1 00:00:03,240 --> 00:00:06,440 Speaker 1: Hello, and welcome to episode three hundred and thirty one 2 00:00:06,519 --> 00:00:08,520 Speaker 1: of the Bobby Cast. My name is Mike d I'm 3 00:00:08,560 --> 00:00:10,280 Speaker 1: the producer of the show and a bit of a 4 00:00:10,320 --> 00:00:14,080 Speaker 1: different episode for you guys today. Eddie is actually hopping 5 00:00:14,120 --> 00:00:16,280 Speaker 1: in to do this interview. You may know him from 6 00:00:16,280 --> 00:00:18,040 Speaker 1: the Bobby Bones Show. You may know him from the 7 00:00:18,040 --> 00:00:21,480 Speaker 1: Story Loser's podcast. He's hopping in and talking into songwriter 8 00:00:21,600 --> 00:00:25,360 Speaker 1: Craig Wiseman, who was a big songwriter here in Nashville, 9 00:00:25,360 --> 00:00:28,920 Speaker 1: actually has twenty nine number one. He landed his first 10 00:00:29,040 --> 00:00:32,280 Speaker 1: number one back in he wrote It's a Good Die 11 00:00:32,320 --> 00:00:42,400 Speaker 1: Young by Tracy Lawrence, Good Die Die. He also wrote 12 00:00:42,440 --> 00:00:44,680 Speaker 1: songs like Where the Green Grass Grows for Tim McGraw, 13 00:00:46,040 --> 00:00:48,920 Speaker 1: where the Green Grass Lived, Like You Were Dying for 14 00:00:49,000 --> 00:01:01,400 Speaker 1: Tim mcgrawl seven Seconds. Also wrote a bunch of stuff 15 00:01:01,400 --> 00:01:04,679 Speaker 1: for Kenny Chesney, like the good Stuff, Yeah Man, that's 16 00:01:04,720 --> 00:01:15,080 Speaker 1: the good stuff, songs like She's Got It All. Wrote 17 00:01:15,120 --> 00:01:17,760 Speaker 1: some big songs for Blake Shelton like Boys Around Here, 18 00:01:18,240 --> 00:01:23,600 Speaker 1: the Fall round Here, dragging that up, cool Bear talking 19 00:01:23,640 --> 00:01:26,120 Speaker 1: about and not only that, he's still writing songs, some 20 00:01:26,200 --> 00:01:28,240 Speaker 1: of his most recent ones where I Was Jack for 21 00:01:28,520 --> 00:01:34,360 Speaker 1: Jake Owen, Every time here that's chasing you for Morgan 22 00:01:34,440 --> 00:01:41,280 Speaker 1: wallin Sad and his most recent one here and now 23 00:01:41,360 --> 00:01:48,440 Speaker 1: for Kenny Chesney now, so we'll get into all of that, 24 00:01:48,560 --> 00:01:50,880 Speaker 1: also talk about his management company that he has here 25 00:01:50,920 --> 00:01:53,880 Speaker 1: in Nashville. So here it is episode three and thirty 26 00:01:53,880 --> 00:01:56,600 Speaker 1: one of the Bobby Casts with Craig Wiseman and Eddie 27 00:01:56,600 --> 00:02:00,920 Speaker 1: stepping in to do this interview. Craig, I'm so glad 28 00:02:00,960 --> 00:02:02,680 Speaker 1: you're here. I'm glad I get to talk to you. 29 00:02:03,040 --> 00:02:04,840 Speaker 1: I want to start just from the beginning. Man. You're 30 00:02:04,840 --> 00:02:09,680 Speaker 1: from Mississippi, from Hattysburg. Yeah, what was it like growing up? 31 00:02:10,000 --> 00:02:12,320 Speaker 1: What were you listening to? What kind of music were 32 00:02:12,360 --> 00:02:14,280 Speaker 1: you into? And you know, I really I look back 33 00:02:14,280 --> 00:02:17,640 Speaker 1: now and really appreciate it because Hattiesburg is uh about 34 00:02:17,680 --> 00:02:19,880 Speaker 1: sixty miles up from the coast, about a hundred miles 35 00:02:19,919 --> 00:02:21,560 Speaker 1: from If you go to New Orleans from here, you 36 00:02:21,880 --> 00:02:24,200 Speaker 1: fifty nine you go through Hattiesburg on the way to 37 00:02:24,200 --> 00:02:27,000 Speaker 1: New Orleans. So I could get all those radio stations 38 00:02:27,000 --> 00:02:29,840 Speaker 1: and then the coast, and so I mean I listened 39 00:02:29,840 --> 00:02:32,400 Speaker 1: to everything. And we have one of those classic you 40 00:02:32,440 --> 00:02:35,680 Speaker 1: ever hear this? H You ever hear Rex Bob Blowenstein 41 00:02:35,760 --> 00:02:38,000 Speaker 1: one of those songs. Um, we have one of those 42 00:02:38,040 --> 00:02:40,920 Speaker 1: classic A M stations to w f O R that 43 00:02:40,960 --> 00:02:44,880 Speaker 1: would play Frank Sinatra and then George Jones and then 44 00:02:45,080 --> 00:02:46,920 Speaker 1: and then you know, it was one of those they 45 00:02:47,000 --> 00:02:50,600 Speaker 1: played everything before all that stuff, before formats and exactly 46 00:02:50,639 --> 00:02:52,920 Speaker 1: they would just play play whatever. So I mean I 47 00:02:52,960 --> 00:02:56,160 Speaker 1: listened to everything and liked everything. You know, my mom 48 00:02:56,200 --> 00:02:58,160 Speaker 1: even my mom was like, man, you know your Disney 49 00:02:58,160 --> 00:03:00,240 Speaker 1: storybook albums when you were a kid. I it does 50 00:03:00,320 --> 00:03:03,160 Speaker 1: on for your naptime and stuff, and so you know, 51 00:03:03,360 --> 00:03:07,920 Speaker 1: just music was just so when did you decide you 52 00:03:07,960 --> 00:03:10,079 Speaker 1: were going to be a songwriter. Was it just something 53 00:03:10,320 --> 00:03:13,760 Speaker 1: that you knew that you were good at or were 54 00:03:13,760 --> 00:03:15,760 Speaker 1: you a poet? Would you know? I'm not loved it. 55 00:03:15,840 --> 00:03:18,520 Speaker 1: I saw I I was playing drums. I started playing 56 00:03:18,600 --> 00:03:21,480 Speaker 1: drums and in bars and stuff, and all this happened 57 00:03:21,520 --> 00:03:23,520 Speaker 1: when I was playing I wanted to play drums because 58 00:03:24,040 --> 00:03:26,760 Speaker 1: like in seventh grade, the high school jazz man, you know, 59 00:03:26,919 --> 00:03:28,440 Speaker 1: I was like, oh, I want to play drums. Setting 60 00:03:28,480 --> 00:03:33,840 Speaker 1: that and then out of that, um, so jam one 61 00:03:33,880 --> 00:03:36,480 Speaker 1: were your buddies, right, but drums are allowed, so you 62 00:03:36,560 --> 00:03:38,360 Speaker 1: invariably there'll be the time when the drums have to 63 00:03:38,360 --> 00:03:40,480 Speaker 1: shut down. Somebody just have a guitar. So my buddies 64 00:03:40,480 --> 00:03:43,600 Speaker 1: taught me some chords, and I still say that one 65 00:03:43,640 --> 00:03:46,360 Speaker 1: of the best songs to ever learn and to learn 66 00:03:46,440 --> 00:03:49,320 Speaker 1: guitar is Freebird because it has like every every chord 67 00:03:49,360 --> 00:03:51,800 Speaker 1: and it really was like a minor A, a minor 68 00:03:52,080 --> 00:03:58,000 Speaker 1: F C G. It's just the whole thing and um 69 00:03:58,120 --> 00:04:00,200 Speaker 1: somewhere on the line. So I know what happened. I 70 00:04:00,240 --> 00:04:02,400 Speaker 1: think there was an RSP Wagon or something song. There 71 00:04:02,440 --> 00:04:04,480 Speaker 1: was a song that I learned just three chords, you know, 72 00:04:04,800 --> 00:04:09,120 Speaker 1: stupid rocks on them that I wrote my own lyrics 73 00:04:09,160 --> 00:04:12,360 Speaker 1: to change the lyrics too. But I only did it 74 00:04:12,440 --> 00:04:15,200 Speaker 1: that one time. It was already a song, but you 75 00:04:15,280 --> 00:04:18,760 Speaker 1: changed the lyrics, which I hear from reading about other songs. 76 00:04:18,800 --> 00:04:19,800 Speaker 1: I hear there are a lot of guys that you 77 00:04:20,200 --> 00:04:21,680 Speaker 1: did that for a lot. That was kind of their 78 00:04:21,720 --> 00:04:25,200 Speaker 1: template to start with. I did it one time, But 79 00:04:25,320 --> 00:04:28,000 Speaker 1: you know what happened, man, I was a church camp kid, right, 80 00:04:28,600 --> 00:04:30,680 Speaker 1: and I'm a horrible guitar player. It doesn't matter. I 81 00:04:30,720 --> 00:04:37,040 Speaker 1: mean I couldn't see horrible, man. I mean learned friends 82 00:04:37,040 --> 00:04:41,280 Speaker 1: of mine when I playing guitar, they're just like just stop. 83 00:04:42,080 --> 00:04:49,280 Speaker 1: It's like, yeah, it's like watching their grandfather dry. They're like, oh, man, man, don't, don't, don't. 84 00:04:49,560 --> 00:04:52,240 Speaker 1: But man, I went to church camp, right, and I 85 00:04:52,279 --> 00:04:53,520 Speaker 1: had my course because I was gonna do be so 86 00:04:54,600 --> 00:04:56,799 Speaker 1: I could walk some girls home, you know, and kissing 87 00:04:56,800 --> 00:05:01,479 Speaker 1: and stuff here. Yeah exactly, but here's what I figured out, man. 88 00:05:01,600 --> 00:05:03,239 Speaker 1: So right, So you're trying to learn how to because 89 00:05:03,279 --> 00:05:06,640 Speaker 1: think about it. Think about learning music back then, especially 90 00:05:06,640 --> 00:05:10,000 Speaker 1: like so you have like Stairway to Heaven. There's one 91 00:05:10,040 --> 00:05:13,600 Speaker 1: of the best guitar players on planet Earth, and you 92 00:05:13,640 --> 00:05:16,239 Speaker 1: were one of the worst guitar players on planet are 93 00:05:16,240 --> 00:05:19,960 Speaker 1: trying to imitate him? Exactly, I mean think about that, 94 00:05:20,560 --> 00:05:24,280 Speaker 1: you know. So so nonetheless, I was going but I 95 00:05:24,320 --> 00:05:26,640 Speaker 1: went to church camp, and you figure out just singing 96 00:05:26,720 --> 00:05:29,240 Speaker 1: church camp songs, you know, amazing grace from Michael Rutherboto 97 00:05:29,279 --> 00:05:32,240 Speaker 1: Shore or whatever. You You've figured out like, well, not 98 00:05:32,480 --> 00:05:34,880 Speaker 1: just g every kind the people's key of G not, 99 00:05:34,920 --> 00:05:36,680 Speaker 1: you know, not too not too low for the girls, 100 00:05:36,680 --> 00:05:39,480 Speaker 1: I do high for the guys. And I figured out 101 00:05:39,520 --> 00:05:42,520 Speaker 1: from that it's like, oh, man, you don't know, all 102 00:05:42,600 --> 00:05:44,839 Speaker 1: these songs are just the same three or four chords, 103 00:05:44,960 --> 00:05:47,880 Speaker 1: like you could just play over and over, and I realized, 104 00:05:47,920 --> 00:05:49,560 Speaker 1: Like I went home and told my brother that. I 105 00:05:49,600 --> 00:05:52,480 Speaker 1: was like, you buy all these church camp songs. And 106 00:05:52,520 --> 00:05:55,359 Speaker 1: then so he was a huge country not so you know, 107 00:05:55,400 --> 00:05:56,880 Speaker 1: I saw he so he hit a g and he 108 00:05:56,920 --> 00:05:58,880 Speaker 1: started singing, and I was like, you can play all 109 00:05:58,920 --> 00:06:01,679 Speaker 1: these country songs. And I realized I think I played 110 00:06:01,680 --> 00:06:06,039 Speaker 1: the joker Steve Miller. So people come even spical and 111 00:06:06,080 --> 00:06:09,880 Speaker 1: I was like, and I was like, oh my god, 112 00:06:10,040 --> 00:06:13,000 Speaker 1: all these songs, all of these songs, okay, And what 113 00:06:13,040 --> 00:06:16,400 Speaker 1: it is I learned. I learned this amazing thing called transposing, 114 00:06:16,440 --> 00:06:19,479 Speaker 1: which means changing the key. So instead of me trying 115 00:06:19,520 --> 00:06:21,919 Speaker 1: to so ill equipped and horrible trying to come to 116 00:06:21,960 --> 00:06:25,960 Speaker 1: the music, I brought the music to me. And from that, 117 00:06:26,120 --> 00:06:28,160 Speaker 1: I mean from that, that's when I started writing the songs. 