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Speaker 1: We'll go to episode three. We'll talk to Luke Dick.

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Speaker 1: He wrote a bunch of songs for a bunch of people.

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Speaker 1: He's just a really interesting guy. What was awkward was

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Speaker 1: when we finished the interview, I walked him out and

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Speaker 1: as I came in, because I always trying to walk

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Speaker 1: him out and have a little personal talk with the microphones,

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Speaker 1: I was like, hey, man, uh, have a good day.

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Speaker 1: Good luck. And I was like, I don't know why

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Speaker 1: I said good luck. I'm awkward. I don't know why

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Speaker 1: I was like good luck. But he wrote, you know,

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Speaker 1: Eric Church, Randa Lambert, I mean, just such a great songwriter.

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Speaker 1: Did a documentary, so he was a philosophy professor. Very

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Speaker 1: interesting guy. Yeah, that's coming up in a minute. All right,

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Speaker 1: let's go top five songs of the week. Cole Swindell

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Speaker 1: put out a new song called some Habits. He actually

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Speaker 1: performed this on the radio show a couple of months

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Speaker 1: before it was released. Here is that version, because good Berboon,

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Speaker 1: it's hard to put down that high road, it's hard

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Speaker 1: to stay And here is the version that is out today,

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Speaker 1: because good I'm sorry to put down that high road,

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Speaker 1: sorry to stay on that good look get sorry to

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Speaker 1: pick up. Mitchell Tinpenny has a new EP out called

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Speaker 1: Midtown Diaries. Here's a new song called to Us It

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Speaker 1: did to That's my Town. We ran around He's supposed

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Speaker 1: to feel. The singer songwriter in this week's guest, Luke

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Speaker 1: Dick has a new song called Something's Happened That Won't

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Speaker 1: Do closes, and then another one at number two, Sam Hunt.

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Speaker 1: He put out a new song called twenty three No

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Speaker 1: Matter where I Go, no matter what I do, I

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Speaker 1: don't liverything. Plantic three moving any one but you. And finally,

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Speaker 1: Casey Musgraves has a new album out called star Crossed.

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Speaker 1: Here's a new song called Justified just and the one

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Speaker 1: new story I'll mention. Walker Hayes Fancy Like lands in

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Speaker 1: the top ten on the Billboard Hot One. I mean

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Speaker 1: I watched any SEC game, every commercials and Appleby's commercial

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Speaker 1: and it's him. Yeah, yeah, it's crazy. It's wild to

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Speaker 1: watch how that went from being a viral TikTok to

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Speaker 1: a massive hit. Like hopefully he gets like pop play

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Speaker 1: out of this. You know, there you go, enjoy Luke

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Speaker 1: Dick in just a second. And with Luke Dick, you know,

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Speaker 1: I've seen many photos of you have friends who have

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Speaker 1: worked with you. It's just random for me to have

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Speaker 1: not have met someone until this point because you're a

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Speaker 1: very established, you know, super well thought up guy. And

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Speaker 1: our pets haven't crossed, have they? Um? I don't think so.

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Speaker 1: I'm pretty forgettable, though you are not a forgettable guy.

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Speaker 1: I'm pretty forgettable hide out, you know. I just got

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Speaker 1: my little studio and come out, I get eat, I

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Speaker 1: eat now and again, and then I pick up my

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Speaker 1: kids and then I get back to doing whatever it

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Speaker 1: is I'm doing. What is your studio like? Um? You know,

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Speaker 1: I bought this house right when I moved to Nashville, um,

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Speaker 1: six or seven years seven years ago, and there was

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Speaker 1: a garage in the back, and uh, it was unfinished,

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Speaker 1: and I thought that'd be a great place for just

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Speaker 1: have something close to the house away from the house.

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Speaker 1: And so then I put these opaque glass doors so

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Speaker 1: I could have some light, and put as much of

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Speaker 1: skylights in and really dressed it up and made it

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Speaker 1: into a thing. And so that's where I am all

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Speaker 1: the time. I'm currently looking for another spot of too

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Speaker 1: many kids. They're beating on the door all the time.

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Speaker 1: So are you? When you are riding in the shoot.

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Speaker 1: I assume you do a lot of writing the yeah, yeah,

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Speaker 1: and you're producing. Are you doing more than just demos? Like,

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Speaker 1: will you do any like anything for a record in

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Speaker 1: your spot? Yeah? Um, I I'm working on the next

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Speaker 1: Miranda Laveryt record right now. We're almost done, and UM,

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Speaker 1: a lot of this stuff were was UM. When I

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Speaker 1: do demos, I don't think of them as demos. I

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Speaker 1: just I'm trying to make something that I love, and

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Speaker 1: so I put more time and effort into it. And

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Speaker 1: so maybe some of that stuff makes it onto the record.

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Speaker 1: It may be the pre production um that we just

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Speaker 1: drum to. UM. There was a single for Kip More

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Speaker 1: called the Bowl a few years ago that was just

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Speaker 1: straight up out of my studio. So I'll do whatever.

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Speaker 1: How do there? UM? Right now I'm doing a UM

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Speaker 1: soundtrack for a documentary for it secually the sound bed

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Speaker 1: composition for the band guir you know, the crazy they're

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Speaker 1: crazy looking guys sort of. They're actually alien monsters UM,

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Speaker 1: who populated the human race and then got disgusted with

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Speaker 1: human beings and so they were really adamant that they

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Speaker 1: that they get out of here. So anyway, it's the

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Speaker 1: really their backs. Well, that's the a fictional bad story mythology. Yeah,

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Speaker 1: the true story is that it was a bunch of

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Speaker 1: punk kids in Virginia who um, they had a punk

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Speaker 1: band when him had a punk band. And then this

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Speaker 1: other guy he was making movies and he had all

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Speaker 1: these costumes, and the guy said, went on, I just

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Speaker 1: put on these costumes and will open for our punk

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Speaker 1: band with this sort of fake metal band. And so

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Speaker 1: that was how Gore came to be, and then that

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Speaker 1: band became more popular than their regular band. You mentioned

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Speaker 1: kipt song The Bull, which which was probably my favorite

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Speaker 1: song off that project, and I remember talking to Kip

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Speaker 1: about it because I played it on the radio show

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Speaker 1: a few times and it may have even went for

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Speaker 1: a single for a second. He was talking about it

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Speaker 1: and he called me and he goes, you know, what's

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Speaker 1: wrong with this song? He said, nothing with what we

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Speaker 1: did with He said, there are radio This is how

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Speaker 1: sometimes dumb radio is, because there are radio stations that

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Speaker 1: are up against stations that are named the Bull and

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Speaker 1: don't want to play it because it's going to bowl yep,

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Speaker 1: Like if there's a wolf and I'm just make up

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Speaker 1: cities and no one in Tucson. There's a there's a

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Speaker 1: Wolf Country station in a Bull Country station. The Wolf

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Speaker 1: wouldn't play the song the Bull because they felt like

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Speaker 1: it was a commercial for the Bull Country station. Yea,

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Speaker 1: if I wish I had that to do over again,

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Speaker 1: I would have named it something else. I would never

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Speaker 1: have thought of that. That booked me off, me off.

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Speaker 1: Did that story get back to you? Yeah? It did.

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Speaker 1: It was really um um, so frustrating and a surreal

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Speaker 1: look at the kind of things that you're up against

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Speaker 1: to try to make a living as a creative person.

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Speaker 1: You know, I'm just like, Wow, that is so ridiculous.

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Speaker 1: But um, okay, I guess I won't eat this year.

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Speaker 1: I was reading some about kind of your background, more

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Speaker 1: so than the songwriting, becau. I'm very familiar with the

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Speaker 1: stuff you've wrote and who you've written with, and we'll

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Speaker 1: get into that in a bit. But for me, one

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Speaker 1: of the I would say that coming from a small

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Speaker 1: town in Arkansas, I'm from a town called Mountaine, Arkansas.

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Speaker 1: You're from Oklahoma, so we kind of similar sensibilities for

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Speaker 1: we sure, And when I went to college and I

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Speaker 1: studied philosophy, it just kind of wrecked me in the

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Speaker 1: best way. And I grew up in a really small town,

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Speaker 1: had extreme values. And then I started to learn while

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Speaker 1: there's more, uh, there are deeper thoughts available for me

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Speaker 1: than I've ever tried to think about. And again it

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Speaker 1: scared me, It wrecked me. I grew. But then when

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Speaker 1: I read that you went off and we're an adjunct

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Speaker 1: philosophy professor, how does that happen? And and when did

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Speaker 1: that happen in your life when you were just so

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Speaker 1: moved by philosophy. That's a funny coincidence, um, that you

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Speaker 1: studied philosophy. But um, I in high school, my teachings

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Speaker 1: would feed me stuff that they thought that I would

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Speaker 1: be interested in, and it wasn't philosophy. It was just

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Speaker 1: weren't thoughtful literatures. UM. I had to do some stuff

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Speaker 1: on the Transcendentalist Henry David throw and Emerson I had

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Speaker 1: in the ninth grade and tenth grade, and teachers would

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Speaker 1: sort of funnel me toward that. Um. But then when

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Speaker 1: I got into college, UM, I was studying music business

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Speaker 1: for a hot minute, and then like after I half

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Speaker 1: a semester, this teachers like, well, in order to tour

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Speaker 1: with Roy Clark in Russia, you have to dot dot dot,

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Speaker 1: and I'm just like, I'm so out on this, you

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Speaker 1: know how, touring in Russia with Roy Clark that just

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Speaker 1: sounds so like this is our starting point, you know,

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Speaker 1: for whatever. And I'm in Oklahoma and I'm like this.

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Speaker 1: This was like okay, I'm heading my bed. So I

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Speaker 1: let him in a band and I'll just do this

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Speaker 1: music business. Maybe I'll be an executive or whatever. I'm like,

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Speaker 1: this is trash. I'm not doing this. And so then

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Speaker 1: I had this history professor I loved in the philosophy

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Speaker 1: professor that I loved, and I just started. There was

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Speaker 1: a double major, and in philosophy it was just interesting

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Speaker 1: questions that I thought of, um a little bit, very

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Speaker 1: very cursory manners as a high schooler and sort of

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Speaker 1: in your brain comes online, and just a philosophy to

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Speaker 1: me became. At first it was like this magical thing

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Speaker 1: that could give me all the answers. And then it

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Speaker 1: was like very clearly not that. It was just this

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Speaker 1: framework for thinking about the questions of freedom, does freedom exist?

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Speaker 1: Is there such a thing as good? How do you

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Speaker 1: measure good? Um? How do we have thoughts at all? Um?

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Speaker 1: Sort of even before psychology and sort of the history

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Speaker 1: of all that and the history of intellectual thought and

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Speaker 1: at all, and I became really interested in it. It

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Speaker 1: was really difficult to um and I was given all

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Speaker 1: but given up on music. And I moved to New

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Speaker 1: York and I had a master's. Then I was like, well,

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Speaker 1: I'll get a PhD. And uh, that'll be my job.

