1
00:00:00,120 --> 00:00:02,320
Speaker 1: Are about to talk in with Josh Kier and I

2
00:00:02,320 --> 00:00:05,560
Speaker 1: always record this part after the podcast, and really, this

3
00:00:05,559 --> 00:00:07,560
Speaker 1: is one of my favorite podcasts that I've done in

4
00:00:07,600 --> 00:00:10,080
Speaker 1: a long time. I think you're gonna really like this guy.

5
00:00:10,520 --> 00:00:12,560
Speaker 1: Just uh and I'll get into it. But he's got

6
00:00:12,600 --> 00:00:15,440
Speaker 1: four gram he's fourteen number ones, his first ever coach,

7
00:00:15,520 --> 00:00:17,319
Speaker 1: Darryl Singletary back in the day. He's got a Jimmy

8
00:00:17,320 --> 00:00:21,759
Speaker 1: Buffett song, Backstreet Boys, Charlie Pooth. We really dive into

9
00:00:21,840 --> 00:00:24,880
Speaker 1: some songs specifically, but you know, to get this guy

10
00:00:24,920 --> 00:00:27,280
Speaker 1: with a real treat and just just so nice. We

11
00:00:27,280 --> 00:00:30,000
Speaker 1: sat and talked after the interview too, and it's an

12
00:00:30,000 --> 00:00:31,480
Speaker 1: hour long, so I'm not going to spend a lot

13
00:00:31,480 --> 00:00:33,560
Speaker 1: of time talking ahead of time. But I thought it

14
00:00:33,600 --> 00:00:37,240
Speaker 1: was fantastic, right Yeah. When he left, you know, we

15
00:00:37,760 --> 00:00:40,279
Speaker 1: with some We always walked down together, Me and who

16
00:00:40,280 --> 00:00:42,239
Speaker 1: remember we walk downstairs because we're in my house. We

17
00:00:42,320 --> 00:00:44,440
Speaker 1: talked for a bit and we had another nice, thoughtful

18
00:00:44,479 --> 00:00:46,800
Speaker 1: conversation and he was like, man, whatever you need let

19
00:00:46,840 --> 00:00:48,240
Speaker 1: me know. I was like, well, let's try like twelve

20
00:00:48,240 --> 00:00:50,280
Speaker 1: songs together next weekend. Let me sit in the room

21
00:00:50,320 --> 00:00:53,320
Speaker 1: and let me get a little bit that so it's fantastic.

22
00:00:53,320 --> 00:00:55,920
Speaker 1: You're gonna hear about before he Cheats, which is a

23
00:00:56,000 --> 00:01:00,680
Speaker 1: great story. He talks about before it's a great story.

24
00:01:00,720 --> 00:01:04,319
Speaker 1: So let me give you a companion piece to this,

25
00:01:05,040 --> 00:01:08,440
Speaker 1: and that is when you finish this, if you scroll

26
00:01:08,520 --> 00:01:11,920
Speaker 1: back and hear the Dave Haywood Bobby cast is a

27
00:01:11,959 --> 00:01:14,479
Speaker 1: long time ago, probably a year and a half at least,

28
00:01:14,760 --> 00:01:17,200
Speaker 1: But Dave Haywood tells another story about need You Now

29
00:01:17,240 --> 00:01:19,480
Speaker 1: and how the song almost didn't make it. I referenced that.

30
00:01:19,800 --> 00:01:21,400
Speaker 1: But after you listen to this, if I can encourage

31
00:01:21,400 --> 00:01:22,720
Speaker 1: you to go back and check out the Dave Haywood

32
00:01:22,720 --> 00:01:25,160
Speaker 1: from Lady and Abellum and they we really get into

33
00:01:25,240 --> 00:01:27,600
Speaker 1: need You Now on a much deeper level. So I

34
00:01:27,600 --> 00:01:29,319
Speaker 1: think with this, if you haven't heard that, to go

35
00:01:29,360 --> 00:01:33,120
Speaker 1: back and check that one out. Oh nice, wellow hundred