118 00:06:28,200 --> 00:06:30,600 Speaker 1: Like I said, so I wrote that one song and 119 00:06:30,640 --> 00:06:33,440 Speaker 1: then just started. I would stay up that one summer 120 00:06:33,440 --> 00:06:36,960 Speaker 1: I was fifteen, I would stay up until sunrise writing horrible, 121 00:06:37,000 --> 00:06:40,360 Speaker 1: horrible songs, like writing five or six a night, just 122 00:06:41,480 --> 00:06:45,000 Speaker 1: with my chords and just by my little desktop recorder 123 00:06:45,720 --> 00:06:47,840 Speaker 1: and just uh and there was no like, well, I'm 124 00:06:47,839 --> 00:06:50,560 Speaker 1: gonna be a big summary areathing? I just loved, loved, 125 00:06:50,720 --> 00:06:52,480 Speaker 1: and I always kind of was not you know, the 126 00:06:52,800 --> 00:06:55,359 Speaker 1: Phil Collins and Don Hendley's are the Eagles and stuff 127 00:06:55,360 --> 00:06:57,200 Speaker 1: like that just sort of come out of the drummer too. So, 128 00:06:57,800 --> 00:07:00,360 Speaker 1: but just the songwriters, you kind of realized, like regroup, 129 00:07:00,400 --> 00:07:02,480 Speaker 1: there's a songwriter and there's a guy who's really kind 130 00:07:02,480 --> 00:07:05,240 Speaker 1: of writing it, and just love that. Just loved and 131 00:07:05,320 --> 00:07:07,560 Speaker 1: I still do. So did you find out that there 132 00:07:07,680 --> 00:07:09,920 Speaker 1: was actually a way to make money writing songs? And 133 00:07:10,000 --> 00:07:12,160 Speaker 1: how did you move? And to move to Nashville? So 134 00:07:12,240 --> 00:07:13,720 Speaker 1: I was in a band. I was in a roadband 135 00:07:13,720 --> 00:07:15,840 Speaker 1: that it was getting me pretty popular, and we had 136 00:07:15,880 --> 00:07:18,120 Speaker 1: a there was a there was a guy that financed 137 00:07:18,160 --> 00:07:20,560 Speaker 1: or some and me and the me and the lead 138 00:07:20,640 --> 00:07:23,000 Speaker 1: singer from this band. He wanted to get us under contract. 139 00:07:23,000 --> 00:07:26,800 Speaker 1: You guys were that good? Well, well, well, you know, 140 00:07:27,080 --> 00:07:28,680 Speaker 1: pay for the PA and stuff like that. I mean, 141 00:07:28,720 --> 00:07:30,040 Speaker 1: this this is all this is all just you know, 142 00:07:30,160 --> 00:07:34,400 Speaker 1: basic stuff. Um, but the lead singer he wanted, he 143 00:07:34,440 --> 00:07:37,000 Speaker 1: wanted you know, the band Alabama had broken that kind 144 00:07:37,000 --> 00:07:38,840 Speaker 1: of went through everything like almost look at this because 145 00:07:38,880 --> 00:07:41,280 Speaker 1: Alabama was huge. He saw eighty million records. I mean, 146 00:07:41,320 --> 00:07:43,600 Speaker 1: you know, it's serious. So bands all of a sudden, 147 00:07:43,600 --> 00:07:45,200 Speaker 1: we're getting some focus and he wanted to give me 148 00:07:45,240 --> 00:07:48,560 Speaker 1: a contract, and and he gave me a contract because 149 00:07:48,560 --> 00:07:51,160 Speaker 1: I was writing some stuff for the band. And thank god, 150 00:07:51,240 --> 00:07:54,160 Speaker 1: my mom was attending Peabody at the time from Hattiesburg. 151 00:07:54,200 --> 00:07:56,640 Speaker 1: She would come up. She was always an academia working 152 00:07:56,640 --> 00:08:01,600 Speaker 1: on her PhD and like education administration whatever. And I 153 00:08:01,680 --> 00:08:05,000 Speaker 1: actually had we had two weekend gigs, so I had 154 00:08:05,040 --> 00:08:06,440 Speaker 1: the week open and I was like, I want to 155 00:08:06,560 --> 00:08:08,600 Speaker 1: ride with you to Nashville. And she went to Peabody, 156 00:08:08,640 --> 00:08:10,720 Speaker 1: which is right there off of eight teens and I 157 00:08:10,760 --> 00:08:13,800 Speaker 1: literally walked to Music Grow from there. What was it 158 00:08:13,840 --> 00:08:16,640 Speaker 1: like then? But I mean it was not not a 159 00:08:16,640 --> 00:08:18,240 Speaker 1: bunch of high rises like it is now. No, No, 160 00:08:18,360 --> 00:08:20,400 Speaker 1: it was all just houses and it was all I mean, 161 00:08:20,440 --> 00:08:22,680 Speaker 1: that's just it. Everybody says, everybody's trying to save me 162 00:08:22,720 --> 00:08:24,240 Speaker 1: the Grow. It was like man back then, because there 163 00:08:24,280 --> 00:08:27,920 Speaker 1: was nothing but little houses with people, and you know, 164 00:08:28,400 --> 00:08:31,160 Speaker 1: that's that's just people up in ATTLEX writing songs. It 165 00:08:31,200 --> 00:08:33,560 Speaker 1: was all. It was the old christ Ker Starfferson days 166 00:08:33,559 --> 00:08:36,040 Speaker 1: that really you could come to town the Christmer Starffers 167 00:08:36,040 --> 00:08:38,960 Speaker 1: and then you come to town sweet Florigna studio, do 168 00:08:39,040 --> 00:08:41,800 Speaker 1: that thing. Uh, finally get offered the deal, go down 169 00:08:41,800 --> 00:08:43,960 Speaker 1: the street to your lawyer who got you a deal, 170 00:08:44,000 --> 00:08:46,280 Speaker 1: who took you down further down the street to get 171 00:08:46,320 --> 00:08:48,360 Speaker 1: your manager, who took you further down the street to 172 00:08:48,440 --> 00:08:51,320 Speaker 1: the record label who got you that. And then you 173 00:08:51,360 --> 00:08:53,680 Speaker 1: started making money and somewhere on the street you bought 174 00:08:53,679 --> 00:08:56,400 Speaker 1: a house and that what your publishing company. And all 175 00:08:56,440 --> 00:08:58,880 Speaker 1: of that happens just right there in this little two 176 00:08:58,880 --> 00:09:02,080 Speaker 1: mile little race track, you know, and it still does. 177 00:09:02,240 --> 00:09:03,720 Speaker 1: That's why I'm there. I mean when I bought my 178 00:09:03,720 --> 00:09:06,720 Speaker 1: first building on Music Ground, I was here. I was tearful. 179 00:09:07,000 --> 00:09:08,719 Speaker 1: It was We'll get there, because that's pretty cool that 180 00:09:08,800 --> 00:09:11,040 Speaker 1: it comes to full circle like that. You So, mom 181 00:09:11,080 --> 00:09:14,000 Speaker 1: was at Peabody and what did you do? You you 182 00:09:14,040 --> 00:09:17,240 Speaker 1: went on over to Music Road. I took my contract 183 00:09:17,400 --> 00:09:21,040 Speaker 1: and you know what it is, um Ken Levitan, who's 184 00:09:21,040 --> 00:09:23,080 Speaker 1: a manager. Now he was a lawyer. Then I remember 185 00:09:23,160 --> 00:09:25,640 Speaker 1: walking saw the signs Levitan music attorney. I was like, 186 00:09:25,960 --> 00:09:30,920 Speaker 1: that's what I need. Ignorant does not begin to describe. 187 00:09:31,880 --> 00:09:34,120 Speaker 1: And I literally walked in and I'll go to the 188 00:09:34,120 --> 00:09:36,840 Speaker 1: girl and I'm like, I think somebody look at this contract. 189 00:09:36,920 --> 00:09:38,400 Speaker 1: She was like, I'm sorry, you have to get in. 190 00:09:38,679 --> 00:09:39,880 Speaker 1: I was like, no, I just kind of just pased 191 00:09:39,960 --> 00:09:41,680 Speaker 1: my twenty dollars. Look at this contract because I don't 192 00:09:41,679 --> 00:09:43,839 Speaker 1: even know what's going on. And one of and one 193 00:09:43,880 --> 00:09:46,520 Speaker 1: of kids let it kind of I think it was Mike. 194 00:09:47,080 --> 00:09:48,600 Speaker 1: You know, there's a lawyer over there with the jacket 195 00:09:48,600 --> 00:09:50,839 Speaker 1: all just his Oxford white shirt, you know, sleeves rolled 196 00:09:50,920 --> 00:09:53,360 Speaker 1: up like at the copy machine. And finally he just goes, MA, 197 00:09:54,040 --> 00:09:56,319 Speaker 1: I got this guy, come here, come here. So I 198 00:09:56,400 --> 00:09:59,360 Speaker 1: fallen back to an office. You know, yeah, you don't 199 00:09:59,400 --> 00:10:01,200 Speaker 1: even sit out. He just like, what who are you? 200 00:10:01,200 --> 00:10:05,280 Speaker 1: What's calling but a band contract? And just like you 201 00:10:05,400 --> 00:10:07,640 Speaker 1: look at it there and he was just like, you're 202 00:10:07,679 --> 00:10:10,040 Speaker 1: not even getting a draw. And I'm like, what's the draw? 203 00:10:10,679 --> 00:10:14,120 Speaker 1: What are you talking about? He said, He goes, this 204 00:10:14,160 --> 00:10:16,680 Speaker 1: guy's getting all your publishing, and I was like, what's publishing? 205 00:10:16,720 --> 00:10:19,880 Speaker 1: I mean, just seriously, And finally he just throws it 206 00:10:19,920 --> 00:10:21,199 Speaker 1: on the desk and can tell you what, I'll give 207 00:10:21,200 --> 00:10:25,760 Speaker 1: you twenty bucks not to sign that. And I was like, oh, 208 00:10:25,880 --> 00:10:28,400 Speaker 1: and he goes, man, if you write songs, he goes, 209 00:10:28,520 --> 00:10:31,240 Speaker 1: just come to town. He goes, we'll shopping around we'll 210 00:10:31,240 --> 00:10:34,040 Speaker 1: get you a deal. And I was like, uh, I 211 00:10:34,160 --> 00:10:36,120 Speaker 1: thought he was I thought he meant like record deal. 212 00:10:36,120 --> 00:10:37,960 Speaker 1: I was. I was like, no, got a publishing company. 213 00:10:37,960 --> 00:10:40,520 Speaker 1: You could just be a songwriter. And I was like, wait, 214 00:10:40,679 --> 00:10:42,600 Speaker 1: I could just be a soungwater. He goes, yeah, man, 215 00:10:42,640 --> 00:10:44,520 Speaker 1: he just started rattling off like at the time he said, 216 00:10:44,559 --> 00:10:46,240 Speaker 1: like you know Russell. He goes people that were in 217 00:10:46,280 --> 00:10:48,280 Speaker 1: bads like Russell Smith. He was the amazing room made. 218 00:10:48,280 --> 00:10:50,720 Speaker 1: Now he's a summer and just listen to all these people. 219 00:10:50,800 --> 00:10:54,040 Speaker 1: I was like, I could just come right songs. He 220 00:10:54,120 --> 00:10:57,040 Speaker 1: was like yeah, and I was like whoa. So I 221 00:10:57,080 --> 00:10:59,960 Speaker 1: went back to my band. I thought. I was like, whatever, 222 00:11:00,000 --> 00:11:02,640 Speaker 1: our last gig, we have book, whatever, it's three months 223 00:11:02,640 --> 00:11:05,600 Speaker 1: out from now, Like that's it. Um give you that 224 00:11:05,679 --> 00:11:08,720 Speaker 1: much time to find another drummer. I'm I'm moving to Nashville. 225 00:11:09,520 --> 00:11:13,360 Speaker 1: I'm gonna go be a songwriter. Now did you did 226 00:11:13,400 --> 00:11:16,440 Speaker 1: you move and crush it right away? God? No? No? 227 00:11:16,679 --> 00:11:20,400 Speaker 1: It was eighty five No, No, I mean I got 228 00:11:20,440 --> 00:11:23,240 Speaker 1: here and uh so I was still a musician. I 229 00:11:23,280 --> 00:11:25,680 Speaker 1: played six nights a week. So I went to Trinity Lane, 230 00:11:26,520 --> 00:11:31,640 Speaker 1: which you know it was but it was it was 231 00:11:31,679 --> 00:11:33,640 Speaker 1: the place where the musicians hung out, a place called 232 00:11:33,720 --> 00:11:37,360 Speaker 1: Real Country R. E. E. L. Right here at sixty 233 00:11:37,360 --> 00:11:44,120 Speaker 1: five Frenny Lane, and and yeah, and and basically the 234 00:11:44,120 --> 00:11:46,559 Speaker 1: BANDA played and in the last set, whoever was hanging 235 00:11:46,559 --> 00:11:48,240 Speaker 1: out they could get up and play, just to sort 236 00:11:48,280 --> 00:11:50,760 Speaker 1: of it was, We're just like, okay, all you all you, 237 00:11:51,240 --> 00:11:53,600 Speaker 1: all you street people, go ahead and go up there. 