1 00:00:00,560 --> 00:00:01,240 Speaker 1: Taking a Walk. 2 00:00:01,320 --> 00:00:04,560 Speaker 2: I'm buzznight and welcome to another edition of Taking a Walk. 3 00:00:04,600 --> 00:00:07,800 Speaker 2: This is the podcast where we get the stories behind 4 00:00:07,920 --> 00:00:12,240 Speaker 2: the music from all sorts of artists, new artists, hall 5 00:00:12,280 --> 00:00:16,280 Speaker 2: of famers, the whole gamut. Today we're joined by a 6 00:00:16,320 --> 00:00:20,080 Speaker 2: band that's been quickly turning heads with their sharp lyrics, 7 00:00:20,560 --> 00:00:25,160 Speaker 2: rich harmonies, and a sound that feels both fresh and timeless. 8 00:00:25,560 --> 00:00:28,920 Speaker 2: They're lifelong friends who turn their shared love of music 9 00:00:29,320 --> 00:00:34,240 Speaker 2: into something that's resonating with audiences across the country. They 10 00:00:34,280 --> 00:00:38,199 Speaker 2: call themselves Brisco, and if you haven't crossed paths with 11 00:00:38,280 --> 00:00:41,560 Speaker 2: their songs yet, you're about to discover why so many 12 00:00:41,600 --> 00:00:46,040 Speaker 2: people are leaning in. So settle into the rhythm and 13 00:00:46,600 --> 00:00:49,440 Speaker 2: we'll get into it with Brisco after these. 14 00:00:49,320 --> 00:00:53,440 Speaker 1: Words taken a Walk. 15 00:00:53,600 --> 00:00:55,720 Speaker 2: Well, it's so good on the Take on a Walk 16 00:00:55,840 --> 00:01:04,160 Speaker 2: podcast to have Brisco on. That's Philip Lupton and True Heinzelman. Hello, gentlemen, Hello, Hello, 17 00:01:05,360 --> 00:01:08,200 Speaker 2: it's going well. It's so nice to have you on 18 00:01:08,280 --> 00:01:11,920 Speaker 2: Taking a Walk. So, since we do call this this 19 00:01:11,959 --> 00:01:15,600 Speaker 2: little podcast Taking a Walk, I'd like to ask this question. 20 00:01:17,600 --> 00:01:20,520 Speaker 2: If you could take a walk with somebody living or dead, 21 00:01:21,319 --> 00:01:22,959 Speaker 2: who do you think you would take a walk with 22 00:01:23,120 --> 00:01:25,800 Speaker 2: and where would you take that walk? 23 00:01:28,280 --> 00:01:32,560 Speaker 3: Wow, that's a great question. I have thought about this. 24 00:01:32,920 --> 00:01:37,160 Speaker 3: I've checked out your podcast and had seen that you 25 00:01:37,200 --> 00:01:40,240 Speaker 3: asked this question, and it really got me thinking. And 26 00:01:40,920 --> 00:01:43,920 Speaker 3: it's funny because my answer, before I even realized that 27 00:01:44,000 --> 00:01:49,640 Speaker 3: you had talked to him before, was immediately Lyle love It. 28 00:01:50,760 --> 00:01:53,800 Speaker 3: I would just love to take a walk with Lyle 29 00:01:53,800 --> 00:01:57,680 Speaker 3: love It. I'd love to pick his brain on everything, songwriting, 30 00:01:57,880 --> 00:02:05,520 Speaker 3: everything textas, everything, Mexican food, and I would just take 31 00:02:05,520 --> 00:02:10,840 Speaker 3: a walk through the neighborhood that I live in that 32 00:02:10,919 --> 00:02:13,639 Speaker 3: we both live in in Austin is a called Hyde 33 00:02:13,720 --> 00:02:17,200 Speaker 3: Park and it's just a homey neighborhood. I don't know 34 00:02:17,240 --> 00:02:19,480 Speaker 3: where law love It lives, but I've seen him at 35 00:02:19,480 --> 00:02:22,000 Speaker 3: a restaurant in this neighborhood before, and I would just 36 00:02:22,160 --> 00:02:24,880 Speaker 3: take a walk around the neighborhood, maybe stop and grab 37 00:02:24,880 --> 00:02:26,800 Speaker 3: a margarita or something and pick his brain. 38 00:02:28,080 --> 00:02:30,040 Speaker 2: That's a great one. I love it. 39 00:02:30,840 --> 00:02:35,440 Speaker 4: So I didn't come as prepared, but off the top 40 00:02:35,480 --> 00:02:38,440 Speaker 4: of my head, I would love to take a walk 41 00:02:38,440 --> 00:02:39,440 Speaker 4: with Jerry Garcia. 42 00:02:40,639 --> 00:02:43,880 Speaker 3: I am just super. 43 00:02:43,600 --> 00:02:47,079 Speaker 4: Fascinated by him, as I think a lot of people 44 00:02:47,120 --> 00:02:50,000 Speaker 4: are as a musician, as. 45 00:02:51,440 --> 00:02:56,200 Speaker 3: A writer as just a person, he's just he's such 46 00:02:56,280 --> 00:02:58,000 Speaker 3: a peculiar. 47 00:02:57,880 --> 00:03:01,519 Speaker 4: Person who had a lot of very profound things to say. 48 00:03:01,600 --> 00:03:05,120 Speaker 4: I know, songwriting wise, he wrote a lot of times 49 00:03:05,200 --> 00:03:08,519 Speaker 4: with Robert Hunter, so I honestly, if I could pick 50 00:03:08,560 --> 00:03:10,480 Speaker 4: both their brains, that'd be great. But even just Jerry, 51 00:03:12,440 --> 00:03:17,560 Speaker 4: I think he's a super underrated songwriter and lyricists perhaps. 52 00:03:17,600 --> 00:03:20,120 Speaker 4: I think obviously people love his songs, but I think 53 00:03:20,160 --> 00:03:24,480 Speaker 4: his lyrics are incredible, and so I would love to 54 00:03:24,520 --> 00:03:27,600 Speaker 4: just get to kind of talk about that with him. 55 00:03:27,760 --> 00:03:31,720 Speaker 4: And I think to just his viewpoint on the world 56 00:03:31,800 --> 00:03:37,040 Speaker 4: and on things was very unique, and would be super 57 00:03:37,040 --> 00:03:40,880 Speaker 4: interested to hear what he had to say about everything. 58 00:03:41,800 --> 00:03:44,480 Speaker 2: And so are two good ones. They're all good, but 59 00:03:45,120 --> 00:03:48,240 Speaker 2: those are two side by side that would be pretty 60 00:03:48,560 --> 00:03:54,720 Speaker 2: pretty incredible. Never had the opportunity myself to run into 61 00:03:54,760 --> 00:03:59,040 Speaker 2: mister Garcia while he was on this planet, and having 62 00:03:59,120 --> 00:04:04,240 Speaker 2: Lyle Lovett on was a long standing dream come true. 63 00:04:04,280 --> 00:04:07,240 Speaker 2: And as you both know, he couldn't have been any 64 00:04:07,360 --> 00:04:13,320 Speaker 2: nicer and accommodating, So that was a a big, big thrill. 