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Speaker 1: You know, it's good, you get a pension whatever. I

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Speaker 1: had a kid, and I couldn't you know, I was

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Speaker 1: had artistic aspirations, but my kid, it's like I can't

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Speaker 1: really tour, you know. And so anyway, about the time

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Speaker 1: that I said I'm gonna get a PhD, I started

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Speaker 1: making money, you know, uh, doing spec music for ads

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Speaker 1: and all this, and I was still making my own music,

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Speaker 1: making my own songs, and kind of that was that, Um,

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Speaker 1: I found a way to be a middle class citizen

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Speaker 1: with music. And that was always the goal, even as

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Speaker 1: a ten year old. You know, you never had dreams

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Speaker 1: of being a college professor when a massive university. It

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Speaker 1: was never a massive university when I was at you know,

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Speaker 1: when when the kind of the dream, the first little

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Speaker 1: rock and roll band he had died, I was like,

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Speaker 1: I really like it was this little liberal arts school

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Speaker 1: in Oklahoma City, and I loved it. And I was like, well,

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Speaker 1: I could come back here and I'd be one of

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Speaker 1: the two philosophy professors here. And it seemed like such

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Speaker 1: a sweet life. You know. You get up and you

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Speaker 1: go to school and you teach, and then you go

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Speaker 1: have a lunch and then you come back and have

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Speaker 1: a meeting or whatever. Um, and that seemed like a

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Speaker 1: a dream to me, you know. I mean I was

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Speaker 1: the first kid in my family to get an education

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Speaker 1: at all, So um, that seemed, um like almost a

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Speaker 1: Disney story to me. But then, um, I mean, because

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Speaker 1: there's nobody I don't know Mountain what did you say,

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Speaker 1: Mountain time population? Yeah, yeah, the the town that I

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Speaker 1: grew up in once my mom moved us out of

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Speaker 1: the country. Um, it was the closest town was fifteen people,

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Speaker 1: but we were twenty miles away from that, so it

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Speaker 1: was just like just a community of houses, you know,

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Speaker 1: the closest neighbors like a mile away or something. And

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Speaker 1: so I don't think. I think maybe the only person

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Speaker 1: in Cobra, Oklahoma to ever have a philosophy degree, I

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Speaker 1: don't know the two things that and we can get

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Speaker 1: off this in a second. But I really get to

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Speaker 1: talk philosophy because I know nothing. I mean now sound

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Speaker 1: like soccertse but I literally know nothing. And so but

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Speaker 1: the things that just rattled me was I remember reading

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Speaker 1: Mark Twain's That Damn Human Race about morality and if

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Speaker 1: that morals are bad, if we didn't know, if we

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Speaker 1: didn't have bad, who didn't have good, wouldn't have bad?

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Speaker 1: Like if there was no such thing as good, we've

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Speaker 1: created good, there wouldn't be bad if there wasn't good.

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Speaker 1: And animals don't have morals, and they're not good or

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Speaker 1: bad or evil, they're living. And I remember being like,

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Speaker 1: I'm not supposed to think about this, but feeling guilty.

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Speaker 1: And then I read The Cave, which I don't know

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Speaker 1: if you taught the Cave at all, the allegory of

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Speaker 1: the cave, yes, And I remember thinking, because it's, you know,

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Speaker 1: two people trapped in the bottom of cave. All they

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Speaker 1: can sees fire on a wall, and the whole world

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Speaker 1: is what they can see. And I remember, and one

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Speaker 1: of them is freed and is able to go outside

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Speaker 1: and come back in, and he's able to tell the

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Speaker 1: other guy I saw that, But the other guy his

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Speaker 1: only known existence is looking at that fire on the wall,

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Speaker 1: and he's like, there's no way that's true. And I'm

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Speaker 1: and I'm like, who else has left the cave? I'm

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Speaker 1: the guy. I'm the guy that's only seen the fire.

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Speaker 1: And that's a very brief interpretation of that. But I

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Speaker 1: just remember thinking, I am never going to like look

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Speaker 1: at earth or the world or more than the earth

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Speaker 1: the same After that, Well, it's kind of an utter objectivity,

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Speaker 1: you know, and you have to shake your own cultural

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Speaker 1: notions of reality and stuff like that. Um. I a

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Speaker 1: lot of people really um an idea that there are

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Speaker 1: no such things as morals or something like this, and

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Speaker 1: that we've created it all. That's scary to a lot

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Speaker 1: of people. UM. To me, it's like this weird thing

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Speaker 1: where um or fate, for instance, you know that you

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Speaker 1: were I was destined to be this. I always try

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Speaker 1: not to say things like that, because if I was

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Speaker 1: destined to be this, then it could be no other way,

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Speaker 1: and that means that I'm not free, and to be

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Speaker 1: not free sounds like the most scary thing to me.

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Speaker 1: Destiny is the opposite of freedom. Destiny is kind of

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Speaker 1: the opposite of freedom to me, or if there is

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Speaker 1: such a thing as uh, you know, predestination or something

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Speaker 1: like that, that all the decisions are made or known somewhere.

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Speaker 1: It's like, oh no, you know, Um, that doesn't sound

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Speaker 1: that doesn't sound fun. That sounds like a schedule. I

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Speaker 1: was doing a little more research on because my my

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Speaker 1: vision and version of you has been the last ten

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Speaker 1: years or so. Um. But it seemed like for a

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Speaker 1: while you weren't writing music for a while. Now you're back,

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Speaker 1: Like why why why did you quit? I wouldn't say quit.

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Speaker 1: Why did you take a break? And what brought you back? Yeah? Um,

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Speaker 1: i'm um, I'm I came to Nashville for a minute

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Speaker 1: and I just didn't have any luck. You know. I

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Speaker 1: was trying I was made a record, I was trying

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Speaker 1: to get in a deal. There are things stacked against me,

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Speaker 1: just logistically in terms of being a single dad and

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Speaker 1: stuff like this, and so I didn't And also people

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Speaker 1: weren't responding in a way. There were outliers, you know

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Speaker 1: that had some clouds or something that I really love

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Speaker 1: what you do, blah blah blah blah. But I was like,

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Speaker 1: this never amounted to anything, and it wasn't like people

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Speaker 1: were picking up my songs, and I'm like, I cle

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Speaker 1: either don't know how to do this, I'm not savvy enough,

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Speaker 1: or or it's just not good enough or something like that.

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Speaker 1: Did you never think you're ahead of your time? Uh?

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Speaker 1: That's um, I think that like looking back and list

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Speaker 1: thing to the record that I made, that's what it

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Speaker 1: sounds like to me. But I also don't want to

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Speaker 1: be um, um have delusions of grandeur or something like that.

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Speaker 1: It's just like music is important to me, but it's

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Speaker 1: also just a snippet of life and reality and it's

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Speaker 1: a big part. You know, it's a big part. It

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Speaker 1: gives me a lot of joy. Um, But I also

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Speaker 1: don't want to think in terms like I have a

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Speaker 1: hard time think thinking in terms of that that you're

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Speaker 1: ahead of your time and that's why it didn't work

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Speaker 1: or whatever. And but then whatever whatever is and it

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Speaker 1: didn't work, and so I left. And then my current

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Speaker 1: publisher called me when I was in New York and um,

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Speaker 1: he said, hey, do you have any songs for Dirk

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Speaker 1: Spentley And I'm and I just said no. Um. I

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Speaker 1: I mean literally everything that I've written has been in

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Speaker 1: falsetto and also about the afterlife. For some sort of

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Speaker 1: afterlife adventure. I mean it's too fantastical and whimsical for

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Speaker 1: Derek's I just don't thank you for calling me, um,

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Speaker 1: but he will just look me up if you've ever

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Speaker 1: in town. And then one thing led to another in

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Speaker 1: a few years went by and we met and um

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Speaker 1: for coffee and he's like, you need to come right

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Speaker 1: with me and at this company, and UM, you need

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Speaker 1: to be writing with Eric, and you don't need to

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Speaker 1: be doing what you think you should be doing. You

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Speaker 1: should be doing what you want to do and hits

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Speaker 1: will fall out of that, I promise you, And and

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Speaker 1: he was he was right, UM. And so between him

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Speaker 1: and getting in the right rooms and having just the

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Speaker 1: opportunity to show somebody like Eric Church song or an

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Speaker 1: idea for a song, UM, that led to a lot

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Speaker 1: of things. And Kip was a big proponent early on too.

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Speaker 1: It was like I didn't have any hits and he

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Speaker 1: was coming over because he liked the sounds coming out

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Speaker 1: of my studio and I would we would work on stuff,

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Speaker 1: and I think it was the Wild Ones record. I

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Speaker 1: got a couple of songs on there and we just worked. UM.

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Speaker 1: But then Eric and then Natalie him by and I

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Speaker 1: started writing together and it was like almost like we

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Speaker 1: fed off of each other's creativity, and so we were

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Speaker 1: like trying to not one up each other. It was

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Speaker 1: like us like pushing each other, like trying to make

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Speaker 1: each other like smile or get excited about a song.

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Speaker 1: And so we'd bring in an idea or a sound

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Speaker 1: or something like that, and that was a real joy.

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Speaker 1: And then she would also sing my praises. It was like,

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Speaker 1: I probably owe here a hundred grand and pr fees

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Speaker 1: you know around town. Brought Miranda into the room and

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Speaker 1: that became a relationship, um, and it's meant a lot

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Speaker 1: of joy and a lot of songs with her, But

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Speaker 1: it was that was kind of the beginning of it.

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Speaker 1: It was running into a publisher, um who believed in

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Speaker 1: what I did naturally, instead of trying to curb it

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Speaker 1: um to meet a market demand or something like that.

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Speaker 1: And that's not really where I shine anyway. And I

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Speaker 1: find that if I feel like my cat in a

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Speaker 1: corner when I'm writing a song, then it's usually not

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Speaker 1: gonna be all some It's going to be an average

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Speaker 1: kind of thing day or whatever. I've talked to Miranda

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Speaker 1: and Cassie Ashton, Natalie him Be, those that you mentioned there,

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Speaker 1: and they all say the same thing about you is

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Speaker 1: that you know, you're very out of the box and

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Speaker 1: with ideas. I mean, that's that's the easy way to

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Speaker 1: describe you to people who don't have to write songs

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Speaker 1: like Um, do you feel like you're known as the

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Speaker 1: out of the box guy? I mean yeah, I mean

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Speaker 1: I don't feel like I love Ashley Gourly, but I don't.

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Speaker 1: I don't think that I have that kind of potential.

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Speaker 1: Um in terms of commercial success is Ashley Gorely? Because

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Speaker 1: I feel like there's like five artists at any given

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Speaker 1: time that might be interested in what I'm doing because

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Speaker 1: it doesn't fit subject matter, The subject might not fit

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Speaker 1: into the way that they see the market. UM. But

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Speaker 1: I honestly, UM, I am just trying to get ideas

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Speaker 1: that make me excited to write the song. UM. And

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Speaker 1: also it's it's not so serious, you know. I mean,

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Speaker 1: there are plenty of songs that aren't don't necessarily have

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Speaker 1: to be serious. UM, I don't know, pink sunglasses or

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Speaker 1: something like that. Um, that's really fun, that's really joyous, right,

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Speaker 1: I think in the indie rock band I have Hey,

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Speaker 1: Steve is all about this sort of but digging in

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Speaker 1: weird to weird pop culture, but also having fun while

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Speaker 1: you're doing it and being, um, what's the word, um,

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Speaker 1: self deprecating a little bit. Um, I don't know. That's

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Speaker 1: to me. Country has a sweet spot for self deprecation

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Speaker 1: too that I really love me. It's it's been a

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Speaker 1: part of the history of country. Um. But anyway, that's

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Speaker 1: a long way around. Um Am, I the out of

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Speaker 1: the box guy. I feel like, just maybe objectively, yes, um,

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Speaker 1: it doesn't feel like it. It feels it's all in

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Speaker 1: my head, so it feels like it's mine. It's my

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Speaker 1: own box. So I'm just like, yeah, this is what

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Speaker 1: would be cool, and everybody else is like, why would

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Speaker 1: you do that? I mean I've pitched songs ideas before

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Speaker 1: that were hits that people were like, what does that mean?

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Speaker 1: Why you did you do that? Or something like that.

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Speaker 1: It's like that it goes on to be a number one.

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Speaker 1: Do you you seem like a guy that would need

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Speaker 1: an aesthetic in our room? There's your studio have an

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Speaker 1: aesthetic where people they're like, this is the look dick aesthetic? Yeah,

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Speaker 1: it's there. There's definitely. I mean I did a re

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Speaker 1: upt it a little bit over COVID, but you know,

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Speaker 1: I have objects that I love or that are close

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Speaker 1: to me. And the color scheme was just like asolutely

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Speaker 1: beautiful mustard wall. And then you know a painting that

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Speaker 1: this painting that I saw, it was just these like

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Speaker 1: birds in the midst you know. And it's like things

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Speaker 1: that aren't, things that aren't that are impressionistic. I guess

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Speaker 1: that are aren't particular things that are are art wise

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Speaker 1: in the studio, I don't like having awards up on

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Speaker 1: the wall. That's that's the past that seems I don't

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Speaker 1: always never made me. It never made me feel good

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Speaker 1: to walk in and see awards. And it felt like

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Speaker 1: something as he walked up fireplace out there with fourtive

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Speaker 1: creative to create a space. But but then just things

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Speaker 1: that you like, things that make you feel good. Do

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Speaker 1: you love it? Or is it beautiful? Isn't that a

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Speaker 1: question about the aesthetic of an interior? Does it do

400
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Speaker 1: you love it? Um? Is it beautiful? Is it functional?

