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Speaker 1: All right, welcome to episode one the Bobby Cast. Thanks

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Speaker 1: for listening on I Heart Radio or iTunes, and thanks

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Speaker 1: for our sponsors. When you have the Flowers and Blue Apron.

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Speaker 1: So without those guys, we would not be able to

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Speaker 1: do this. And with us is songwriter Ross compliment, Hey boy,

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Speaker 1: good to see you. Good to see you. So before

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Speaker 1: we kind of get into talk about stuff, I just

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Speaker 1: kind of want to run through and let people know

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Speaker 1: kind of what we're dealing with here with Ross. So

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Speaker 1: I'm gonna play some of Ross's songs here because Ross

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Speaker 1: is uh world renown songwriter written songs like scene and

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Speaker 1: we're gonna get too all day Keith Urban John Dear,

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Speaker 1: how about Glory Georgia Confession, Low Cas, I know somebody

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Speaker 1: Kenny set in the World on Fire. We Luke Brian

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Speaker 1: strip it down. You have a lot. There's mane Hewny

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Speaker 1: number ones. Do you have fourteen number one? So there's

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Speaker 1: a lot, and we'll get to a lot of these

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Speaker 1: as we go. You know, as I start to look

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Speaker 1: at these songs here, for example, this one setting the

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Speaker 1: World on Fire. So I was told the story before

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Speaker 1: and I didn't know it was a secret or I

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Speaker 1: just couldn't. It just could have came out of my

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Speaker 1: mouth because Kenny never told me it was a secret

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Speaker 1: when he told me this. So Kenny and I are

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Speaker 1: sitting around and he says, hey, you know because setting

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Speaker 1: the wall on fire, it was just about it was

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Speaker 1: it was just about to be number one. And Kenny

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Speaker 1: are sitting next to each other and he goes, hey,

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Speaker 1: you know this was never gonna be a single, and

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Speaker 1: I was like, really, goes yeah, he goes, Pink got

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Speaker 1: pregnant so she had to come off the road. Yeah,

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Speaker 1: I've never heard that story. Oh you don't know. This

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Speaker 1: story is crazy. You wrote this song. You don't know that. Okay,

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Speaker 1: So I want to tell you this story, and you

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Speaker 1: tell me about how the song came together. Okay, okay.

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Speaker 1: So Kenny and I are sitting here and he goes,

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Speaker 1: we're playing about to play the song overhead, and he said, hey,

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Speaker 1: you're never gonna believe this, and Kenny curses a lot.

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Speaker 1: You know, I believe this, baby, you know, like, what

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Speaker 1: is it? And he goes, this was never going to

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Speaker 1: be a single. But not because I didn't love the song,

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Speaker 1: he said, but because Pink was about to go on

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Speaker 1: tour and she wanted to put her own music out

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Speaker 1: and she didn't want to have two things at once

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Speaker 1: hitting each other. And so because she got pregnant, she

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Speaker 1: pulled back, She pulled everything off the radio, and they

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Speaker 1: were like, hey, go ahead, and if you want to

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Speaker 1: make that a single, make that a single. And had

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Speaker 1: she not become a single at least not then yeah,

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Speaker 1: And so I was like, wow, he never said that

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Speaker 1: a secret, right did He realized she got pregnant and

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Speaker 1: that's why. And so I'm thinking, wow, I know this

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Speaker 1: great story, but I keep secret. You know, when you

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Speaker 1: have friends at working in business, you either are really

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Speaker 1: good to keep it secrets or you're allowed mouth. And

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Speaker 1: so I just don't say anything because it's not my

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Speaker 1: place to say. But it's a good story. But like

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Speaker 1: three months later, it was like breaking news, Kenny admits,

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Speaker 1: and I was like, what do you mean? So what

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Speaker 1: did you know about this? That's amazing? You know, it

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Speaker 1: kind of came back to me now. I remember Pink

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Speaker 1: was on the song, and I knew she was putting

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Speaker 1: out a new record, so I remember hearing you know

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Speaker 1: it won't be a single because she's gonna make it

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Speaker 1: the record. And then so you did hear that. I

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Speaker 1: do now that you say that it's kind of coming back,

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Speaker 1: but I never heard then. I just heard, oh, it's

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Speaker 1: the next single. I never because you know, we had

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Speaker 1: Noise first and Nois was kind of quick to come

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Speaker 1: and go, and then this one happened really fast, so

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Speaker 1: I never heard. The reason I never heard that it

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Speaker 1: was because she got pregnant so her music was on hold. Crazy,

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Speaker 1: that's crazy. I never knew that. I never I can't belave.

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Speaker 1: I never thought. I'm glad I could bring up out

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Speaker 1: of your podcast Ross, I'm sharing stories. So that song there,

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Speaker 1: when you wrote it, did you write it as a duet?

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Speaker 1: We didn't at all. And you know what, you write

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Speaker 1: it with Josh Osborne and Matt Jenkins, and we didn't

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Speaker 1: think of this song. It's not like this is one

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Speaker 1: of those ones. We got home that night and we

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Speaker 1: were like, oh my gosh, I'm gonna this is the

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Speaker 1: one man, this this is one of those ones. It

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Speaker 1: was like it was like me and Josh's favorite song.

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Speaker 1: And Josh was playing it out in rounds and playing

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Speaker 1: it before anyone, playing it before anybody. He just started

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Speaker 1: playing rounds and he'd be like, man, Ross, that that's

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Speaker 1: set in the world. Fire song goes over really well

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Speaker 1: in rounds. I was like, Oh cool, Josh, that's that's

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Speaker 1: good man. And so then Kenny cut it and somehow

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Speaker 1: decided to put Pink on it. Kenny has a great

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Speaker 1: like intuition to know. He just has this. I always

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Speaker 1: say he's the best A and R guy in Nashville.

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Speaker 1: I always feel like he picks about songs, are about

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Speaker 1: songs and just and just do it A and or

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Speaker 1: he's record knowing to put Pink on that song. I

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Speaker 1: never would have thought to put her on that song,

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Speaker 1: and I feel like her being on that song the

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Speaker 1: first time I heard I literally cried when I heard

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Speaker 1: it in the studio with him, just because I grew

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Speaker 1: up with Pink on the radio, and like just hearing

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Speaker 1: her voice on a song that I was a part

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Speaker 1: of writing was just mind numbing to me, you know.

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Speaker 1: He I was talking to Kenny. It was the same

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Speaker 1: night and Pink had come through with the top on us.

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Speaker 1: We were doing this interview whole thing, and Pain came

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Speaker 1: over and they didn't. I don't think they'd spent a

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Speaker 1: lot of time together, you know, And that's how it works.

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Speaker 1: A lot of people don't realize that now because back

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Speaker 1: in the old days. But when because I assumed I

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Speaker 1: was born in the eighties. You born in the eighties, okay,

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Speaker 1: early year, you earlier? Okay, like not like I'm not

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Speaker 1: like Taylor Swift. That's where most people nowaday eight seven,

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Speaker 1: like come on, man, count that. But people don't even

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Speaker 1: record it in the studio together anymore. Just generally they

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Speaker 1: don't look together, and it's it's almost to listeners like,

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Speaker 1: oh man, we I just want to imagine carrying boys,

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Speaker 1: two men doing one Sweet Day, remember the video, and

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Speaker 1: they're all in the studio together and it's like sorry,

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Speaker 1: and they're back and forth. That's how I imagine every duet.

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Speaker 1: And he was like, no, we really didn't. I will

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Speaker 1: say when we did Different for Girls with Dirks. Dirks

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Speaker 1: flew us on his little plane to Texas to l King.

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Speaker 1: There's no gonna and not that I want to let

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Speaker 1: me tell you what hap a Ross, because Ross and

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Speaker 1: I were both the darks after party at the A

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Speaker 1: C M S. And so we go and we're there

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Speaker 1: and I think the last time I was on all right,

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Speaker 1: even on the air, because there are certain stories you

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Speaker 1: come out of there with their stafe to tell and

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Speaker 1: I told about Luke, and Luke goes up into the

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Speaker 1: DJ boots and he's like, where's the microphone And he's like,

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Speaker 1: there's no microphones, Like what was talking to the headphone?

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Speaker 1: So look, plugs in a pair of headphones into the

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Speaker 1: microphone jacks, yelling through the headphones and think that works?

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Speaker 1: Does that actually work? It does? All I know is

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Speaker 1: that here looks screaming over the top of the speakers

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Speaker 1: with distortion. And he's like, all right, people were gonna dance,

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Speaker 1: and so everybody talks dancing. And I'm talking to Dirks

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Speaker 1: and Dark is like, hey, I'm flying home tomorrow at

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Speaker 1: three pm, and my flight was at like seven in

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Speaker 1: the morning, right, And he's like, you can fly back

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Speaker 1: with me if you want. And I'm like, cool, Dirk's

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Speaker 1: has got a jet and I'm gonna hop on Dark's

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Speaker 1: jet and He's like, no, no, I flew my plane.

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Speaker 1: I was like, I'm gonna go and go fly south west.

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Speaker 1: There's no way. I'm Dirk is one of my favorite

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Speaker 1: people in the whole world. Yeah, me too, But I'm

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Speaker 1: not getting in a small plane. Where's the drunk on

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Speaker 1: a plane hat? And the glasses too. When he's in

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Speaker 1: the cockpit that small plane. Is that weird? It's weird, bro,

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Speaker 1: because you feel at all. And Dirk's at one point

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Speaker 1: got off the plane and was like, that was one

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Speaker 1: of the roughest rides I've ever had in my life.

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Speaker 1: And he's got the drunk in a plane glasses and

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Speaker 1: he's like over the loudspeaker, like, yeah, welcome to dude there.

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Speaker 1: I don't need my pilot making chucks. I don't even

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Speaker 1: like on Southwest. We were flying into Kansas once and

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Speaker 1: the pilot's storming, right, and the pilot comes on and

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Speaker 1: he goes it wasnnder a little trivia here as we

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Speaker 1: go through that, and I'm like, dude, just focus on

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Speaker 1: the freak. I don't need Dirk's drunk on a planet. No,

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Speaker 1: But he's actually a great pilot. I'm sure he is.

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Speaker 1: I like pilots whose main job is to be a pilot.

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Speaker 1: It's not to be a superstars is like drinks on

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Speaker 1: stage too, right, He's got to have a few drinks

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Speaker 1: on stage and then he flies home. I don't listen.

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Speaker 1: I doubt regardless, Darks as an artist and a dad,

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Speaker 1: and then he's a pilot in order I need my

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Speaker 1: pilots to be up ranked around one first. Maybe too hilarious.

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Speaker 1: So speaking of Dirk's let's see for Dirk's man. You

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Speaker 1: have so many songs here. Um, you wrote tip it

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Speaker 1: on back? Was this the first dark song you wrote?

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Speaker 1: That was the That song started everything for me? Everything,

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Speaker 1: I really think it is. That's just Oh, I really

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Speaker 1: do owe my career to Dirk's And I always tell

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Speaker 1: him that because he took a chance on that song

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Speaker 1: and it was my first big single I've ever had.

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Speaker 1: It got to five and then uh, he liked the demos,

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Speaker 1: so then we're starting to hang out any and that's

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Speaker 1: when he asked me to produce his record Riser, and

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Speaker 1: that really did. That really did started off for me.

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Speaker 1: So you credit Dirk says, I really do, and I

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Speaker 1: always tell him, really, I really do. And the is

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Speaker 1: your first single. I think Thompson Glass before that, but

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Speaker 1: this is your first top ten. This is my first

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Speaker 1: top ten. Yeah, it's all Night, I have Glass, I

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Speaker 1: have it all ros. I know that I'm like Wikipedia,

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Speaker 1: Ross Comproman, Gosh, I'm scared, scared. So Thompson Spurred has

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Speaker 1: a song. Okay, let's just why far back. I have

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Speaker 1: a lot of you as the UK pop You don't,

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Speaker 1: I do. I don't look at my screen. I have

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Speaker 1: all of it and we'll get there. Oh my god.

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Speaker 1: So you moved to town. Let's just talk about Nashville first.

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Speaker 1: You moved to Nashville to be a songwriter? What year?

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Speaker 1: Oh man? I always say, it's about ten years ago?

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Speaker 1: What would that be? Six seven is ship? Yeah? And

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Speaker 1: you move here, and I mean, are you stable when

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Speaker 1: you move here? Financially? Do you have friends? Like so

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Speaker 1: I had. I had a record deal in the UK,

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Speaker 1: and so I had a publishing deal with E M

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Speaker 1: I there and I was locked into this E M

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Speaker 1: I UK publishing deal that never ended and I was

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Speaker 1: done with being an artist, and so I was stuck

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Speaker 1: in this deal. And I met I got named Josh

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Speaker 1: me and Walkenberg in at the big Loud Shirt parking

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Speaker 1: lot party and I was like, Hey, I write for you,

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Speaker 1: my Do you think you could listen to some of

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Speaker 1: my songs? And he was like sure, dude, whatever, And

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Speaker 1: so I played him some songs and he kind of

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Speaker 1: took Mender's wing and like he played songs with your

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Speaker 1: instrument and voice? So you played yeah, my guitar and

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Speaker 1: then he started he really he really developed me. He

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Speaker 1: is the reason. Also, there's so many people this town. Man,

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Speaker 1: it doesn't just happen, you know fast. It was definitely

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Speaker 1: ten years for me. Um, and you had Josh took

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Speaker 1: me in his wing. And then Bradley Collins from bm

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Speaker 1: I sent me to the Key West Songwriters Festival and

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Speaker 1: I came back with so many new friends. I went

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Speaker 1: down there not knowing anyone. Kit More was one of

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Speaker 1: my first friends. Be and him were goofing around down there,

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Speaker 1: Ryan Scooters Ackwards and being crazy and um, yeah, I

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Speaker 1: made some of my best friends down there. So you

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Speaker 1: start riding in town with a lot of people, and

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Speaker 1: I'm sure you're a hundred songs or so before Glass,

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Speaker 1: it's it's oh yeah. So whenever you first get that, hey,

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Speaker 1: this is gonna be the single for an artist. It's

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Speaker 1: on the radio. That's a big deal, right. Me and

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Speaker 1: John Knight first time we met, we wrote Glass together,

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Speaker 1: just us in a room with guitar, green carpet floor,

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Speaker 1: the old m I building. Um, we just stared into

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Speaker 1: each other's eyes longingly and like we really did. And

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Speaker 1: we've literally have been best friends since that day and

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Speaker 1: and this song top fifteen, Yeah, top fifteen. I love

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Speaker 1: those guys, tough to Square. Yeah, some of my favorite

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Speaker 1: people keep us funny, so oddly funny, oddly funny, like

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Speaker 1: you don't expect different, it's oddly funny. This is oddly funny.

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Speaker 1: We think you're just messing a TV show together. It

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Speaker 1: ended up not getting picked up with the whole process

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Speaker 1: of yeah, a TV production company, so we wish. Yeah,

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Speaker 1: but don't you have many I try everything, nothing really works.

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Speaker 1: That's the thing. I try a little bit. I didn't

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Speaker 1: try to get in everything. My dad's pretty geeked out

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Speaker 1: that I'm doing this interview with you today. He's a

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Speaker 1: huge fan of he is he Yeah, he's in Ronan, Virginia,

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Speaker 1: so he listens to all this stuff. Oh yeah, that's awesome.

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Speaker 1: And you're from you grew up Virginia, Virginia. So Tom

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Speaker 1: Square cuts glass. They call you and say hey, and

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Speaker 1: then it goes about where to go twelve twelve? Yeah,

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Speaker 1: so at twelve, that was a huge deal with that.

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Speaker 1: But do you like, do you make good money at

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Speaker 1: twelve or thirteen? Back then? Back? Yeah? I feel like

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Speaker 1: back then you actually made more. Yeah, because songs don't

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Speaker 1: just go to this is my theory. Now it's just

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Speaker 1: flash it flies, and I know you're you have a

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Speaker 1: million number ones, so don't take offense to this in anyway.

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Speaker 1: Here's my problem with the format right now is that

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Speaker 1: there are so many number ones that the music is

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Speaker 1: not going to last because we don't get to sit

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Speaker 1: with it. I agree number ones are forgotten. That that's

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Speaker 1: why these people that buy song catalogs, I'm I was like,

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Speaker 1: why are you doing it? Because you know there's like

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Speaker 1: four quarters of a song paying money and then it

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Speaker 1: really the drop off is like Matt Everest, we don't

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Speaker 1: give these songs enough time to breathe, and especially with

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Speaker 1: the superstars, and it's not the SuperStar's fault they're a superstar.

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Speaker 1: It is the superstars who go the fastest. Like if

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Speaker 1: if even now Dirk's is up on that a list,

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Speaker 1: but if it's Dirk or Blake or Luke or any

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Speaker 1: of these guys, and it's the record label's fault, it's

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Speaker 1: radio's fault. It's everyone's sing about it because it's just

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Speaker 1: like to get it, shoot, shoot up gone. But then

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Speaker 1: they can't even play all their number ones at a concert.

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Speaker 1: Luke especially because they go by so and and Luke's

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Speaker 1: forties not like sixty five. And we and you forget

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Speaker 1: sometimes with these songs because we were talking about strip

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Speaker 1: it Down, which you strip it Down was on this

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Speaker 1: last album. It's six number ones Luke's last album. And

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Speaker 1: it's crazy. But you know why I have do the though,

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Speaker 1: because you can song shoot up so fast. Yeah, and

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Speaker 1: and then albums suffer because everyone's just writing the singles.

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Speaker 1: You want to get six singles on a record, that's crazy.

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Speaker 1: So okay, talk about this one. Yeah. We we went

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Speaker 1: out to Luke's farm, the first time we've ever been

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Speaker 1: out there. His place blew our mind. We were we

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Speaker 1: thought we were on another planet. He's got his like

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Speaker 1: the river stocked with trout. Somehow, I don't even understand

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Speaker 1: how that works. How the trouter in one place, like

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Speaker 1: he says, you know, he goes and he he stocks

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Speaker 1: it hard with tiny ones and he grows them big.

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Speaker 1: But I don't have a stay on his property. Why

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Speaker 1: don't they end up down somewhere? I think? But my

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Speaker 1: theory is he has someone that comes right before you

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Speaker 1: come and they throw them right into the area where

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Speaker 1: you're going to be in a whole lot of so

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Speaker 1: you can show up. Because he has money, he can

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Speaker 1: do that. Yeah, he did have a field with deer.

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Speaker 1: He's like, oh, the deer bend down over there. You

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Speaker 1: just it felt like in a tree stand right there

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Speaker 1: is like it was like Disney. It's like Dilukeworld. Yeah,

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Speaker 1: we're thinking the right place at the right time. It's

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Speaker 1: like a safari where you know where the outfits are

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Speaker 1: going to be up. So we rode around his farm,

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Speaker 1: we rode around through the river. He's shown us everything.

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Speaker 1: It's the most amazing I ever seen. We came back

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Speaker 1: ate some some dear jerky. He grabbed at an acoustic

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Speaker 1: and he's like he started he started playing these chords

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Speaker 1: and he started he literally started singing in the chorus

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Speaker 1: um and me and John were like, whoa, what is

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Speaker 1: what is that? I got opened my laptop started recording him.

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Speaker 1: It's like writing down as fast as I could twenty minutes.

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Speaker 1: He kind of just he just kind of spouted out lines.

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Speaker 1: Me and John were just catching it, and he's like,

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Speaker 1: all right, boy, you wanna want to wrap it up?

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Speaker 1: Finished his another time or something. So we're like, no,

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Speaker 1: let's just keep fighting. And so and then so we

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Speaker 1: went home and basically the whole song was like in

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Speaker 1: the scattered of three pages of just notes and we

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Speaker 1: kind just piece it together and with Luke's help and

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Speaker 1: then he cut it. And crazy at this level where

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Speaker 1: you are now with because as we'll see, it wasn't

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Speaker 1: always easy and it wasn't always awesome. Um, but now

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Speaker 1: you have success, and you have money, and you have

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Speaker 1: people they're dying to write with you and work with

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Speaker 1: you as you produce, and like you're you know, you're

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Speaker 1: growing just as an entity, like you're doing all these things.

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Speaker 1: But uh, for you, Like how hard is it for you?

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Speaker 1: Like for someone let's say writer comes to town right

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Speaker 1: and at first like probably get right with you pretty easy,

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Speaker 1: like whenever you're not making any money. But now do

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Speaker 1: you just go sit and write for artists specifically or

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Speaker 1: do you just still write songs and see where they land? Mostly? Man,

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Speaker 1: you know we do, And I feel like the best

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Speaker 1: songs getting ritten like that when it's me and John

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Speaker 1: and Shane or me and Josh Osborne and Ranny Clausen

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Speaker 1: are Like I feel like that's how you write the

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Speaker 1: best songs when you're not thinking about anything and you're

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Speaker 1: just trying to write the best song in the room

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Speaker 1: that day. But are artists they're calling you, They're and going, hey, Ross,

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Speaker 1: comes sit with me because you're writing all these hits. Well,

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Speaker 1: a lot of artists are such good writers. Luke is

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Speaker 1: Luke would be one of the he'd be being my

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Speaker 1: song on the year every year, Luke, Brian Wood Dirk's

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Speaker 1: is a great songwriter, Keith Grett. They're all so good, um,

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Speaker 1: and so yeah, when we go right with them, they

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Speaker 1: always have like a year of ideas stocked up because

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Speaker 1: they've been on the road tour and so and they're

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Speaker 1: not writing every day, so we're like flexing the muscle

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Speaker 1: every day so we can help to shape them. But

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Speaker 1: how hard is it to think of different stuff every day? Though?

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Speaker 1: Like what have you what have you done today to

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Speaker 1: right today? Yeah, Craig Wiseman, Okay, so you're going ro

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Speaker 1: with Craig Wiseman. Who who know, I'll tell you today.