65 00:04:13,480 --> 00:04:16,840 Speaker 2: So we're going to talk about your new music Heat 66 00:04:16,880 --> 00:04:21,000 Speaker 2: of July, and you know, get into that, but first 67 00:04:21,040 --> 00:04:25,520 Speaker 2: of all, take me here to the beginnings and the 68 00:04:25,600 --> 00:04:28,400 Speaker 2: story behind how Brisco came together. 69 00:04:29,920 --> 00:04:33,520 Speaker 3: Yeah, absolutely, I'll jump in. Also, I don't think we 70 00:04:34,839 --> 00:04:41,160 Speaker 3: introduced ourselves. I'm Philip. This is Truett, Okay, Brisco Brisco 71 00:04:41,400 --> 00:04:45,279 Speaker 3: so Trut and I met at a summer camp when 72 00:04:45,320 --> 00:04:50,559 Speaker 3: we were in middle school age around around that, maybe 73 00:04:50,600 --> 00:04:53,000 Speaker 3: seventh or eighth grade. We went to a summer camp 74 00:04:54,800 --> 00:04:57,800 Speaker 3: and we were just talking about this. But it was 75 00:04:57,839 --> 00:05:00,000 Speaker 3: so funny when we met for the very first time. 76 00:05:00,560 --> 00:05:05,520 Speaker 3: We were wearing the same exact pair of shoes. And 77 00:05:06,600 --> 00:05:10,360 Speaker 3: you'll be able to tell, but we have red, curly 78 00:05:10,440 --> 00:05:14,080 Speaker 3: hair and we looked like twin brothers. So when we met, 79 00:05:14,440 --> 00:05:18,120 Speaker 3: it was comical because we looked like twins and we 80 00:05:18,120 --> 00:05:20,839 Speaker 3: were wearing the same exact pair of shoes. We grew 81 00:05:20,880 --> 00:05:26,920 Speaker 3: up in different cities and we stayed friends through high school. 82 00:05:27,480 --> 00:05:31,400 Speaker 3: We continued to go to the summer camp and we 83 00:05:31,560 --> 00:05:34,560 Speaker 3: just started to play music together. We realized we had 84 00:05:34,560 --> 00:05:37,880 Speaker 3: a lot of the same influences, We loved a lot 85 00:05:37,880 --> 00:05:42,120 Speaker 3: of the same music, and kind of through late high school, 86 00:05:42,160 --> 00:05:44,839 Speaker 3: began writing a lot of songs and started to release 87 00:05:44,880 --> 00:05:47,040 Speaker 3: that a little bit, and then we got to college 88 00:05:47,080 --> 00:05:50,120 Speaker 3: at the University of Texas in Austin, and that's when 89 00:05:50,120 --> 00:05:55,360 Speaker 3: we really made Brisco official and began to play shows 90 00:05:55,440 --> 00:05:59,559 Speaker 3: and gig around and record music and try to get 91 00:06:00,640 --> 00:06:01,719 Speaker 3: get it off the ground. 92 00:06:04,040 --> 00:06:05,760 Speaker 2: I'd say, you've gotten it off the ground. 93 00:06:07,400 --> 00:06:09,560 Speaker 3: Oh, thank you, thank you very much. 94 00:06:10,360 --> 00:06:14,560 Speaker 2: Can you guys talk about though, those musical influences, obviously, 95 00:06:15,160 --> 00:06:18,000 Speaker 2: I'm sure it touches a little bit on what you 96 00:06:18,120 --> 00:06:20,279 Speaker 2: led with on the taking a Walk question. I'm sure 97 00:06:20,560 --> 00:06:24,479 Speaker 2: lyle Lovett's had influence. I'm sure Jerry Garcia has had 98 00:06:24,839 --> 00:06:31,080 Speaker 2: influence as well, especially considering what Jerry did so brilliantly 99 00:06:32,040 --> 00:06:35,160 Speaker 2: on how he and all those others in that little 100 00:06:35,320 --> 00:06:39,680 Speaker 2: supergroup called Olden in the Way kind of took bluegrass 101 00:06:39,760 --> 00:06:44,159 Speaker 2: and brought it into a different sense of mainstream, which 102 00:06:44,480 --> 00:06:48,120 Speaker 2: was kind of unheard of then and to this day, 103 00:06:48,240 --> 00:06:51,599 Speaker 2: that you know, great project Olden in the Way still 104 00:06:51,640 --> 00:06:56,039 Speaker 2: stands as a milestone. But talk about, you know, Philip 105 00:06:56,040 --> 00:07:01,360 Speaker 2: and true at your musical influences could just get lost. 106 00:07:01,480 --> 00:07:05,039 Speaker 4: Talking about our musical influences is kind of like when you're, 107 00:07:05,160 --> 00:07:07,760 Speaker 4: you know, a young kid, did a shopping mall with 108 00:07:07,839 --> 00:07:10,960 Speaker 4: your mom and you get lost and it's just so exciting, 109 00:07:11,000 --> 00:07:12,920 Speaker 4: but it's almost overwhelming because we could just. 110 00:07:12,840 --> 00:07:13,600 Speaker 3: Be there all day. 111 00:07:14,120 --> 00:07:18,240 Speaker 4: So musically, I mean, like you said, everything from Jerry Garcia, 112 00:07:18,360 --> 00:07:22,560 Speaker 4: that whole late sixties through the seventies decade of music 113 00:07:22,880 --> 00:07:28,480 Speaker 4: is just to us the like pinnacle of music, both 114 00:07:28,520 --> 00:07:33,840 Speaker 4: from a songwriting perspective that spends plenty of genres, you know, 115 00:07:34,000 --> 00:07:38,720 Speaker 4: the whole Laurel Canyon scene, the country scene in that day, 116 00:07:38,760 --> 00:07:43,680 Speaker 4: guys like John Prime, you got senior songwriters like James Taylor. 117 00:07:44,120 --> 00:07:47,040 Speaker 3: The Eagles or a band that we think you're one 118 00:07:47,040 --> 00:07:47,960 Speaker 3: of the best out there. 119 00:07:49,440 --> 00:07:53,560 Speaker 4: And so that age of music, I think is what 120 00:07:53,560 --> 00:07:56,920 Speaker 4: we're both raised on and it's what we both consider 121 00:07:57,000 --> 00:07:59,960 Speaker 4: to be like kind of the gold standard of music. 122 00:08:01,680 --> 00:08:03,760 Speaker 3: And so that has a ton of influence. 