1 00:00:00,080 --> 00:00:02,320 Speaker 1: Hey, it's Bobby Bones. I wanted to share an episode 2 00:00:02,320 --> 00:00:04,440 Speaker 1: of the Bobby Cast that you may have missed. Back 3 00:00:04,440 --> 00:00:08,320 Speaker 1: in seventeen, songwriter Tom Douglas stopped by my house. Tom 4 00:00:08,320 --> 00:00:10,680 Speaker 1: wrote The House That Built Me, which by the way, 5 00:00:10,840 --> 00:00:13,000 Speaker 1: was the a c M winner for song in the decade, 6 00:00:13,200 --> 00:00:14,800 Speaker 1: and he came in and told me the story behind 7 00:00:14,840 --> 00:00:17,320 Speaker 1: that song. It's an amazing story about how it took 8 00:00:17,560 --> 00:00:20,480 Speaker 1: years to write that song and then finally found its 9 00:00:20,480 --> 00:00:23,000 Speaker 1: way to Miranda Lambert. He also talks about writing and 10 00:00:23,040 --> 00:00:25,160 Speaker 1: raised him up for Keith Urban and Eric Church and 11 00:00:25,400 --> 00:00:27,080 Speaker 1: I Run to You by Lady and Abelleum and a 12 00:00:27,080 --> 00:00:29,120 Speaker 1: whole lot more fascinating. Guy. I love this time I 13 00:00:29,160 --> 00:00:31,280 Speaker 1: spent with him, so I wanted to share this episode 14 00:00:31,280 --> 00:00:34,120 Speaker 1: with you. This is episode seventy one of the Bobby 15 00:00:34,159 --> 00:00:36,599 Speaker 1: Cast with Tom Douglas. And if you don't mind, tell 16 00:00:36,600 --> 00:00:40,080 Speaker 1: your friends about this podcast or this episode specifically, if 17 00:00:40,080 --> 00:00:44,320 Speaker 1: you enjoy it alright, Episode seventy one of the Bobby 18 00:00:44,400 --> 00:00:48,080 Speaker 1: Cast with the writer Tom Douglas. Tom, it's good to 19 00:00:48,080 --> 00:00:51,400 Speaker 1: see him in. So many people say so many great 20 00:00:51,400 --> 00:00:53,440 Speaker 1: things about you. It's finally nice to get you in here. 21 00:00:54,440 --> 00:00:57,800 Speaker 1: How long have you you been in Nashville. Well, I came, 22 00:00:58,400 --> 00:01:03,160 Speaker 1: uh the first time from nine to eighty four, and 23 00:01:03,480 --> 00:01:07,080 Speaker 1: then I left in eighty four never to return, and 24 00:01:07,280 --> 00:01:10,679 Speaker 1: moved back in ninete. So now I've been that much 25 00:01:10,680 --> 00:01:14,720 Speaker 1: of a gap. Huh. They're just give or take thirteen years. 26 00:01:15,440 --> 00:01:18,119 Speaker 1: But yeah, now I've been back twenty years. So it's 27 00:01:18,160 --> 00:01:21,280 Speaker 1: a uh it is. You know, for some people it 28 00:01:21,440 --> 00:01:25,119 Speaker 1: seems very direct, but for me, it was a very 29 00:01:25,200 --> 00:01:27,680 Speaker 1: circuitous route. So one of the things I like to 30 00:01:27,720 --> 00:01:29,000 Speaker 1: do is kind of let people know what they're what 31 00:01:29,000 --> 00:01:30,480 Speaker 1: they're getting here. I'm gonna play a few of your 32 00:01:30,520 --> 00:01:32,039 Speaker 1: songs and then we'll just kind of start back over. 33 00:01:32,600 --> 00:01:39,280 Speaker 1: So you wrote the House that Built Me, which is 34 00:01:39,360 --> 00:01:42,039 Speaker 1: just a game changer for anybody, And we'll come back 35 00:01:42,080 --> 00:01:44,399 Speaker 1: around to that one in a second. So the House 36 00:01:44,480 --> 00:01:53,360 Speaker 1: that Built Me Southern Voice, Tim, I run to you 37 00:01:53,480 --> 00:02:02,280 Speaker 1: from Lady A. I mean, I have a lot of them. 38 00:02:02,320 --> 00:02:04,080 Speaker 1: I'm just getting people a taste here. They know the 39 00:02:04,120 --> 00:02:11,120 Speaker 1: greatness that they're hearing. Raise them up, sailing. It's just 40 00:02:11,320 --> 00:02:18,160 Speaker 1: to Eska class of you in naking it too, some 41 00:02:18,760 --> 00:02:20,240 Speaker 1: good stuff and I'm gonna hit him with some some 42 00:02:20,280 --> 00:02:22,320 Speaker 1: other stuff in a minute. Anyway, So you come here 43 00:02:22,320 --> 00:02:29,120 Speaker 1: in nineteen to do what. Well, you know, I grew 44 00:02:29,240 --> 00:02:32,000 Speaker 1: so I grew up in Atlanta. Um, I grew up 45 00:02:32,040 --> 00:02:37,799 Speaker 1: in a household where uh, education and job security were 46 00:02:37,840 --> 00:02:42,440 Speaker 1: really there were a too pre eminent uh you know 47 00:02:42,680 --> 00:02:46,440 Speaker 1: parts of my life and my childhood. My that's kind 48 00:02:46,440 --> 00:02:48,600 Speaker 1: of what what was preached to me by my parents. 49 00:02:49,160 --> 00:02:52,919 Speaker 1: My father was very musical and love music, and really 50 00:02:52,919 --> 00:02:55,120 Speaker 1: he loved songs. I mean, kind of looking back, I 51 00:02:55,200 --> 00:02:57,920 Speaker 1: have some perspective, So music was a big part of 52 00:02:57,919 --> 00:03:02,640 Speaker 1: our household. But um, you know, I mean my mom worked, 53 00:03:02,720 --> 00:03:05,440 Speaker 1: my dad worked. I mean, they really did a lot 54 00:03:05,520 --> 00:03:07,799 Speaker 1: to try to get me educated. So it sounds like 55 00:03:07,840 --> 00:03:09,639 Speaker 1: they wouldn't want you to have a creative job where 56 00:03:09,639 --> 00:03:11,959 Speaker 1: there's not a lot of security. No, it would be 57 00:03:12,080 --> 00:03:14,359 Speaker 1: I mean for me, I've told my parents that I 58 00:03:14,400 --> 00:03:18,600 Speaker 1: was gonna like so I go to college and graduate school. 59 00:03:19,400 --> 00:03:22,880 Speaker 1: And I really did try to assimilate into the real world, 60 00:03:23,040 --> 00:03:26,639 Speaker 1: and I did for a while until I was twenty seven. 61 00:03:26,680 --> 00:03:29,360 Speaker 1: Then I just thought, you know, the call of Nashville 62 00:03:29,440 --> 00:03:31,760 Speaker 1: was so strong that I just I didn't really have 63 00:03:31,800 --> 00:03:36,280 Speaker 1: a great plan, but I talked a publisher in Atlanta 64 00:03:36,320 --> 00:03:40,000 Speaker 1: into letting me pitches songs in Nashville. It was Bill Lowry, 65 00:03:40,040 --> 00:03:43,160 Speaker 1: who was a kind of revered publisher in Atlanta. And 66 00:03:43,280 --> 00:03:46,120 Speaker 1: I came up here and you know, I just got 67 00:03:46,240 --> 00:03:49,560 Speaker 1: enough money to pitch songs and I started meeting people. 68 00:03:49,680 --> 00:03:52,600 Speaker 1: I just I just wanted to be in Nashville. It 69 00:03:52,720 --> 00:03:55,200 Speaker 1: was you know, it's the it's the it's almost like 70 00:03:55,240 --> 00:03:59,800 Speaker 1: the siren you know in the in Mythology where she's 71 00:04:00,040 --> 00:04:02,320 Speaker 1: hauling you, beckoning you. Why do you think that? Why 72 00:04:02,320 --> 00:04:05,240 Speaker 1: did you want to come to Nashville so that well, 73 00:04:05,280 --> 00:04:08,720 Speaker 1: I just I think it represented songs. It just uh, 74 00:04:08,840 --> 00:04:11,480 Speaker 1: were you writing the whole time you're working? No, Well, 75 00:04:11,520 --> 00:04:13,800 Speaker 1: I mean, you know, I've written since I was twelve, 76 00:04:14,120 --> 00:04:16,560 Speaker 1: so I've always you know, had a poetic band. I've 77 00:04:16,560 --> 00:04:19,359 Speaker 1: always loved stories. I've always loved songs. I never aspired 78 00:04:19,400 --> 00:04:22,400 Speaker 1: to be an artist, but I just, you know, I 79 00:04:22,520 --> 00:04:25,120 Speaker 1: just always wrote. It was just it was the way 80 00:04:25,120 --> 00:04:28,960 Speaker 1: that I looked at life, and uh, you know, uh, 81 00:04:29,120 --> 00:04:31,599 Speaker 1: it's it was just kind of the filter through which, 82 00:04:31,839 --> 00:04:34,640 Speaker 1: you know, I saw everything through songs and through stories. 83 00:04:34,680 --> 00:04:37,000 Speaker 1: So it was very just second nature to me. I 84 00:04:37,000 --> 00:04:39,480 Speaker 1: didn't realize that it was kind of unique. I thought 85 00:04:39,480 --> 00:04:43,680 Speaker 1: everybody looked at life like that. But um, you know, 86 00:04:43,760 --> 00:04:46,760 Speaker 1: I just was, like, you know, I was twenty seven. 87 00:04:46,880 --> 00:04:51,640 Speaker 1: I didn't really I just I just had to do it. 88 00:04:51,640 --> 00:04:55,520 Speaker 1: It was just kind of an unexplainable desire to to 89 00:04:55,640 --> 00:04:59,159 Speaker 1: be here, just to just to get here. So, you know, 90 00:04:59,240 --> 00:05:01,680 Speaker 1: I just kind of loaded up and I just came, 91 00:05:01,800 --> 00:05:04,840 Speaker 1: got an apartment and just that I just I just 92 00:05:04,920 --> 00:05:07,360 Speaker 1: wanted to soak up the sights and the sounds and 93 00:05:07,400 --> 00:05:10,760 Speaker 1: the people and what's it. What's what's Nashville in nineteen 94 00:05:10,800 --> 00:05:14,159 Speaker 1: eighty and who was here? Like, who were the big names? 95 00:05:14,400 --> 00:05:19,400 Speaker 1: Was Nashville? Like when you moved, Well, it was gosh, 96 00:05:19,640 --> 00:05:22,120 Speaker 1: I hadn't really thought that much about that in a 97 00:05:22,160 --> 00:05:25,760 Speaker 1: long time. It was like what was happening? Well, okay. 98 00:05:25,800 --> 00:05:28,200 Speaker 1: So the reason why I'm a little disconnected from that 99 00:05:28,360 --> 00:05:31,040 Speaker 1: is because, strangely enough, I did not grow up listening 100 00:05:31,040 --> 00:05:35,240 Speaker 1: to country music. So I grew up listening to you know, 101 00:05:35,640 --> 00:05:37,719 Speaker 1: the I mean, I think everybody thinks they grew up 102 00:05:37,720 --> 00:05:40,000 Speaker 1: in the Golden Era of music, but I grew up 103 00:05:40,040 --> 00:05:45,800 Speaker 1: with like literally in August of nineteen sixty four, the 104 00:05:45,839 --> 00:05:49,760 Speaker 1: first concert I went to was Atlanta Fulton County Stadium. 105 00:05:49,760 --> 00:05:54,600 Speaker 1: I saw the Beatles, Braves to play. So um. Then 106 00:05:54,640 --> 00:05:57,479 Speaker 1: I grew up with you know, the Beatles, and you 107 00:05:57,520 --> 00:06:01,120 Speaker 1: know and Elton John and Springsteen and Jackson Brown. I 108 00:06:01,120 --> 00:06:04,160 Speaker 1: mean that was really I grew up loving the songs 109 00:06:04,200 --> 00:06:07,240 Speaker 1: of Jimmy Webb and Chris Christofferson and Hank Williams. But 110 00:06:07,320 --> 00:06:10,159 Speaker 1: I didn't I didn't listen to country music. So I 111 00:06:10,279 --> 00:06:12,000 Speaker 1: came up here and I still, you know, it was 112 00:06:12,040 --> 00:06:13,840 Speaker 1: like a fish out of water. I didn't really know 113 00:06:13,920 --> 00:06:18,120 Speaker 1: what was going on in music row um, and looking back, 114 00:06:18,160 --> 00:06:20,159 Speaker 1: I don't know, I'd have to think about what was 115 00:06:20,200 --> 00:06:23,920 Speaker 1: going on. I wonder what kind of piqued my curiosity. 116 00:06:23,960 --> 00:06:28,479 Speaker 1: You saw the Beatles in a in a stadium? How 117 00:06:28,480 --> 00:06:32,599 Speaker 1: does that sound? Because the technology of one playing a 118 00:06:32,600 --> 00:06:35,279 Speaker 1: baseball stadium is not that good anyway, even today it's 119 00:06:35,320 --> 00:06:37,840 Speaker 1: it's not the greatest environment for music, and they do. 120 00:06:38,320 --> 00:06:43,640 Speaker 1: But then could you hear them over the screen? I mean, um, 121 00:06:43,880 --> 00:06:49,440 Speaker 1: I I still it's indelibly etched in my mind, maybe 122 00:06:49,440 --> 00:06:52,760 Speaker 1: a quarter mile. Like I got on a bus, a 123 00:06:52,839 --> 00:06:56,760 Speaker 1: yellow school bus with twenty other kids my age, and 124 00:06:56,839 --> 00:06:59,800 Speaker 1: a couple of mothers and a couple of teachers, and 125 00:07:00,839 --> 00:07:02,640 Speaker 1: we just went to see the Beatles. I mean it was. 126 00:07:02,680 --> 00:07:04,599 Speaker 1: I mean it was like, I mean, so this is like, 127 00:07:05,240 --> 00:07:09,080 Speaker 1: you know, this is Elvis, you know, creates a revolution 128 00:07:09,120 --> 00:07:12,240 Speaker 1: in nineteen fifty four, so this is like only ten 129 00:07:12,320 --> 00:07:18,160 Speaker 1: years later. And I mean literally, girls screaming, or was 130 00:07:18,200 --> 00:07:20,600 Speaker 1: a quarter mile before you got to the stadium. You 131 00:07:20,600 --> 00:07:23,040 Speaker 1: could hear the screen, You could hear the screams, and 132 00:07:23,960 --> 00:07:27,440 Speaker 1: it was I mean from the moment they started until 133 00:07:28,640 --> 00:07:31,160 Speaker 1: you know, until we got a quarter mile away. The 134 00:07:31,280 --> 00:07:35,000 Speaker 1: girls screamed and literally they had like four vox amps 135 00:07:35,040 --> 00:07:37,960 Speaker 1: and they were singing over the p a of the 136 00:07:38,200 --> 00:07:41,560 Speaker 1: of the Brave Stadium. That has to sound terrible now 137 00:07:41,640 --> 00:07:46,120 Speaker 1: again to today's standards, But do you remember hearing and 138 00:07:46,200 --> 00:07:48,880 Speaker 1: knowing the songs was the screen? It was, it was. 139 00:07:49,000 --> 00:07:52,800 Speaker 1: It was a transcendent experience. It was. It was just 140 00:07:53,040 --> 00:07:57,560 Speaker 1: it was just something that, um, I'll never forget. It was. 141 00:07:57,600 --> 00:08:00,000 Speaker 1: I mean, it was truly it was. It was miss 142 00:08:00,040 --> 00:08:03,280 Speaker 1: serious and magical and uh, I mean it was I 143 00:08:03,280 --> 00:08:05,920 Speaker 1: don't know, it's it's sounded amazing, you know, even though 144 00:08:05,960 --> 00:08:09,080 Speaker 1: you couldn't hear them, it was almost like they were miming. 