401
00:21:13,480 --> 00:21:16,360
Speaker 1: Those kind of questions? Um? But then colors, I really

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Speaker 1: love colors. And so the one wall is this really

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Speaker 1: deep navy ish kind of Hugh and then the back

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Speaker 1: wall is this sort of mustard color and all this

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Speaker 1: greenery and stuff like that, great things that live and breathe,

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Speaker 1: you know. Um. But yeah, I always it's important to

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Speaker 1: me to feel good in a space, um, and a

408
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Speaker 1: songwriting space is pretty intimate, you know. I mean, you're

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Speaker 1: around somebody for six hours, and usually if you're in

410
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Speaker 1: this business, there's some sensitivity about you, and so you

411
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Speaker 1: never know what you're gonna end up talking about. And

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Speaker 1: I mean I remember one day it was me and

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Speaker 1: Laura Belts and Jesse Joe Dillon, and we sat down

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Speaker 1: and it seemed like, um to two thirds of the

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Speaker 1: people were having you know, um sort of turmoil at

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Speaker 1: the time, and so it was his outpour of you know,

417
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Speaker 1: the oh my God and this and this and this

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Speaker 1: and I can't believe it that that and this, and

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Speaker 1: it was really heartfelt. It was a safe space, you know.

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Speaker 1: And then and then we broke for lunch and came

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Speaker 1: back and wrote this song called Tattoo, which is this

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Speaker 1: super flippant song about about wishing that you were a

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Speaker 1: tattoo because you could be on somebody seven and so

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Speaker 1: it would be turned into this thing. But to have

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Speaker 1: a space that welcomes that kind of openness. Um, that's

426
00:22:36,040 --> 00:22:37,680
Speaker 1: what I hope for. I feel like that's some really

427
00:22:37,720 --> 00:22:42,200
Speaker 1: good stuff can happen, either either something with depth or

428
00:22:42,440 --> 00:22:47,600
Speaker 1: something you know, surface level. UM. Fun, it's um, it's all. Um,

429
00:22:47,760 --> 00:22:55,920
Speaker 1: it's all necessary to me. When you started writing with Eric,

430
00:22:57,880 --> 00:23:02,159
Speaker 1: was he already have success or was it early on?

431
00:23:03,720 --> 00:23:06,840
Speaker 1: It was the Mr M Mr Misunderstood record, So he'd

432
00:23:06,840 --> 00:23:10,280
Speaker 1: had him a serious amount of success by the time

433
00:23:10,280 --> 00:23:12,320
Speaker 1: I was writing with him. So you you start writing

434
00:23:12,320 --> 00:23:14,440
Speaker 1: with him, I mean to you as a creative, is

435
00:23:14,480 --> 00:23:16,320
Speaker 1: that intimidating to write with him? Or is it kind

436
00:23:16,320 --> 00:23:19,480
Speaker 1: of refreshing because he also, you know, win a different

437
00:23:19,520 --> 00:23:23,400
Speaker 1: angle at his success. Yeah. I was in New York

438
00:23:23,840 --> 00:23:28,440
Speaker 1: and when I was living there, they somebody showed me,

439
00:23:29,280 --> 00:23:32,960
Speaker 1: um smoke a little smoke and they said, have you

440
00:23:33,040 --> 00:23:35,240
Speaker 1: heard this? And I listened to him like like, is

441
00:23:35,320 --> 00:23:39,760
Speaker 1: this what they're doing in Nashville now? And UM, it

442
00:23:39,960 --> 00:23:43,719
Speaker 1: gave me how you know that that there could be um,

443
00:23:46,400 --> 00:23:50,840
Speaker 1: something creatively interesting, sonically interesting. UM. And I feel like people,

444
00:23:51,800 --> 00:23:53,720
Speaker 1: I feel like Jay Joey's kind of paved the way

445
00:23:53,760 --> 00:23:57,240
Speaker 1: sonically for somebody like me to be here. UM. I really,

446
00:23:58,520 --> 00:24:02,000
Speaker 1: UM have a lot of gratitude for what they with

447
00:24:02,119 --> 00:24:05,399
Speaker 1: those two have done together. Um, it's no small feat

448
00:24:05,520 --> 00:24:09,240
Speaker 1: to break in with a different sound. And but but

449
00:24:09,480 --> 00:24:13,159
Speaker 1: to more point at your question, a little bit better, UM,

450
00:24:14,080 --> 00:24:17,960
Speaker 1: there's always a bit of intimidation. It doesn't matter how

451
00:24:18,560 --> 00:24:23,320
Speaker 1: how successful or not commercially successful the artist is coming in.

452
00:24:23,840 --> 00:24:26,199
Speaker 1: So but that was, you know, the first chance at

453
00:24:26,280 --> 00:24:30,080
Speaker 1: and at an a list situation UM for me to

454
00:24:31,040 --> 00:24:35,080
Speaker 1: prove myself for whatever. Um. But I had sent him

455
00:24:35,320 --> 00:24:39,040
Speaker 1: this idea um to be my publisher that he loved,

456
00:24:39,280 --> 00:24:41,400
Speaker 1: and you know, there was it was already was killed

457
00:24:41,400 --> 00:24:43,800
Speaker 1: a word, and there was already an idea happening there.

458
00:24:44,560 --> 00:24:46,639
Speaker 1: And the in the first stands and refrained and he's like,

459
00:24:46,680 --> 00:24:48,440
Speaker 1: I love this, Let's finish it. And so he came

460
00:24:48,480 --> 00:24:50,840
Speaker 1: in and we finished that and then it was like

461
00:24:50,960 --> 00:24:52,640
Speaker 1: it took us like an hour to finish the song.

462
00:24:52,880 --> 00:24:55,000
Speaker 1: And then he it was me and him and Jeff

463
00:24:55,080 --> 00:24:57,520
Speaker 1: Hyde who plays in his band too, who's a great writer.

464
00:24:58,160 --> 00:25:02,720
Speaker 1: And then he had the idea for around here buzz,

465
00:25:03,320 --> 00:25:05,960
Speaker 1: and so he kind of had a hill around here,

466
00:25:06,080 --> 00:25:10,880
Speaker 1: buz buzz, and so then we just sort of took

467
00:25:10,920 --> 00:25:13,040
Speaker 1: off on that and it just felt natural. Once you

468
00:25:13,080 --> 00:25:15,440
Speaker 1: get into everybody's a human, you know, it's like there's

469
00:25:15,480 --> 00:25:20,480
Speaker 1: no I don't know, there's no there. There's different kinds

470
00:25:20,520 --> 00:25:24,159
Speaker 1: of magic, two different human beings, you know, UM and

471
00:25:24,320 --> 00:25:28,760
Speaker 1: different and and Eric is definitely somebody with UM a

472
00:25:28,920 --> 00:25:33,200
Speaker 1: special kind of charisma and a special kind of UM

473
00:25:33,720 --> 00:25:38,560
Speaker 1: creative UM capacity and and uh intellect to me, UM,

474
00:25:39,520 --> 00:25:42,080
Speaker 1: but as a human being or trying to impress another

475
00:25:42,200 --> 00:25:44,200
Speaker 1: human or something like that, it's like, look, you know,

476
00:25:44,320 --> 00:25:47,000
Speaker 1: we all woke up today, we all needed breakfast and

477
00:25:47,320 --> 00:25:50,520
Speaker 1: all that stuff. So let's just you try to put

478
00:25:51,800 --> 00:25:54,520
Speaker 1: stardom or something like that out of your head. UM.

479
00:25:54,920 --> 00:25:59,920
Speaker 1: I tried to UM and not be UM. I guess

480
00:26:00,119 --> 00:26:06,440
Speaker 1: motivated or or dissuaded or felt feel insecure around UM

481
00:26:06,560 --> 00:26:08,959
Speaker 1: that kind of a status. I'm trying to think if

482
00:26:09,000 --> 00:26:11,200
Speaker 1: there was somebody that I'd be so star struck that

483
00:26:11,280 --> 00:26:15,040
Speaker 1: it would be difficult to write with UM. Uh you

484
00:26:15,119 --> 00:26:17,920
Speaker 1: know Tom Waits, I don't know, UM kind of sound

485
00:26:17,960 --> 00:26:21,800
Speaker 1: like Tom Waits right now when you're talking. I'm Bob Dylan.

486
00:26:21,960 --> 00:26:23,440
Speaker 1: I guess you know, if you had to go write

487
00:26:23,480 --> 00:26:25,800
Speaker 1: a song with Bob Dylan, that would probably be one

488
00:26:25,840 --> 00:26:32,200
Speaker 1: of the most intimidating things situation. Um, I remember, this

489
00:26:32,359 --> 00:26:36,560
Speaker 1: is not an intimidating person. But this guy came over

490
00:26:36,840 --> 00:26:38,560
Speaker 1: and he was an Englishman and he had these hits

491
00:26:38,600 --> 00:26:41,120
Speaker 1: in the eighties, these pop rockets, and they were really good,

492
00:26:41,600 --> 00:26:45,159
Speaker 1: good ones. And I kept playing like guitar stuff and

493
00:26:45,359 --> 00:26:49,560
Speaker 1: he's like, uh, he'd look at me and go and

494
00:26:49,720 --> 00:26:54,680
Speaker 1: that's not very inspiring, is it. What do you do

495
00:26:54,840 --> 00:26:57,320
Speaker 1: to that? You know? I'm just like, what do you got?

496
00:26:57,400 --> 00:27:00,520
Speaker 1: And he's like, here's a list. I'm more of a rist.

497
00:27:00,760 --> 00:27:04,280
Speaker 1: Here's here's a list of titles. And the titles are

498
00:27:04,359 --> 00:27:10,359
Speaker 1: like all night long, all night, all of everything. And

499
00:27:10,440 --> 00:27:14,320
Speaker 1: I'm just like, I kidding me, what is this? Are you?

500
00:27:14,520 --> 00:27:17,080
Speaker 1: Are you a lyric or melody guy at heart? When

501
00:27:17,119 --> 00:27:22,399
Speaker 1: you start to write, I can't separate them, really, you know. Um,

502
00:27:23,320 --> 00:27:27,280
Speaker 1: when Natalie, it's different for different rooms. When I get

503
00:27:27,320 --> 00:27:30,120
Speaker 1: around Natalie and I have a medal at melody already

504
00:27:30,240 --> 00:27:33,280
Speaker 1: with something and with the phrasing, and she wants to

505
00:27:33,400 --> 00:27:36,040
Speaker 1: change the melody, I usually defer to her because I

506
00:27:36,160 --> 00:27:40,240
Speaker 1: really believe in her abilities to make a melody. Um.

507
00:27:40,560 --> 00:27:42,760
Speaker 1: There are a few other people like that that when

508
00:27:42,800 --> 00:27:44,520
Speaker 1: they say, man, I think this melody could be better.

509
00:27:44,560 --> 00:27:46,760
Speaker 1: I'm like, all right, let's check it, let's scrap it,

510
00:27:46,840 --> 00:27:51,760
Speaker 1: let's see what's up. Um, but it all I really

511
00:27:51,800 --> 00:27:53,680
Speaker 1: want to marry it all because you can't just send

512
00:27:53,720 --> 00:27:55,920
Speaker 1: somebody the lyrics to a song and expect it to

513
00:27:56,000 --> 00:27:57,840
Speaker 1: speak to them off of a page. I mean, there's

514
00:27:57,880 --> 00:28:00,480
Speaker 1: a whole thing happening there. It's like this. The beauty

515
00:28:00,520 --> 00:28:05,800
Speaker 1: of um music or songs in general, is that there's

516
00:28:06,119 --> 00:28:09,320
Speaker 1: a sound, there's a you know, there's a chord progression,

517
00:28:09,400 --> 00:28:12,440
Speaker 1: there's a lyric, and there's a melody on top of it.