123 00:08:04,640 --> 00:08:06,880 Speaker 4: And then yeah, guys like Jerry Garcia, like you're saying, 124 00:08:07,560 --> 00:08:11,960 Speaker 4: it's so fascinating to me that he, you know, like 125 00:08:12,080 --> 00:08:16,080 Speaker 4: started off really as like a blues guy and then 126 00:08:17,200 --> 00:08:21,640 Speaker 4: the Dead kind of morphed into this like folk bluegrass, 127 00:08:21,720 --> 00:08:25,960 Speaker 4: you know, like working Man's Dead sound into you know, 128 00:08:26,160 --> 00:08:28,880 Speaker 4: blues into a jam band, and then obviously eventually got 129 00:08:28,920 --> 00:08:30,600 Speaker 4: into the psychedelic thing. But just the way that he 130 00:08:30,680 --> 00:08:33,040 Speaker 4: kind of intertwined all those is something that's really fascinating 131 00:08:33,080 --> 00:08:33,360 Speaker 4: to us. 132 00:08:33,360 --> 00:08:37,640 Speaker 3: And we, you know, call ourselves like a Texas folk. 133 00:08:37,480 --> 00:08:40,720 Speaker 4: Rock band, but there's you know, aspects of like country music, 134 00:08:40,800 --> 00:08:44,400 Speaker 4: aspects of bluegrass music, aspects of like southern rock music, 135 00:08:45,440 --> 00:08:49,920 Speaker 4: aspect of straight up blues music. So we really appreciate 136 00:08:50,040 --> 00:08:56,280 Speaker 4: that sort of bouncing and weaving through genres, and especially 137 00:08:56,360 --> 00:08:58,679 Speaker 4: in the way that he did it, that was so authentic. 138 00:09:00,320 --> 00:09:04,080 Speaker 3: How about you, Yeah, Yeah, I think that's that's a 139 00:09:04,120 --> 00:09:07,520 Speaker 3: great kind of take on where we're at. I remember, 140 00:09:08,160 --> 00:09:11,200 Speaker 3: so I'd like to compare it to this. When I 141 00:09:11,360 --> 00:09:16,199 Speaker 3: moved to Austin for college, I had grown up in 142 00:09:16,240 --> 00:09:19,680 Speaker 3: a town called San Angelo in West Texas, and San 143 00:09:19,720 --> 00:09:25,200 Speaker 3: Angelo didn't have very many restaurants with different cuisine. So 144 00:09:25,440 --> 00:09:29,000 Speaker 3: I get to Austin and it's like, Okay, I'm going 145 00:09:29,080 --> 00:09:34,439 Speaker 3: to try Korean food. I'm going to try chicken tika masala, 146 00:09:34,480 --> 00:09:36,800 Speaker 3: I'm going to try all these different foods, and I'm 147 00:09:36,840 --> 00:09:40,040 Speaker 3: gonna just like feel like I'm in a brand new world. 148 00:09:41,240 --> 00:09:46,320 Speaker 3: And getting to Austin and exploring the music scene felt 149 00:09:46,360 --> 00:09:49,400 Speaker 3: so similar because I was in this new world. I 150 00:09:49,480 --> 00:09:54,760 Speaker 3: was just inundated by the lore the legends, the blues, 151 00:09:55,080 --> 00:10:00,240 Speaker 3: the rock, the country, the folk, the singer songwriters. And 152 00:10:00,280 --> 00:10:05,880 Speaker 3: I think that recently, recently, what we've been consuming a 153 00:10:05,880 --> 00:10:09,880 Speaker 3: lot of is like true it talked about like that 154 00:10:10,040 --> 00:10:15,760 Speaker 3: golden standard of the you know, seventies greater full country 155 00:10:15,840 --> 00:10:18,960 Speaker 3: rock and roll scene, and I think that recently we've 156 00:10:18,960 --> 00:10:23,160 Speaker 3: been really exploring, like what does that mean through the 157 00:10:23,280 --> 00:10:27,160 Speaker 3: lens of Texas. Who are these Texans that we, you know, 158 00:10:27,760 --> 00:10:31,959 Speaker 3: can resonate with growing up here that we love so much. 159 00:10:32,040 --> 00:10:36,959 Speaker 3: And I think that guys like, uh, well, I love it, 160 00:10:37,440 --> 00:10:44,600 Speaker 3: Robert L. Keene, Chris Christofferson, Guy Clark, Willis, Allen Ramsey, 161 00:10:45,080 --> 00:10:47,520 Speaker 3: Jerry Jeff Walker. I mean, the list just goes on 162 00:10:47,600 --> 00:10:52,280 Speaker 3: and on. But those I'll just say recently have been 163 00:10:52,400 --> 00:10:56,680 Speaker 3: such a big influence in our songwriting because they're all 164 00:10:56,800 --> 00:10:59,360 Speaker 3: artists to do such a great job of writing music 165 00:10:59,400 --> 00:11:03,240 Speaker 3: that's loved you universally, but it's also specific to where 166 00:11:03,280 --> 00:11:07,120 Speaker 3: they're from, where they live, and the places and people 167 00:11:07,120 --> 00:11:09,720 Speaker 3: that they care about the most. 168 00:11:10,320 --> 00:11:14,320 Speaker 2: So let's talk about the creation of the Heat of July. 169 00:11:15,320 --> 00:11:20,320 Speaker 2: First of all, what is your process on the songwriting 170 00:11:20,640 --> 00:11:23,959 Speaker 2: side of things? Take us behind the scenes on how 171 00:11:24,960 --> 00:11:27,000 Speaker 2: you both work in that regard. 172 00:11:27,640 --> 00:11:28,280 Speaker 3: Great question. 173 00:11:29,920 --> 00:11:35,120 Speaker 4: So generally speaking, despite being a duo, we tend to 174 00:11:35,120 --> 00:11:38,640 Speaker 4: write most of our songs individually and kind of use 175 00:11:38,679 --> 00:11:43,720 Speaker 4: each other as like a consulting type of relationship to 176 00:11:43,800 --> 00:11:47,840 Speaker 4: where you know, if I or if Philip has a 177 00:11:47,840 --> 00:11:51,240 Speaker 4: song that's one hundred percent done and brings it to 178 00:11:51,280 --> 00:11:53,160 Speaker 4: me and is like, hey, what do you think about this? 179 00:11:53,400 --> 00:11:56,959 Speaker 4: And a lot of times like perfect, don't change anything, 180 00:11:57,000 --> 00:11:57,439 Speaker 4: it's great. 