145 00:08:09,320 --> 00:08:12,880 Speaker 1: But you you know, it's funny sometimes you can hear 146 00:08:12,920 --> 00:08:16,360 Speaker 1: the songs in your head, which is almost as good 147 00:08:16,400 --> 00:08:18,760 Speaker 1: as you know, somebody singing if you know the songs 148 00:08:18,800 --> 00:08:22,080 Speaker 1: that well. So, so you were about how old I was? 149 00:08:22,360 --> 00:08:24,120 Speaker 1: I think? I mean, so I was born in nineteen 150 00:08:24,200 --> 00:08:27,000 Speaker 1: fifty three, so I was eleven. Well, as an eleven 151 00:08:27,040 --> 00:08:29,280 Speaker 1: year old, your folks are cool with you going to 152 00:08:29,320 --> 00:08:32,880 Speaker 1: watch the PA I can't imagine that. I don't. I 153 00:08:32,920 --> 00:08:35,080 Speaker 1: have no idea how my parents let me do it. 154 00:08:35,120 --> 00:08:38,120 Speaker 1: I mean it was it was, it was be it was, 155 00:08:38,320 --> 00:08:40,400 Speaker 1: but you know, it's a different time. It was pretty 156 00:08:40,440 --> 00:08:43,400 Speaker 1: innocent and uh and as I say, you know, my 157 00:08:43,440 --> 00:08:47,040 Speaker 1: father loved it. I mean he kind of lived vicariously 158 00:08:47,200 --> 00:08:50,000 Speaker 1: through me. I think. So, I mean they were like, 159 00:08:50,080 --> 00:08:51,760 Speaker 1: didn't seem like that big of a deal. But now 160 00:08:51,800 --> 00:08:54,719 Speaker 1: looking back, like what I let my eleven year old 161 00:08:54,760 --> 00:08:59,080 Speaker 1: children go to bridge Stone and see Justin Bieber? Justin Bieber? 162 00:08:59,320 --> 00:09:01,720 Speaker 1: I mean I'd have to go with him, you know, 163 00:09:01,840 --> 00:09:05,679 Speaker 1: or my wife would. But anyway, yeah, so I mean 164 00:09:05,720 --> 00:09:09,560 Speaker 1: that was kind of my That was my start. And uh, 165 00:09:09,880 --> 00:09:11,959 Speaker 1: you know, and then I get to National nineteen eighty 166 00:09:12,000 --> 00:09:13,920 Speaker 1: from eighty four and I really I just kind of 167 00:09:13,960 --> 00:09:17,320 Speaker 1: wander around. I just meet people. I pitched songs. I'm 168 00:09:17,400 --> 00:09:21,240 Speaker 1: learning how to write songs. And you know, I uh, 169 00:09:21,480 --> 00:09:24,559 Speaker 1: I a tour managed a band that went to Europe, 170 00:09:24,679 --> 00:09:27,160 Speaker 1: and you went to Europe. Oh yeah, I mean I 171 00:09:27,679 --> 00:09:31,320 Speaker 1: was the worst tour manager in the history of concert 172 00:09:31,320 --> 00:09:36,160 Speaker 1: promotion in nineteen eight Sorry sorry, yeah yeah, yeah yeah. 173 00:09:36,240 --> 00:09:38,120 Speaker 1: Right in the early eighties, you flew on a airplane 174 00:09:38,120 --> 00:09:40,400 Speaker 1: across the ocean? Did that not scare the crap out 175 00:09:40,400 --> 00:09:43,320 Speaker 1: of you? But you could still smoke cigarettes? How about that? 176 00:09:44,440 --> 00:09:46,240 Speaker 1: So I would sit on the back of a plane 177 00:09:46,760 --> 00:09:50,440 Speaker 1: there was a curtain separating first class from economy, and 178 00:09:50,480 --> 00:09:52,400 Speaker 1: you know, people are just smoking cigarettes on a plane. 179 00:09:52,440 --> 00:09:54,760 Speaker 1: How crazy is that? I guess not that crazy because 180 00:09:54,800 --> 00:09:57,679 Speaker 1: it was always allowed and understood the way it was. 181 00:09:57,840 --> 00:10:00,559 Speaker 1: I get scared flying over water right now. But technology 182 00:10:00,679 --> 00:10:03,800 Speaker 1: I cannot I can't imagine. So you're going, you're you're 183 00:10:03,800 --> 00:10:05,280 Speaker 1: doing anything to eat. It sounds like you're just trying 184 00:10:05,320 --> 00:10:08,520 Speaker 1: to Eateah. So I'm just getting by. I'm giving blood 185 00:10:08,520 --> 00:10:10,960 Speaker 1: at a blood bank. Um, you know, you're just doing 186 00:10:11,000 --> 00:10:13,800 Speaker 1: whatever you're doing. But you know, it's thrilling and exciting 187 00:10:13,880 --> 00:10:18,400 Speaker 1: and uh but at the end of the time, so 188 00:10:19,160 --> 00:10:22,840 Speaker 1: you know, So now it's nineteen four and I'm thirty one. 189 00:10:23,800 --> 00:10:28,480 Speaker 1: So I've got all this education, all my friends are yeah, 190 00:10:29,160 --> 00:10:31,920 Speaker 1: you know, I've gotten married, They've got their first job 191 00:10:32,040 --> 00:10:35,440 Speaker 1: and their second promotion, and you know, and I just 192 00:10:35,480 --> 00:10:38,480 Speaker 1: feel like, goh, the now, I've wasted ten years of 193 00:10:38,480 --> 00:10:40,600 Speaker 1: my life. It was it was very depressing. Do you 194 00:10:40,600 --> 00:10:42,959 Speaker 1: have any songs at this point that I had done 195 00:10:43,000 --> 00:10:47,240 Speaker 1: anything at all? Um? And I mean it was really 196 00:10:47,240 --> 00:10:51,679 Speaker 1: it was. You know, I mean Nashville is hard today, 197 00:10:51,720 --> 00:10:54,160 Speaker 1: but you know, when you don't have anything going on 198 00:10:54,320 --> 00:10:57,000 Speaker 1: that look from the outside looking in, Nashville is a 199 00:10:57,080 --> 00:10:59,959 Speaker 1: very lonely place. So you know, at that time, I've 200 00:11:00,080 --> 00:11:04,040 Speaker 1: just said, I gotta I gotta do something else. So 201 00:11:04,120 --> 00:11:07,520 Speaker 1: I had met my wife to be, we got engaged, 202 00:11:07,559 --> 00:11:09,560 Speaker 1: and I moved to Texas and tried to put all 203 00:11:09,559 --> 00:11:11,600 Speaker 1: this behind me and I got in the real estate business. 204 00:11:13,559 --> 00:11:16,400 Speaker 1: You were never coming back. I was just that was 205 00:11:16,920 --> 00:11:21,480 Speaker 1: what broke you though? What was the final straw? Well, 206 00:11:22,000 --> 00:11:25,200 Speaker 1: I mean, honestly, I mean there you know, there's always 207 00:11:26,240 --> 00:11:29,120 Speaker 1: you know, parallel things going on in your life. My 208 00:11:29,200 --> 00:11:33,040 Speaker 1: father had gotten ill, and so I brought my father 209 00:11:33,240 --> 00:11:36,520 Speaker 1: up from Atlanta to live with me. And really the 210 00:11:36,559 --> 00:11:41,200 Speaker 1: combination of my father being ill caring for him, you know, 211 00:11:41,320 --> 00:11:43,960 Speaker 1: nothing going on in music, making no money. I was 212 00:11:44,040 --> 00:11:48,439 Speaker 1: thirty one, and you know, I've always I've always had 213 00:11:48,480 --> 00:11:53,080 Speaker 1: this vision of like a scoreboard clock, and I always 214 00:11:53,200 --> 00:11:56,600 Speaker 1: see this occasionally, you know, I'll see the scoreboard clock 215 00:11:56,679 --> 00:12:00,240 Speaker 1: and the numbers are just winding down and always feels 216 00:12:00,280 --> 00:12:03,120 Speaker 1: like I'm running out of time. And so it's like 217 00:12:03,160 --> 00:12:06,240 Speaker 1: the score bird clock. It doesn't always it's not always 218 00:12:06,240 --> 00:12:08,679 Speaker 1: as big as it is, but at that time, I 219 00:12:08,720 --> 00:12:12,000 Speaker 1: remember the thinking, man, I am, I've wasted time, and 220 00:12:12,000 --> 00:12:14,920 Speaker 1: now I'm running out of time. I've got my father. 221 00:12:15,040 --> 00:12:19,240 Speaker 1: So the truth is, I mean, the combination of you know, 222 00:12:19,360 --> 00:12:24,560 Speaker 1: the demoralization of being in Nashville and caring for my father, 223 00:12:24,679 --> 00:12:27,080 Speaker 1: I just said, I gotta do something different. So my 224 00:12:27,440 --> 00:12:30,440 Speaker 1: I went to Texas and moved in with my sister 225 00:12:30,600 --> 00:12:33,440 Speaker 1: and brother in law, who graciously allowed my father not 226 00:12:33,520 --> 00:12:35,680 Speaker 1: to move in with him. I was like, I gotta 227 00:12:35,720 --> 00:12:41,240 Speaker 1: start all over again. When that was and so well, 228 00:12:41,280 --> 00:12:44,920 Speaker 1: I got a commercial real estate so and as poorly 229 00:12:44,960 --> 00:12:47,800 Speaker 1: as I've done in music, I really the real estate 230 00:12:48,040 --> 00:12:51,800 Speaker 1: commercial real estate world was terrible. Because you're too young 231 00:12:51,880 --> 00:12:53,959 Speaker 1: to remember this, but interest rates went up to like 232 00:12:54,040 --> 00:12:57,640 Speaker 1: twenty one interest rates today or four and a half percent, 233 00:12:58,240 --> 00:13:00,600 Speaker 1: and there was a savings in lone cry Isis and 234 00:13:00,640 --> 00:13:05,840 Speaker 1: so everything really just stopped. So I was kind of 235 00:13:05,880 --> 00:13:10,160 Speaker 1: just spinning my wheels again being in Texas, UM. But 236 00:13:10,240 --> 00:13:14,199 Speaker 1: you know, I was getting married and you know, starting 237 00:13:14,200 --> 00:13:17,200 Speaker 1: to have children. I mean, you know, I was. I 238 00:13:17,280 --> 00:13:19,120 Speaker 1: was doing fine. It wasn't like I was, you know, 239 00:13:19,160 --> 00:13:23,920 Speaker 1: in some cataconic, catatonic depression, but I was just I 240 00:13:24,040 --> 00:13:28,520 Speaker 1: was just starting over now. I really, honestly, I really did. 241 00:13:28,640 --> 00:13:31,400 Speaker 1: I tried to put the whole music thing behind me. 242 00:13:31,480 --> 00:13:34,440 Speaker 1: I didn't really talk to people about it, and I 243 00:13:34,480 --> 00:13:39,080 Speaker 1: didn't write for uh, you know, a couple of years. 244 00:13:39,960 --> 00:13:44,040 Speaker 1: And then I mean, and the truth is, so this 245 00:13:44,160 --> 00:13:50,720 Speaker 1: is now probably nineteen ninety, and I was cold calling 246 00:13:50,760 --> 00:13:53,480 Speaker 1: a shopping center, and I was saying, I'm Tom Douglas 247 00:13:53,480 --> 00:13:55,880 Speaker 1: with Cornerstone real Estate, at least the shopping center down 248 00:13:55,920 --> 00:13:57,600 Speaker 1: the road. If you got any real estate needs, I'd 249 00:13:57,600 --> 00:13:59,880 Speaker 1: be delighted to help you. At the same time, I 250 00:14:00,040 --> 00:14:03,080 Speaker 1: was literally having this conversation with God and I was saying, 251 00:14:03,120 --> 00:14:07,360 Speaker 1: it just seems strange that now, UM, thirty eight or 252 00:14:07,400 --> 00:14:12,679 Speaker 1: thirty nine, and the passion for music was still there. 253 00:14:12,720 --> 00:14:15,960 Speaker 1: It was underlying, you know, the soundtrack was playing in 254 00:14:16,000 --> 00:14:18,679 Speaker 1: my mind. I thought it seems strange that I would 255 00:14:18,679 --> 00:14:24,640 Speaker 1: be cynical and jaded at thirty nine and cold calling 256 00:14:24,680 --> 00:14:28,760 Speaker 1: a shopping center in August and Texas, and and really, 257 00:14:28,760 --> 00:14:30,960 Speaker 1: and I had an epiphany and it was like, God, so, well, 258 00:14:31,000 --> 00:14:34,840 Speaker 1: you've worshiped the creation, which is the song, instead of me. 259 00:14:35,440 --> 00:14:37,920 Speaker 1: How's that working out? It was, I mean, it was startling. 