518
00:28:12,560 --> 00:28:15,000
Speaker 1: So it's hard for me to say that I'd be

519
00:28:15,119 --> 00:28:19,879
Speaker 1: one thing. Um, when you write, are you writing based

520
00:28:19,960 --> 00:28:22,920
Speaker 1: on will you just chase lyrics or will you sometimes

521
00:28:23,000 --> 00:28:25,240
Speaker 1: just create a melody and then cert lyrics into it later?

522
00:28:25,920 --> 00:28:29,800
Speaker 1: Both Um both Um said, Laura Els does this to me.

523
00:28:29,840 --> 00:28:32,119
Speaker 1: I hope she's listening right now, because when we write,

524
00:28:32,240 --> 00:28:35,879
Speaker 1: I'll be I'll turn around and I'll start try to

525
00:28:35,960 --> 00:28:37,560
Speaker 1: get the track going. You know, it's like, okay, we

526
00:28:37,640 --> 00:28:39,000
Speaker 1: got the first first, let me just put a little

527
00:28:39,000 --> 00:28:41,400
Speaker 1: bass part in here. I'll turn around. The Laura is

528
00:28:41,400 --> 00:28:44,920
Speaker 1: such a prolific lyricist that she'll be done with the second. First,

529
00:28:44,920 --> 00:28:46,320
Speaker 1: I'm like, wait a minute, I like this song. Can

530
00:28:46,400 --> 00:28:50,680
Speaker 1: I participate? Please? You hold on to you know, have

531
00:28:50,840 --> 00:28:53,280
Speaker 1: a have a story, eat some chips or something, and

532
00:28:53,400 --> 00:29:00,160
Speaker 1: let me do this bass part contribute UM. But there

533
00:29:00,200 --> 00:29:04,400
Speaker 1: have been times UM, that the melody has come first.

534
00:29:04,600 --> 00:29:07,360
Speaker 1: You know. It's like, you know, you start playing UM

535
00:29:08,640 --> 00:29:10,479
Speaker 1: and something will just spill out of you, and then

536
00:29:10,520 --> 00:29:13,560
Speaker 1: you just work around the vowels. The vowels might lead

537
00:29:13,600 --> 00:29:16,320
Speaker 1: you to a phrase or something like that, you know, UM.

538
00:29:17,920 --> 00:29:20,400
Speaker 1: I read the Keith Richard's book and he talked about

539
00:29:20,440 --> 00:29:21,840
Speaker 1: the way that they did that, and it's I don't

540
00:29:21,840 --> 00:29:25,080
Speaker 1: think it's uncommon to do that, UM life. That's the

541
00:29:25,160 --> 00:29:27,520
Speaker 1: book from Keith Richards, And he said, I think I

542
00:29:27,560 --> 00:29:29,440
Speaker 1: can't he had a name for it, you know, the

543
00:29:29,480 --> 00:29:30,920
Speaker 1: way that they do it. But it's you know, you're

544
00:29:30,960 --> 00:29:35,520
Speaker 1: just playing a chord and you're oww had and so

545
00:29:35,680 --> 00:29:40,680
Speaker 1: then whatever value sing that feels the most natural, you

546
00:29:40,920 --> 00:29:43,840
Speaker 1: might lean toward a word with that vowel sound UM,

547
00:29:44,200 --> 00:29:46,560
Speaker 1: and then it and then you have to work the

548
00:29:46,640 --> 00:29:49,200
Speaker 1: concept around the vowel sound or something like that. You know,

549
00:29:49,320 --> 00:29:53,880
Speaker 1: it's a really songwriting's really weird. But um, I do

550
00:29:54,080 --> 00:29:57,160
Speaker 1: find that when I listened to songs and I feel

551
00:29:57,160 --> 00:29:59,080
Speaker 1: like that's a good melody, those are the wrong vowel

552
00:29:59,120 --> 00:30:01,400
Speaker 1: sounds or something. You know. I'm like, I can't understand

553
00:30:01,440 --> 00:30:03,520
Speaker 1: the lyric. It's not the lyrics not sticking out to

554
00:30:03,640 --> 00:30:06,800
Speaker 1: me because the it's all mushed in there in a way,

555
00:30:06,880 --> 00:30:10,120
Speaker 1: and the vowels aren't popping in the there's too many

556
00:30:10,200 --> 00:30:12,640
Speaker 1: words or too many, too not enough words, so there's

557
00:30:12,640 --> 00:30:16,680
Speaker 1: like an economy, and that's all subjective to right. It's

558
00:30:16,760 --> 00:30:19,600
Speaker 1: just like, is that sounds too like too many words

559
00:30:19,680 --> 00:30:22,640
Speaker 1: to me? Um, it doesn't sound like too many words

560
00:30:22,720 --> 00:30:26,320
Speaker 1: to that artist or that person singing it. I'm gonna

561
00:30:26,320 --> 00:30:30,640
Speaker 1: compare you as a lyrict system a songwriter to Eminem,

562
00:30:30,840 --> 00:30:32,960
Speaker 1: which you may have never been compared to. But WHOA.

563
00:30:33,320 --> 00:30:36,680
Speaker 1: When I listened to Eminem, he bends rhymes. Sometimes he

564
00:30:36,760 --> 00:30:40,200
Speaker 1: doesn't rhyme, but still rhymes. And a lot of or

565
00:30:40,240 --> 00:30:43,600
Speaker 1: at least some of your writing you don't even chase

566
00:30:43,640 --> 00:30:45,920
Speaker 1: a rhyme. There just aren't rhymes where there should be

567
00:30:46,200 --> 00:30:49,440
Speaker 1: where traditionally rhymes are. I shouldn't say should be right, Yeah,

568
00:30:49,480 --> 00:30:54,160
Speaker 1: there aren't rhymes were traditionally rhymes are yeah. Yeah. Is

569
00:30:54,240 --> 00:30:57,520
Speaker 1: that purposeful on your part to not put rhymes there

570
00:30:57,600 --> 00:31:00,280
Speaker 1: or is it just purposeful to put those words there

571
00:31:00,480 --> 00:31:03,640
Speaker 1: and they just don't happen to rhyme. I feel like, Um,

572
00:31:05,480 --> 00:31:07,719
Speaker 1: when you get down to it, it's like, especially if

573
00:31:07,720 --> 00:31:10,360
Speaker 1: you're chasing a lyric, and it's like, is this lyric working?

574
00:31:10,720 --> 00:31:14,200
Speaker 1: Is this idea working? You just run with it, um,

575
00:31:15,240 --> 00:31:22,520
Speaker 1: And then it's I don't want to say it's not intentional. UM.

576
00:31:22,760 --> 00:31:25,960
Speaker 1: Like the way to say it's not it's not my

577
00:31:26,040 --> 00:31:28,520
Speaker 1: intention to say every song needs to rhyme like this,

578
00:31:29,440 --> 00:31:32,080
Speaker 1: or let's try some rhymes in the middle of this

579
00:31:32,320 --> 00:31:34,320
Speaker 1: of this phrase is rather than at the end of

580
00:31:34,360 --> 00:31:37,400
Speaker 1: the phrases, which is typical. UM. I feel like you

581
00:31:37,560 --> 00:31:43,040
Speaker 1: just all you're left with in any creative endeavor is

582
00:31:43,040 --> 00:31:46,960
Speaker 1: your own esthetic intuition and you have to go with

583
00:31:47,120 --> 00:31:50,160
Speaker 1: what moves you. And when any time, I mean, there's

584
00:31:50,240 --> 00:31:53,160
Speaker 1: been a countless artist that come in and we end

585
00:31:53,240 --> 00:31:55,680
Speaker 1: up with a song that I don't care about, um,

586
00:31:56,360 --> 00:31:58,760
Speaker 1: And that's okay because they're saying, no, I don't want

587
00:31:58,760 --> 00:32:00,040
Speaker 1: to do this because I want to do that, And

588
00:32:00,040 --> 00:32:02,040
Speaker 1: I'm like, well, that does nothing in my head, you know,

589
00:32:02,200 --> 00:32:04,240
Speaker 1: or heart or whatever. I'm like, that doesn't do anything

590
00:32:04,320 --> 00:32:06,760
Speaker 1: for me. But it's your career, you know, it's your

591
00:32:07,480 --> 00:32:11,720
Speaker 1: artistic impulse that you're chasing. So chase it then, um,

592
00:32:11,960 --> 00:32:14,520
Speaker 1: And I hope that. I hope it works if I

593
00:32:14,640 --> 00:32:20,640
Speaker 1: like you and the demo to kill a word? Yeah,

594
00:32:20,920 --> 00:32:23,600
Speaker 1: which is you singing? Which we have it right here? Well,

595
00:32:23,680 --> 00:32:25,960
Speaker 1: like play a little bit out it here, I put

596
00:32:26,120 --> 00:32:29,520
Speaker 1: up sit down in its place. I squeezed the laugh

597
00:32:29,680 --> 00:32:39,160
Speaker 1: out of disgrace, lay over under six cold Yeah, yeah,

598
00:32:43,640 --> 00:32:47,440
Speaker 1: so steal that. We were at your house last night,

599
00:32:48,440 --> 00:32:53,480
Speaker 1: so much about your studio broken last night. So change

600
00:32:53,520 --> 00:32:59,040
Speaker 1: the code? Is it a How prevalent is it that

601
00:32:59,160 --> 00:33:02,400
Speaker 1: if you're writing with or for, like an Eric, that

602
00:33:02,800 --> 00:33:07,960
Speaker 1: that person doesn't sing the demo? And is that purposeful?

603
00:33:08,040 --> 00:33:10,000
Speaker 1: So the demo doesn't get out with his voice on it?

604
00:33:10,920 --> 00:33:12,880
Speaker 1: It wasn't purposeful. He just said, put your put your

605
00:33:12,960 --> 00:33:15,760
Speaker 1: vocal on. I like what you're doing. I'm out, Um,

606
00:33:16,120 --> 00:33:18,520
Speaker 1: do do your thing. I want to hear what you do. Um.

607
00:33:19,800 --> 00:33:24,360
Speaker 1: And then there's sometimes where, especially if it's a female artist,

608
00:33:24,520 --> 00:33:28,800
Speaker 1: where where I'm less inclined to go do a vocal

609
00:33:28,960 --> 00:33:34,320
Speaker 1: on it. Um. And for a couple of reasons. One

610
00:33:34,440 --> 00:33:37,200
Speaker 1: is a shrewd. You know. It's like, if they just

611
00:33:37,320 --> 00:33:39,080
Speaker 1: hear a dude on there, then it sounds like a

612
00:33:39,200 --> 00:33:42,000
Speaker 1: dude song, you know. But if you write it with

613
00:33:42,520 --> 00:33:45,720
Speaker 1: the artist who's female, and then another female artist the

614
00:33:45,800 --> 00:33:48,120
Speaker 1: other the other excuse me, the other female writer, if

615
00:33:48,120 --> 00:33:51,280
Speaker 1: the other female writer sings it, it makes more sense

616
00:33:51,360 --> 00:33:54,120
Speaker 1: to me. But I don't like, really if I feel

617
00:33:54,160 --> 00:33:56,040
Speaker 1: like it shoots you in the foot a little bit,

618
00:33:56,560 --> 00:33:58,800
Speaker 1: unless it's somebody like Miranda that we know each other

619
00:33:58,920 --> 00:34:01,040
Speaker 1: well enough to where it's not like she's like, oh,

620
00:34:01,120 --> 00:34:03,400
Speaker 1: this sounds like she can hear through that stuff. I

621
00:34:03,600 --> 00:34:06,479
Speaker 1: trust her to hear through that stuff. But generally, if

622
00:34:06,520 --> 00:34:09,719
Speaker 1: an artist is there, um, and especially if it's an

623
00:34:09,800 --> 00:34:12,560
Speaker 1: artist that I don't work with that often, I'm gonna

624
00:34:12,600 --> 00:34:14,080
Speaker 1: try to get them to sing it because I want

625
00:34:14,120 --> 00:34:15,920
Speaker 1: to hear what they sound like on it too. If

626
00:34:16,000 --> 00:34:18,200
Speaker 1: I and also see if you face if you did

627
00:34:18,280 --> 00:34:20,640
Speaker 1: okay or you didn't. What I mean by that is,

628
00:34:21,480 --> 00:34:23,759
Speaker 1: sometimes you write all these melodies. You write this song

629
00:34:24,000 --> 00:34:26,719
Speaker 1: and somebody sings on it just doesn't sound good, you know.