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Speaker 1: That's a great Yeah, go ahead, No, No, Craig Wiseman

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Speaker 1: has been around and written so many and probably a

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Speaker 1: million stories. Like it's probably awesome to go sit with

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Speaker 1: someone like that because they have so much that you

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Speaker 1: can hear and be inspired by. And you know, we

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Speaker 1: didn't have a title today and we're kind of just

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Speaker 1: we're grinding. He was telling stories. I was just learning

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Speaker 1: from him. And I saw like he had a key

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Speaker 1: chain on the on the table big loud shirt. You

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Speaker 1: know what his name is, Publishing. I was like, Craig,

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Speaker 1: have you ever written big loud shirt? He's like, wow, no,

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Speaker 1: I've never written that, And so we we we're gonna

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Speaker 1: write we started it big glove shirt. But that's how

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Speaker 1: things happened, like you just see something or like like

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Speaker 1: when we wrote um for Thousand Horses Smoke, he had

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Speaker 1: a black BlackBerry smoke hat on Michael Hobby did so

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Speaker 1: had he had the bands. I was just staring. We

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Speaker 1: didn't have an idea. I was just staring at his

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Speaker 1: hat smoke. I was like, smoke, it's not smoke, Not

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Speaker 1: that it's most I really feel like nowadays, simpler the better,

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Speaker 1: Like simple title that you can tell in a different way.

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Speaker 1: That's that's just what I'm into right now. So you

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Speaker 1: wrote this song on Michael who else? And John Knight?

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Speaker 1: You know it's weird. It makes sense because I do

377
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Speaker 1: the same thing. We get into our little front path

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Speaker 1: the people we trust, and we like to work with

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Speaker 1: people we trust and like, who are who are your people?

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Speaker 1: John will be first, Um, Josh Osborne and Shane McNally,

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Speaker 1: Ronnie Class and Nicole and do you call Cole Nicole

382
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Speaker 1: Class called them? How far in advanced do you guys

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Speaker 1: set up these rights? You know, we book our years

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Speaker 1: out all the way to December. You book, you book

385
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Speaker 1: a year out. We do, and then but we leave

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Speaker 1: it kind of loose so that we can fill in,

387
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Speaker 1: like like me and Ashley Goalley. He'll be one of

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Speaker 1: those that I trust. I mean, he's probably got to

389
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Speaker 1: be one of the best ever to exist songwriter wise.

390
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Speaker 1: He's like rain Man. I've never seen anyone right like him.

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Speaker 1: But we'll we'll do like two days with Ashley every

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Speaker 1: month through December, and then we'll fill it in as

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Speaker 1: we go. So Bill, like Billy Kurtnan is coming to town. Hey,

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Speaker 1: you know I think I'm like, oh, jump in with

395
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Speaker 1: me Ashley this day or something. So you guys will

396
00:19:48,720 --> 00:19:52,160
Speaker 1: have a right set and then you'll leave a spot

397
00:19:52,280 --> 00:19:55,120
Speaker 1: and someone will hop in. It's constantly juggle. It's we're

398
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Speaker 1: up at night at eleven o'clock and night every night texting,

399
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Speaker 1: oh what if we do this here? Throw this person here,

400
00:20:00,160 --> 00:20:05,080
Speaker 1: like constant juggle to try and maximize every right you

401
00:20:05,200 --> 00:20:08,760
Speaker 1: have to nowadays because it's so hard to get outside cuts.

402
00:20:08,800 --> 00:20:10,879
Speaker 1: Like you said, like when just three writers get in

403
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Speaker 1: the room to try to write the best song, even

404
00:20:13,240 --> 00:20:15,840
Speaker 1: the best song these days is the best songs are

405
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Speaker 1: not always winning. Now what wins artists who write there

406
00:20:20,480 --> 00:20:22,480
Speaker 1: on songs they can also get paid for it. I

407
00:20:22,600 --> 00:20:25,880
Speaker 1: do think those songs win now man. Unfortunately it makes

408
00:20:25,960 --> 00:20:28,640
Speaker 1: sense that they do, and and not saying that it's wrong,

409
00:20:29,280 --> 00:20:31,280
Speaker 1: it does. We just put the shoe on my foot. Yeah,

410
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Speaker 1: let's say I write a song and it's almost as

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Speaker 1: good as as a as a song that's announced. It's

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Speaker 1: it didn't had to be as good, but it's so

413
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Speaker 1: close and I'm a superstar, and I know my superstar

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Speaker 1: is will push that over the limit. I'm cutting my

415
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Speaker 1: song because I need to get paid. So the question

416
00:20:46,760 --> 00:20:49,960
Speaker 1: doesn't matter. There's the big question. That's a big question, dude,

417
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Speaker 1: is that is that Okay? Does that affect music as

418
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Speaker 1: a whole? Does that does that matter? The answer is yes,

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Speaker 1: But the superstar culture the same way the song number one.

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Speaker 1: It's like you said, somebody's gonna remember it. Anyways, these

421
00:21:01,280 --> 00:21:03,879
Speaker 1: songs and in these all these songs that are you know,

422
00:21:03,920 --> 00:21:06,280
Speaker 1: because McNally came in, we're talking about the same thing.

423
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Speaker 1: And it's like back when we were kids and the nineties,

424
00:21:10,160 --> 00:21:12,160
Speaker 1: like boot Scooting Bookie was number one for a while

425
00:21:13,040 --> 00:21:16,240
Speaker 1: and it had a room to breathe. It took a

426
00:21:16,320 --> 00:21:19,480
Speaker 1: long time to get there, and it just became like

427
00:21:19,640 --> 00:21:25,000
Speaker 1: anthems of entire yeah eras like summers or winters or

428
00:21:25,080 --> 00:21:28,520
Speaker 1: we just remember you know, the dance as being you know,

429
00:21:28,680 --> 00:21:31,880
Speaker 1: junior high. It was like six week number. That would

430
00:21:32,000 --> 00:21:34,480
Speaker 1: never have that. Now is there a song that you

431
00:21:34,520 --> 00:21:36,119
Speaker 1: could off the top of your head right now that

432
00:21:36,119 --> 00:21:38,080
Speaker 1: would be like, oh, that was last summer, that was

433
00:21:38,200 --> 00:21:40,879
Speaker 1: last summer. Let's know, you always say this is the

434
00:21:40,920 --> 00:21:43,960
Speaker 1: song of the summer because I know I picked you know,

435
00:21:44,000 --> 00:21:47,359
Speaker 1: I just talked about myself to talk sometimes. But let

436
00:21:47,400 --> 00:21:49,840
Speaker 1: me think about that was the song, like, let's just

437
00:21:50,080 --> 00:21:52,840
Speaker 1: pick in the last few years, is the first one

438
00:21:52,880 --> 00:21:54,800
Speaker 1: that comes to me? Okay, for you, that would be

439
00:21:54,840 --> 00:21:56,800
Speaker 1: a song that you're like, boom that and that's gonna

440
00:21:56,800 --> 00:21:59,919
Speaker 1: be one the last Okay, let me think, no one,

441
00:22:00,359 --> 00:22:02,359
Speaker 1: no one's ever asked me. This is a really great question.

442
00:22:02,960 --> 00:22:06,040
Speaker 1: Songs are out and in the past, let's say three

443
00:22:06,240 --> 00:22:09,760
Speaker 1: four years that I think are going to last. It's

444
00:22:09,800 --> 00:22:17,200
Speaker 1: a great question. I think, um, oh, man, yeah, because

445
00:22:18,000 --> 00:22:23,240
Speaker 1: it's tricky, like I think something like, okay, I know,

446
00:22:23,280 --> 00:22:25,119
Speaker 1: I just came to me too. I want to what

447
00:22:25,520 --> 00:22:28,800
Speaker 1: what were you gonna say, girl crush? Girl crush? Is

448
00:22:28,840 --> 00:22:32,080
Speaker 1: it is? It might be? Maybe? Yeah, tell me well.

449
00:22:32,119 --> 00:22:34,760
Speaker 1: I was gonna say something like, because it's gonna take

450
00:22:34,840 --> 00:22:38,600
Speaker 1: something meaningful. Now I would say, like drink a beer

451
00:22:38,760 --> 00:22:42,440
Speaker 1: for Luke. Oh wow, interesting, because I think that's one

452
00:22:42,480 --> 00:22:45,879
Speaker 1: that will last with people because of the message. And

453
00:22:45,920 --> 00:22:49,240
Speaker 1: then occasionally you will get an artist that will just

454
00:22:49,359 --> 00:22:52,680
Speaker 1: create something that, like the Stapleton that entire Traveler record

455
00:22:52,840 --> 00:22:55,720
Speaker 1: will last, will last. His new record sounds even better.

456
00:22:56,200 --> 00:22:59,200
Speaker 1: You know what's funny? Clips and I won't I have

457
00:22:59,240 --> 00:23:01,119
Speaker 1: the whole record right, and I won't listen to it

458
00:23:01,760 --> 00:23:05,840
Speaker 1: because I don't listen to music early and I love Chris,

459
00:23:05,960 --> 00:23:07,639
Speaker 1: And Chris was like, I want you to have this record.

460
00:23:08,520 --> 00:23:11,600
Speaker 1: I can't. It's like my favorite record, man, and you

461
00:23:11,680 --> 00:23:13,600
Speaker 1: can have all the clips on iTunes. I'm listening like

462
00:23:13,680 --> 00:23:15,920
Speaker 1: a minute twenty of each song or whatever you get,

463
00:23:16,400 --> 00:23:20,320
Speaker 1: even the guy would I need to go to get it?

464
00:23:20,359 --> 00:23:22,560
Speaker 1: I needed. I haven't asked anybody, but and I didn't.

465
00:23:23,119 --> 00:23:24,720
Speaker 1: I just because I'm gonna buy it. I don't want

466
00:23:24,720 --> 00:23:26,560
Speaker 1: I want to buy that record. It's like that's the

467
00:23:26,680 --> 00:23:28,399
Speaker 1: one that might be like one of the few records

468
00:23:28,400 --> 00:23:31,080
Speaker 1: I buy it this year. I want to experience it

469
00:23:31,600 --> 00:23:34,119
Speaker 1: like my people experience it because I need to be.

470
00:23:35,240 --> 00:23:37,680
Speaker 1: I can't not be the people that listen to me,

471
00:23:38,680 --> 00:23:41,159
Speaker 1: and so I want to get it the day up

472
00:23:41,200 --> 00:23:44,479
Speaker 1: and be excited about it too. And so that's why

473
00:23:44,560 --> 00:23:46,640
Speaker 1: I won't listen to it. And Chris was so nice

474
00:23:46,680 --> 00:23:48,080
Speaker 1: to say, I would love you to have this record,

475
00:23:48,400 --> 00:23:50,880
Speaker 1: and I said back, I appreciate it, but I can't listen.

476
00:23:51,119 --> 00:23:52,920
Speaker 1: The one album that I did listen to early because

477
00:23:52,920 --> 00:23:55,919
Speaker 1: I'm just because I'm I had to was the new

478
00:23:56,000 --> 00:23:57,440
Speaker 1: John Mayor record and it's not out yet and I

479
00:23:57,520 --> 00:24:00,680
Speaker 1: have it you and I I don't have it. I'm

480
00:24:00,760 --> 00:24:07,159
Speaker 1: holding on. I mean, beyond everything I'm going to this weekend.

481
00:24:08,280 --> 00:24:10,119
Speaker 1: I'm a huge John Maravan. I think I've seen him

482
00:24:10,600 --> 00:24:12,280
Speaker 1: thirteen times and I have the whole record yet, but

483
00:24:12,320 --> 00:24:14,400
Speaker 1: there's just four more songs. It's so good the most

484
00:24:14,480 --> 00:24:16,719
Speaker 1: just four more and then that completes all three waves,

485
00:24:17,320 --> 00:24:20,760
Speaker 1: and that completes the record. I'll tell you this too.

486
00:24:20,800 --> 00:24:24,399
Speaker 1: It's amazing music. Is that. I think the culture of

487
00:24:24,480 --> 00:24:26,440
Speaker 1: putting out a record at twelve songs, I was gonna die.

488
00:24:26,480 --> 00:24:28,920
Speaker 1: So I wish you had died three years ago because

489
00:24:28,960 --> 00:24:31,960
Speaker 1: I tell every artist, like, what's it's too much? People

490
00:24:32,000 --> 00:24:34,640
Speaker 1: can't process the whole album. It's like, except the Stapleton

491
00:24:34,760 --> 00:24:38,960
Speaker 1: record for some reason, it's nine songs. It's nine songs.

492
00:24:39,359 --> 00:24:43,480
Speaker 1: There's a huge cover on it. Yeah, you know, because

493
00:24:43,480 --> 00:24:46,800
Speaker 1: Tennessee Whiskey is a cover um which, by the way,

494
00:24:46,840 --> 00:24:49,480
Speaker 1: you know David Awnleeycote wrote it and George Jones covered

495
00:24:49,520 --> 00:24:52,760
Speaker 1: it and people don't know this. But it doesn't matter

496
00:24:52,880 --> 00:24:56,320
Speaker 1: is a thing. It doesn't matter. But yeah, it's also

497
00:24:56,440 --> 00:24:58,360
Speaker 1: so I thought it was a new song though. Yeah.

498
00:24:59,000 --> 00:25:00,800
Speaker 1: It's also like bring in on it. You're like, oh,

499
00:25:00,880 --> 00:25:04,359
Speaker 1: Scotty new. Yeah. I think though that it's almost like

500
00:25:04,480 --> 00:25:07,840
Speaker 1: having a Thanksgiving meal, Thanksgiving dinner. Every meal when you

501
00:25:07,880 --> 00:25:09,879
Speaker 1: get a new record of twelve songs, it's like, what

502
00:25:10,000 --> 00:25:11,680
Speaker 1: do I eat? I'm gonna get full. I don't have

503
00:25:11,800 --> 00:25:15,680
Speaker 1: enough time to listen to hour and minutes you anymore,

504
00:25:16,000 --> 00:25:17,760
Speaker 1: And so I have to decide what songs I like

505
00:25:17,880 --> 00:25:21,280
Speaker 1: the most really quickly, and we have our you know,

506
00:25:21,320 --> 00:25:25,320
Speaker 1: our heart or Spotify whatever. We're racing songs if they

507
00:25:25,320 --> 00:25:27,359
Speaker 1: don't fit. So we don't have time to enjoy it.

508
00:25:27,560 --> 00:25:29,840
Speaker 1: You really don't because we can't spend time with it.

509
00:25:30,040 --> 00:25:31,640
Speaker 1: When John Mayra put him out four at a time,

510
00:25:31,680 --> 00:25:33,840
Speaker 1: I got to spend time with me those songs, and

511
00:25:33,920 --> 00:25:35,920
Speaker 1: I fell in love with all four time. And I

512
00:25:35,960 --> 00:25:37,520
Speaker 1: don't think I would have you to put out twelve

513
00:25:37,560 --> 00:25:40,320
Speaker 1: at a time. That's such a good. So I think

514
00:25:40,400 --> 00:25:43,720
Speaker 1: the culture of the album is going to change because

515
00:25:43,760 --> 00:25:47,440
Speaker 1: we're a d D like as a society. We didn't

516
00:25:47,520 --> 00:25:49,480
Speaker 1: used to be. No, we don't have the option though

517
00:25:49,480 --> 00:25:51,800
Speaker 1: the digital option was how to fix it? Because I

518
00:25:52,440 --> 00:25:56,000
Speaker 1: literally we're so d D now. I'm so what's gonna

519
00:25:56,080 --> 00:25:58,640
Speaker 1: happen is though in ten years we're gonna go remember

520
00:25:58,680 --> 00:26:00,520
Speaker 1: back in the good old days we were deleting. It's

521
00:26:00,560 --> 00:26:04,320
Speaker 1: just everything progresses, just like music, Just like complaining about music.

522
00:26:04,840 --> 00:26:06,879
Speaker 1: You know, we live now where everyone's like, well that's

523
00:26:06,920 --> 00:26:09,000
Speaker 1: not country, that's not country. What happened? You know what

524
00:26:09,040 --> 00:26:11,240
Speaker 1: happened ten years ago, every I was saying, that's not country,

525
00:26:11,400 --> 00:26:13,360
Speaker 1: that's not country. You know what happened thirty years ago?

526
00:26:13,680 --> 00:26:16,440
Speaker 1: Everyone was saying that's not country. That it's just never

527
00:26:16,560 --> 00:26:20,040
Speaker 1: going to end. And that's okay. How far does it go,

528
00:26:20,160 --> 00:26:22,879
Speaker 1: that's a great question. Though it goes as far as

529
00:26:24,880 --> 00:26:27,480
Speaker 1: it would just keep going. It will never stop. Mike,

530
00:26:27,560 --> 00:26:29,840
Speaker 1: we have a one hundred Let me talk about one

531
00:26:29,880 --> 00:26:32,200
Speaker 1: hundred flowers for a second. So after a cold and

532
00:26:32,359 --> 00:26:37,000
Speaker 1: wet winter, especially tulip season at one hundred flowers dot com,

533
00:26:37,440 --> 00:26:40,080
Speaker 1: and when it comes to surprising your friends and loved

534
00:26:40,119 --> 00:26:43,440
Speaker 1: ones with the best blooms and the best colors, one

535
00:26:43,560 --> 00:26:47,119
Speaker 1: eight hundred flowers. I've used one hundred flowers probably a

536
00:26:47,320 --> 00:26:50,679
Speaker 1: dozen dozen times in my life. Did gorgeous and awesome

537
00:26:50,680 --> 00:26:53,440
Speaker 1: flowers have arrived? Just in time? It's almost easter. I said,

538
00:26:53,480 --> 00:26:57,080
Speaker 1: I'm great price right now, one hundred flowers is giving

539
00:26:57,119 --> 00:26:59,119
Speaker 1: away to the people who are listening to this right now,

540
00:26:59,720 --> 00:27:02,640
Speaker 1: thirty for thirty, off for thirty a sort of tulips

541
00:27:02,680 --> 00:27:05,040
Speaker 1: for thirty dollars. That's basically I guess it is. It's

542
00:27:05,040 --> 00:27:08,640
Speaker 1: a dollar a tulip, bright and beautiful mix of orange

543
00:27:08,720 --> 00:27:11,720
Speaker 1: yellow pink blooms. You pick your delivery day, you let

544
00:27:11,800 --> 00:27:15,360
Speaker 1: one hundred flowers handle the rest one a hundred flowers.

545
00:27:15,920 --> 00:27:18,080
Speaker 1: It expires rather quickly, in the like two days. So

546
00:27:18,560 --> 00:27:21,920
Speaker 1: one hundred flowers dot com slash bones to get the

547
00:27:22,440 --> 00:27:25,359
Speaker 1: thirty stunning a sort of tulips thirty dollars one eight

548
00:27:25,480 --> 00:27:28,960
Speaker 1: hundred flowers dot com slash bones. Great for Easter. Send

549
00:27:29,000 --> 00:27:31,440
Speaker 1: it to your mother in law, your mom, and your girlfriend.

550
00:27:31,760 --> 00:27:34,639
Speaker 1: One hundred flowers dot com slash bones. All right, so

551
00:27:34,680 --> 00:27:36,000
Speaker 1: I want to play some more of these songs here.

552
00:27:36,080 --> 00:27:40,359
Speaker 1: Let's see. How about I'm gonna tell you so this

553
00:27:42,080 --> 00:27:45,160
Speaker 1: man when I go to Keith Urban Songs because because

554
00:27:45,200 --> 00:27:46,600
Speaker 1: I have a wall, and I mentioned the wall to

555
00:27:46,680 --> 00:27:49,480
Speaker 1: people like these are like artists that i'd have direct

556
00:27:50,240 --> 00:27:54,160
Speaker 1: like friendships and and I have a wall of house

557
00:27:54,200 --> 00:27:57,680
Speaker 1: and there's six things on it and it's Keith and

558
00:27:57,760 --> 00:28:00,600
Speaker 1: pass Lay and Jansen and Marin and Kelsey and a

559
00:28:00,640 --> 00:28:03,520
Speaker 1: little big town girl crush because I've either had something

560
00:28:03,560 --> 00:28:05,159
Speaker 1: to do with them or they've had something to do

561
00:28:05,240 --> 00:28:08,800
Speaker 1: with me, and I loved and Keith as a friend. Yeah,

562
00:28:08,840 --> 00:28:11,200
Speaker 1: that's awesome. Break on Me is one of my favorite

563
00:28:11,280 --> 00:28:17,880
Speaker 1: Keats songs. Ever, this song is so good. Come about

564
00:28:17,880 --> 00:28:23,960
Speaker 1: writing this one, man. I think me and John we're

565
00:28:24,000 --> 00:28:28,879
Speaker 1: supposed to write with Dirk's that day, I think Dirk's

566
00:28:29,840 --> 00:28:32,720
Speaker 1: and he had to go somewhere. He bailed and John,

567
00:28:32,960 --> 00:28:34,440
Speaker 1: you know when you get bailed on these days, it's

568
00:28:34,520 --> 00:28:36,080
Speaker 1: kind of like, oh yeah, let's just take your day

569
00:28:36,080 --> 00:28:37,960
Speaker 1: in hand with our kids and stuff. And so I

570
00:28:38,080 --> 00:28:39,720
Speaker 1: begged John to come over. I was like, John, just

571
00:28:39,800 --> 00:28:42,280
Speaker 1: come over and let's rite. Come on, that's right. So

572
00:28:42,400 --> 00:28:44,080
Speaker 1: he's like, all right, all right. He came over. I

573
00:28:44,200 --> 00:28:47,600
Speaker 1: handed him this like nineteen sixty five stella guitar. I

574
00:28:47,680 --> 00:28:51,800
Speaker 1: got on the pawn shop and he started playing those chords. Man,

575
00:28:52,120 --> 00:28:54,520
Speaker 1: and I threw a little beat down and we just

576
00:28:54,640 --> 00:28:58,080
Speaker 1: started just staring lovingly into each other's eyes like we

577
00:28:58,160 --> 00:29:04,240
Speaker 1: did on Glass and Um. We wrote it like an hour. Um.