260 00:14:37,920 --> 00:14:41,200 Speaker 1: I was like, well, you're right, I've taken this thing, 261 00:14:41,280 --> 00:14:44,120 Speaker 1: which is in and of itself is good. I've kind 262 00:14:44,120 --> 00:14:46,360 Speaker 1: of made it an idol. I really had to destroy 263 00:14:46,480 --> 00:14:51,920 Speaker 1: the idol of songs. So it's like about a wag 264 00:14:51,920 --> 00:14:53,840 Speaker 1: Walker for one second. One of the great things about 265 00:14:53,840 --> 00:14:55,800 Speaker 1: doing this podcast is I could do it from home 266 00:14:56,280 --> 00:14:58,240 Speaker 1: and my dog is here at the house, which is 267 00:14:58,280 --> 00:14:59,840 Speaker 1: different than the radio show. My dog doesn't get to 268 00:14:59,840 --> 00:15:02,080 Speaker 1: come to the radio show. But I do love my dog, 269 00:15:02,120 --> 00:15:03,120 Speaker 1: and if you listen to me at all, you know 270 00:15:03,120 --> 00:15:06,000 Speaker 1: he's fourteen years old. I mean, he's been with me 271 00:15:06,040 --> 00:15:07,920 Speaker 1: through forever, so I do like to make sure he's 272 00:15:07,960 --> 00:15:11,920 Speaker 1: taken care of and for me, wag is awesome. Wags 273 00:15:11,920 --> 00:15:14,480 Speaker 1: an on demand app for getting an a dog walker 274 00:15:14,960 --> 00:15:18,680 Speaker 1: it's basically like Uber for dog walkers, the thoroughly vetted 275 00:15:18,720 --> 00:15:22,600 Speaker 1: walkers like I wouldn't trust someone with my dog if 276 00:15:22,640 --> 00:15:25,080 Speaker 1: I didn't trust them, you know what I mean, quality people, 277 00:15:25,080 --> 00:15:26,960 Speaker 1: experienced dogs. I can tell you my experience has been 278 00:15:26,960 --> 00:15:28,760 Speaker 1: fantastic with it. Like I mean, that's what I can 279 00:15:28,760 --> 00:15:31,880 Speaker 1: tell you. Live GPS tracks your dogs, walk notification when 280 00:15:31,880 --> 00:15:33,600 Speaker 1: your dog using the bathroom with your finel barkets you. 281 00:15:33,680 --> 00:15:35,920 Speaker 1: If you wanted to, you get a report card after it. 282 00:15:36,320 --> 00:15:39,400 Speaker 1: So Wag that's what you wanted to search Wag. The 283 00:15:39,440 --> 00:15:41,280 Speaker 1: best part you don't have to be home Wag since 284 00:15:41,280 --> 00:15:43,920 Speaker 1: you have a a free log box, you can leave alternate 285 00:15:43,920 --> 00:15:46,560 Speaker 1: home instructions of the app, and so it's right there 286 00:15:46,560 --> 00:15:49,040 Speaker 1: for you. So it's an on demand app. And again, 287 00:15:49,160 --> 00:15:50,840 Speaker 1: if you love your dog, you can be home and 288 00:15:50,840 --> 00:15:52,920 Speaker 1: they come, or you cannot be home. Wagons and must 289 00:15:52,960 --> 00:15:55,000 Speaker 1: have if you're a dog owner, you can get your 290 00:15:55,000 --> 00:15:57,400 Speaker 1: first WAG for free. To just take theWord take the 291 00:15:57,360 --> 00:16:01,120 Speaker 1: sword bones to to five three to four. Text the 292 00:16:01,120 --> 00:16:03,040 Speaker 1: word bones to two five three g four and you 293 00:16:03,120 --> 00:16:05,760 Speaker 1: get your first WAG. But just I searched wag wag 294 00:16:05,800 --> 00:16:08,560 Speaker 1: walker and bam, there you go. You got it. Okay, 295 00:16:08,600 --> 00:16:10,160 Speaker 1: so you come back and what year did you come 296 00:16:10,160 --> 00:16:15,040 Speaker 1: back to Nashville. I moved here in nine back in 297 00:16:15,160 --> 00:16:22,280 Speaker 1: n so so but you know, so but so, I 298 00:16:22,280 --> 00:16:24,760 Speaker 1: don't know if if you want to go chronologically, but 299 00:16:24,760 --> 00:16:28,160 Speaker 1: but so what happened was I kind of slowly regained 300 00:16:28,240 --> 00:16:32,280 Speaker 1: my love for music and started writing songs again and 301 00:16:32,280 --> 00:16:34,520 Speaker 1: feeling like I was always starting over. That's when I 302 00:16:34,560 --> 00:16:39,760 Speaker 1: went to SMU early one Saturday morning and probably and 303 00:16:40,920 --> 00:16:44,200 Speaker 1: you know, I started writing the song Little Rock, which 304 00:16:44,240 --> 00:16:47,920 Speaker 1: really was just autobiographical. I's just Colin Ray Colin. I 305 00:16:47,920 --> 00:16:49,160 Speaker 1: played a little bit of this I love this is 306 00:16:49,960 --> 00:17:03,800 Speaker 1: Apple Markets. We played this, yea, I got you this 307 00:17:03,880 --> 00:17:15,840 Speaker 1: one small problem here, so you're right this when you're 308 00:17:15,840 --> 00:17:18,720 Speaker 1: still living in Texas. And then I go to odd 309 00:17:18,760 --> 00:17:22,520 Speaker 1: joint songwriter associations everywhere I went. I went to Austin 310 00:17:22,600 --> 00:17:26,400 Speaker 1: in the summer of ninety three, reconnected with Paul Whorley, 311 00:17:26,480 --> 00:17:28,879 Speaker 1: whom I had known as a guitar player when I 312 00:17:28,920 --> 00:17:33,479 Speaker 1: lived in in Nashville, you know, nine years earlier, and 313 00:17:34,000 --> 00:17:37,879 Speaker 1: UM gave him a cassette the cocktail party, expecting him 314 00:17:37,920 --> 00:17:39,720 Speaker 1: never to listen to it. In about two weeks ago, 315 00:17:39,720 --> 00:17:42,040 Speaker 1: by any calls him one days says, I've been listened 316 00:17:42,040 --> 00:17:44,800 Speaker 1: to a couple of these songs. I think I like him. 317 00:17:44,840 --> 00:17:46,600 Speaker 1: Want you let me run with it and see if 318 00:17:46,600 --> 00:17:50,359 Speaker 1: I can get anything going. And so Paul signed me 319 00:17:50,400 --> 00:17:54,800 Speaker 1: to Sony Publishing and the first song I got recorded 320 00:17:54,920 --> 00:17:58,760 Speaker 1: was Little Rock. The first song recorded at years old 321 00:17:59,760 --> 00:18:05,280 Speaker 1: is this monster right here? Everybody knows the song. I 322 00:18:05,320 --> 00:18:08,440 Speaker 1: saw Adam Craig when he was on your show. Yeah, 323 00:18:08,560 --> 00:18:10,359 Speaker 1: I think you just asked him and I was like, 324 00:18:10,520 --> 00:18:12,240 Speaker 1: I was like, can you play call? Because he Adam 325 00:18:12,280 --> 00:18:14,680 Speaker 1: Craig has that Colin Ray to text your his voice. 326 00:18:15,920 --> 00:18:19,160 Speaker 1: I mean this song I hear it reminds in my childhood, 327 00:18:19,280 --> 00:18:21,840 Speaker 1: like that's how strong this song is. And in fact 328 00:18:21,840 --> 00:18:25,320 Speaker 1: that you wrote it handed off, I never thought you 329 00:18:25,400 --> 00:18:28,280 Speaker 1: get a call? When did it go? Hey? And how 330 00:18:28,280 --> 00:18:30,920 Speaker 1: far along was calling? In his career, Colin he had 331 00:18:30,920 --> 00:18:34,320 Speaker 1: had he'd had loved me and he had and he'd 332 00:18:34,320 --> 00:18:38,000 Speaker 1: had uh is it in this life? He'd had it, 333 00:18:38,000 --> 00:18:39,720 Speaker 1: He'd had a couple of hits. I mean he was 334 00:18:40,119 --> 00:18:45,120 Speaker 1: everybody loved his voice and Paul was producing him. And yeah, 335 00:18:45,200 --> 00:18:48,119 Speaker 1: I mean it was you know, so I mean after 336 00:18:48,560 --> 00:18:50,639 Speaker 1: you know, I mean Paul basically signed me. He just 337 00:18:50,720 --> 00:18:54,399 Speaker 1: based on that song, and uh, you know, miraculously Colin 338 00:18:54,480 --> 00:18:58,320 Speaker 1: Ray recorded it. So does that song end up being? 339 00:18:58,520 --> 00:19:00,520 Speaker 1: Is that what makes you move to Nashville? Well, but 340 00:19:00,600 --> 00:19:03,440 Speaker 1: then you know, I had such a mistrust for Nashville, 341 00:19:03,480 --> 00:19:07,480 Speaker 1: which is I think healthy that I commuted up here 342 00:19:07,520 --> 00:19:09,800 Speaker 1: one week a month for four years and then move 343 00:19:09,880 --> 00:19:14,080 Speaker 1: my family back in nine For four years, you commuted 344 00:19:14,119 --> 00:19:16,080 Speaker 1: back and forth to Nashville. I still stay in the 345 00:19:16,160 --> 00:19:19,080 Speaker 1: real estate business. I was sure it wasn't gonna work. 346 00:19:19,119 --> 00:19:23,199 Speaker 1: I just thought this was a one off. And uh uh, 347 00:19:24,520 --> 00:19:26,800 Speaker 1: I'm still not sure it's gonna work. But what a 348 00:19:26,920 --> 00:19:31,000 Speaker 1: one off? Like that's a monster? Okay, so you move 349 00:19:31,040 --> 00:19:35,280 Speaker 1: back thinking I can make a good running this again. 350 00:19:35,320 --> 00:19:37,879 Speaker 1: What makes you think, okay, I have to move back now? Well, 351 00:19:37,920 --> 00:19:41,880 Speaker 1: you know, it's forty five and I've been up here enough. 352 00:19:42,040 --> 00:19:45,680 Speaker 1: I've made a few relationships. Sony is the only publisher 353 00:19:45,720 --> 00:19:49,600 Speaker 1: I've ever had, and so they they made it possible. 354 00:19:49,680 --> 00:19:52,480 Speaker 1: I mean, so now I'm forty five, I have three children, 355 00:19:52,760 --> 00:19:56,840 Speaker 1: and uh, you know, kind of my second renewal was 356 00:19:56,920 --> 00:19:58,920 Speaker 1: coming up with something and they said, you know, we 357 00:19:58,960 --> 00:20:01,240 Speaker 1: really think you could do us, but it would be 358 00:20:01,240 --> 00:20:03,440 Speaker 1: better for you and for us if you were here, 359 00:20:04,119 --> 00:20:07,320 Speaker 1: and so they made it possible, and I was. My 360 00:20:07,400 --> 00:20:10,040 Speaker 1: father had had had just passed away, and it was 361 00:20:10,080 --> 00:20:13,479 Speaker 1: almost like I had a clean break just to started 362 00:20:13,720 --> 00:20:16,040 Speaker 1: start out all over again. So you moved to Nashville. 363 00:20:17,320 --> 00:20:22,320 Speaker 1: What's your first taste of success as a Nashville song right? Well? 364 00:20:22,359 --> 00:20:25,960 Speaker 1: And then Colin Ray recorded a song called Love Remains, 365 00:20:26,560 --> 00:20:29,560 Speaker 1: and uh, you know, and the gift. I mean, it 366 00:20:29,680 --> 00:20:32,840 Speaker 1: was still slow going because everything I've ever done has 367 00:20:32,880 --> 00:20:37,240 Speaker 1: been it's just it's it's it's it's really left of center. 368 00:20:37,920 --> 00:20:41,080 Speaker 1: I've never really been able to go right down the 369 00:20:41,160 --> 00:20:43,600 Speaker 1: middle of the fairway. I'm either on the far left 370 00:20:43,720 --> 00:20:46,920 Speaker 1: or the far right. But it seems like so far 371 00:20:46,920 --> 00:20:48,520 Speaker 1: at least with the Calling Ray stuff, And we'll get 372 00:20:48,520 --> 00:20:51,280 Speaker 1: to the rest of it. You actually make the fairway, 373 00:20:51,720 --> 00:20:54,760 Speaker 1: like what you do. When it becomes successful, it ships 374 00:20:54,760 --> 00:20:58,160 Speaker 1: everything else to it. Well sometimes, you know, I mean, 375 00:20:58,200 --> 00:21:01,480 Speaker 1: I've I've had to the hardest over all the years, 376 00:21:01,880 --> 00:21:04,760 Speaker 1: you know. I mean, now I've written like songs in 377 00:21:04,840 --> 00:21:09,159 Speaker 1: twenty four years, But the hardest thing is just convincing 378 00:21:09,200 --> 00:21:12,320 Speaker 1: myself to still do what I do. I still have 379 00:21:12,560 --> 00:21:16,280 Speaker 1: such a tendency to follow trends or try to be 380 00:21:16,440 --> 00:21:19,080 Speaker 1: something that I'm not, and I I really have tried. 381 00:21:19,200 --> 00:21:22,560 Speaker 1: But it's almost like, you know, a piano vocal with 382 00:21:22,640 --> 00:21:26,400 Speaker 1: a cello is like that. Really, that's that's almost all 383 00:21:26,440 --> 00:21:30,480 Speaker 1: I can do every song. It's kind of that. Tell 384 00:21:30,480 --> 00:21:42,159 Speaker 1: me about this one here, pretty pretty familiar voice. Yeah, 385 00:21:42,200 --> 00:21:44,280 Speaker 1: well that that was again, you know. I mean, I 386 00:21:44,320 --> 00:21:47,119 Speaker 1: wouldn't have a career without Paul Worley, So that was 387 00:21:47,160 --> 00:21:51,919 Speaker 1: again Paul. And I mean I've uh so, I do 388 00:21:52,040 --> 00:21:56,240 Speaker 1: love Springsteen. I love you too. I love Dylan and 389 00:21:56,320 --> 00:22:00,119 Speaker 1: the you know the device that they use a a 390 00:22:00,119 --> 00:22:02,920 Speaker 1: lot of songs or you know, the verses or vignettes, 391 00:22:03,040 --> 00:22:07,600 Speaker 1: three completely unrelated vignettes and it's tied together by like 392 00:22:07,640 --> 00:22:11,199 Speaker 1: a two line chorus. I mean, like grown men don't Cry. 393 00:22:11,320 --> 00:22:13,320 Speaker 1: Is I don't know why they say grown men don't cry. 394 00:22:13,320 --> 00:22:15,480 Speaker 1: I don't know why they say grownman don't cry. Loves 395 00:22:15,480 --> 00:22:17,080 Speaker 1: the only house big enough for all the pain of 396 00:22:17,119 --> 00:22:19,280 Speaker 1: the world, Loves the only House. I mean, it's like, 397 00:22:19,680 --> 00:22:22,320 Speaker 1: I love songs like that. That's that's kind of in 398 00:22:22,400 --> 00:22:25,119 Speaker 1: my my d n A because I've listened to so 399 00:22:25,160 --> 00:22:28,560 Speaker 1: many songs like that, so I but I start all 400 00:22:28,600 --> 00:22:31,040 Speaker 1: these songs on piano and then I have to find 401 00:22:31,359 --> 00:22:36,120 Speaker 1: somebody somehow to you know, to translate it, to make 402 00:22:36,160 --> 00:22:41,560 Speaker 1: it you know, you know, make it sound like a record. Um. 403 00:22:41,640 --> 00:22:45,120 Speaker 1: So that happens in the studio sometimes. But I mean 404 00:22:45,400 --> 00:22:49,040 Speaker 1: even the house that built me, as the demo was 405 00:22:49,119 --> 00:22:51,680 Speaker 1: a piano vocal, which I have here in the demo, 406 00:22:52,880 --> 00:23:06,520 Speaker 1: the sproke nest side and my son down here. It's 407 00:23:06,680 --> 00:23:10,600 Speaker 1: like I'm someone else, but don't it Maybe I can 408 00:23:10,720 --> 00:23:16,960 Speaker 1: find myself who's singing that's me? That's like, just come in, 409 00:23:17,320 --> 00:23:20,280 Speaker 1: what are you talking about? You're not a vocalist. That's 410 00:23:20,320 --> 00:23:24,800 Speaker 1: like some Bruce Springsteen meets Tom Wade kinda from the 411 00:23:24,920 --> 00:23:36,560 Speaker 1: House built me, my mom. I buy that version. The Uh. Well, 412 00:23:36,960 --> 00:23:40,880 Speaker 1: so all I can do is like if I do that, 413 00:23:41,080 --> 00:23:45,400 Speaker 1: and then I have to the success I've had. I mean, 414 00:23:45,640 --> 00:23:47,720 Speaker 1: now I've co written most of these songs, as you know, 415 00:23:47,920 --> 00:23:52,960 Speaker 1: like that was with the great Alan Chamblin. Uh, the 416 00:23:54,000 --> 00:23:56,400 Speaker 1: I have to I mean, if it's if it's if 417 00:23:56,440 --> 00:23:58,919 Speaker 1: it's what I do, which is the piano vocal, I 418 00:23:59,000 --> 00:24:03,600 Speaker 1: have to then find an artist that can take that 419 00:24:03,800 --> 00:24:08,640 Speaker 1: original but then translate it to you know, to what 420 00:24:08,760 --> 00:24:11,800 Speaker 1: they do and that that doesn't often happen. So when 421 00:24:11,840 --> 00:24:14,600 Speaker 1: you make this demo and you do you shop it 422 00:24:15,359 --> 00:24:18,480 Speaker 1: or does someone go this is perfect? Well we you know, 423 00:24:18,520 --> 00:24:21,199 Speaker 1: we were Allen and I worked on that for seven years. 