630
00:34:27,040 --> 00:34:29,279
Speaker 1: And so if you're off the mark in terms of

631
00:34:29,440 --> 00:34:32,120
Speaker 1: a melodic structure or something like that you'll be able

632
00:34:32,160 --> 00:34:33,759
Speaker 1: to hear it when they get on the microphone. It's

633
00:34:33,800 --> 00:34:35,920
Speaker 1: like they're not really capable of singing that, or they

634
00:34:35,960 --> 00:34:38,040
Speaker 1: are really great at it, or it's kind of in

635
00:34:38,080 --> 00:34:39,759
Speaker 1: the middle. Maybe we shouldn't have gone that high and

636
00:34:39,800 --> 00:34:43,440
Speaker 1: you change the key, those kind of technical decisions like that.

637
00:34:43,840 --> 00:34:47,160
Speaker 1: So it's if it's a if they're if we're the

638
00:34:47,239 --> 00:34:49,759
Speaker 1: only writers in the room. Oftentimes I get tasked with

639
00:34:50,120 --> 00:34:53,760
Speaker 1: singing the singing the demo on it, and I'm generally

640
00:34:54,200 --> 00:34:56,239
Speaker 1: I'm happy to do that. It's fun to me. It's

641
00:34:56,280 --> 00:34:59,879
Speaker 1: a creative endeavor, especially if I love the song. Well,

642
00:35:00,160 --> 00:35:02,520
Speaker 1: Bluebird comes out and it's a massive radio success, and

643
00:35:02,520 --> 00:35:04,960
Speaker 1: I think it was the first massive radio song from

644
00:35:05,080 --> 00:35:07,480
Speaker 1: Randon a long time. I remember saying that, like, you know,

645
00:35:07,600 --> 00:35:10,160
Speaker 1: she'd just had a record that that double album I

646
00:35:10,160 --> 00:35:13,200
Speaker 1: had done so wonderful, but it didn't translate into singles.

647
00:35:13,920 --> 00:35:18,160
Speaker 1: But Bluebird comes and just crushes. It's the number one

648
00:35:18,400 --> 00:35:23,880
Speaker 1: and was one two Grammys. Um no, we nominated for

649
00:35:23,960 --> 00:35:27,600
Speaker 1: two Grammys. Did you go? That was when the COVID

650
00:35:27,719 --> 00:35:30,160
Speaker 1: was happening, So you still know. I bought a suit

651
00:35:30,280 --> 00:35:33,080
Speaker 1: in my closet. It sits so you didn't even put

652
00:35:33,080 --> 00:35:34,960
Speaker 1: it on for the night of that we're doing it

653
00:35:35,040 --> 00:35:39,480
Speaker 1: on on the internet on no. So is that cool

654
00:35:39,560 --> 00:35:41,200
Speaker 1: to you to be nominated for a Grammy or is

655
00:35:41,239 --> 00:35:43,280
Speaker 1: it to you? Is that just a piece of metal

656
00:35:43,480 --> 00:35:46,600
Speaker 1: that represents and what disrepresentation? Even me, I would I

657
00:35:46,640 --> 00:35:49,160
Speaker 1: would really be lying if I didn't say that I

658
00:35:49,200 --> 00:35:51,680
Speaker 1: would not want to win a Grammy. I mean I

659
00:35:51,760 --> 00:35:54,520
Speaker 1: would love to say that I want a Grammy. Um.

660
00:35:55,719 --> 00:35:58,799
Speaker 1: Sometimes I catch myself, you know, when you win something,

661
00:35:58,880 --> 00:36:02,120
Speaker 1: and it's like, I'm always thankful to win something. Um,

662
00:36:02,680 --> 00:36:06,720
Speaker 1: there is a truth for me to the the fact

663
00:36:06,800 --> 00:36:08,840
Speaker 1: that when you write a song like that that was

664
00:36:08,920 --> 00:36:12,839
Speaker 1: really meaningful to you, that nothing compares to the day

665
00:36:12,880 --> 00:36:14,520
Speaker 1: that you wrote it with your friends and then you

666
00:36:14,680 --> 00:36:16,440
Speaker 1: heard the and then you played it back and you

667
00:36:16,600 --> 00:36:18,239
Speaker 1: heard and you sang on it and you listen to

668
00:36:18,320 --> 00:36:20,920
Speaker 1: demo and you get excited about it. Nothing compares to

669
00:36:21,040 --> 00:36:27,160
Speaker 1: that joy. Winning awards is Um, it's another like just

670
00:36:27,360 --> 00:36:30,480
Speaker 1: kind of hurrah. At the end, you know that you're

671
00:36:30,719 --> 00:36:33,239
Speaker 1: the hard work and the beauty, the beautiful work is

672
00:36:33,320 --> 00:36:36,480
Speaker 1: already done. And Amy Taylor calls it the pudding. You

673
00:36:36,560 --> 00:36:38,520
Speaker 1: know you've already eaten the meat. And all that stuff,

674
00:36:38,520 --> 00:36:41,000
Speaker 1: and pudding is nice, you know, but you don't need it.

675
00:36:41,080 --> 00:36:45,080
Speaker 1: You're already full kind of um of everything that said.

676
00:36:46,080 --> 00:36:49,480
Speaker 1: If the Grammy, any Grammy voters are out there, if

677
00:36:49,560 --> 00:36:51,920
Speaker 1: I'm out for anything next year, please vote for me.

678
00:36:58,280 --> 00:37:01,240
Speaker 1: One of my favorite songs from you as Velvet Elvis,

679
00:37:01,400 --> 00:37:11,959
Speaker 1: Oh yeah, from Casey. Do you ever have an idea

680
00:37:12,000 --> 00:37:13,840
Speaker 1: for a song or a title like Velvet Elvis and

681
00:37:13,880 --> 00:37:15,439
Speaker 1: have to google and see if it's been done because

682
00:37:15,480 --> 00:37:18,000
Speaker 1: it just sounds so perfect and you're like, surelie, somebody's

683
00:37:18,000 --> 00:37:21,200
Speaker 1: done this before. Um, that will happen sometimes. And if

684
00:37:21,239 --> 00:37:25,600
Speaker 1: it's like something obscure somewhere, it's like the titles aren't

685
00:37:25,880 --> 00:37:33,520
Speaker 1: um copy written. So and also it's like again, um uh,

686
00:37:34,440 --> 00:37:39,280
Speaker 1: lionel richis you know, all Night Long? And then Beyonce

687
00:37:39,400 --> 00:37:42,880
Speaker 1: had a song called all Night It was great, um so,

688
00:37:43,120 --> 00:37:45,879
Speaker 1: but something like Velvet Elvis. To me, that's a little

689
00:37:45,920 --> 00:37:49,120
Speaker 1: trickier one. Now. And I have wrote a song called

690
00:37:49,160 --> 00:37:52,800
Speaker 1: Taxidermy and it's it's like from Casey, yeah, And I

691
00:37:52,920 --> 00:37:56,520
Speaker 1: was like, yeah, you know, you can't. You know. It's

692
00:37:56,560 --> 00:38:00,200
Speaker 1: like we've had a few artists that come in and

693
00:38:00,520 --> 00:38:03,840
Speaker 1: it's just like, do you want to. I got this

694
00:38:03,960 --> 00:38:08,840
Speaker 1: title called, um, I Can't Make You Love Me? And

695
00:38:08,960 --> 00:38:12,279
Speaker 1: I was just like, you know, or a blackbird. You know,

696
00:38:12,360 --> 00:38:14,960
Speaker 1: it's like you can't there's something about those I don't

697
00:38:15,000 --> 00:38:18,920
Speaker 1: know that you can do again. Um I would I

698
00:38:18,960 --> 00:38:21,640
Speaker 1: would scratch my head if somebody came out with Bluebird

699
00:38:21,719 --> 00:38:24,040
Speaker 1: again in the next couple of years, you know, at

700
00:38:24,120 --> 00:38:27,880
Speaker 1: least in the genre of country for sure. Um, So

701
00:38:28,040 --> 00:38:31,280
Speaker 1: people don't normally do that. I have got I've caught myself.

702
00:38:32,280 --> 00:38:38,600
Speaker 1: I had a title one time called don't Don't It?

703
00:38:39,680 --> 00:38:44,080
Speaker 1: And I wrote it, and then a week later, Billy

704
00:38:44,160 --> 00:38:47,719
Speaker 1: Currington comes out with a song called Don't and and

705
00:38:47,960 --> 00:38:51,920
Speaker 1: so I was like, there's a waste of twelve hours.

706
00:38:52,440 --> 00:38:54,640
Speaker 1: Did you go back and try to find another angle?

707
00:38:55,120 --> 00:39:00,239
Speaker 1: Rename it? It's called do it Now. Anybody is out

708
00:39:00,280 --> 00:39:03,280
Speaker 1: there listening and wants to cut it, you can email

709
00:39:03,320 --> 00:39:06,239
Speaker 1: my publisher and will send it right up. You've got

710
00:39:06,320 --> 00:39:09,359
Speaker 1: two or three singles so far from Miranda's newest record.

711
00:39:10,760 --> 00:39:13,480
Speaker 1: Do you kind of know where she's leaning when a

712
00:39:13,520 --> 00:39:15,640
Speaker 1: project is done? Like I really feel like these that

713
00:39:15,760 --> 00:39:18,200
Speaker 1: we wrote could be singles? Or do you just sit

714
00:39:18,280 --> 00:39:20,560
Speaker 1: and guests with everybody else? I kind of guess with

715
00:39:20,640 --> 00:39:25,200
Speaker 1: everybody else. You know, I feel I feel it in

716
00:39:25,280 --> 00:39:27,080
Speaker 1: my heart, you know, and I feel like that could

717
00:39:27,120 --> 00:39:30,319
Speaker 1: be something big. But then there's so many people who

718
00:39:30,360 --> 00:39:34,360
Speaker 1: make those decisions because I don't know, because what because whatever?

719
00:39:34,719 --> 00:39:37,600
Speaker 1: But um, you know, there are people at the label

720
00:39:37,640 --> 00:39:39,560
Speaker 1: who have an idea, and the promo people at the

721
00:39:39,680 --> 00:39:43,399
Speaker 1: radios and all this. You know, it's just like it's

722
00:39:43,520 --> 00:39:46,440
Speaker 1: that's another game. It's it's real difficult for me to

723
00:39:46,480 --> 00:39:49,840
Speaker 1: get wrapped up in unless I want even more anguished

724
00:39:49,880 --> 00:39:52,279
Speaker 1: than the than the music business deals out, you know,

725
00:39:52,920 --> 00:39:58,920
Speaker 1: So I try to chill out, um on not It's

726
00:39:58,960 --> 00:40:01,200
Speaker 1: not that I don't hope that I have singles because

727
00:40:01,200 --> 00:40:03,520
Speaker 1: I want, you know, songs that I believe in to

728
00:40:03,600 --> 00:40:09,520
Speaker 1: be heard. Um, but I do, um try to maintain

729
00:40:09,719 --> 00:40:13,800
Speaker 1: some kind of mindfulness res in around what's happening behind

730
00:40:13,880 --> 00:40:17,800
Speaker 1: the scenes, because I don't think I've changed anything one time.