578
00:29:05,040 --> 00:29:08,160
Speaker 1: It's such a vulnerable song. It's so and we you know,

579
00:29:11,360 --> 00:29:14,280
Speaker 1: I don't hear it. We kind of wrote it for

580
00:29:14,320 --> 00:29:21,800
Speaker 1: our wives and our our little girls sets. This is

581
00:29:21,840 --> 00:29:36,440
Speaker 1: probably my favorite song man, really, yeah, break when you

582
00:29:36,560 --> 00:29:38,440
Speaker 1: hear when it comes back to you and I don't.

583
00:29:38,560 --> 00:29:42,160
Speaker 1: And it's been different with everyone we talked to from

584
00:29:42,320 --> 00:29:45,520
Speaker 1: when like Natalie Himy's in, or when Shane's in. When

585
00:29:45,600 --> 00:29:47,680
Speaker 1: a song comes back to you from the artist and

586
00:29:47,720 --> 00:29:50,560
Speaker 1: they've cut it first of all, when do you get

587
00:29:50,600 --> 00:29:55,400
Speaker 1: it With Keith Hell, he likes, I think he like.

588
00:29:55,480 --> 00:29:58,280
Speaker 1: I think he snuck this one to me early. And

589
00:29:58,320 --> 00:30:00,640
Speaker 1: I always know when Keith does a song, your mind

590
00:30:00,760 --> 00:30:02,200
Speaker 1: is going to be blown because he's one of the

591
00:30:02,240 --> 00:30:06,120
Speaker 1: best producers I've ever met. Literally, he's one of the

592
00:30:06,160 --> 00:30:08,320
Speaker 1: best producers. And so he just knows how to take

593
00:30:08,400 --> 00:30:12,960
Speaker 1: these tracks to like other worldly places. And I should

594
00:30:13,000 --> 00:30:16,360
Speaker 1: play the demo that this sometime this, and John Cougar,

595
00:30:16,400 --> 00:30:19,719
Speaker 1: I should play the demos of so vastly different from

596
00:30:19,760 --> 00:30:22,320
Speaker 1: how he interpreted the songs. That's what makes a great

597
00:30:22,400 --> 00:30:24,920
Speaker 1: artist is taking a song that I think it's It's

598
00:30:24,960 --> 00:30:26,760
Speaker 1: more impressive to me when an artist can take a

599
00:30:26,840 --> 00:30:29,640
Speaker 1: song that they did not write and make it a

600
00:30:29,800 --> 00:30:34,280
Speaker 1: Keith Urban masterpiece. That to me is the most impressive thing.

601
00:30:34,440 --> 00:30:36,600
Speaker 1: You say that about John Cougar. And so when I

602
00:30:36,640 --> 00:30:41,360
Speaker 1: think of the song, I think of the baseline that

603
00:30:42,160 --> 00:30:47,840
Speaker 1: and I know Keith just ripping the base out I know,

604
00:30:48,960 --> 00:30:50,960
Speaker 1: and even plays it, but he does not even know

605
00:30:51,040 --> 00:30:53,880
Speaker 1: he played bass. I think he could probably play the

606
00:30:53,920 --> 00:30:57,160
Speaker 1: flute as a guitar if he wanted. He's not a

607
00:30:57,200 --> 00:31:03,239
Speaker 1: different so yeah, yeah, obviously what's the deal? So talk

608
00:31:03,240 --> 00:31:05,120
Speaker 1: about the song, like, what's the what's the difference in

609
00:31:05,160 --> 00:31:07,640
Speaker 1: this song? This was just a really straightforward. It was

610
00:31:07,760 --> 00:31:10,360
Speaker 1: not the bass riff, It was not as bouncy. It

611
00:31:10,480 --> 00:31:13,720
Speaker 1: was more just like guitar with a little beat under

612
00:31:13,880 --> 00:31:17,200
Speaker 1: kind of walking down. Um, the song is the same,

613
00:31:17,280 --> 00:31:21,480
Speaker 1: but but him doing that but no, no, no, non't

614
00:31:21,760 --> 00:31:24,320
Speaker 1: and then modulating up and then back down because he

615
00:31:24,400 --> 00:31:27,080
Speaker 1: heard on a Kendrick Lamar record. Did you know did

616
00:31:27,120 --> 00:31:30,160
Speaker 1: you tell you that he heard Kendrick go up, modulate

617
00:31:30,280 --> 00:31:32,600
Speaker 1: up and then come back down, which doesn't sound like

618
00:31:32,640 --> 00:31:34,880
Speaker 1: you should work at all, because once you raise the energy,

619
00:31:34,920 --> 00:31:36,360
Speaker 1: you shouldn't be able to work to come back down.

620
00:31:36,440 --> 00:31:40,080
Speaker 1: And he did it somehow, and it blows my mind still.

621
00:31:40,400 --> 00:31:43,600
Speaker 1: That was I can say this. There are a few

622
00:31:43,680 --> 00:31:46,280
Speaker 1: artists where I'll listen to a song or that was

623
00:31:46,320 --> 00:31:48,240
Speaker 1: one of the few. That he texted me earlier was

624
00:31:48,280 --> 00:31:52,280
Speaker 1: like yeah, yeah, like three weeks before it's like you

625
00:31:52,400 --> 00:31:55,840
Speaker 1: gotta hear this song. And I was like, dang, dude,

626
00:31:55,840 --> 00:31:58,680
Speaker 1: because it was just but the boom boom. I was like, dude,

627
00:31:58,720 --> 00:32:01,680
Speaker 1: that's that's I mean? Rememberpplied back like, Wow, that's funky,

628
00:32:01,880 --> 00:32:04,560
Speaker 1: it's funky. Your first listen You're right, My first listen

629
00:32:04,600 --> 00:32:06,560
Speaker 1: to that one was in the studio with him and

630
00:32:06,640 --> 00:32:08,800
Speaker 1: Dan and the mix was all kind of different. It

631
00:32:08,920 --> 00:32:11,480
Speaker 1: was like it was a lot to take in. I

632
00:32:11,600 --> 00:32:13,200
Speaker 1: was like, whoa, what has happened? I don't even know

633
00:32:13,240 --> 00:32:14,720
Speaker 1: what happened to me? How did you? Keith get to

634
00:32:15,040 --> 00:32:19,400
Speaker 1: be a thing man? When I first came to Nashville

635
00:32:19,400 --> 00:32:22,719
Speaker 1: within the first year two, Keith and Joe Fisher had

636
00:32:22,760 --> 00:32:26,280
Speaker 1: a publishing company and they offered me my first publishing

637
00:32:26,320 --> 00:32:29,320
Speaker 1: deal to get me out of my UK deal. Um,

638
00:32:30,040 --> 00:32:32,400
Speaker 1: and I think he just started hearing my songs early

639
00:32:32,640 --> 00:32:36,240
Speaker 1: and started kind of he'd put them on hold, and

640
00:32:36,320 --> 00:32:38,720
Speaker 1: then then he wanted to write, because Keith's always trying

641
00:32:38,760 --> 00:32:41,440
Speaker 1: to write with the new the new guys, what's happening

642
00:32:41,520 --> 00:32:44,200
Speaker 1: and so um he came over and we wrote with

643
00:32:44,280 --> 00:32:46,320
Speaker 1: Davidlye Murphy. We wrote even the Stars Fall for You,

644
00:32:47,080 --> 00:32:50,560
Speaker 1: which was on Fuse, and then we produced a song

645
00:32:50,640 --> 00:32:53,040
Speaker 1: or two together for that record, and then we just

646
00:32:53,240 --> 00:32:55,440
Speaker 1: became good friends and now we have this publishing company

647
00:32:55,440 --> 00:33:00,160
Speaker 1: together called boom Um. I'm just I love being in

648
00:33:00,200 --> 00:33:02,840
Speaker 1: business with him. He's one of my favorite humans. Yeah,

649
00:33:04,480 --> 00:33:06,320
Speaker 1: my favorite show. And I only watch one episode, only

650
00:33:06,360 --> 00:33:09,400
Speaker 1: see one episode. I started last night and I watched it.

651
00:33:10,240 --> 00:33:12,360
Speaker 1: It's so good. The weird thing and this is the

652
00:33:12,400 --> 00:33:13,880
Speaker 1: weird thing about Keith, and I say it a lot,

653
00:33:14,040 --> 00:33:16,000
Speaker 1: is I just didn't think that was that he was real.

654
00:33:17,000 --> 00:33:18,920
Speaker 1: Oh he's I know. I mean, I just I was

655
00:33:19,040 --> 00:33:22,240
Speaker 1: just like, Okay, you're such a big star. Why that

656
00:33:22,480 --> 00:33:26,160
Speaker 1: this kind? Why I still don't understand. And in the

657
00:33:26,320 --> 00:33:29,760
Speaker 1: land of make believe, where we live and everyone's only

658
00:33:29,920 --> 00:33:33,480
Speaker 1: kind so they can live another day and make another dollar, Like,

659
00:33:33,640 --> 00:33:35,720
Speaker 1: why are you this kind when you don't have to be?

660
00:33:37,000 --> 00:33:39,240
Speaker 1: That's what I always thought about him, I know, and

661
00:33:40,080 --> 00:33:43,880
Speaker 1: every you know, and I've been here four or five

662
00:33:43,960 --> 00:33:47,720
Speaker 1: years now and it's it's only gotten better. I agree.

663
00:33:48,080 --> 00:33:51,080
Speaker 1: He doesn't need anything for me, He doesn't anybody zero

664
00:33:51,400 --> 00:33:54,240
Speaker 1: from me. He drives a Bugatti. Yeah, yeah, yes, he's

665
00:33:54,480 --> 00:33:58,640
Speaker 1: he does. It's like a batmobile. And he doesn't anything

666
00:33:58,720 --> 00:34:01,400
Speaker 1: for me. And he's always the case. He's one of

667
00:34:01,440 --> 00:34:04,280
Speaker 1: the best humans man. And then I'll see him going

668
00:34:04,360 --> 00:34:06,800
Speaker 1: fallon or go do something at the International what means.

669
00:34:06,840 --> 00:34:08,360
Speaker 1: Then he'll text me and be like, hey, dude, you

670
00:34:08,480 --> 00:34:11,200
Speaker 1: good And I'm like, wait, what aren't you in the audience?

671
00:34:12,520 --> 00:34:15,920
Speaker 1: Shouldn't you be doing? And Nicole is so nice. Oh

672
00:34:16,000 --> 00:34:17,960
Speaker 1: my gosh, she's the best. I haven't seen all big

673
00:34:18,000 --> 00:34:19,800
Speaker 1: little lies yet, but I hear she's pretty nuhing that

674
00:34:19,880 --> 00:34:21,560
Speaker 1: don't run it don't run, But I hear it's a

675
00:34:21,560 --> 00:34:24,440
Speaker 1: fantast actually does a fantastic our favorite show we've ever seen. Man,

676
00:34:24,800 --> 00:34:28,040
Speaker 1: I've heard that from so many days. The acting is

677
00:34:28,080 --> 00:34:30,600
Speaker 1: just beyond this. Because these things live a long time,

678
00:34:30,840 --> 00:34:33,040
Speaker 1: this podcasts, someone's gonna hear this in like six months

679
00:34:33,080 --> 00:34:35,120
Speaker 1: from now, and or I'll hear it back and be like,

680
00:34:35,239 --> 00:34:38,520
Speaker 1: man if I only knew then, because that's only one season, right,

681
00:34:39,239 --> 00:34:41,680
Speaker 1: and that's it. Because it was a book. It's a book,

682
00:34:41,719 --> 00:34:45,839
Speaker 1: so I think it might be tied somehow. I don't

683
00:34:45,840 --> 00:34:47,560
Speaker 1: want you to run anything wrong. I don't want you

684
00:34:47,560 --> 00:34:49,279
Speaker 1: to I want to roll down a couple of a

685
00:34:49,360 --> 00:34:51,360
Speaker 1: couple of songs because I got so much to talk about.

686
00:34:52,000 --> 00:35:00,719
Speaker 1: How about we don't Billy Carrington, there is another one

687
00:35:00,719 --> 00:35:04,440
Speaker 1: of my favorite people in the world, Billy. I do

688
00:35:04,520 --> 00:35:06,360
Speaker 1: it a little bit now you need to spend some

689
00:35:06,480 --> 00:35:10,040
Speaker 1: time with him. He is he That's the thing. Billy

690
00:35:10,080 --> 00:35:14,200
Speaker 1: intrigues me too, And I don't feel like we would

691
00:35:14,520 --> 00:35:17,000
Speaker 1: because I'm such an introvert who doesn't do things like

692
00:35:17,200 --> 00:35:19,200
Speaker 1: rock climb or get on the ocean or go to

693
00:35:19,200 --> 00:35:21,400
Speaker 1: a whole lot. That's just not me and my personality.

694
00:35:21,560 --> 00:35:24,000
Speaker 1: So I don't think that Billy and I would hang

695
00:35:24,080 --> 00:35:26,720
Speaker 1: out as humans. But he comes in and we enjoy

696
00:35:26,880 --> 00:35:29,719
Speaker 1: each other because we're so different. Last time he was

697
00:35:29,800 --> 00:35:32,000
Speaker 1: in like show ended or whatever, and we were talking

698
00:35:32,680 --> 00:35:35,000
Speaker 1: and he was like, hey, listen, I'm going for like

699
00:35:35,280 --> 00:35:37,200
Speaker 1: this is him. I'm going to my place in his

700
00:35:37,239 --> 00:35:40,400
Speaker 1: wife like a month and he was like this, this

701
00:35:40,600 --> 00:35:43,560
Speaker 1: is where I live, here's the address, here's my number.

702
00:35:43,560 --> 00:35:45,400
Speaker 1: I'm gonna be there for a month. Called me come out.

703
00:35:45,440 --> 00:35:47,239
Speaker 1: He's like, come out there for a few days. And

704
00:35:47,320 --> 00:35:49,960
Speaker 1: I'm like, Billy, I'm not like, I appreciate it, but

705
00:35:52,040 --> 00:35:54,239
Speaker 1: I would never do that ross that's just not I'm

706
00:35:54,280 --> 00:35:58,080
Speaker 1: not cool. I'm I'm never going to be cool. I'm

707
00:35:58,120 --> 00:36:02,479
Speaker 1: never gonna go rock climbate Billy and kids like Kevin

708
00:36:02,480 --> 00:36:05,800
Speaker 1: and I went to like breakfast somewhere at one of

709
00:36:05,840 --> 00:36:09,279
Speaker 1: these places one of these cool guy places, right and yeah,

710
00:36:09,360 --> 00:36:11,200
Speaker 1: like in East Nahville right, not why I trust me,

711
00:36:11,920 --> 00:36:13,360
Speaker 1: that's a restaurant. I want to know. I don't know.

712
00:36:13,960 --> 00:36:17,400
Speaker 1: But Kemp was like, meet me here, and so I

713
00:36:17,600 --> 00:36:20,320
Speaker 1: was like cool, and so Kevin I going, we're eating

714
00:36:20,440 --> 00:36:22,600
Speaker 1: and Kevin and I had kind of got into a

715
00:36:22,640 --> 00:36:24,520
Speaker 1: little fight because I was making fun of them for

716
00:36:24,600 --> 00:36:27,279
Speaker 1: people youngly people using phones at a show and so

717
00:36:28,480 --> 00:36:30,120
Speaker 1: and so we were just like, hey, let's just go

718
00:36:30,239 --> 00:36:33,000
Speaker 1: talk it out and have and eat and figure it out.

719
00:36:33,080 --> 00:36:36,279
Speaker 1: We're both humans, we're both we're both sensitive humans that

720
00:36:36,400 --> 00:36:37,880
Speaker 1: we probably need to talk it out so we can

721
00:36:37,920 --> 00:36:40,040
Speaker 1: just get back and be cool again. So it's like,

722
00:36:40,080 --> 00:36:42,480
Speaker 1: meet me here, I met him. It's great now, we're

723
00:36:42,520 --> 00:36:45,040
Speaker 1: great by the way now, and so if you as

724
00:36:45,840 --> 00:36:47,600
Speaker 1: if it wasn't, I wouldn't have brought it up. But listen,

725
00:36:47,600 --> 00:36:49,279
Speaker 1: I thought with some of my best friends now, like

726
00:36:49,560 --> 00:36:51,480
Speaker 1: I could have a big mouth. I just tend to

727
00:36:51,520 --> 00:36:53,320
Speaker 1: say whatever comes out of my head and you record

728
00:36:53,400 --> 00:36:55,000
Speaker 1: it all the time, and it's it's just live and

729
00:36:55,120 --> 00:36:58,040
Speaker 1: there's no difference. If you were just on the air, Yeah,

730
00:36:58,120 --> 00:37:00,480
Speaker 1: you're just every radio show. Not I would get out

731
00:37:00,480 --> 00:37:02,040
Speaker 1: that's to make your show so great because you're just

732
00:37:02,160 --> 00:37:05,160
Speaker 1: real So it's real life, but you're just on the Yeah,

733
00:37:05,480 --> 00:37:07,560
Speaker 1: what kept like hey, but it kept like let's go

734
00:37:07,680 --> 00:37:10,280
Speaker 1: rock climbing. I'm like, dude, I'm not going rock climbing,

735
00:37:10,320 --> 00:37:12,120
Speaker 1: Like I'm not you guys like I'm not cool. And

736
00:37:12,160 --> 00:37:14,320
Speaker 1: then as the pictures of him and Billy like ripped

737
00:37:14,400 --> 00:37:20,040
Speaker 1: up climbing bandanas on, like so cool and like that'll

738
00:37:20,080 --> 00:37:21,960
Speaker 1: never be me. But I do like Billy a lot

739
00:37:23,160 --> 00:37:26,160
Speaker 1: from the limited time that I've spent with him. He

740
00:37:26,239 --> 00:37:28,239
Speaker 1: seems like a pretty nice, sharp guy. Man. He's got

741
00:37:28,320 --> 00:37:31,840
Speaker 1: his own coconut oil company, is own coconut water company.

742
00:37:31,960 --> 00:37:34,440
Speaker 1: Do you know that? Like it's legit, Like we have

743
00:37:34,600 --> 00:37:37,399
Speaker 1: his coconut oil in our house, So he's making money

744
00:37:37,400 --> 00:37:38,919
Speaker 1: that we don't even know he is. He's a little

745
00:37:38,920 --> 00:37:40,879
Speaker 1: bit of a mogul on the side, Like nobody really

746
00:37:40,920 --> 00:37:45,560
Speaker 1: knows well as are you. Like people people may you

747
00:37:45,600 --> 00:37:47,880
Speaker 1: know if you google Ross Copper or whatever and you

748
00:37:48,000 --> 00:37:49,759
Speaker 1: net worth a hundred million dollars, you don't know that.

749
00:37:51,600 --> 00:37:56,160
Speaker 1: You don't know that. You know you're also producing records, Yeah,

750
00:37:56,600 --> 00:37:59,600
Speaker 1: you know, they don't know that you have a publishing company.

751
00:38:00,200 --> 00:38:03,520
Speaker 1: You know, there are things that you're also doing, so

752
00:38:03,640 --> 00:38:05,880
Speaker 1: don't play on this whole somebody else is a mogul.

753
00:38:08,120 --> 00:38:10,000
Speaker 1: They're trying to get this Mike. They're trying to get

754
00:38:10,040 --> 00:38:12,120
Speaker 1: to the Oh yeah, Billy's the mogul. One of those tips.

755
00:38:12,200 --> 00:38:14,319
Speaker 1: He comes in before we even started. Ross like, man,

756
00:38:14,360 --> 00:38:16,759
Speaker 1: you're doing comedy. You to music, and Ross got like

757
00:38:16,840 --> 00:38:18,840
Speaker 1: nine projects over here at like act like you're just

758
00:38:18,920 --> 00:38:22,560
Speaker 1: writing song. I just wrote a song today. Yeah, it's

759
00:38:22,560 --> 00:38:25,440
Speaker 1: a good day. How about this one right here? It's

760
00:38:25,440 --> 00:38:31,600
Speaker 1: the Jake song. This is the number one right away. Yeah,

761
00:38:31,600 --> 00:38:34,759
Speaker 1: the same same team of writers that wrote Billy song

762
00:38:35,200 --> 00:38:37,880
Speaker 1: little bet on the last it's don't daddy getting that

763
00:38:38,040 --> 00:38:41,040
Speaker 1: because you came home. Whenever you write something the drab

764
00:38:41,120 --> 00:38:46,080
Speaker 1: way light radio j let's say a number one here,

765
00:38:46,200 --> 00:38:48,239
Speaker 1: Like we have all these that we've played. Is there

766
00:38:48,280 --> 00:38:50,239
Speaker 1: a difference? They say, three people are I didn't ask

767
00:38:50,320 --> 00:38:52,200
Speaker 1: such good questions, by the way, I mean, I'm just

768
00:38:52,200 --> 00:38:54,279
Speaker 1: saying I love songs so good, You're so good at this.

769
00:38:54,760 --> 00:38:57,319
Speaker 1: Stop Ross. Now, I'm just saying you are, You're really

770
00:38:57,360 --> 00:38:59,520
Speaker 1: good at this? You keep Yeah. I want the people

771
00:38:59,719 --> 00:39:02,120
Speaker 1: listen this text will learn and appreciate the art of

772
00:39:02,200 --> 00:39:05,040
Speaker 1: songwriting and how it works. And now, but if three

773
00:39:05,160 --> 00:39:08,759
Speaker 1: people write a song and let's say it's you and

774
00:39:08,840 --> 00:39:11,640
Speaker 1: Jim and John just his names, and you write America

775
00:39:11,640 --> 00:39:13,560
Speaker 1: coutry love song and it takes thirteen weeks to get

776
00:39:13,680 --> 00:39:16,320
Speaker 1: number one, and you and Jim and John right smoke

777
00:39:16,440 --> 00:39:18,360
Speaker 1: and it takes twenty weeks to get number one? Is

778
00:39:18,400 --> 00:39:21,640
Speaker 1: there a difference in pay? Smoke makes way way more?