424 00:24:21,680 --> 00:24:25,320 Speaker 1: Uh you know, we started it, uh and then we 425 00:24:25,440 --> 00:24:28,840 Speaker 1: demoed it, turned it into the publisher and they were like, yeah, 426 00:24:28,880 --> 00:24:31,919 Speaker 1: that's cool. Which you know, it's like codes biag for 427 00:24:32,240 --> 00:24:33,720 Speaker 1: this will never see the light of a day and 428 00:24:33,720 --> 00:24:40,000 Speaker 1: where it's maddening. You know, you think everybody's a raging 429 00:24:40,040 --> 00:24:43,359 Speaker 1: idiot and only the look in the mirror and realize 430 00:24:43,400 --> 00:24:47,639 Speaker 1: that you're the raging idiot. So yeah, um, but we 431 00:24:47,800 --> 00:24:50,439 Speaker 1: worked on it, we redemoed it, you know, and we 432 00:24:50,520 --> 00:24:53,600 Speaker 1: just kept We knew that there was something there. And 433 00:24:53,640 --> 00:24:56,120 Speaker 1: the truth is we had too much detail. And at 434 00:24:56,119 --> 00:25:00,640 Speaker 1: the very end, so you know, seven years later from 435 00:25:00,680 --> 00:25:04,320 Speaker 1: when we started, we just laid the lyrics down on 436 00:25:04,440 --> 00:25:08,200 Speaker 1: the coffee table and said, what is wrong. There's something 437 00:25:08,280 --> 00:25:11,760 Speaker 1: that's not connecting and we didn't have uh well, we 438 00:25:11,800 --> 00:25:14,480 Speaker 1: had to take out some detail and we didn't have 439 00:25:15,000 --> 00:25:16,920 Speaker 1: if I can just come in, I swear i'll leave, 440 00:25:16,960 --> 00:25:19,320 Speaker 1: won't take nothing but a memory. We didn't have that 441 00:25:19,400 --> 00:25:22,520 Speaker 1: which is the line that precedes the hook. And as 442 00:25:22,560 --> 00:25:25,320 Speaker 1: you know, the line that precedes the hook is often 443 00:25:25,880 --> 00:25:28,880 Speaker 1: more important or as important as the hook itself. Why 444 00:25:28,880 --> 00:25:32,920 Speaker 1: would you say to this song for seven years? Well, 445 00:25:33,080 --> 00:25:35,520 Speaker 1: you know, I mean I love songs, I really do, 446 00:25:35,920 --> 00:25:38,640 Speaker 1: you know, and it's well, it's it's a love hate relationship. 447 00:25:39,240 --> 00:25:44,480 Speaker 1: But songs that are unfinished, they just they kind of 448 00:25:44,560 --> 00:25:47,919 Speaker 1: drive me crazy. And um, I don't do that with 449 00:25:47,960 --> 00:25:50,199 Speaker 1: all songs, but there are certain songs that you're just 450 00:25:50,520 --> 00:25:54,680 Speaker 1: like loves the Only House took It took years. Um, 451 00:25:54,720 --> 00:25:59,399 Speaker 1: you know, multiple demos, and you know, you just you 452 00:25:59,760 --> 00:26:02,000 Speaker 1: just you just have to you know, you just have 453 00:26:02,080 --> 00:26:05,520 Speaker 1: a feeling about certain songs and you just gotta stay 454 00:26:05,560 --> 00:26:10,600 Speaker 1: with it. You know. Rewriting really does help with a lot, 455 00:26:10,760 --> 00:26:13,240 Speaker 1: you know, in songs. I mean, time does make some 456 00:26:13,680 --> 00:26:16,720 Speaker 1: songs better. I'm curious to know that's we're talking about 457 00:26:16,720 --> 00:26:19,080 Speaker 1: the House that built me? It took that long. How 458 00:26:19,080 --> 00:26:21,280 Speaker 1: did you know you were done? And then when do 459 00:26:21,320 --> 00:26:23,720 Speaker 1: you make that move to go okay, now really what 460 00:26:23,760 --> 00:26:25,960 Speaker 1: I'm done? Yeah? Can we get an artist? I don't 461 00:26:26,000 --> 00:26:28,879 Speaker 1: you know, it's almost like I think for the songwriter, 462 00:26:29,000 --> 00:26:32,560 Speaker 1: it's almost not up to us to even ask that question. 463 00:26:32,640 --> 00:26:35,679 Speaker 1: You know, we're so we have to be all process 464 00:26:35,800 --> 00:26:40,439 Speaker 1: and detach ourselves from the end result. So it's almost like, alright, 465 00:26:40,480 --> 00:26:43,399 Speaker 1: so we we wrote it, demoed it, turned it in. 466 00:26:43,720 --> 00:26:47,640 Speaker 1: Nothing wrote it, demo turned it in, nothing wrote it, 467 00:26:47,800 --> 00:26:51,560 Speaker 1: demoed it, turned it in. You know, the siren screamed 468 00:26:51,600 --> 00:26:56,840 Speaker 1: and the red lights flashed, and that's when we knew, 469 00:26:56,960 --> 00:26:58,920 Speaker 1: you know, it's I mean, everything we do is kind 470 00:26:58,920 --> 00:27:02,160 Speaker 1: of based on what four other people in the world think. 471 00:27:02,520 --> 00:27:05,520 Speaker 1: So it's if though, if if the bell rings of 472 00:27:05,600 --> 00:27:07,560 Speaker 1: those four of the people, then we're good. If not, 473 00:27:07,680 --> 00:27:10,800 Speaker 1: then we just have to keep going. So is Miranda 474 00:27:10,840 --> 00:27:13,119 Speaker 1: the first one to put it a hold? Well, I 475 00:27:13,160 --> 00:27:16,840 Speaker 1: mean it honestly, it was one of those like you know, 476 00:27:16,880 --> 00:27:20,200 Speaker 1: it was you know, it's like an atomic bomb. I mean, 477 00:27:20,240 --> 00:27:24,199 Speaker 1: it was one of those palpable reactions where everybody loved it. 478 00:27:25,080 --> 00:27:27,800 Speaker 1: Um you know, I went on hold for literally everybody 479 00:27:27,840 --> 00:27:30,400 Speaker 1: at the same time. And of course we were trying 480 00:27:30,440 --> 00:27:34,320 Speaker 1: to get the song to Blake Shelton and you know, 481 00:27:34,400 --> 00:27:38,879 Speaker 1: so the story goes, so Sony Terry Wakefield plays it 482 00:27:39,000 --> 00:27:43,000 Speaker 1: for Scott HENDRICKX, who's poll producing Blake Shelton Scott Hendrick 483 00:27:43,320 --> 00:27:47,560 Speaker 1: sends the uh you know, a tape or a CD 484 00:27:47,800 --> 00:27:50,240 Speaker 1: with ten songs on it to Blake Shelton every week 485 00:27:50,240 --> 00:27:53,640 Speaker 1: to listen to songs. He comes back from tour one 486 00:27:53,720 --> 00:27:57,919 Speaker 1: wind swept Oklahoma night, he puts the CD in his 487 00:27:58,080 --> 00:28:02,440 Speaker 1: truck and he's going down this highway and third song 488 00:28:02,520 --> 00:28:04,600 Speaker 1: in it's the House of Building Me. His girlfriend at 489 00:28:04,600 --> 00:28:08,160 Speaker 1: the time, starts weeping and he says, baby, what's wrong. 490 00:28:08,200 --> 00:28:11,439 Speaker 1: And she says, that's my story, and he said, well, 491 00:28:11,480 --> 00:28:14,399 Speaker 1: if that's your story, maybe that's your song. So if 492 00:28:14,440 --> 00:28:16,240 Speaker 1: you want to get a song to Miranda Lambert, you 493 00:28:16,240 --> 00:28:19,000 Speaker 1: work on it seven years, you pitch it to everybody, 494 00:28:19,080 --> 00:28:22,760 Speaker 1: get it on hold for Blake Shelton, and Miranda hears it. 495 00:28:22,840 --> 00:28:29,159 Speaker 1: So it's it's a it's a mysterious uh event. I 496 00:28:29,200 --> 00:28:31,399 Speaker 1: have no idea how to get a song to Miranda Lambert. 497 00:28:31,520 --> 00:28:35,040 Speaker 1: I really don't. So you get words. She's cutting the 498 00:28:35,080 --> 00:28:38,200 Speaker 1: song and at that point is that she's cutting it 499 00:28:38,240 --> 00:28:39,600 Speaker 1: and we think it could be a single for the 500 00:28:39,680 --> 00:28:41,680 Speaker 1: radio or is it Jess, she's cutting the song. She's 501 00:28:41,680 --> 00:28:46,040 Speaker 1: cutting a song. But I mean, you know, most songwriters 502 00:28:46,040 --> 00:28:47,880 Speaker 1: and I don't know, we really are fans I mean, 503 00:28:47,920 --> 00:28:51,680 Speaker 1: we are fans of music, and we're fans of country artists, 504 00:28:51,720 --> 00:28:56,600 Speaker 1: and we really we love country music. So everybody loves, 505 00:28:56,840 --> 00:29:00,480 Speaker 1: loved and loves Miranda, and so the fact that as 506 00:29:00,520 --> 00:29:03,040 Speaker 1: great a songwriter as she is, that she was cutting 507 00:29:03,040 --> 00:29:05,360 Speaker 1: a song that she didn't write was you know, an 508 00:29:05,360 --> 00:29:11,520 Speaker 1: equal honor. And so, you know, the producer Frankldell called me, 509 00:29:12,120 --> 00:29:15,840 Speaker 1: you know, after she recorded it, and he came, you know, 510 00:29:16,120 --> 00:29:18,120 Speaker 1: to his office and played it for him, and it 511 00:29:18,200 --> 00:29:23,080 Speaker 1: was so stark. It was like, I mean, it was 512 00:29:23,160 --> 00:29:25,760 Speaker 1: like it was like two guitars and a vocal. It 513 00:29:25,880 --> 00:29:29,640 Speaker 1: was like I was like, I literally said, you're not 514 00:29:29,680 --> 00:29:31,560 Speaker 1: gonna put any drums on it. I mean, it's like 515 00:29:31,640 --> 00:29:35,480 Speaker 1: it was just it was so like just bear that 516 00:29:35,760 --> 00:29:38,640 Speaker 1: I was. Honestly I was. I was. I probably probably 517 00:29:38,720 --> 00:29:42,360 Speaker 1: was discouraged. I was like, oh man, this is this 518 00:29:42,440 --> 00:29:44,320 Speaker 1: is I don't know what this is, but this is 519 00:29:45,200 --> 00:29:47,360 Speaker 1: it just doesn't sound like anything that I'd really heard 520 00:29:47,400 --> 00:29:51,240 Speaker 1: before and country music. But thank goodness, they were true 521 00:29:51,240 --> 00:29:55,680 Speaker 1: to their ideals and their art. And for both of you, 522 00:29:55,840 --> 00:29:59,240 Speaker 1: Miranda and for you, this this is a career changer. Yeah, 523 00:29:59,360 --> 00:30:02,440 Speaker 1: it's it's uh yeah, it's a career changer. It certainly is, 524 00:30:02,840 --> 00:30:07,480 Speaker 1: uh for Alan and me, And uh, yeah, I mean 525 00:30:07,520 --> 00:30:11,960 Speaker 1: it was, yeah, it was. I mean everything about it 526 00:30:12,000 --> 00:30:15,640 Speaker 1: was just phenomenal. I'm gonna play it and to hear 527 00:30:15,680 --> 00:30:17,920 Speaker 1: you talk about it, and to hear it like right here, 528 00:30:18,920 --> 00:30:33,080 Speaker 1: it's broken when you hear it right now, removed a bit, 529 00:30:34,960 --> 00:30:37,760 Speaker 1: removed from the process, removed from the awards, Like what 530 00:30:37,800 --> 00:30:40,800 Speaker 1: do you think right now when you hear it. I mean, 531 00:30:40,800 --> 00:30:45,160 Speaker 1: it's it's goose bumps. It's just it's something that you know, 532 00:30:45,240 --> 00:30:49,000 Speaker 1: It's just it's I think it's that's what music is 533 00:30:49,040 --> 00:30:54,800 Speaker 1: it it um you know her, she really has made 534 00:30:54,840 --> 00:30:58,000 Speaker 1: the song her own, which is the ultimate compliment to 535 00:30:58,040 --> 00:31:02,080 Speaker 1: a songwriter. That's miran a song and it's just that's 536 00:31:02,120 --> 00:31:04,400 Speaker 1: the greatest honor I think you can have as a writer. 537 00:31:05,320 --> 00:31:08,960 Speaker 1: And it's you know, it's just it does what art 538 00:31:09,040 --> 00:31:15,640 Speaker 1: is supposed to do, which is it It reduces our defenses. 539 00:31:16,080 --> 00:31:20,120 Speaker 1: It opens us up and helps us not feel numb 540 00:31:20,400 --> 00:31:24,240 Speaker 1: and feel something again. And so much of life is 541 00:31:24,280 --> 00:31:27,479 Speaker 1: all about numbing us, you know, in the chaos of life. 542 00:31:27,520 --> 00:31:33,400 Speaker 1: The headlines, Uh, it's it's it's a numbing you know. Uh, 543 00:31:33,480 --> 00:31:36,320 Speaker 1: that's a numbing process. And that's I think art. That's 544 00:31:36,320 --> 00:31:40,080 Speaker 1: what art does. It It reminds us to feel something 545 00:31:40,120 --> 00:31:44,000 Speaker 1: again when you have a song like that and it's 546 00:31:44,040 --> 00:31:46,120 Speaker 1: that big of a hit and you've already had hits. 547 00:31:46,160 --> 00:31:47,560 Speaker 1: We'll play some of the other other ones too, But 548 00:31:48,200 --> 00:31:49,920 Speaker 1: do people start knocking on the door a lot more? 549 00:31:51,320 --> 00:31:53,320 Speaker 1: You know what you would think? So, I mean we, 550 00:31:53,840 --> 00:31:56,239 Speaker 1: you know, were Alan and up both we thought, all right, 551 00:31:56,280 --> 00:31:59,240 Speaker 1: we're gonna try to leverage this to write with John 552 00:31:59,360 --> 00:32:04,080 Speaker 1: Legend or Beyonce or Adele or you know, kind of 553 00:32:04,240 --> 00:32:08,080 Speaker 1: we had visions of grandeur and honestly none of that 554 00:32:08,160 --> 00:32:13,160 Speaker 1: materialist I mean like nothing. It was like and I 555 00:32:13,240 --> 00:32:16,600 Speaker 1: still don't I don't know why now. Oddly enough, over 556 00:32:17,040 --> 00:32:19,880 Speaker 1: over time, you know, Allen and I thought, you know, 557 00:32:19,960 --> 00:32:23,880 Speaker 1: within the first year, we're gonna get all these very 558 00:32:23,960 --> 00:32:26,920 Speaker 1: fascinating co writes, and it just it really didn't happen. 