731
00:40:18,080 --> 00:40:19,880
Speaker 1: You know, it's like, oh if I just told them this,

732
00:40:20,120 --> 00:40:24,040
Speaker 1: or you know, sort of some kind of various right

733
00:40:24,480 --> 00:40:27,440
Speaker 1: from Game of Thround, some kind of whisper you know,

734
00:40:28,280 --> 00:40:30,560
Speaker 1: the scene it's making things happen. It's like, that's not

735
00:40:30,680 --> 00:40:32,880
Speaker 1: my game. What about if you cut a song like

736
00:40:33,040 --> 00:40:35,319
Speaker 1: you like Derek's cut the Mountain, what you guys wrote

737
00:40:35,880 --> 00:40:39,320
Speaker 1: and so you right the mountain, he cuts the mountain

738
00:40:39,520 --> 00:40:42,200
Speaker 1: and then it becomes the title track. Now, to some

739
00:40:42,400 --> 00:40:45,520
Speaker 1: people that's great because the whole project, maybe the tour

740
00:40:45,600 --> 00:40:47,120
Speaker 1: is named after it could be a single. But to

741
00:40:47,200 --> 00:40:49,600
Speaker 1: some people it's I'll know it's the title track that

742
00:40:49,600 --> 00:40:51,840
Speaker 1: will never be a single. Well, you know, I don't know.

743
00:40:53,239 --> 00:40:56,440
Speaker 1: That's a great that's a great um set of facts

744
00:40:56,480 --> 00:40:59,480
Speaker 1: to figure out. Are there is there any title of

745
00:40:59,560 --> 00:41:04,840
Speaker 1: a wreck that's ever been a hit? Like recently it

746
00:41:05,040 --> 00:41:08,759
Speaker 1: was well, okay, I'm just thinking I'm going right now,

747
00:41:08,840 --> 00:41:11,360
Speaker 1: brothers Osborne have a single now because this is the

748
00:41:11,520 --> 00:41:15,800
Speaker 1: record called um it's like it's like you're not like

749
00:41:16,040 --> 00:41:19,840
Speaker 1: us and it's also their single. Yeah, yeah, not everyone.

750
00:41:19,880 --> 00:41:22,200
Speaker 1: We're not for everyone? Is that the name I wrote that? Yeah,

751
00:41:22,239 --> 00:41:27,840
Speaker 1: it's not for everyone? Okay, never mind, never mind, But

752
00:41:27,840 --> 00:41:30,680
Speaker 1: you wrote that, you wrote that Rose Osbourne song with

753
00:41:30,880 --> 00:41:39,400
Speaker 1: the yeah, maybe it's the tour. Okay, that's what it is.

754
00:41:39,640 --> 00:41:42,480
Speaker 1: That is called that We're not for everyone to tours

755
00:41:43,520 --> 00:41:46,520
Speaker 1: Tours are a plus name and getting it. There was

756
00:41:46,600 --> 00:41:49,080
Speaker 1: a burning Man tour. For a minute, I get that

757
00:41:49,200 --> 00:41:53,839
Speaker 1: was good when um, I'm trying to figure out. Yeah,

758
00:41:53,920 --> 00:41:56,160
Speaker 1: And that's something we should look at too, because most

759
00:41:56,200 --> 00:41:58,960
Speaker 1: people act like they don't like it if the record

760
00:41:59,160 --> 00:42:01,560
Speaker 1: is named after the song they wrote. But I don't

761
00:42:01,600 --> 00:42:03,560
Speaker 1: know if it's just some fallacy that has now happening.

762
00:42:03,640 --> 00:42:05,480
Speaker 1: I'm ready to break it now. I'm just like, I

763
00:42:05,520 --> 00:42:09,080
Speaker 1: don't even care about that rules, like that's surely there's

764
00:42:09,120 --> 00:42:10,880
Speaker 1: a way around that. You want to call Dirk's right

765
00:42:10,920 --> 00:42:14,560
Speaker 1: now and the mountain, Yeah, put out the mountain. I

766
00:42:14,640 --> 00:42:18,399
Speaker 1: know you're two two singles past that record, but let's

767
00:42:18,440 --> 00:42:20,880
Speaker 1: go back. You did why, I mean, what's who's to

768
00:42:20,920 --> 00:42:23,600
Speaker 1: say you can't? There are no there are rules, no more.

769
00:42:23,800 --> 00:42:25,480
Speaker 1: You know Lizzo did that. It was like I was

770
00:42:25,600 --> 00:42:29,640
Speaker 1: loving on Lizzo. Know, Maddie and Tay turned me on too. Lizzo. Um,

771
00:42:30,960 --> 00:42:33,479
Speaker 1: this was in the two thousand and sixteen or something

772
00:42:33,560 --> 00:42:35,759
Speaker 1: like that, and I got so into it and then

773
00:42:36,280 --> 00:42:39,560
Speaker 1: I was like, man, these are bangers. And then she

774
00:42:40,239 --> 00:42:42,000
Speaker 1: I don't know what happens, but she has a song

775
00:42:42,200 --> 00:42:44,440
Speaker 1: is big, and she gets has a moment and then

776
00:42:44,480 --> 00:42:46,879
Speaker 1: they just start releasing everything as singles. Is everything starts

777
00:42:46,880 --> 00:42:48,799
Speaker 1: going as radio that we're four or five years old.

778
00:42:48,800 --> 00:42:51,520
Speaker 1: Because they're so awesome. I was like, see, there's no rules,

779
00:42:51,640 --> 00:42:55,399
Speaker 1: there's no rules, you can do anything. Yeah, and Dirk

780
00:42:55,840 --> 00:42:57,839
Speaker 1: put out the Mountain, Yeah, hurt Yeah, Dark put out

781
00:42:57,840 --> 00:43:00,759
Speaker 1: the Mountain. When you're listening, Uh yeah, hest that's a

782
00:43:00,840 --> 00:43:04,000
Speaker 1: wild story because even why get great? What I mean

783
00:43:04,280 --> 00:43:07,560
Speaker 1: that was an old song? Yeah? Yeah yeah yeah and

784
00:43:08,880 --> 00:43:13,880
Speaker 1: Teman now feel good. Yeah we're pure melody. Right, we're

785
00:43:13,920 --> 00:43:18,200
Speaker 1: both melody guys. Right now, Derk's Britlan Hardy beers on Me,

786
00:43:18,320 --> 00:43:24,120
Speaker 1: which is the single right now, Swing bold Ever, spend

787
00:43:24,239 --> 00:43:31,360
Speaker 1: on your mad bottles, all that don't feel good, Standard

788
00:43:31,600 --> 00:43:34,960
Speaker 1: Time Card's on the car. You've got nowhere to be

789
00:43:35,360 --> 00:43:38,800
Speaker 1: if you don't come through, Buddy, that song you because

790
00:43:38,840 --> 00:43:42,880
Speaker 1: the pears all me. So you haven't. You have a

791
00:43:42,960 --> 00:43:45,319
Speaker 1: song that's out today Friday, because this will be heard

792
00:43:45,320 --> 00:43:49,480
Speaker 1: on Friday. Uh, something's happened. And so this is not

793
00:43:49,719 --> 00:43:55,239
Speaker 1: from your documentary. It's a whole new thing. So is this?

794
00:43:55,560 --> 00:44:01,279
Speaker 1: I'm so over that documentary? Are you? I'm kidding? You

795
00:44:01,400 --> 00:44:04,360
Speaker 1: just gotta keep making stuff, you know what, I don't know?

796
00:44:04,480 --> 00:44:07,120
Speaker 1: You just keep making stuff, keep creating and feeling good

797
00:44:07,160 --> 00:44:08,960
Speaker 1: and hopefully something else and if it doesn't keep going.

798
00:44:09,480 --> 00:44:12,560
Speaker 1: But what you're now You put out Something's Happened, which

799
00:44:12,600 --> 00:44:17,040
Speaker 1: is not Hey Steve, which is not the documentary. This

800
00:44:17,239 --> 00:44:22,680
Speaker 1: is a you. It feels like a country Okay, so

801
00:44:22,840 --> 00:44:29,080
Speaker 1: what's the why? Why now? Why this? I just honestly, Um,

802
00:44:30,320 --> 00:44:33,360
Speaker 1: I'd put out Polyester, which was part of the track,

803
00:44:33,520 --> 00:44:39,719
Speaker 1: and um, people gravitated toward it and and they're like, um,

804
00:44:40,000 --> 00:44:43,600
Speaker 1: why don't you putting out more songwriter of your stuff

805
00:44:43,600 --> 00:44:47,799
Speaker 1: from Nashville songwriting? And I said, that's a great question.

806
00:44:47,840 --> 00:44:49,399
Speaker 1: I mean I have a lot of songs that I love.

807
00:44:49,520 --> 00:44:52,239
Speaker 1: And so then I was like, I'm just gonna put

808
00:44:52,280 --> 00:44:54,080
Speaker 1: together a record. I don't care how long it takes.

809
00:44:54,120 --> 00:44:56,600
Speaker 1: I'll just put together a record. And um, I mean

810
00:44:56,719 --> 00:45:00,120
Speaker 1: this will be a part of the record. And when

811
00:45:00,120 --> 00:45:05,239
Speaker 1: will the record come out? I don't know. March. How

812
00:45:05,239 --> 00:45:08,000
Speaker 1: about March? That sounds good for now? Yeah, you have

813
00:45:08,120 --> 00:45:10,000
Speaker 1: me back in in March. I want to talk about it.

814
00:45:11,160 --> 00:45:14,560
Speaker 1: Do you want to tour? Yeah? I want a tour.

815
00:45:14,760 --> 00:45:16,719
Speaker 1: Well you said earlier you know you couldn't because of

816
00:45:16,760 --> 00:45:20,680
Speaker 1: the kid. Yeah, but now can't you know, well, you

817
00:45:20,760 --> 00:45:23,200
Speaker 1: know things are different. You know you can the way

818
00:45:23,239 --> 00:45:25,839
Speaker 1: that the country tours, you can go out and play, Um,

819
00:45:27,080 --> 00:45:29,960
Speaker 1: Steve will do thirty or forty shows a year. Um,

820
00:45:30,320 --> 00:45:34,360
Speaker 1: if we were rocked through this festival season, um and

821
00:45:34,680 --> 00:45:39,680
Speaker 1: play a few festivals, it's it's um, hey Steve playsty

822
00:45:40,000 --> 00:45:43,239
Speaker 1: shows a year. Yeah. Wow, yeah, I mean that's a

823
00:45:43,280 --> 00:45:46,239
Speaker 1: touring schedule itself. Yeah kind of Well why do you

824
00:45:46,280 --> 00:45:48,480
Speaker 1: say that? I mean even if you just going out

825
00:45:48,520 --> 00:45:51,520
Speaker 1: for three days, you know here there ten times listen,

826
00:45:51,640 --> 00:45:54,200
Speaker 1: I get it. That the country tour and you know,

827
00:45:54,680 --> 00:45:59,000
Speaker 1: alternative pop tour all different animals. Yeah, thirty forty days.

828
00:45:59,040 --> 00:46:00,839
Speaker 1: Will being a professional right or doing it as much

829
00:46:00,840 --> 00:46:02,440
Speaker 1: as you do it, that's a significant amount of work.

830
00:46:02,480 --> 00:46:07,320
Speaker 1: It is a significant amount of work. Um. But the okay,

831
00:46:07,400 --> 00:46:09,880
Speaker 1: this is always this has been the recurring theme of

832
00:46:10,040 --> 00:46:13,200
Speaker 1: my career. Um. Do you do you want to play

833
00:46:13,280 --> 00:46:17,520
Speaker 1: for people? Yes? And then there then then life gives

834
00:46:17,560 --> 00:46:22,120
Speaker 1: you all these caveats, um, logistical caveats. Do you want

835
00:46:22,160 --> 00:46:26,279
Speaker 1: to also go right with Derek's for three or four days? Yes?