779
00:39:21,840 --> 00:39:24,920
Speaker 1: So you want a song as a songwriter to go

780
00:39:25,160 --> 00:39:27,680
Speaker 1: slow but still get number one? Yes, everybody, it's always

781
00:39:27,680 --> 00:39:30,080
Speaker 1: it's a tricky balance because you because if they go

782
00:39:30,200 --> 00:39:33,640
Speaker 1: too slow, they might die out in the teens or something.

783
00:39:33,760 --> 00:39:36,239
Speaker 1: But so like this Darius record song right now if

784
00:39:36,239 --> 00:39:38,399
Speaker 1: I told you which by the way forever and it's

785
00:39:38,480 --> 00:39:43,440
Speaker 1: just now starting never. I know. I remember Darius and

786
00:39:43,520 --> 00:39:46,520
Speaker 1: I were on a bus last summer in Indy and

787
00:39:47,200 --> 00:39:51,520
Speaker 1: we're about the world premiere and were dres last summer. Yeah,

788
00:39:51,719 --> 00:39:54,960
Speaker 1: that's crazy. Dress my first ever interview when I was

789
00:39:54,960 --> 00:39:57,320
Speaker 1: seventeen years old as Hootie come on, and so there's

790
00:39:57,400 --> 00:40:00,799
Speaker 1: like the guy who my whole career when you're seventeen, Yeah,

791
00:40:01,360 --> 00:40:02,960
Speaker 1: I started in the radio and so it has been

792
00:40:03,000 --> 00:40:04,960
Speaker 1: crazy because who he was so so big, and I

793
00:40:05,040 --> 00:40:07,040
Speaker 1: was so nervous. I would have been Yeah, I was

794
00:40:07,080 --> 00:40:09,200
Speaker 1: a huge Hooty back then. I mean we all were right.

795
00:40:09,520 --> 00:40:12,480
Speaker 1: Everybody loved Yeah, all white people love tutt if you

796
00:40:12,560 --> 00:40:17,160
Speaker 1: were I mean that was like the sub You're like, yeah,

797
00:40:17,160 --> 00:40:21,279
Speaker 1: I love Hootie. So we all listened to Hooty and

798
00:40:21,320 --> 00:40:23,000
Speaker 1: I was a huge and I knew all the cracked

799
00:40:23,040 --> 00:40:25,920
Speaker 1: review and like every word of every every track, and

800
00:40:26,080 --> 00:40:28,240
Speaker 1: I was so nervous interview Darius. He grabbed the microphone

801
00:40:28,239 --> 00:40:30,280
Speaker 1: and helped me, like interview him when I was seventeen

802
00:40:30,360 --> 00:40:34,120
Speaker 1: years old, and so ever since then, like we've worked,

803
00:40:34,480 --> 00:40:37,760
Speaker 1: We were popped together, we came across with Your Country together,

804
00:40:38,000 --> 00:40:40,520
Speaker 1: we presented the A c M S together. I mean

805
00:40:40,640 --> 00:40:42,360
Speaker 1: we're and so I remember being on a bus with

806
00:40:42,480 --> 00:40:44,360
Speaker 1: him and Dan and Shay were his who friends with

807
00:40:44,400 --> 00:40:48,080
Speaker 1: two They were his middle act, and so was Darrison.

808
00:40:48,080 --> 00:40:49,440
Speaker 1: I was sitting on his bus, which is all South

809
00:40:49,520 --> 00:40:52,000
Speaker 1: Carolina game cocked own. He's got like brick wall inside

810
00:40:52,040 --> 00:40:56,120
Speaker 1: his bus and saying with money, he's got other projects

811
00:40:56,160 --> 00:41:02,359
Speaker 1: and pizza huts going, and yeah there's this guy the problem. Yeah.

812
00:41:02,760 --> 00:41:04,560
Speaker 1: So he's like, you know, I've got this if I

813
00:41:04,680 --> 00:41:08,479
Speaker 1: told you, and I was like, your song is really good,

814
00:41:10,120 --> 00:41:11,800
Speaker 1: and then I just don't hear about it for like

815
00:41:11,920 --> 00:41:14,960
Speaker 1: two months, I know, and look now and here it

816
00:41:15,080 --> 00:41:18,920
Speaker 1: comes just shooting up the chart. Isn't that crazy? So?

817
00:41:19,120 --> 00:41:20,839
Speaker 1: Are you gonna make a ton of money off this song?

818
00:41:21,000 --> 00:41:23,760
Speaker 1: So this probably will make a lot more than say

819
00:41:28,480 --> 00:41:30,960
Speaker 1: like Drunk the Drunk of Your Love or something like that.

820
00:41:31,200 --> 00:41:34,480
Speaker 1: Like it will, because it's just what are we talking?

821
00:41:34,480 --> 00:41:37,319
Speaker 1: How many songs in there? Did you put those in there?

822
00:41:39,480 --> 00:41:43,880
Speaker 1: I didn't add seagulls. I've never heard I produced that.

823
00:41:45,400 --> 00:41:49,400
Speaker 1: I guess you didn't know I put seagulls. Do we

824
00:41:49,520 --> 00:42:00,200
Speaker 1: have a read there? A hold on, I'm you're in

825
00:42:00,200 --> 00:42:22,759
Speaker 1: the seagulls? Man? What's those are seagulls? What's what are seagulls?

826
00:42:22,920 --> 00:42:25,759
Speaker 1: What's up? Mike? Is that from like they playing it

827
00:42:25,800 --> 00:42:29,560
Speaker 1: at the beach? Or is that you didn't put seagulls

828
00:42:29,600 --> 00:42:32,960
Speaker 1: in it? No? I don't think so. Those are definitely

829
00:42:32,960 --> 00:42:37,160
Speaker 1: seagulls I didn't add or I didn't add the mongoose

830
00:42:37,200 --> 00:42:42,600
Speaker 1: and strip it down? Okay? How many number ones does

831
00:42:42,680 --> 00:42:46,080
Speaker 1: it take to make a million dollars? Oh my gosh, Bobby,

832
00:42:46,320 --> 00:42:51,560
Speaker 1: Oh my gosh, four, three, three number ones to make

833
00:42:51,560 --> 00:42:55,319
Speaker 1: a million dollars as three right as a right? Don't

834
00:42:55,360 --> 00:42:58,799
Speaker 1: say six, man, I might disagree with that. You do, yeah,

835
00:42:58,800 --> 00:43:01,759
Speaker 1: because all my millions have been made, Like I would know.

836
00:43:02,120 --> 00:43:03,800
Speaker 1: I want to disagree with that. I have no idea

837
00:43:03,840 --> 00:43:07,000
Speaker 1: what I think it's and it just decreases. Man. But

838
00:43:07,360 --> 00:43:11,319
Speaker 1: I do feel like ities because i'd say five or six.

839
00:43:11,960 --> 00:43:16,920
Speaker 1: Because on Nashville, whenever Gunner gets his check, how many

840
00:43:16,920 --> 00:43:20,880
Speaker 1: times people compelle like so much my man, my own parents.

841
00:43:21,000 --> 00:43:23,279
Speaker 1: That's hilarious. Gone, but just first checking, it's like I

842
00:43:23,280 --> 00:43:25,400
Speaker 1: gotta ride check in his four dollars. I'm like, well,

843
00:43:25,400 --> 00:43:27,120
Speaker 1: that's not really how it works. Did you know that?

844
00:43:27,760 --> 00:43:30,080
Speaker 1: I was kind of in the beginning of the Nashville

845
00:43:30,160 --> 00:43:34,560
Speaker 1: Show with Cali t Bone. The initial meetings that show

846
00:43:34,600 --> 00:43:37,000
Speaker 1: where in my house and my house in Bellevue, is

847
00:43:37,040 --> 00:43:39,279
Speaker 1: that we're like consulting on how to no mater, how

848
00:43:39,360 --> 00:43:42,240
Speaker 1: we're gonna get these vocals. And I kind of showed

849
00:43:42,280 --> 00:43:44,520
Speaker 1: Connie Britain how to single on headphones. She had never

850
00:43:44,560 --> 00:43:46,640
Speaker 1: sung a microphone or headphones, so she like came over

851
00:43:46,800 --> 00:43:50,879
Speaker 1: my house and I practiced. Yeah, I did the first few.

852
00:43:51,040 --> 00:43:53,480
Speaker 1: I did the first season. Really a lot of the

853
00:43:53,560 --> 00:43:55,480
Speaker 1: songs in the first season of that. Did you make

854
00:43:55,560 --> 00:43:58,439
Speaker 1: money off of that? Or is that kind of yeah?

855
00:43:58,640 --> 00:44:01,520
Speaker 1: That was that was good like production money. It seems

856
00:44:01,560 --> 00:44:03,880
Speaker 1: that okay, production money, but not really like single like

857
00:44:04,000 --> 00:44:07,520
Speaker 1: song money songs, because I would think there would be

858
00:44:07,600 --> 00:44:10,000
Speaker 1: like too many, and you're not. They're not being featured

859
00:44:10,080 --> 00:44:12,000
Speaker 1: really except on an episode they're not. There was no

860
00:44:12,120 --> 00:44:14,640
Speaker 1: money for songwriters on that show, which which always bothered

861
00:44:16,320 --> 00:44:20,040
Speaker 1: because there probably were a ton of good songs there were,

862
00:44:20,960 --> 00:44:22,200
Speaker 1: or did they just go and pick a bunch of

863
00:44:22,280 --> 00:44:26,080
Speaker 1: metal of the medio for songs. What happened is everyone

864
00:44:26,120 --> 00:44:27,840
Speaker 1: in Nashville found out that there was no money in

865
00:44:27,880 --> 00:44:31,400
Speaker 1: the songs, so nobody was giving them their A list songs.

866
00:44:31,960 --> 00:44:33,960
Speaker 1: That is what happened, because it would have to be

867
00:44:34,040 --> 00:44:37,480
Speaker 1: one of the two the show, doesn't it show either

868
00:44:37,520 --> 00:44:39,080
Speaker 1: a bunch of the songs get wasted or you just

869
00:44:39,080 --> 00:44:41,240
Speaker 1: don't give them good songs. Nobody gave them good songs.

870
00:44:41,880 --> 00:44:43,920
Speaker 1: The worst. No one's sending him break on me. Nobody's

871
00:44:43,920 --> 00:44:46,320
Speaker 1: sending them Merry go round, which and if they do

872
00:44:47,040 --> 00:44:50,520
Speaker 1: go away and we'll never hear because there's three an

873
00:44:50,560 --> 00:44:52,320
Speaker 1: episode and it's twenty seconds at a time. But I

874
00:44:52,440 --> 00:44:55,359
Speaker 1: think they could have capitalized more on a great song

875
00:44:55,560 --> 00:44:58,680
Speaker 1: being featured over and over running it up on iTunes.

876
00:44:59,080 --> 00:45:01,520
Speaker 1: Oh that's or if they had a song and again

877
00:45:01,560 --> 00:45:03,360
Speaker 1: this is us talking here, or if they had a

878
00:45:03,440 --> 00:45:06,040
Speaker 1: song that it stayed with the character the whole time. Yes,

879
00:45:06,480 --> 00:45:08,719
Speaker 1: and they continued through like a six episode arc of

880
00:45:08,760 --> 00:45:11,640
Speaker 1: them using that song. A great song, they could have

881
00:45:11,760 --> 00:45:14,280
Speaker 1: made that, because I know even with Hayden at the beginning,

882
00:45:14,320 --> 00:45:16,560
Speaker 1: they tried that, didn't try that. I think I did

883
00:45:16,600 --> 00:45:18,560
Speaker 1: that song? Maybe? How do you think you did? How

884
00:45:18,600 --> 00:45:24,120
Speaker 1: do you not? Because you just have so many I

885
00:45:24,160 --> 00:45:26,640
Speaker 1: remember there was a song that Hayden that recurred for

886
00:45:26,760 --> 00:45:28,719
Speaker 1: her a lot, and it actually got played on the

887
00:45:28,840 --> 00:45:31,400
Speaker 1: radio a bit. I want to Oh I didn't do

888
00:45:31,520 --> 00:45:33,080
Speaker 1: that one. I didn't do that one. Yeah, the one

889
00:45:33,160 --> 00:45:35,319
Speaker 1: that was a single. I remember that, But I might

890
00:45:35,400 --> 00:45:37,200
Speaker 1: have done the one for the show of that song.

891
00:45:37,360 --> 00:45:39,880
Speaker 1: They could have done that with a couple of songs

892
00:45:40,040 --> 00:45:44,000
Speaker 1: they should have. Yeah, um, you know they have her

893
00:45:44,160 --> 00:45:46,600
Speaker 1: here is yeah, that's I don't think this is it,

894
00:45:47,200 --> 00:45:51,120
Speaker 1: but whatever, let's see what else do we have here? YEA,

895
00:45:51,800 --> 00:45:55,520
Speaker 1: let's talking about Blue apron An. I always loved the

896
00:45:55,560 --> 00:45:59,399
Speaker 1: Blue Apron helps keep this bobbycast going because I really

897
00:45:59,480 --> 00:46:00,920
Speaker 1: enjoyed Blue Apron. I think a lot of people do

898
00:46:00,960 --> 00:46:03,600
Speaker 1: because the food just taste better because the ingredients are better.

899
00:46:04,080 --> 00:46:06,160
Speaker 1: They are fresh ingredients and they come to box and

900
00:46:06,640 --> 00:46:09,040
Speaker 1: you actually makes food. But what First of all, you

901
00:46:09,080 --> 00:46:11,360
Speaker 1: pick your delivery and it comes to your door. For example,

902
00:46:11,400 --> 00:46:14,120
Speaker 1: I think mine is on a Tuesday, and I get

903
00:46:14,160 --> 00:46:16,200
Speaker 1: the box full of whatever it is that I've chosen.

904
00:46:16,640 --> 00:46:19,360
Speaker 1: You can pick your recipes based on your preferences. They

905
00:46:19,400 --> 00:46:21,960
Speaker 1: have delivery options that fit your knees. There's no weekly

906
00:46:22,000 --> 00:46:24,399
Speaker 1: commitment either. You just get basically what you want when

907
00:46:24,400 --> 00:46:26,719
Speaker 1: you want it, and there's all of these new recipes.

908
00:46:27,239 --> 00:46:29,399
Speaker 1: I would just suggest going to Blue Apron dot com

909
00:46:29,600 --> 00:46:33,280
Speaker 1: slash Bobby and just looking. That's it. Just look blue

910
00:46:33,320 --> 00:46:36,479
Speaker 1: Apron dot com slash Bobby. They have a culinary team.

911
00:46:36,719 --> 00:46:39,280
Speaker 1: Recipes or not repeated within a year. You'll never get bored.

912
00:46:39,680 --> 00:46:41,840
Speaker 1: Blue Apron dot com slash Bobby. And if you go

913
00:46:41,960 --> 00:46:43,600
Speaker 1: right now check out this week's man, you can get

914
00:46:43,600 --> 00:46:47,160
Speaker 1: your first three mails for free with free shipping Blue

915
00:46:47,320 --> 00:46:50,319
Speaker 1: Apron dot com slash Bobby. Blue Apron is a better

916
00:46:50,360 --> 00:46:52,040
Speaker 1: way to cook Blue Apron is a way that I

917
00:46:52,320 --> 00:46:53,880
Speaker 1: cook and am able to eat, and I think you'll

918
00:46:53,920 --> 00:46:56,279
Speaker 1: love it too. It taste really good. Blue Apron dot

919
00:46:56,360 --> 00:47:00,400
Speaker 1: com slash Bobby Alright, so now let's see, man, I

920
00:47:00,440 --> 00:47:02,080
Speaker 1: want to run through some of the see John Coogar

921
00:47:02,560 --> 00:47:05,919
Speaker 1: that wanta break on Me, Don't smoke, Luke, strip it Down,

922
00:47:06,280 --> 00:47:09,560
Speaker 1: America country love song like uh Flora Georgia, like confession

923
00:47:09,600 --> 00:47:12,479
Speaker 1: talking those low cash guys are. They're the best dudes.

924
00:47:12,520 --> 00:47:14,239
Speaker 1: They're the best dudes. They are like when you talk

925
00:47:14,239 --> 00:47:17,360
Speaker 1: about good humans, good humans, man, I mean hard workers.

926
00:47:18,719 --> 00:47:21,279
Speaker 1: They they were grinding it forever, like you want to

927
00:47:21,280 --> 00:47:23,360
Speaker 1: talk about a story of how much do you want it?

928
00:47:23,760 --> 00:47:26,000
Speaker 1: Oh gosh, there's one of these word Preston came here

929
00:47:26,040 --> 00:47:27,880
Speaker 1: and set and we talked forever and he cried and

930
00:47:27,960 --> 00:47:31,320
Speaker 1: he told the story about I mean, they just stayed

931
00:47:31,440 --> 00:47:34,719
Speaker 1: in it and swung and swung. And this was their

932
00:47:35,440 --> 00:47:39,920
Speaker 1: first number one because I love the Slave got the

933
00:47:40,000 --> 00:47:43,239
Speaker 1: number two. I know, which I think of that as

934
00:47:43,280 --> 00:47:45,480
Speaker 1: a number one song because you hear it all the time,

935
00:47:47,160 --> 00:47:50,920
Speaker 1: and you know what that song will be no offense.

936
00:47:51,000 --> 00:47:53,400
Speaker 1: I think that song probably lasts longer than this one.

937
00:47:55,120 --> 00:47:56,320
Speaker 1: Even though this was the number one. I know you

938
00:47:56,360 --> 00:47:57,399
Speaker 1: wrote it and I got said this to your face,

939
00:47:57,440 --> 00:48:00,120
Speaker 1: but I think that started them off as like all

940
00:48:00,280 --> 00:48:02,960
Speaker 1: and it's such a big positive message. I love this life.

941
00:48:03,000 --> 00:48:04,799
Speaker 1: Man who doesn't want to hear that every day? There?

942
00:48:05,160 --> 00:48:07,120
Speaker 1: You know what I mean? I mean, And that's why,

943
00:48:07,480 --> 00:48:09,719
Speaker 1: And that's why I started playing it like I was

944
00:48:09,719 --> 00:48:12,080
Speaker 1: the first one to play, because it comes like our

945
00:48:12,080 --> 00:48:15,120
Speaker 1: shows about positivity. Let me play the song, and you

946
00:48:15,200 --> 00:48:17,439
Speaker 1: know that's kind of where it took off. But yeah,

947
00:48:17,960 --> 00:48:20,040
Speaker 1: not to take listen, you may plenty money off the song.

948
00:48:20,080 --> 00:48:22,200
Speaker 1: And I really like it too. I love I love

949
00:48:22,239 --> 00:48:24,320
Speaker 1: this song. I love his guys. But for them, I

950
00:48:24,320 --> 00:48:25,759
Speaker 1: remember talking and they were like, you know what, we

951
00:48:25,840 --> 00:48:28,919
Speaker 1: don't have a lot of outside cuts, but they felt

952
00:48:28,960 --> 00:48:31,120
Speaker 1: like this song was so right up their will house.

953
00:48:31,200 --> 00:48:34,279
Speaker 1: They're great writers too, so they took an outside song,

954
00:48:34,640 --> 00:48:37,000
Speaker 1: which is always so great. Chesney is the king of that.

955
00:48:37,680 --> 00:48:40,960
Speaker 1: I've sat with Chesney, as he's told other artists. You

956
00:48:41,080 --> 00:48:43,359
Speaker 1: make all you make more in one night of merch

957
00:48:43,440 --> 00:48:46,279
Speaker 1: than you do writing your whole record. Don't worry about

958
00:48:46,320 --> 00:48:49,520
Speaker 1: writing your record. That's crazy. You make, you know, the

959
00:48:49,680 --> 00:48:51,360
Speaker 1: merch thing like you just dropped a bomb. On me

960
00:48:51,440 --> 00:48:53,719
Speaker 1: that I never even thought about is because you know

961
00:48:53,920 --> 00:48:55,680
Speaker 1: what I think is they and I have a girlfriend

962
00:48:55,719 --> 00:48:58,759
Speaker 1: as an artist, and so she writes and she takes

963
00:48:58,800 --> 00:49:00,960
Speaker 1: outside song. She has both. You know, it's important to

964
00:49:01,040 --> 00:49:04,839
Speaker 1: artists to write so they feel so they're artistic. Cup

965
00:49:04,960 --> 00:49:09,839
Speaker 1: is full. But then she she put uh six songs right,

966
00:49:10,080 --> 00:49:12,160
Speaker 1: and so she wrote three of them. She did a

967
00:49:12,239 --> 00:49:16,520
Speaker 1: John Mayor cover because she didn't she didn't cut the

968
00:49:16,600 --> 00:49:18,600
Speaker 1: John Mayr for her record. But in order to make

969
00:49:18,640 --> 00:49:20,920
Speaker 1: this last little set of songs Lindsay did. She was

970
00:49:21,000 --> 00:49:23,839
Speaker 1: like her and Christian Bush, who produced a record. He said, hey,

971
00:49:23,920 --> 00:49:26,040
Speaker 1: go and remake your favorite album all by yourself with

972
00:49:26,040 --> 00:49:28,319
Speaker 1: all the instruments, and so she did. So she did

973
00:49:28,400 --> 00:49:31,279
Speaker 1: all of continuum, made all the instruments, the whole thing,

974
00:49:31,440 --> 00:49:34,200
Speaker 1: the whole did he I'll do fantastic and it's not

975
00:49:34,360 --> 00:49:39,240
Speaker 1: out and it's it's fantastic. Did continue not a small

976
00:49:39,320 --> 00:49:42,160
Speaker 1: record to mess around with doing the whole do? I

977
00:49:42,280 --> 00:49:45,640
Speaker 1: has an intense record to recreate over here. So she

978
00:49:45,760 --> 00:49:48,719
Speaker 1: makes the whole record amazing, What a smart idea. And

979
00:49:49,000 --> 00:49:50,759
Speaker 1: it was never supped to put out like it was

980
00:49:50,880 --> 00:49:54,399
Speaker 1: just for her to kind of find herself. She put

981
00:49:54,480 --> 00:49:57,320
Speaker 1: stop this trying only on this EP, and so she

982
00:49:57,480 --> 00:50:01,480
Speaker 1: wrote three other songs, and so she took a song

983
00:50:01,560 --> 00:50:04,440
Speaker 1: from Ryan Hurd, who's a good friend of mine, and

984
00:50:04,520 --> 00:50:07,840
Speaker 1: a song from Caitlin Smith, who are close and it

985
00:50:07,840 --> 00:50:09,239
Speaker 1: didn't have any relation to her, but she was like,

986
00:50:09,520 --> 00:50:11,759
Speaker 1: these songs are so good. I just have to take

987
00:50:11,840 --> 00:50:15,799
Speaker 1: outside songs too. And for me, I was always like, okay,

988
00:50:15,840 --> 00:50:17,320
Speaker 1: take out the songs to people will buy tickets to

989
00:50:17,320 --> 00:50:19,279
Speaker 1: your shows, but the merch thing is crazy because if

990
00:50:19,280 --> 00:50:23,320
Speaker 1: they're coming, they're also buying your merch. I'm such a

991
00:50:23,360 --> 00:50:25,879
Speaker 1: believer in the outside song man. Here I'm gonna play

992
00:50:26,200 --> 00:50:27,799
Speaker 1: I would if I were you too, because you're writing them.

