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Speaker 1: Hey, guys, Bobby here, We're going to do a Brett

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Speaker 1: James replay of an episode we did a few years ago,

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Speaker 1: and so it's a remembering episode of Brett James. A

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Speaker 1: lot of people had messaged me going, hey, did you

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Speaker 1: do a podcast with them?

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Speaker 2: And or they didn't know how to find it.

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Speaker 1: So we're just going to repost it back up at

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Speaker 1: the top and just talk for a second before we

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Speaker 1: get back into it. This episode is remembering Brett James,

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Speaker 1: who I'd done this podcast with him. I'd worked with

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Speaker 1: him a couple times after we had recently done.

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Speaker 3: The movie theater show.

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Speaker 1: I was Brett and a couple other writers, myself and

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Speaker 1: from Nashville. We had a bunch of accomplished songwriters playing

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Speaker 1: songs and it was going into movie theaters all over

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Speaker 1: the country. Kind of an experimental deal. But Brett was

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Speaker 1: super kind, obviously super successful, very well loved. He had

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Speaker 1: released a handful of country songs before it really took

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Speaker 1: on the I mean, so successful songwriting career that people

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Speaker 1: know him for now. Brett James dinged a plane crash.

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Speaker 1: According to reports, a small plane went down in Macon

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Speaker 1: County near Franklin, North Carolina. Around three pm on Thursday.

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Speaker 1: Brett was flying with his wife and his twenty eight

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Speaker 1: year old daughter, who had just celebrated her birthday, and

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Speaker 1: the plane crash and killed them. Brett James was a

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Speaker 1: Grammy Award winner and a member of the Nashville Songwriters

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Speaker 1: Hall of Fame. He was credited on nearly five hundred

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Speaker 1: songs recorded by artists from way different genres, massive hits.

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Speaker 1: He was a writer for Jesus Take the Will and

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Speaker 1: Cowboy Casanova, for Carrie Underwood, When the Sun Goes Down,

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Speaker 1: for Kenny Chesney, The Truth for Al Dean, so many more,

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Speaker 1: you know, even songs for non country artists like Kelly Clarkson,

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Speaker 1: the Backstreet Boys, bon Jovi, and others. Brett James was

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Speaker 1: fifty seven years old, so it had been three years

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Speaker 1: or so since he was in with me. He stopped

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Speaker 1: by in twenty twenty two, and I had heard that

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Speaker 1: Brett was super cool, super nice, but also like super cool,

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Speaker 1: like perfect hair, leather jacket, but like once you met him,

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Speaker 1: like you understood that's why you liked him, Like it

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Speaker 1: wasn't some fake persona that he put on. And he

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Speaker 1: showed up in a motorcycle to my house, and he

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Speaker 1: literally drove up boom boom boom by himself, parked right outside,

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Speaker 1: and he came in and we talked about at the

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Speaker 1: time he had twenty seven number ones hit six in

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Speaker 1: one year back in two thousand and nine, and you're

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Speaker 1: gonna hear all this, but we talked about how he

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Speaker 1: went from medical school to pursuing a career as a

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Speaker 1: solo country artist in the nineties, winning a Grammy. So

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Speaker 1: I want to take a look back and remember Brett James.

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Speaker 1: This is from episode three seventy. Rest in Peace of

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Speaker 1: Brett James, super super loved, wildly beloved in Nashville, and

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Speaker 1: not just the songwriters but the artists. You could see

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Speaker 1: everybody posting very heart felt messages after Brett had passed away.

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Speaker 2: So here he is Brett James.

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Speaker 1: Hey, Brett's So when Mike reached out, he said, and

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Speaker 1: what he often does with folks, they said, hey, what

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Speaker 1: are the number ones that you know? And you were like,

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Speaker 1: hold on a minute, because I looked at your lesson

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Speaker 1: number one you have twenty seven in counting.

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Speaker 3: Something like that. I don't know.

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Speaker 1: I mean, what a what a life that you have

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Speaker 1: so many massive songs that you get to forget some

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Speaker 1: of them.

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Speaker 3: You know, it's you know, I just leave the listening

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Speaker 3: to somebody else, So I don't I don't try to

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Speaker 3: keep you know, I don't keep score.

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Speaker 2: What does encounting mean? Is there anything right now that's.

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Speaker 3: I don't have anything climbing right now. I my last

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Speaker 3: number one.

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Speaker 2: Was knowing you you're a real loser.

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Speaker 3: Then I I gotta get busy. We don't have.

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Speaker 2: Anything going for it at all.

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Speaker 1: You had a solo deal way before you turned into

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Speaker 1: the great writer.

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Speaker 3: I had a miserably failed solo dealer.

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Speaker 2: But was it a miserably failed deal?

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Speaker 4: Though?

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Speaker 1: I mean, I would say otherwise, I mean to get

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Speaker 1: a deal first of all? Period incredibly different?

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Speaker 3: Sure, yeah, so.

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Speaker 2: Was that deal in Nashville based deal?

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Speaker 3: It was? It was? It was Arista Nashville based back

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Speaker 3: in nineteen ninety three.

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Speaker 1: That's all was Arista, and obviously Arista as an imprint

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Speaker 1: outside of just country music. Sure, did you move to town

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Speaker 1: and then pursue a like a decrobed be a singer?

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Speaker 2: Was out the idea?

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Speaker 3: That was the idea? You know, it's it's a really

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Speaker 3: long story, but we have all the time for it.

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Speaker 3: There you go, well, I was in medical school. Just

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Speaker 3: like all good country.

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Speaker 2: Song, you're in medical school.

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Speaker 3: I was to do what I was going to be

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Speaker 3: at an er doc. That was my kind of plan

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Speaker 3: for life. My dad and granddad were both docs, so

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Speaker 3: that's kind of grew up in that world. Wow. Yeah,

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Speaker 3: I just you know, that just seemed like the natural thing.

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Speaker 3: And and uh, my freshman year of med school in Oklahoma,

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Speaker 3: where I'm from, I go and I see it. You know,

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Speaker 3: I went to college in Texas and I grew up

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Speaker 3: in Oklahoma, so you know, I loved country music anyway.

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Speaker 3: But I went and saw Steve Warner concert one night.

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Speaker 3: Who's getting in the song right, A whole fame in

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Speaker 3: a month. I'm so excited because he's awesome. I go

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Speaker 3: see a Steve Warner show and kind of watched him

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Speaker 3: one night, and he's an amazing player. And I was like, Okay,

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Speaker 3: I'll never play guitar like that, but I think the

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Speaker 3: rest of it I might be able to do. And

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Speaker 3: so I kind of, you know, cause everybody that kind

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Speaker 3: of has that moment, I'm sure you had your moment

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Speaker 3: where you're like, this is what I can do. I

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Speaker 3: could be pretty good at it. And you know. That

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Speaker 3: was kind of my little moment where maybe I should

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Speaker 3: start writing songs in my free time. And so that's

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Speaker 3: what I did. I started writing songs my free time.

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Speaker 1: And did you sing though? In high school? Like fifteen,

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Speaker 1: were you singing?

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Speaker 3: You know, in church? Yeah? And I was in a

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Speaker 3: group that even traveled from church, we sing in other churches.

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Speaker 3: So I grew up singing in church, and that's how

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Speaker 3: I learned this thing. So I kind of knew I

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Speaker 3: could sing, But were you a celebrated singer at church?

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Speaker 2: When the group would go on with it'd be like this,

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Speaker 2: this is a little breat little bread can sing.

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Speaker 3: Yeah, it was a little bit I was. I was

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Speaker 3: the guy who got most of the solos and stuff

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Speaker 3: like that. So yeah, a little bit I knew I

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Speaker 3: could sort of, you know, I was singing at high

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Speaker 3: school graduation and stuff like that, like a lot of

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Speaker 3: kids in high school. But I never you know where

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Speaker 3: I'm from, you don't. It's not on the list of

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Speaker 3: things you think you can do for a job. It's

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Speaker 3: not really one of those things in high school they say, yeah,

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Speaker 3: you should, you can do.

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Speaker 1: This, you know, right, But your grandfather's a doctor, your

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Speaker 1: dad's doctor. Those are pretty practical jobs as far as

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Speaker 1: jobs that if you go to school and you study

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Speaker 1: and you get the right grades and you perform, you

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Speaker 1: get the job.

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Speaker 3: You get the job. That's right.

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Speaker 2: This industry is not that no in any way whatsoever.

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Speaker 1: And so what did they say about when you finally

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Speaker 1: expressed to your dad even, Hey, I think I want

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Speaker 1: to not do medicine, right?

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Speaker 3: You know? He was all about it, interestingly enough, because

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Speaker 3: he was kind of a frustrated singer himself, and in

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Speaker 3: you know, he'd been a doctor for a long time

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Speaker 3: by that time, and it had kind of changed, the

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Speaker 3: job description had changed. He was kind of like one

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Speaker 3: of these small town doctors who just you know, takes

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Speaker 3: care of the grandparents and delivers the grand babies and

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Speaker 3: everything in between. And he and just medicine had changed.

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Speaker 3: So he was a little like, go chase your dream.

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Speaker 3: That's what he was about. And that's what happened to me.

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Speaker 3: I came out here. I'd written, like, you know, ten songs,

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Speaker 3: and I put five of them. I literally took, you know,

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Speaker 3: my summer job money and paid for a little studio

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Speaker 3: in Oklahoma City and sent it to my one contact

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Speaker 3: in the music business. Who was my friend Deb from

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Speaker 3: college who was an intern in college radio promotion in

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Speaker 3: ann Arbor. So that was my you know, that was

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Speaker 3: my big end. But fortunately she gave it to her bab.

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Speaker 3: Her boss had been a big deal, and her boss says, well,

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Speaker 3: I'd like to manage you. When can you come to Nashville?

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Speaker 2: So let me get this straight. So ann arbora Michigan.

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Speaker 3: Right?

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Speaker 2: Is that where?

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Speaker 3: Right? That's where she was based.

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Speaker 2: Okay, that's not really that close to Nashville. No, So

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Speaker 2: who's her boss?

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Speaker 3: Her boss is I think still lives here. A lady

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Speaker 3: named Marien Nally and Rereen had been a big A

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Speaker 3: and R person. She actually started the at CO record

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Speaker 3: label for Atlantic in New York.

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Speaker 2: But did you live here?

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Speaker 3: No? But she'd actually had some contacts here and she'd

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Speaker 3: done some really cool stuff with some bands from Nashville,

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Speaker 3: like she discovered in Excess and she she had had

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Speaker 3: some had a big career, and then gone back home,

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Speaker 3: moved back home to ann Arbor, and so she was like,

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Speaker 3: can I meet you in Nashville? I want to introduce

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Speaker 3: you some people. And anyway, long story shorts. I came

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Speaker 3: in here on spring break of my sophomore year, and

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Speaker 3: it was my third day. We met with a couple

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Speaker 3: labels and they kind of patted me on the head

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Speaker 3: and you know, sent me back and from that demo,

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Speaker 3: like they heard the demo, they met with you. Yeah,

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Speaker 3: mainly they met with me because they knew her. You know,

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Speaker 3: she got the meeting. So we go in, we play

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Speaker 3: the music and they're like, nice to meet you. We

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Speaker 3: have lunch, and you know, again sometime and then randomly

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Speaker 3: we're in another guy's office that she knows, and I

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Speaker 3: play some music for got him. Cliff aldwritch she might

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Speaker 3: know Cliff or his son Cliffy, And we're in his

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Speaker 3: office and I play some songs for him and on

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Speaker 3: this kid in a cowboy hat from Oklahoma, and he says,

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Speaker 3: I think you're pretty good. And this is the way

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Speaker 3: Nashville kind of worked back then. He literally got on

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Speaker 3: his landline, called up Tim Dubois and said, Tim, I

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Speaker 3: think I got a guy over here that's pretty good,

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Speaker 3: and Tim said bring him over. So literally ten minutes later,

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Speaker 3: I'm in the you know, the president of Arista's office,

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Speaker 3: Tim Dubois at the time, and they were crushing it,

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Speaker 3: you know, Alan Jackson and Brooks and Dunn and all

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Speaker 3: these acts. And I'm sitting in his office playing playing

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Speaker 3: music for him, And twenty minutes later he's like, mister,

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Speaker 3: I've never told anybody this, but if you moved to Nashville,

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Speaker 3: I'll give you a record deal.

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Speaker 1: Did you know how heavy it was the room?

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Speaker 3: Not really. I don't think I had a clue how

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Speaker 3: big a deal he was at the time. You know,

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Speaker 3: I learned later, did you get.

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Speaker 1: And I guess do you think your performance when per

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Speaker 1: forming in that room for Tim Dagwaw do you feel

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Speaker 1: like because you didn't really know, you were allowed to

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Speaker 1: just perform as you normally would.

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Speaker 2: And if you did, actually knowing.

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Speaker 1: You were educated on the process, maybe you would have

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Speaker 1: you'd been a little tight because.

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Speaker 2: Like I'm with the president of probably so exactly.

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Speaker 3: It was probably nice that I didn't kind of, you know,

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Speaker 3: kind of gather how how important he was. You got

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Speaker 3: to deal that quick.

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Speaker 2: I mean you weren't even living here.