238 00:11:54,320 --> 00:11:57,520 Speaker 1: And and did that for a a couple of weeks, 239 00:11:57,559 --> 00:11:59,520 Speaker 1: and finally one guy was like, correct, man, there's there's 240 00:11:59,520 --> 00:12:01,400 Speaker 1: a band up Madison man looking for a drummer. I 241 00:12:01,400 --> 00:12:03,880 Speaker 1: told me, you're a nice guy, you want to go. 242 00:12:03,960 --> 00:12:06,040 Speaker 1: So I went up there. And so I went from 243 00:12:06,160 --> 00:12:10,160 Speaker 1: being a Mississippi making six seven hundred bucks a week 244 00:12:10,400 --> 00:12:13,080 Speaker 1: playing maybe five nights a week. In some places it 245 00:12:13,120 --> 00:12:14,760 Speaker 1: was like you had to close at midnight, so you 246 00:12:14,800 --> 00:12:17,880 Speaker 1: played from eight to eleven thirty. I got here and 247 00:12:17,920 --> 00:12:21,880 Speaker 1: got my first gig. Seven nights a week, six hours 248 00:12:21,880 --> 00:12:25,120 Speaker 1: a night, twenty five dollars a night. I mean, that's 249 00:12:25,200 --> 00:12:29,599 Speaker 1: that's just illegal, dude, dude. Yeah, I went home and 250 00:12:29,640 --> 00:12:31,120 Speaker 1: do the math. Me. I was like, I'm doing more 251 00:12:31,160 --> 00:12:35,800 Speaker 1: than forty hours a week playing drums, So yeah, man, 252 00:12:35,880 --> 00:12:37,880 Speaker 1: so yeah, So I wasn't, but it's really good because 253 00:12:37,880 --> 00:12:39,760 Speaker 1: I was trying to write songs. If I was trying 254 00:12:39,800 --> 00:12:41,200 Speaker 1: to do something on me the grow, I would just 255 00:12:41,200 --> 00:12:42,880 Speaker 1: stay up because I would get home at three or 256 00:12:42,920 --> 00:12:44,600 Speaker 1: four o'clock in the morning. And he had not to 257 00:12:44,600 --> 00:12:46,800 Speaker 1: mention it was a five dollar trip and gas up 258 00:12:46,800 --> 00:12:52,400 Speaker 1: there and back and so um. And after six months 259 00:12:52,440 --> 00:12:55,520 Speaker 1: and somebody else came and hired in Hendersonville place called 260 00:12:55,520 --> 00:12:57,640 Speaker 1: the Eleventh Frame, but it was six nights a week 261 00:12:57,679 --> 00:13:01,040 Speaker 1: at thirty five dollars a night. And so I finally 262 00:13:01,080 --> 00:13:02,800 Speaker 1: had a night off to go to one of these 263 00:13:02,800 --> 00:13:05,280 Speaker 1: songwriter bars. And even then the Bluebird was was kind 264 00:13:05,280 --> 00:13:07,600 Speaker 1: of the Bluebirds, So Douglas Corner was the place. So 265 00:13:07,640 --> 00:13:09,480 Speaker 1: I went to my first night in Douglas Corner, my 266 00:13:09,520 --> 00:13:13,600 Speaker 1: first night off after six months. I mean Dougla's Corner. 267 00:13:14,520 --> 00:13:16,959 Speaker 1: Never get merv. He was just like somebody said minutes 268 00:13:17,000 --> 00:13:19,120 Speaker 1: craiging New time everything. He had me a rolling Rock 269 00:13:19,200 --> 00:13:21,240 Speaker 1: beer and I still love rolling Rocks, and was like, man, 270 00:13:21,440 --> 00:13:27,000 Speaker 1: you know this is cool. It's different, foreign, just fancy. 271 00:13:27,679 --> 00:13:29,640 Speaker 1: But there was a guy walking around in a hoodie 272 00:13:29,640 --> 00:13:32,559 Speaker 1: with a cowboy hat, and I was like, oh man, 273 00:13:32,600 --> 00:13:34,440 Speaker 1: you've already got your head covering. Why don't you need 274 00:13:34,480 --> 00:13:41,640 Speaker 1: the cowboy like that seems a bit overkilled. So um 275 00:13:41,679 --> 00:13:43,640 Speaker 1: So he's walking around there and then these guys get 276 00:13:43,679 --> 00:13:45,080 Speaker 1: up on stage and he just go, man, I just 277 00:13:45,080 --> 00:13:46,559 Speaker 1: want to thank you guys. As you guys know, I 278 00:13:46,600 --> 00:13:48,840 Speaker 1: got my record deal on everything at Capital and everything. 279 00:13:48,880 --> 00:13:50,960 Speaker 1: But to help him milk Crazy's like, men, you gotta 280 00:13:50,960 --> 00:13:53,280 Speaker 1: put your concessant. You know. I always listening for songs 281 00:13:53,280 --> 00:13:58,480 Speaker 1: and everything. It was Garth Brooks, and beside him said, 282 00:13:58,559 --> 00:14:00,600 Speaker 1: in fact, this was the big big I've told the 283 00:14:00,600 --> 00:14:03,240 Speaker 1: story before. Beside him sat a little guy, and so 284 00:14:03,880 --> 00:14:05,679 Speaker 1: Garth and these are two other guys got out there 285 00:14:05,720 --> 00:14:07,920 Speaker 1: to kind of do the nine thirties slaughter whatever it is. 286 00:14:08,600 --> 00:14:10,480 Speaker 1: And Garth sings and somebody else and I gets this 287 00:14:10,520 --> 00:14:12,640 Speaker 1: guy beside him, and this guy was just he's one 288 00:14:12,640 --> 00:14:14,679 Speaker 1: of those guys. As soon as he started playing, you 289 00:14:14,760 --> 00:14:16,559 Speaker 1: were just sort of in his room with him. It's 290 00:14:16,600 --> 00:14:19,720 Speaker 1: just that enchanting, just this wow man, this guy just 291 00:14:20,320 --> 00:14:22,880 Speaker 1: I walked slow up trying to make it and I 292 00:14:22,920 --> 00:14:26,280 Speaker 1: mean still I was just like wow, like not stuff 293 00:14:26,280 --> 00:14:29,360 Speaker 1: on the radio, just stuff, just the best music I 294 00:14:29,360 --> 00:14:31,520 Speaker 1: ever heard in my life. Just this guy's solo and 295 00:14:31,520 --> 00:14:36,040 Speaker 1: it was like, oh my god. And finally he was 296 00:14:36,040 --> 00:14:37,960 Speaker 1: a bearing garth and then finally he gets up there 297 00:14:37,960 --> 00:14:41,680 Speaker 1: and he's his turn again. Looking at him back on 298 00:14:41,960 --> 00:14:47,920 Speaker 1: the memory, Uh dude, he sung the dance and guards 299 00:14:47,960 --> 00:14:49,920 Speaker 1: for sounding like about mad. Somebody gonna cut that song. 300 00:14:51,680 --> 00:14:53,400 Speaker 1: And I'm sitting back so mean while I'm in the 301 00:14:53,400 --> 00:14:55,640 Speaker 1: back of Douglas Corner and I am just mesmerizing, and 302 00:14:55,640 --> 00:14:58,240 Speaker 1: I looked at my buddy and I was like, who 303 00:14:58,320 --> 00:15:00,480 Speaker 1: is that guy? That's a Tony Rotta. I was like, 304 00:15:01,040 --> 00:15:03,880 Speaker 1: oh God, where's he right? The guy goes, I don't 305 00:15:03,920 --> 00:15:05,440 Speaker 1: have a deal, man. I think it works like some 306 00:15:05,560 --> 00:15:08,280 Speaker 1: printing company or something. And I'm like, and seriously, I 307 00:15:08,320 --> 00:15:12,000 Speaker 1: was like, that guy didn't have a deal. What in 308 00:15:12,040 --> 00:15:14,320 Speaker 1: the hell am I? And seriously, that night it was 309 00:15:14,360 --> 00:15:17,880 Speaker 1: probably the only time ever drove home that night just 310 00:15:17,960 --> 00:15:21,640 Speaker 1: going what am I doing? Man? I could pack my 311 00:15:21,720 --> 00:15:25,520 Speaker 1: crap up, leave it daylight and be home in time 312 00:15:25,560 --> 00:15:29,000 Speaker 1: for lunch and really was We're just like but at 313 00:15:29,040 --> 00:15:32,640 Speaker 1: the same time it was so inspiring. It was just 314 00:15:32,680 --> 00:15:37,040 Speaker 1: this wow, man, there's something. Somebody just sat down with 315 00:15:37,080 --> 00:15:39,960 Speaker 1: a peple with a notebook and a guitar and wrote 316 00:15:40,080 --> 00:15:44,840 Speaker 1: that holy crap. Yeah, there's something to be said about 317 00:15:44,960 --> 00:15:47,760 Speaker 1: being in a town where there's so much talent. There's 318 00:15:47,760 --> 00:15:52,920 Speaker 1: it's but it's also liked inspiring. It's absolutely its absolutely, 319 00:15:54,280 --> 00:15:56,360 Speaker 1: it truly is that there is that there is that 320 00:15:56,560 --> 00:15:59,480 Speaker 1: there is that conflicting, there is that that that thing 321 00:15:59,560 --> 00:16:02,960 Speaker 1: of just that holy crap, man, you know, it's really 322 00:16:03,120 --> 00:16:05,800 Speaker 1: I mean, as I like to as I tell people now, 323 00:16:06,840 --> 00:16:09,080 Speaker 1: that whole thing. I mean, you know when people like, oh, 324 00:16:09,120 --> 00:16:10,480 Speaker 1: I have to move to Nashville, I have to just 325 00:16:10,480 --> 00:16:11,760 Speaker 1: just I mean it's kind of like this, Like you've 326 00:16:11,760 --> 00:16:14,720 Speaker 1: been playing pickup basketball or your brother in your backyard 327 00:16:14,960 --> 00:16:17,760 Speaker 1: with your hoop against the Barns. You need to go 328 00:16:17,800 --> 00:16:22,640 Speaker 1: to Chicago and play against Michael Jordan's because he's gonna 329 00:16:22,720 --> 00:16:24,720 Speaker 1: kill you. I mean he's gonna kill you for a 330 00:16:24,840 --> 00:16:28,760 Speaker 1: long time. But at some point you're gonna be able 331 00:16:28,800 --> 00:16:33,480 Speaker 1: to play against Michael Jordan's And that's what we're going for. 332 00:16:33,600 --> 00:16:38,080 Speaker 1: But that that that that that boot camp time of 333 00:16:38,160 --> 00:16:44,000 Speaker 1: you being broken down and rebuilding and remaking yourself is um, 334 00:16:44,120 --> 00:16:46,640 Speaker 1: that's not for the fan hardest man. So how many 335 00:16:46,720 --> 00:16:52,280 Speaker 1: how many failures came before your big break the first 336 00:16:52,320 --> 00:16:56,520 Speaker 1: big break. I don't think failures. I mean, I don't know, 337 00:16:56,560 --> 00:16:59,880 Speaker 1: I'll just done my I don't even you don't even 338 00:17:00,000 --> 00:17:03,400 Speaker 1: don't even see that trip. They probably don't even don't 339 00:17:03,400 --> 00:17:06,080 Speaker 1: even think about it in terms of failures. What what what? 340 00:17:06,640 --> 00:17:11,880 Speaker 1: It's just sorry, um that man, you know. But by 341 00:17:11,880 --> 00:17:13,440 Speaker 1: the end, I was just writing all that time about 342 00:17:13,480 --> 00:17:15,679 Speaker 1: you know. It was like year three and uh, you know, 343 00:17:15,880 --> 00:17:19,320 Speaker 1: funny thing is that barn Hendersonville. I think Roy Overson 344 00:17:19,400 --> 00:17:21,399 Speaker 1: was one of the investors in it or whatever, and 345 00:17:21,440 --> 00:17:24,280 Speaker 1: his son Wesley would come to that bar. We got 346 00:17:24,280 --> 00:17:27,000 Speaker 1: to be friends. Why she's a very very nice guy. 347 00:17:27,440 --> 00:17:29,320 Speaker 1: And here's this I meant, and he and I would 348 00:17:29,320 --> 00:17:31,440 Speaker 1: write some songs. Sometimes he was like in your day, 349 00:17:31,520 --> 00:17:33,840 Speaker 1: like ser stuff. Man wasn't try stuff for his album. 