181 00:11:57,840 --> 00:11:59,920 Speaker 3: Occasionally there'll be like, oh, what do you think about 182 00:11:59,920 --> 00:12:00,360 Speaker 3: this here? 183 00:12:00,360 --> 00:12:04,280 Speaker 4: And so this or this here or and then every 184 00:12:04,640 --> 00:12:09,640 Speaker 4: probably wanting you know, ten songs or so we'll sit 185 00:12:09,720 --> 00:12:12,760 Speaker 4: down and write something together, or I'll bring or Philip 186 00:12:12,760 --> 00:12:15,400 Speaker 4: will bring a verse and of course and we'll say. 187 00:12:15,240 --> 00:12:16,080 Speaker 3: Hey, what do you think about this? 188 00:12:17,400 --> 00:12:22,240 Speaker 4: So that's generally speaking how we roll songwriting wise. But 189 00:12:23,000 --> 00:12:27,640 Speaker 4: this record was kind of a new thing for us 190 00:12:27,679 --> 00:12:31,320 Speaker 4: because we put out our first record West of it 191 00:12:31,400 --> 00:12:34,800 Speaker 4: All two years ago and then pretty much just hit 192 00:12:34,840 --> 00:12:37,800 Speaker 4: the road after that and really spent a lot of 193 00:12:37,800 --> 00:12:39,839 Speaker 4: time on the road, which was awesome and it. 194 00:12:39,880 --> 00:12:42,439 Speaker 3: Was great to get to play shows, but. 195 00:12:42,480 --> 00:12:48,240 Speaker 4: We weren't home for extended periods of time really much 196 00:12:48,280 --> 00:12:49,880 Speaker 4: at all, and so we kind of had to learn 197 00:12:49,920 --> 00:12:54,920 Speaker 4: to write songs on the road, which was great, but it. 198 00:12:54,880 --> 00:12:55,800 Speaker 3: Was just very different. 199 00:12:55,800 --> 00:12:58,360 Speaker 4: And so it was it was a really good kind 200 00:12:58,360 --> 00:13:04,280 Speaker 4: of experiment or exercise, if you will. A lot of 201 00:13:04,320 --> 00:13:08,360 Speaker 4: the writing was almost more like writing poetry in the van, 202 00:13:08,640 --> 00:13:10,960 Speaker 4: you know, and it's it's super helpful when you're driving 203 00:13:11,000 --> 00:13:12,600 Speaker 4: through beautiful. 204 00:13:12,120 --> 00:13:13,080 Speaker 3: Parts of this country. 205 00:13:13,360 --> 00:13:18,000 Speaker 4: It's very easy to get in the headspace to write lyrics. 206 00:13:18,000 --> 00:13:20,240 Speaker 3: But yeah, it was. It was, at least for me. 207 00:13:20,320 --> 00:13:23,400 Speaker 4: It was my first time like sitting down and writing poetry, 208 00:13:23,480 --> 00:13:25,679 Speaker 4: if you will, and then sitting down later with a 209 00:13:25,760 --> 00:13:29,960 Speaker 4: guitar and kind of seeing how it all fits together musically, 210 00:13:30,360 --> 00:13:33,400 Speaker 4: whereas in the past it was almost exclusively like guitar 211 00:13:33,480 --> 00:13:36,679 Speaker 4: on hand writing a song, you know, maybe. 212 00:13:36,760 --> 00:13:39,480 Speaker 3: Taking a phrase or whatever. But so it was it 213 00:13:39,520 --> 00:13:40,960 Speaker 3: was a cool I feel. 214 00:13:40,760 --> 00:13:43,520 Speaker 4: Like it challenged us and I'd like to think it 215 00:13:43,559 --> 00:13:46,960 Speaker 4: made us better songwriters, because it's like you literally just 216 00:13:47,040 --> 00:13:49,080 Speaker 4: it's you and you and the words on the page, 217 00:13:49,320 --> 00:13:52,240 Speaker 4: and so if those words can't stand on their own, 218 00:13:52,320 --> 00:13:54,880 Speaker 4: then then you're kind of in trouble. 219 00:13:55,360 --> 00:13:57,560 Speaker 1: We'll be right back with more of the Taking a 220 00:13:57,600 --> 00:14:05,840 Speaker 1: Walk podcast. Welcome back to the Taking a Walk Podcast. 221 00:14:07,320 --> 00:14:12,480 Speaker 2: So you found a producer in Grammy nominated Brad Cook, 222 00:14:12,720 --> 00:14:17,199 Speaker 2: who's fairly well known. Had you known you knew his work, 223 00:14:17,240 --> 00:14:20,680 Speaker 2: but had you known Brad personally before you brought him 224 00:14:20,720 --> 00:14:23,560 Speaker 2: on for this project. 225 00:14:24,680 --> 00:14:30,040 Speaker 3: We had known Brad's work for a long time, like 226 00:14:30,080 --> 00:14:35,640 Speaker 3: you said, records that we loved, from Nathaniel Rightlift to 227 00:14:36,160 --> 00:14:44,280 Speaker 3: Walks of Hatchie to Brent Cobb, bony Vere. Brad is 228 00:14:44,360 --> 00:14:46,560 Speaker 3: a great producer and we've loved his work for a 229 00:14:46,640 --> 00:14:51,720 Speaker 3: long time. And then getting to cut first West of 230 00:14:51,760 --> 00:14:56,880 Speaker 3: it All with him as our debut record was we 231 00:14:57,200 --> 00:15:00,240 Speaker 3: just feel so fortunate because Brad was able to to 232 00:15:00,280 --> 00:15:08,000 Speaker 3: just really put the greater like ambition into perspective of Okay, 233 00:15:08,000 --> 00:15:09,480 Speaker 3: what do we want to do, what do we want 234 00:15:09,520 --> 00:15:12,640 Speaker 3: to make? What do we want to present ourselves as? 235 00:15:12,760 --> 00:15:15,000 Speaker 3: Like what foot do we want to put forward first? 236 00:15:15,440 --> 00:15:19,080 Speaker 3: And Brad helped do that through West of It All 237 00:15:19,160 --> 00:15:21,640 Speaker 3: and then getting to do Heat of July with him 238 00:15:21,680 --> 00:15:25,600 Speaker 3: as well was just a great next step because Brad 239 00:15:25,640 --> 00:15:28,200 Speaker 3: knows us, he knows our sound, he knows like that 240 00:15:28,280 --> 00:15:32,760 Speaker 3: we desire more and more to put our lyrics first, 241 00:15:32,920 --> 00:15:35,640 Speaker 3: and we got to talk through what we wanted this 242 00:15:36,160 --> 00:15:38,280 Speaker 3: Heated July record to be with Brad, and we got 243 00:15:38,320 --> 00:15:41,760 Speaker 3: to execute, and we got to bring in new instruments, 244 00:15:41,840 --> 00:15:46,680 Speaker 3: we got to bring in new sounds, new ideas that 245 00:15:46,880 --> 00:15:51,840 Speaker 3: just really helped build upon what we've already began to build, 246 00:15:52,000 --> 00:15:55,880 Speaker 3: but bring it somewhere new. And I think that Brad 247 00:15:56,440 --> 00:15:59,080 Speaker 3: just I mean, he's very very wise, and he's very 248 00:16:00,760 --> 00:16:03,720 Speaker 3: very thoughtful about the work that he does, and I 249 00:16:03,720 --> 00:16:05,920 Speaker 3: think it's just a huge blessing to have him on 250 00:16:05,960 --> 00:16:06,640 Speaker 3: our team. 251 00:16:07,360 --> 00:16:10,320 Speaker 2: And a bit of a I dare say a bit 252 00:16:10,320 --> 00:16:15,920 Speaker 2: of a supergroup behind you. Can you talk about some 253 00:16:16,000 --> 00:16:17,760 Speaker 2: of those outstanding players. 