36
00:01:33,120 --> 00:01:36,000
Speaker 1: episodes ago. Huh, here we go. This is a great

37
00:01:36,040 --> 00:01:41,479
Speaker 1: one Josh Kire and it's just his story. It's it's

38
00:01:41,480 --> 00:01:44,880
Speaker 1: pretty freaking cool. Check out Amy's podcast Four Things with

39
00:01:44,920 --> 00:01:50,520
Speaker 1: Amy Brown. Four Things usually very lifestyle, female, faith, food,

40
00:01:51,120 --> 00:01:56,040
Speaker 1: family fun. I don't know there's not always, but but

41
00:01:56,240 --> 00:01:59,120
Speaker 1: she's had some great guests on like Kristin Chenowith Bob

42
00:01:59,160 --> 00:02:01,920
Speaker 1: Goff speaking of Lady in a Bell I'm she doing

43
00:02:01,960 --> 00:02:05,000
Speaker 1: with Hillary Scott, Trishia Year would like it's really a

44
00:02:05,040 --> 00:02:08,000
Speaker 1: great podcast. Four Things with Amy Brown. There's also The

45
00:02:08,040 --> 00:02:11,639
Speaker 1: Velvet's Edge with Kelly Henderson Fashion. It's a that's a

46
00:02:11,680 --> 00:02:14,400
Speaker 1: liftole podcast for female or edge here. There is The

47
00:02:14,480 --> 00:02:17,680
Speaker 1: Guys Do a sports show called The Sore Losers. There's

48
00:02:17,840 --> 00:02:20,560
Speaker 1: Caroline Hobbies interview show where she talks to mostly the

49
00:02:20,639 --> 00:02:24,359
Speaker 1: wives of country stars. Fantastic check out on the podcast.

50
00:02:25,080 --> 00:02:27,280
Speaker 1: I want to get out of here and play episode

51
00:02:27,280 --> 00:02:29,480
Speaker 1: two eight. Josh Kire, thank you very much. Tell your

52
00:02:29,480 --> 00:02:31,399
Speaker 1: friends about it if you like it, like a Netflix show.

53
00:02:31,400 --> 00:02:33,080
Speaker 1: If you like it, you brag about them, like, oh

54
00:02:33,120 --> 00:02:34,959
Speaker 1: you gotta check the show out. If you don't mind,

55
00:02:34,960 --> 00:02:37,000
Speaker 1: tell them about an interview that you like or this podcast.

56
00:02:37,120 --> 00:02:39,200
Speaker 1: That's how we are and if you don't mind rating

57
00:02:39,320 --> 00:02:41,919
Speaker 1: us and writing a comment to that would be fantastic.

58
00:02:42,280 --> 00:02:47,640
Speaker 1: We appreciate that so much. I welcome to episode two

59
00:02:47,680 --> 00:02:50,760
Speaker 1: O eight with Josh Kire. So we hadn't met until today,

60
00:02:50,760 --> 00:02:52,240
Speaker 1: but I've heard a lot about you, Like a lot

61
00:02:52,280 --> 00:02:54,600
Speaker 1: of people come in and you get brought up a

62
00:02:54,600 --> 00:02:58,560
Speaker 1: lot good. It's almost like, yeah, yeah, it's great actually,

63
00:02:58,880 --> 00:03:00,560
Speaker 1: because we were what my d and I do as

64
00:03:00,560 --> 00:03:01,760
Speaker 1: we sit around and go who would we like to

65
00:03:01,760 --> 00:03:04,360
Speaker 1: talk to? And you'd come up so many times. And

66
00:03:04,360 --> 00:03:05,560
Speaker 1: I can tell you the first time I came up

67
00:03:05,600 --> 00:03:08,240
Speaker 1: was with Dave Heywood and Dave was talking well, and

68
00:03:08,240 --> 00:03:09,960
Speaker 1: we'll talk about it later. He was just talking about