993
00:50:27,880 --> 00:50:29,400
Speaker 1: Yes I would. I would hope that you were a

994
00:50:29,440 --> 00:50:33,080
Speaker 1: believer the outside songs for us if you were. I

995
00:50:33,239 --> 00:50:35,320
Speaker 1: just want more of it. I want more writers to

996
00:50:35,440 --> 00:50:37,520
Speaker 1: just write the best song in the room and just

997
00:50:38,920 --> 00:50:41,120
Speaker 1: you know, I want to play you this is that

998
00:50:41,560 --> 00:50:44,279
Speaker 1: this is not out anywhere, and she'll kill me for

999
00:50:44,360 --> 00:50:46,760
Speaker 1: having this out, but she didn't. Just she did everything

1000
00:50:46,800 --> 00:50:52,360
Speaker 1: on this by herself, from the keys, all of it.

1001
00:50:54,400 --> 00:50:57,480
Speaker 1: It's my favorite of my favorite records ever. Me too,

1002
00:51:05,200 --> 00:51:08,640
Speaker 1: she's playing all she's doing everything that you hear ship,

1003
00:51:10,040 --> 00:51:29,239
Speaker 1: She said, around with it all every so crabby. This

1004
00:51:29,480 --> 00:51:34,360
Speaker 1: word kid, gainst me. It's just recording on a laptop.

1005
00:51:35,040 --> 00:51:44,960
Speaker 1: Good gray, what's a friendly day? So she makes a

1006
00:51:45,040 --> 00:51:49,320
Speaker 1: loud I have this all time. That's so magic, And

1007
00:51:49,400 --> 00:51:51,360
Speaker 1: we're gonna go watch John may together because we're like

1008
00:51:51,960 --> 00:51:54,440
Speaker 1: nerds for John, he's so so much. I'm the biggest

1009
00:51:54,440 --> 00:51:56,960
Speaker 1: story for him. I'll tell your John Mayor story. I'll

1010
00:51:57,000 --> 00:51:58,719
Speaker 1: match yours. Go ahead. I was a kid John and

1011
00:51:58,800 --> 00:52:00,680
Speaker 1: I was like eight. My was like twenty. I was

1012
00:52:00,719 --> 00:52:02,680
Speaker 1: in college. I went to see him in at Ronto College.

1013
00:52:03,160 --> 00:52:05,080
Speaker 1: I was obsessed. Man. I was like he had hung

1014
00:52:05,160 --> 00:52:07,480
Speaker 1: the Moon. And we followed him after the show to

1015
00:52:07,719 --> 00:52:10,080
Speaker 1: like this little restaurant and I was like, saw him

1016
00:52:10,080 --> 00:52:12,000
Speaker 1: over there and I went up to his booth. I

1017
00:52:12,120 --> 00:52:14,200
Speaker 1: was like, John, I'm such a big fan. I just

1018
00:52:14,280 --> 00:52:17,320
Speaker 1: want to say, Hi, did you induce myself? And He's like,

1019
00:52:18,160 --> 00:52:22,279
Speaker 1: just suck my dick. That sounds like something. He was like, dude,

1020
00:52:22,520 --> 00:52:26,040
Speaker 1: like straight up life, so scared, like not like and

1021
00:52:26,160 --> 00:52:28,319
Speaker 1: you're gonna have to like do it. And I bet

1022
00:52:28,360 --> 00:52:30,560
Speaker 1: you were stunned, like is he being serious or not?

1023
00:52:30,760 --> 00:52:32,520
Speaker 1: I was twenty years old. I know, I had no idea.

1024
00:52:32,680 --> 00:52:35,200
Speaker 1: I wasn't in the music business. Really, He's like, I'm

1025
00:52:35,239 --> 00:52:37,640
Speaker 1: just joking. Man comes to there, come out dinner with us,

1026
00:52:38,320 --> 00:52:43,839
Speaker 1: and I was like, oh, I've had because i've probably

1027
00:52:45,440 --> 00:52:47,440
Speaker 1: And again, I don't think in real life, John and

1028
00:52:47,440 --> 00:52:49,279
Speaker 1: I would be like buddies. Do you know do you

1029
00:52:49,360 --> 00:52:51,319
Speaker 1: know him? We've hung out probably eight or nine times.

1030
00:52:51,480 --> 00:52:55,000
Speaker 1: You have, yeah, yeah, yeah, but not like he's such

1031
00:52:55,040 --> 00:52:59,279
Speaker 1: an artist and from someone I'm nuts myself and I'm

1032
00:52:59,280 --> 00:53:01,680
Speaker 1: all over the I'm all over the platform as far

1033
00:53:01,800 --> 00:53:05,920
Speaker 1: as I'm moody and I'm crazy and I'm O C D.

1034
00:53:06,360 --> 00:53:11,040
Speaker 1: And I'm to be different. You've gotten to be really different.

1035
00:53:11,080 --> 00:53:13,400
Speaker 1: You're not just different part of your life. So the

1036
00:53:13,520 --> 00:53:15,960
Speaker 1: most creative people, the people that change the world, that

1037
00:53:16,040 --> 00:53:18,080
Speaker 1: are the most creative, aren't just creative in their little

1038
00:53:18,120 --> 00:53:20,560
Speaker 1: space that's changing your world. They're really nuts all over

1039
00:53:20,640 --> 00:53:22,480
Speaker 1: the place. And it takes that kind of person. And

1040
00:53:22,520 --> 00:53:27,200
Speaker 1: he's nuts and and I'm nuts, And sometimes I would

1041
00:53:27,200 --> 00:53:28,320
Speaker 1: be in the worst moods that i'd be in the

1042
00:53:28,440 --> 00:53:31,040
Speaker 1: greatest mood and I just got tired of guessing. So

1043
00:53:31,160 --> 00:53:32,400
Speaker 1: I was like, and I never want to meet my

1044
00:53:32,480 --> 00:53:38,120
Speaker 1: heroes and musically, he's my favorite, just my favorite. I

1045
00:53:38,200 --> 00:53:44,000
Speaker 1: remember him once we were maybe Houston, and I don't

1046
00:53:44,000 --> 00:53:45,719
Speaker 1: I mean, it's been so long with cares. Some girl

1047
00:53:45,760 --> 00:53:48,320
Speaker 1: off and we were back in the back and some

1048
00:53:48,400 --> 00:53:49,799
Speaker 1: girl come up. It's like, hey, I'm a huge fan.

1049
00:53:50,480 --> 00:53:52,200
Speaker 1: And he was like, hey, can I see your bathole?

1050
00:53:53,760 --> 00:53:57,719
Speaker 1: The same kind of thing that is so funny, And

1051
00:53:57,800 --> 00:54:00,759
Speaker 1: she was like, what was like, I need to see

1052
00:54:01,160 --> 00:54:02,480
Speaker 1: He was like, I need to see your butt hole?

1053
00:54:03,840 --> 00:54:06,600
Speaker 1: How do we have the same exact story? And I don't.

1054
00:54:07,040 --> 00:54:10,560
Speaker 1: And before she actually showed it or didn't because he

1055
00:54:10,960 --> 00:54:13,279
Speaker 1: she was just like like, I don't know what to do.

1056
00:54:14,040 --> 00:54:16,920
Speaker 1: He was like, let's take a picture, and he take

1057
00:54:16,920 --> 00:54:18,400
Speaker 1: a picture and sent around. But he was like, so

1058
00:54:18,560 --> 00:54:20,759
Speaker 1: that's his stick, that's like it was like I need

1059
00:54:20,800 --> 00:54:23,920
Speaker 1: to see your buttle Oh my gosh, dude, Yeah, that's

1060
00:54:23,960 --> 00:54:26,759
Speaker 1: his thing. That's his thing. And I've had some really

1061
00:54:26,760 --> 00:54:30,000
Speaker 1: good experience, that's some really bad experiences. And yeah, not

1062
00:54:30,120 --> 00:54:32,280
Speaker 1: not not where he's mean to me. He's just sometimes

1063
00:54:32,320 --> 00:54:34,960
Speaker 1: he does not he doesn't have a mood where even

1064
00:54:35,000 --> 00:54:38,279
Speaker 1: though he's in a bad mood, it's okay. Yeah, And

1065
00:54:38,400 --> 00:54:40,880
Speaker 1: that's okay because I was at his time in his space,

1066
00:54:41,400 --> 00:54:47,080
Speaker 1: and I have I have no problem with super creative people.

1067
00:54:48,000 --> 00:54:50,160
Speaker 1: I have no problem with super weird people being weird

1068
00:54:51,160 --> 00:54:56,160
Speaker 1: because that's what they are. You can't expect someone to

1069
00:54:56,320 --> 00:55:01,000
Speaker 1: have these wild new thoughts and be so different than

1070
00:55:01,040 --> 00:55:05,560
Speaker 1: everyone else, so she'll be the same Luke Kanye Man, Yeah, nuts, genius,

1071
00:55:06,280 --> 00:55:10,520
Speaker 1: genius the test, Like, guy, I bet you think, and

1072
00:55:10,600 --> 00:55:15,239
Speaker 1: you probably eats poop and it's probably like like I

1073
00:55:15,280 --> 00:55:18,520
Speaker 1: don't And again I'm just saying that, but it probably

1074
00:55:18,560 --> 00:55:22,719
Speaker 1: doesn't so weird this plate. But you have to be

1075
00:55:22,920 --> 00:55:24,759
Speaker 1: cannibal for all we know. You have to be that

1076
00:55:24,880 --> 00:55:29,080
Speaker 1: weird to change the world. Believe that. Yeah, and if

1077
00:55:29,160 --> 00:55:32,200
Speaker 1: you're that weird, those are the people that make the

1078
00:55:32,280 --> 00:55:35,040
Speaker 1: differences and change the world. Like, I don't know that

1079
00:55:35,160 --> 00:55:37,680
Speaker 1: no one's reading that book called The Originals. Is that

1080
00:55:39,680 --> 00:55:43,359
Speaker 1: it's all about this but eating eating poop? And yeah,

1081
00:55:43,480 --> 00:55:46,279
Speaker 1: it's it's it's like you should read I was talking about.

1082
00:55:46,320 --> 00:55:48,040
Speaker 1: I haven't read it. It's it's just how about to

1083
00:55:48,080 --> 00:55:51,760
Speaker 1: be original and how the originality changes and move the needles.

1084
00:55:51,800 --> 00:55:54,000
Speaker 1: Don't you think that like super original people like have

1085
00:55:54,080 --> 00:55:56,960
Speaker 1: no choice but to be original? Yeah, I agree, It's

1086
00:55:57,000 --> 00:55:59,759
Speaker 1: like you can read all the books you want. He

1087
00:55:59,800 --> 00:56:02,080
Speaker 1: had no choice to be the David Bowie. Yeah, you're right.

1088
00:56:02,440 --> 00:56:05,560
Speaker 1: It's harder to not be you. Yeah, it is to

1089
00:56:05,640 --> 00:56:09,480
Speaker 1: conform if you're just so different. Like I've tried to

1090
00:56:09,520 --> 00:56:13,120
Speaker 1: not be me. I've tried to be like just the

1091
00:56:13,200 --> 00:56:15,759
Speaker 1: dude who's just always a nice guy, and it's just

1092
00:56:15,840 --> 00:56:17,560
Speaker 1: always pot and then it's like that's just not me.

1093
00:56:18,520 --> 00:56:20,160
Speaker 1: I am. And I try to find the positive and

1094
00:56:20,200 --> 00:56:21,400
Speaker 1: things a lot, and I went to a lot of

1095
00:56:21,440 --> 00:56:25,000
Speaker 1: therapy and I try to, but I'm still me and

1096
00:56:25,120 --> 00:56:28,759
Speaker 1: I'm nuts and I know it, and I'm in My

1097
00:56:28,920 --> 00:56:31,680
Speaker 1: relationships suffer because of it. And I just find my

1098
00:56:31,840 --> 00:56:33,640
Speaker 1: strengths and I try to stay to them and I

1099
00:56:33,719 --> 00:56:35,319
Speaker 1: try to work on my weaknesses. But I know I'm

1100
00:56:35,320 --> 00:56:37,160
Speaker 1: never gonna be good at certain things, and I know

1101
00:56:37,200 --> 00:56:39,480
Speaker 1: I'm always gonna be I'm always gonna work really hard.

1102
00:56:40,080 --> 00:56:44,279
Speaker 1: But I'm nuts. I don't need poop nuts, but nuts.

1103
00:56:44,400 --> 00:56:48,279
Speaker 1: But you're nuts too. Really good interviews. Mm hmm, we'll

1104
00:56:48,320 --> 00:56:50,600
Speaker 1: see because I want to play here because Ross had

1105
00:56:50,640 --> 00:56:53,040
Speaker 1: a deal. You were an artist in the UK, but

1106
00:56:53,120 --> 00:56:55,400
Speaker 1: you're not from Virginia, which is weird. How did you

1107
00:56:55,480 --> 00:56:57,680
Speaker 1: end up as a UK recording artist, and I started

1108
00:56:57,680 --> 00:57:00,200
Speaker 1: going to New York in college, playing The Bitter End

1109
00:57:00,440 --> 00:57:02,279
Speaker 1: every month, kind of going back and forth and just

1110
00:57:02,360 --> 00:57:06,200
Speaker 1: playing songwriter nights there, and started meeting guys at labels.

1111
00:57:06,239 --> 00:57:08,800
Speaker 1: It would come after the Bitter End. I was that

1112
00:57:08,880 --> 00:57:11,480
Speaker 1: was idolized that place because it's like we're Dylan started

1113
00:57:12,480 --> 00:57:16,680
Speaker 1: and uh, I meant a few guys who worked had

1114
00:57:16,680 --> 00:57:19,120
Speaker 1: a little label called Phonogenic Records, and they had signed

1115
00:57:19,120 --> 00:57:22,680
Speaker 1: a Tasha Beddingfield. I love by the way, I love

1116
00:57:22,760 --> 00:57:24,680
Speaker 1: the time, and I don't know your relationship too, but

1117
00:57:24,760 --> 00:57:27,080
Speaker 1: as a person and as an artist, she's amazing. She

1118
00:57:27,200 --> 00:57:29,640
Speaker 1: was her brother Daniel a little nuttie. I don't know him,

1119
00:57:29,640 --> 00:57:31,880
Speaker 1: a little bit, a little nutty, but Natasha was really

1120
00:57:32,080 --> 00:57:35,160
Speaker 1: have another brother who's even more nutty, a younger brother.

1121
00:57:35,480 --> 00:57:38,120
Speaker 1: I assume they're all nuts but still like genetically have

1122
00:57:38,240 --> 00:57:40,760
Speaker 1: to be again same thing. But you can be nutty

1123
00:57:40,760 --> 00:57:43,440
Speaker 1: and be awesome. She was always fantastic to me, was

1124
00:57:43,520 --> 00:57:45,240
Speaker 1: and I always wonder where is she now? I was

1125
00:57:45,320 --> 00:57:49,120
Speaker 1: thinking about that she and Pop. You can kind of

1126
00:57:49,160 --> 00:57:52,400
Speaker 1: go away, you do, they just they discard you, they

1127
00:57:52,440 --> 00:57:54,680
Speaker 1: do don't you, and you can't come back. It's so hard.

1128
00:57:55,240 --> 00:57:58,080
Speaker 1: You can come back country. It's cool to come back,

1129
00:57:58,560 --> 00:58:01,320
Speaker 1: it's cool to cock it's pete. People want to see

1130
00:58:01,360 --> 00:58:03,920
Speaker 1: Stapletons the ultimate come back in a way, I he's

1131
00:58:04,120 --> 00:58:07,280
Speaker 1: always here doing it. Stapletons those different because people didn't

1132
00:58:07,280 --> 00:58:11,480
Speaker 1: know him. Yeah, maybe for us he's a comeback. Yeah,

1133
00:58:12,040 --> 00:58:14,560
Speaker 1: outside of the book because Stepan right stuff everybody for

1134
00:58:14,600 --> 00:58:16,240
Speaker 1: a long time. And if you knew the steel drivers,

1135
00:58:16,280 --> 00:58:19,160
Speaker 1: if you knew that kind of that's what I'm yeah, yeah,

1136
00:58:19,360 --> 00:58:22,560
Speaker 1: but people love just generally in America, our society, we

1137
00:58:22,720 --> 00:58:24,920
Speaker 1: love to see someone rise from the ashes that we

1138
00:58:25,000 --> 00:58:27,640
Speaker 1: love to knock them down because we think they're getting

1139
00:58:27,640 --> 00:58:30,040
Speaker 1: too big, and then we loved him rise back up again. Yeah,

1140
00:58:30,520 --> 00:58:33,840
Speaker 1: that's what for some reason, why this that weird thing

1141
00:58:34,000 --> 00:58:36,520
Speaker 1: of we want to see the underdog win. But if

1142
00:58:36,560 --> 00:58:38,480
Speaker 1: the underdog cards get full of themselves, which even if

1143
00:58:38,520 --> 00:58:40,480
Speaker 1: they're not, we assume they are, we want to see

1144
00:58:40,560 --> 00:58:44,640
Speaker 1: them fall and get busted with a nine prostitutes. Kanye

1145
00:58:44,640 --> 00:58:46,560
Speaker 1: and the back of Ice kind of turned on Kanye.

1146
00:58:46,680 --> 00:58:49,360
Speaker 1: We kind of kind brought it on himself. But so

1147
00:58:49,680 --> 00:58:51,560
Speaker 1: you you're playing at this, you're playing the bitter end. Yeah,

1148
00:58:51,640 --> 00:58:53,680
Speaker 1: so these guys offered me to do that had Phono

1149
00:58:53,760 --> 00:58:56,960
Speaker 1: Jack Records. My lawyer was the Script's lawyer at the

1150
00:58:57,000 --> 00:58:59,040
Speaker 1: time and he had both of us and me and

1151
00:58:59,080 --> 00:59:01,280
Speaker 1: the Script basically got the same exact record deal at

1152
00:59:01,280 --> 00:59:05,120
Speaker 1: the same time. The band the Script, they're from a

1153
00:59:05,600 --> 00:59:08,920
Speaker 1: Scott Yeah. I did a couple of shows with them,

1154
00:59:09,120 --> 00:59:11,360
Speaker 1: did they were Yeah, they're really good. Yeah, they're really good.

1155
00:59:11,440 --> 00:59:13,760
Speaker 1: So we both moved over to London about the same

1156
00:59:13,840 --> 00:59:16,439
Speaker 1: time and started working on our records. And I don't

1157
00:59:16,480 --> 00:59:20,360
Speaker 1: thought about them forever. They're another one. Where are they?

1158
00:59:20,560 --> 00:59:23,160
Speaker 1: And I wonder if they're still if they're still big overseas,

1159
00:59:23,160 --> 00:59:25,400
Speaker 1: because thinks they are kind of still big. They could

1160
00:59:25,440 --> 00:59:28,400
Speaker 1: probably come back to Ireland and be awesome, but crush it, like,

1161
00:59:28,720 --> 00:59:30,480
Speaker 1: don't do it? Oh you're playing Script. I was gonna

1162
00:59:30,480 --> 00:59:32,280
Speaker 1: play a little bit of Script. QUI probably gonna play

1163
00:59:32,280 --> 00:59:36,720
Speaker 1: you like which song? Let's see you? The best one

1164
00:59:36,800 --> 00:59:41,320
Speaker 1: was break break Even? Right, Yes, this was the jam.

1165
00:59:41,520 --> 00:59:48,000
Speaker 1: This was the jam of the century. Ye break even?

1166
00:59:48,320 --> 00:59:51,160
Speaker 1: When it is too soon to cut this never never,

1167
00:59:51,320 --> 00:59:54,800
Speaker 1: there's there there are no rules. I love This would

1168
00:59:54,800 --> 00:59:57,160
Speaker 1: be a great song and people wouldn't even know it,

1169
00:59:57,600 --> 01:00:00,200
Speaker 1: you think, I don't think they would I'm getting I'm

1170
01:00:00,200 --> 01:00:03,120
Speaker 1: gonna do this. Brandon right by the way, is my

1171
01:00:03,120 --> 01:00:05,200
Speaker 1: favorite human and artist. He was to the first people

1172
01:00:05,200 --> 01:00:07,040
Speaker 1: I I brought it here. I was still up, but

1173
01:00:07,200 --> 01:00:12,200
Speaker 1: I'm barely breathing, the just pringing to a guy that

1174
01:00:12,320 --> 01:00:16,800
Speaker 1: I don't believe it all these lines because I got

1175
01:00:16,960 --> 01:00:20,280
Speaker 1: time while she got freed up. I thought about the

1176
01:00:20,320 --> 01:00:23,280
Speaker 1: scripture forever because when a hot breaks going, don't break

1177
01:00:23,360 --> 01:00:29,800
Speaker 1: even the best days some of movel and you brought

1178
01:00:29,880 --> 01:00:34,000
Speaker 1: it back and then it's like, oh, it's so good.