254 00:16:18,960 --> 00:16:19,960 Speaker 3: Yeah. Absolutely. 255 00:16:20,000 --> 00:16:23,920 Speaker 4: When this kind of all came together, we were literally 256 00:16:23,920 --> 00:16:27,480 Speaker 4: in the studio just kind of. 257 00:16:26,520 --> 00:16:28,040 Speaker 3: Like, what is happening? 258 00:16:28,120 --> 00:16:32,640 Speaker 4: This has just turned into like a twenty tens folk 259 00:16:33,200 --> 00:16:36,640 Speaker 4: supergroup out of nowhere. And all of these artists are 260 00:16:36,760 --> 00:16:40,280 Speaker 4: people that we are huge fans of. And if you 261 00:16:40,320 --> 00:16:44,360 Speaker 4: had told us, you know, back in high school that 262 00:16:44,360 --> 00:16:47,360 Speaker 4: we would be playing or having these people play on 263 00:16:47,400 --> 00:16:48,920 Speaker 4: our records, we would have you. 264 00:16:48,800 --> 00:16:50,360 Speaker 3: Know, fallen over. 265 00:16:50,880 --> 00:16:53,360 Speaker 4: But yeah, we were super fortunate to have an awesome 266 00:16:53,880 --> 00:16:59,520 Speaker 4: roster musicians play on this record, starting off with mister 267 00:16:59,600 --> 00:17:07,160 Speaker 4: Andrew Marlin of Watchhouse formerly Mandolin Orange, who is just unreal. 268 00:17:07,600 --> 00:17:11,320 Speaker 4: I mean, he's so so good, but not only does 269 00:17:11,320 --> 00:17:14,680 Speaker 4: he have the chops, he's so tasteful and he knows 270 00:17:14,880 --> 00:17:17,600 Speaker 4: really what a song needs and he gives it exactly 271 00:17:17,680 --> 00:17:20,280 Speaker 4: what it needs and nothing more and nothing less, which 272 00:17:20,320 --> 00:17:24,600 Speaker 4: is such a gift. And so we knew that we 273 00:17:24,640 --> 00:17:28,240 Speaker 4: wanted some sort of kind of flat picking acoustic guitar. 274 00:17:28,359 --> 00:17:30,360 Speaker 4: I think our initial thought was like, oh, maybe some 275 00:17:30,400 --> 00:17:34,200 Speaker 4: sort of like nylon Spanish guitar, and Brad was like, well, 276 00:17:34,240 --> 00:17:35,560 Speaker 4: what if I call Andrew. 277 00:17:35,240 --> 00:17:38,159 Speaker 3: Marlin and we're like yeah, please. 278 00:17:39,280 --> 00:17:42,800 Speaker 4: Andrew comes in and lays down some acoustic guitar and 279 00:17:43,200 --> 00:17:46,680 Speaker 4: also played some mandolin as well, and it's just great. 280 00:17:46,720 --> 00:17:50,880 Speaker 4: There's some gold nuggets of parts that he plays in songs, 281 00:17:51,160 --> 00:17:54,760 Speaker 4: which is awesome. We also knew that we wanted to 282 00:17:54,800 --> 00:17:58,240 Speaker 4: bring in some new instrumentation lean into to our textan roots, 283 00:17:58,760 --> 00:18:01,920 Speaker 4: and so we did that with the fiddle as well, 284 00:18:02,440 --> 00:18:07,639 Speaker 4: and we got Libby Rodenbaugh, who is the fiddle player 285 00:18:07,680 --> 00:18:10,280 Speaker 4: for the band Mipso as well as some other projects 286 00:18:10,359 --> 00:18:14,119 Speaker 4: that she's involved with, to come and play some fiddle. 287 00:18:14,160 --> 00:18:17,080 Speaker 4: And we had gotten to know her at a festival 288 00:18:17,200 --> 00:18:19,000 Speaker 4: and she also just happened to be good friends with 289 00:18:19,040 --> 00:18:23,200 Speaker 4: Brad and so she came in and we were there 290 00:18:23,240 --> 00:18:25,560 Speaker 4: when she laid down some of the fiddle tracks and 291 00:18:26,240 --> 00:18:28,720 Speaker 4: it was just like it was almost overwhelming. It was 292 00:18:28,800 --> 00:18:34,200 Speaker 4: just awesome to hear and it brought such a new 293 00:18:34,359 --> 00:18:35,600 Speaker 4: dynamic to our music. 294 00:18:36,119 --> 00:18:37,520 Speaker 3: And you know, there's a song. 295 00:18:37,320 --> 00:18:39,639 Speaker 4: That Philip wrote called Flashlights in the Canyon. It's just 296 00:18:39,720 --> 00:18:44,600 Speaker 4: an awesome like storyteller's paradise and the fiddle just brings 297 00:18:44,600 --> 00:18:47,080 Speaker 4: it to light in a really awesome way. 298 00:18:48,160 --> 00:18:53,560 Speaker 3: So that was awesome. And then we brought back Phil Cook, Brad. 299 00:18:53,280 --> 00:18:57,040 Speaker 4: Cook's brother who played on the first record, and he's 300 00:18:57,160 --> 00:19:00,720 Speaker 4: just the jack of all trades, can play it and 301 00:19:00,800 --> 00:19:02,240 Speaker 4: can play it all better than anyone. 302 00:19:02,720 --> 00:19:03,399 Speaker 3: That was great. 303 00:19:03,440 --> 00:19:07,040 Speaker 4: And then Matt mccon who plays drums from bony Vere 304 00:19:07,840 --> 00:19:10,080 Speaker 4: and played on the record again as well. 305 00:19:11,280 --> 00:19:14,160 Speaker 3: We also had Brad Cook played some bass. 306 00:19:14,280 --> 00:19:16,720 Speaker 4: And then kind of towards the end of the project, 307 00:19:16,760 --> 00:19:18,360 Speaker 4: we happened to be on the road with a band 308 00:19:18,400 --> 00:19:23,040 Speaker 4: called hold Mouth and got to know them pretty well. 309 00:19:23,240 --> 00:19:26,400 Speaker 4: In their frontman and lead guitarist is named Matt Myers, 310 00:19:26,640 --> 00:19:31,520 Speaker 4: and we put it together that Matt a few weeks 311 00:19:31,520 --> 00:19:32,600 Speaker 4: after the run that we were on. 312 00:19:32,640 --> 00:19:34,320 Speaker 3: We were going to be finishing. 