559 00:32:26,960 --> 00:32:29,600 Speaker 1: I mean, we had, you know, we were able to 560 00:32:29,640 --> 00:32:32,040 Speaker 1: write songs. But I don't know. I think we I 561 00:32:32,080 --> 00:32:34,600 Speaker 1: think Allen and I got a little lost in the 562 00:32:35,280 --> 00:32:39,160 Speaker 1: in the in the in the tidal wave of the song. 563 00:32:42,840 --> 00:32:45,360 Speaker 1: One of the problems my wife and I have is 564 00:32:45,440 --> 00:32:47,760 Speaker 1: always what are we gonna cook for dinner because we 565 00:32:47,800 --> 00:32:51,160 Speaker 1: cook the same things over and over and over again, 566 00:32:51,400 --> 00:32:55,240 Speaker 1: spaghetti last week, spaghetti this week, spaghetti next week, spaghetti 567 00:32:55,280 --> 00:32:57,200 Speaker 1: wei the week out of that, and we're like, we 568 00:32:57,240 --> 00:32:59,520 Speaker 1: need something new. We're always getting a rut of cooking 569 00:32:59,520 --> 00:33:03,520 Speaker 1: the same things. And then we found it, Hello Fresh, 570 00:33:04,000 --> 00:33:07,880 Speaker 1: different items each week delivered right to our front door. 571 00:33:08,280 --> 00:33:13,440 Speaker 1: Cooking made simple. We were like, oh, we were so excited. 572 00:33:13,600 --> 00:33:15,880 Speaker 1: So you go to Hello Fresh dot com and let's 573 00:33:15,880 --> 00:33:19,080 Speaker 1: say you're a vegetarian. They have different vegetarian meals that 574 00:33:19,200 --> 00:33:21,320 Speaker 1: choose from, and when you open up that box in 575 00:33:21,400 --> 00:33:24,240 Speaker 1: your front door, all the ingredients are measured out to 576 00:33:24,280 --> 00:33:28,000 Speaker 1: the tea spoon and they have step by step instructions. 577 00:33:28,320 --> 00:33:31,360 Speaker 1: Thirty minutes later around you have the meal sitting on 578 00:33:31,400 --> 00:33:33,960 Speaker 1: your table. And right now you can get nine free 579 00:33:34,000 --> 00:33:37,000 Speaker 1: meals with Hello Fresh by going to Hello Fresh dot 580 00:33:37,040 --> 00:33:40,560 Speaker 1: com slash Bobby cast nine and using the code Bobby 581 00:33:40,600 --> 00:33:44,440 Speaker 1: cast nine. That's nine free meals with Hello Fresh dot com. 582 00:33:44,880 --> 00:33:47,720 Speaker 1: Go to Hello Fresh dot com slash Bobby cast nine 583 00:33:47,720 --> 00:33:53,600 Speaker 1: and using the code Bobby cast nine. Tell me about 584 00:33:53,720 --> 00:33:55,200 Speaker 1: this one here, because they got a lot of them. 585 00:33:55,200 --> 00:34:00,640 Speaker 1: That one what you talk about I run to you 586 00:34:00,720 --> 00:34:07,440 Speaker 1: from lady see right this with them? Yeah, all three 587 00:34:07,440 --> 00:34:12,360 Speaker 1: of them, all three of them. So you know, as 588 00:34:12,400 --> 00:34:14,879 Speaker 1: the publisher sets you up with the next big thing, 589 00:34:15,239 --> 00:34:18,560 Speaker 1: you know, weekly, the next big thing in Nashville, there's 590 00:34:18,600 --> 00:34:21,920 Speaker 1: a buzz. All of a sudden, there's this fresh faced 591 00:34:22,120 --> 00:34:27,239 Speaker 1: trio with kind of a crazy name and um so 592 00:34:27,440 --> 00:34:29,960 Speaker 1: that you know, Lady Antebellum is coming to your house 593 00:34:30,040 --> 00:34:32,680 Speaker 1: in two weeks. So I mean, and I loved what 594 00:34:32,719 --> 00:34:35,399 Speaker 1: they had done. I've heard their demos and I think 595 00:34:35,440 --> 00:34:38,520 Speaker 1: I've seen them around playing and so you know, I'm 596 00:34:38,560 --> 00:34:42,000 Speaker 1: as a professional songwriter, I'm supposed to have great ideas. 597 00:34:42,440 --> 00:34:45,319 Speaker 1: That's why they're coming to you. So they show up 598 00:34:46,320 --> 00:34:50,719 Speaker 1: and it's like, you know, with the successive day, I'm like, 599 00:34:51,080 --> 00:34:54,080 Speaker 1: the more time I have to prepare for something more paralyzed, 600 00:34:54,120 --> 00:34:57,200 Speaker 1: I've become. So I had I couldn't. I couldn't rhyme 601 00:34:57,239 --> 00:35:00,760 Speaker 1: Blue with you. So I'm running in the nat From Marathon. 602 00:35:00,880 --> 00:35:04,400 Speaker 1: Oddly enough, the weekend before I followed this guy for 603 00:35:04,520 --> 00:35:06,640 Speaker 1: five miles. He's got to run this town on the 604 00:35:06,680 --> 00:35:10,839 Speaker 1: back of his T shirt. So I'm thinking metaphorically, symbolically, 605 00:35:10,840 --> 00:35:13,920 Speaker 1: I run this town like the mayor like a mafia boss, 606 00:35:13,960 --> 00:35:16,399 Speaker 1: like you know, from point A to point being, I'm 607 00:35:16,480 --> 00:35:20,120 Speaker 1: I'm delirious following this guy. I developed an intense hatred 608 00:35:20,200 --> 00:35:24,120 Speaker 1: for the guy. Monday morning they show up and they're 609 00:35:24,120 --> 00:35:26,319 Speaker 1: gonna come at ten. I'm sick to my stomach. I'm 610 00:35:26,440 --> 00:35:29,840 Speaker 1: thinking this, how is this possible? I've got and I 611 00:35:30,480 --> 00:35:36,520 Speaker 1: have no ideas, and so literally they came, you know, eager, expectant, 612 00:35:36,640 --> 00:35:38,239 Speaker 1: you know, for me to have a you know, at 613 00:35:38,320 --> 00:35:41,920 Speaker 1: least a decent idea, and uh, I literally I put 614 00:35:41,960 --> 00:35:44,960 Speaker 1: my hands down on the piano and up saying, you know, 615 00:35:45,120 --> 00:35:51,520 Speaker 1: I run from haye and I run from prejudice. And 616 00:35:51,560 --> 00:35:54,840 Speaker 1: as I was even singing that, I was thinking, I 617 00:35:54,840 --> 00:35:56,759 Speaker 1: don't even know what it means, and I'm I wrote it. 618 00:35:56,800 --> 00:35:59,520 Speaker 1: I wrote these words, and I opened up my eyes 619 00:35:59,560 --> 00:36:04,480 Speaker 1: to think. They're packing their briefcases and leaving and they're like, man, 620 00:36:04,600 --> 00:36:07,399 Speaker 1: that is that is brilliant. Of course, I said, I've 621 00:36:07,400 --> 00:36:12,680 Speaker 1: been saving that for you that week. So unfortunately they 622 00:36:12,800 --> 00:36:14,960 Speaker 1: hung in there and that was but you know, it's 623 00:36:15,040 --> 00:36:19,239 Speaker 1: very poetic. It's odd words. You know, it's prejudice, pessimist, 624 00:36:19,320 --> 00:36:24,879 Speaker 1: I mean, it's it's I love poetry I'm really, I'm 625 00:36:24,920 --> 00:36:30,799 Speaker 1: I'm crazy about words, and uh you know, I mean 626 00:36:30,880 --> 00:36:34,560 Speaker 1: words are important, They're important to me. But I really 627 00:36:34,600 --> 00:36:37,520 Speaker 1: think people come to songs. I think I think people 628 00:36:38,000 --> 00:36:41,200 Speaker 1: think the first I mean you would. I'd be curious 629 00:36:41,239 --> 00:36:43,920 Speaker 1: to see what you say about this. So let me 630 00:36:43,960 --> 00:36:49,400 Speaker 1: make a gross, sweeping generalization. Rhythm is the foundation of songs. 631 00:36:50,480 --> 00:36:52,520 Speaker 1: What do you say to that. I think there are 632 00:36:52,560 --> 00:36:53,719 Speaker 1: a lot of songs that I love and I have 633 00:36:53,760 --> 00:36:58,120 Speaker 1: no idea what the words are. But but I think 634 00:36:58,200 --> 00:37:03,040 Speaker 1: more importantly than melody or chords or production, it's rhythm. 635 00:37:03,200 --> 00:37:06,680 Speaker 1: Rhythm really is what rhythm is what draws us in 636 00:37:07,200 --> 00:37:13,880 Speaker 1: um and I really I haven't really paid attention to 637 00:37:13,960 --> 00:37:17,440 Speaker 1: that through the last twenty four years. But the longer 638 00:37:17,520 --> 00:37:19,920 Speaker 1: I'm doing this, the more and more I'm I'm at 639 00:37:19,960 --> 00:37:23,919 Speaker 1: least paying attention to rhythm. There's this song now, yeah, 640 00:37:24,200 --> 00:37:28,640 Speaker 1: if you're desposito Desposito, it's like the new most dream 641 00:37:28,680 --> 00:37:31,680 Speaker 1: song ever, YouTube song ever. It's all Spanish. I don't 642 00:37:31,680 --> 00:37:33,200 Speaker 1: know why I love it. It's got a rhythm though 643 00:37:33,280 --> 00:37:37,080 Speaker 1: this oh yeah, I have I heard about it because 644 00:37:37,080 --> 00:37:39,680 Speaker 1: it's the most stream song. Yeah, and again you say 645 00:37:39,680 --> 00:37:41,879 Speaker 1: that I don't know a single word of it. That's fascinating. 646 00:37:41,920 --> 00:37:43,719 Speaker 1: But I listen to the whole thing and I'm like, yes, 647 00:37:44,000 --> 00:37:45,640 Speaker 1: you get it, Like this is this my jam? I 648 00:37:45,680 --> 00:37:47,880 Speaker 1: feel it like I know what. I don't know what 649 00:37:47,920 --> 00:37:50,080 Speaker 1: they're saying, but I know what they're trying to say. Right, Well, 650 00:37:50,360 --> 00:37:53,080 Speaker 1: you're you're you know how it makes you feel, which 651 00:37:53,120 --> 00:37:55,000 Speaker 1: is you know that. That's what they often say is 652 00:37:55,080 --> 00:37:57,480 Speaker 1: that I'm not really I don't really remember what he said, 653 00:37:57,520 --> 00:37:59,640 Speaker 1: but I know I remember how he made me feel. 654 00:37:59,760 --> 00:38:02,640 Speaker 1: That a lot of times that's what music. Does you 655 00:38:02,719 --> 00:38:08,040 Speaker 1: teach songwriting? Well, yes, how do you teach songwright? Like 656 00:38:08,040 --> 00:38:11,719 Speaker 1: if I want to take your class, right, well, I 657 00:38:11,960 --> 00:38:15,960 Speaker 1: really specifically it's lyric writing, so you know, we do 658 00:38:16,080 --> 00:38:20,640 Speaker 1: get into the whole thing of songwriting. But I still 659 00:38:20,680 --> 00:38:25,759 Speaker 1: am affiliated with Belmont. Um, I love Belmont, but I 660 00:38:25,840 --> 00:38:28,839 Speaker 1: taught lyric writing with my co talk with a friend 661 00:38:28,840 --> 00:38:33,320 Speaker 1: of mine for five years and um, you know, really, 662 00:38:33,360 --> 00:38:37,400 Speaker 1: I mean lyric writing is uh, you know, it's just 663 00:38:37,440 --> 00:38:40,319 Speaker 1: trying to get people to not edit what they do 664 00:38:40,480 --> 00:38:44,320 Speaker 1: and just you have to kind of start free form. Um. 665 00:38:45,000 --> 00:38:48,200 Speaker 1: I mean like literally, if we were going through an exercise, 666 00:38:48,280 --> 00:38:51,440 Speaker 1: would be like let's you and I go to the 667 00:38:51,480 --> 00:38:55,920 Speaker 1: Frist Museum and let's see whatever exhibit is there, and 668 00:38:56,000 --> 00:38:58,920 Speaker 1: let's walk around those rooms. Let's just let's just find 669 00:38:58,920 --> 00:39:01,799 Speaker 1: a painting or a sculpture that means something to you 670 00:39:01,880 --> 00:39:05,719 Speaker 1: that you just you just like, and then let's come 671 00:39:05,760 --> 00:39:09,600 Speaker 1: back and maybe take a picture of it, and let's 672 00:39:09,640 --> 00:39:14,960 Speaker 1: write a short story that you know, that illuminates whatever 673 00:39:15,280 --> 00:39:20,880 Speaker 1: this picture happens to be. And you know, so you 674 00:39:20,920 --> 00:39:23,000 Speaker 1: write two hun or fifty words and then you say, okay, 675 00:39:23,120 --> 00:39:26,719 Speaker 1: so you know, if like, what's the main point from 676 00:39:26,760 --> 00:39:29,759 Speaker 1: that two or in fifty word essay? Uh, you know, 677 00:39:29,920 --> 00:39:34,520 Speaker 1: it's you know, it's you know, it's fear of flying. 678 00:39:35,520 --> 00:39:39,920 Speaker 1: Uh and you know, and so you just kind of start, uh. 679 00:39:40,000 --> 00:39:43,040 Speaker 1: You know. Lyric writing particularly is just it's just getting 680 00:39:43,080 --> 00:39:46,520 Speaker 1: in touch with who you are, giving yourself permission to feel. 681 00:39:47,560 --> 00:39:53,560 Speaker 1: And um, I think there are two types of songs 682 00:39:53,640 --> 00:39:59,120 Speaker 1: and two kinds of songwriters. I'm always trying to remember something, 683 00:39:59,400 --> 00:40:02,080 Speaker 1: and I think most people are trying to forget something. 