350 00:17:33,960 --> 00:17:36,040 Speaker 1: I've been here about three years at that point, long 351 00:17:36,119 --> 00:17:38,000 Speaker 1: and long enough to be cynical. I was just like, 352 00:17:38,760 --> 00:17:40,920 Speaker 1: that's not it's never gonna happen. It's just like it's 353 00:17:40,960 --> 00:17:44,800 Speaker 1: never like no, but up there we wrote some songs 354 00:17:44,800 --> 00:17:47,480 Speaker 1: and everything, and then the next thing you know, he's like, hey, 355 00:17:47,480 --> 00:17:48,880 Speaker 1: they come to the car. I mean, you guys gonna 356 00:17:48,880 --> 00:17:51,920 Speaker 1: I'm gonna play some day And he had cut basically 357 00:17:51,960 --> 00:17:53,920 Speaker 1: Roy cut his son's song. But I happen to be 358 00:17:54,000 --> 00:17:58,160 Speaker 1: a co writer on it, and you know, so so wow, 359 00:17:58,359 --> 00:17:59,960 Speaker 1: and that was a good lesson to the so Paula 360 00:18:00,080 --> 00:18:02,879 Speaker 1: takes there. There's some you know, it takes all of that, 361 00:18:02,960 --> 00:18:05,520 Speaker 1: all that, you know, luck meets preparation meet saw that 362 00:18:05,800 --> 00:18:08,879 Speaker 1: meets desperation and all that stuff. So but you know, 363 00:18:08,920 --> 00:18:11,399 Speaker 1: the weird thing was that happened. But I realized now 364 00:18:11,440 --> 00:18:13,480 Speaker 1: everybody else in the industry saw it what soft for 365 00:18:13,600 --> 00:18:15,560 Speaker 1: what it was. It was a Wesley song. It wasn't mine, 366 00:18:15,600 --> 00:18:17,320 Speaker 1: and he was on version and it wasn't so it 367 00:18:17,359 --> 00:18:19,960 Speaker 1: wasn't in Nashville. That didn't show up on the Nashville 368 00:18:20,040 --> 00:18:23,840 Speaker 1: radar at all. You know, So well, here we are 369 00:18:24,280 --> 00:18:28,240 Speaker 1: twenty nine number ones. Um. Do you listen to the 370 00:18:28,320 --> 00:18:31,439 Speaker 1: radio and sometimes kind of hear a song and forget 371 00:18:31,480 --> 00:18:33,800 Speaker 1: that you wrote it. You're like, oh, crap, oh, I 372 00:18:33,840 --> 00:18:36,880 Speaker 1: did write that. Not not when I'm listening to the radio, 373 00:18:36,920 --> 00:18:39,680 Speaker 1: because that's more intentional, but I will be walking through 374 00:18:40,600 --> 00:18:44,080 Speaker 1: you know, a Walmart or something like that, and all 375 00:18:44,080 --> 00:18:45,840 Speaker 1: of a sudden, sometimes my wife is just like she'll 376 00:18:45,880 --> 00:18:48,240 Speaker 1: just I'll probably walking and she'll just tap my arm 377 00:18:48,440 --> 00:18:50,280 Speaker 1: and I'm just like, what I didn't, what I didn't 378 00:18:50,400 --> 00:18:53,760 Speaker 1: I wouldn't live with that girl, you know, and then 379 00:18:53,800 --> 00:18:58,280 Speaker 1: realized like, oh oh, yeah, yeah, I wrote that one. 380 00:18:58,359 --> 00:19:00,760 Speaker 1: Yeah yeah. And that that's what freaks me out, the 381 00:19:00,800 --> 00:19:03,520 Speaker 1: fact that because I how I do, I always kind 382 00:19:03,520 --> 00:19:05,280 Speaker 1: of feel like the impostor a little bit. And the 383 00:19:05,320 --> 00:19:08,119 Speaker 1: fact that that's what really gets me. And I do 384 00:19:08,200 --> 00:19:09,840 Speaker 1: remember when stuff of mine would come on the radio 385 00:19:09,880 --> 00:19:13,080 Speaker 1: and it would be those that five beasts before I knew, 386 00:19:13,119 --> 00:19:16,479 Speaker 1: and I realized, like, my stuff just fit right in 387 00:19:16,640 --> 00:19:21,560 Speaker 1: with that other stuff almost seamlessly, and like that's like 388 00:19:22,400 --> 00:19:25,400 Speaker 1: that can't be right. I mean, come on, I mean, 389 00:19:25,560 --> 00:19:29,120 Speaker 1: how could my stuff be right in right in there 390 00:19:29,160 --> 00:19:32,080 Speaker 1: with that with that stuff? I mean, it is still 391 00:19:32,119 --> 00:19:35,440 Speaker 1: a little it's a little wow man, you know. I 392 00:19:35,520 --> 00:19:38,160 Speaker 1: think there's a little bit of a yeah, like I said, 393 00:19:38,440 --> 00:19:40,480 Speaker 1: a little little bit of the imposter thing or something. 394 00:19:40,520 --> 00:19:48,640 Speaker 1: I don't know, what's the biggest challenge even now because 395 00:19:48,640 --> 00:19:52,119 Speaker 1: you're still writing, I mean, what what's the biggest challenge now? Um? 396 00:19:52,200 --> 00:19:55,560 Speaker 1: With you look at bands like the Rolling Stones and 397 00:19:55,560 --> 00:19:57,800 Speaker 1: and you know, bands that just lasted a lot a 398 00:19:57,840 --> 00:20:01,280 Speaker 1: lot of years because they changed their music. Aerosmith, they 399 00:20:01,359 --> 00:20:03,359 Speaker 1: changed their music with the time, so they got to 400 00:20:03,480 --> 00:20:06,560 Speaker 1: last for a long time. Is that the same with you? 401 00:20:06,960 --> 00:20:09,240 Speaker 1: Very much? So man trying to because it went from 402 00:20:10,280 --> 00:20:12,840 Speaker 1: when I was when I've really started doing it. You know, 403 00:20:13,119 --> 00:20:15,080 Speaker 1: nobody I was a guy that was It was weird 404 00:20:15,119 --> 00:20:16,520 Speaker 1: for me because I was a guy that wrote tempo. 405 00:20:16,640 --> 00:20:18,359 Speaker 1: It was really weird. So I was a guy. I 406 00:20:19,000 --> 00:20:21,239 Speaker 1: became the tempo guy in town. People kind of who 407 00:20:21,320 --> 00:20:23,280 Speaker 1: had no business cutting my stuff. What does that mean? 408 00:20:23,320 --> 00:20:26,600 Speaker 1: The tempo everything I wrote? That was another great thing 409 00:20:27,080 --> 00:20:29,080 Speaker 1: from Baboober or what I learned because I want to 410 00:20:29,240 --> 00:20:31,159 Speaker 1: I'm a drummer in the band, right, so this is 411 00:20:31,160 --> 00:20:33,560 Speaker 1: how you eat. Your band has to be smart if 412 00:20:33,560 --> 00:20:36,320 Speaker 1: you want to eat, So you play the stuff people 413 00:20:36,359 --> 00:20:38,639 Speaker 1: want to hear. You play the stuff that they respond to, 414 00:20:38,720 --> 00:20:41,520 Speaker 1: they react to. There you go. And then every band 415 00:20:41,560 --> 00:20:43,240 Speaker 1: I've ever been in, it was never like, oh, we're 416 00:20:43,240 --> 00:20:45,200 Speaker 1: a countryman or whatever. I know, we're a cover band. 417 00:20:45,280 --> 00:20:47,000 Speaker 1: We were a band. We were a juke box. We 418 00:20:47,040 --> 00:20:49,880 Speaker 1: were five or four piece of jukebox. And we're gonna 419 00:20:49,920 --> 00:20:52,879 Speaker 1: play everything from Steve Miller to George Jones to George 420 00:20:52,920 --> 00:20:57,280 Speaker 1: straight to to to the New George Michael. You know everything, 421 00:20:57,359 --> 00:20:59,520 Speaker 1: if you want to if you want to survive, you 422 00:20:59,600 --> 00:21:02,959 Speaker 1: do that. M So, yeah, I got a bluebird. And 423 00:21:03,080 --> 00:21:05,000 Speaker 1: think about it. Now, this is the mid eighties, and 424 00:21:05,040 --> 00:21:07,560 Speaker 1: I mean, and there'd be these living legend songwriters, but 425 00:21:07,600 --> 00:21:11,479 Speaker 1: they go around four times, everybody playing a ballad, and 426 00:21:11,520 --> 00:21:18,440 Speaker 1: I was like, I was like, you know, some cerebral level, 427 00:21:18,480 --> 00:21:20,960 Speaker 1: this is amazing, but man, you guys would starved to 428 00:21:21,080 --> 00:21:22,520 Speaker 1: death at the bend. So I really I mete up 429 00:21:22,560 --> 00:21:25,640 Speaker 1: my mind, like, I don't ever want to play a 430 00:21:25,680 --> 00:21:29,080 Speaker 1: ballad in the in the round ever. So I just 431 00:21:29,119 --> 00:21:32,200 Speaker 1: wrote up tempo stuff and it served me well because 432 00:21:32,200 --> 00:21:34,680 Speaker 1: the next thing, you know, my buddies back then, Dave 433 00:21:34,760 --> 00:21:38,000 Speaker 1: Gibson and Russell Smith and these these famous guys, they 434 00:21:38,040 --> 00:21:41,399 Speaker 1: would invite me on the round because I was always 435 00:21:41,400 --> 00:21:43,639 Speaker 1: gonna be a tempo thing, and it ended up just 436 00:21:43,760 --> 00:21:48,080 Speaker 1: you know, the the So the tempo things served me well, 437 00:21:48,160 --> 00:21:51,080 Speaker 1: and so I just wrote tempo man. I mean, you know, 438 00:21:51,200 --> 00:21:53,800 Speaker 1: and at the time especially, that was very, very different. 439 00:21:54,400 --> 00:21:56,239 Speaker 1: You know. I was kind of rock influenced. I was. 440 00:21:56,320 --> 00:21:59,800 Speaker 1: I was that guy who listened to everything, um, and 441 00:22:00,080 --> 00:22:02,080 Speaker 1: so it was really sort of stuff. So I was 442 00:22:03,040 --> 00:22:04,440 Speaker 1: but that that that's where I was kind of a 443 00:22:04,520 --> 00:22:06,360 Speaker 1: new thing, and then I really started hitting and then 444 00:22:06,440 --> 00:22:08,680 Speaker 1: and then other writers kind of started imitating that, and 445 00:22:08,720 --> 00:22:10,800 Speaker 1: the next thing. Then here comes these new kids, and now, yeah, 446 00:22:10,840 --> 00:22:15,560 Speaker 1: I'm really really pushing to stay relevant and do that 447 00:22:15,640 --> 00:22:17,680 Speaker 1: and try to write with these track guys and stuff 448 00:22:17,840 --> 00:22:20,680 Speaker 1: and and give them room. It's been good too cause 449 00:22:20,680 --> 00:22:23,119 Speaker 1: that because it's a I like the humility of that, 450 00:22:23,160 --> 00:22:24,639 Speaker 1: because I know a lot of my peers, a lot 451 00:22:24,640 --> 00:22:27,800 Speaker 1: of these guys that just get and I just kind 452 00:22:27,800 --> 00:22:31,080 Speaker 1: of get bitter, and it's just like, man, you know, 453 00:22:31,119 --> 00:22:33,120 Speaker 1: the kids are doing the same same thing we were 454 00:22:33,119 --> 00:22:36,760 Speaker 1: doing twenty years ago. They're just hustling, man, They're just 455 00:22:37,040 --> 00:22:39,320 Speaker 1: They're just there is no there is no it is 456 00:22:39,359 --> 00:22:41,880 Speaker 1: what it is. There is no right, wrong, good, bad, 457 00:22:42,000 --> 00:22:45,040 Speaker 1: or anything else that it is what it is. And 458 00:22:45,080 --> 00:22:49,040 Speaker 1: there you go. In in nineties seven, you had a 459 00:22:49,040 --> 00:22:51,840 Speaker 1: few hits with Tim McGraw. How did you meet him? Man? 460 00:22:51,880 --> 00:22:56,280 Speaker 1: You know, it was funny. I love that. Um So 461 00:22:56,320 --> 00:22:58,320 Speaker 1: I was just starting to break as a writer pretty good. 462 00:22:59,000 --> 00:23:01,760 Speaker 1: And I actually ran to an expert, to his producer, 463 00:23:01,800 --> 00:23:04,720 Speaker 1: Byron Gallimore, in the parking lot of the Old Jamaica 464 00:23:04,920 --> 00:23:06,560 Speaker 1: and I was walking down and he was walking out, 465 00:23:06,560 --> 00:23:09,720 Speaker 1: and he goes, hey, man, hey man, uh yeh, Kim, 466 00:23:09,840 --> 00:23:12,320 Speaker 1: he likes some of your stuff. Man, look you picture something. 467 00:23:12,320 --> 00:23:15,160 Speaker 1: He really wants some different lyrics. And so think about 468 00:23:15,200 --> 00:23:17,040 Speaker 1: that as opposed to man, we needed an up tempo, 469 00:23:17,080 --> 00:23:18,399 Speaker 1: we needed you know, we need to sign about my 470 00:23:19,200 --> 00:23:22,119 Speaker 1: different lyric that's all he said. He just wants some. 471 00:23:22,440 --> 00:23:24,200 Speaker 1: He said, he likes your lyrics. He wants some. He 472 00:23:24,520 --> 00:23:27,520 Speaker 1: wants some different lyrics. And I saw. I went to 473 00:23:27,520 --> 00:23:30,560 Speaker 1: the project company and I was like, so, without any 474 00:23:30,600 --> 00:23:36,320 Speaker 1: regard for ballad, tempo, whatever, polka, speed metal, just whatever, 475 00:23:36,440 --> 00:23:38,680 Speaker 1: just had quirky lyrics in it. I put together just 476 00:23:38,800 --> 00:23:44,240 Speaker 1: set of four of six songs and all of them 477 00:23:44,240 --> 00:23:47,440 Speaker 1: were just weird lyrics and they were all over the place, 478 00:23:47,800 --> 00:23:52,480 Speaker 1: and Tim cut four um uh. Three of those ended 479 00:23:52,560 --> 00:23:54,399 Speaker 1: up making the record. And then for that same record, 480 00:23:55,000 --> 00:23:56,520 Speaker 1: he liked this so me and Mike where he got 481 00:23:56,560 --> 00:24:01,560 Speaker 1: together and wrote everywhere Yeah there too, so but yeah, 482 00:24:01,560 --> 00:24:03,680 Speaker 1: but that was it. I really I always appreciate a 483 00:24:03,720 --> 00:24:05,960 Speaker 1: buyro and not trying to describe, you know, the counege, 484 00:24:05,960 --> 00:24:07,679 Speaker 1: because we all know the pitch. She is. Always just 485 00:24:07,760 --> 00:24:10,359 Speaker 1: like they try to just kind of describe you thing. 