1179
01:00:34,440 --> 01:00:37,160
Speaker 1: You and these guys go to England together. Yes, So

1180
01:00:37,240 --> 01:00:38,600
Speaker 1: I was like in the back of the studio with

1181
01:00:38,640 --> 01:00:41,560
Speaker 1: them while they were making this record. Yeah, and they're

1182
01:00:41,920 --> 01:00:45,600
Speaker 1: like they were coming to my shows and like ross

1183
01:00:45,960 --> 01:00:52,200
Speaker 1: because my record came out before them crazy and they

1184
01:00:52,240 --> 01:00:54,280
Speaker 1: went on to be hugely successful for a couple of

1185
01:00:54,360 --> 01:00:57,439
Speaker 1: songs we go, So yeah, really they were they let's

1186
01:00:57,480 --> 01:00:59,919
Speaker 1: think about my life path, man, Like I had two songs?

1187
01:01:00,040 --> 01:01:02,520
Speaker 1: Is it kind of did okay? But then it it

1188
01:01:02,600 --> 01:01:04,640
Speaker 1: kind of dissipated. What was your biggest song as a

1189
01:01:04,680 --> 01:01:06,640
Speaker 1: solo artist, because I don't have much of your solo

1190
01:01:06,960 --> 01:01:34,480
Speaker 1: wrote okay, nobody somebody's side. You had a sound. I

1191
01:01:34,560 --> 01:01:39,480
Speaker 1: loved Oasis man, I wanted to be that. It's like

1192
01:01:39,640 --> 01:01:44,600
Speaker 1: the it's like the Southern American oasis always it's like

1193
01:01:44,800 --> 01:01:50,840
Speaker 1: skinner of no Oasis meat Wow. So how that song

1194
01:01:50,840 --> 01:01:52,760
Speaker 1: I'm do in the UK? That was like we got

1195
01:01:52,800 --> 01:01:55,240
Speaker 1: to like twelve or something on the UK chart. Were

1196
01:01:55,320 --> 01:01:57,560
Speaker 1: you ever famous over there as an artist? Like for

1197
01:01:57,640 --> 01:02:00,440
Speaker 1: a minute? Really maybe a second of a like there

1198
01:02:00,520 --> 01:02:02,440
Speaker 1: was a lot of posters of me around London and

1199
01:02:02,520 --> 01:02:05,920
Speaker 1: the UK and like for like a hot second. Um,

1200
01:02:06,160 --> 01:02:08,360
Speaker 1: that's cool. My second song didn't do as well? What

1201
01:02:08,520 --> 01:02:31,240
Speaker 1: was that one? It's called found You. I will say

1202
01:02:31,320 --> 01:02:34,560
Speaker 1: the artist dream never does truly die as much as

1203
01:02:34,640 --> 01:02:37,880
Speaker 1: I suppress it. And like I'm happy doing writing and producing.

1204
01:02:38,800 --> 01:02:41,160
Speaker 1: I always do secretly want to do like a Guerrillas

1205
01:02:41,240 --> 01:02:43,560
Speaker 1: type band with a cartoons where no one knows it's you,

1206
01:02:43,640 --> 01:02:45,680
Speaker 1: when no one knows behind the stage. If you want

1207
01:02:45,720 --> 01:02:47,560
Speaker 1: to let me know, I do always dream of it,

1208
01:02:47,760 --> 01:02:50,919
Speaker 1: like you know that on a tour bus. I've always

1209
01:02:50,920 --> 01:02:52,840
Speaker 1: want to do the tour bus thing. Dude, Oh I don't.

1210
01:02:53,000 --> 01:02:55,560
Speaker 1: I've never gotten if you're a German folk because we

1211
01:02:55,600 --> 01:02:57,120
Speaker 1: go out and when we do the regging idiots, we

1212
01:02:57,200 --> 01:02:59,320
Speaker 1: tour wait too hard. I know, people don't. I mean

1213
01:02:59,760 --> 01:03:02,320
Speaker 1: we're because you're sha. You're on a bus with all

1214
01:03:02,800 --> 01:03:05,800
Speaker 1: the hundred people recycled ERGEs. It's just the air, and

1215
01:03:05,880 --> 01:03:11,240
Speaker 1: there's one little bathroom and there's and your little bunks

1216
01:03:11,440 --> 01:03:13,360
Speaker 1: and you're living at a it's to be in a

1217
01:03:13,440 --> 01:03:16,600
Speaker 1: band and travel on a bus is gross. I would

1218
01:03:16,600 --> 01:03:18,640
Speaker 1: imagine it's like being a fourth grade teacher. It's like

1219
01:03:18,760 --> 01:03:20,800
Speaker 1: that kind of gross. And as soon as you move in,

1220
01:03:20,960 --> 01:03:24,720
Speaker 1: like all the germs just infest the wall and you

1221
01:03:24,840 --> 01:03:27,320
Speaker 1: have to because and we will go and you get

1222
01:03:27,360 --> 01:03:29,200
Speaker 1: a bus and we could fit twelve on a bus,

1223
01:03:29,360 --> 01:03:31,240
Speaker 1: right and we would get the bus and it will

1224
01:03:31,280 --> 01:03:34,800
Speaker 1: be you know me and then obviously Eddie, and then

1225
01:03:34,840 --> 01:03:37,160
Speaker 1: we will just go fill our group. Like for example,

1226
01:03:37,480 --> 01:03:39,200
Speaker 1: we're doing like five shows and Brandon Ray is coming

1227
01:03:39,200 --> 01:03:41,320
Speaker 1: out and doing these shows with us, because I'm like, Brandon,

1228
01:03:41,360 --> 01:03:44,280
Speaker 1: you've gotta compline, Like we're doing Stagecoach, come play with us,

1229
01:03:44,880 --> 01:03:48,760
Speaker 1: you Root nine, come play with us. We're doing Faster Horses.

1230
01:03:48,840 --> 01:03:51,560
Speaker 1: Like the weird thing is that you're the reason he's

1231
01:03:51,560 --> 01:03:54,000
Speaker 1: playing all those crazy shows, because I was like, how

1232
01:03:54,120 --> 01:03:58,560
Speaker 1: is Brandon playing crazy shows? Like next level shows. That's

1233
01:03:58,560 --> 01:04:02,280
Speaker 1: how it's amazing. He's I had to get Brandon because

1234
01:04:02,280 --> 01:04:03,880
Speaker 1: here's the thing about Brandon Ray. If you're listening right now,

1235
01:04:03,960 --> 01:04:07,480
Speaker 1: just remember that year band is going to be a monster.

1236
01:04:07,600 --> 01:04:09,920
Speaker 1: I agree. And when he's a monster, it's gonna be

1237
01:04:09,960 --> 01:04:11,280
Speaker 1: like I remember when Brandon Rey was playing in The

1238
01:04:11,360 --> 01:04:14,280
Speaker 1: Raging Idiots. That's amazing and it's sathing with Kelsey. He

1239
01:04:14,400 --> 01:04:16,760
Speaker 1: has that thing. Cousin Balleri played in the Riging Idiots.

1240
01:04:16,840 --> 01:04:19,560
Speaker 1: She did didn't shoot. We were her first I forget that.

1241
01:04:20,080 --> 01:04:23,960
Speaker 1: We were her first ever tour ever. Gosh in life,

1242
01:04:24,320 --> 01:04:30,000
Speaker 1: soots is the new vehicle. So and there should maybe

1243
01:04:30,040 --> 01:04:34,040
Speaker 1: be like a fee to the feet down the road,

1244
01:04:34,160 --> 01:04:36,520
Speaker 1: like a twenty years down the road. There's a fee

1245
01:04:36,600 --> 01:04:38,240
Speaker 1: we should pay them. We do pay that, you know what,

1246
01:04:38,360 --> 01:04:41,000
Speaker 1: I do pay them to be honest, that's the fee.

1247
01:04:41,400 --> 01:04:44,720
Speaker 1: But wow, But Brenda Ray is awesome and you're awesome

1248
01:04:44,720 --> 01:04:49,760
Speaker 1: because man, you sound that who knew? How about this? As?

1249
01:04:51,200 --> 01:04:55,280
Speaker 1: This is my favorite one. This was the it was

1250
01:04:55,400 --> 01:04:57,920
Speaker 1: the free download in the UK. It was like the

1251
01:04:57,960 --> 01:05:00,560
Speaker 1: first time they'd done the free iTunes download. It was

1252
01:05:00,640 --> 01:05:03,920
Speaker 1: the highest downloaded song in the UK history. You were

1253
01:05:04,000 --> 01:05:13,960
Speaker 1: the free downloads this one was like, there's a and

1254
01:05:14,240 --> 01:05:16,320
Speaker 1: what's the story Morning Glory? There's part of that record

1255
01:05:16,560 --> 01:05:21,160
Speaker 1: that's that's real, a lot of a lot of instrumentation. Yeah,

1256
01:05:21,320 --> 01:05:24,360
Speaker 1: that's I hear when you say A waysis is my dream?

1257
01:05:26,880 --> 01:05:29,240
Speaker 1: Did you ever watch the Oasis documents? Watch so bad

1258
01:05:29,320 --> 01:05:33,560
Speaker 1: and hearing about it, it's so they're so nuts. Nuts.

1259
01:05:33,680 --> 01:05:37,640
Speaker 1: You're talking about creative people doing creative things, and part

1260
01:05:37,680 --> 01:05:39,720
Speaker 1: of being creative is that you're not like other people,

1261
01:05:39,880 --> 01:05:42,160
Speaker 1: So you're nuts. Have you seen the Backsttery Bores documentary. Yeah?

1262
01:05:42,160 --> 01:05:44,200
Speaker 1: I watched that. You know what was funny to me

1263
01:05:44,240 --> 01:05:46,320
Speaker 1: about that is the fact that Brian couldn't sing. And

1264
01:05:46,360 --> 01:05:47,560
Speaker 1: I don't know if that was real or if it

1265
01:05:47,600 --> 01:05:50,160
Speaker 1: was really contract because I listen as someone who also

1266
01:05:50,440 --> 01:05:56,320
Speaker 1: it makes TV shows. My guest would because I don't know,

1267
01:05:56,560 --> 01:05:59,000
Speaker 1: it's a thing, it's a mental block. I've worked with

1268
01:05:59,080 --> 01:06:01,560
Speaker 1: them my studio here on a song. Okay, now you're

1269
01:06:01,560 --> 01:06:02,880
Speaker 1: gonna be able to shed more light on this. Let

1270
01:06:02,920 --> 01:06:04,160
Speaker 1: me tell you what I think they tell me. I'm wrong.

1271
01:06:05,480 --> 01:06:08,520
Speaker 1: I think it's probably a thing. But for sake of

1272
01:06:08,600 --> 01:06:10,920
Speaker 1: the documentary, you take things that are six and you

1273
01:06:11,000 --> 01:06:14,520
Speaker 1: make them a nine. It's a real it's a real thing.

1274
01:06:14,720 --> 01:06:18,200
Speaker 1: It's a it's an actual medical thing. Um. I forget

1275
01:06:18,240 --> 01:06:20,440
Speaker 1: the name of it, but it's a mental medical it's

1276
01:06:20,480 --> 01:06:23,160
Speaker 1: actually medical. So it's something happening with his body and

1277
01:06:23,240 --> 01:06:27,560
Speaker 1: his throat or something about his throat. Um. I can't remember.

1278
01:06:27,840 --> 01:06:31,400
Speaker 1: Kevin described it to me, but we broke him of

1279
01:06:31,520 --> 01:06:34,080
Speaker 1: it in the studio. Oh you did, so he's from

1280
01:06:34,080 --> 01:06:37,920
Speaker 1: that anymore. Brian sing this like Black Street like, and

1281
01:06:38,280 --> 01:06:40,960
Speaker 1: he was like, oh black Street like, no diggity, And

1282
01:06:41,040 --> 01:06:43,560
Speaker 1: immediately he was like and he just nailed it and

1283
01:06:43,800 --> 01:06:45,919
Speaker 1: he came out of his shell. You ever seen Major

1284
01:06:46,000 --> 01:06:49,000
Speaker 1: League two where Rue can't throw the ball back to

1285
01:06:49,040 --> 01:06:51,520
Speaker 1: the picture and until he starts residing the playboy. That's

1286
01:06:51,520 --> 01:06:55,760
Speaker 1: what it reminds me of. Sing Black Street and he's like, oh,

1287
01:06:55,960 --> 01:06:59,280
Speaker 1: you know, hey, hey, hey, it comes, but he's like

1288
01:06:59,360 --> 01:07:01,520
Speaker 1: right back, but it's like, hey, sing you know the

1289
01:07:01,600 --> 01:07:05,840
Speaker 1: call exactly. Craig Wiseman was talking about this today about

1290
01:07:05,840 --> 01:07:08,080
Speaker 1: mental block, like Tiger Woods has everything it takes to

1291
01:07:08,120 --> 01:07:10,360
Speaker 1: be the number one golfer in the world every year,

1292
01:07:10,560 --> 01:07:13,760
Speaker 1: but it's his mental Sergio had the issue until yesterday.

1293
01:07:14,120 --> 01:07:17,240
Speaker 1: Like Sergio lost so many he had all the talents

1294
01:07:17,240 --> 01:07:19,480
Speaker 1: all mental for all of us in every field right

1295
01:07:19,640 --> 01:07:23,560
Speaker 1: your field, my field, Yeah, it's it's it's all fields,

1296
01:07:24,000 --> 01:07:26,920
Speaker 1: it's all fields. Yeah, you've got to be in the

1297
01:07:27,000 --> 01:07:30,320
Speaker 1: game mentally, like in that little silver lining zone of

1298
01:07:30,640 --> 01:07:33,480
Speaker 1: just magicness. And there are times where I break down.

1299
01:07:33,960 --> 01:07:39,400
Speaker 1: I think, so he's you, So he's back. So would

1300
01:07:39,400 --> 01:07:41,600
Speaker 1: you be willing to say that back treat's back? All right?

1301
01:07:41,680 --> 01:07:44,760
Speaker 1: All right, yeah definitely. So the a CM moment was

1302
01:07:44,800 --> 01:07:47,400
Speaker 1: my favorite performance of the night. I was on my chair,

1303
01:07:47,640 --> 01:07:50,920
Speaker 1: like you worked with that. I didn't know this part.

1304
01:07:50,960 --> 01:07:53,360
Speaker 1: I don't know because I felt like I've I've learned everything.

1305
01:07:53,440 --> 01:07:55,480
Speaker 1: I know that this song is not out yet. Okay,

1306
01:07:55,880 --> 01:07:57,400
Speaker 1: So what you worked with them on on your song?

1307
01:07:57,520 --> 01:07:59,360
Speaker 1: So me and wrote a song. Me and Josh Heire

1308
01:07:59,360 --> 01:08:01,840
Speaker 1: wrote a song with Ustin Lynch that Dustin didn't cut

1309
01:08:01,960 --> 01:08:04,640
Speaker 1: and Backstreets somehow heard it and loved it and came

1310
01:08:04,680 --> 01:08:07,600
Speaker 1: to town and cut it with me and Josh. Really, yeah,

1311
01:08:07,720 --> 01:08:09,960
Speaker 1: it was crazy. Isn't it weird that Kevin is like Kevin?

1312
01:08:11,280 --> 01:08:13,800
Speaker 1: To me? It's weird one that they're still called the Boys,

1313
01:08:13,800 --> 01:08:15,960
Speaker 1: but that's just their name, it's her name. We're thinking

1314
01:08:16,200 --> 01:08:18,040
Speaker 1: if they did country. They could be the back back

1315
01:08:18,160 --> 01:08:23,960
Speaker 1: road boys. That was actually Keith Urban. I shouldn't take

1316
01:08:24,000 --> 01:08:26,519
Speaker 1: credit for that. They just have to be the backstreet boys,

1317
01:08:26,760 --> 01:08:31,760
Speaker 1: just like boys, but men to men to what could

1318
01:08:31,760 --> 01:08:35,519
Speaker 1: they change it to? They can't. They just can't. It's weird.

1319
01:08:35,560 --> 01:08:37,960
Speaker 1: They're so Southern though, because Kentucky like they are. I

1320
01:08:38,040 --> 01:08:43,600
Speaker 1: never kenk they're so souther. I had no idea, My

1321
01:08:43,880 --> 01:08:46,920
Speaker 1: here's this, here's a story for you. So I did

1322
01:08:47,080 --> 01:08:52,439
Speaker 1: it a girl whenever I was twenty years older. So,

1323
01:08:53,280 --> 01:08:55,760
Speaker 1: and right before we dated, she was Nick car She

1324
01:08:55,760 --> 01:08:57,519
Speaker 1: did a Nick Carter for like a year and a half,

1325
01:08:58,880 --> 01:09:01,280
Speaker 1: so I was like Nick four and then before Yeah

1326
01:09:01,320 --> 01:09:04,840
Speaker 1: she took that down. Yeah, she definitely, And there was

1327
01:09:05,000 --> 01:09:08,560
Speaker 1: there were It's a tough, a tough act to follow on,

1328
01:09:09,680 --> 01:09:11,920
Speaker 1: so you just worked with it. Did you do any

1329
01:09:11,960 --> 01:09:13,519
Speaker 1: of this stuff with them before? To George Line, No,

1330
01:09:13,720 --> 01:09:16,000
Speaker 1: that was Joey. Yeah. So how did you end up

1331
01:09:16,000 --> 01:09:17,680
Speaker 1: getting with the back sh boy? Straight up? It was

1332
01:09:17,760 --> 01:09:19,920
Speaker 1: the song. Their manager reached out and they're like the

1333
01:09:19,960 --> 01:09:21,960
Speaker 1: boys would like to come to Nashville and work with you,

1334
01:09:22,240 --> 01:09:25,639
Speaker 1: And I was like your life look at you? See?

1335
01:09:25,720 --> 01:09:27,840
Speaker 1: It was crazy? Why do people like you? Someone I

1336
01:09:27,920 --> 01:09:30,240
Speaker 1: don't know, like I mean, like I like you, but like,

1337
01:09:31,000 --> 01:09:32,760
Speaker 1: how do people hear about this? How I'm gonna play

1338
01:09:32,760 --> 01:09:36,000
Speaker 1: you something here? Let's see, let's what how about? Oh

1339
01:09:36,120 --> 01:09:38,880
Speaker 1: I gotta ask you about this because Shane mcin I

1340
01:09:38,920 --> 01:09:42,360
Speaker 1: we're talking about this and no not at all, but

1341
01:09:42,439 --> 01:09:44,960
Speaker 1: we're talking about how so many songs you can just

1342
01:09:45,040 --> 01:09:46,880
Speaker 1: take four chords and make them sound like every song.

1343
01:09:47,560 --> 01:09:48,920
Speaker 1: And you guys had the answers. We had to put

1344
01:09:48,960 --> 01:09:50,559
Speaker 1: in ARLs Bark late on the song on the bred

1345
01:09:50,600 --> 01:09:53,479
Speaker 1: elderd song. Yeah, so just getting out ahead of the

1346
01:09:53,840 --> 01:09:56,960
Speaker 1: lawsuit things right now, let me let me put you here.

1347
01:09:57,080 --> 01:10:01,280
Speaker 1: Hold on, this is that beat of the music, which

1348
01:10:01,320 --> 01:10:03,120
Speaker 1: is a great song. I remember Brett coming in and

1349
01:10:03,160 --> 01:10:05,720
Speaker 1: being like, man, Brett wrote this when you guys right,

1350
01:10:05,960 --> 01:10:08,840
Speaker 1: and brettan like man, I was like half sleep and

1351
01:10:10,080 --> 01:10:11,840
Speaker 1: I get like this thing that we got in and

1352
01:10:11,920 --> 01:10:14,400
Speaker 1: wrote we wrote it. Okay, that's that one. Lose my

1353
01:10:14,479 --> 01:10:18,040
Speaker 1: Mind is drunk in your which one is it has

1354
01:10:18,120 --> 01:10:21,040
Speaker 1: the yeah, lose my Mind? Okay, but you did all

1355
01:10:21,040 --> 01:10:28,200
Speaker 1: these songs. Yeah, okay, it's just one. Okay, hold on, crazy,

1356
01:10:29,720 --> 01:10:33,320
Speaker 1: it's they're not that they're the same. But like Ross

1357
01:10:33,360 --> 01:10:35,680
Speaker 1: I'd like to call people out and be like, for

1358
01:10:35,880 --> 01:10:37,760
Speaker 1: sure you're saying we gave up a piece of that song,

1359
01:10:37,800 --> 01:10:39,360
Speaker 1: and you would I think you would have lost anyway.

1360
01:10:39,479 --> 01:10:42,720
Speaker 1: But I don't, I just if I if I'm on

1361
01:10:42,760 --> 01:10:46,439
Speaker 1: the Jerry, I don't. It's I thought, if anything, here's

1362
01:10:46,439 --> 01:10:54,200
Speaker 1: Brett Elder should have changed me here It's one word.

1363
01:10:55,240 --> 01:10:58,120
Speaker 1: There have been so many Britney spears went crazy and

1364
01:10:58,240 --> 01:11:01,360
Speaker 1: her song too. It's just happened too many times for

1365
01:11:01,520 --> 01:11:04,439
Speaker 1: that just and they would have never heard the song.

1366
01:11:05,160 --> 01:11:06,840
Speaker 1: I don't know. They have a wonderful way of finding money.