69
00:03:10,040 --> 00:03:12,360
Speaker 1: you know, need you now and how that song almost

70
00:03:12,400 --> 00:03:15,880
Speaker 1: didn't happen and then it almost didn't make the record,

71
00:03:16,120 --> 00:03:19,040
Speaker 1: and that whole process of that song. And so I

72
00:03:19,080 --> 00:03:20,400
Speaker 1: was like, you know, I'd like to talk to Josh

73
00:03:20,440 --> 00:03:21,800
Speaker 1: care And then you walk into there's a big picture

74
00:03:21,800 --> 00:03:25,440
Speaker 1: your face on the walls, humongous, so it's really good

75
00:03:25,440 --> 00:03:27,440
Speaker 1: to meet you. Good to meet you as well. I was, Um,

76
00:03:28,120 --> 00:03:30,800
Speaker 1: I do this and you'll see what this comes around

77
00:03:30,800 --> 00:03:32,679
Speaker 1: to you. But I do this motivational speech where I

78
00:03:32,680 --> 00:03:35,560
Speaker 1: go and talk to places, and there's the whole thing

79
00:03:35,560 --> 00:03:38,080
Speaker 1: that I do where I talk about how you don't

80
00:03:38,080 --> 00:03:41,800
Speaker 1: always have to be working to be moving forward. You

81
00:03:41,800 --> 00:03:44,320
Speaker 1: can just be listening at times. Um, you can be

82
00:03:44,840 --> 00:03:46,800
Speaker 1: present in what's happening around you. And I tell a

83
00:03:46,840 --> 00:03:51,000
Speaker 1: story about how Axl rose from guns and Roses is

84
00:03:51,000 --> 00:03:54,200
Speaker 1: sitting around and listening to Slash play the opening this

85
00:03:54,280 --> 00:03:56,680
Speaker 1: this this guitar riff, and I don't want to do

86
00:03:56,680 --> 00:03:58,200
Speaker 1: it exactly because I'll run the story. And he's playing

87
00:03:58,200 --> 00:04:02,400
Speaker 1: this guitar riff and Actel like, Man's just like that's interesting.

88
00:04:02,440 --> 00:04:05,360
Speaker 1: It's like, what is that? Slashes just playing a scale? Basically,

89
00:04:05,400 --> 00:04:09,320
Speaker 1: I'm playing a scale and and this is not a song.

90
00:04:09,360 --> 00:04:10,920
Speaker 1: I'm just warming up because we're about to go into

91
00:04:10,920 --> 00:04:13,960
Speaker 1: the studio. And so act was like, well, that's that's interesting.

92
00:04:14,080 --> 00:04:17,960
Speaker 1: He said, I wrote this poem for my girlfriend. Keep

93
00:04:18,000 --> 00:04:21,440
Speaker 1: playing that. And so Slash is playing the song an

94
00:04:21,440 --> 00:04:23,839
Speaker 1: actual starts reading this poem and it's like, this is it?

95
00:04:23,960 --> 00:04:25,839
Speaker 1: This is this is the song, Like I'm just listen.

96
00:04:26,000 --> 00:04:27,839
Speaker 1: He was just sitting in the room and it was

97
00:04:28,320 --> 00:04:31,200
Speaker 1: sweech all to mine and that's how the that's how

98
00:04:31,240 --> 00:04:34,720
Speaker 1: the song gets started. That and so Slashes sitting here

99
00:04:34,720 --> 00:04:38,240
Speaker 1: just playing this on his guitar and then inside of

100
00:04:38,279 --> 00:04:41,760
Speaker 1: the bridge of this song, he doesn't know where to

101
00:04:41,839 --> 00:04:44,239
Speaker 1: go with the song. He doesn't have it written because

102
00:04:44,279 --> 00:04:45,640
Speaker 1: back then they would just get in a studio and

103
00:04:45,640 --> 00:04:48,960
Speaker 1: just get totally wasted and and record. And so if