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Speaker 3: Right, It was nuts? It was nuts. He and but

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Speaker 3: what was you know? I said, you know, he offered

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Speaker 3: me a deal, and I was like, well, I'm in

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Speaker 3: med school. I'm gonna have to think about it a

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Speaker 3: little bit. And he said, well, you're gonna have to

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Speaker 3: move here if you want to do this, you know,

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Speaker 3: And he gave me his, you know, home phone number

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Speaker 3: because nobody even had cell phones back then, said here's

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Speaker 3: my number, call me if you if you want to

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Speaker 3: do this. And what happened was I decided to take

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Speaker 3: a year off med school. I finished that year, I

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Speaker 3: took my medical board exams all that stuff, and the

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Speaker 3: day after I took my board exams, I moved to Nashville.

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Speaker 3: But I knew, like instinctively, I wasn't ready, you know,

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Speaker 3: to do this to I just you know, I'd written

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Speaker 3: ten songs and I just knew I wasn't ready. So

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Speaker 3: I got a job waiting tables and town Cafe, and so.

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Speaker 2: You moved here, but you didn't take I.

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Speaker 3: Didn't call him for nine months.

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Speaker 2: So you moved here, I did.

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Speaker 1: You went through with that part, the part that kind

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Speaker 1: of is hard, but the part that's kind of cool.

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Speaker 2: He just died not to do yet.

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Speaker 3: Yeah, I just I just didn't think I was ready,

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Speaker 3: you know. I was like, I don't know who I am,

250
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Speaker 3: I don't know what I'm doing. I don't have a

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Speaker 3: clue about this business. And so I just started playing

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Speaker 3: you know, open mic nights, just like everybody else. And

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Speaker 3: and I you know, got like I said, waited tables.

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Speaker 3: And fortunately, you know, it was the early nineties. It

255
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Speaker 3: was a little different town back then. If you could

256
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Speaker 3: like play three cords and sing and he at all,

257
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Speaker 3: somebody'd give you a publishing deal. So I got lucky

258
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Speaker 3: that I got a publishing deal. About three months later.

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Speaker 2: Tim de Ball never walked into a restaurant like that's.

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Speaker 1: He did not.

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Speaker 3: He did not, And so I called him, like, you know,

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Speaker 3: finally I'd recorded some demos and kind of felt like

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Speaker 3: I was comfortable playing him some new music and called

264
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Speaker 3: him nine months later, said it had been a year

265
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Speaker 3: since I met with him and had that meeting, and

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Speaker 3: he I was like, I don't even know if you

267
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Speaker 3: remember who I am, But a year ago you told

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Speaker 3: me if i'd move here, you'd give me a deal,

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Speaker 3: is said, I remember you. So I came in and

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Speaker 3: he signed me, and that's the way that got started.

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Speaker 1: So what happens then? So you have a deal, put

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Speaker 1: out a couple of songs. I'm gonna have them here.

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Speaker 3: Failed miserably, Yes, just everything takes.

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Speaker 1: Fail because I can tell you from just a personal experience.

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Speaker 1: Like I had a show we were we had tried

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Speaker 1: to pilot for it, the networks about to pick it up.

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Speaker 1: Then they changed all of the executives. Sure, so they went, ah,

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Speaker 1: this wasn't our show, so we're not going to go

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Speaker 1: through with it.

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Speaker 3: Yeah.

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Speaker 2: So I can go, well, that failed miserably, or I

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Speaker 2: can go, well, the reason I.

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Speaker 3: Never got a shot is because it's not It's not

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Speaker 3: anybody's fault exactly, And you know, that whole thing just

285
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Speaker 3: wasn't meant to be looking back, you know, I was trying.

286
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Speaker 3: I mean, we were doing radio tours. We're going to

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Speaker 3: see all the stations and they're all telling me they're

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Speaker 3: going to play the records, and then they don't, you know,

289
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Speaker 3: and that happened to lots of artists.

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Speaker 2: Were heartbroken when that deal didn't work out.

291
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Speaker 3: You know, it wasn't heartbroken. It was more like, because

292
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Speaker 3: it didn't, it kind of drug out. It was about

293
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Speaker 3: a five year period of it not working because put

294
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Speaker 3: out a couple singles, they don't work. Then you go

295
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Speaker 3: back in and make another album, you change producers. You're

296
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Speaker 3: kind of you know how that that game works with artists.

297
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Speaker 3: You're just trying to figure it out. And when it

298
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Speaker 3: finally went away, it was literally five years later, and

299
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Speaker 3: I was not heartbroken, but I was, honestly, I'd be embarrassed.

300
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Speaker 3: It was sort of like, you know, weren't you the

301
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Speaker 3: guy that was supposed to you have your You had

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Speaker 3: a ceed in Walmart for a minute, you know, And

303
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Speaker 3: I remember being on music row and walking into like

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Speaker 3: publishing Coveing just being like embarrassed, like kind of feeling

305
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Speaker 3: like that's the guy that didn't work and he's washed

306
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Speaker 3: up now, you know. It was real, It was a

307
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Speaker 3: real thing.

308
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Speaker 1: Was there ever a time that you purposefully said, well,

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Speaker 1: I'm going to pivot because because you had to also

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Speaker 1: decide not to pursue it anymore, even if you don't

311
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Speaker 1: have a deal. Like I've had friends who have had

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Speaker 1: deals and they've gone away or they've lost it, or

313
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Speaker 1: and they go, Okay, well I can do it independent,

314
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Speaker 1: I can go sign somewhere else. I cannot do it.

315
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Speaker 1: Some of them have become wonderful songwriters. Sure, Like, what

316
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Speaker 1: was that moment for you and how did you make

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Speaker 1: that decision?

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Speaker 3: Well, it was a little different. It was a little

319
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Speaker 3: different pivot for me. I was it was nineteen ninety nine,

320
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Speaker 3: I'd been in Nashville for seven years and had lost

321
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Speaker 3: my record deal and my publishing deal had gotten cut

322
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Speaker 3: by like two thirds. You know, when I was the

323
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Speaker 3: early twenties, I'm making great money because everybody thought I

324
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Speaker 3: was going to be Tim was telling everybody's gonna be

325
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Speaker 3: Garth Brooks. So I had this, you know, some some

326
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Speaker 3: good money and all that stuff happening, and all of

327
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Speaker 3: a sudden, it's nineteen ninety nine and I'm like, I

328
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Speaker 3: think I'm almost thirty years old, and I have two

329
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Speaker 3: little babies. And I literally walked into Target one day

330
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Speaker 3: and almost if I've ever had a panic attack, this

331
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Speaker 3: was it. I was standing in Target and I'm in

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Speaker 3: the like the kid's clothing, and I see this little

333
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Speaker 3: pair of, you know, one year old tennis shoes, and

334
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Speaker 3: I looked at him. I was like, and I'd really

335
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Speaker 3: like to buy those for my kid, but I can't

336
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Speaker 3: afford them. And I'm not going to live like this.

337
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Speaker 3: And so I decided then and there that I was

338
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Speaker 3: going to figure something out. But all I'd ever done

339
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Speaker 3: was go to med school and be a songwriter. And

340
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Speaker 3: so I literally snail mailed to med school a letter

341
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Speaker 3: and said, you're only supposed to get one year off.

342
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Speaker 3: I've been out for seven Is there any chance I

343
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Speaker 3: can get back in? You know? And the Dean Snail

344
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Speaker 3: mailed me back and she said, well, you've been out

345
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Speaker 3: a long time, but yes you can come back, but

346
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Speaker 3: you got to start. You have to repeat your sophomore year.

347
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Speaker 3: Oh wow. And so I did that. I went back

348
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Speaker 3: to med school after being in town for seven years

349
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Speaker 3: in nineteen ninety nine. And you know, my ex wife

350
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Speaker 3: now and kids stayed here in Nashville to sell the house.

351
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Speaker 3: So I just went back. I moved in with my

352
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Speaker 3: parents who lived there, and started back to med school,

353
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Speaker 3: you know, at thirty as a sophomore, you know, just

354
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Speaker 3: and it was it was a huge relief. I was like, man,

355
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Speaker 3: you know, I gave Nashville a shot. But at least

356
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Speaker 3: I know I'm going to be able to feed my kids,

357
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Speaker 3: and that that's you know, at some point when you're dead,

358
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Speaker 3: that's all that matters in the world, and that's all

359
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Speaker 3: that mattered to me, you know. And but what happened

360
00:14:50,440 --> 00:14:52,720
Speaker 3: was God sort of had another plan. I went back

361
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Speaker 3: to med school in September first, still had a I

362
00:14:55,520 --> 00:14:57,120
Speaker 3: had a year left on a publishing deal and they

363
00:14:57,120 --> 00:14:58,800
Speaker 3: were really cool. I said, well, just keep writing, maybe

364
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Speaker 3: something will happen. I go back to med school in

365
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Speaker 3: September first, and Faith Hill cuts one of my songs

366
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Speaker 3: on September fourth on her Breathe album, and then ended

367
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Speaker 3: up getting thirty three cuts in the next nine months, Wow,

368
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Speaker 3: and had five top ten singles.

369
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Speaker 1: So thirty three cuts of songs you'd already written mostly

370
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Speaker 1: and some had written.

371
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Speaker 3: Somebody was writing in med school. I had a dear

372
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Speaker 3: friend who's a huge hit songwriter named Troy Vergess, and

373
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Speaker 3: he was a kid like twenty three or four at

374
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Speaker 3: the time, and he decided we started to get hot

375
00:15:24,960 --> 00:15:27,640
Speaker 3: as a as kind of a writing team, and so

376
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Speaker 3: he would come out to Oklahoma and we'd write songs

377
00:15:30,160 --> 00:15:31,520
Speaker 3: out there. So a lot of those were new songs

378
00:15:31,520 --> 00:15:33,680
Speaker 3: that I'd go to Med school till two and he'd

379
00:15:34,160 --> 00:15:36,320
Speaker 3: be waking up, you know, and then we'd write until

380
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Speaker 3: we write songs, and I'd come I'd fly back into

381
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Speaker 3: Nashville and we'd demo them up and that kind of stuff.

382
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Speaker 2: So you were hustling pretty hard.

383
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Speaker 3: Yeah, I was hustling pretty hard.

384
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Speaker 2: So what was the Faith Hill song?

385
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Speaker 3: It was a song called love the Sweet Thing. It

386
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Speaker 3: was not a single, but it was on that album

387
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Speaker 3: that her Breathe record.

388
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Speaker 1: But that's probably I mean, really, when you think about

389
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Speaker 1: the songs, I mean I could list every number one

390
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Speaker 1: of the ten million you have, that's probably, when you

391
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Speaker 1: look back, one of the most important songs to your

392
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Speaker 1: entire career.

393
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Speaker 3: Oh. Absolutely. It kind of started opening doors and I

394
00:16:00,720 --> 00:16:03,080
Speaker 3: kind of found the right publishing situation. I worked with

395
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Speaker 3: a girl named Kelly King who was my song plow

396
00:16:04,920 --> 00:16:06,800
Speaker 3: and Mark Bright who but Kelly was my song plugger.

397
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Speaker 3: She's still around Nashville as well. And uh, you know,

398
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Speaker 3: it was just amazing because I was kind of her

399
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Speaker 3: only writer, and so I'd write songs and she'd kind

400
00:16:14,400 --> 00:16:16,240
Speaker 3: of get them out there, and you know, I'd be

401
00:16:16,400 --> 00:16:18,080
Speaker 3: It was a it was a crazy time because I'd

402
00:16:18,080 --> 00:16:21,680
Speaker 3: be literally studying for a pathologies and examine the library

403
00:16:21,720 --> 00:16:24,720
Speaker 3: and I'd get a call on my flip phone, Hey, Brett,

404
00:16:24,720 --> 00:16:27,360
Speaker 3: you know Tim McGrath, just cut tell your rider Martine

405
00:16:27,480 --> 00:16:29,320
Speaker 3: and provide, just cut blessed or whatever. And I was like,

406
00:16:29,800 --> 00:16:31,680
Speaker 3: you know, there's there's nobody around a high five with

407
00:16:31,800 --> 00:16:33,320
Speaker 3: I'd just kind of like do a little dance in

408
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Speaker 3: the in the library.

409
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Speaker 1: And call it so is my assumption that you didn't

410
00:16:36,480 --> 00:16:37,480
Speaker 1: finish medical school.

411
00:16:37,560 --> 00:16:41,760
Speaker 4: I didn't you and quit again, which was more years

412
00:16:41,760 --> 00:16:44,240
Speaker 4: out of your belt exactly, and took exams and then

413
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Speaker 4: I had an interesting conversation with that Dean. No, that

414
00:16:47,080 --> 00:16:49,120
Speaker 4: was an interesting So because the legal rules, we can

415
00:16:49,160 --> 00:16:50,840
Speaker 4: only play five seconds of music at this point, but

416
00:16:50,920 --> 00:16:52,720
Speaker 4: we're gonna hit five seconds hard, Mike, are you ready?

417
00:16:52,720 --> 00:16:53,000
Speaker 3: Okay?

418
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Speaker 1: This was your first number one. This is Jess Andrews

419
00:16:56,200 --> 00:17:05,159
Speaker 1: Who I Am. That's a song that still today is

420
00:17:05,200 --> 00:17:07,560
Speaker 1: played as what they call a recurrent because it was

421
00:17:07,640 --> 00:17:10,800
Speaker 1: such a big song from those early two thousand years.

422
00:17:11,200 --> 00:17:12,440
Speaker 2: And that's your first number one.

423
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Speaker 3: It was the first number one. Yeah, it was you

424
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Speaker 3: know what a blessing it was? It was.