313 00:19:33,920 --> 00:19:35,800 Speaker 4: Up some stuff on the record with Brad and the 314 00:19:35,920 --> 00:19:38,520 Speaker 4: very next day Matt from how Mouth was gonna fly 315 00:19:38,600 --> 00:19:41,040 Speaker 4: in and work on some of his new music with Brad, 316 00:19:41,800 --> 00:19:43,800 Speaker 4: and so we were like, well, dude, would you want 317 00:19:43,840 --> 00:19:46,560 Speaker 4: to play some electric guitar on a couple of songs? 318 00:19:46,640 --> 00:19:52,080 Speaker 4: And he ended up wanting to, which was super exciting. 319 00:19:52,119 --> 00:19:54,120 Speaker 4: So he played some electric guitar and the same thing. 320 00:19:54,359 --> 00:19:59,000 Speaker 4: Super talented, just such a melodic guitar player, and he's 321 00:19:59,040 --> 00:20:02,159 Speaker 4: super dynamic and so yeah, so I know, I just 322 00:20:02,200 --> 00:20:05,760 Speaker 4: went on there for a while, but it's exciting to 323 00:20:05,840 --> 00:20:09,159 Speaker 4: me into us that we got to even you know, 324 00:20:09,560 --> 00:20:12,080 Speaker 4: throw their names on a record that we wrote and 325 00:20:12,080 --> 00:20:14,240 Speaker 4: that they played on songs that we wrote. So we're 326 00:20:14,720 --> 00:20:18,000 Speaker 4: incredibly humbled and just super grateful for how it came together. 327 00:20:19,720 --> 00:20:23,760 Speaker 2: Let's highlight a couple of your favorite songs each off 328 00:20:23,800 --> 00:20:29,360 Speaker 2: of I know that's hard, I'm sorry, but first, Philip, 329 00:20:29,560 --> 00:20:32,200 Speaker 2: what are some of your favorites off of the new album? 330 00:20:33,800 --> 00:20:38,600 Speaker 3: Yeah? Absolutely, a couple of my favorites all doubled down 331 00:20:38,640 --> 00:20:41,080 Speaker 3: on what True was just talking about. That song Flashlights 332 00:20:41,080 --> 00:20:43,800 Speaker 3: in the Canyon is definitely one of my favorites, and 333 00:20:44,800 --> 00:20:48,560 Speaker 3: one of the songs that I feel like showcases our 334 00:20:49,200 --> 00:20:53,919 Speaker 3: just growing desire to write songs well lyrically. And I 335 00:20:53,960 --> 00:20:58,359 Speaker 3: think it's a song that's about a hunting trip that 336 00:20:58,400 --> 00:21:01,640 Speaker 3: I took in West Texas out on the border. Ended 337 00:21:01,760 --> 00:21:04,800 Speaker 3: up like we're in the middle of nowhere and we 338 00:21:04,880 --> 00:21:09,520 Speaker 3: see some flashlights and the canyon down beneath us, people 339 00:21:09,720 --> 00:21:13,600 Speaker 3: crossing the southern border into the States, and it just 340 00:21:14,640 --> 00:21:19,760 Speaker 3: was really a very unique experience to experience at firsthand. 341 00:21:20,320 --> 00:21:23,240 Speaker 3: It just inspired a lot of thought, we you don't 342 00:21:23,240 --> 00:21:26,960 Speaker 3: really know what's happening, and you talked to the locals 343 00:21:27,000 --> 00:21:29,000 Speaker 3: there and there's just a lot of perspectives. And I 344 00:21:29,080 --> 00:21:31,280 Speaker 3: tried to write a song about it, so that turned 345 00:21:31,280 --> 00:21:33,880 Speaker 3: out Flashlights in the Canyon. Another song that I'm really 346 00:21:33,880 --> 00:21:37,280 Speaker 3: excited about is one a True wrote called Free. It's 347 00:21:37,720 --> 00:21:44,480 Speaker 3: great kind of country, just windows down, great instrumentation, just 348 00:21:44,520 --> 00:21:46,160 Speaker 3: a song of that I think people are gonna love. 349 00:21:47,280 --> 00:21:49,200 Speaker 2: True. What are some of your favorites? 350 00:21:49,920 --> 00:21:53,760 Speaker 4: I love There's a song Philip wrote called Arizona Shining, 351 00:21:54,680 --> 00:21:59,760 Speaker 4: and he Philip is a really talented piano player and 352 00:22:00,920 --> 00:22:04,119 Speaker 4: hasn't really gotten the chance to play piano in our 353 00:22:04,240 --> 00:22:07,119 Speaker 4: live set in the last couple of years and is 354 00:22:07,160 --> 00:22:09,000 Speaker 4: now starting to get to do that, which is awesome. 355 00:22:09,040 --> 00:22:13,080 Speaker 4: But this song is very piano forward song, but it 356 00:22:13,320 --> 00:22:20,320 Speaker 4: still feels kind of Western, if you will, or Americana. It's, 357 00:22:20,359 --> 00:22:22,600 Speaker 4: you know, kind of like, what's the Elton John record, 358 00:22:23,400 --> 00:22:24,520 Speaker 4: Tumbleweed Connection. 359 00:22:24,800 --> 00:22:28,040 Speaker 3: Yeah, Tumbleweed Connection. It's kind of it's kind of reminds. 360 00:22:27,680 --> 00:22:30,200 Speaker 4: Me of that sort of thing where you're like, all right, 361 00:22:30,240 --> 00:22:33,520 Speaker 4: this is an I mean, obviously Elton John englishman playing 362 00:22:33,520 --> 00:22:36,359 Speaker 4: the piano, but this could be the soundtrack to like 363 00:22:36,400 --> 00:22:38,720 Speaker 4: a Western movie or whatever. It kind of has that 364 00:22:38,760 --> 00:22:41,359 Speaker 4: feel and it's a just a beautiful song and it's 365 00:22:41,600 --> 00:22:45,280 Speaker 4: the piano hook just catches you instantly. So that's a 366 00:22:45,320 --> 00:22:50,400 Speaker 4: great song. Another song I'm excited about is called Adeline. 