1367
01:11:06,880 --> 01:11:08,840
Speaker 1: People have a wonderful way of finding money, all right,

1368
01:11:08,920 --> 01:11:11,360
Speaker 1: especially the States of like Sam Cook and stuff like

1369
01:11:11,439 --> 01:11:15,320
Speaker 1: the Marvin Gay estates. I definitely and we should have

1370
01:11:15,400 --> 01:11:20,439
Speaker 1: just changed it. You make me crazy. You know why

1371
01:11:20,479 --> 01:11:22,680
Speaker 1: you didn't because that's so I didn't want to change it,

1372
01:11:22,720 --> 01:11:24,200
Speaker 1: but didn't want to change it because it was it

1373
01:11:24,280 --> 01:11:26,360
Speaker 1: was like your mind went to like a hit song.

1374
01:11:26,840 --> 01:11:28,479
Speaker 1: That's why we wanted to keep it. But I don't

1375
01:11:28,520 --> 01:11:30,920
Speaker 1: even think, like, oh, you're even talking me into it now.

1376
01:11:31,520 --> 01:11:34,200
Speaker 1: But I don't even think that it's they had a

1377
01:11:34,240 --> 01:11:36,600
Speaker 1: post rum music row, Bobby like for the writers of

1378
01:11:36,680 --> 01:11:39,280
Speaker 1: that song like they had a poster like congrats to

1379
01:11:39,439 --> 01:11:44,040
Speaker 1: danger Mass first number one song. What had post You're

1380
01:11:44,040 --> 01:11:46,880
Speaker 1: not You're serious? Yeah? Wow, so you had to have

1381
01:11:47,000 --> 01:11:50,200
Speaker 1: funny you had to see on Dangerous to that song?

1382
01:11:50,520 --> 01:11:52,080
Speaker 1: Just those two. Still can't get him on the phone.

1383
01:11:52,120 --> 01:11:53,760
Speaker 1: I'm trying to get a co write. I can't get

1384
01:11:53,840 --> 01:11:57,400
Speaker 1: him on the phone. I'm gonna play it again because

1385
01:11:57,400 --> 01:11:59,840
Speaker 1: Thomas did it on song too, Sam Cooke's Family or

1386
01:11:59,880 --> 01:12:03,559
Speaker 1: some things. Thomas Rhet did it on vacation with uh

1387
01:12:04,120 --> 01:12:09,040
Speaker 1: glow Rider. That's the second one Thomas Rhet did then

1388
01:12:09,360 --> 01:12:12,080
Speaker 1: because they did it on his first song, because that

1389
01:12:12,160 --> 01:12:14,120
Speaker 1: Sam cooked daughter was at the bm My Awards and

1390
01:12:14,160 --> 01:12:16,640
Speaker 1: accepted to being my award. See, I didn't know that

1391
01:12:16,840 --> 01:12:21,760
Speaker 1: for a different one, his first Crash and Burn. Oh gang,

1392
01:12:21,880 --> 01:12:23,680
Speaker 1: you know what? And I stay Upson wrote that too,

1393
01:12:23,760 --> 01:12:26,479
Speaker 1: and dress I was like, hey did you I don't

1394
01:12:26,479 --> 01:12:28,360
Speaker 1: talk about it and no, no, it wasn't that. I said, hey,

1395
01:12:28,400 --> 01:12:30,760
Speaker 1: did you actually use Sam Cooks? Because I want to

1396
01:12:30,760 --> 01:12:32,120
Speaker 1: play some of it. It's funny you bring this up

1397
01:12:32,520 --> 01:12:35,639
Speaker 1: because I say did you actually use? Because it's that's

1398
01:12:35,680 --> 01:12:39,679
Speaker 1: the sound, doesn't mean hey, working on the chain, don't

1399
01:12:39,680 --> 01:12:43,040
Speaker 1: you know? Right? That's like the original, and so crashing

1400
01:12:43,120 --> 01:12:46,080
Speaker 1: Burn was again, it's not enough. I feel like to

1401
01:12:46,240 --> 01:12:49,200
Speaker 1: have done it, but they would. I actually thought they

1402
01:12:49,320 --> 01:12:52,320
Speaker 1: used part of the song as a sample, see exactly,

1403
01:12:52,760 --> 01:12:55,680
Speaker 1: and it wasn't. And because she was like no, I

1404
01:12:55,920 --> 01:13:03,000
Speaker 1: was like, oh my, it's the point. It's almost impossible

1405
01:13:03,120 --> 01:13:06,120
Speaker 1: now to really do something that sounds like nothing else

1406
01:13:06,360 --> 01:13:08,519
Speaker 1: it is. I don't think you would have lost that lawsuit.

1407
01:13:09,640 --> 01:13:11,360
Speaker 1: I don't think you would have lost the lawsuit because

1408
01:13:11,360 --> 01:13:16,000
Speaker 1: it's one freaking word. It's not, it's not, it's not

1409
01:13:16,120 --> 01:13:19,559
Speaker 1: what's the song? The more the more uh blurred lines,

1410
01:13:20,560 --> 01:13:22,479
Speaker 1: and that ruined it for all of us. That ruined

1411
01:13:22,520 --> 01:13:23,960
Speaker 1: it for all of us. Though, that makes you'll have

1412
01:13:24,040 --> 01:13:25,960
Speaker 1: to watch are you're gonna go seven million dollars? Like

1413
01:13:26,040 --> 01:13:27,599
Speaker 1: they did? Like it's like if you don't get ahead

1414
01:13:27,600 --> 01:13:30,640
Speaker 1: of it, they did, didn't They um did Thomas song

1415
01:13:30,680 --> 01:13:32,479
Speaker 1: that I thought would get him in trouble, which didn't

1416
01:13:32,880 --> 01:13:35,840
Speaker 1: was was the slow one and it's not like ed Sharon,

1417
01:13:37,600 --> 01:13:39,400
Speaker 1: I mean, yeah, I was. I even asked him. I

1418
01:13:39,520 --> 01:13:41,680
Speaker 1: was like, hey, have you have you heard anything about that?

1419
01:13:41,880 --> 01:13:45,679
Speaker 1: Thinking yeah, thinking out laughing at Sharon and Thomas. Retz

1420
01:13:45,840 --> 01:13:49,679
Speaker 1: was happy and I was like, uh, those are very similar.

1421
01:13:50,520 --> 01:13:54,040
Speaker 1: And by the way, preface I love Thomas. Yeah, great dude,

1422
01:13:54,160 --> 01:13:56,200
Speaker 1: But I asked him about that, goes, No, they haven't.

1423
01:13:56,520 --> 01:13:59,000
Speaker 1: They haven't never reached out at all and probably doesn't care.

1424
01:13:59,160 --> 01:14:01,320
Speaker 1: And Ed got sued the same song by somebody else.

1425
01:14:03,120 --> 01:14:05,840
Speaker 1: I'm trying somebody from American are uk idle? Yeah, I

1426
01:14:05,880 --> 01:14:08,680
Speaker 1: remember that. My point isn't that everybody's stealing song. My

1427
01:14:08,760 --> 01:14:11,479
Speaker 1: point is it's hard now to come up with original state. Yeah,

1428
01:14:11,600 --> 01:14:14,320
Speaker 1: it's always psyched. There are just so many sounds you

1429
01:14:14,400 --> 01:14:17,320
Speaker 1: can make. There's not that many notes. And yeah, the

1430
01:14:17,400 --> 01:14:19,240
Speaker 1: only person making new notes is Keith Urban. So if

1431
01:14:19,240 --> 01:14:21,000
Speaker 1: you don't get with Keith Urban, you're not getting into

1432
01:14:21,080 --> 01:14:23,040
Speaker 1: That's a great question, though, who is there? You said,

1433
01:14:23,120 --> 01:14:24,760
Speaker 1: it's hard to make this piece of music that sounds

1434
01:14:24,800 --> 01:14:26,560
Speaker 1: like nothing else. That's like what I try and do

1435
01:14:26,680 --> 01:14:29,479
Speaker 1: every day in my life. I try to at least like,

1436
01:14:30,240 --> 01:14:32,479
Speaker 1: is there anything right now that you're that excited about?

1437
01:14:32,479 --> 01:14:35,360
Speaker 1: It's also and before I answer that, I mean, you

1438
01:14:35,400 --> 01:14:37,880
Speaker 1: say this in comedy, because I'll do stand up comedy

1439
01:14:37,920 --> 01:14:40,000
Speaker 1: has got to be similar, right, how many jokes very

1440
01:14:40,080 --> 01:14:46,200
Speaker 1: similar jokes? Every concept has been talked about a hundred

1441
01:14:46,280 --> 01:14:50,840
Speaker 1: times interesting, and we're like minded people. Most of us,

1442
01:14:51,280 --> 01:14:53,800
Speaker 1: if I'm going on stage with so many experiences, were

1443
01:14:54,200 --> 01:14:57,120
Speaker 1: like minded. We're probably sad internally, and that's why we're

1444
01:14:57,120 --> 01:14:58,760
Speaker 1: on stage looking for love. And I'm like kidding here,

1445
01:14:59,000 --> 01:15:00,920
Speaker 1: I'm being serious, Like we don't get on stage and

1446
01:15:00,960 --> 01:15:02,400
Speaker 1: try to get the love of other people that you

1447
01:15:02,479 --> 01:15:05,880
Speaker 1: don't know because you just feel like it that there's

1448
01:15:05,880 --> 01:15:10,280
Speaker 1: a lot of similarities, interesting darkness inside of comedians. Interesting.

1449
01:15:10,439 --> 01:15:12,160
Speaker 1: It's like the sad person wants to make everybody laugh

1450
01:15:12,200 --> 01:15:15,720
Speaker 1: and there you're searching for love somewhere. And so you've

1451
01:15:15,760 --> 01:15:18,920
Speaker 1: lived similar paths. The good looking rich kids, never the

1452
01:15:19,200 --> 01:15:23,960
Speaker 1: famous comedians, they're just not because it comes from somewhere else.

1453
01:15:24,000 --> 01:15:28,920
Speaker 1: So similar experiences, similar mind frames, the topics of the

1454
01:15:29,000 --> 01:15:32,680
Speaker 1: world are similar. You're gonna get a thousand jokes that

1455
01:15:32,920 --> 01:15:37,880
Speaker 1: are somewhat the same. And so it's tough. What I

1456
01:15:38,040 --> 01:15:40,760
Speaker 1: do is I try to make all I try to

1457
01:15:40,800 --> 01:15:45,519
Speaker 1: do as much about me in my personal and even

1458
01:15:45,600 --> 01:15:48,080
Speaker 1: then your stories probably a hundred jokes like it to

1459
01:15:48,240 --> 01:15:50,960
Speaker 1: the things that have happened to Yes, that's how are

1460
01:15:51,040 --> 01:15:54,240
Speaker 1: there is there enough material of of real things that

1461
01:15:54,280 --> 01:15:55,840
Speaker 1: have happened to you. I mean, I wrote a book

1462
01:15:56,080 --> 01:15:59,080
Speaker 1: in the book you know, and it and it did well.

1463
01:15:59,120 --> 01:16:01,400
Speaker 1: It was the best selling and it was fine. And

1464
01:16:01,479 --> 01:16:05,000
Speaker 1: there's enough material that for like one act. But then again,

1465
01:16:05,600 --> 01:16:07,120
Speaker 1: you know, as we're about to cut the special, I'm

1466
01:16:07,160 --> 01:16:08,800
Speaker 1: starting to work on the second act. And it takes

1467
01:16:09,240 --> 01:16:11,760
Speaker 1: a year or two yourself, Yeah, I mean, it's all

1468
01:16:11,840 --> 01:16:16,559
Speaker 1: you got and tested and suck, you don't. Big comedians have, right,

1469
01:16:16,600 --> 01:16:19,680
Speaker 1: A team's like Chris Rock will write something, or I'll

1470
01:16:19,680 --> 01:16:21,479
Speaker 1: have somebody say hey and they'll work on stuff to this,

1471
01:16:22,640 --> 01:16:25,000
Speaker 1: or he'll go out and practice it and they'd be like, hey,

1472
01:16:25,360 --> 01:16:27,720
Speaker 1: what if you do this? And you'll try it. But

1473
01:16:27,920 --> 01:16:30,400
Speaker 1: the thing that like comedians do is they can go

1474
01:16:30,479 --> 01:16:32,560
Speaker 1: out like Ris Rock did it in Nashville Zanies. He

1475
01:16:32,600 --> 01:16:34,760
Speaker 1: did four shows in like two nights and just work

1476
01:16:34,840 --> 01:16:40,639
Speaker 1: material because it's not the differences No Mike needed though,

1477
01:16:40,960 --> 01:16:44,599
Speaker 1: and he walked out with notes and he's going through notes. Wow,

1478
01:16:45,200 --> 01:16:47,760
Speaker 1: that's so cool. The differences For me, if I take

1479
01:16:47,800 --> 01:16:49,479
Speaker 1: out my guitar and I'm not a musician, I play

1480
01:16:49,560 --> 01:16:51,080
Speaker 1: guitar and I sing and not you don't do either

1481
01:16:51,200 --> 01:16:53,880
Speaker 1: very well. But I can practice and get muscle memory

1482
01:16:53,920 --> 01:16:57,280
Speaker 1: and playing a song and practice singing, and I can

1483
01:16:57,320 --> 01:16:59,280
Speaker 1: sit in my room or I can go someone practice it.

1484
01:16:59,680 --> 01:17:03,479
Speaker 1: You can't practice on jokes to a wall. You have

1485
01:17:03,680 --> 01:17:06,599
Speaker 1: to go out and actually and see if it works.

1486
01:17:07,120 --> 01:17:10,560
Speaker 1: And the funniest things I've ever written bomb hard and

1487
01:17:10,640 --> 01:17:12,760
Speaker 1: I'm like, oh, this is gonna kill and I'm like,

1488
01:17:15,040 --> 01:17:17,240
Speaker 1: I didn't work, and the stuff that you don't think.

1489
01:17:17,320 --> 01:17:18,760
Speaker 1: Sometimes you're like, I'm just gonna throw it out there

1490
01:17:18,760 --> 01:17:21,760
Speaker 1: and see what happens. It's like, that works, let me

1491
01:17:21,800 --> 01:17:23,360
Speaker 1: try it again and just switch it up a little

1492
01:17:23,400 --> 01:17:25,800
Speaker 1: bit interesting. But same thing with comedy is music. Is

1493
01:17:25,840 --> 01:17:27,880
Speaker 1: what I'm saying is that art it's just art period.

1494
01:17:28,000 --> 01:17:31,840
Speaker 1: I love that and that you tweak it and it's art.

1495
01:17:32,240 --> 01:17:34,519
Speaker 1: It's been done a million times a million different ways.

1496
01:17:34,560 --> 01:17:38,000
Speaker 1: Like good luck trying to find something completely. But when

1497
01:17:38,040 --> 01:17:41,880
Speaker 1: you can, and occasionally somebody dies, you're like, huh, that's crazy.

1498
01:17:42,320 --> 01:17:44,240
Speaker 1: Who do you like? Okay, I'll ask you who do

1499
01:17:44,280 --> 01:17:46,680
Speaker 1: you because you ask me that right now. Somebody You're like,

1500
01:17:46,720 --> 01:17:52,360
Speaker 1: they're changing the game a bit. Who is it you want? Like, yeah,

1501
01:17:52,360 --> 01:17:55,120
Speaker 1: I don't care it is. I think it's fine for

1502
01:17:55,200 --> 01:17:59,200
Speaker 1: people have a ton of different types of influences and music.

1503
01:17:59,400 --> 01:18:02,080
Speaker 1: Nobody has a playlist. I think this Julian Michael stuff

1504
01:18:02,200 --> 01:18:04,800
Speaker 1: is gonna be so special because Julian Michaels, because she

1505
01:18:04,960 --> 01:18:08,840
Speaker 1: sings melodies that you know here you know and these

1506
01:18:08,880 --> 01:18:11,040
Speaker 1: just this Julian Michaels, you still I had this up

1507
01:18:11,040 --> 01:18:12,760
Speaker 1: already or did you know? You know I had this already,

1508
01:18:12,800 --> 01:18:15,400
Speaker 1: this one I was gonna play for what this song here?

1509
01:18:17,320 --> 01:18:20,400
Speaker 1: I didn't know you were gonna say that. You look

1510
01:18:20,439 --> 01:18:22,519
Speaker 1: at my list here it says Julian Michael. That's what

1511
01:18:22,520 --> 01:18:25,200
Speaker 1: I've been listening to lately, Julia Michaels, Eric Clapton, Layla

1512
01:18:25,240 --> 01:18:29,400
Speaker 1: from Unplugged, the New Michelle Branch Weezer, Like, I'm not lying,

1513
01:18:29,479 --> 01:18:32,360
Speaker 1: this is a lot. We were my fair bands. Ever,

1514
01:18:32,479 --> 01:18:34,639
Speaker 1: by the way, like that was where I was raised.

1515
01:18:34,680 --> 01:18:37,880
Speaker 1: On where my glass we are in Buddy Holly's when glasses,

1516
01:18:38,000 --> 01:18:41,320
Speaker 1: I mean we are like build my foundation me too.

1517
01:18:41,720 --> 01:18:46,400
Speaker 1: Judge me because if you did this the song that

1518
01:18:46,479 --> 01:18:51,400
Speaker 1: you were gonna say you for that question, this is

1519
01:18:51,640 --> 01:18:55,080
Speaker 1: one of the artists I was gonna pull up. That's like, yeah,

1520
01:18:55,120 --> 01:18:58,280
Speaker 1: I feel that. I feel like me and Shane wrote

1521
01:18:58,360 --> 01:19:01,000
Speaker 1: with her a few times. No, I know she came

1522
01:19:01,360 --> 01:19:04,120
Speaker 1: when she she she would come to Nashville for writing trips,

1523
01:19:04,800 --> 01:19:06,760
Speaker 1: and me and Shane would always would write these great

1524
01:19:06,760 --> 01:19:09,920
Speaker 1: songs with her, actually play some if I could find him, um,

1525
01:19:10,000 --> 01:19:12,240
Speaker 1: and we'd be like, Julia, why are you not an

1526
01:19:12,360 --> 01:19:15,080
Speaker 1: artist like right now? And She's like, wow, I don't

1527
01:19:15,120 --> 01:19:16,760
Speaker 1: really want to be an artist right now, just like

1528
01:19:17,160 --> 01:19:19,840
Speaker 1: just like Marin, she just wanted to write. And then

1529
01:19:19,960 --> 01:19:22,960
Speaker 1: she started writing those Selina songs and those Biber songs

1530
01:19:23,040 --> 01:19:26,200
Speaker 1: and like she just got into that like silver zone

1531
01:19:26,240 --> 01:19:31,000
Speaker 1: of hit thing and then realized I guess that. Yeah,

1532
01:19:31,080 --> 01:19:33,679
Speaker 1: I don't know, I had no idea you even knew her, Yeah,

1533
01:19:33,800 --> 01:19:35,599
Speaker 1: I kind of. You know, we wrote with a few times,

1534
01:19:35,680 --> 01:19:40,200
Speaker 1: so that's knowing her. Yeah, yeah, that's fun. But I

1535
01:19:40,280 --> 01:19:41,679
Speaker 1: really do. I keep hearing the song on the radio.

1536
01:19:41,680 --> 01:19:42,960
Speaker 1: Every time I hear on the radio, I'm like, that

1537
01:19:43,160 --> 01:19:45,880
Speaker 1: is just so fresh, like it's the heart on the

1538
01:19:46,000 --> 01:19:48,439
Speaker 1: verge pop song, and Secrets was like, hey check this out,

1539
01:19:48,560 --> 01:19:52,280
Speaker 1: and and I was like, whoa, it's so fresh, Like

1540
01:19:52,400 --> 01:19:55,040
Speaker 1: it's yeah, all issues and like giving them to each

1541
01:19:55,040 --> 01:20:02,640
Speaker 1: other so like just an ability, but sonically one of

1542
01:20:02,680 --> 01:20:10,920
Speaker 1: them is all about a natscha. Yeah, that's crazy. One

1543
01:20:11,000 --> 01:20:17,439
Speaker 1: of them is as I felt like we could talk

1544
01:20:17,479 --> 01:20:20,680
Speaker 1: for four hours. Ross probably made that on a laptop. Sorry, yeah,

1545
01:20:22,439 --> 01:20:24,680
Speaker 1: I'm saying that they probably made that whole track, like

1546
01:20:25,000 --> 01:20:27,040
Speaker 1: on a laptop. Have you been riding any of the

1547
01:20:27,080 --> 01:20:30,519
Speaker 1: Taylor Swift country stuff? No? This is news to me. Okay,

1548
01:20:30,880 --> 01:20:32,080
Speaker 1: it news to me too. I was just looking at

1549
01:20:32,080 --> 01:20:34,639
Speaker 1: you reaction to see if we did breaks. Are you joking? Yeah? Yeah,

1550
01:20:36,320 --> 01:20:39,120
Speaker 1: she's recording in town right now. She's working on She

1551
01:20:39,640 --> 01:20:42,960
Speaker 1: but but nobody, but nobody knows what's going on. What

1552
01:20:43,080 --> 01:20:44,439
Speaker 1: do you mean I want to go. I'm gonna go

1553
01:20:44,479 --> 01:20:46,640
Speaker 1: stand out of the studio what no one knows? Like

1554
01:20:47,080 --> 01:20:51,639
Speaker 1: and people are arguing do pop? Everything's unlocked. It's gonna

1555
01:20:51,640 --> 01:20:53,200
Speaker 1: be the max. You think about her too, as like

1556
01:20:53,320 --> 01:20:57,160
Speaker 1: she and why Natshville. I'm calling Nathan Chapman right now.

1557
01:20:57,280 --> 01:21:01,519
Speaker 1: You should you know, Nathan, and here you tell me

1558
01:21:01,560 --> 01:21:03,320
Speaker 1: I'll never come on lug box. But here's the thing

1559
01:21:03,520 --> 01:21:05,360
Speaker 1: that the only thing I would say about her and

1560
01:21:05,479 --> 01:21:07,320
Speaker 1: this project is people like, well, if she does countries,

1561
01:21:07,360 --> 01:21:10,120
Speaker 1: she won't make as much money. Here's the thing about Taylor.