425
00:17:16,560 --> 00:17:18,359
Speaker 2: It was awesome when you wrote the song.

426
00:17:19,240 --> 00:17:21,120
Speaker 1: Was it just one in a mix or did you go, Man,

427
00:17:21,160 --> 00:17:23,720
Speaker 1: if somebody just gets that's always my question because some

428
00:17:23,720 --> 00:17:25,200
Speaker 1: songs like you know, it's just another one. We just

429
00:17:25,240 --> 00:17:26,720
Speaker 1: wrote it and thought what about?

430
00:17:27,560 --> 00:17:29,879
Speaker 3: We thought that one was special. Quite honestly, you know,

431
00:17:30,640 --> 00:17:33,000
Speaker 3: I wrote that back to med school. I wrote that

432
00:17:33,040 --> 00:17:36,640
Speaker 3: in my parents' kitchen with Troy Urgis after I'd gone

433
00:17:36,640 --> 00:17:39,440
Speaker 3: to class one day and we had heard there was

434
00:17:39,440 --> 00:17:41,240
Speaker 3: a new artist, nam Jessic Anders, who was looking for

435
00:17:41,320 --> 00:17:44,480
Speaker 3: a you know, a kind of a female anthem. And

436
00:17:45,080 --> 00:17:47,640
Speaker 3: I remember I spit out, like what about we wrote

437
00:17:47,640 --> 00:17:49,400
Speaker 3: it just called who I Am and like I am

438
00:17:49,520 --> 00:17:52,119
Speaker 3: And literally the first thing I said was Rosemary's granddaughter,

439
00:17:52,800 --> 00:17:55,240
Speaker 3: and and Troy said spitting image of my father, and

440
00:17:55,280 --> 00:17:59,280
Speaker 3: were like on our way and and uh, Troy's girlfriend

441
00:17:59,320 --> 00:18:01,959
Speaker 3: at the time, who's now a Hall of Fame songwriter,

442
00:18:02,040 --> 00:18:06,040
Speaker 3: Hillary Lindsay, she wasn't even writing, but she she was

443
00:18:06,119 --> 00:18:08,000
Speaker 3: kind of enough to sing the demo for us on

444
00:18:08,040 --> 00:18:11,040
Speaker 3: that song. And so after Hillary saying it, we knew

445
00:18:11,040 --> 00:18:13,040
Speaker 3: there was something special about it. And then Jessica did

446
00:18:13,040 --> 00:18:13,760
Speaker 3: an amazing jump.

447
00:18:19,119 --> 00:18:20,320
Speaker 2: Did you feel.

448
00:18:21,440 --> 00:18:26,359
Speaker 1: When you weren't focusing strictly on performance and your vocal

449
00:18:27,000 --> 00:18:29,439
Speaker 1: and your just you know, your record deal, when you

450
00:18:29,480 --> 00:18:31,800
Speaker 1: just focused on writing that you became a better writer.

451
00:18:32,400 --> 00:18:35,440
Speaker 1: Did you always feel like you were a really good ride?

452
00:18:35,480 --> 00:18:37,600
Speaker 1: Like when did you start to feel like, Okay, I'm

453
00:18:37,640 --> 00:18:41,119
Speaker 1: actually competitive and if I focus this right, I'm great.

454
00:18:42,080 --> 00:18:44,120
Speaker 3: I don't think. I don't think I still feel that way,

455
00:18:44,160 --> 00:18:48,879
Speaker 3: Thank you. I'm still working on that one. But you

456
00:18:48,960 --> 00:18:51,280
Speaker 3: know what, what Troy and I kind of what what

457
00:18:51,280 --> 00:18:53,159
Speaker 3: what going back to med school did for me was

458
00:18:53,200 --> 00:18:56,240
Speaker 3: free me up a lot. You know. It was sort

459
00:18:56,240 --> 00:19:02,120
Speaker 3: of like a creative thing where it was, Okay, now

460
00:19:02,160 --> 00:19:04,320
Speaker 3: my kids are gonna get fed. I'm not I'm not

461
00:19:04,560 --> 00:19:06,600
Speaker 3: just struggling trying to I'm not dying to try to

462
00:19:06,600 --> 00:19:08,280
Speaker 3: get the next George Straight cut so that you know,

463
00:19:08,280 --> 00:19:10,680
Speaker 3: I can feed the family anymore. I have a job,

464
00:19:10,880 --> 00:19:14,200
Speaker 3: I have a plan, and so I'm gonna kind of say,

465
00:19:14,400 --> 00:19:16,400
Speaker 3: you know, screw it, you got to play loose, got

466
00:19:16,400 --> 00:19:17,960
Speaker 3: to play loose. I said, screw it, and let's just

467
00:19:17,960 --> 00:19:20,480
Speaker 3: write what we love. And that's really what happened that year.

468
00:19:21,920 --> 00:19:26,400
Speaker 1: I mean that, that's a bizarrely remarkable story. That one

469
00:19:26,440 --> 00:19:28,360
Speaker 1: you go to med school, you quit med school, you come,

470
00:19:28,400 --> 00:19:30,160
Speaker 1: you get a deal, you go back to med school,

471
00:19:30,160 --> 00:19:32,040
Speaker 1: you quit med school after and.

472
00:19:32,000 --> 00:19:34,320
Speaker 3: Got another record deal. By the way, I signed another

473
00:19:34,359 --> 00:19:37,160
Speaker 3: record deal with Arista again after that year of med school.

474
00:19:37,200 --> 00:19:39,200
Speaker 3: And it's like that one failed miserably too. So here

475
00:19:39,200 --> 00:19:39,479
Speaker 3: we go.

476
00:19:41,600 --> 00:19:42,840
Speaker 2: This is a wild story.

477
00:19:42,960 --> 00:19:46,200
Speaker 1: It's like you keep not the same, but you keep

478
00:19:46,200 --> 00:19:47,520
Speaker 1: marrying your ex wife over and over again.

479
00:19:47,560 --> 00:19:48,080
Speaker 2: A different one.

480
00:19:48,480 --> 00:19:53,240
Speaker 1: It's like different different X wives, but you keep marrying. Yeah, yeah, yeah, yeah,

481
00:19:53,480 --> 00:19:56,520
Speaker 1: just looking at some of the accolades, like the big accolades,

482
00:19:57,440 --> 00:20:01,520
Speaker 1: like you hit. Yeah, it's six number ones in two

483
00:20:01,520 --> 00:20:03,160
Speaker 1: thousand and nine. And I had to look again three

484
00:20:03,160 --> 00:20:04,640
Speaker 1: times to make sure I'm not reading all the numbers

485
00:20:04,680 --> 00:20:06,520
Speaker 1: wrong because six and nine are upside down. But I

486
00:20:06,560 --> 00:20:08,200
Speaker 1: think you had six number ones in two thousand and nine.

487
00:20:08,560 --> 00:20:09,160
Speaker 3: I think I did.

488
00:20:09,400 --> 00:20:11,879
Speaker 1: That's I can't believe that, and I can because I'm

489
00:20:11,920 --> 00:20:13,399
Speaker 1: looking at it. But when I read it, I was like,

490
00:20:13,440 --> 00:20:14,480
Speaker 1: am I looking at this right?

491
00:20:14,760 --> 00:20:15,040
Speaker 3: Six?

492
00:20:15,119 --> 00:20:16,679
Speaker 2: I turned the screen nine.

493
00:20:17,560 --> 00:20:19,960
Speaker 1: I want to roll through these quickly in this year

494
00:20:20,000 --> 00:20:21,960
Speaker 1: of two thousand and nine, all six of these number ones.

495
00:20:22,080 --> 00:20:36,160
Speaker 1: Rodney Atkins, It's America, Kenny Chesney Out Last Night, Carrie Underwood, Cowboy, Casanova,

496
00:20:36,920 --> 00:20:41,679
Speaker 1: Chris Young, the Man I want to be masking, Jason Aldean,

497
00:20:41,760 --> 00:20:46,120
Speaker 1: The Truth, Rascal Flats, Summer Nights.

498
00:20:46,760 --> 00:20:48,359
Speaker 2: And I'm tired of reading them all there like that

499
00:20:48,400 --> 00:20:48,840
Speaker 2: in a row.

500
00:20:49,560 --> 00:20:53,080
Speaker 1: So whenever you have this many number ones in a row,

501
00:20:53,200 --> 00:20:55,359
Speaker 1: is it's so hard to write because everybody wants to

502
00:20:55,359 --> 00:20:55,800
Speaker 1: write with you.

503
00:20:56,640 --> 00:20:58,800
Speaker 3: Oh that's never that's never a bad thing. If everybody

504
00:20:58,800 --> 00:20:59,560
Speaker 3: wants to write with it.

505
00:20:59,560 --> 00:21:02,520
Speaker 1: It's like, and I've had brief parts of my career

506
00:21:02,560 --> 00:21:05,280
Speaker 1: where you're the shiny toy for a second, everybody wants

507
00:21:05,280 --> 00:21:07,720
Speaker 1: to play with the shiny toy. Sure, when you start

508
00:21:07,760 --> 00:21:11,479
Speaker 1: to have this unparalleled success writing two thousand and nine,

509
00:21:11,520 --> 00:21:13,399
Speaker 1: two thousand and eight, I mean, and even go backward,

510
00:21:13,760 --> 00:21:15,520
Speaker 1: I mean, is it people constantly calling going, Hey, I

511
00:21:15,640 --> 00:21:16,840
Speaker 1: just love to get on your calendar some point, even

512
00:21:16,840 --> 00:21:17,760
Speaker 1: if it's six months from now.

513
00:21:18,240 --> 00:21:20,159
Speaker 3: Yeah, I mean, yeah, that's what happens. And that's a

514
00:21:20,160 --> 00:21:21,800
Speaker 3: fun place to be, you know, because you kind of

515
00:21:21,840 --> 00:21:23,640
Speaker 3: get to pick and choose who you want to work

516
00:21:23,680 --> 00:21:25,840
Speaker 3: with and get to, you know, you know, do do

517
00:21:26,320 --> 00:21:27,960
Speaker 3: the days you love and not not do as many

518
00:21:28,000 --> 00:21:29,880
Speaker 3: as of the days that you don't. And it's it's

519
00:21:29,920 --> 00:21:32,280
Speaker 3: a pretty cool, you know thing. But you know, I

520
00:21:32,320 --> 00:21:35,360
Speaker 3: always say that, you know, in the music business, it's

521
00:21:35,400 --> 00:21:38,680
Speaker 3: like most businesses, it's you know, it's who's Brett James,

522
00:21:38,760 --> 00:21:41,000
Speaker 3: Get me Brett James, Give me the next Brett James.

523
00:21:41,040 --> 00:21:43,280
Speaker 3: Who's Brett James. Yeah, that's kind of the that's the

524
00:21:43,400 --> 00:21:45,040
Speaker 3: arc of most careers, you know, and I think you

525
00:21:45,119 --> 00:21:47,639
Speaker 3: have to kind of I always tell the writers that

526
00:21:47,680 --> 00:21:49,960
Speaker 3: I work with. I've had a publishing company for like

527
00:21:50,000 --> 00:21:52,080
Speaker 3: fifteen years, so I get to be around young writers

528
00:21:52,119 --> 00:21:54,320
Speaker 3: and I'm like, you're never as hot as you think

529
00:21:54,359 --> 00:21:55,800
Speaker 3: you are when you're hot, and you're never as not

530
00:21:55,920 --> 00:21:58,000
Speaker 3: when you're not, you know, And I think you kind

531
00:21:58,000 --> 00:21:59,719
Speaker 3: of have to learn to have some thick skin and

532
00:21:59,720 --> 00:22:02,040
Speaker 3: not to not to think you're so cool when things

533
00:22:02,040 --> 00:22:04,760
Speaker 3: are working, so that when things aren't working, you don't

534
00:22:04,800 --> 00:22:06,560
Speaker 3: get in the dumps either, you know. Does that make sense?

535
00:22:06,640 --> 00:22:06,880
Speaker 2: Yeah?

536
00:22:06,880 --> 00:22:10,640
Speaker 1: And I tell new artists or just as an example,

537
00:22:11,200 --> 00:22:14,159
Speaker 1: we had a group that was in a Cohen. I

538
00:22:14,200 --> 00:22:17,320
Speaker 1: was talking to them and they'd had some success on television,

539
00:22:17,920 --> 00:22:21,720
Speaker 1: and it's like, when you get to be shiny for

540
00:22:21,760 --> 00:22:23,600
Speaker 1: a second, make all the relationships that you can. Yeah,

541
00:22:24,040 --> 00:22:25,639
Speaker 1: make all the relationships to you because it's not going

542
00:22:25,720 --> 00:22:27,840
Speaker 1: to change your life just to be cool for a second.

543
00:22:28,200 --> 00:22:30,840
Speaker 1: But the relationships that you make and that you keep

544
00:22:30,960 --> 00:22:33,240
Speaker 1: will actually help you through your career for a long time.

545
00:22:33,960 --> 00:22:35,800
Speaker 1: So just don't go like I'm cool now, who wants

546
00:22:35,840 --> 00:22:38,479
Speaker 1: to work with me? It's like dig in. Find your

547
00:22:38,520 --> 00:22:41,600
Speaker 1: spots that you're finally allowed to get. They're very important.

548
00:22:41,720 --> 00:22:43,840
Speaker 1: Make a few real strong connections, Like I was like

549
00:22:43,840 --> 00:22:45,360
Speaker 1: with the opry, you're doing with the opry now?