367 00:22:50,800 --> 00:22:54,680 Speaker 4: It's a song that I wrote about just my experience 368 00:22:54,920 --> 00:22:58,960 Speaker 4: starting to date my now wife and really love how 369 00:22:59,000 --> 00:23:02,959 Speaker 4: that song came to get other and Matt Myers played 370 00:23:03,000 --> 00:23:05,920 Speaker 4: some guitar over it, and I just love the part 371 00:23:05,960 --> 00:23:09,280 Speaker 4: that he played. It's just, once again, exactly what the 372 00:23:09,320 --> 00:23:12,119 Speaker 4: song needs and it's great. And then lastly, I'll tribble 373 00:23:12,200 --> 00:23:16,119 Speaker 4: down on Flashlights in the Canyon. It's such an awesome song, 374 00:23:16,800 --> 00:23:21,879 Speaker 4: and Philip did such a wonderful job of writing about 375 00:23:21,880 --> 00:23:28,119 Speaker 4: a super complex topic that has become ultra politicized, and 376 00:23:28,200 --> 00:23:31,919 Speaker 4: he did such a great job of stripping all that 377 00:23:32,040 --> 00:23:34,959 Speaker 4: down and taking us back to the humanity of it 378 00:23:35,000 --> 00:23:39,840 Speaker 4: all and the fact that there's people on both sides 379 00:23:40,080 --> 00:23:42,560 Speaker 4: of the literal border and the literal issue that are 380 00:23:43,960 --> 00:23:48,520 Speaker 4: experiencing really difficult things. And so I just I love 381 00:23:48,560 --> 00:23:52,719 Speaker 4: the way that that song was written and kind of 382 00:23:53,640 --> 00:23:58,040 Speaker 4: re balances, if you will, this complex issue that it's 383 00:23:58,080 --> 00:24:02,480 Speaker 4: gotten so so crazy, and just reminds everybody of that 384 00:24:02,520 --> 00:24:05,800 Speaker 4: they're human beings on both sides of this equation that 385 00:24:05,840 --> 00:24:06,960 Speaker 4: are going through. 386 00:24:08,000 --> 00:24:13,800 Speaker 2: Well stated for sure. So in closing, first I want 387 00:24:13,840 --> 00:24:18,920 Speaker 2: to go to you, Philip. It's obvious you both love 388 00:24:19,400 --> 00:24:23,680 Speaker 2: the art of collaboration. You love it in your work together, 389 00:24:24,400 --> 00:24:27,000 Speaker 2: you love it in the creation of Heat of July 390 00:24:27,280 --> 00:24:30,719 Speaker 2: with this incredible group of people that you talked about. 391 00:24:31,480 --> 00:24:36,040 Speaker 2: Describe the magic of collaboration and what it means to you. 392 00:24:37,320 --> 00:24:40,960 Speaker 3: Yeah, what a great question. The magic of collaboration, I 393 00:24:41,000 --> 00:24:45,639 Speaker 3: think musically, I think that that can go a lot 394 00:24:45,720 --> 00:24:51,720 Speaker 3: of different ways. I think being able to where I 395 00:24:51,800 --> 00:24:56,600 Speaker 3: see like the magic of collaboration. The most is on 396 00:24:56,760 --> 00:25:02,240 Speaker 3: kind of step two of our songwriting process. If step 397 00:25:02,280 --> 00:25:06,760 Speaker 3: one is individual, we're separate, we're you know, recording voice 398 00:25:06,760 --> 00:25:09,600 Speaker 3: memos on our own, kind of like getting the bones 399 00:25:09,640 --> 00:25:13,520 Speaker 3: of these songs. And step two is taking the songs 400 00:25:13,720 --> 00:25:17,240 Speaker 3: to each other, and for the past couple albums it's 401 00:25:17,240 --> 00:25:19,800 Speaker 3: been taking them to Brad Cook as well and sitting 402 00:25:19,840 --> 00:25:23,920 Speaker 3: down in a room and going through the songs and 403 00:25:24,800 --> 00:25:27,040 Speaker 3: really just like trying to choose, Okay, what do we 404 00:25:27,040 --> 00:25:28,679 Speaker 3: want to focus on, what do we want to present, 405 00:25:28,760 --> 00:25:31,520 Speaker 3: what do we want to put on a record? What 406 00:25:31,680 --> 00:25:34,600 Speaker 3: works well together here? And I think that the collaboration 407 00:25:34,840 --> 00:25:37,359 Speaker 3: there being able to work through a list and to 408 00:25:37,440 --> 00:25:40,480 Speaker 3: come up with a batch of songs, and one step further, 409 00:25:40,720 --> 00:25:44,359 Speaker 3: to take that song to life in the most basic form, 410 00:25:45,119 --> 00:25:48,439 Speaker 3: whether that's putting a harmony on it, whether that's Brad 411 00:25:48,600 --> 00:25:52,560 Speaker 3: suggesting to change a certain word or a certain perspective 412 00:25:52,640 --> 00:25:56,159 Speaker 3: of a song. And I think that when you really 413 00:25:56,200 --> 00:26:00,840 Speaker 3: like are able to get the song even like produced, 414 00:26:01,240 --> 00:26:04,040 Speaker 3: not recorded and produced yet, but just to its final 415 00:26:04,119 --> 00:26:05,840 Speaker 3: form the way that I would play it for you 416 00:26:05,880 --> 00:26:08,359 Speaker 3: if I were sitting in your room with the guitar. 417 00:26:08,640 --> 00:26:10,760 Speaker 3: I think when you finally have a song finished, you 418 00:26:10,800 --> 00:26:13,720 Speaker 3: have all the lyrics nailed, and you have the perspectives down, 419 00:26:13,760 --> 00:26:15,480 Speaker 3: and you have what you want to present. I think 420 00:26:15,480 --> 00:26:20,560 Speaker 3: that the magic of collaboration there is so strong, and 421 00:26:20,640 --> 00:26:23,920 Speaker 3: I just love the idea of writing songs and being 422 00:26:23,960 --> 00:26:27,119 Speaker 3: able to present them with people that you trust and 423 00:26:27,240 --> 00:26:31,320 Speaker 3: people that you look up to as well, that are 424 00:26:31,359 --> 00:26:35,040 Speaker 3: going to help you just make something special. And I 425 00:26:35,080 --> 00:26:38,679 Speaker 3: think that the magic of collaborating and songwriting, especially if 426 00:26:38,720 --> 00:26:41,640 Speaker 3: that's step two, is really really cool. 427 00:26:42,440 --> 00:26:45,640 Speaker 2: So well stated, my God, true it. How about you 428 00:26:45,760 --> 00:26:47,160 Speaker 2: and the magic of collaboration. 