1562
01:21:10,560 --> 01:21:13,679
Speaker 1: If she does a country album, it's gonna go immediately

1563
01:21:13,720 --> 01:21:15,400
Speaker 1: pop as well. It's gonna hit two formats at the

1564
01:21:15,439 --> 01:21:18,280
Speaker 1: same time. I know it'd be a good move, wouldn't it.

1565
01:21:18,479 --> 01:21:21,200
Speaker 1: I think it'd be a brilliant brilliant of course she would,

1566
01:21:21,280 --> 01:21:24,160
Speaker 1: because she'd be back at pop, but not meaning to

1567
01:21:24,320 --> 01:21:26,360
Speaker 1: why is she so smart? It would be And I

1568
01:21:26,400 --> 01:21:28,320
Speaker 1: don't know that she's doing this. This is just my theory,

1569
01:21:28,400 --> 01:21:32,960
Speaker 1: like country right now, because it would go pop as well,

1570
01:21:33,160 --> 01:21:34,680
Speaker 1: and it would put her back into and then she

1571
01:21:34,720 --> 01:21:37,000
Speaker 1: could do the pop record and the love of Oh

1572
01:21:37,200 --> 01:21:39,040
Speaker 1: my god, why are they so smart? How are they

1573
01:21:39,120 --> 01:21:41,559
Speaker 1: so smart? I don't know that yet. Rot I mean,

1574
01:21:41,560 --> 01:21:43,880
Speaker 1: I don't. I don't know that that's the case. But

1575
01:21:43,960 --> 01:21:45,000
Speaker 1: you find out let me know. And I was just

1576
01:21:45,040 --> 01:21:49,479
Speaker 1: testa if you do anything I want. You didn't react

1577
01:21:49,520 --> 01:21:53,400
Speaker 1: to love that, well, well, I appreciate you coming by. Hey,

1578
01:21:53,560 --> 01:21:55,479
Speaker 1: this was literally the best thing of you've ever done

1579
01:21:55,520 --> 01:21:57,960
Speaker 1: in my life. It's so serious. This really was. I'm

1580
01:21:57,960 --> 01:22:00,559
Speaker 1: not joking. You're so good at this. So you're you're

1581
01:22:00,560 --> 01:22:02,400
Speaker 1: so good at asking these questions and I don't think

1582
01:22:02,400 --> 01:22:04,240
Speaker 1: I'm good at it. I'm just really interested in it.

1583
01:22:04,479 --> 01:22:07,000
Speaker 1: You're You're genuine, You're genuine, and that's what makes you

1584
01:22:07,120 --> 01:22:09,160
Speaker 1: so good at your job? Well, I appreciate all the

1585
01:22:09,240 --> 01:22:11,559
Speaker 1: compliments you are equally if not more. That was awesome,

1586
01:22:11,640 --> 01:22:16,559
Speaker 1: and I yeah, I'm just um, this was a fun talk.

1587
01:22:16,760 --> 01:22:19,360
Speaker 1: I'm really interested in this. And again I would tell

1588
01:22:19,360 --> 01:22:21,840
Speaker 1: you the truth. I just don't think you would have

1589
01:22:21,880 --> 01:22:24,880
Speaker 1: lost a crazy case getting out ahead of it. I

1590
01:22:25,040 --> 01:22:27,160
Speaker 1: do get because it would start to freak me out too,

1591
01:22:27,520 --> 01:22:29,320
Speaker 1: because you also just don't want to be in a lawsuit,

1592
01:22:30,240 --> 01:22:31,720
Speaker 1: like really, you just don't want to have that hanging

1593
01:22:31,760 --> 01:22:34,120
Speaker 1: over your head either for freaking eighteen months. I would

1594
01:22:34,240 --> 01:22:36,200
Speaker 1: move away and like have to quit. It's just like

1595
01:22:36,479 --> 01:22:38,720
Speaker 1: I'm getting sued, and so everything else you're doing is

1596
01:22:38,880 --> 01:22:41,360
Speaker 1: is quite so. Just you know, I feel like a fraud.

1597
01:22:41,400 --> 01:22:42,720
Speaker 1: The more success you have, the more you feel like

1598
01:22:42,720 --> 01:22:44,760
Speaker 1: a fraud, at least I do. The more fraudulently you feel,

1599
01:22:45,040 --> 01:22:46,840
Speaker 1: Oh me, for sure. There's a line in a movie

1600
01:22:46,920 --> 01:22:49,479
Speaker 1: I remember, I'll Be Black. That was Terminator. And it's

1601
01:22:49,479 --> 01:22:52,720
Speaker 1: a whole different thing, but a terminator, know I was.

1602
01:22:52,960 --> 01:22:55,919
Speaker 1: That was just a line in the movie. Ross Cobran

1603
01:22:56,240 --> 01:22:58,240
Speaker 1: wrote all the songs and has all the money and

1604
01:22:58,280 --> 01:23:02,320
Speaker 1: all the friends and all anybody cool that you're working

1605
01:23:02,360 --> 01:23:06,160
Speaker 1: with right now. Brandon Ray, He's honestly my new favorite.

1606
01:23:06,280 --> 01:23:10,800
Speaker 1: Um doing the new Brett Eldridge record. It's gonna be cool. Um,

1607
01:23:11,720 --> 01:23:17,719
Speaker 1: Dustin Lynch, my two little Billy Currington, the background boys, everybody.

1608
01:23:18,320 --> 01:23:20,000
Speaker 1: If I were to say, and I'm not this is

1609
01:23:20,040 --> 01:23:21,479
Speaker 1: not me, I would never I would never do it

1610
01:23:21,520 --> 01:23:23,720
Speaker 1: because I never I've never done this in my life,

1611
01:23:23,880 --> 01:23:25,800
Speaker 1: because I have the people that I write songs with,

1612
01:23:25,920 --> 01:23:28,960
Speaker 1: like I write the Christian Bush a bit. I write

1613
01:23:29,000 --> 01:23:33,040
Speaker 1: with Um, Phil, Phil Barton, Eric Pass like like these

1614
01:23:33,080 --> 01:23:35,240
Speaker 1: are the people that I know, because I don't feel

1615
01:23:35,240 --> 01:23:38,519
Speaker 1: comfortable on people generally in the country. Song. Do you

1616
01:23:38,600 --> 01:23:40,559
Speaker 1: want to write? No, no, no no, because I'm not serious.

1617
01:23:40,600 --> 01:23:44,040
Speaker 1: I'm wanna write for raging idiots and I just I

1618
01:23:44,120 --> 01:23:46,120
Speaker 1: want to write. I write funny songs. Brandon Ray and

1619
01:23:46,120 --> 01:23:49,439
Speaker 1: I write together, and Brandon's funny. He's a good writer

1620
01:23:49,960 --> 01:23:52,680
Speaker 1: and he's funny. So you're writing a comedy record, Well,

1621
01:23:52,720 --> 01:23:57,120
Speaker 1: look at you, a plaque right way to er. Yeah,

1622
01:23:57,880 --> 01:23:59,760
Speaker 1: so you know what your next? Raging idiots. I'm just

1623
01:24:00,000 --> 01:24:03,760
Speaker 1: and stuff right regardless, I'm trying stuff. I would love driving.

1624
01:24:03,880 --> 01:24:05,160
Speaker 1: No no, no, no, no no, I want to write

1625
01:24:05,200 --> 01:24:07,200
Speaker 1: funny songs. Do you know what's funny is that people

1626
01:24:07,240 --> 01:24:08,800
Speaker 1: will come and say, I just need to change. Can

1627
01:24:08,840 --> 01:24:10,960
Speaker 1: I please write? Try to write a funny song. That's

1628
01:24:10,960 --> 01:24:12,840
Speaker 1: how I am. And you know who I write with

1629
01:24:13,000 --> 01:24:14,280
Speaker 1: a lot. And I don't know if your friends with

1630
01:24:14,320 --> 01:24:15,840
Speaker 1: them or not, but who I write with a lot

1631
01:24:16,479 --> 01:24:19,320
Speaker 1: is Lee Thomas Lee Miller. You my best friend. He

1632
01:24:19,640 --> 01:24:21,800
Speaker 1: is like, he's one of my favorite humans in this

1633
01:24:21,920 --> 01:24:25,639
Speaker 1: more in this world. The only maybe the only house

1634
01:24:25,680 --> 01:24:27,280
Speaker 1: I've ever been to on a weeknight in the past

1635
01:24:27,320 --> 01:24:30,479
Speaker 1: five years and had dinner. You go ahead with the family? Yes,

1636
01:24:30,720 --> 01:24:33,120
Speaker 1: you do? Like he is that? Like where that I

1637
01:24:33,200 --> 01:24:36,640
Speaker 1: didn't know? That's that's my because who talks about it?

1638
01:24:36,800 --> 01:24:38,599
Speaker 1: Like what do you go around and brag about who

1639
01:24:38,600 --> 01:24:40,320
Speaker 1: your friends are? No, you don't walk around and go

1640
01:24:40,360 --> 01:24:42,160
Speaker 1: he you know who my really good friend is. But

1641
01:24:42,360 --> 01:24:44,280
Speaker 1: my point is like he's like the does he have

1642
01:24:44,320 --> 01:24:48,840
Speaker 1: a charging stage? No he doesn't. He doesn't, but he

1643
01:24:48,920 --> 01:24:52,639
Speaker 1: doesn't live you know down in Like yeah, a little

1644
01:24:52,680 --> 01:24:55,960
Speaker 1: too far. It is a little too far. But him

1645
01:24:55,960 --> 01:24:57,320
Speaker 1: and I all right, because he's fine. I did a

1646
01:24:57,360 --> 01:24:59,280
Speaker 1: write around. You gonna come hang with our kids one night?

1647
01:24:59,680 --> 01:25:03,120
Speaker 1: I here's let me let me tell you how timidated

1648
01:25:03,160 --> 01:25:06,439
Speaker 1: this west for me? Okay, So I write stupid songs, right,

1649
01:25:06,439 --> 01:25:12,160
Speaker 1: and they're stupid songs and whatever. And I know I

1650
01:25:12,240 --> 01:25:14,760
Speaker 1: wrote walk Raids a little bit too. Yeah, he's an

1651
01:25:14,840 --> 01:25:19,599
Speaker 1: interesting writer, very and he's very wordy and very already

1652
01:25:19,840 --> 01:25:23,240
Speaker 1: artist creative. So I have my friends. I felt comble

1653
01:25:23,360 --> 01:25:24,960
Speaker 1: not being stupid in front of I guess it is

1654
01:25:25,000 --> 01:25:27,800
Speaker 1: my answer because it was my thing. But if if

1655
01:25:27,840 --> 01:25:29,439
Speaker 1: someone were to, if I would call and go, hey, Ross,

1656
01:25:29,479 --> 01:25:31,400
Speaker 1: go write a song like could you fit me in?

1657
01:25:31,720 --> 01:25:33,400
Speaker 1: How long will take you to fit me in? Dude?

1658
01:25:33,439 --> 01:25:35,960
Speaker 1: For you? And do it that week? Whatever you want. Okay,

1659
01:25:36,040 --> 01:25:38,360
Speaker 1: that's not the I was like, like September. Maybe that's

1660
01:25:38,360 --> 01:25:40,200
Speaker 1: what I was hoping. I could keep it real because

1661
01:25:40,600 --> 01:25:42,280
Speaker 1: to be like, Billy, what's your name? I appreciate had

1662
01:25:42,320 --> 01:25:45,800
Speaker 1: me over your house. I've got a story. That's the story.

1663
01:25:46,080 --> 01:25:49,519
Speaker 1: I'll leave you this one. So Lee invites me to

1664
01:25:49,560 --> 01:25:53,080
Speaker 1: do a writer's round, right, They're like, hey, uh, timpants

1665
01:25:53,120 --> 01:25:55,120
Speaker 1: out when you come to around with me, And I

1666
01:25:55,320 --> 01:26:03,160
Speaker 1: know that for me it was the worst thing we

1667
01:26:03,280 --> 01:26:05,479
Speaker 1: played at the listening room. And he's like, hey, come

1668
01:26:05,560 --> 01:26:07,360
Speaker 1: right to me. In a couple of buddies and come

1669
01:26:07,400 --> 01:26:10,080
Speaker 1: out and come, Come, Come Doe some song. Because Leon

1670
01:26:10,080 --> 01:26:11,519
Speaker 1: and I had written a bunch stuff together. We'd write

1671
01:26:12,040 --> 01:26:13,639
Speaker 1: Le and I had read some hip hop stuff together too,

1672
01:26:14,240 --> 01:26:16,439
Speaker 1: wrote the dumb song by Starbucks and we did wait,

1673
01:26:16,439 --> 01:26:19,479
Speaker 1: wait all this stuff. So I get out there and

1674
01:26:19,680 --> 01:26:21,200
Speaker 1: he's like, hey, I want you to meet the two

1675
01:26:21,240 --> 01:26:23,400
Speaker 1: guys that are playing with you. And I walked in

1676
01:26:23,479 --> 01:26:25,160
Speaker 1: and he goes, hey, this is actually Gorley and this

1677
01:26:25,240 --> 01:26:31,160
Speaker 1: is Christie Stephano, two of the freaking biggest songwriters. And

1678
01:26:31,360 --> 01:26:34,559
Speaker 1: Lee's hilarious and has had so many hits and hits

1679
01:26:34,600 --> 01:26:37,400
Speaker 1: at last the test of time to like he wrote

1680
01:26:37,400 --> 01:26:40,240
Speaker 1: like in Color for Jamie Johnson and You're gonna miss this,

1681
01:26:40,880 --> 01:26:42,719
Speaker 1: and he wrote it ain't my fault for Brother's Osborn,

1682
01:26:42,840 --> 01:26:45,559
Speaker 1: like he's still he wrote that, like he's still putting

1683
01:26:45,600 --> 01:26:48,000
Speaker 1: them out. It's crazy, man, his career. And so Lee

1684
01:26:48,000 --> 01:26:50,160
Speaker 1: would go like, why don't even nail some song? And

1685
01:26:50,240 --> 01:26:52,559
Speaker 1: then here I go, I'll play something totally stupid, right

1686
01:26:52,680 --> 01:26:56,760
Speaker 1: like whatever, And then then Stephano would sing a carry

1687
01:26:56,800 --> 01:26:59,840
Speaker 1: Underwood song better than it's good. I mean, I know,

1688
01:27:00,000 --> 01:27:03,240
Speaker 1: all right, he's got the stump a bass drum on

1689
01:27:03,320 --> 01:27:06,439
Speaker 1: his foot he's to play rounds with. I don't even

1690
01:27:06,479 --> 01:27:09,160
Speaker 1: know what I was getting. And then it goes over

1691
01:27:09,240 --> 01:27:11,400
Speaker 1: to Ashley and asked. He's playing keys and he's singing,

1692
01:27:11,920 --> 01:27:15,840
Speaker 1: you know, he's doing Luke and he's doing Cole, you know.

1693
01:27:17,000 --> 01:27:18,679
Speaker 1: And then it comes back around to me and I'm like, guys,

1694
01:27:19,040 --> 01:27:21,200
Speaker 1: I don't know what you want me to do. I

1695
01:27:21,240 --> 01:27:23,559
Speaker 1: guess I'm gonna play this song called when I started

1696
01:27:23,640 --> 01:27:27,920
Speaker 1: drinking Boom Boom boom and think about it, I was

1697
01:27:28,080 --> 01:27:30,640
Speaker 1: so out of my element. That's so funny. It was

1698
01:27:30,760 --> 01:27:32,800
Speaker 1: like three of the biggest songwriters in town and here

1699
01:27:32,840 --> 01:27:35,320
Speaker 1: I am up there playing songs in the middle of them.

1700
01:27:35,680 --> 01:27:38,599
Speaker 1: I felt so stupid and I was like, I was like, late,

1701
01:27:38,720 --> 01:27:42,240
Speaker 1: I can't do that ever again, Like that's just not this.

1702
01:27:42,520 --> 01:27:44,080
Speaker 1: I'm not trying to be a song I'm not you

1703
01:27:44,240 --> 01:27:47,000
Speaker 1: guys like I know my talent. I can write some

1704
01:27:47,040 --> 01:27:49,599
Speaker 1: funny words, yeah, and I can play about twelve chords.

1705
01:27:49,640 --> 01:27:51,560
Speaker 1: I'm sure it was awesome though no, no, no, it

1706
01:27:51,680 --> 01:27:55,839
Speaker 1: wasn't it come not for me. It wasn't awesome Ross conference.

1707
01:27:55,840 --> 01:27:59,640
Speaker 1: I appreciate it has been fun, and uh, let me

1708
01:27:59,680 --> 01:28:02,479
Speaker 1: know if you anything, Like everyone need anything from me.

1709
01:28:02,720 --> 01:28:05,000
Speaker 1: I'm doing a round soon. I'm gonna cool. Let me

1710
01:28:05,040 --> 01:28:07,959
Speaker 1: know how much I'm watch if it's it's early enough. Bluebird,

1711
01:28:08,600 --> 01:28:10,599
Speaker 1: Bluebird in the map. You know. I played the Bluebird

1712
01:28:10,640 --> 01:28:13,320
Speaker 1: for the first time, like with with past, like I

1713
01:28:13,400 --> 01:28:14,680
Speaker 1: want to know when you do this stuff. I live

1714
01:28:14,760 --> 01:28:16,240
Speaker 1: right next to it. I'll come. I don't tell anybody

1715
01:28:16,240 --> 01:28:17,680
Speaker 1: because I want to come watch. I want to come

1716
01:28:17,680 --> 01:28:21,000
Speaker 1: watch you play around. Then come on, And I'm telling

1717
01:28:21,040 --> 01:28:24,760
Speaker 1: you I don't get affect because I've played everywhere. I

1718
01:28:25,040 --> 01:28:28,720
Speaker 1: played the Opery twice. I've played Yeah, we've played the

1719
01:28:28,720 --> 01:28:32,000
Speaker 1: Opery twice um which sold out the rhyme and twice,

1720
01:28:32,160 --> 01:28:34,080
Speaker 1: so I've got to do everything awesome. But let me

1721
01:28:34,120 --> 01:28:36,720
Speaker 1: tell you this. Playing the Bluebird, it's a different things.

1722
01:28:38,439 --> 01:28:41,840
Speaker 1: People are sitting around on top of you and it's

1723
01:28:41,880 --> 01:28:44,160
Speaker 1: like the freaking blue Everybody's everything's a freaking it's like

1724
01:28:44,200 --> 01:28:48,920
Speaker 1: the Freepery. Yeah, it's a freaking Bluebird's. I get freaked

1725
01:28:48,920 --> 01:28:50,840
Speaker 1: out of the Bluebird. The sound is not very good

1726
01:28:50,920 --> 01:28:52,560
Speaker 1: and you're just going and it's not supposed to be.

1727
01:28:52,720 --> 01:28:54,759
Speaker 1: It's not supposed to be. You're right, and that's about

1728
01:28:54,840 --> 01:28:59,559
Speaker 1: the song. It's crazy. Well, good talk that's a guy.

1729
01:29:00,479 --> 01:29:03,840
Speaker 1: How long was if they're never that long, they're never

1730
01:29:03,880 --> 01:29:06,439
Speaker 1: that long because they usually only just pretty good. That's

1731
01:29:06,439 --> 01:29:09,479
Speaker 1: a good one. It was pretty good, all right, ros command.

1732
01:29:10,040 --> 01:29:12,759
Speaker 1: I got a round coming with Laura McKenna, Hilary Lindsay.

1733
01:29:13,160 --> 01:29:16,840
Speaker 1: I would think you're okay. I would never ever. I

1734
01:29:16,920 --> 01:29:20,000
Speaker 1: sat with Taylor at a c MS. Hey, I was

1735
01:29:20,120 --> 01:29:22,160
Speaker 1: right down from you. Did you know that? It was

1736
01:29:22,240 --> 01:29:24,120
Speaker 1: so crazy. We were on the other side of too

1737
01:29:24,120 --> 01:29:27,479
Speaker 1: big of us are to see you. So I'm just kidding.

1738
01:29:27,880 --> 01:29:30,880
Speaker 1: I was. I had low cash, was sitting on my road.

1739
01:29:31,040 --> 01:29:33,000
Speaker 1: I was next to Hilary on the other side. And

1740
01:29:33,040 --> 01:29:34,600
Speaker 1: now I didn't see the other side of hill in

1741
01:29:34,680 --> 01:29:38,400
Speaker 1: your row. Yeah, I didn't see. That's so funny. And Laura,

1742
01:29:39,240 --> 01:29:41,840
Speaker 1: yeah I wasn't a good group. Yeah, yeah, it was good.

1743
01:29:41,880 --> 01:29:46,439
Speaker 1: That was fun. I love Laura's she is the greatest human.

1744
01:29:46,520 --> 01:29:50,439
Speaker 1: We got to know where out there so you didn't

1745
01:29:50,439 --> 01:29:52,760
Speaker 1: get given so much time weather until then. No, never,

1746
01:29:52,920 --> 01:29:56,479
Speaker 1: she's awesome, She's amazing. I mean I wasn't around with her.

1747
01:29:56,479 --> 01:29:58,400
Speaker 1: I had to follow a girl crush and humbling kind

1748
01:29:59,000 --> 01:30:00,920
Speaker 1: I put your good right now, I did. I was like,

1749
01:30:01,120 --> 01:30:05,080
Speaker 1: all right, I'm gonna pass, pass, skip this partner, alright,

1750
01:30:05,280 --> 01:30:07,200
Speaker 1: we're gonna go up. Fifty one is over. Thank you

1751
01:30:07,240 --> 01:30:09,640
Speaker 1: again to Blue Apron and one A Happy Flowers, and

1752
01:30:09,720 --> 01:30:12,120
Speaker 1: I hope everybody enjoys it. We'll see you next time.