550
00:22:45,560 --> 00:22:47,880
Speaker 2: Yeah, like really value.

551
00:22:47,560 --> 00:22:49,320
Speaker 1: That connection because maybe they wouldn't have got to look.

552
00:22:49,320 --> 00:22:50,960
Speaker 1: We don't ever get a look any of us until

553
00:22:50,960 --> 00:22:52,879
Speaker 1: we have some sort of success. Sure, but it's like,

554
00:22:52,920 --> 00:22:55,560
Speaker 1: what do you grab onto and really develop out from

555
00:22:55,560 --> 00:22:57,760
Speaker 1: this moment that you're successful?

556
00:22:57,760 --> 00:22:57,960
Speaker 2: Cool?

557
00:22:57,960 --> 00:23:01,119
Speaker 1: Whatever word you want to use there, And that's exactly

558
00:23:01,119 --> 00:23:02,760
Speaker 1: and that's what I was telling them too. It's like,

559
00:23:03,119 --> 00:23:05,399
Speaker 1: you know, you're you feel everybody on social mediaelling you

560
00:23:05,400 --> 00:23:07,679
Speaker 1: they love you. Probably not that cool right now, but

561
00:23:07,760 --> 00:23:10,040
Speaker 1: when you were, when you're not cool again, you're probably

562
00:23:10,080 --> 00:23:11,919
Speaker 1: not that not cool again exactly because are a lot

563
00:23:11,920 --> 00:23:13,840
Speaker 1: of people that still think you're awesome. Sure, it's the

564
00:23:13,920 --> 00:23:15,840
Speaker 1: never too high and never too low, you know what.

565
00:23:15,880 --> 00:23:17,879
Speaker 1: I try to My therapist though, tells me that I

566
00:23:17,920 --> 00:23:19,840
Speaker 1: am on a straight line, regardless of all the time

567
00:23:19,840 --> 00:23:23,000
Speaker 1: I've never hired, all never live, I never really.

568
00:23:22,680 --> 00:23:25,200
Speaker 3: Yeah, yeah, sometimes I'm going to get to interview you

569
00:23:25,280 --> 00:23:25,639
Speaker 3: about that.

570
00:23:26,600 --> 00:23:28,640
Speaker 1: I don't go up or down, And I think it's

571
00:23:29,240 --> 00:23:32,760
Speaker 1: I always want because you can't really experience like true

572
00:23:32,760 --> 00:23:35,680
Speaker 1: happiness if you can't feel some sadness, right it's almost

573
00:23:36,160 --> 00:23:38,199
Speaker 1: it's almost an equal scale, like if you can let

574
00:23:38,200 --> 00:23:40,520
Speaker 1: yourself feel, you get to feel way down.

575
00:23:40,480 --> 00:23:41,000
Speaker 3: Or way up.

576
00:23:41,080 --> 00:23:45,040
Speaker 1: Sure, and so I have trouble feeling the sad I

577
00:23:45,080 --> 00:23:46,359
Speaker 1: think probably from childhood trauma.

578
00:23:46,600 --> 00:23:47,840
Speaker 2: So I don't ever feel.

579
00:23:47,560 --> 00:23:49,840
Speaker 3: Good about I'm a lot that same way. Yeah, I

580
00:23:49,840 --> 00:23:51,240
Speaker 3: think I'm very much the same way. I think you

581
00:23:51,280 --> 00:23:52,760
Speaker 3: just kind of find your I think, and I think

582
00:23:52,800 --> 00:23:54,399
Speaker 3: men are more likely to be that way than I'm

583
00:23:54,400 --> 00:23:56,320
Speaker 3: a straight lined I don't go up. Yeah, I'm kind

584
00:23:56,320 --> 00:23:58,399
Speaker 3: of that same way, and I do think that in

585
00:23:59,119 --> 00:24:02,240
Speaker 3: maybe especially actually on the songwriting side of things and

586
00:24:02,280 --> 00:24:04,679
Speaker 3: the artist's side of things, you have to be that

587
00:24:04,720 --> 00:24:07,800
Speaker 3: way because you know, there's always another single that you're

588
00:24:07,960 --> 00:24:10,359
Speaker 3: either it's either winning or it's losing, or there's always

589
00:24:10,359 --> 00:24:12,600
Speaker 3: another you know, cut that you're either getting or you're

590
00:24:12,600 --> 00:24:15,439
Speaker 3: not getting, and you know you have to come there.

591
00:24:15,880 --> 00:24:17,680
Speaker 3: And in the songwriting side, it most of the time

592
00:24:17,720 --> 00:24:19,879
Speaker 3: it's not Most of the time it's disappointment, you know,

593
00:24:20,440 --> 00:24:23,320
Speaker 3: And so you have to kind of just just learn

594
00:24:23,400 --> 00:24:27,200
Speaker 3: to to love what you do and not not feel

595
00:24:27,200 --> 00:24:29,440
Speaker 3: too high too low. I don't think because if I

596
00:24:29,440 --> 00:24:30,840
Speaker 3: if I felt it all, I'd go crazy.

597
00:24:30,920 --> 00:24:32,719
Speaker 1: Oh, I mean, in a creative world, if you let

598
00:24:32,760 --> 00:24:36,720
Speaker 1: the low's dominate you, because it's it's low eighty five to.

599
00:24:36,720 --> 00:24:37,600
Speaker 2: Ninety percent of the time.

600
00:24:37,720 --> 00:24:40,360
Speaker 3: If you're if you're succeeding, if you're if you're crushing

601
00:24:40,359 --> 00:24:41,520
Speaker 3: it exactly.

602
00:24:41,080 --> 00:24:43,680
Speaker 1: If you're sixty, if you know, and I think you'll

603
00:24:43,760 --> 00:24:45,840
Speaker 1: understand this probably better than even I do.

604
00:24:45,920 --> 00:24:47,879
Speaker 2: But it's like at times people will be like, man,

605
00:24:47,920 --> 00:24:48,560
Speaker 2: you're really killing it.

606
00:24:48,760 --> 00:24:50,680
Speaker 1: But I'm like, if you guys had any idea how

607
00:24:50,720 --> 00:24:53,919
Speaker 1: much how many no's I get, or or what I

608
00:24:53,960 --> 00:24:56,840
Speaker 1: wanted and didn't get, or how glamorous it looks and

609
00:24:56,880 --> 00:24:57,280
Speaker 1: it ain't.

610
00:24:58,359 --> 00:24:59,719
Speaker 2: You know, that's a lot of what we do.

611
00:25:00,000 --> 00:25:01,760
Speaker 3: Absolutely, it's getting beat up most of the.

612
00:25:01,680 --> 00:25:04,160
Speaker 1: Time, and it's getting back up when you get beat up, course,

613
00:25:04,240 --> 00:25:07,720
Speaker 1: and staying up just long enough to finally get a

614
00:25:07,800 --> 00:25:11,440
Speaker 1: bite the worms exactly, you know, finally bite the one exactly.

615
00:25:11,480 --> 00:25:14,400
Speaker 2: What was that in your mind? What was the more well,

616
00:25:14,400 --> 00:25:15,879
Speaker 2: I can't believe this just happened moment.

617
00:25:16,040 --> 00:25:18,200
Speaker 1: Was it that year two thousand and nine or was

618
00:25:18,240 --> 00:25:20,000
Speaker 1: it one of the grammy with carried back a few

619
00:25:20,040 --> 00:25:20,600
Speaker 1: years before that?

620
00:25:22,080 --> 00:25:25,560
Speaker 3: Man? You know, all of those are great. You know,

621
00:25:25,600 --> 00:25:28,720
Speaker 3: I don't think we knew when Jesus Take the Wheels happened,

622
00:25:28,720 --> 00:25:31,040
Speaker 3: and how you know what a big deal it was,

623
00:25:31,200 --> 00:25:32,760
Speaker 3: you know, Quite honestly, I don't think it kind of

624
00:25:32,800 --> 00:25:34,840
Speaker 3: hit me that, well, this is I'm gonna be talking

625
00:25:34,880 --> 00:25:37,240
Speaker 3: about that song in twenty twenty two. You know, seventeen

626
00:25:37,280 --> 00:25:38,800
Speaker 3: years later, you still play that one. If you play

627
00:25:39,000 --> 00:25:42,000
Speaker 3: usually almost I'm almost always. I feel like if I don't,

628
00:25:42,040 --> 00:25:46,480
Speaker 3: it's somebody's gonna throw something at me. But yeah, I

629
00:25:46,520 --> 00:25:49,080
Speaker 3: think both us both those moments were great, and both

630
00:25:49,080 --> 00:25:49,800
Speaker 3: those years were great.

631
00:25:49,880 --> 00:25:51,359
Speaker 1: Yeah, but if you had to, if we had to

632
00:25:51,359 --> 00:25:53,240
Speaker 1: eliminate one, somebody shows up with the old men in

633
00:25:53,280 --> 00:25:55,200
Speaker 1: black thing that goes, all right, I'm gonna make you

634
00:25:55,240 --> 00:25:57,080
Speaker 1: forget one of them, which you know, I.

635
00:25:57,280 --> 00:26:00,119
Speaker 3: Got to be songwrit of your twice and that's that's

636
00:26:00,160 --> 00:26:02,240
Speaker 3: a really fun cool thing because it's kind of based

637
00:26:02,280 --> 00:26:05,159
Speaker 3: on more body of work than just one song, you know,

638
00:26:05,200 --> 00:26:07,520
Speaker 3: And I think that was Those Those are pretty special

639
00:26:07,520 --> 00:26:08,159
Speaker 3: trophies to me.

640
00:26:08,240 --> 00:26:09,600
Speaker 2: Where do you have the Grammy at your house?

641
00:26:10,119 --> 00:26:13,480
Speaker 3: It's in my office. Actually, yeah, it's my office.

642
00:26:13,040 --> 00:26:14,440
Speaker 2: Do you pet it?

643
00:26:15,600 --> 00:26:18,800
Speaker 3: I kiss it? I do not. I do not. I

644
00:26:18,800 --> 00:26:20,680
Speaker 3: wish I had more than one let's put it that way.

645
00:26:20,720 --> 00:26:23,200
Speaker 3: But you know there's people that have lots. I got

646
00:26:23,200 --> 00:26:25,040
Speaker 3: to work at Alison Kraus's house the other day with

647
00:26:25,080 --> 00:26:28,399
Speaker 3: her son, and you know Alison, you know, she's so sweet.

648
00:26:28,440 --> 00:26:30,760
Speaker 3: She just brings his coffee. You know, I'm just like

649
00:26:31,160 --> 00:26:33,200
Speaker 3: someone with twenty eight Grammy's just gave me coffee. And

650
00:26:33,240 --> 00:26:34,680
Speaker 3: that's That's just a cool thing.

651
00:26:40,680 --> 00:26:42,920
Speaker 2: What is it for you?

652
00:26:42,920 --> 00:26:45,720
Speaker 1: You go, Wow, this is cool where most people maybe

653
00:26:45,720 --> 00:26:46,520
Speaker 1: wouldn't think that.

654
00:26:46,600 --> 00:26:47,880
Speaker 2: You think it's the coolest thing.

655
00:26:48,080 --> 00:26:49,320
Speaker 1: And now I give you an example as you think

656
00:26:49,320 --> 00:26:51,479
Speaker 1: about the answer, because it's a tough one. I got

657
00:26:51,520 --> 00:26:54,639
Speaker 1: on an airplane once and Barry Switzer was on and

658
00:26:54,800 --> 00:26:58,399
Speaker 1: from Arkansas and he was a played at Arkansas, you know,

659
00:26:58,480 --> 00:27:00,480
Speaker 1: coach the Cowboys, coach Oklahoma, and I was like, just

660
00:27:00,520 --> 00:27:02,879
Speaker 1: the freaking coolest thing ever. And I would tell my

661
00:27:02,880 --> 00:27:04,560
Speaker 1: friends that'd be like, I don't I don't really fall sports.

662
00:27:04,560 --> 00:27:05,840
Speaker 2: I don't care right that kind of thing.

663
00:27:05,840 --> 00:27:07,520
Speaker 1: But I'm like, this is so cool and that's not

664
00:27:07,560 --> 00:27:10,639
Speaker 1: even something that I like earned or deserve. I interviewed

665
00:27:10,680 --> 00:27:12,119
Speaker 1: Dan Patrick am I Sports show the other day and

666
00:27:12,160 --> 00:27:14,720
Speaker 1: I'm like, this is the coolest thing. And I tell

667
00:27:14,720 --> 00:27:17,480
Speaker 1: people like, yeah, I don't know, but to me that's

668
00:27:17,240 --> 00:27:19,320
Speaker 1: like legit, Like that's the coolest thing.

669
00:27:19,520 --> 00:27:20,040
Speaker 2: What for you?

670
00:27:20,240 --> 00:27:22,359
Speaker 1: Who is it or what happened where You're like, this

671
00:27:22,480 --> 00:27:24,800
Speaker 1: is like different world and never thought i'd be here,

672
00:27:24,920 --> 00:27:26,680
Speaker 1: But most people probably won't even think it's as coolest

673
00:27:26,680 --> 00:27:26,879
Speaker 1: I do.

