied up playing guitar for myself and singing. 385 00:23:25,160 --> 00:23:28,399 Speaker 2: It's like if there's a solo or something has a 386 00:23:28,400 --> 00:23:31,440 Speaker 2: feel to be done, like you're the you're the man, 387 00:23:31,600 --> 00:23:33,959 Speaker 2: like you gotta do it man. And Matt too, and 388 00:23:34,000 --> 00:23:38,200 Speaker 2: so there are times when Glenn's just playing lead bass 389 00:23:38,720 --> 00:23:42,879 Speaker 2: through like an entire verse and chorus of a song, 390 00:23:43,040 --> 00:23:47,439 Speaker 2: and it's so unusual and exciting to me. Like the 391 00:23:47,440 --> 00:23:50,960 Speaker 2: stuff that happens musically on this record, I love it. It's 392 00:23:50,880 --> 00:23:53,919 Speaker 2: so it's so wild. It feels wild at times, like 393 00:23:54,000 --> 00:23:57,439 Speaker 2: they're just not doing things conventionally, and we all just 394 00:23:57,440 --> 00:23:59,560 Speaker 2: though I don't know, it excited me. I hope they're 395 00:23:59,560 --> 00:24:02,359 Speaker 2: proud of it. I don't know them. They might not 396 00:24:02,480 --> 00:24:05,879 Speaker 2: admit that they played on him, but it excited me. 397 00:24:06,680 --> 00:24:09,080 Speaker 2: And there are some vocal things that you know, if 398 00:24:09,720 --> 00:24:12,439 Speaker 2: if we weren't recording like this, if this had not 399 00:24:12,480 --> 00:24:15,760 Speaker 2: been our philosophy, I would absolutely have fixed, or an 400 00:24:15,800 --> 00:24:19,360 Speaker 2: engineer would have fixed without even telling me, you know, 401 00:24:20,400 --> 00:24:23,159 Speaker 2: but we wanted it to be flawed. We wanted to 402 00:24:23,160 --> 00:24:25,199 Speaker 2: be good or we're not trying to make a bad record, 403 00:24:25,680 --> 00:24:28,960 Speaker 2: but there are things that are wrong with parts of it. 404 00:24:29,119 --> 00:24:31,960 Speaker 2: And you know, it's like we got more than one shot. 405 00:24:32,320 --> 00:24:34,440 Speaker 2: It's not like we just had one shot and didn't 406 00:24:34,480 --> 00:24:37,040 Speaker 2: quite nail it. It's like some of these songs we 407 00:24:37,040 --> 00:24:39,120 Speaker 2: did five or six times, and if that's the way 408 00:24:39,119 --> 00:24:41,000 Speaker 2: it came out, then that's about as good as we 409 00:24:41,040 --> 00:24:44,280 Speaker 2: can do it. And that's just gonna have to be good. 410 00:24:45,160 --> 00:24:49,439 Speaker 2: And there's something about that that is that I like 411 00:24:49,640 --> 00:24:52,040 Speaker 2: that I've just come to like. I like to hear 412 00:24:52,119 --> 00:24:55,920 Speaker 2: performances and I like to hear some humanity, and when 413 00:24:55,960 --> 00:25:00,600 Speaker 2: it's not in music, I just it's hard to get interested. 414 00:25:00,680 --> 00:25:00,840 Speaker 3: Man. 415 00:25:01,160 --> 00:25:04,800 Speaker 5: For me, at this point in closing, I want to 416 00:25:04,800 --> 00:25:08,240 Speaker 5: ask you, and I you know, can't see if you'll 417 00:25:08,280 --> 00:25:12,639 Speaker 5: be blushing when I say this, but you're a humble gentleman. 418 00:25:13,119 --> 00:25:15,080 Speaker 5: How does it make you feel when you're referred to 419 00:25:15,200 --> 00:25:18,359 Speaker 5: as the poet laureate of music growth. 