684 00:40:02,520 --> 00:40:07,520 Speaker 1: So every song I write is really about remembrance. But 685 00:40:07,640 --> 00:40:09,520 Speaker 1: I mean the majority of songs that you play on 686 00:40:09,560 --> 00:40:13,160 Speaker 1: your radio show I think are about forgetting example of 687 00:40:13,200 --> 00:40:18,720 Speaker 1: each place. Well, um, like what's the what's the number 688 00:40:18,719 --> 00:40:24,160 Speaker 1: one song? And take um uh, take Thomas Rhett and 689 00:40:24,160 --> 00:40:29,640 Speaker 1: Mary Morris a song. Okay, So that's that's about. I 690 00:40:29,680 --> 00:40:34,320 Speaker 1: think that's that's the whole thing. Makes you forget something, 691 00:40:35,120 --> 00:40:39,200 Speaker 1: it's your uh. I mean, if I were to put myself, 692 00:40:39,239 --> 00:40:41,160 Speaker 1: you know, in the mind of the writers, they're just 693 00:40:41,200 --> 00:40:46,400 Speaker 1: they're they're just it's it's just about one small, unique experience, 694 00:40:46,480 --> 00:40:50,120 Speaker 1: which is it's a moment in time. It's a relationship, 695 00:40:50,280 --> 00:40:54,120 Speaker 1: it's a thing, and it's it's you're not it's there's 696 00:40:54,120 --> 00:40:57,080 Speaker 1: no there's no past and there's no future. It's just 697 00:40:57,200 --> 00:41:00,480 Speaker 1: all right now. So it's to me, it's a connect 698 00:41:00,640 --> 00:41:03,839 Speaker 1: from you know, from the before and a disconnect from 699 00:41:03,880 --> 00:41:09,840 Speaker 1: the after. Um, I mean any of those songs. I 700 00:41:09,880 --> 00:41:11,600 Speaker 1: mean the House of Built Me is you know, I'm 701 00:41:11,640 --> 00:41:16,520 Speaker 1: trying to I've gotten lost and I can't remember where 702 00:41:16,520 --> 00:41:18,960 Speaker 1: I'm from or to whom I belong, and it's just 703 00:41:19,040 --> 00:41:23,719 Speaker 1: about coming back home and remembering who you are. We 704 00:41:23,800 --> 00:41:31,080 Speaker 1: played this one here Keith and Church when you rode 705 00:41:31,120 --> 00:41:34,160 Speaker 1: this was it written for two people? No? No, And 706 00:41:34,239 --> 00:41:37,160 Speaker 1: I mean honestly, Jeffrey Steele and I walked in on 707 00:41:37,320 --> 00:41:42,000 Speaker 1: Jaren Johnston, who's an amazing songwriter in the being Cadillac 708 00:41:42,080 --> 00:41:45,120 Speaker 1: three and Jared kind of had this thing started and 709 00:41:45,200 --> 00:41:48,279 Speaker 1: he had he had the title. So Jeffrey and I 710 00:41:48,400 --> 00:41:50,960 Speaker 1: just were like kids in a candy store. All all 711 00:41:51,000 --> 00:41:54,440 Speaker 1: we started do is we just we just started every 712 00:41:54,520 --> 00:41:56,759 Speaker 1: I mean you like literally we just sat there and thought, 713 00:41:57,680 --> 00:42:02,720 Speaker 1: let's connect everything that could possibly connected with the words 714 00:42:02,880 --> 00:42:06,640 Speaker 1: raise them up, and let's just fill the verses full 715 00:42:06,680 --> 00:42:09,760 Speaker 1: with that. So raise up a glass, raise up a sale, 716 00:42:09,960 --> 00:42:13,120 Speaker 1: raise up a you know, raise a toast, you know, 717 00:42:13,200 --> 00:42:16,200 Speaker 1: raise up a flag, you know, raise up a child. 718 00:42:17,080 --> 00:42:19,600 Speaker 1: It's just I mean, that's that is just kind of 719 00:42:19,600 --> 00:42:24,919 Speaker 1: a free form association of of of one of three 720 00:42:24,920 --> 00:42:27,160 Speaker 1: words raise them up. Did that would feel good? And 721 00:42:27,200 --> 00:42:30,880 Speaker 1: completely finished it? Yeah? That was that was That was quick. 722 00:42:31,000 --> 00:42:34,200 Speaker 1: It was one day. Jaran does these amazing little demos, 723 00:42:34,960 --> 00:42:38,520 Speaker 1: and um, I mean I think we played it for 724 00:42:38,560 --> 00:42:41,560 Speaker 1: a few people. But then when we heard Keith loved it, 725 00:42:42,400 --> 00:42:44,560 Speaker 1: that was amazing. And but then, I mean, then we 726 00:42:44,600 --> 00:42:48,160 Speaker 1: have heard this through the you know, through the years. 727 00:42:48,160 --> 00:42:50,360 Speaker 1: I don't I mean Keith didn't say this, but I've 728 00:42:50,400 --> 00:42:53,440 Speaker 1: heard people say that he got a little bit uncomfortable 729 00:42:53,480 --> 00:42:56,439 Speaker 1: with the fact that he's Australian and there's that patriotic 730 00:42:56,640 --> 00:42:59,640 Speaker 1: verse and he was like, I don't know if I 731 00:42:59,640 --> 00:43:02,279 Speaker 1: can pull this off. Can an Australian gassing about, you know, 732 00:43:02,840 --> 00:43:05,439 Speaker 1: fist black and blue, fight for the truth? Can you can? 733 00:43:05,440 --> 00:43:09,640 Speaker 1: He sing? And I think it's the producer, like Nathan 734 00:43:09,719 --> 00:43:13,800 Speaker 1: Chapman said, well, what if we got, you know, somebody 735 00:43:13,800 --> 00:43:15,400 Speaker 1: to come in and sing it with you? And I 736 00:43:15,440 --> 00:43:18,840 Speaker 1: think he just said that's brilliantly. So I don't know 737 00:43:18,880 --> 00:43:21,520 Speaker 1: if that was Keith's idea or Nathan's, but somebody had 738 00:43:21,560 --> 00:43:24,239 Speaker 1: a great idea to get the Eric Church involved and 739 00:43:24,280 --> 00:43:27,440 Speaker 1: that was that was that was amazing. Nobody boy American 740 00:43:27,520 --> 00:43:30,919 Speaker 1: and Eric Church. That's right, it's about as American as he's. Wow, 741 00:43:31,000 --> 00:43:40,080 Speaker 1: what a story. I love this George Straight song. And 742 00:43:40,160 --> 00:43:45,040 Speaker 1: to get George the song, well, George Straight loves Keith Gadius. 743 00:43:45,160 --> 00:43:48,480 Speaker 1: Keith Gaddis is a real he's a real cowboy Yatt. 744 00:43:48,560 --> 00:43:52,040 Speaker 1: So that's I wrote that with Keith. And I mean, 745 00:43:52,080 --> 00:43:55,840 Speaker 1: I'm not saying this to be disingenuous, Honestly, I sat 746 00:43:55,880 --> 00:43:58,520 Speaker 1: there while Keith kind of wrote that song and I 747 00:43:58,640 --> 00:44:02,279 Speaker 1: just was like, that's great, that's great. Can I get 748 00:44:02,320 --> 00:44:06,880 Speaker 1: you more coffee. That's amazing. Um, and he does you know, 749 00:44:06,920 --> 00:44:10,080 Speaker 1: I mean Keith gaddis he you know, he still is 750 00:44:10,400 --> 00:44:14,560 Speaker 1: an artist, but I mean he's he just he you know, 751 00:44:14,640 --> 00:44:19,200 Speaker 1: he just bleeds that West Texas you know, cattle rancher, 752 00:44:19,239 --> 00:44:22,200 Speaker 1: which is George Straight. So you say that that you 753 00:44:22,320 --> 00:44:25,560 Speaker 1: sat there, But if you're writing, you know, and you're 754 00:44:25,560 --> 00:44:28,840 Speaker 1: a longtime a thousands of sounds of songs, does it 755 00:44:28,960 --> 00:44:31,080 Speaker 1: kind of balance out where they're also songs that you 756 00:44:31,120 --> 00:44:34,319 Speaker 1: wrote and somebody else has sat there? Well yeah, and 757 00:44:34,320 --> 00:44:37,600 Speaker 1: and yes, yes, I mean there are days where you're 758 00:44:37,640 --> 00:44:40,080 Speaker 1: the editor in their days where you're the artist in 759 00:44:40,080 --> 00:44:42,440 Speaker 1: the room. Um, so you just you just kind of 760 00:44:42,760 --> 00:44:44,680 Speaker 1: there can't be I think you can't. There can't be 761 00:44:44,719 --> 00:44:47,200 Speaker 1: two artists they compete, and there can't be two editors. 762 00:44:47,200 --> 00:44:50,479 Speaker 1: Somebody's got to take the lead. So I have done 763 00:44:50,520 --> 00:44:52,480 Speaker 1: this long enough that I really I do want to 764 00:44:52,560 --> 00:44:56,520 Speaker 1: facilitate whatever's that. We just want to honor the song. 765 00:44:56,719 --> 00:44:59,480 Speaker 1: What does the song need? That's what I want to 766 00:45:00,080 --> 00:45:02,280 Speaker 1: you know, that's what I want to do. That's really 767 00:45:02,320 --> 00:45:05,400 Speaker 1: interesting that you you say it like that, because no 768 00:45:05,440 --> 00:45:09,000 Speaker 1: one said it before, where you're kind of filling roles, 769 00:45:09,480 --> 00:45:11,160 Speaker 1: and the role is gonna be feeled differently each time 770 00:45:11,160 --> 00:45:15,920 Speaker 1: you write a song. Right, But somebody's driving and somebody's 771 00:45:15,920 --> 00:45:20,279 Speaker 1: got the map out right. That's that's and I haven't 772 00:45:20,320 --> 00:45:22,960 Speaker 1: been able to articulate like that, but that's exactly like 773 00:45:23,160 --> 00:45:27,360 Speaker 1: we've got a destination. The destination is a song. The 774 00:45:27,440 --> 00:45:31,040 Speaker 1: journey is the process. Yeah, so you you can't be 775 00:45:31,080 --> 00:45:33,840 Speaker 1: two drivers and it can't be two navigators. Man, you 776 00:45:33,840 --> 00:45:36,960 Speaker 1: should really write songs because it's it's fantastic. Yeah, that's fantastic. 777 00:45:37,080 --> 00:45:40,880 Speaker 1: How about this on here? Mean back with Mamma's the 778 00:45:40,960 --> 00:45:44,880 Speaker 1: Porchla song, come on in Suffers on the store and 779 00:45:44,960 --> 00:45:49,239 Speaker 1: Beers and the bridge, every when the song came out. 780 00:45:49,480 --> 00:45:51,640 Speaker 1: And for me, I grew up listening to him on 781 00:45:51,640 --> 00:45:54,480 Speaker 1: the radio like I grew up and it was Garth 782 00:45:54,560 --> 00:45:56,719 Speaker 1: and Tim and you know even you play calling right 783 00:45:56,800 --> 00:45:59,000 Speaker 1: like that to me was when I was listening to 784 00:45:59,080 --> 00:46:00,879 Speaker 1: Kissing ninety six and the rock are u s ninety 785 00:46:00,880 --> 00:46:03,279 Speaker 1: seven and Hot Springs, those are the artists on and 786 00:46:03,280 --> 00:46:06,000 Speaker 1: I remember, you know, Tim growing up listening to it 787 00:46:06,520 --> 00:46:09,319 Speaker 1: just to start with obviously any out long and don't 788 00:46:09,320 --> 00:46:11,000 Speaker 1: take the girl like his first couple of singles and 789 00:46:11,000 --> 00:46:13,040 Speaker 1: then following him all the way up. And when this 790 00:46:13,080 --> 00:46:15,200 Speaker 1: song came out, I was actually on the radio getting 791 00:46:15,239 --> 00:46:18,399 Speaker 1: to play it. I was like, man, this is so 792 00:46:18,520 --> 00:46:23,640 Speaker 1: traditionally progressive. It was almost like a rewind song that 793 00:46:23,719 --> 00:46:27,279 Speaker 1: still sounded like today. When you write a song like that, 794 00:46:27,320 --> 00:46:29,439 Speaker 1: do you feel like you're doing that, like you're trying 795 00:46:29,440 --> 00:46:32,680 Speaker 1: to take a step back. I don't know, I don't. 796 00:46:32,719 --> 00:46:34,920 Speaker 1: I don't think it's as I don't think it's as 797 00:46:34,960 --> 00:46:39,279 Speaker 1: conscious as that. You know, we're all the everything we 798 00:46:39,400 --> 00:46:42,600 Speaker 1: do is the you know, summation of everything that that 799 00:46:42,880 --> 00:46:44,919 Speaker 1: you know, that's come before us. So we're all we're 800 00:46:45,040 --> 00:46:49,440 Speaker 1: borrowing from ourselves, we're borrowing from I mean that is 801 00:46:49,560 --> 00:46:53,360 Speaker 1: very similar to you know, just to see you smile, 802 00:46:53,800 --> 00:46:57,040 Speaker 1: just to see you smile. But the trend, though, was 803 00:46:57,080 --> 00:46:59,239 Speaker 1: not that when that song came out. I know. I 804 00:46:59,239 --> 00:47:02,440 Speaker 1: mean that's the magic of Tim McGraw who continues to 805 00:47:02,480 --> 00:47:06,520 Speaker 1: reinvent himself and kind of defy tradition. When it gets 806 00:47:06,520 --> 00:47:10,520 Speaker 1: real you know, real progressive, he'll do that. And then 807 00:47:10,560 --> 00:47:14,799 Speaker 1: when it gets real country, he'll do you know, you know, 808 00:47:14,880 --> 00:47:18,440 Speaker 1: live like you're dying. I mean, he is a you know, 809 00:47:18,520 --> 00:47:21,440 Speaker 1: he's a he's a metamorphosis. You have a lot of 810 00:47:21,440 --> 00:47:23,399 Speaker 1: Tim cuts, and I mean I have five up here, 811 00:47:23,440 --> 00:47:25,520 Speaker 1: and you may have more than that. But so are 812 00:47:25,560 --> 00:47:28,919 Speaker 1: you in the what they call Tim camp where he 813 00:47:28,920 --> 00:47:32,880 Speaker 1: hears I love Tim mcgrawl. And again, I mean he 814 00:47:32,920 --> 00:47:35,400 Speaker 1: has recording more of my songs anybody. So, so Tim's 815 00:47:35,400 --> 00:47:38,239 Speaker 1: recorded more of you than anybody else. So I mean, 816 00:47:40,360 --> 00:47:43,360 Speaker 1: you know, I mean if Tim and I are friends, 817 00:47:44,000 --> 00:47:48,800 Speaker 1: but you know, I mean, as artists, they have to 818 00:47:49,040 --> 00:47:53,040 Speaker 1: be like, what's the best for this record at this 819 00:47:53,040 --> 00:47:56,480 Speaker 1: particular moment. So at the same time, though, they have 820 00:47:56,520 --> 00:47:58,640 Speaker 1: a voice, and if someone has a voice like your 821 00:47:58,640 --> 00:48:02,239 Speaker 1: inner voice, hey, you're like, man, they actually speak, They 822 00:48:02,840 --> 00:48:06,200 Speaker 1: speak like I speak. Do you feel like that? Well, 823 00:48:07,840 --> 00:48:10,319 Speaker 1: excuse me, yeah, I think so. I mean, I mean 824 00:48:10,760 --> 00:48:14,600 Speaker 1: he has three children. I have three children. Um. The 825 00:48:15,080 --> 00:48:17,399 Speaker 1: way I really got connected to him was was through 826 00:48:17,440 --> 00:48:20,399 Speaker 1: grownm Indo't Cry. That was the first song he had. 827 00:48:20,480 --> 00:48:24,319 Speaker 1: And then uh, he invited me to come out to 828 00:48:24,440 --> 00:48:27,160 Speaker 1: California when he was doing the movie Flicker because they 829 00:48:27,200 --> 00:48:30,279 Speaker 1: needed an entitled for the movie. And so I went 830 00:48:30,280 --> 00:48:32,359 Speaker 1: out there and I spent a couple of nights on 831 00:48:32,400 --> 00:48:34,960 Speaker 1: the set with him and met Billy Bob Thornton, and 832 00:48:35,680 --> 00:48:37,879 Speaker 1: it was an amazing experience, but just trying to soak 833 00:48:37,960 --> 00:48:41,360 Speaker 1: up the sights and sounds of that movie and uh so, 834 00:48:42,200 --> 00:48:47,640 Speaker 1: you know, yeah, there's certainly commonalities to his life. I 835 00:48:47,640 --> 00:48:49,520 Speaker 1: think we probably, you know, in some ways the way 836 00:48:49,560 --> 00:48:59,319 Speaker 1: we look at life and think are similar. This one here, well, 837 00:48:59,440 --> 00:49:03,240 Speaker 1: I love I love the South, I love my daughters 838 00:49:03,280 --> 00:49:05,640 Speaker 1: and my wife. I went to Old miss so I 839 00:49:05,719 --> 00:49:09,040 Speaker 1: spent a lot of time in Oxford and Oxford, Mississippi. 