486 00:24:10,400 --> 00:24:13,560 Speaker 1: It's like trying to describe colors, you know, And he 487 00:24:13,680 --> 00:24:15,840 Speaker 1: was just like querk hilarious. Man. I was like, well, 488 00:24:15,880 --> 00:24:18,600 Speaker 1: I got quirky larrics. Okay, you can do that, and 489 00:24:18,680 --> 00:24:22,920 Speaker 1: I got I got some quirky lyrics, so yeah, yeah, yeah, 490 00:24:22,960 --> 00:24:26,320 Speaker 1: so but but you know, Tim's one of those guys, doll. 491 00:24:26,560 --> 00:24:28,439 Speaker 1: I always like to say, you cause people think that 492 00:24:28,480 --> 00:24:30,439 Speaker 1: I'm just like, I don't know, crashing on you know, 493 00:24:30,480 --> 00:24:33,040 Speaker 1: the couches of the Blakes and the Tims and the 494 00:24:33,119 --> 00:24:37,040 Speaker 1: candies and stuff, and it's like it's like and it's like, man, 495 00:24:37,119 --> 00:24:39,399 Speaker 1: I was like, that's like to tell people people like 496 00:24:39,440 --> 00:24:40,800 Speaker 1: you hang out with him. I was like, I hang 497 00:24:40,840 --> 00:24:44,520 Speaker 1: out with Tim on stages at Number one parties and 498 00:24:44,560 --> 00:24:47,320 Speaker 1: we're both completely happy with that. I was like, that's 499 00:24:47,400 --> 00:24:49,600 Speaker 1: kind of and I do have a personal relationship more 500 00:24:49,600 --> 00:24:51,679 Speaker 1: of a personal relations but it is just like that. 501 00:24:51,760 --> 00:24:53,960 Speaker 1: It's just like there's some people, you know, and you're 502 00:24:54,000 --> 00:24:57,320 Speaker 1: really buddies with other people not so much, and you know, 503 00:24:57,480 --> 00:24:59,320 Speaker 1: and I'm you know, and he's great and I could 504 00:24:59,320 --> 00:25:02,119 Speaker 1: call him right now ask him. He's done my charity 505 00:25:02,119 --> 00:25:04,280 Speaker 1: show and stuff. He's great and we're friends, but we 506 00:25:04,400 --> 00:25:07,200 Speaker 1: just haven't been that, you know, just that Well, that's 507 00:25:07,200 --> 00:25:09,360 Speaker 1: what we do as fans, you know, we picture all 508 00:25:09,480 --> 00:25:12,560 Speaker 1: these things and this is how we think it goes. Like, 509 00:25:12,720 --> 00:25:16,119 Speaker 1: for example, Tim McGraw, Uh, live like you were dying. 510 00:25:16,760 --> 00:25:19,600 Speaker 1: You know, Um, there's a key change, the big key 511 00:25:19,680 --> 00:25:24,040 Speaker 1: change at the end that kind of totally different. I 512 00:25:24,160 --> 00:25:27,399 Speaker 1: pictured it where you guys wrote it without the key change, 513 00:25:27,840 --> 00:25:30,480 Speaker 1: and Tim McGraw saying we need something different here. Is 514 00:25:30,520 --> 00:25:32,080 Speaker 1: that how it went down? Or don't you write it 515 00:25:32,119 --> 00:25:35,480 Speaker 1: that way? Not at all? Not at all again, dude, 516 00:25:35,480 --> 00:25:44,080 Speaker 1: you're just you're just in the high weeds failures and illusions, delusions, 517 00:25:42,880 --> 00:25:47,880 Speaker 1: that's no, you know, Okay, so what you were dying? 518 00:25:47,920 --> 00:25:51,080 Speaker 1: That thing happened so fast. Me and Tim Knichols wrote that, 519 00:25:51,720 --> 00:25:55,359 Speaker 1: Uh wrote the second verse at midnight, lame my jet 520 00:25:55,400 --> 00:25:59,159 Speaker 1: black living room on the phone at midnight, finished the 521 00:25:59,200 --> 00:26:01,919 Speaker 1: second verse with the next day and literally got in 522 00:26:01,960 --> 00:26:04,000 Speaker 1: the and there was no intro. We just had the 523 00:26:04,040 --> 00:26:05,680 Speaker 1: song itself. And I was in the vocal booth with 524 00:26:05,760 --> 00:26:07,000 Speaker 1: guitar and I was like, I don't want an intro. 525 00:26:07,080 --> 00:26:09,800 Speaker 1: I just kind of wanna I started doing that climb thing. 526 00:26:10,720 --> 00:26:12,520 Speaker 1: You understand when you're in there with musicians. They're all 527 00:26:12,520 --> 00:26:14,400 Speaker 1: in these different rooms, right, so everybody has the chart 528 00:26:14,440 --> 00:26:15,960 Speaker 1: in front of them, so it's not like everybody's just 529 00:26:16,080 --> 00:26:19,919 Speaker 1: right here, you know, sparking off each other. I was like, 530 00:26:19,960 --> 00:26:21,280 Speaker 1: I just kind of want this thing. I was like, 531 00:26:21,280 --> 00:26:22,960 Speaker 1: and then and I was, then, then we'll just start 532 00:26:23,000 --> 00:26:24,840 Speaker 1: the chart and I'll just start because I started. It's 533 00:26:24,880 --> 00:26:27,600 Speaker 1: a downbeat, I said. I was, then just start right there. 534 00:26:28,480 --> 00:26:30,560 Speaker 1: And Tony Harrow was playing keys and everything and saw 535 00:26:30,720 --> 00:26:33,199 Speaker 1: and so they just started doing this climb and they 536 00:26:33,240 --> 00:26:35,639 Speaker 1: did it once and then they did it over again 537 00:26:35,840 --> 00:26:37,119 Speaker 1: and that was none of that. And it was like, 538 00:26:37,160 --> 00:26:38,880 Speaker 1: and we were all I just looked at each other, 539 00:26:38,960 --> 00:26:43,359 Speaker 1: play him, I got said, I was in my and 540 00:26:43,440 --> 00:26:47,840 Speaker 1: it just happened. And and I've never done it before 541 00:26:47,840 --> 00:26:50,200 Speaker 1: and never done it since. But I was like, this 542 00:26:50,240 --> 00:26:53,320 Speaker 1: song is a modulation, yeah, and that's the key change 543 00:26:53,359 --> 00:26:57,600 Speaker 1: that that that's the key change before. Never done it again. 544 00:26:57,640 --> 00:26:59,760 Speaker 1: It was cheesy. That's cheesy crab because I came from 545 00:26:59,800 --> 00:27:02,399 Speaker 1: the seventies and I was just like, you know, this 546 00:27:02,560 --> 00:27:16,960 Speaker 1: cheesy crap man rocking down the only moderation we've ever done. 547 00:27:16,960 --> 00:27:19,520 Speaker 1: I've never done one before or since, but it just 548 00:27:19,560 --> 00:27:23,600 Speaker 1: sort of was like this song needs and it really 549 00:27:24,080 --> 00:27:26,080 Speaker 1: moderation is for me is it was always this thing 550 00:27:26,119 --> 00:27:28,320 Speaker 1: we're supposed to sort, we're supposed to be and when 551 00:27:28,320 --> 00:27:30,720 Speaker 1: they when they did it, when it works, it's amazing, 552 00:27:30,760 --> 00:27:33,159 Speaker 1: and when if you overdo it, it's amazing, it's immediately 553 00:27:33,200 --> 00:27:37,000 Speaker 1: just like come on, yeah. Well on the same song 554 00:27:37,119 --> 00:27:39,639 Speaker 1: to you know, you have the bull named Fu Manchu 555 00:27:39,800 --> 00:27:42,639 Speaker 1: and and I mean, was that a real bull or 556 00:27:42,680 --> 00:27:44,680 Speaker 1: how did the name man? We were in the middle 557 00:27:44,680 --> 00:27:45,920 Speaker 1: of the I kind of knew we were in the 558 00:27:45,920 --> 00:27:48,640 Speaker 1: middle of the course. It was like kinda rocking buck clowning, 559 00:27:48,800 --> 00:27:52,360 Speaker 1: so it was already pretty you know, hallmarky, and then 560 00:27:52,359 --> 00:27:54,800 Speaker 1: we I kind of knew the bolting, you know, a 561 00:27:54,960 --> 00:27:57,359 Speaker 1: love sweeter spoke deeper, so it's like this is all 562 00:27:57,720 --> 00:28:00,240 Speaker 1: sacring stuff. I was like, man, we need need a 563 00:28:00,240 --> 00:28:03,560 Speaker 1: little palate cleans where we need something that kind of 564 00:28:03,560 --> 00:28:05,560 Speaker 1: makes you smile. That's not we don't need to go 565 00:28:05,680 --> 00:28:07,679 Speaker 1: for depth here in the middle. We just need a 566 00:28:07,880 --> 00:28:10,840 Speaker 1: need a random line. We need a little little thing 567 00:28:10,960 --> 00:28:13,000 Speaker 1: because we're about to go right back into all these 568 00:28:13,080 --> 00:28:15,199 Speaker 1: lifelines and stuff. And I was like, man, you know, 569 00:28:15,240 --> 00:28:17,080 Speaker 1: we say something crazy about like you know, like a 570 00:28:17,560 --> 00:28:20,040 Speaker 1: you know, like a cowboy rodeo, you know those horses 571 00:28:20,040 --> 00:28:22,040 Speaker 1: they rather I was like, no, I was like bull, 572 00:28:22,800 --> 00:28:25,280 Speaker 1: the bulls have got crazy names. I was like, we 573 00:28:25,320 --> 00:28:27,879 Speaker 1: need a bull. I was like, and we need a 574 00:28:27,960 --> 00:28:31,159 Speaker 1: crazy name for a bull. And literally we were just 575 00:28:31,200 --> 00:28:33,320 Speaker 1: like Foo Manchu or whatever. And then here's what I 576 00:28:33,320 --> 00:28:36,520 Speaker 1: didn't realize. So I saw Missy Gallimore Byron's who went 577 00:28:36,520 --> 00:28:40,560 Speaker 1: on to become his wife production system just tomow the 578 00:28:40,600 --> 00:28:43,040 Speaker 1: song sorry at c M A at at e M 579 00:28:43,040 --> 00:28:44,720 Speaker 1: I hot Dog Day was like, hey, I've got a 580 00:28:44,720 --> 00:28:47,000 Speaker 1: brand new song. She came to a brand new publishing 581 00:28:47,000 --> 00:28:52,120 Speaker 1: company office, set down and played it for her and 582 00:28:52,200 --> 00:28:54,840 Speaker 1: she got through and she goes, she goes, goes, Goes goes. 583 00:28:54,880 --> 00:28:57,520 Speaker 1: You know, you realize that Tim's dad is like because 584 00:28:57,560 --> 00:29:00,200 Speaker 1: I know that I knew that Tug was not good 585 00:29:00,240 --> 00:29:02,960 Speaker 1: health that she was like, He's like like right there, 586 00:29:03,000 --> 00:29:05,280 Speaker 1: she goes. Did you know that Tim went to the 587 00:29:05,360 --> 00:29:09,080 Speaker 1: rodeo in Louisiana and wrote a ball And I was like, no, 588 00:29:09,960 --> 00:29:13,000 Speaker 1: but that's perfect. And I was like I had no, 589 00:29:13,080 --> 00:29:18,600 Speaker 1: I had no no, and yeah, so all these so 590 00:29:18,640 --> 00:29:20,840 Speaker 1: all these you know, just it really was it was 591 00:29:20,880 --> 00:29:22,640 Speaker 1: a very meant meant to be mean, They're like, we're 592 00:29:22,640 --> 00:29:25,840 Speaker 1: doing a movie option on that thing right now, on 593 00:29:25,840 --> 00:29:28,080 Speaker 1: which one on lihile you were dying? I mean, here 594 00:29:28,080 --> 00:29:33,040 Speaker 1: we are fifteen sixteen years later. I mean, and this 595 00:29:33,120 --> 00:29:34,520 Speaker 1: isn't the first one. I mean, there was a couple 596 00:29:34,600 --> 00:29:36,480 Speaker 1: that that came and went. There was a TV show, 597 00:29:37,440 --> 00:29:39,080 Speaker 1: then there was something that kind of came and went, 598 00:29:39,160 --> 00:29:41,880 Speaker 1: and something felt some funding fell apart or whatever. I 599 00:29:41,920 --> 00:29:44,880 Speaker 1: think the actual whole network went away, just all that stuff. 