420 00:25:19,320 --> 00:25:26,000 Speaker 2: Well, you know, part of me. The morning after I 421 00:25:26,240 --> 00:25:30,160 Speaker 2: saw that thing, I woke up and got a cup 422 00:25:30,200 --> 00:25:34,520 Speaker 2: of coffee downstairs, and my dog had gone to the 423 00:25:34,560 --> 00:25:39,360 Speaker 2: bathroom on the floor, and I took a picture of it, 424 00:25:40,240 --> 00:25:43,160 Speaker 2: and I sent it and I was like, my dog 425 00:25:43,320 --> 00:25:45,919 Speaker 2: is the poet laureate of pooping on my floor in 426 00:25:45,960 --> 00:25:48,120 Speaker 2: the middle of the night. I was like, I don't 427 00:25:48,160 --> 00:25:50,440 Speaker 2: know what is part of me it thinks like that, 428 00:25:50,640 --> 00:25:54,719 Speaker 2: like just totally dismissive of any sort of accolade. And 429 00:25:54,760 --> 00:25:58,080 Speaker 2: the other part of me is really uh, I don't know, 430 00:25:58,760 --> 00:26:02,560 Speaker 2: proud that all of the work that went into the 431 00:26:02,560 --> 00:26:07,679 Speaker 2: writing of these songs resonated with someone who appreciates the 432 00:26:07,760 --> 00:26:12,760 Speaker 2: craft of words. That feels really good. I'd be lying. 433 00:26:12,760 --> 00:26:15,000 Speaker 2: I'd be lying if I didn't say that it felt 434 00:26:15,080 --> 00:26:17,200 Speaker 2: really good. You know, there are a lot of a 435 00:26:17,280 --> 00:26:20,239 Speaker 2: lot of people that are very good with words in 436 00:26:20,240 --> 00:26:25,720 Speaker 2: this town, especially, so I don't know, it feels good. Yeah, 437 00:26:25,720 --> 00:26:30,040 Speaker 2: I'm flattered, But also, my dog is the poet laureate 438 00:26:30,040 --> 00:26:32,120 Speaker 2: of pooping on the floor in the middle. 439 00:26:31,960 --> 00:26:35,680 Speaker 5: Of the Well, it feels really good talking to you 440 00:26:36,040 --> 00:26:40,720 Speaker 5: about your new work Nature of Necessity, which I absolutely love, 441 00:26:41,440 --> 00:26:44,440 Speaker 5: and I love your body of work as a songwriter. 442 00:26:44,840 --> 00:26:47,159 Speaker 5: I love your work as a musician and it was 443 00:26:47,240 --> 00:26:48,880 Speaker 5: amazing to have you on Taking a Walk. 444 00:26:49,280 --> 00:26:51,240 Speaker 3: Adam Wright. Thank you so much for being here. 445 00:26:51,720 --> 00:26:53,840 Speaker 2: Thanks for having me, guys, I appreciate it. Man, I 446 00:26:53,920 --> 00:26:54,760 Speaker 2: enjoyed talking to you. 447 00:26:56,600 --> 00:26:59,080 Speaker 1: Thanks for listening to this episode of the Taking a 448 00:26:59,119 --> 00:27:03,000 Speaker 1: Walk podcast. Share this and other episodes with your friends 449 00:27:03,080 --> 00:27:06,560 Speaker 1: and follow us so you never miss an episode. Taking 450 00:27:06,600 --> 00:27:10,679 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 451 00:27:10,720 --> 00:27:13,000 Speaker 1: and wherever you get your podcasts. 452 00:27:13,840 --> 00:27:15,879 Speaker 5: Taking a Walk is made possible by the support of 453 00:27:15,920 --> 00:27:20,080 Speaker 5: our great sponsors, and we thanked them, including Chase Sapphire Reserve. 454 00:27:20,359 --> 00:27:23,600 Speaker 5: My gateway to the world's most captivating destinations is from 455 00:27:23,640 --> 00:27:27,560 Speaker 5: Chase Sapphire Reserve, Claude AI. 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