840 00:49:09,040 --> 00:49:12,520 Speaker 1: Oxford has this amazing bookstore called Square Books. And you 841 00:49:12,600 --> 00:49:16,200 Speaker 1: walk in Square Books and it's got um a great 842 00:49:16,360 --> 00:49:20,200 Speaker 1: poster that says, you know, uh, Southerners, we may not 843 00:49:20,400 --> 00:49:23,279 Speaker 1: know how to uh talk, but we sure know how 844 00:49:23,280 --> 00:49:27,040 Speaker 1: to write. And they had pictures of Udora Welty and 845 00:49:27,120 --> 00:49:30,920 Speaker 1: you know, Robert pin Warren, William Faulkner, and Flannery O'Connor, 846 00:49:31,480 --> 00:49:34,040 Speaker 1: and I just I just started thinking about the distinctive 847 00:49:34,040 --> 00:49:37,360 Speaker 1: way that Southerners think, talk, and the way that we 848 00:49:37,400 --> 00:49:40,320 Speaker 1: look at the world. It really is is very different 849 00:49:40,320 --> 00:49:42,680 Speaker 1: than other parts of the country and just kind of 850 00:49:42,719 --> 00:49:46,960 Speaker 1: what a Southern voice is. And so my friend Bob 851 00:49:47,000 --> 00:49:49,480 Speaker 1: de Piro, who's from you know, he's not he's from Ohio, 852 00:49:49,640 --> 00:49:53,399 Speaker 1: but he Uh, you know that that really was so 853 00:49:53,480 --> 00:49:55,680 Speaker 1: fun to write because we just kind of name checked 854 00:49:55,800 --> 00:49:59,759 Speaker 1: every famous Southerner that there was, from Michael Jordan's to 855 00:50:00,080 --> 00:50:03,240 Speaker 1: you know, Bear Bryant to Billy Graham to Dale earn Hart. 856 00:50:03,320 --> 00:50:05,640 Speaker 1: It was just that was that was a fun one 857 00:50:05,680 --> 00:50:09,520 Speaker 1: to write. Did you write today? I did right today? 858 00:50:09,840 --> 00:50:12,759 Speaker 1: How do you feel about today's right? Well, today it 859 00:50:12,800 --> 00:50:15,640 Speaker 1: was with my least favorite co writer, which is myself. 860 00:50:15,760 --> 00:50:18,440 Speaker 1: So I was I was working on a song by myself. 861 00:50:19,000 --> 00:50:23,000 Speaker 1: Uh so it's it's you know, it's it is. The 862 00:50:23,040 --> 00:50:29,480 Speaker 1: songs I write by myself are different. Um, but you 863 00:50:29,520 --> 00:50:32,200 Speaker 1: know it's I don't know, it's it's kind of a beautiful, 864 00:50:32,280 --> 00:50:35,360 Speaker 1: torturous relationship, you know, when you're right by yourself. I 865 00:50:36,200 --> 00:50:40,400 Speaker 1: really do like it. It's uh, I love co writing, 866 00:50:40,400 --> 00:50:43,560 Speaker 1: but I do. I really like writing by myself as well. 867 00:50:43,800 --> 00:50:46,200 Speaker 1: How hard is it to remember all the writers that 868 00:50:46,280 --> 00:50:48,479 Speaker 1: you write with, because you throughout a number that you've written, 869 00:50:48,680 --> 00:50:53,440 Speaker 1: how many songs you don't know every co writer you've 870 00:50:53,440 --> 00:50:54,919 Speaker 1: been with them, and people are like, hey, you wrote 871 00:50:54,960 --> 00:50:56,680 Speaker 1: this song? Is it hard you have to let go 872 00:50:56,760 --> 00:51:00,239 Speaker 1: back and cramp sometimes? Well, yeah, I mean, I was like, up. 873 00:51:00,640 --> 00:51:02,759 Speaker 1: You know, in the last year, I was at a restaurant. 874 00:51:02,760 --> 00:51:05,840 Speaker 1: I was eating dinner with some friends and it was 875 00:51:05,880 --> 00:51:08,960 Speaker 1: a coat. It was a songwriter and his wife and 876 00:51:09,120 --> 00:51:11,560 Speaker 1: this girl comes up to the table and they're talking 877 00:51:12,400 --> 00:51:15,279 Speaker 1: and because my friend Barry Dean, and he says, this 878 00:51:15,360 --> 00:51:19,160 Speaker 1: is Stephanie, and uh, I said, Stephanie, so nice to 879 00:51:19,160 --> 00:51:22,120 Speaker 1: meet you. And she said, well, actually we've written together. 880 00:51:22,160 --> 00:51:27,640 Speaker 1: And I was like, that's embarrassing, and I trickly tried 881 00:51:27,680 --> 00:51:30,760 Speaker 1: to quickly try to recover. Oh yes, yeah, I remember 882 00:51:30,800 --> 00:51:34,040 Speaker 1: that it was. But anyway, yeah, it's uh. But you know, 883 00:51:34,160 --> 00:51:36,560 Speaker 1: we're all kind of about the songwriters are about all 884 00:51:36,600 --> 00:51:39,280 Speaker 1: the next thing, like whatever has happened in the past, 885 00:51:40,000 --> 00:51:43,000 Speaker 1: it's just it just doesn't matter. Songs in a sense, 886 00:51:43,880 --> 00:51:47,360 Speaker 1: even the catalog, all these songs, I mean, they sound amazing. 887 00:51:47,480 --> 00:51:50,320 Speaker 1: It almost like it shocks me to hear the songs, 888 00:51:50,320 --> 00:51:55,719 Speaker 1: because I songs in a sense become poison and that 889 00:51:55,760 --> 00:52:00,840 Speaker 1: they will try to destroy you. So and what I 890 00:52:00,880 --> 00:52:04,319 Speaker 1: mean by that is is what they do is they 891 00:52:04,360 --> 00:52:07,359 Speaker 1: try to keep you in the past, and they try 892 00:52:07,400 --> 00:52:09,799 Speaker 1: to prevent you from going on to the next thing. 893 00:52:10,040 --> 00:52:13,680 Speaker 1: And as a writer, we have to be all about 894 00:52:13,920 --> 00:52:17,399 Speaker 1: the next, the next thing. You know, the best song, 895 00:52:17,400 --> 00:52:19,399 Speaker 1: it's the best song I've written, it's the next one. 896 00:52:21,080 --> 00:52:23,680 Speaker 1: So you come to Nashville and eight you move away. 897 00:52:23,680 --> 00:52:29,360 Speaker 1: A few years later, you move back in two thousand 898 00:52:29,560 --> 00:52:31,800 Speaker 1: nine or so, you win the triple. You have a 899 00:52:31,800 --> 00:52:34,719 Speaker 1: triple play three number ones in the same year. That's 900 00:52:34,760 --> 00:52:39,080 Speaker 1: like movie type style. Well, you know it should give 901 00:52:39,160 --> 00:52:42,200 Speaker 1: everybody that's you know, that's still I mean, we're all aspiring, 902 00:52:42,200 --> 00:52:45,520 Speaker 1: but someone that's you know that hadn't quite figured it 903 00:52:45,520 --> 00:52:47,520 Speaker 1: out yet. I mean, I didn't get my first country 904 00:52:47,520 --> 00:52:51,640 Speaker 1: song record until Lost forty one. And you know, if 905 00:52:51,680 --> 00:52:53,960 Speaker 1: you love it, you just you just stay with it. 906 00:52:54,200 --> 00:52:57,839 Speaker 1: And it's it's a gift, and you know, you just 907 00:52:57,880 --> 00:53:01,080 Speaker 1: try to enjoy the God given gift of creativity and 908 00:53:01,880 --> 00:53:04,520 Speaker 1: be about it, share your music with anybody and everybody 909 00:53:04,520 --> 00:53:09,320 Speaker 1: that will listen. And I'm just looking at some notes 910 00:53:09,360 --> 00:53:14,920 Speaker 1: here even it's just wild that you've been relevant so long, 911 00:53:15,520 --> 00:53:17,600 Speaker 1: from calling Ray to Brett Elder something I'm good at 912 00:53:17,680 --> 00:53:20,000 Speaker 1: and with I say relevant, Like on the progressive side, 913 00:53:20,000 --> 00:53:24,239 Speaker 1: you've been progressive for so long, Like that's quite the 914 00:53:24,320 --> 00:53:27,120 Speaker 1: span of time to be progressive, because progression always eventually 915 00:53:27,200 --> 00:53:31,080 Speaker 1: it's caught. Well, I do think about that, you know, 916 00:53:31,120 --> 00:53:33,319 Speaker 1: I think one of the keys to you know, I mean, 917 00:53:33,320 --> 00:53:36,120 Speaker 1: of course, I'm I'm now you know, it used to 918 00:53:36,160 --> 00:53:38,080 Speaker 1: be I was like the father in the room, and 919 00:53:38,120 --> 00:53:40,799 Speaker 1: now I'm the grandfather in the room. So that I 920 00:53:40,840 --> 00:53:42,880 Speaker 1: think one of the ways to do that is is 921 00:53:42,960 --> 00:53:46,799 Speaker 1: just to embrace that. But you know, it's continuing to 922 00:53:47,120 --> 00:53:50,360 Speaker 1: I mean, I collaborate with a lot of very young people, 923 00:53:50,520 --> 00:53:54,080 Speaker 1: you know, people that are like, you know, like you know, 924 00:53:54,160 --> 00:53:56,200 Speaker 1: I asked, I'll, you know, come up like how old 925 00:53:56,200 --> 00:54:00,200 Speaker 1: are your like how how old are your parents? Forty five? 926 00:54:00,760 --> 00:54:03,560 Speaker 1: You know. I was like, so you just you have 927 00:54:03,719 --> 00:54:07,719 Speaker 1: to keep working younger, writing younger. And you know, I mean, 928 00:54:07,800 --> 00:54:11,520 Speaker 1: I'm I'm trying to write the perfect song. I mean, 929 00:54:11,600 --> 00:54:15,759 Speaker 1: I'm like, I'm just I'm driven to, you know, try 930 00:54:15,840 --> 00:54:18,120 Speaker 1: to get better. Like that Brett Elder song. It's nuts. 931 00:54:19,480 --> 00:54:21,839 Speaker 1: But you talk about rhythm, there's a lot of rhythm. 932 00:54:22,160 --> 00:54:24,600 Speaker 1: I mean, that's a perfect case of what I'm talking about. 933 00:54:24,640 --> 00:54:28,040 Speaker 1: But I mean that's again, I was. I had tortured 934 00:54:28,040 --> 00:54:30,560 Speaker 1: Brett for about three hours trying to write like we'd 935 00:54:30,560 --> 00:54:33,040 Speaker 1: written a song that we both love called one Mississippi. 936 00:54:33,040 --> 00:54:35,239 Speaker 1: That was on his first album, song by the Way, 937 00:54:35,400 --> 00:54:37,560 Speaker 1: and we were trying to write that part two and 938 00:54:37,600 --> 00:54:40,480 Speaker 1: just couldn't do it, and so Brett said, finally, he 939 00:54:40,600 --> 00:54:43,040 Speaker 1: was like, hey, what if we just and he just 940 00:54:43,080 --> 00:54:46,520 Speaker 1: started banging out some rhythm and I just got my 941 00:54:47,200 --> 00:54:51,120 Speaker 1: notebook and I just started jotting stuff down, voice memoving 942 00:54:51,200 --> 00:54:54,319 Speaker 1: him doing it, and you know, probably within an hour 943 00:54:54,440 --> 00:54:56,560 Speaker 1: we kind of had it and just thought, well, at 944 00:54:56,640 --> 00:55:00,840 Speaker 1: least that was like a cathartic experience. Uh, it was 945 00:55:00,880 --> 00:55:04,800 Speaker 1: a cleanse and uh, you know, I mean, but that's 946 00:55:05,080 --> 00:55:08,080 Speaker 1: I was just I was Brett Eldridge's lightning in a 947 00:55:08,120 --> 00:55:11,080 Speaker 1: bottle and I was just trying to capture it. He's 948 00:55:11,120 --> 00:55:21,040 Speaker 1: he's magic. This is Gwyneth patro song Coming Home Again. 949 00:55:21,200 --> 00:55:25,120 Speaker 1: That's a that's a veer. Yeah right, she's playing a singer. 