600 00:29:44,920 --> 00:29:48,360 Speaker 1: But all of a sudden, about six months ago, hey man, 601 00:29:48,800 --> 00:29:51,280 Speaker 1: you know, yeah, and then this seems pretty credible. This 602 00:29:51,320 --> 00:29:53,680 Speaker 1: is all this is all done by people you've heard of, 603 00:29:53,760 --> 00:29:56,000 Speaker 1: by companies you've heard of. It's all it seems to 604 00:29:56,000 --> 00:29:59,200 Speaker 1: be going on. It's like, here we are like that. 605 00:29:59,320 --> 00:30:02,280 Speaker 1: I was being told that that Tim's got the cowboy 606 00:30:02,280 --> 00:30:05,120 Speaker 1: in me and the new yellow Stone. Yes, and so 607 00:30:05,120 --> 00:30:07,280 Speaker 1: so what's that like for you when something comes out 608 00:30:07,320 --> 00:30:09,560 Speaker 1: of the dark again like that and you're just like, 609 00:30:09,960 --> 00:30:13,600 Speaker 1: I didn't expect that. Yeah, it's it's a really uh, 610 00:30:13,760 --> 00:30:16,640 Speaker 1: it's a it's a blass. Your work just keeps on 611 00:30:16,720 --> 00:30:20,640 Speaker 1: working for you. It's it's it's honor, man, it's come on, man, 612 00:30:20,640 --> 00:30:23,240 Speaker 1: it's a freaking it's that's nuts, it really is. That's 613 00:30:23,320 --> 00:30:27,640 Speaker 1: that's crazy. Actually, you know, every songer knows everybody writes songs, 614 00:30:27,640 --> 00:30:30,080 Speaker 1: but you through all that, you kind of realize that 615 00:30:30,240 --> 00:30:32,920 Speaker 1: every day and I'm right, I'm really I'm writing songs, 616 00:30:33,040 --> 00:30:36,480 Speaker 1: you know, three hundred plus days a year, and out 617 00:30:36,480 --> 00:30:39,640 Speaker 1: of all that, like there might be a copyright once 618 00:30:39,720 --> 00:30:43,920 Speaker 1: every few years if you're blessed luck. I mean, there's 619 00:30:43,920 --> 00:30:46,520 Speaker 1: plenty of people that make lots of money, driving nice cards, 620 00:30:46,520 --> 00:30:50,920 Speaker 1: living nice houses that arguably will never write a copyright, 621 00:30:51,480 --> 00:30:56,040 Speaker 1: A real, a real you know, hang your hat on 622 00:30:56,200 --> 00:30:58,600 Speaker 1: kind of thing. You know, there's a there's a point. 623 00:30:58,600 --> 00:31:01,200 Speaker 1: We talked to athletes a lot or you know, they 624 00:31:01,240 --> 00:31:03,840 Speaker 1: love the sport, they love their job, but once it 625 00:31:03,880 --> 00:31:06,520 Speaker 1: becomes a job and you start doing it for a 626 00:31:06,560 --> 00:31:09,600 Speaker 1: long time, it becomes tough for some people. Did you 627 00:31:09,680 --> 00:31:14,440 Speaker 1: still love music the way you used to? Yes, I 628 00:31:14,480 --> 00:31:18,120 Speaker 1: love music, and I love I love I love music people. 629 00:31:18,240 --> 00:31:19,920 Speaker 1: I love that. That's the onely reasons I got into 630 00:31:19,960 --> 00:31:24,560 Speaker 1: publishing was just because by the time that happened, you know, 631 00:31:24,720 --> 00:31:26,680 Speaker 1: I was having a bunch of hits and stuff, and 632 00:31:26,800 --> 00:31:28,960 Speaker 1: I want to go right. I was. I start off 633 00:31:28,960 --> 00:31:31,800 Speaker 1: at A and m at at at Alma Irving, and 634 00:31:32,160 --> 00:31:34,320 Speaker 1: I was the young kid by the time I left, 635 00:31:34,720 --> 00:31:38,160 Speaker 1: and they were selling things seven or eight number ones. 636 00:31:38,880 --> 00:31:42,360 Speaker 1: You know, I was the elder statesman by this. But 637 00:31:42,360 --> 00:31:45,040 Speaker 1: but BMG, the old b MG R c A bought 638 00:31:45,080 --> 00:31:46,880 Speaker 1: my catalog and so I'm over there and they had 639 00:31:46,880 --> 00:31:48,800 Speaker 1: a bunch of kids, and so now all of a sudden, 640 00:31:48,920 --> 00:31:50,680 Speaker 1: instead of me being the twenty five year old kid, 641 00:31:50,720 --> 00:31:52,200 Speaker 1: I'm the thirty five year old guy. And I with 642 00:31:52,240 --> 00:31:55,240 Speaker 1: a bunch of twenty five year old kids, and they 643 00:31:55,240 --> 00:31:57,840 Speaker 1: were all just you know, running around and I tried 644 00:31:57,920 --> 00:31:59,760 Speaker 1: write with all it. Somebody canceled then, like, hey, you 645 00:32:00,000 --> 00:32:01,960 Speaker 1: didn't hear with me. I mean, they'd just be terrified 646 00:32:02,000 --> 00:32:06,840 Speaker 1: standing around the here, just like you. But you know, 647 00:32:07,040 --> 00:32:09,080 Speaker 1: and I tell this story too. I mean I wrote 648 00:32:09,080 --> 00:32:10,960 Speaker 1: a song. We wrote a song that Kenny Chesty. I 649 00:32:10,960 --> 00:32:13,040 Speaker 1: wrote a song with Luke Laird, who at the time, 650 00:32:13,120 --> 00:32:16,320 Speaker 1: seriously it was like nineteenth the time, and Kenny immediately 651 00:32:16,320 --> 00:32:19,280 Speaker 1: put her on hold, and Luke like three nights later, 652 00:32:19,880 --> 00:32:29,280 Speaker 1: he calls at midnight just completely just you know, I man, man, 653 00:32:29,280 --> 00:32:31,680 Speaker 1: it's Kenny cut I was just like man, I was like, 654 00:32:31,760 --> 00:32:33,320 Speaker 1: you know what, Luke, I was like, I don't know 655 00:32:33,360 --> 00:32:34,800 Speaker 1: what Kenny gonna do. I was like, but you know what, 656 00:32:35,920 --> 00:32:38,400 Speaker 1: you you and I have this song, this song, this 657 00:32:38,680 --> 00:32:41,280 Speaker 1: very very short list that Kenny himself with together. I 658 00:32:41,360 --> 00:32:45,240 Speaker 1: was like, so nobody can take that, man. So so 659 00:32:45,360 --> 00:32:48,680 Speaker 1: that alone, that's a huge thing to say. There are 660 00:32:49,160 --> 00:32:52,120 Speaker 1: lots of famous songwriters around this town that would love 661 00:32:52,240 --> 00:32:54,560 Speaker 1: to be in the position that you're in. So have 662 00:32:54,680 --> 00:33:05,360 Speaker 1: another damn beers, let me go to their bed. Well 663 00:33:05,400 --> 00:33:08,200 Speaker 1: here you are now. You know, you're co founder of 664 00:33:08,280 --> 00:33:11,960 Speaker 1: Big Loud. Uh. It's a record label, a publishing company, 665 00:33:12,000 --> 00:33:16,320 Speaker 1: a management company, all the above. You're you're on the 666 00:33:16,360 --> 00:33:18,120 Speaker 1: other side of things. You know, we spent all this 667 00:33:18,200 --> 00:33:20,840 Speaker 1: time talking about you and your start, but now you're 668 00:33:20,880 --> 00:33:24,040 Speaker 1: the man that people are coming to say, sir, help me. 669 00:33:24,080 --> 00:33:26,080 Speaker 1: I want to get into this a little weird. Yeah, 670 00:33:26,240 --> 00:33:30,080 Speaker 1: what what's what's the difference between those three things? You 671 00:33:30,120 --> 00:33:33,120 Speaker 1: know when you talk about starting a label, a publishing, 672 00:33:33,200 --> 00:33:36,560 Speaker 1: a publisher, and man, well, well you know the thing 673 00:33:36,600 --> 00:33:39,160 Speaker 1: you had natural publishing. So it really started as a 674 00:33:39,160 --> 00:33:41,239 Speaker 1: publish on too though. So I left BMG in two 675 00:33:41,280 --> 00:33:44,080 Speaker 1: thousand and three. That's when I opened the Georgian Live 676 00:33:44,120 --> 00:33:45,480 Speaker 1: Out Your Times, No matter if that was on the 677 00:33:45,520 --> 00:33:48,480 Speaker 1: first demo session, I did so the way to open 678 00:33:48,520 --> 00:33:51,640 Speaker 1: a publishing company. But I started that because you know, 679 00:33:51,680 --> 00:33:55,680 Speaker 1: I wanted once again to be around these young songwriters 680 00:33:55,720 --> 00:33:58,760 Speaker 1: and that energy and to watch their life change. Man, 681 00:33:58,840 --> 00:34:01,680 Speaker 1: it's just because already by then I was getting cynical, 682 00:34:01,760 --> 00:34:03,640 Speaker 1: like to heck with a whole. I mean, like I said, 683 00:34:03,640 --> 00:34:06,240 Speaker 1: there's Luke calling me drunk over a hold. I was 684 00:34:06,280 --> 00:34:07,840 Speaker 1: already to the point like what do you mean if 685 00:34:07,840 --> 00:34:10,600 Speaker 1: I don't have title and leadoff single, don't even what 686 00:34:10,640 --> 00:34:13,799 Speaker 1: are you doing bothering me? And I just realized, like, man, 687 00:34:13,840 --> 00:34:16,040 Speaker 1: I'm just getting so caught up in all this ship. 688 00:34:16,880 --> 00:34:20,160 Speaker 1: It's like, no, I want to stop. And like, these 689 00:34:20,200 --> 00:34:22,880 Speaker 1: kids remind you of how precious every every one of 690 00:34:22,880 --> 00:34:25,839 Speaker 1: these little steps are. And I was like, I want 691 00:34:25,840 --> 00:34:27,480 Speaker 1: to stay around that. I want to me And that's 692 00:34:27,560 --> 00:34:30,560 Speaker 1: really that's why our company we had we always started 693 00:34:30,600 --> 00:34:32,160 Speaker 1: we have a parking lot party over you know, what's 694 00:34:32,160 --> 00:34:34,359 Speaker 1: your party for? It's just like just for us, just 695 00:34:34,400 --> 00:34:35,560 Speaker 1: for all of us to get together and have a 696 00:34:35,560 --> 00:34:37,719 Speaker 1: beer in the parking lot. It's not that's just a 697 00:34:37,760 --> 00:34:40,640 Speaker 1: general celebration. I'm a guy the company especially, there's a 698 00:34:40,680 --> 00:34:43,080 Speaker 1: lot of successes happening now. I'm always got going. When 699 00:34:43,120 --> 00:34:44,960 Speaker 1: are we gonna have a party? People? You just want 700 00:34:44,960 --> 00:34:47,200 Speaker 1: to party. I was like, I want to stop and 701 00:34:47,280 --> 00:34:50,879 Speaker 1: celebrate these blessings and we should because I have been 702 00:34:50,920 --> 00:34:53,160 Speaker 1: there where they were gone by so fast you took 703 00:34:53,280 --> 00:34:54,759 Speaker 1: and you take it all for granted, and as soon 704 00:34:54,760 --> 00:34:56,560 Speaker 1: as they even slow down a little bit, you're just like, 705 00:34:56,560 --> 00:34:59,239 Speaker 1: what the wrong with this? It's like, dude, that is 706 00:34:59,280 --> 00:35:02,280 Speaker 1: so screw it up. That is so screwed up tonight, 707 00:35:03,040 --> 00:35:05,359 Speaker 1: Just in general life, if you can live in a 708 00:35:05,440 --> 00:35:09,480 Speaker 1: little bit of an awareness of your blessings, how much 709 00:35:09,480 --> 00:35:11,680 Speaker 1: happier will you be if you could just live with 710 00:35:11,719 --> 00:35:14,279 Speaker 1: a little bit more of an awareness of of your 711 00:35:14,440 --> 00:35:17,840 Speaker 1: daily and just your big blessings in general? Oh, I 712 00:35:17,880 --> 00:35:20,480 Speaker 1: completely agree. I mean it's just so you just get 713 00:35:20,520 --> 00:35:23,600 Speaker 1: so I get it, and it's so and you know 714 00:35:23,680 --> 00:35:25,319 Speaker 1: I've done it. I'll do it every day. I'll walk 715 00:35:25,320 --> 00:35:27,279 Speaker 1: out of here and do it again after talking about it. 716 00:35:27,360 --> 00:35:30,439 Speaker 1: But man, just to try to just be to live 717 00:35:30,480 --> 00:35:33,920 Speaker 1: in a little awareness of your blessings. When you sign 718 00:35:34,000 --> 00:35:36,640 Speaker 1: a writer or you know someone that's come to town 719 00:35:36,719 --> 00:35:38,359 Speaker 1: wanting to be a writer. What are you looking for? 720 00:35:38,560 --> 00:35:41,439 Speaker 1: And in these writers? Man, that's just it. So many 721 00:35:41,440 --> 00:35:44,560 Speaker 1: people about send me a song. It sounds just like 722 00:35:44,560 --> 00:35:51,959 Speaker 1: stuff on radio. I'm just like, yeah, that's that's okay, good, 723 00:35:52,080 --> 00:35:55,400 Speaker 1: good for you. Yea, yeah, I know, I want, I want. 724 00:35:56,920 --> 00:35:59,239 Speaker 1: I would much rather have somebody right stuff. It was like, 725 00:35:59,320 --> 00:36:02,120 Speaker 1: holy crowd, I don't know you could do that. You 726 00:36:02,160 --> 00:36:04,839 Speaker 1: know where it really is where there's some I mean 727 00:36:04,840 --> 00:36:07,040 Speaker 1: it's these people that we work with. I mean these 728 00:36:07,120 --> 00:36:10,480 Speaker 1: you know that we got God, we get Earnest, we 729 00:36:10,600 --> 00:36:13,560 Speaker 1: got guy just he was a total rap dude. I 730 00:36:13,560 --> 00:36:16,719 Speaker 1: mean he was like serious, spitting fire and all they're 731 00:36:16,719 --> 00:36:18,279 Speaker 1: going like, you know, might try to wrap thing in him. 732 00:36:18,280 --> 00:36:20,400 Speaker 1: I was like, like, I think he's just an amazing songwriter. 