674
00:27:28,040 --> 00:27:30,040
Speaker 3: Well, it's funny because the one that pops in my

675
00:27:30,080 --> 00:27:32,919
Speaker 3: head is not about a superstar. You know, it's a

676
00:27:33,240 --> 00:27:35,199
Speaker 3: because you know, like you said, I've gotten to be

677
00:27:35,280 --> 00:27:39,280
Speaker 3: around Garth and Sting and some pretty you know Taylor

678
00:27:39,359 --> 00:27:42,080
Speaker 3: and people like that. He's just like that's just insane,

679
00:27:42,160 --> 00:27:45,000
Speaker 3: you know, you'd even think about it. Like literally, I'm

680
00:27:45,040 --> 00:27:47,879
Speaker 3: at the NSCA, I think two weeks ago, and I

681
00:27:47,920 --> 00:27:50,840
Speaker 3: hadn't I was Taylor's you know, producer when she was

682
00:27:51,160 --> 00:27:53,560
Speaker 3: like thirteen, you know, you know, before she came back

683
00:27:53,560 --> 00:27:56,320
Speaker 3: and had their success, and and I'm walking down the

684
00:27:56,320 --> 00:27:58,600
Speaker 3: back hall and Taylor just steps out of her saying

685
00:27:58,600 --> 00:28:00,159
Speaker 3: and sees me. She's like Brett, you know, it's like

686
00:28:00,200 --> 00:28:03,040
Speaker 3: old home with you know, Taylor Swift, which is pretty

687
00:28:03,040 --> 00:28:06,439
Speaker 3: crazy because I have a daughter who worships everything everything

688
00:28:06,440 --> 00:28:09,280
Speaker 3: Taylor Swift. But for me, the moment that strikes me,

689
00:28:09,320 --> 00:28:11,919
Speaker 3: he's like, you know, I'm convinced that whoever your superstar

690
00:28:12,240 --> 00:28:14,760
Speaker 3: superhero was when you're like in fourth or fifth grade,

691
00:28:15,200 --> 00:28:17,879
Speaker 3: is that person forever. And for me, it's a Christian

692
00:28:17,920 --> 00:28:20,920
Speaker 3: singer named Russ Taff and you probably never heard of him,

693
00:28:20,920 --> 00:28:23,520
Speaker 3: but he was a big deal around like in Christian music.

694
00:28:23,600 --> 00:28:26,160
Speaker 3: And I'll never forget the only time I ever got

695
00:28:26,160 --> 00:28:28,760
Speaker 3: superstarstruck I was I was writing a song with Marcus

696
00:28:28,840 --> 00:28:32,280
Speaker 3: Hummon at his house in like the nineties, and I

697
00:28:32,280 --> 00:28:34,159
Speaker 3: didn't know Russ Taff was his next door neighbor, or

698
00:28:34,160 --> 00:28:36,919
Speaker 3: I would have stalked him. And so I'm sitting there

699
00:28:36,960 --> 00:28:39,480
Speaker 3: with Marcus when we're writing a song and Russ Taff

700
00:28:39,520 --> 00:28:41,560
Speaker 3: walks in. They're best friends. He goes, hey, your dog's

701
00:28:41,600 --> 00:28:43,720
Speaker 3: in the yard again. He's like, you got any coffee made?

702
00:28:43,760 --> 00:28:46,360
Speaker 3: You know, kind of kind of like that, and Mark say,

703
00:28:46,600 --> 00:28:48,800
Speaker 3: he's like this coffee in the kitchen and Russ, this

704
00:28:48,880 --> 00:28:53,880
Speaker 3: is Brett And I literally just cried. He didn't know

705
00:28:53,880 --> 00:28:56,440
Speaker 3: what I'm doing. It's like a Tuesday afternoon. Who was

706
00:28:56,560 --> 00:28:58,320
Speaker 3: And I literally tears just came to my eyes And

707
00:28:58,440 --> 00:29:00,719
Speaker 3: all I could say was like, you're my hero, you know?

708
00:29:00,880 --> 00:29:03,800
Speaker 3: And I think that it's those moments that kind of

709
00:29:04,680 --> 00:29:07,240
Speaker 3: you know, catch you off guarden and that make me go, wow,

710
00:29:07,280 --> 00:29:08,520
Speaker 3: I can't believe I've gotten to do this.

711
00:29:08,800 --> 00:29:11,240
Speaker 1: Yeah, that stuff to me, it's like what a Like

712
00:29:11,320 --> 00:29:13,720
Speaker 1: that's for example, I get to go and I'm a

713
00:29:13,720 --> 00:29:14,560
Speaker 1: big Arkansas guy.

714
00:29:14,640 --> 00:29:15,600
Speaker 2: Grew up in Arkansas.

715
00:29:16,120 --> 00:29:17,560
Speaker 1: We didn't have a lot of money, and so I

716
00:29:17,640 --> 00:29:19,240
Speaker 1: maybe would get to go to one game a year.

717
00:29:19,600 --> 00:29:21,080
Speaker 1: But now it's like when I get to go back

718
00:29:21,160 --> 00:29:22,680
Speaker 1: and even just get to go in the locker room,

719
00:29:22,800 --> 00:29:24,240
Speaker 1: I'm just like, I cannot believe.

720
00:29:23,960 --> 00:29:24,720
Speaker 3: This isn't cool.

721
00:29:24,760 --> 00:29:26,240
Speaker 1: But my friend's like, but you get to like it

722
00:29:26,240 --> 00:29:28,520
Speaker 1: doesn't matter all that other stuff I do all the time.

723
00:29:29,280 --> 00:29:30,920
Speaker 1: Like this to me is like there's a lot of

724
00:29:31,000 --> 00:29:33,960
Speaker 1: value in this because when I was nine, this is

725
00:29:33,960 --> 00:29:36,960
Speaker 1: what I dreamed of was being here at this place

726
00:29:37,000 --> 00:29:41,200
Speaker 1: looking at these lockers, and for you it was Russtaft.

727
00:29:40,880 --> 00:29:42,600
Speaker 3: Well and very Swiss. Would be it for me too.

728
00:29:42,640 --> 00:29:44,240
Speaker 3: I mean, I grew up in the in the seventies

729
00:29:44,240 --> 00:29:46,520
Speaker 3: in Oklahoma. Man, there's nothing nothing, There was nothing bigger

730
00:29:46,520 --> 00:29:47,800
Speaker 3: than Barry Switzer a sports guy.

731
00:29:48,000 --> 00:29:50,840
Speaker 2: Huge, Yeah, what what what's your sport and team?

732
00:29:50,960 --> 00:29:53,600
Speaker 3: And I'm a college football free you know. That's really

733
00:29:53,640 --> 00:29:55,720
Speaker 3: what I come back to as always college football. Baylor

734
00:29:55,760 --> 00:29:57,360
Speaker 3: and I went to Baylor undergrad and went to O

735
00:29:57,440 --> 00:29:59,320
Speaker 3: you two, and I grew up in Oklahoma, So Baylor,

736
00:29:59,320 --> 00:30:01,240
Speaker 3: I know you were my two two main teams. But

737
00:30:01,280 --> 00:30:02,960
Speaker 3: I've adopted a few mothers. Might got a son at

738
00:30:03,000 --> 00:30:06,160
Speaker 3: Auburn now, so I'm rooting for Auburn. And but yeah, Baylor,

739
00:30:06,240 --> 00:30:06,400
Speaker 3: know you.

740
00:30:06,600 --> 00:30:08,360
Speaker 2: Yeah, I see you drove up on a motorcycle.

741
00:30:08,600 --> 00:30:11,200
Speaker 1: I did, and I'm scared to death of a lot

742
00:30:11,200 --> 00:30:14,800
Speaker 1: of things, including motorcycles. You have to watch out for

743
00:30:14,880 --> 00:30:18,160
Speaker 1: so many things when riding a motorcycle. Yes, and there

744
00:30:18,200 --> 00:30:20,880
Speaker 1: and so many of those things are idiots. Oh and

745
00:30:20,920 --> 00:30:22,680
Speaker 1: there's an unlimited amount of idiots.

746
00:30:23,040 --> 00:30:25,120
Speaker 3: Yeah, it's it's I just pretend like every car is

747
00:30:25,120 --> 00:30:27,840
Speaker 3: gonna kill me. That's the way I ride a motorcycle. Literally,

748
00:30:27,920 --> 00:30:30,680
Speaker 3: I just as I'm driving, I'm playing this game like

749
00:30:30,680 --> 00:30:32,800
Speaker 3: like that one's gonna swerve into me, and this one's

750
00:30:32,840 --> 00:30:34,800
Speaker 3: gonna swear and the person behind me is not going

751
00:30:34,880 --> 00:30:37,000
Speaker 3: to know that I'm turning. So I just need to

752
00:30:37,120 --> 00:30:39,360
Speaker 3: expect that all the time. I mean, I think, and

753
00:30:39,400 --> 00:30:41,440
Speaker 3: I think, you know, and I ride it around town

754
00:30:41,600 --> 00:30:43,600
Speaker 3: at forty miles an hour. I don't I don't do

755
00:30:43,640 --> 00:30:45,640
Speaker 3: anything crazy on a motorcycle, but I like to put

756
00:30:45,640 --> 00:30:47,480
Speaker 3: around town. But you know that could be the most

757
00:30:47,560 --> 00:30:50,080
Speaker 3: dangerous time because you're right, there's so many stupid people.

758
00:30:50,360 --> 00:30:51,480
Speaker 2: It's it's all the time.

759
00:30:51,520 --> 00:30:53,520
Speaker 3: Everybody's on their phones now too, which is worse.

760
00:30:53,600 --> 00:30:56,200
Speaker 1: You know, you know what the phones. That's a that's

761
00:30:56,200 --> 00:30:58,080
Speaker 1: a whole new last five year wrinkle, isn't it right?

762
00:30:58,320 --> 00:31:00,120
Speaker 2: When did you start riding a motorcycle.

763
00:31:00,560 --> 00:31:02,760
Speaker 3: About ten or twelve years ago something like that?

764
00:31:02,840 --> 00:31:04,880
Speaker 2: Yeah, I bet the phones made it a lot more dangerous.

765
00:31:04,960 --> 00:31:07,200
Speaker 3: Yeah, they have for sure, for sure.

766
00:31:07,240 --> 00:31:09,000
Speaker 2: For sure you have the radio? Do you each o

767
00:31:09,040 --> 00:31:13,120
Speaker 2: the radio? Real out? I don't turn about, and you

768
00:31:13,200 --> 00:31:14,360
Speaker 2: got to have it that lad to hear it while

769
00:31:14,360 --> 00:31:14,840
Speaker 2: you're riding.

770
00:31:14,840 --> 00:31:16,520
Speaker 1: But it's also like when you're slowing down, there should

771
00:31:16,520 --> 00:31:19,480
Speaker 1: almost be a that the volume turns itself down automatically.

772
00:31:19,600 --> 00:31:20,520
Speaker 3: Wouldn't that be nice?

773
00:31:20,560 --> 00:31:20,840
Speaker 2: Isn't that?

774
00:31:21,000 --> 00:31:22,880
Speaker 3: Because I don't know because you pull up next to mo.

775
00:31:23,000 --> 00:31:25,000
Speaker 3: I don't turn my radio on everyone I ride because

776
00:31:25,040 --> 00:31:26,720
Speaker 3: I like to hear the other car that's about to

777
00:31:26,720 --> 00:31:29,280
Speaker 3: swerve into me and kill me. But as they all

778
00:31:29,280 --> 00:31:33,560
Speaker 3: will and I'm planning on it right, but yeah, I don't.

779
00:31:33,560 --> 00:31:34,560
Speaker 3: I don't turn it up at all.

780
00:31:34,680 --> 00:31:35,200
Speaker 2: I want to play.

781
00:31:35,360 --> 00:31:37,920
Speaker 1: I was looking through your entire catalog here and I

782
00:31:37,920 --> 00:31:40,640
Speaker 1: was trying to find the song because you have again

783
00:31:40,720 --> 00:31:41,160
Speaker 1: so many.

784
00:31:41,200 --> 00:31:41,960
Speaker 2: The one that I.

785
00:31:41,840 --> 00:31:44,840
Speaker 1: Love, I think the most is one of your more

786
00:31:44,880 --> 00:31:48,200
Speaker 1: recent number ones. Is that Kenny Chesney knowing you because

787
00:31:48,360 --> 00:31:51,840
Speaker 1: I love Emo Kenny. I'm not really big into beach

788
00:31:51,880 --> 00:31:53,160
Speaker 1: Kenny because I don't like the beach that much. I

789
00:31:53,160 --> 00:31:54,720
Speaker 1: grew up in Arkansas, so I know I don't have

790
00:31:54,720 --> 00:31:57,040
Speaker 1: this affinity for the beach and we never went on vacation,

791
00:31:57,080 --> 00:31:57,920
Speaker 1: so I never went to the beach.

792
00:31:57,960 --> 00:31:59,800
Speaker 3: I never thought. I never heard it called Emo Kenny,

793
00:31:59,800 --> 00:32:00,360
Speaker 3: but I get it.

794
00:32:00,400 --> 00:32:02,480
Speaker 2: My favorite Kenny is Emo Kenny when he's singing sad

795
00:32:02,520 --> 00:32:04,920
Speaker 2: songs or slow songs. Yeah, and so knowing you, Mike,

796
00:32:04,960 --> 00:32:08,440
Speaker 2: if you're play some of this, but dude, it all.

797
00:32:09,680 --> 00:32:11,360
Speaker 3: Damn was good.

798
00:32:12,200 --> 00:32:14,800
Speaker 2: And how do you get a song to Kenny?