836
00:46:26,760 --> 00:46:29,560
Speaker 1: Do you need you want to go um to your

837
00:46:29,640 --> 00:46:34,080
Speaker 1: kids spelling b Yes? And so I've luckily found a

838
00:46:34,160 --> 00:46:42,400
Speaker 1: management team who understand um the fluid um concept of

839
00:46:42,560 --> 00:46:47,440
Speaker 1: my schedule and UM it it works. You know. It's

840
00:46:47,480 --> 00:46:51,120
Speaker 1: like I put together a living Um, I'm able to

841
00:46:51,200 --> 00:46:55,520
Speaker 1: go play and if you know there's a good opening

842
00:46:55,600 --> 00:46:59,319
Speaker 1: gig or like Steve's doing some hard tickets, we could

843
00:46:59,320 --> 00:47:01,600
Speaker 1: do hard if hard ticket dates and play a few

844
00:47:01,640 --> 00:47:05,799
Speaker 1: festivals and UM have a good time. It's like, UM,

845
00:47:07,200 --> 00:47:11,480
Speaker 1: and I don't know, life is that's what I want

846
00:47:11,520 --> 00:47:13,400
Speaker 1: to do, you know, it's it brings me joy and

847
00:47:13,520 --> 00:47:15,600
Speaker 1: so you go do it. And also when you see people,

848
00:47:15,680 --> 00:47:18,399
Speaker 1: when you're playing for people and the songs do something

849
00:47:18,480 --> 00:47:20,920
Speaker 1: for you and you see them in the environment of

850
00:47:20,960 --> 00:47:23,800
Speaker 1: a live show, which is really kind of where music.

851
00:47:24,200 --> 00:47:27,759
Speaker 1: UM is the benchmark to me for what music is.

852
00:47:28,280 --> 00:47:32,000
Speaker 1: Um it's a communal thing, you know, it's not just

853
00:47:32,520 --> 00:47:37,000
Speaker 1: headphones for people. UM. There was it was a switch

854
00:47:37,040 --> 00:47:39,040
Speaker 1: flipped in me a few years ago. Was just playing

855
00:47:39,080 --> 00:47:42,160
Speaker 1: with a guitar and being able to tell stories and

856
00:47:42,600 --> 00:47:46,640
Speaker 1: and have a moment with with people. UM. And then

857
00:47:46,719 --> 00:47:48,480
Speaker 1: Steve is a whole different piece where it's just a

858
00:47:48,600 --> 00:47:53,480
Speaker 1: sort of crazy UM rock a slave live show. UM.

859
00:47:53,760 --> 00:47:56,480
Speaker 1: And and like Catact three had, we opened the Rhymean

860
00:47:56,560 --> 00:47:59,480
Speaker 1: for them last week and it was, UM so such

861
00:47:59,480 --> 00:48:01,960
Speaker 1: a ratic experience. I've never played the rhymeman before, and

862
00:48:02,080 --> 00:48:05,120
Speaker 1: to do it opening for a country band with an

863
00:48:05,160 --> 00:48:08,920
Speaker 1: indie rock band, Um, this sort of absurdist twist. You know,

864
00:48:09,080 --> 00:48:11,840
Speaker 1: it's really fun. I appreciate your ability to try to

865
00:48:11,920 --> 00:48:14,319
Speaker 1: save breaths by not saying hey in front of Hey

866
00:48:14,360 --> 00:48:19,240
Speaker 1: Steve like your I mean, you keep calling Steve, Yeah Steve,

867
00:48:19,320 --> 00:48:20,840
Speaker 1: I mean, I like, I like that you guys have

868
00:48:20,960 --> 00:48:27,040
Speaker 1: really abbreviated. It's a it's a big difference. I mean, breath.

869
00:48:27,520 --> 00:48:31,400
Speaker 1: We called it Steve for a while, and my manage

870
00:48:31,440 --> 00:48:34,520
Speaker 1: that said we can't do this anymore because every time

871
00:48:34,840 --> 00:48:41,319
Speaker 1: Steve Aoki really it really was Steve. I was just like, uh, um,

872
00:48:41,680 --> 00:48:45,040
Speaker 1: all right, I get it. Fine, practicalities. Here is a

873
00:48:45,239 --> 00:49:01,239
Speaker 1: clip of Run through the City because it read our

874
00:49:01,239 --> 00:49:04,160
Speaker 1: guy shooting video over there. He went to read where

875
00:49:04,160 --> 00:49:06,840
Speaker 1: did you go to his show? It was at the

876
00:49:06,920 --> 00:49:11,440
Speaker 1: Basement East And when you went, how were you put

877
00:49:11,520 --> 00:49:16,000
Speaker 1: on to Steve? Hey, Steve, Actually, somebody's a mine. We're

878
00:49:16,120 --> 00:49:19,120
Speaker 1: opening for you, Joey Broaden out. Oh yeah they were awesome.

879
00:49:19,280 --> 00:49:22,920
Speaker 1: Yeah yeah, the ladder out there, Yeah, they're they're crazy, man.

880
00:49:23,200 --> 00:49:24,960
Speaker 1: So I went to go see them and then Steve

881
00:49:25,760 --> 00:49:28,000
Speaker 1: threw it down. It was amazing, and he said he

882
00:49:28,080 --> 00:49:29,960
Speaker 1: came back and was like, I had to google it.

883
00:49:30,040 --> 00:49:33,239
Speaker 1: It was like, wait, it's the same guy. It's like

884
00:49:33,280 --> 00:49:37,160
Speaker 1: you live in two different lives. Though. Yeah, um it's

885
00:49:37,360 --> 00:49:41,440
Speaker 1: you know, haste is pretty cathartic sort of situation where um,

886
00:49:42,480 --> 00:49:45,160
Speaker 1: it sounds like you wake up from It's like if

887
00:49:45,200 --> 00:49:48,120
Speaker 1: you had like an Internet bender or something like that,

888
00:49:48,160 --> 00:49:49,600
Speaker 1: and you wake up from it and like you just

889
00:49:49,680 --> 00:49:51,480
Speaker 1: sort of these are the lyrics, you know, sort of

890
00:49:51,520 --> 00:49:55,160
Speaker 1: stream of conscious streaming consciousness lyrics, but you're also having

891
00:49:55,200 --> 00:49:57,319
Speaker 1: a really good time while you're doing it. It's kind

892
00:49:57,320 --> 00:50:05,200
Speaker 1: of the the vibe I wrote to a couple of

893
00:50:05,239 --> 00:50:07,400
Speaker 1: the songs he were settling down, which I thought it

894
00:50:07,400 --> 00:50:09,279
Speaker 1: should have been a number one. I mean it was,

895
00:50:09,360 --> 00:50:12,399
Speaker 1: it was ready, it was right there. What happened? Don't

896
00:50:12,400 --> 00:50:14,080
Speaker 1: hey listen. I don't know if people blame me for STEF,

897
00:50:14,080 --> 00:50:17,640
Speaker 1: I have nothing to do with the programming. Ready, and

898
00:50:17,680 --> 00:50:19,560
Speaker 1: they throw some songs around me and that's the day

899
00:50:19,760 --> 00:50:22,759
Speaker 1: what happened. But I was I really felt like that

900
00:50:22,960 --> 00:50:25,879
Speaker 1: song will be one of hers though, that it doesn't

901
00:50:25,880 --> 00:50:28,320
Speaker 1: matter what number it was, it will hang out and

902
00:50:28,440 --> 00:50:32,480
Speaker 1: be a people don't know was number one or not? Right? Yeah, yeah,

903
00:50:32,760 --> 00:50:36,680
Speaker 1: let's see pink sunglasses. What you mentioned earlier, which she did,

904
00:50:36,760 --> 00:50:39,959
Speaker 1: this is maybe the c M May Yeah yeah, yeah, yeah.

905
00:50:40,200 --> 00:50:43,360
Speaker 1: One of my favorite moments was looking out and Jada

906
00:50:43,400 --> 00:50:45,800
Speaker 1: Pinkett was rocking out. She had the glasses on. She

907
00:50:45,960 --> 00:50:51,360
Speaker 1: was just like stoically nodding. You mentioned Dirks and he

908
00:50:51,440 --> 00:50:53,520
Speaker 1: did Bernie Man Tour, which is you wrote Burnie Man.

909
00:50:54,000 --> 00:50:56,400
Speaker 1: And then he did The Mountain, which you had. The

910
00:50:56,440 --> 00:50:58,200
Speaker 1: album was called The Mountain. You had both he had

911
00:50:58,200 --> 00:51:01,360
Speaker 1: the tour ended. Yeah, yeah, I wish I made money

912
00:51:01,480 --> 00:51:04,320
Speaker 1: from that. Like if you're if you put your title

913
00:51:04,360 --> 00:51:07,160
Speaker 1: on the side of a freighter, you can't trade market

914
00:51:07,200 --> 00:51:10,960
Speaker 1: title and it's tour now is beers on me? Yeah? Yeah, anytime,

915
00:51:11,719 --> 00:51:14,600
Speaker 1: I don't know, somebody, there's some lawyers listening out there.

916
00:51:14,719 --> 00:51:16,520
Speaker 1: If you guys would just figure out how to make

917
00:51:16,640 --> 00:51:19,680
Speaker 1: people pay like a quarter every time they see the

918
00:51:19,800 --> 00:51:23,960
Speaker 1: side of a truck. I I'm such a Cassie Ashton fan. Yeah,

919
00:51:24,040 --> 00:51:26,080
Speaker 1: she's great, Like I think she is kind of the

920
00:51:26,239 --> 00:51:29,520
Speaker 1: undiscovered like she may have been. And I hate to

921
00:51:29,520 --> 00:51:31,040
Speaker 1: just use this term, but we were just saying in

922
00:51:31,040 --> 00:51:33,279
Speaker 1: a few minutes ago, slightly ahead of her time because

923
00:51:33,320 --> 00:51:36,839
Speaker 1: she was very progressive and she's already gonna be sitting

924
00:51:36,840 --> 00:51:39,440
Speaker 1: there ready when it gets to her. Yeah, she's she's

925
00:51:39,480 --> 00:51:43,759
Speaker 1: such an artist and just a creator music. Obviously, she

926
00:51:43,880 --> 00:51:47,200
Speaker 1: could sing, she makes clothes like crazy. I feel like

927
00:51:47,239 --> 00:51:50,000
Speaker 1: there's such a spirit to her, and so she's like

928
00:51:50,080 --> 00:51:53,000
Speaker 1: the untapped that one day it's going to just be

929
00:51:53,160 --> 00:51:56,959
Speaker 1: massive from her totally. I feel that Taxidermy you mentioned

930
00:51:57,000 --> 00:52:00,320
Speaker 1: that one. Here's the clip of that. I mean, what

931
00:52:00,480 --> 00:52:08,920
Speaker 1: a jam? What a jam? Violence? I mean, you have

932
00:52:09,040 --> 00:52:10,800
Speaker 1: so many we're not we can't do them all. But

933
00:52:11,600 --> 00:52:12,880
Speaker 1: you know you have a song that's out today that

934
00:52:12,960 --> 00:52:14,440
Speaker 1: when people to check out and the record come I

935
00:52:14,440 --> 00:52:16,759
Speaker 1: any day. Let's just say that the whole album good,

936
00:52:16,800 --> 00:52:19,960
Speaker 1: come I any day. So check this song and just

937
00:52:20,160 --> 00:52:23,759
Speaker 1: and every day look back. Yeah, and then and then

938
00:52:24,080 --> 00:52:27,120
Speaker 1: let's make it awesome. And then if Kenny Chesney wants

939
00:52:27,160 --> 00:52:29,040
Speaker 1: to cut it two, he can go cut it. Would

940
00:52:29,080 --> 00:52:31,000
Speaker 1: any of the songs that you put on your album

941
00:52:31,719 --> 00:52:34,080
Speaker 1: be available if someone wants to also cut it and

942
00:52:34,160 --> 00:52:37,480
Speaker 1: put it out. Yes, nice to see that's one word. Yes,

943
00:52:38,560 --> 00:52:40,879
Speaker 1: would you cut for this album any of the songs

944
00:52:40,920 --> 00:52:43,160
Speaker 1: you've written for other people that you love so much.