733 00:36:20,640 --> 00:36:23,000 Speaker 1: And he really is. I mean, the guy the Awards 734 00:36:23,080 --> 00:36:26,759 Speaker 1: Smith does not begin to describe Earnest. Uh. And then 735 00:36:26,760 --> 00:36:28,480 Speaker 1: you get around, you know, get around parties, and you 736 00:36:28,480 --> 00:36:30,160 Speaker 1: get around these guys, get the f g l s 737 00:36:30,200 --> 00:36:32,520 Speaker 1: and all these guys and Morgan Wallas and all these 738 00:36:32,520 --> 00:36:35,200 Speaker 1: people that come along. You're just like, dude, the way 739 00:36:35,280 --> 00:36:37,560 Speaker 1: these guys want to put stuff together and stuff they 740 00:36:37,600 --> 00:36:39,520 Speaker 1: wanted and that's that's all. I want to publish a 741 00:36:39,520 --> 00:36:42,239 Speaker 1: company to be for being, for songwriter, to be it 742 00:36:42,280 --> 00:36:46,439 Speaker 1: for artists or whatever is. Man, it's not a question 743 00:36:46,480 --> 00:36:48,360 Speaker 1: of someone writers just like we gonna you know, I've 744 00:36:48,440 --> 00:36:50,640 Speaker 1: tamped this down is a little fit. That's just like, dude, 745 00:36:51,120 --> 00:36:53,000 Speaker 1: That's what I thought. Always. I tell some many young 746 00:36:53,000 --> 00:36:55,000 Speaker 1: writers like, man, if they love your song, they will 747 00:36:55,080 --> 00:36:58,640 Speaker 1: call and ask you to do a tamer line. They 748 00:36:58,680 --> 00:37:00,839 Speaker 1: will never call and ask you for a better line. 749 00:37:00,920 --> 00:37:04,640 Speaker 1: That's just to pass. They will always call and go, dude, 750 00:37:05,040 --> 00:37:08,839 Speaker 1: can we not say, you know, can we not say 751 00:37:08,960 --> 00:37:14,440 Speaker 1: tap dancing stripper on the hood of a sixty pontiact Like, oh, 752 00:37:14,480 --> 00:37:17,200 Speaker 1: you want to change the car with your cadillactac, we 753 00:37:17,239 --> 00:37:20,960 Speaker 1: can do that. I love that car, more room to 754 00:37:21,000 --> 00:37:25,839 Speaker 1: tap dance, bigger hood. So you know, you know, do 755 00:37:25,960 --> 00:37:29,840 Speaker 1: you feel the pressure of of um, you know, steering 756 00:37:30,600 --> 00:37:32,799 Speaker 1: music and where it's going country music? Or do you 757 00:37:32,880 --> 00:37:35,239 Speaker 1: let the artist kind of do that? And then like 758 00:37:35,520 --> 00:37:38,640 Speaker 1: what's what's what role do you play in that? I 759 00:37:38,680 --> 00:37:43,160 Speaker 1: want to put out the best stuff ever heard, whatever 760 00:37:43,239 --> 00:37:45,960 Speaker 1: it's in half the time, nobody's ever heard anything like that. 761 00:37:46,840 --> 00:37:50,520 Speaker 1: So whenever that happens, to me and you know, I mean, 762 00:37:50,960 --> 00:37:52,600 Speaker 1: I mean I remember our, you know, our for our 763 00:37:52,920 --> 00:37:55,400 Speaker 1: you know, the first FDL album when it was all 764 00:37:55,400 --> 00:37:57,040 Speaker 1: of a sudden, now all right and those guys and 765 00:37:57,080 --> 00:37:59,160 Speaker 1: everybody thinks they're overnight, except they spent a year and 766 00:37:59,160 --> 00:38:01,279 Speaker 1: a half, right, I mean you cruise was written the 767 00:38:01,360 --> 00:38:06,200 Speaker 1: office beside mine, but there was all kind of rap. 768 00:38:06,239 --> 00:38:08,160 Speaker 1: But the thing is f gl it got so big 769 00:38:08,200 --> 00:38:11,200 Speaker 1: and so imitated so fast through all that broke country 770 00:38:11,239 --> 00:38:13,919 Speaker 1: stuff that nobody just think. But at the time, man, 771 00:38:14,040 --> 00:38:17,600 Speaker 1: it was like pretty trust me. We had some pushback. 772 00:38:17,640 --> 00:38:19,879 Speaker 1: It was like someone because all these songs are about 773 00:38:19,880 --> 00:38:21,399 Speaker 1: party and all these songs, but we got we looked 774 00:38:21,440 --> 00:38:24,880 Speaker 1: that record and it was like okay, fine, okay, okay, 775 00:38:24,880 --> 00:38:26,880 Speaker 1: we got a song about mama then that we're supposed 776 00:38:26,920 --> 00:38:28,560 Speaker 1: to do for a country or but what song do 777 00:38:28,680 --> 00:38:33,080 Speaker 1: we knock out for this lame, predictable thing. I was like, 778 00:38:33,840 --> 00:38:36,719 Speaker 1: I don't want to let any of these go. And 779 00:38:36,719 --> 00:38:40,560 Speaker 1: it really just came like we can't not put this 780 00:38:40,680 --> 00:38:45,000 Speaker 1: record out with these songs because it's just who wouldn't 781 00:38:45,000 --> 00:38:47,719 Speaker 1: want to hear that? And that's sort of that's kind 782 00:38:47,760 --> 00:38:49,719 Speaker 1: of where we're at as opposed to I mean, we've 783 00:38:49,719 --> 00:38:52,400 Speaker 1: dealt with enough labels and stuff, these stuff where there 784 00:38:52,440 --> 00:38:54,080 Speaker 1: really is there's a lot of it's driven by a 785 00:38:54,080 --> 00:38:55,399 Speaker 1: lot of fear and a lot of trying to play 786 00:38:55,440 --> 00:38:58,920 Speaker 1: it safe and stuff. And and you know that that 787 00:38:59,000 --> 00:39:01,000 Speaker 1: was at a lot and looking I made a lot 788 00:39:01,080 --> 00:39:02,520 Speaker 1: of friends and I made a lot of money with 789 00:39:02,560 --> 00:39:05,239 Speaker 1: the old way that business was done in town. But 790 00:39:05,239 --> 00:39:07,320 Speaker 1: but but it was it was kind of time for 791 00:39:07,320 --> 00:39:09,000 Speaker 1: for a new I mean, I went through the years 792 00:39:09,080 --> 00:39:13,399 Speaker 1: of dude like in the nineties and have some new act. 793 00:39:13,520 --> 00:39:16,160 Speaker 1: There be this kind of really standout song on the record, 794 00:39:16,280 --> 00:39:18,399 Speaker 1: Like okay, there you go, like, no, that's not gonna 795 00:39:18,440 --> 00:39:20,399 Speaker 1: be a little off single, like we're gonna put out 796 00:39:20,440 --> 00:39:23,120 Speaker 1: this one. You get by ready you know for that. 797 00:39:23,840 --> 00:39:28,839 Speaker 1: It's like it's just it was just like, you know, man, 798 00:39:29,920 --> 00:39:34,960 Speaker 1: in music and food, I'm always ready just for something great. 799 00:39:35,080 --> 00:39:37,040 Speaker 1: I don't have to be you know. You know, it's 800 00:39:37,040 --> 00:39:38,720 Speaker 1: not like I need to like, you know, get ready 801 00:39:38,760 --> 00:39:41,040 Speaker 1: for it during I need to eat this crappy tuna 802 00:39:41,120 --> 00:39:43,480 Speaker 1: fish sandwich from the truck stop before I go to 803 00:39:43,560 --> 00:39:46,960 Speaker 1: have some great Like I'm just ready for greatness at 804 00:39:47,000 --> 00:39:50,120 Speaker 1: all times. Just bring it all just right now? Why 805 00:39:50,200 --> 00:39:51,719 Speaker 1: I don't need to be softened up. I don't need 806 00:39:51,719 --> 00:39:54,440 Speaker 1: to get ready, I don't need to be you know, massaged, 807 00:39:54,560 --> 00:39:56,560 Speaker 1: you know all that kind of stuff, and I just 808 00:39:56,560 --> 00:39:58,839 Speaker 1: just bring it, just bring it all right now? Why not? 809 00:39:59,640 --> 00:40:04,640 Speaker 1: And so that's kind of we really at the label. 810 00:40:05,280 --> 00:40:07,399 Speaker 1: We don't only try to talk about that. It's just 811 00:40:07,520 --> 00:40:10,040 Speaker 1: is it a great song? And the question whether it's 812 00:40:10,080 --> 00:40:13,440 Speaker 1: gonna fit in out there or not? I bet about 813 00:40:13,440 --> 00:40:16,840 Speaker 1: half the time or going like, oh this is this 814 00:40:16,920 --> 00:40:19,799 Speaker 1: is gonna be hard, you know, but that is a 815 00:40:19,840 --> 00:40:23,480 Speaker 1: great thing. As hard as streaming and download and all 816 00:40:23,480 --> 00:40:25,840 Speaker 1: that kind of stuff has been on music and songwriters 817 00:40:25,840 --> 00:40:27,839 Speaker 1: and stuff like that. That has allowed us that thing. 818 00:40:27,920 --> 00:40:29,520 Speaker 1: We can just put stuff out as we do now 819 00:40:29,520 --> 00:40:31,880 Speaker 1: as opposed it to to the old radio just going to 820 00:40:31,960 --> 00:40:35,120 Speaker 1: radio and stuff like that. You're streaming stuff and you 821 00:40:35,200 --> 00:40:37,560 Speaker 1: get in front of people and they you know, America 822 00:40:37,760 --> 00:40:39,879 Speaker 1: is the A and R Department and always has been. 823 00:40:40,400 --> 00:40:43,800 Speaker 1: They they want it, they'll play it. And if they don't, okay, 824 00:40:43,840 --> 00:40:45,360 Speaker 1: you can throw a lot of money at trying to 825 00:40:45,360 --> 00:40:47,560 Speaker 1: get them, trying to program them if you want to, 826 00:40:47,719 --> 00:40:50,600 Speaker 1: but just get the music in front of the people. 