799
00:32:16,160 --> 00:32:18,320
Speaker 3: Well, I'm lucky because I know Kenny pretty well. I

800
00:32:18,360 --> 00:32:20,400
Speaker 3: just texted to him, you know, I just texted to

801
00:32:20,440 --> 00:32:21,840
Speaker 3: his phone and he just says yes or no.

802
00:32:22,120 --> 00:32:25,360
Speaker 1: If you send Kenny ten songs, how many yes? His

803
00:32:25,480 --> 00:32:26,880
Speaker 1: nos or and no responses.

804
00:32:27,440 --> 00:32:29,680
Speaker 3: Oh wow. Well Kenny never says no. It's always a

805
00:32:29,680 --> 00:32:32,520
Speaker 3: no response, like he never says I don't like that one,

806
00:32:32,560 --> 00:32:34,360
Speaker 3: and I kind of I love that about him. You

807
00:32:34,480 --> 00:32:36,520
Speaker 3: just don't get anything bad. You know, you never go

808
00:32:36,680 --> 00:32:39,080
Speaker 3: You never hear that that totally sucks. Would you leave

809
00:32:39,120 --> 00:32:41,920
Speaker 3: me alone? That's good that he doesn't do that. It's

810
00:32:42,000 --> 00:32:45,840
Speaker 3: usually no response and out of you know, I would

811
00:32:45,880 --> 00:32:49,920
Speaker 3: say it's one out of twenty really that you get Yeah,

812
00:32:50,320 --> 00:32:52,080
Speaker 3: I'm into that or I'm not into that. But Kenny

813
00:32:52,080 --> 00:32:55,600
Speaker 3: has He's such a song guy. He texted me day

814
00:32:55,640 --> 00:32:58,560
Speaker 3: before yesterday about a song that I'd played for him

815
00:32:58,800 --> 00:33:01,120
Speaker 3: seven or eight years ago, and he's like, you still

816
00:33:01,160 --> 00:33:03,080
Speaker 3: have that version? That's a duet and blah blah blah

817
00:33:03,080 --> 00:33:05,400
Speaker 3: blah blah. He never forgets a song. It's incredible.

818
00:33:05,440 --> 00:33:06,520
Speaker 2: And did you still have the version?

819
00:33:06,600 --> 00:33:06,960
Speaker 3: I did?

820
00:33:07,280 --> 00:33:08,400
Speaker 2: And had anyone cut it?

821
00:33:08,520 --> 00:33:11,160
Speaker 3: Nobody's cut it, so I'm hoping he will. Yeah, Caitlyn

822
00:33:11,200 --> 00:33:13,200
Speaker 3: Smith sing though, do wet on it. It's amazing.

823
00:33:13,280 --> 00:33:16,280
Speaker 2: That'll sell it on the fence. That'll sell it pretty good.

824
00:33:17,600 --> 00:33:20,000
Speaker 2: Oldest song that was ever cut.

825
00:33:20,120 --> 00:33:23,360
Speaker 1: Meaning you mentioned that six or seven years you wrote

826
00:33:23,400 --> 00:33:25,320
Speaker 1: a song X amount of years later it finally gets

827
00:33:25,320 --> 00:33:26,080
Speaker 1: cut and becomes a hit.

828
00:33:26,240 --> 00:33:27,080
Speaker 2: What comes to your mind?

829
00:33:27,080 --> 00:33:29,720
Speaker 3: There? The Truth pops into my head. We had written

830
00:33:29,760 --> 00:33:32,320
Speaker 3: I wrote that with Ashley Monroe, who I just love too.

831
00:33:32,360 --> 00:33:34,240
Speaker 3: We're actually getting ready to go to Brazil together the

832
00:33:34,560 --> 00:33:35,200
Speaker 3: writing trip.

833
00:33:35,360 --> 00:33:36,560
Speaker 2: Saw her three four days ago.

834
00:33:36,600 --> 00:33:38,480
Speaker 3: Oh did you? Yeah? We had I love her, She's

835
00:33:38,520 --> 00:33:40,920
Speaker 3: the best, yeah, And I've known her since she was fifteen. Somehow.

836
00:33:40,920 --> 00:33:42,720
Speaker 3: I started working on her when she was really young,

837
00:33:43,240 --> 00:33:44,840
Speaker 3: and I think we wrote that song when she was

838
00:33:44,840 --> 00:33:48,760
Speaker 3: about sixteen or seventeen in my living room. And uh,

839
00:33:49,360 --> 00:33:51,360
Speaker 3: but you know, the Truth is kind of a weird song.

840
00:33:51,400 --> 00:33:53,560
Speaker 3: You don't really really know what it's about until the

841
00:33:53,680 --> 00:33:56,160
Speaker 3: very end of the song, the last two lines, which is,

842
00:33:56,240 --> 00:33:59,160
Speaker 3: you know, breaks every songwriting rule there is. And so

843
00:33:59,200 --> 00:34:01,080
Speaker 3: we wrote it and just said on shelves, and we

844
00:34:01,200 --> 00:34:04,080
Speaker 3: just thought it was never going to pop up, you know,

845
00:34:04,160 --> 00:34:06,520
Speaker 3: And all of a sudden, you know, like six or

846
00:34:06,560 --> 00:34:08,440
Speaker 3: seven years later, I don't even know how I was.

847
00:34:08,440 --> 00:34:10,520
Speaker 1: Gonna ask, how does this? I don't know long enough

848
00:34:10,520 --> 00:34:11,760
Speaker 1: to get around no clue.

849
00:34:11,800 --> 00:34:13,680
Speaker 3: I have no idea how Jason ever heard that song,

850
00:34:13,719 --> 00:34:15,719
Speaker 3: but I'm glad he did. And he's sure, he sure

851
00:34:15,760 --> 00:34:17,560
Speaker 3: crushed it. And there was another one called You Saved Me.

852
00:34:17,560 --> 00:34:19,320
Speaker 3: There was a Kenny song that just got happened in

853
00:34:19,360 --> 00:34:21,280
Speaker 3: the same kind of deal. It was probably ten years old.

854
00:34:21,400 --> 00:34:22,280
Speaker 2: What's in Brazil?

855
00:34:23,320 --> 00:34:25,680
Speaker 3: You're going to going to a writing camp to write

856
00:34:25,680 --> 00:34:28,760
Speaker 3: Brazilian music in Portuguese? Of course we are. Why wouldn't

857
00:34:28,760 --> 00:34:29,200
Speaker 3: we be doing?

858
00:34:29,239 --> 00:34:30,480
Speaker 1: You know, I thought you would go to Brazil to

859
00:34:30,560 --> 00:34:32,759
Speaker 1: write country music song for the country music people who

860
00:34:32,800 --> 00:34:33,640
Speaker 1: wanted to fly to Brazil.

861
00:34:33,680 --> 00:34:36,919
Speaker 2: But I'm way wrong on that. So yeah, what how

862
00:34:37,000 --> 00:34:37,680
Speaker 2: and what why?

863
00:34:37,800 --> 00:34:40,879
Speaker 3: It's a really long story. But we both write work

864
00:34:40,920 --> 00:34:43,040
Speaker 3: with a company called Warner Chapel here in town, big publisher,

865
00:34:43,400 --> 00:34:46,799
Speaker 3: and they have offices all over the world. And you know,

866
00:34:47,280 --> 00:34:49,239
Speaker 3: I get this email one day, Hey, do you want

867
00:34:49,239 --> 00:34:51,399
Speaker 3: to go to South Paulo to write this new kind

868
00:34:51,400 --> 00:34:56,040
Speaker 3: of Brazilian music that is apparently huge? Apparently this new

869
00:34:56,200 --> 00:34:58,680
Speaker 3: genre of Brazilian music is taking over the world or something.

870
00:34:59,080 --> 00:35:01,080
Speaker 3: And it's gonna be a little camp with like five

871
00:35:01,200 --> 00:35:04,279
Speaker 3: Nashville Riders and and studios, and you're gonna it's all

872
00:35:04,320 --> 00:35:06,959
Speaker 3: gonna be in Portuguese and you're gonna have translators. Wow,

873
00:35:07,120 --> 00:35:08,600
Speaker 3: I have no idea we're getting into.

874
00:35:08,440 --> 00:35:09,560
Speaker 2: But so you haven't done this yet.

875
00:35:09,600 --> 00:35:12,920
Speaker 3: I haven't done it yet. We're leaving a We're leaving Sunday, actually,

876
00:35:13,239 --> 00:35:16,319
Speaker 3: Ashley Monroe, Liz Rose, me and a couple other people

877
00:35:16,360 --> 00:35:17,080
Speaker 3: are gonna go down.

878
00:35:17,320 --> 00:35:19,359
Speaker 2: Because I's see what happens. Does it excite you a lot?

879
00:35:19,400 --> 00:35:21,560
Speaker 3: Are you like it's just it's just you know, I

880
00:35:22,000 --> 00:35:24,000
Speaker 3: look at it like it's a cultural experience. I've never

881
00:35:24,000 --> 00:35:25,960
Speaker 3: been to Brazil and I've you know, don't know a

882
00:35:26,000 --> 00:35:27,600
Speaker 3: thing about the music. But I'm gonna do a lot

883
00:35:27,640 --> 00:35:29,920
Speaker 3: of I'm gonna educate myself before Sunday. Hopefully.

884
00:35:29,960 --> 00:35:31,879
Speaker 2: Are you doing Rosetta Stone Portuguese?

885
00:35:32,440 --> 00:35:34,640
Speaker 3: I am not at all knows I am not. I'm

886
00:35:34,760 --> 00:35:37,360
Speaker 3: doing dual lingo frends right now. I'm trying to learn. Friends.

887
00:35:37,520 --> 00:35:39,880
Speaker 1: We had Dan Huff, and we've talked to Dan a

888
00:35:39,920 --> 00:35:42,040
Speaker 1: couple of times, and you know, he would talk about

889
00:35:42,040 --> 00:35:44,359
Speaker 1: how he'd be at an airport and hear a song

890
00:35:44,560 --> 00:35:46,359
Speaker 1: like I guess I dang, I really like that guitar part,

891
00:35:46,400 --> 00:35:48,960
Speaker 1: and later he'd later realized I was him who played it.

892
00:35:49,680 --> 00:35:53,160
Speaker 1: So you've had five hundred plus songs cut you ever

893
00:35:53,200 --> 00:35:55,120
Speaker 1: hear a song and not realize that it was yours.

894
00:35:55,360 --> 00:35:58,359
Speaker 3: I have. I did it recently. I was with Drew Green,

895
00:35:58,400 --> 00:36:00,400
Speaker 3: an artists that I love and work with read he

896
00:36:00,440 --> 00:36:03,440
Speaker 3: was actually playing a wedding and we're at this wedding

897
00:36:03,520 --> 00:36:06,080
Speaker 3: somewhere in nowhere. They'd want they'd won the you know,

898
00:36:06,120 --> 00:36:09,000
Speaker 3: the one they'd won a contest, and so Drew's up

899
00:36:09,000 --> 00:36:11,279
Speaker 3: there singing and I heard this song. I was like, man,

900
00:36:11,320 --> 00:36:13,759
Speaker 3: I kind of like that, I kind of you know,

901
00:36:13,760 --> 00:36:16,400
Speaker 3: I think it's pretty cool, and somehow it was familiar

902
00:36:16,440 --> 00:36:18,000
Speaker 3: and it ended up being a Larry Fleet song that

903
00:36:18,000 --> 00:36:20,640
Speaker 3: I'd written just a few months ago, and I was like, oh,

904
00:36:20,719 --> 00:36:21,600
Speaker 3: that's why that's.

905
00:36:24,960 --> 00:36:27,360
Speaker 1: You spent a bunch of years on the board for

906
00:36:27,400 --> 00:36:29,680
Speaker 1: the CMAS. So I have a heart hitting question here

907
00:36:29,719 --> 00:36:31,319
Speaker 1: is why have I been black bald so long to

908
00:36:31,360 --> 00:36:32,520
Speaker 1: be the host of the CMAS.

909
00:36:33,239 --> 00:36:37,080
Speaker 3: You know, we've had discussions about you and it just

910
00:36:37,120 --> 00:36:39,640
Speaker 3: never goes the right way. I have no idea, and

911
00:36:39,680 --> 00:36:43,319
Speaker 3: I'm not on that board anymore now. Yeah, I don't

912
00:36:43,360 --> 00:36:45,040
Speaker 3: know have they ever? Have they talked to you about it?

913
00:36:45,080 --> 00:36:47,360
Speaker 1: Because all I hear like through certain channels you've been

914
00:36:47,400 --> 00:36:50,160
Speaker 1: blackballed And I can't get down to the bottom.

915
00:36:50,200 --> 00:36:51,880
Speaker 3: I don't can't believe that.

916
00:36:52,160 --> 00:36:56,640
Speaker 1: Listen, I've had some pretty prominent folks there tell me off.

917
00:36:56,760 --> 00:36:59,200
Speaker 1: You said, like, you know, there's the systems holding you down,

918
00:36:59,320 --> 00:37:01,560
Speaker 1: and they won't exactly tell me who the system is.

919
00:37:01,560 --> 00:37:05,080
Speaker 1: Is it you on the spot?

920
00:37:05,200 --> 00:37:08,080
Speaker 3: Yeah? No, you know it's funny, Mane may is like,

921
00:37:08,120 --> 00:37:09,480
Speaker 3: I have been on the board for a long time,

922
00:37:09,520 --> 00:37:12,120
Speaker 3: and I hear so many things about that board, and

923
00:37:12,200 --> 00:37:14,120
Speaker 3: yet they're all you know them all, they're all the

924
00:37:14,120 --> 00:37:14,840
Speaker 3: sweetest people.