429 00:26:48,320 --> 00:26:54,280 Speaker 4: Yeah, I think to me, collaboration when done right, puts 430 00:26:54,520 --> 00:26:59,639 Speaker 4: everybody involved in the best position to succeed in results 431 00:26:59,640 --> 00:27:05,000 Speaker 4: in the best possible final product, if you will. And 432 00:27:05,040 --> 00:27:07,879 Speaker 4: not to make it sound all business y, because collaboration 433 00:27:08,000 --> 00:27:11,600 Speaker 4: really is not an efficiency thing as much as it 434 00:27:11,760 --> 00:27:16,040 Speaker 4: is a creative thing. But where my head goes with 435 00:27:16,080 --> 00:27:18,359 Speaker 4: that is one of my favorite songwriters of all time 436 00:27:19,760 --> 00:27:23,960 Speaker 4: is a guy named Jimmy Webb who wrote a ton 437 00:27:24,000 --> 00:27:27,800 Speaker 4: of hits for a ton of people, including Glenn Campbell. 438 00:27:27,960 --> 00:27:29,600 Speaker 3: You know, he wrote The Highwaymen. 439 00:27:29,400 --> 00:27:32,119 Speaker 4: Which eventually, you know, became adopted by the highwaymen, but 440 00:27:32,720 --> 00:27:38,320 Speaker 4: brilliant songwriter. And I just love that kind of writer 441 00:27:38,640 --> 00:27:43,080 Speaker 4: performer relationship that Jimmy Webb had with Glenn Campbell, because 442 00:27:43,160 --> 00:27:46,560 Speaker 4: Glenn Campbell's just like a once in a generation talent 443 00:27:47,000 --> 00:27:49,600 Speaker 4: and is just born to be up on stage and 444 00:27:49,720 --> 00:27:54,360 Speaker 4: play every instrument and sing and tell jokes and is wonderful. 445 00:27:54,480 --> 00:27:56,920 Speaker 4: And then when you've got a guy like Jimmy Webb 446 00:27:56,960 --> 00:28:04,399 Speaker 4: who writes these brilliant, beautiful songs, it just puts Glenn 447 00:28:04,400 --> 00:28:09,800 Speaker 4: Campbell in the perfect position to succeed. And so I 448 00:28:09,880 --> 00:28:13,480 Speaker 4: kind of think about it like that, and I think 449 00:28:13,520 --> 00:28:17,800 Speaker 4: in our experience you kind of have to humble yourself 450 00:28:17,800 --> 00:28:22,280 Speaker 4: a little bit, which is a lot easier said than done. 451 00:28:23,200 --> 00:28:27,720 Speaker 4: Another example for us was the next single that we'll 452 00:28:27,760 --> 00:28:30,399 Speaker 4: release in Anticipation. It's the first song on this record, 453 00:28:30,520 --> 00:28:33,359 Speaker 4: is called Saving Grace, and it was a song that 454 00:28:33,440 --> 00:28:36,480 Speaker 4: I had what I thought was finished. Took it to 455 00:28:36,520 --> 00:28:39,800 Speaker 4: Brad and Philip and they were kind of like, hey man, 456 00:28:39,840 --> 00:28:43,959 Speaker 4: this song's great and like where it stands now, it's fine, 457 00:28:44,600 --> 00:28:48,320 Speaker 4: but I think if we revisited these lyrics, this song 458 00:28:48,360 --> 00:28:52,040 Speaker 4: could be like awesome, and and. 459 00:28:52,440 --> 00:28:53,680 Speaker 3: You know that's a situation. 460 00:28:53,840 --> 00:28:56,920 Speaker 4: I think in which you can easily get your feelings 461 00:28:56,960 --> 00:28:59,520 Speaker 4: hurt if you let yourself. But then when you take 462 00:28:59,520 --> 00:29:02,120 Speaker 4: a step back and you're like, oh, they like the song. 463 00:29:02,320 --> 00:29:06,440 Speaker 4: They're just pushing me here to like come together and 464 00:29:06,800 --> 00:29:09,920 Speaker 4: present the best possible thing. And so we rewrote it 465 00:29:10,000 --> 00:29:14,600 Speaker 4: and where it landed was fifteen times better than where 466 00:29:14,600 --> 00:29:15,000 Speaker 4: it began. 467 00:29:15,240 --> 00:29:18,960 Speaker 3: And so it's a really special thing. 468 00:29:19,080 --> 00:29:23,520 Speaker 4: And I'm really thankful that I have that relationship with 469 00:29:23,520 --> 00:29:25,840 Speaker 4: Philip and now that we have that relationship with Brad 470 00:29:26,320 --> 00:29:29,000 Speaker 4: to where we can kind of push each other in 471 00:29:29,320 --> 00:29:33,320 Speaker 4: that direction and feel confident in the work that we're doing. 472 00:29:33,440 --> 00:29:36,200 Speaker 3: So I think, yeah, I think that's the beauty of collaboration. 473 00:29:36,320 --> 00:29:40,479 Speaker 4: It just is a refinery process and people bringing their 474 00:29:40,520 --> 00:29:45,160 Speaker 4: different perspectives and it ultimately you end up with a 475 00:29:45,280 --> 00:29:46,560 Speaker 4: really cool thing. 476 00:29:47,960 --> 00:29:52,920 Speaker 2: The work is amazing. Heat of July is wonderful, Risko. 477 00:29:53,160 --> 00:29:55,600 Speaker 2: It's so great to have you on, Philip Lupton and 478 00:29:55,680 --> 00:29:58,440 Speaker 2: true at Heinzelman. Good luck on the road bringing this 479 00:29:58,520 --> 00:30:03,520 Speaker 2: out to everybody across the country, and so grateful that 480 00:30:03,600 --> 00:30:05,480 Speaker 2: you came on taking a walk guys. 481 00:30:06,040 --> 00:30:09,120 Speaker 3: Well, thank you for having us on. Truly, it's an honor. 482 00:30:09,240 --> 00:30:12,280 Speaker 3: We love what you're doing and know that you have 483 00:30:12,400 --> 00:30:15,920 Speaker 3: a high caliber guests and people that we enjoy listening 484 00:30:15,920 --> 00:30:17,960 Speaker 3: to as well, So it's an honor to be on 485 00:30:18,000 --> 00:30:19,960 Speaker 3: the slate. So thank you, Thank you very much for 486 00:30:20,000 --> 00:30:20,560 Speaker 3: having a song. 487 00:30:21,760 --> 00:30:24,240 Speaker 1: Thanks for listening to this episode of the Taking a 488 00:30:24,280 --> 00:30:28,160 Speaker 1: Walk podcast. Share this and other episodes with your friends 489 00:30:28,240 --> 00:30:31,760 Speaker 1: and follow us so you never miss an episode. Taking 490 00:30:31,760 --> 00:30:35,680 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 491 00:30:35,880 --> 00:30:38,160 Speaker 1: and wherever you get your podcasts.