827 00:40:51,719 --> 00:40:53,799 Speaker 1: People will tell you and I'll live and buy it. 828 00:40:53,800 --> 00:40:56,360 Speaker 1: I'll live and die by that man. Absolutely, Yeah. I 829 00:40:56,400 --> 00:40:58,840 Speaker 1: want to put some stuff out and that and for 830 00:40:58,960 --> 00:41:04,120 Speaker 1: me as opposed to do well, here's some major corporation, 831 00:41:04,400 --> 00:41:06,799 Speaker 1: major music corporation, and we know all the players and 832 00:41:06,800 --> 00:41:09,640 Speaker 1: we know, oh, this song work well because the demographic 833 00:41:09,640 --> 00:41:14,600 Speaker 1: their shooting for everything that's easy compared to is America 834 00:41:14,760 --> 00:41:17,680 Speaker 1: gonna like this or not? And we're really putting it 835 00:41:17,719 --> 00:41:21,720 Speaker 1: out there. Just are they gonna like this? Like let's 836 00:41:21,760 --> 00:41:24,160 Speaker 1: just let's just put it out there and see, you know. 837 00:41:24,200 --> 00:41:27,520 Speaker 1: And that's really kind of yeah, yeah, I try to 838 00:41:27,520 --> 00:41:29,640 Speaker 1: think about it too much or anything, but it's really because, 839 00:41:29,680 --> 00:41:31,920 Speaker 1: like I said, we never we never have conversation about that. 840 00:41:31,960 --> 00:41:34,560 Speaker 1: It's always like people like XO meetings and stuff. It's 841 00:41:34,600 --> 00:41:35,719 Speaker 1: like I don't even do so I was like, we 842 00:41:35,760 --> 00:41:38,120 Speaker 1: didn't do some meets and like, well I don't really 843 00:41:38,239 --> 00:41:40,480 Speaker 1: because our thing is we're kind of are aware of 844 00:41:40,520 --> 00:41:42,960 Speaker 1: the music we get. Those are getting passed around anyway, 845 00:41:43,239 --> 00:41:45,759 Speaker 1: and the only songwriting, you know, the only meetings that 846 00:41:45,840 --> 00:41:48,839 Speaker 1: ever gone though you're cutting out right, well yeah, of course, yeah, 847 00:41:48,840 --> 00:41:52,759 Speaker 1: of course, what's a great song we're cutting It's a 848 00:41:52,800 --> 00:41:54,920 Speaker 1: great song, like yeah, and there's not, so there's no 849 00:41:55,840 --> 00:41:59,200 Speaker 1: when it comes to that. You know, it's funny. It's 850 00:41:59,320 --> 00:42:00,640 Speaker 1: I think a lot of a lot of the places 851 00:42:00,640 --> 00:42:02,920 Speaker 1: where a lot of people stop and just augur in 852 00:42:03,000 --> 00:42:06,240 Speaker 1: really hard. We blow past that in about a tenth 853 00:42:06,239 --> 00:42:14,120 Speaker 1: of a second, that part of it. Anybody, how much 854 00:42:14,120 --> 00:42:17,239 Speaker 1: long do you think you're gonna be doing this? You know, 855 00:42:17,280 --> 00:42:22,279 Speaker 1: I've thought about that, and the idea of me not 856 00:42:22,360 --> 00:42:26,319 Speaker 1: doing it terrified my wife. Um but what's she gonna 857 00:42:26,320 --> 00:42:31,279 Speaker 1: have you around? What we're doing today? What we're doing today? 858 00:42:32,640 --> 00:42:35,520 Speaker 1: Um Man, I don't know, this is what I do. 859 00:42:35,600 --> 00:42:37,160 Speaker 1: I mean, it really is just not a job. I 860 00:42:37,280 --> 00:42:39,920 Speaker 1: love it. Um you know, I already kind of take 861 00:42:39,960 --> 00:42:42,400 Speaker 1: I get burned out. I kind of take summers off anyway, 862 00:42:42,600 --> 00:42:45,560 Speaker 1: take a couple of months off, go right around a 863 00:42:45,600 --> 00:42:48,600 Speaker 1: pontoon boat and drink beer and you know, kind of chill. 864 00:42:48,800 --> 00:42:51,960 Speaker 1: So I mean, I'm not I wanna, I wanna, you know, 865 00:42:52,560 --> 00:42:54,640 Speaker 1: more of the same. I don't know, I don't. It 866 00:42:54,680 --> 00:42:58,000 Speaker 1: really is not a job. It's um yeah, I can't 867 00:42:58,000 --> 00:42:59,920 Speaker 1: see trying to keep up with these kids and stuff. 868 00:43:00,560 --> 00:43:03,240 Speaker 1: You know, these writers, they got a lot of energy 869 00:43:03,640 --> 00:43:06,000 Speaker 1: and and and they're freaking brilliant. And the thing is, 870 00:43:06,000 --> 00:43:08,640 Speaker 1: that's what I realized now that all their influences that 871 00:43:08,719 --> 00:43:11,520 Speaker 1: they got are just so different and everything. Now it's 872 00:43:11,560 --> 00:43:13,239 Speaker 1: what I do love that. I do love that that 873 00:43:13,360 --> 00:43:15,319 Speaker 1: people come along with F G L s and all 874 00:43:15,320 --> 00:43:17,960 Speaker 1: this kind of stuff. Morgan's and got all these guys, 875 00:43:19,320 --> 00:43:21,360 Speaker 1: But what's your favorite stuff? And it's like, well, of 876 00:43:21,400 --> 00:43:23,319 Speaker 1: course there's a Garth Brooks and Georgia Strait and there, 877 00:43:23,360 --> 00:43:25,480 Speaker 1: but then there's just all the hip hop stuff and 878 00:43:25,480 --> 00:43:27,680 Speaker 1: all that stuff as well, and they mentioned all that 879 00:43:27,719 --> 00:43:30,920 Speaker 1: in one breath, and it's just like wow, Okay, I 880 00:43:30,920 --> 00:43:33,560 Speaker 1: mean it really is. It's just world music now, I 881 00:43:33,560 --> 00:43:36,160 Speaker 1: mean it is. And well I always saw it like that, 882 00:43:36,200 --> 00:43:38,040 Speaker 1: the whole idea of coming here in Nashville and this 883 00:43:38,120 --> 00:43:41,879 Speaker 1: whole these very distinct genres and country music fans want 884 00:43:41,880 --> 00:43:46,680 Speaker 1: to understand that. Like I'm think country country music fans 885 00:43:46,719 --> 00:43:49,319 Speaker 1: they're just their music fans. Let's take country like their 886 00:43:49,440 --> 00:43:51,960 Speaker 1: music fans and a music fan. If it's good music, 887 00:43:52,080 --> 00:43:54,399 Speaker 1: they're gonna be a fan of it. How about that 888 00:43:54,520 --> 00:43:59,080 Speaker 1: doesn't matter what ye talking about. How About like, dude, 889 00:43:59,080 --> 00:44:02,560 Speaker 1: trust me, I've spent ten years in in country bar, 890 00:44:02,680 --> 00:44:07,520 Speaker 1: in country bars, and Mississippi, Alabama, Florida, Louisiana. And when 891 00:44:07,520 --> 00:44:09,200 Speaker 1: it where it comes to my band and the stuff 892 00:44:09,239 --> 00:44:11,560 Speaker 1: on the jukebox, they wanted to hear everything. They wanted 893 00:44:11,600 --> 00:44:17,000 Speaker 1: to hear all the good music at all times. So yeah, yeah, 894 00:44:17,239 --> 00:44:19,799 Speaker 1: so well, Craig, it was a pleasure talking to you, Mike. 895 00:44:19,800 --> 00:44:21,520 Speaker 1: Do you have any questions for I think what I 896 00:44:21,520 --> 00:44:22,839 Speaker 1: take away from that? Because we need to have more 897 00:44:22,840 --> 00:44:25,680 Speaker 1: parties to celebrate. I agree. I mean, you're absolutely right 898 00:44:25,719 --> 00:44:28,400 Speaker 1: about that, just in general in life. You know, we 899 00:44:28,440 --> 00:44:33,480 Speaker 1: need to celebrate our blessings. Yeah, yeah, yeah, and I understand. 900 00:44:33,480 --> 00:44:35,439 Speaker 1: And you know our parking lot party did turn into 901 00:44:35,480 --> 00:44:40,719 Speaker 1: a thing of show up. Well yeah, they drink all 902 00:44:40,760 --> 00:44:43,960 Speaker 1: the beer, but no, but but you know, pro party 903 00:44:44,160 --> 00:44:45,800 Speaker 1: doing the day and stuff. But it has not anything. 904 00:44:45,800 --> 00:44:47,480 Speaker 1: We do it every year and it's just that it's 905 00:44:47,520 --> 00:44:49,879 Speaker 1: just a cool like for no reason that even takes 906 00:44:49,880 --> 00:44:51,920 Speaker 1: to own us off the party of or what's it for. 907 00:44:52,120 --> 00:44:55,640 Speaker 1: It's like it's just for everything. It's just it's just 908 00:44:55,719 --> 00:44:59,759 Speaker 1: a general party because just to celebrate in general, and 909 00:44:59,840 --> 00:45:01,560 Speaker 1: just to have a beer with our friends and sit 910 00:45:01,560 --> 00:45:03,640 Speaker 1: out here and have some popcorn and drink a beer 911 00:45:04,360 --> 00:45:06,480 Speaker 1: and just you know, and it really is. It's it's 912 00:45:06,560 --> 00:45:08,520 Speaker 1: it's nice and it is because, like I said, I mean, 913 00:45:08,600 --> 00:45:10,960 Speaker 1: lord knows, there's so much. Oh, there's a lot of 914 00:45:11,040 --> 00:45:13,359 Speaker 1: dark and cynical and stuff right now. And everybody's looking 915 00:45:13,400 --> 00:45:17,200 Speaker 1: for man, everybody's everybody's miserable about crap and everything. And 916 00:45:18,080 --> 00:45:20,080 Speaker 1: you know, I don't know why. As far as I'm concerned, 917 00:45:20,080 --> 00:45:21,879 Speaker 1: if you're a young person who's willing to work hard 918 00:45:21,960 --> 00:45:24,919 Speaker 1: and be positive, you can own this planet right now. 919 00:45:25,000 --> 00:45:26,600 Speaker 1: I mean that's what I keep looking at. Everybody's on 920 00:45:26,640 --> 00:45:29,640 Speaker 1: there complaining and stuff, and I'm like, going, dude, you 921 00:45:29,680 --> 00:45:32,919 Speaker 1: could grab that ball and head right along the sideline 922 00:45:33,320 --> 00:45:37,160 Speaker 1: to about four hundred to about four hundred touchdowns right now, 923 00:45:37,160 --> 00:45:39,440 Speaker 1: because there's a lot of people who are just sitting 924 00:45:39,440 --> 00:45:42,160 Speaker 1: down and crying and complaining and stuff. It's like, that's 925 00:45:42,160 --> 00:45:44,640 Speaker 1: all about the mute. But it's like, yes, it's hard, 926 00:45:44,640 --> 00:45:47,520 Speaker 1: it's impossible, it's all. It's all that's of. Somebody need 927 00:45:47,680 --> 00:45:50,600 Speaker 1: business different now than it was. It's like it's nothing 928 00:45:50,600 --> 00:45:53,680 Speaker 1: but catch twenty two, and that's impossible. It always has been. 929 00:45:53,680 --> 00:45:56,960 Speaker 1: It's never different. But you know what if I could 930 00:45:56,960 --> 00:45:59,040 Speaker 1: go to a number one party of a new kid 931 00:45:59,360 --> 00:46:03,920 Speaker 1: every week. So this thing that never works, that it's impossible, 932 00:46:03,920 --> 00:46:09,279 Speaker 1: that never works, happens all the time. So there you go, 933 00:46:09,400 --> 00:46:11,160 Speaker 1: somewhere in the middle of all that will never happen, 934 00:46:11,640 --> 00:46:13,840 Speaker 1: consider that it's happening all the time. So there we go. 935 00:46:14,600 --> 00:46:16,520 Speaker 1: Hey man, thank you so much, really if for talking 936 00:46:16,560 --> 00:46:20,760 Speaker 1: to great. It's good meeting you and your your your energies. 937 00:46:20,960 --> 00:46:22,799 Speaker 1: You have a lot of energy and I love it 938 00:46:23,160 --> 00:46:25,759 Speaker 1: and and you know, being kind of ran through the 939 00:46:25,840 --> 00:46:28,600 Speaker 1: ringer in this town. To see you on this side 940 00:46:28,600 --> 00:46:31,520 Speaker 1: of it coming out so positive and full of wisdom 941 00:46:31,600 --> 00:46:34,319 Speaker 1: like that, it's very inspiring. I was glad to help 942 00:46:34,360 --> 00:46:40,040 Speaker 1: you out man failures and then my false images that 943 00:46:40,080 --> 00:46:42,440 Speaker 1: I had in this songwriting. You're you're You're coming to 944 00:46:42,440 --> 00:46:45,640 Speaker 1: the parking lot party. It'll be may I'll horr at 945 00:46:45,719 --> 00:46:48,040 Speaker 1: you got it. You come, you get you get a 946 00:46:48,040 --> 00:46:52,560 Speaker 1: balloon hat. Oh you have balloons. You get a balloon 947 00:46:52,640 --> 00:46:55,160 Speaker 1: animal hat. You get a nice, big, big cold cup 948 00:46:55,200 --> 00:46:56,880 Speaker 1: of beer. It's gonna be amazing. I have been to 949 00:46:56,920 --> 00:46:58,719 Speaker 1: one of your parties. It was after a c m 950 00:46:58,800 --> 00:47:02,480 Speaker 1: A Awards, was upstairs at your office. I was probably 951 00:47:02,520 --> 00:47:04,879 Speaker 1: in your office, sitting in your desk. Did you guys, 952 00:47:04,920 --> 00:47:09,800 Speaker 1: basically turn your workspace into Those night parties were biblical, 953 00:47:12,080 --> 00:47:14,360 Speaker 1: so we'll put it this way. Taylor Swift came to 954 00:47:14,400 --> 00:47:16,360 Speaker 1: one of them. It was texting about our hangover. The 955 00:47:16,400 --> 00:47:19,520 Speaker 1: next day. We were like, yeah, I'm in our late 956 00:47:19,600 --> 00:47:22,640 Speaker 1: night parties. Man. It was like, oh wow, all right, 957 00:47:22,800 --> 00:47:25,040 Speaker 1: we'll do that again, Craig, all right man, Thank you 958 00:47:25,080 --> 00:47:26,600 Speaker 1: so much. Craig Wiseman,