925
00:37:15,000 --> 00:37:16,319
Speaker 2: Exactly who do I know?

926
00:37:19,040 --> 00:37:22,080
Speaker 3: Somebody? Right, I don't know, I don't know. I'm sure

927
00:37:22,120 --> 00:37:24,600
Speaker 3: that's going to happen. Something has to happen somewhere.

928
00:37:24,800 --> 00:37:26,440
Speaker 2: You just send me a little carrier pigeon and you

929
00:37:26,560 --> 00:37:28,880
Speaker 2: let me know. I'm going to get to the bottom.

930
00:37:29,040 --> 00:37:30,520
Speaker 2: I'm going to get to the bottom of desk. When

931
00:37:30,520 --> 00:37:31,880
Speaker 2: you're at the Grammys, did you get to sit by

932
00:37:31,920 --> 00:37:32,480
Speaker 2: anybody cool?

933
00:37:32,680 --> 00:37:36,239
Speaker 3: Yes? Well the one time I ever got nominated for

934
00:37:36,320 --> 00:37:38,400
Speaker 3: the big like to get in the big room was

935
00:37:38,520 --> 00:37:40,120
Speaker 3: just amazing. That was for Jesus take to will We

936
00:37:40,400 --> 00:37:42,680
Speaker 3: won country song, but we were up for a real song,

937
00:37:43,440 --> 00:37:45,600
Speaker 3: and you know we got to sit like on the

938
00:37:45,640 --> 00:37:47,439
Speaker 3: fifth row and I was like in front of John

939
00:37:47,480 --> 00:37:50,600
Speaker 3: Mayer and behind John Legend, and you know it was

940
00:37:50,880 --> 00:37:53,600
Speaker 3: pretty heavy stuff, you know, and I would literally like breaks.

941
00:37:53,960 --> 00:37:55,360
Speaker 3: I would just get up and act like I was

942
00:37:55,400 --> 00:37:57,360
Speaker 3: just stretching my legs and just just to walk around

943
00:37:57,360 --> 00:38:00,000
Speaker 3: my section just to like just to see people.

944
00:38:00,160 --> 00:38:01,960
Speaker 2: You know what I'm saying, You're everyone right now.

945
00:38:02,280 --> 00:38:05,359
Speaker 3: You're I literally like, you know, you're not staring at them,

946
00:38:05,360 --> 00:38:07,799
Speaker 3: but you're getting to walk past, you know. I mean,

947
00:38:07,840 --> 00:38:10,480
Speaker 3: I remember justin Timberlake played twice that nine and stuff

948
00:38:10,480 --> 00:38:12,759
Speaker 3: like that. You're just like, Okay, I just gotta I

949
00:38:12,800 --> 00:38:14,680
Speaker 3: just gotta walk around a little bit, just to just

950
00:38:14,719 --> 00:38:15,799
Speaker 3: to see these people.

951
00:38:15,880 --> 00:38:19,200
Speaker 2: Did you prepare a speech? No, you didn't, even just

952
00:38:19,280 --> 00:38:19,760
Speaker 2: a case.

953
00:38:20,000 --> 00:38:22,960
Speaker 3: I didn't. I'm not a preparer, and I knew, honestly.

954
00:38:22,960 --> 00:38:24,840
Speaker 3: I wrote that song with Hillary Lindsay and Gordy Sampson,

955
00:38:24,800 --> 00:38:26,200
Speaker 3: and I knew I'd have to let Hillary do the

956
00:38:26,239 --> 00:38:27,560
Speaker 3: talking anyway, so it was all good.

957
00:38:28,480 --> 00:38:31,040
Speaker 1: You say you're not a preparer, then let me put

958
00:38:31,040 --> 00:38:34,600
Speaker 1: this into your everyday practical life, when your professional practical life,

959
00:38:34,640 --> 00:38:37,239
Speaker 1: do you prepare notes for songs and ideas that you

960
00:38:37,280 --> 00:38:38,040
Speaker 1: have at this point?

961
00:38:38,160 --> 00:38:40,600
Speaker 3: Absolutely not as much as I should And I think

962
00:38:40,600 --> 00:38:42,920
Speaker 3: that's one. I think that's that's a lesson for all

963
00:38:42,920 --> 00:38:45,120
Speaker 3: songwriters that I need to do better at because you

964
00:38:45,120 --> 00:38:47,880
Speaker 3: get old and you get lazy. You know. I always

965
00:38:48,120 --> 00:38:52,040
Speaker 3: I keep titles and concepts and you know, I'm always

966
00:38:52,080 --> 00:38:55,800
Speaker 3: putting them on my phone. But the really great writers,

967
00:38:55,800 --> 00:38:57,279
Speaker 3: the ones that everybody wants to write with, are the

968
00:38:57,320 --> 00:39:00,000
Speaker 3: ones that write walk in with something that's great and

969
00:39:00,040 --> 00:39:03,359
Speaker 3: it's you know, got a verse or got it's got,

970
00:39:03,400 --> 00:39:05,719
Speaker 3: it's got, it's got some real form to it. And

971
00:39:06,200 --> 00:39:07,920
Speaker 3: I can just say that that the young writers that

972
00:39:07,960 --> 00:39:10,479
Speaker 3: I know that are being super successful in Nashville right now,

973
00:39:10,760 --> 00:39:12,680
Speaker 3: they walk in the rooms really prepared, and I think

974
00:39:12,680 --> 00:39:14,080
Speaker 3: that's I think that's half the battle.

975
00:39:20,160 --> 00:39:25,120
Speaker 1: Do you ever accidentally rewrite or have the same melody

976
00:39:25,160 --> 00:39:27,200
Speaker 1: of a previous song of yours because it is your

977
00:39:27,200 --> 00:39:28,640
Speaker 1: brain that had it initially?

978
00:39:29,600 --> 00:39:30,560
Speaker 2: Does it ever come up again?

979
00:39:30,600 --> 00:39:32,440
Speaker 1: You're like, oh, that I already do, because you have

980
00:39:32,480 --> 00:39:35,120
Speaker 1: so I said five hundred it's been cut.

981
00:39:34,880 --> 00:39:35,680
Speaker 3: But I've written over four.

982
00:39:35,880 --> 00:39:37,319
Speaker 2: That's what I'm saying, that's just been cut.

983
00:39:37,400 --> 00:39:40,440
Speaker 3: It's kind of impossible not to to be honest with you,

984
00:39:40,520 --> 00:39:43,200
Speaker 3: especially because it's you know, but what what what you

985
00:39:43,320 --> 00:39:45,200
Speaker 3: try to do, having done it as long as I've

986
00:39:45,239 --> 00:39:47,360
Speaker 3: been doing, is try to find new lanes, you know,

987
00:39:47,480 --> 00:39:49,880
Speaker 3: new lanes that make your brain go different places so

988
00:39:49,920 --> 00:39:53,600
Speaker 3: you're not falling into the same you know, melodies that

989
00:39:53,600 --> 00:39:55,840
Speaker 3: that you have written before, and you know, so I

990
00:39:55,880 --> 00:39:58,600
Speaker 3: think that's the sort of the challenge I have, you know,

991
00:39:58,640 --> 00:40:00,120
Speaker 3: after you've written a lot.

992
00:40:00,600 --> 00:40:04,200
Speaker 1: So you're this event we're talking about specifically, but just

993
00:40:04,200 --> 00:40:06,640
Speaker 1: when you go when you play a show with great

994
00:40:06,640 --> 00:40:10,160
Speaker 1: songwriters and you're showcasing the songs that have become hits

995
00:40:10,200 --> 00:40:11,320
Speaker 1: for you and you get four?

996
00:40:12,040 --> 00:40:14,840
Speaker 2: What four do you play more than not?

997
00:40:15,320 --> 00:40:17,480
Speaker 1: Are you? What are your mount rushmore of songs that

998
00:40:17,760 --> 00:40:19,920
Speaker 1: you play when you play.

999
00:40:20,440 --> 00:40:22,839
Speaker 3: I almost always do Out Last Night because it's got

1000
00:40:22,840 --> 00:40:24,880
Speaker 3: a fun story to it, and that's you know, you

1001
00:40:24,920 --> 00:40:26,759
Speaker 3: know those shows, those stories are you know, those songs

1002
00:40:26,760 --> 00:40:28,200
Speaker 3: are just as much about the stories.

1003
00:40:29,040 --> 00:40:30,879
Speaker 2: What's the story? Uh?

1004
00:40:30,920 --> 00:40:33,160
Speaker 3: The stories Out last Night was you know, it started

1005
00:40:33,160 --> 00:40:35,239
Speaker 3: in my kitchen. I was standing in my kitchen on

1006
00:40:35,320 --> 00:40:39,640
Speaker 3: Christmas Eve and my cell phone rang and you know,

1007
00:40:39,680 --> 00:40:41,359
Speaker 3: the voice on the other end of the line, which

1008
00:40:41,400 --> 00:40:44,319
Speaker 3: was Kenny, was like, hey man, you know, what are

1009
00:40:44,320 --> 00:40:46,879
Speaker 3: you doing day after tomorrow? You know, and so I had,

1010
00:40:46,920 --> 00:40:49,359
Speaker 3: you know, four children under the age of twelve at

1011
00:40:49,360 --> 00:40:51,640
Speaker 3: the time, you know, and it's Christmas Eve, you know,

1012
00:40:51,680 --> 00:40:53,239
Speaker 3: so the joke is well, of course, I said, well

1013
00:40:53,280 --> 00:40:55,200
Speaker 3: nothing man, you know what you got in mind? Because

1014
00:40:55,719 --> 00:40:57,080
Speaker 3: and he said, why don't we go down the islands

1015
00:40:57,080 --> 00:41:00,239
Speaker 3: and write some songs? And so we did, you know,

1016
00:41:00,520 --> 00:41:03,120
Speaker 3: because those four children know what pays for Christmas presents

1017
00:41:03,120 --> 00:41:04,680
Speaker 3: around my house. I ended up in you know, the

1018
00:41:04,719 --> 00:41:08,279
Speaker 3: Islands on December twenty sixth, and Kenny and I have

1019
00:41:08,440 --> 00:41:10,240
Speaker 3: you know, we have we always have a good time together.

1020
00:41:10,320 --> 00:41:13,200
Speaker 3: In this particular night, we made a night of it,

1021
00:41:13,280 --> 00:41:16,320
Speaker 3: you know. And so I woke up the next morning

1022
00:41:16,320 --> 00:41:18,960
Speaker 3: and I was I woke up way before he did.

1023
00:41:19,040 --> 00:41:21,879
Speaker 3: I remember I just playing guitar and sipping coffee, and

1024
00:41:22,120 --> 00:41:26,080
Speaker 3: a couple hours later, the sliding glass door to his bedroom,

1025
00:41:26,320 --> 00:41:27,680
Speaker 3: you know, he kind of sticks his head out and

1026
00:41:27,719 --> 00:41:32,479
Speaker 3: he's like, Brett, we went out last night, and I said, yeah,

1027
00:41:32,480 --> 00:41:33,919
Speaker 3: we did, and that's the song we had to write today.

1028
00:41:33,920 --> 00:41:36,000
Speaker 3: So that's how kind of out. We kind of wrote

1029
00:41:36,000 --> 00:41:38,680
Speaker 3: it about the night before a little bit, and we

1030
00:41:38,719 --> 00:41:40,840
Speaker 3: actually wrote two number ones that day. We wrote a

1031
00:41:40,840 --> 00:41:43,640
Speaker 3: song called Reality that afternoon. Same day same day, it

1032
00:41:43,680 --> 00:41:45,880
Speaker 3: was you guys should go out more greatest. I know, Kenny,

1033
00:41:45,880 --> 00:41:47,759
Speaker 3: if you're listening act you need to go out more

1034
00:41:47,800 --> 00:41:48,480
Speaker 3: and do this again.

1035
00:41:49,120 --> 00:41:51,000
Speaker 2: Okay, that's song number one. What's song number two?

1036
00:41:52,520 --> 00:41:55,480
Speaker 3: I almost always play mister Noah All by Kelly Clarkson

1037
00:41:55,520 --> 00:41:57,799
Speaker 3: just because it's fun to sing and you know, no one.

1038
00:41:57,880 --> 00:41:59,400
Speaker 2: Maybe people don't expect you to sing.

1039
00:41:59,239 --> 00:42:01,439
Speaker 3: Anarks me to sing at Kelly Clay you wrote.

1040
00:42:01,480 --> 00:42:02,200
Speaker 2: I mean, I guess that's it.

1041
00:42:02,280 --> 00:42:05,600
Speaker 1: People don't expect you to have written a Kelly Clarkson

1042
00:42:05,680 --> 00:42:08,920
Speaker 1: songs because you're a massive country music songwriter.