945
00:52:45,160 --> 00:52:51,080
Speaker 1: I feel um, maybe not that have been released not

946
00:52:51,480 --> 00:52:53,520
Speaker 1: I feel like, you know, people have heard that enough.

947
00:52:53,600 --> 00:52:56,080
Speaker 1: I feel like there could be more. So you take

948
00:52:56,160 --> 00:52:58,840
Speaker 1: us so is extremely different. I know you say that,

949
00:52:59,000 --> 00:53:02,759
Speaker 1: and you've been involved in the intricacies of writing the

950
00:53:02,840 --> 00:53:04,680
Speaker 1: early stages. Maybe not in the studio and all of

951
00:53:04,760 --> 00:53:06,600
Speaker 1: them or any of them, but I feel like you

952
00:53:06,680 --> 00:53:09,479
Speaker 1: have such a different style on vibe to it. Yeah,

953
00:53:10,040 --> 00:53:12,600
Speaker 1: you mean the record if you were to. I'll give

954
00:53:12,600 --> 00:53:14,600
Speaker 1: you an example. Nico Moon, who wrote a lot with

955
00:53:14,719 --> 00:53:19,799
Speaker 1: Zach Brown. Yeah, he wrote, um, I got some home homegrown, Yeah,

956
00:53:20,920 --> 00:53:22,279
Speaker 1: and we wrote it with Zach. But Zach put it

957
00:53:22,320 --> 00:53:24,359
Speaker 1: on He's like, that's not how he wrote it. He's like, well,

958
00:53:24,440 --> 00:53:27,319
Speaker 1: I wrote it like this, and he enjoys Zack's version,

959
00:53:27,360 --> 00:53:29,640
Speaker 1: but he puts it out and it's kind of oh,

960
00:53:29,719 --> 00:53:32,279
Speaker 1: who wh whoa Okay, do you picture any of those

961
00:53:32,320 --> 00:53:34,040
Speaker 1: songs like that? Are you just? You know, it's funny

962
00:53:34,120 --> 00:53:35,920
Speaker 1: because a lot of the songs that end up on

963
00:53:35,960 --> 00:53:40,360
Speaker 1: people's records are are either like maybe I produced it

964
00:53:40,600 --> 00:53:42,640
Speaker 1: or partly produced it, or played some stuff on it

965
00:53:42,800 --> 00:53:44,800
Speaker 1: and it came from my demo or something. So It's like,

966
00:53:44,840 --> 00:53:46,920
Speaker 1: I don't know what I would do differently, you know,

967
00:53:47,040 --> 00:53:49,160
Speaker 1: in terms of because it was I feel like the

968
00:53:49,800 --> 00:53:53,000
Speaker 1: creative the Sonic creative stamp was already on there. So

969
00:53:53,080 --> 00:53:54,839
Speaker 1: it's kind of tricky to me to go in there.

970
00:53:54,880 --> 00:53:57,800
Speaker 1: It's like, oh yeah, they just took you know, Eric's

971
00:53:57,840 --> 00:54:00,040
Speaker 1: voice off and just put Luke's voice on it. It's like,

972
00:54:00,239 --> 00:54:03,320
Speaker 1: I don't you know, I want to do that, do something.

973
00:54:03,680 --> 00:54:06,640
Speaker 1: It's there's plenty more songs to write, plenty more songs, right,

974
00:54:06,680 --> 00:54:09,040
Speaker 1: You guys can also check out Red Dog, which is

975
00:54:09,360 --> 00:54:12,640
Speaker 1: your documentary. Oh yeah, yeah, do you make any money

976
00:54:12,680 --> 00:54:17,440
Speaker 1: off that? I I think I've broken even on it.

977
00:54:18,040 --> 00:54:20,279
Speaker 1: That's a win. Yeah, it is a win. It was

978
00:54:20,320 --> 00:54:22,120
Speaker 1: a labor of love. And so it's like when you

979
00:54:22,200 --> 00:54:24,239
Speaker 1: really do the balance sheet on everything, Well, I drove

980
00:54:24,320 --> 00:54:27,120
Speaker 1: here and I drove there, and I you know, chicken

981
00:54:27,160 --> 00:54:30,000
Speaker 1: tenders here, whatever. You know, you start racking it up

982
00:54:30,160 --> 00:54:34,520
Speaker 1: and um, and it's expensive to make movies and it

983
00:54:34,760 --> 00:54:38,520
Speaker 1: was just me and a couple of other people making it. Um.

984
00:54:39,520 --> 00:54:43,000
Speaker 1: But yeah, we finally, I think we finally broke even.

985
00:54:43,160 --> 00:54:47,759
Speaker 1: And it's but more than that, to me, it's like

986
00:54:48,480 --> 00:54:51,680
Speaker 1: the email boxes are kind of flooded with stories and

987
00:54:51,760 --> 00:54:54,080
Speaker 1: stuff from people who watched the film. And I had

988
00:54:54,120 --> 00:54:55,880
Speaker 1: a similar childhood, or I had a child that was

989
00:54:55,960 --> 00:54:57,279
Speaker 1: kind of like this and it was just like this,

990
00:54:57,480 --> 00:54:59,160
Speaker 1: and then my dad was in the biker gang and

991
00:54:59,160 --> 00:55:02,680
Speaker 1: blah blah blah blah ba and UM. And all that

992
00:55:02,800 --> 00:55:05,400
Speaker 1: to say is that I people found it meaningful. I

993
00:55:05,480 --> 00:55:08,239
Speaker 1: found it meaningful doing it. I knew. I didn't ever

994
00:55:08,360 --> 00:55:11,000
Speaker 1: think I was gonna get rich off making that. UM.

995
00:55:11,360 --> 00:55:13,799
Speaker 1: I always just found that it was an interesting place

996
00:55:13,840 --> 00:55:16,320
Speaker 1: to be creative. UM. And once I started doing it,

997
00:55:16,400 --> 00:55:18,239
Speaker 1: it was really exciting to me. And also it was

998
00:55:18,320 --> 00:55:21,879
Speaker 1: really fun to make music around that. UM, to make

999
00:55:22,000 --> 00:55:26,719
Speaker 1: music to create an experience that UM with an intention. UM.

1000
00:55:26,880 --> 00:55:29,560
Speaker 1: So that was UM where it really kind of was

1001
00:55:29,640 --> 00:55:33,000
Speaker 1: a concept record that the the concept was the film,

1002
00:55:33,239 --> 00:55:36,200
Speaker 1: you know, and that was Polyester and Blazer. We're both

1003
00:55:36,280 --> 00:55:39,960
Speaker 1: off of that. That's right here we go. It's almost

1004
00:55:39,960 --> 00:55:50,160
Speaker 1: like we're prepared. There. We it's going over there singing alright,

1005
00:55:50,239 --> 00:55:54,200
Speaker 1: new song. Now today, something's happened. We've spent an hour here. Uh,

1006
00:55:54,400 --> 00:55:56,920
Speaker 1: you're just you're a really entertaining guy. Hey man, thanks

1007
00:55:57,000 --> 00:56:00,920
Speaker 1: for having me on here. I'm um glad to be

1008
00:56:01,120 --> 00:56:04,520
Speaker 1: entertaining people. Everything about you when you drove up to

1009
00:56:04,560 --> 00:56:08,800
Speaker 1: the gate, Huh, what did I do? Your shirt, your sunglasses,

1010
00:56:09,280 --> 00:56:15,880
Speaker 1: your presence. I'm looking at you all angles like and

1011
00:56:16,000 --> 00:56:18,000
Speaker 1: like that was what was entertaining, because I tell you why.

1012
00:56:18,040 --> 00:56:21,040
Speaker 1: When he pulled up, liked on the camera boot, push

1013
00:56:21,080 --> 00:56:23,279
Speaker 1: the button, look at it. And I didn'tay anything back

1014
00:56:23,280 --> 00:56:24,759
Speaker 1: because I did hit the button and it goes you're

1015
00:56:25,080 --> 00:56:27,040
Speaker 1: come on in whatever it says, right, But I said,

1016
00:56:27,560 --> 00:56:29,920
Speaker 1: this is a very successful guy and most people to

1017
00:56:29,960 --> 00:56:32,360
Speaker 1: come over here and chop in the big trucks or

1018
00:56:32,400 --> 00:56:34,600
Speaker 1: their their fancy cars. And he pulls up in a

1019
00:56:34,600 --> 00:56:36,719
Speaker 1: minivan and I was like, read, I don't know if

1020
00:56:36,760 --> 00:56:39,160
Speaker 1: that's him or not. That's awesome. He showed up in

1021
00:56:39,200 --> 00:56:42,080
Speaker 1: a minivan. I can't remember pulled up to her right

1022
00:56:42,160 --> 00:56:45,560
Speaker 1: one time in the mini van and or maybe nobody

1023
00:56:45,640 --> 00:56:47,880
Speaker 1: nobody saw it. I pulled up in and then in

1024
00:56:48,040 --> 00:56:50,640
Speaker 1: the right it's like, hey man, you know my truck

1025
00:56:50,760 --> 00:56:53,799
Speaker 1: and fair my wife ever made me by many van

1026
00:56:53,880 --> 00:56:57,840
Speaker 1: and we'll remember. And I was like, um, WHOA. I

1027
00:56:57,920 --> 00:57:01,240
Speaker 1: didn't realize there was so much identity, I said, tied

1028
00:57:01,280 --> 00:57:04,960
Speaker 1: to a vehicle. And also you don't even have cows

1029
00:57:05,080 --> 00:57:08,960
Speaker 1: or anything. And then I was like, also, have you

1030
00:57:09,120 --> 00:57:11,320
Speaker 1: seen many evans. It's like they are geared. It's like

1031
00:57:11,400 --> 00:57:14,920
Speaker 1: they're for a band person, or they're so practical, like

1032
00:57:15,000 --> 00:57:18,720
Speaker 1: the levels at which you put children or cram children

1033
00:57:18,880 --> 00:57:21,680
Speaker 1: into seats and stuff. It's like perfect and you can

1034
00:57:21,720 --> 00:57:23,800
Speaker 1: push the button and all this stuff comes up. I

1035
00:57:23,840 --> 00:57:25,800
Speaker 1: mean I might get a testa one day or something

1036
00:57:25,880 --> 00:57:28,520
Speaker 1: like that, but then it's not coming anytime soon. Well,

1037
00:57:28,760 --> 00:57:31,000
Speaker 1: that being said, you were entertaining in every way, and

1038
00:57:31,080 --> 00:57:36,680
Speaker 1: your arrival you had a British lady. She access granted. Yes,

1039
00:57:36,760 --> 00:57:42,280
Speaker 1: that's what she said. That's what it is. Access granted. Yes, Look,

1040
00:57:42,320 --> 00:57:45,200
Speaker 1: Dick follow her at Luke Dick. You guys check out

1041
00:57:45,320 --> 00:57:48,360
Speaker 1: something's happened. Um. And then also you can still go

1042
00:57:48,480 --> 00:57:50,920
Speaker 1: and see Red Dog, which you can get on Amazon.

1043
00:57:51,640 --> 00:57:54,720
Speaker 1: It's Hulu, Hulu, Amazon, but Hulu may be the way

1044
00:57:54,720 --> 00:57:58,160
Speaker 1: because Hulu you already have the service. Yeah, there you go. Um,

1045
00:57:58,440 --> 00:58:00,760
Speaker 1: and am it was part of Amazon Prime but anyway,

1046
00:58:00,880 --> 00:58:03,120
Speaker 1: but you buy it on Amazon Primer, don't you know.

1047
00:58:03,240 --> 00:58:05,760
Speaker 1: I don't know. Those are like somebody, some mountain in

1048
00:58:05,800 --> 00:58:07,880
Speaker 1: the sky that make those decisions. That's it. At Luke,

1049
00:58:07,920 --> 00:58:09,200
Speaker 1: Dick Luke, Thanks Man, thank you,