950 00:55:25,480 --> 00:55:30,640 Speaker 1: Yes she can sing. Yes, yeah, it was that was yeah, 951 00:55:30,680 --> 00:55:33,200 Speaker 1: I mean it was that was Was it written for 952 00:55:33,400 --> 00:55:36,319 Speaker 1: this yes? No. So you know, Sony kind of had 953 00:55:36,360 --> 00:55:39,640 Speaker 1: an inside track when This Country Strong was being made, 954 00:55:40,320 --> 00:55:43,680 Speaker 1: and so everybody in town, you know, started writing songs 955 00:55:43,719 --> 00:55:45,440 Speaker 1: for it, but you literally got a script. And to 956 00:55:45,600 --> 00:55:48,719 Speaker 1: be like, I love writing songs for movies. So you 957 00:55:48,800 --> 00:55:50,920 Speaker 1: write a script. I mean in the script is like, 958 00:55:51,719 --> 00:55:53,960 Speaker 1: you know, it describes the scene and you know, song 959 00:55:54,080 --> 00:55:58,320 Speaker 1: needed here, and so I got with you know, Hillary 960 00:55:58,360 --> 00:56:01,279 Speaker 1: Lindsay and Troy Vergis about Arrow and we you know, 961 00:56:01,320 --> 00:56:04,520 Speaker 1: we wrote that together. But yeah, we were writing that 962 00:56:04,600 --> 00:56:09,040 Speaker 1: for the movie. And honestly, Hillary Lindsay is like, have 963 00:56:09,040 --> 00:56:11,040 Speaker 1: you ever have you ever heard her singing? Oh? Yeah, 964 00:56:11,080 --> 00:56:12,800 Speaker 1: we play a lot of it. I mean, so she's 965 00:56:12,880 --> 00:56:15,839 Speaker 1: just so she was singing, and it was just we 966 00:56:15,840 --> 00:56:19,600 Speaker 1: were just all transported to another realm. But yeah, that 967 00:56:19,600 --> 00:56:22,960 Speaker 1: that was we we That was n weird to see 968 00:56:23,000 --> 00:56:25,399 Speaker 1: your song in a movie. It is, yeah, of course 969 00:56:25,480 --> 00:56:27,880 Speaker 1: it wasn't really in the movie that long, but you know, 970 00:56:28,880 --> 00:56:31,839 Speaker 1: it's not Chicago, but even for a second. Yeah, yeah, 971 00:56:32,040 --> 00:56:34,880 Speaker 1: but that was we got to go to the Golden 972 00:56:34,880 --> 00:56:37,960 Speaker 1: Globes and the Oscar So that was that was That 973 00:56:38,000 --> 00:56:42,040 Speaker 1: was crazy. What impresses your your family? Your kids now, 974 00:56:42,680 --> 00:56:45,239 Speaker 1: because you've done a lot like what oppresses it? You know, 975 00:56:45,960 --> 00:56:49,520 Speaker 1: I mean I think they've been around it so long. 976 00:56:49,600 --> 00:56:51,560 Speaker 1: Now I do have a twenty six year old daughter 977 00:56:51,760 --> 00:56:56,239 Speaker 1: and she's writing songs with my encouragement, and so you know, 978 00:56:56,320 --> 00:56:59,600 Speaker 1: we kind of we talked shop and um, I mean 979 00:56:59,640 --> 00:57:03,520 Speaker 1: I'm encouraging her and she's encouraging me. I mean, my 980 00:57:03,600 --> 00:57:06,440 Speaker 1: wife is honestly read. She's co written every song I've 981 00:57:06,480 --> 00:57:08,440 Speaker 1: ever written, you know. I mean, I've made her listen 982 00:57:08,440 --> 00:57:12,160 Speaker 1: to almost every song, and she's great. She is not 983 00:57:12,320 --> 00:57:15,759 Speaker 1: impressed with me, she's not impressed in music, but she 984 00:57:15,760 --> 00:57:18,640 Speaker 1: she's got a great ear. So occasionally, you know, I mean, 985 00:57:18,680 --> 00:57:21,880 Speaker 1: she'll she'll often, you know, have a suggestion here there, 986 00:57:21,920 --> 00:57:25,600 Speaker 1: and I'll begrudgingly have to have to follow it. I 987 00:57:25,600 --> 00:57:27,120 Speaker 1: want to hear this demo one more time in the 988 00:57:27,160 --> 00:57:31,880 Speaker 1: house to build me. It's so good. You had to 989 00:57:31,880 --> 00:57:33,360 Speaker 1: be like this could be a thing when you cut this, 990 00:57:33,400 --> 00:57:36,560 Speaker 1: yet like this could I be the song? Well, honestly, 991 00:57:36,600 --> 00:57:38,920 Speaker 1: we think that every song we write, but even you 992 00:57:39,040 --> 00:57:42,800 Speaker 1: sing it like this here, even with every song, we're right, 993 00:57:42,920 --> 00:57:45,320 Speaker 1: and there's a point in the process where you think 994 00:57:46,160 --> 00:57:48,800 Speaker 1: this is the best song we've written, only to be 995 00:57:48,960 --> 00:57:52,360 Speaker 1: you know, disappointed about thirty minutes later. But I think 996 00:57:52,400 --> 00:57:55,000 Speaker 1: you have to Jimmy would have to scret song where 997 00:57:55,040 --> 00:57:58,600 Speaker 1: he talks about suspending disbelief. You have to suspend the 998 00:57:58,800 --> 00:58:02,080 Speaker 1: disbelief while you're writing to be able to write it 999 00:58:02,120 --> 00:58:04,200 Speaker 1: and you have to kind of think, God, this is 1000 00:58:04,440 --> 00:58:07,000 Speaker 1: you just get caught up in the magic and mystery 1001 00:58:07,000 --> 00:58:09,320 Speaker 1: of collaboration when you finish that thing. Because I have 1002 00:58:09,360 --> 00:58:12,120 Speaker 1: a problem with when I write, like a book or 1003 00:58:12,200 --> 00:58:15,080 Speaker 1: whatever I'm doing creatively, I hate it for a while. Yeah, 1004 00:58:15,880 --> 00:58:18,160 Speaker 1: do you ever reach that point where you've been inside 1005 00:58:18,160 --> 00:58:19,760 Speaker 1: of it so much that you just don't even know? 1006 00:58:20,520 --> 00:58:22,640 Speaker 1: Like where was I? What was I? I don't even 1007 00:58:22,680 --> 00:58:25,240 Speaker 1: understand what I'm trying to do here? Yeah, I mean 1008 00:58:25,280 --> 00:58:29,360 Speaker 1: I feel like that constantly. But again, I think the 1009 00:58:29,400 --> 00:58:31,760 Speaker 1: thing that we have to tell ourselves is, look, that's 1010 00:58:31,800 --> 00:58:37,080 Speaker 1: somebody else's responsibility to make those value judgments. You're that's 1011 00:58:37,120 --> 00:58:39,520 Speaker 1: not your job. You're that's the job of a publisher, 1012 00:58:40,080 --> 00:58:42,680 Speaker 1: of of somebody else. I think when we get too 1013 00:58:42,760 --> 00:58:46,080 Speaker 1: much in the headset of a critic or a somebody 1014 00:58:46,120 --> 00:58:49,560 Speaker 1: on the business end of it, it's somehow thwarts the 1015 00:58:49,640 --> 00:58:53,560 Speaker 1: creative process. So you know, it's like the critic in 1016 00:58:53,640 --> 00:58:56,920 Speaker 1: our head is you know, that's the arch enemy that 1017 00:58:57,000 --> 00:59:00,000 Speaker 1: we have to we just have to constantly try to silence. 1018 00:59:00,000 --> 00:59:02,880 Speaker 1: It's the critic who's trying to get you not the 1019 00:59:03,040 --> 00:59:06,280 Speaker 1: right or to be too critical or you know, just 1020 00:59:06,320 --> 00:59:09,160 Speaker 1: to be inside your head instead of you know, being 1021 00:59:09,200 --> 00:59:12,320 Speaker 1: on the paper, being present. It's it takes great mental 1022 00:59:12,320 --> 00:59:17,280 Speaker 1: discipline to do this, don't you think I don't have it? 1023 00:59:18,000 --> 00:59:20,880 Speaker 1: Like and again, all right, in a lot of different ways, 1024 00:59:21,000 --> 00:59:24,280 Speaker 1: you know, constand up comedy books, you know. But my 1025 00:59:24,360 --> 00:59:27,160 Speaker 1: discipline is just continuing to do it. But there's nothing 1026 00:59:27,160 --> 00:59:28,760 Speaker 1: that I do and I come away from it going 1027 00:59:29,000 --> 00:59:31,120 Speaker 1: that was good ever, because I get inside of it 1028 00:59:31,160 --> 00:59:32,880 Speaker 1: and I'm like, this is not funny anymore. This is 1029 00:59:32,880 --> 00:59:34,520 Speaker 1: not good anymore. This is not compelling, and I just 1030 00:59:34,520 --> 00:59:36,240 Speaker 1: want to run away from it. Every time I want 1031 00:59:36,240 --> 00:59:38,800 Speaker 1: to run away. But well, I know, I mean I 1032 00:59:38,840 --> 00:59:42,160 Speaker 1: feel like that too. I am so I get so dissatisfied. 1033 00:59:42,360 --> 00:59:45,439 Speaker 1: I just you know, you could. It's it's just it's 1034 00:59:45,520 --> 00:59:47,720 Speaker 1: up and down the last couple of weeks. All I 1035 00:59:47,720 --> 00:59:50,800 Speaker 1: can think about it all the time I've wasted and 1036 00:59:51,120 --> 00:59:57,080 Speaker 1: all the all the opportunities I've missed. I really am, 1037 00:59:57,120 --> 01:00:01,600 Speaker 1: I've just been And then i' start singing the scoreboard 1038 01:00:01,640 --> 01:00:05,840 Speaker 1: clocks shows up again. I'm like, wow, am I am? 1039 01:00:05,880 --> 01:00:09,840 Speaker 1: I take am? I am? I using the time that 1040 01:00:09,960 --> 01:00:16,880 Speaker 1: I have, you know, to its greatest asset. And you know, 1041 01:00:16,960 --> 01:00:19,320 Speaker 1: that those are. That's okay to do that for a while, 1042 01:00:19,320 --> 01:00:21,680 Speaker 1: but you've gotta get rescued from that otherwise you just 1043 01:00:22,560 --> 01:00:24,960 Speaker 1: again that's start. When I do that, I'm like, all right, 1044 01:00:25,040 --> 01:00:30,320 Speaker 1: I'm worrying about the end result, which is is Tim 1045 01:00:30,360 --> 01:00:33,360 Speaker 1: mcgawl or Blake Shelter, is anybody gonna care about this? 1046 01:00:34,160 --> 01:00:36,560 Speaker 1: And then when when when you get there, then you're 1047 01:00:36,680 --> 01:00:39,400 Speaker 1: you're kind of sunk. You have to quickly get off 1048 01:00:39,440 --> 01:00:41,720 Speaker 1: that and be like, oh wait a minute, that doesn't matter. 1049 01:00:41,840 --> 01:00:45,200 Speaker 1: What matters is the next song I gotta write. So 1050 01:00:45,240 --> 01:00:46,880 Speaker 1: how much? I oh you if this our class? I 1051 01:00:46,920 --> 01:00:48,760 Speaker 1: just took like that, these kids coming, this has been 1052 01:00:48,800 --> 01:00:51,280 Speaker 1: like therapy. I should pay you about four just to 1053 01:00:51,360 --> 01:00:55,640 Speaker 1: listen to the well I've enjoyed. It hasn't been. This 1054 01:00:55,680 --> 01:00:57,720 Speaker 1: has been a fun hour for me. I appreciate you 1055 01:00:57,720 --> 01:01:03,960 Speaker 1: coming by. Can people take your class? Well? I I honestly, 1056 01:01:04,000 --> 01:01:06,200 Speaker 1: I got so busy. I don't have time. I didn't 1057 01:01:06,320 --> 01:01:11,000 Speaker 1: I've had to temporarily halt teaching at Belmont. But I mean, 1058 01:01:11,040 --> 01:01:13,440 Speaker 1: I'm very involved with the n s a I, which 1059 01:01:13,480 --> 01:01:17,800 Speaker 1: is a great organization, and uh, I I love talking. 1060 01:01:18,040 --> 01:01:21,720 Speaker 1: Is I'm not really teaching. I'm I'm co learning with somebody. 1061 01:01:21,800 --> 01:01:24,919 Speaker 1: So it's like I love talking about it, I love 1062 01:01:25,000 --> 01:01:28,400 Speaker 1: working through it. Um we really, you know, creative people, 1063 01:01:28,440 --> 01:01:31,400 Speaker 1: we we need community, We need each other, We need 1064 01:01:31,480 --> 01:01:35,959 Speaker 1: people to remind us of, you know, of of all 1065 01:01:35,960 --> 01:01:38,680 Speaker 1: that we've got and um, you know, all that we're 1066 01:01:38,680 --> 01:01:40,680 Speaker 1: doing and all that we're doing well, you know, because 1067 01:01:40,680 --> 01:01:45,400 Speaker 1: I think the default, the normal default position in my 1068 01:01:45,440 --> 01:01:48,120 Speaker 1: mind is just to think of all that I haven't 1069 01:01:48,160 --> 01:01:50,280 Speaker 1: done well and the you know, all the time that 1070 01:01:50,320 --> 01:01:54,520 Speaker 1: I've wasted. But uh, it's been very encouraging for me today. 1071 01:01:54,560 --> 01:01:57,680 Speaker 1: But I'm telling you, I mean, you may not see 1072 01:01:57,680 --> 01:02:01,800 Speaker 1: it like that, but you're you're you're incredibly creative and 1073 01:02:01,880 --> 01:02:05,640 Speaker 1: you're it's not contrived, and it's fluid and it's fun, 1074 01:02:05,840 --> 01:02:09,400 Speaker 1: and it's it's transparent. It takes, you know, and you 1075 01:02:09,400 --> 01:02:12,360 Speaker 1: you do risk a lot, but I mean, that's that's 1076 01:02:12,440 --> 01:02:16,040 Speaker 1: part of that's part of what we love about what 1077 01:02:16,120 --> 01:02:19,640 Speaker 1: you do is that it's it's somehow you know, when 1078 01:02:19,640 --> 01:02:24,120 Speaker 1: you're when you're willing to risk transparency, it allows other 1079 01:02:24,120 --> 01:02:27,480 Speaker 1: people to kind of overlay their life onto onto what 1080 01:02:27,520 --> 01:02:31,680 Speaker 1: you're doing and kind of live vicariously through it. So 1081 01:02:32,560 --> 01:02:35,120 Speaker 1: that's all we're trying to do is just continue to 1082 01:02:36,280 --> 01:02:39,840 Speaker 1: you know, kind of create art that other people can can. 1083 01:02:40,640 --> 01:02:43,080 Speaker 1: You know, when we see the Mona Lisa, we're like, 1084 01:02:43,200 --> 01:02:47,360 Speaker 1: there's something about her smile that allows us to overlay 1085 01:02:47,480 --> 01:02:51,440 Speaker 1: our life on that, or Harry Potter or you know, 1086 01:02:51,720 --> 01:02:54,720 Speaker 1: to kill a mocking bird or you know, it's like, 1087 01:02:54,760 --> 01:02:56,840 Speaker 1: that's what art. That's what I think. That's why God 1088 01:02:56,880 --> 01:03:01,200 Speaker 1: gave us art is it allows us to, um, you know, 1089 01:03:01,400 --> 01:03:05,520 Speaker 1: find out something about ourselves, you know, but the key 1090 01:03:05,560 --> 01:03:07,920 Speaker 1: to it has got to be transparent and vulnerable, and 1091 01:03:08,000 --> 01:03:11,360 Speaker 1: that's awfume, not easy to do. I've enjoyed the hour. 1092 01:03:11,960 --> 01:03:16,440 Speaker 1: I've really enjoyed the hour. Oh man, I felt like 1093 01:03:16,440 --> 01:03:20,560 Speaker 1: I just went back to school episode seventy one with 1094 01:03:20,760 --> 01:03:25,320 Speaker 1: Tom Douglas and I'm gonna go revalue. I'm gonna look 1095 01:03:25,320 --> 01:03:28,960 Speaker 1: the scoreboard in my bedroom reevaluate a lotta and do it. 1096 01:03:29,360 --> 01:03:31,840 Speaker 1: And thanks Tom, stop buying enjoying it. I'll see you 1097 01:03:31,840 --> 01:03:34,560 Speaker 1: next time. Thank you everybody,