1043
00:42:09,160 --> 00:42:10,880
Speaker 3: I guess. So that's probably part of the reason I

1044
00:42:10,880 --> 00:42:12,920
Speaker 3: played it is because you never know there's there may

1045
00:42:12,920 --> 00:42:14,920
Speaker 3: be somebody in that audience. It's not a coutry music fan,

1046
00:42:14,960 --> 00:42:16,919
Speaker 3: but they might have listened to Kelly Clarkson on pop

1047
00:42:17,000 --> 00:42:19,799
Speaker 3: radio and so and it's just a fun really, you know,

1048
00:42:19,880 --> 00:42:22,040
Speaker 3: it's such a weird song to sing because you know,

1049
00:42:22,120 --> 00:42:26,080
Speaker 3: you write these songs as a middle aged dude and

1050
00:42:26,120 --> 00:42:29,520
Speaker 3: then you're singing I Am Rosemary's Granddaughter in front of strangers,

1051
00:42:29,600 --> 00:42:31,400
Speaker 3: or you know, mister Noah All in front of strangers.

1052
00:42:31,400 --> 00:42:34,000
Speaker 3: But it's still fun, you know, and it's fun to

1053
00:42:34,080 --> 00:42:36,839
Speaker 3: kind of be in character for that one and play that.

1054
00:42:37,280 --> 00:42:39,960
Speaker 3: I almost always play the truth, just because I do

1055
00:42:40,040 --> 00:42:42,080
Speaker 3: love that song. That's one of my one I'm most

1056
00:42:42,080 --> 00:42:45,439
Speaker 3: proud of. And then I almost always and when Jesus

1057
00:42:45,480 --> 00:42:47,320
Speaker 3: Take the Wheels, those are the four. That's probably about

1058
00:42:47,480 --> 00:42:48,080
Speaker 3: about the four.

1059
00:42:48,239 --> 00:42:50,520
Speaker 2: Can you hit that when you're singing Jesus?

1060
00:42:50,680 --> 00:42:54,319
Speaker 3: Same? Not in her key? I can't gotta change the key. Yes,

1061
00:42:55,000 --> 00:42:58,520
Speaker 3: it's fun. Yeah, Kerry songs are wow. You know, you know,

1062
00:42:58,760 --> 00:43:01,040
Speaker 3: they're they're hard to they're hard to do live, you know,

1063
00:43:01,200 --> 00:43:04,880
Speaker 3: but they're also really fun and challenging. Stefano and I

1064
00:43:04,880 --> 00:43:08,920
Speaker 3: wrote one with her together called the Something in the

1065
00:43:08,960 --> 00:43:10,120
Speaker 3: Water that's always really fun.

1066
00:43:10,400 --> 00:43:12,080
Speaker 1: I heard him, no, he played that next to me

1067
00:43:12,120 --> 00:43:14,120
Speaker 1: once and then I just went, I'm gonna tap out

1068
00:43:14,120 --> 00:43:15,759
Speaker 1: of this round and he had like.

1069
00:43:15,680 --> 00:43:16,640
Speaker 2: A drum under his foot.

1070
00:43:18,239 --> 00:43:20,719
Speaker 1: Yeah, And it came to me there and I had

1071
00:43:20,920 --> 00:43:23,560
Speaker 1: this little funny comedy song I was and I was like, all.

1072
00:43:23,560 --> 00:43:25,200
Speaker 2: Right, let's just go ahead and skip me and go

1073
00:43:25,239 --> 00:43:27,440
Speaker 2: over and I was just like, do you expect anyone

1074
00:43:27,480 --> 00:43:28,160
Speaker 2: to play after that?

1075
00:43:28,680 --> 00:43:29,160
Speaker 3: No one likes?

1076
00:43:29,320 --> 00:43:31,200
Speaker 2: And why what's the junctaposition? In Chris and me.

1077
00:43:31,320 --> 00:43:31,960
Speaker 3: I'm the worst.

1078
00:43:32,640 --> 00:43:33,640
Speaker 2: I'm there for the last.

1079
00:43:33,520 --> 00:43:34,200
Speaker 3: You were so not.

1080
00:43:34,840 --> 00:43:35,600
Speaker 2: I'm just there to.

1081
00:43:35,520 --> 00:43:37,120
Speaker 3: Make people all different kind of entertainment.

1082
00:43:37,160 --> 00:43:40,360
Speaker 1: My friend, which song came back to you so different

1083
00:43:41,719 --> 00:43:45,520
Speaker 1: sonically than you expected that we would know, like you

1084
00:43:45,600 --> 00:43:49,520
Speaker 1: write it, you know, so we'll just John Smith has

1085
00:43:49,600 --> 00:43:51,319
Speaker 1: cut the song. I thought, it's really cool. John spits

1086
00:43:51,360 --> 00:43:53,279
Speaker 1: a great artist. They're probably gonna and you get it

1087
00:43:53,280 --> 00:43:56,560
Speaker 1: back and you're like, wow, that is not my interpretation,

1088
00:43:56,640 --> 00:43:57,320
Speaker 1: but it's amazing.

1089
00:43:57,760 --> 00:44:00,400
Speaker 3: What is that? You know? It's It's funny mentioned that

1090
00:44:00,440 --> 00:44:03,320
Speaker 3: when when the first time I heard Jessica Andrews version

1091
00:44:03,400 --> 00:44:07,160
Speaker 3: of of Who I Am? It was so different, and

1092
00:44:07,239 --> 00:44:11,799
Speaker 3: I had such demo love for Hilary Lindsay's demo that

1093
00:44:11,840 --> 00:44:13,160
Speaker 3: first time I heard it. I heard it on the

1094
00:44:13,239 --> 00:44:16,680
Speaker 3: radio and I was like, I don't know, I don't

1095
00:44:16,680 --> 00:44:18,719
Speaker 3: know if that's I don't know if they did that right.

1096
00:44:18,719 --> 00:44:21,279
Speaker 3: Of course, it's Byron Gallimore. He's a freaking genius, so

1097
00:44:21,320 --> 00:44:23,759
Speaker 3: of course they did it right, you know. But the

1098
00:44:23,760 --> 00:44:25,120
Speaker 3: first time I heard that song, I was I was

1099
00:44:25,200 --> 00:44:29,200
Speaker 3: kind of like just disappointed or just confused. I was like,

1100
00:44:29,200 --> 00:44:30,520
Speaker 3: I don't know if this is going to work now,

1101
00:44:30,880 --> 00:44:31,840
Speaker 3: And sure enough.

1102
00:44:31,680 --> 00:44:32,600
Speaker 2: It did, Sure enough, it did.

1103
00:44:32,680 --> 00:44:32,879
Speaker 1: Yeah.

1104
00:44:33,280 --> 00:44:35,600
Speaker 3: Uh spoiler alert, I was very wrong about Yeah, yeah,

1105
00:44:35,640 --> 00:44:36,239
Speaker 3: yeah that did.

1106
00:44:36,760 --> 00:44:39,680
Speaker 2: Okay, look, let me promo the event again.

1107
00:44:40,400 --> 00:44:44,560
Speaker 1: It's a nonprofit aerial recovery, which is a really that's great,

1108
00:44:44,680 --> 00:44:47,520
Speaker 1: that's you know, there's so much there that these men

1109
00:44:47,560 --> 00:44:49,279
Speaker 1: and women invest so much of their time in life

1110
00:44:49,640 --> 00:44:51,239
Speaker 1: to have the skill set that it's like they come

1111
00:44:51,239 --> 00:44:53,719
Speaker 1: out of the military and then what did how do

1112
00:44:53,800 --> 00:44:54,520
Speaker 1: they use it now?

1113
00:44:54,760 --> 00:44:56,640
Speaker 3: Yeah, you know, and they also do a lot of

1114
00:44:56,680 --> 00:45:00,200
Speaker 3: other things. They have They have a center, it's it's there.

1115
00:45:00,320 --> 00:45:01,680
Speaker 3: The two people that are head of it. One girl's

1116
00:45:01,760 --> 00:45:05,120
Speaker 3: named Brittany Murphy. She's from Nashville and she's an amazingly

1117
00:45:05,120 --> 00:45:08,920
Speaker 3: successful real estate developer. So she also has an island

1118
00:45:08,920 --> 00:45:12,120
Speaker 3: in the bbis that is turned into like a therapy

1119
00:45:12,200 --> 00:45:14,960
Speaker 3: center and they take you know, the one. That's just

1120
00:45:15,040 --> 00:45:16,279
Speaker 3: one of the things they do is do all the

1121
00:45:16,400 --> 00:45:18,319
Speaker 3: rescue missions. The other thing they do is a lot

1122
00:45:18,320 --> 00:45:21,320
Speaker 3: of recovery for uh, you know, guys who are getting

1123
00:45:21,320 --> 00:45:23,080
Speaker 3: out of the military not knowing what to do next,

1124
00:45:23,239 --> 00:45:26,080
Speaker 3: or they're depressed or suicidal or whatever, and they go

1125
00:45:26,120 --> 00:45:28,200
Speaker 3: down to this island and have counselors and all this

1126
00:45:28,239 --> 00:45:30,719
Speaker 3: stuff and kind of you know, lots of training for

1127
00:45:30,719 --> 00:45:33,040
Speaker 3: these guys, and it's just amazing what they're doing. I'm

1128
00:45:33,239 --> 00:45:34,759
Speaker 3: I'm all in on this one. It's cool.

1129
00:45:34,840 --> 00:45:36,800
Speaker 1: November tenth, six thirty pm at the Bell Tower in

1130
00:45:36,880 --> 00:45:38,960
Speaker 1: Nashville and there's a cocktail reception.

1131
00:45:39,040 --> 00:45:41,600
Speaker 2: It says heavy or darbs. I don't know the difference

1132
00:45:42,000 --> 00:45:42,640
Speaker 2: the trades, just.

1133
00:45:43,800 --> 00:45:46,640
Speaker 3: Yeah, they got some put lead balls in. Yeah, I think.

1134
00:45:48,000 --> 00:45:48,239
Speaker 2: Listen.

1135
00:45:48,280 --> 00:45:49,600
Speaker 1: I hope people go check it out. But mostly I

1136
00:45:49,600 --> 00:45:52,600
Speaker 1: hope people can appreciate just your story. I mean, it's

1137
00:45:53,560 --> 00:45:55,960
Speaker 1: the if this isn't the story of how you never

1138
00:45:56,040 --> 00:45:59,680
Speaker 1: really know and you have the liberty to pivot and

1139
00:45:59,760 --> 00:46:00,960
Speaker 1: change engine figure it out.

1140
00:46:01,160 --> 00:46:02,759
Speaker 2: I don't know what is because I mean that's what

1141
00:46:02,800 --> 00:46:03,120
Speaker 2: you did.

1142
00:46:03,320 --> 00:46:05,560
Speaker 3: We'll all learning, still still trying to pivot and change,

1143
00:46:05,560 --> 00:46:07,759
Speaker 3: you know. I think that's an ongoing, ongoing thing for

1144
00:46:07,800 --> 00:46:08,160
Speaker 3: all of us.

1145
00:46:08,600 --> 00:46:11,520
Speaker 1: At Brett James songs, Well, I only change because people

1146
00:46:11,520 --> 00:46:12,279
Speaker 1: tell me I suck at one thing.

1147
00:46:12,280 --> 00:46:13,400
Speaker 2: I've never changed on purpose.

1148
00:46:13,640 --> 00:46:15,200
Speaker 1: I only change because it's like, you ain't good at

1149
00:46:15,239 --> 00:46:16,400
Speaker 1: this anymore, and I'm like, God.

1150
00:46:16,440 --> 00:46:19,160
Speaker 3: That's usually that. I think the ticket for me has

1151
00:46:19,160 --> 00:46:21,319
Speaker 3: been finding out that I suck at something soon enough,

1152
00:46:21,360 --> 00:46:23,160
Speaker 3: you know, not wasting so much more time. I waste

1153
00:46:23,160 --> 00:46:23,600
Speaker 3: a lot of time.

1154
00:46:23,920 --> 00:46:25,680
Speaker 2: And I'll be honest with you to me too at

1155
00:46:25,719 --> 00:46:27,920
Speaker 2: Brett James songs. It's Brett. It's been a pleasure man.

1156
00:46:27,960 --> 00:46:30,520
Speaker 3: Thank you, Bob. I really appreciate the time, and congrats

1157
00:46:30,520 --> 00:46:33,400
Speaker 3: on everything. I mean, your career is just insane. I

1158
00:46:33,440 --> 00:46:35,320
Speaker 3: want to flip the switch sometime and do this interview

1159
00:46:35,320 --> 00:46:35,520
Speaker 3: with you.

1160
00:46:35,960 --> 00:46:37,080
Speaker 2: Do you do you do a podcast?

1161
00:46:37,120 --> 00:46:37,680
Speaker 3: You have a podcast?

1162
00:46:38,120 --> 00:46:41,799
Speaker 1: Okay, all right, well we're just gonna interview and at

1163
00:46:41,800 --> 00:46:42,840
Speaker 1: your house with no microphone.

1164
00:46:42,840 --> 00:46:44,719
Speaker 3: That's it. Just really no one.

1165
00:46:48,200 --> 00:46:49,839
Speaker 1: Brett. Good to see you, and thank you for the time.

1166
00:46:49,880 --> 00:46:52,320
Speaker 1: And I hope, I hope this event goes wonderfully.

1167
00:46:52,360 --> 00:46:53,600
Speaker 2: And I don't know.

1168
00:46:53,640 --> 00:46:55,160
Speaker 1: If I see on the on the street, I'll block

1169
00:46:55,200 --> 00:46:56,799
Speaker 1: for you. If I'm a car and I see you driving,

1170
00:46:56,800 --> 00:46:58,640
Speaker 1: I'm gonna get beside sure nobody gets.

1171
00:46:58,440 --> 00:47:07,080
Speaker 3: Please, thank you. I need it, alright, thanks back, thank you. Mhmm.