104
00:04:49,000 --> 00:04:50,880
Speaker 1: you remember the bridge of this song, he starts going

105
00:04:51,040 --> 00:04:54,760
Speaker 1: where do we go? Now? Where do we go? So

106
00:04:54,800 --> 00:04:57,880
Speaker 1: he had nothing. He literally didn't know where to go

107
00:04:57,960 --> 00:05:01,680
Speaker 1: with the song. That's awesome, And so how how I

108
00:05:01,720 --> 00:05:03,479
Speaker 1: bring this up to start with you is you know,

109
00:05:03,560 --> 00:05:06,360
Speaker 1: that's an interesting way to kind of get into a song. Ever,

110
00:05:06,440 --> 00:05:08,640
Speaker 1: sit in a room and somebody's just dicking around with something,

111
00:05:08,880 --> 00:05:12,000
Speaker 1: and you go, well, I really wasn't planning to go here,

112
00:05:12,000 --> 00:05:15,359
Speaker 1: but I have something that could work. I have UM

113
00:05:16,279 --> 00:05:20,520
Speaker 1: this page after page after page after page of titles

114
00:05:20,520 --> 00:05:24,679
Speaker 1: and ideas UM that I have always kept. I started

115
00:05:24,800 --> 00:05:29,039
Speaker 1: keeping it in college, and so typically when I walk

116
00:05:29,080 --> 00:05:32,200
Speaker 1: into a room, if somebody starts doing that, I don't

117
00:05:32,240 --> 00:05:36,560
Speaker 1: say anything. I just kind of opened my file UM

118
00:05:36,760 --> 00:05:39,279
Speaker 1: and start. I call it my Book of Spells because

119
00:05:39,400 --> 00:05:42,360
Speaker 1: Carrie Underwood called it that once in a UM in

120
00:05:42,680 --> 00:05:44,680
Speaker 1: a group setting, and she's like, oh, he just goes

121
00:05:44,680 --> 00:05:47,440
Speaker 1: through his book of spells. So I actually titled on

122
00:05:47,440 --> 00:05:50,320
Speaker 1: on my desktop my little Book of Spells. So I'll

123
00:05:50,320 --> 00:05:55,040
Speaker 1: click on that start kind of going through stuff UM almost.

124
00:05:55,440 --> 00:05:57,320
Speaker 1: You know, most of it does doesn't work for every

125
00:05:57,320 --> 00:05:59,160
Speaker 1: piece of music, obviously, So you just kind of sit

126
00:05:59,240 --> 00:06:00,880
Speaker 1: you kind of go through and go through and go through,

127
00:06:00,920 --> 00:06:03,960
Speaker 1: and so you finally go, I don't know, maybe that, um,

128
00:06:04,040 --> 00:06:07,279
Speaker 1: and I just start throwing things into the room. There's

129
00:06:07,320 --> 00:06:09,520
Speaker 1: that point in the beginning of every writing appointment whereas

130
00:06:09,520 --> 00:06:13,520
Speaker 1: far as lyrical ideas, you're either going to be the

131
00:06:13,600 --> 00:06:17,400
Speaker 1: absolute hero or you're gonna look like a moron. Um.

132
00:06:17,440 --> 00:06:20,080
Speaker 1: I've kind of always prided myself on being fearless when

133
00:06:20,120 --> 00:06:21,760
Speaker 1: it comes to throwing ideas in the room and just

134
00:06:21,839 --> 00:06:24,200
Speaker 1: kind of going, well, I took all that time to

135
00:06:24,279 --> 00:06:27,360
Speaker 1: come up with them, Let's see if there are any good.

136
00:06:27,440 --> 00:06:29,920
Speaker 1: There's only one way to find out. Can you think

137
00:06:29,920 --> 00:06:32,080
Speaker 1: of a song where you're going through the Book of

138
00:06:32,080 --> 00:06:36,440
Speaker 1: Spells and you're like, this might actually be something with

139
00:06:36,560 --> 00:06:40,960
Speaker 1: what you're doing now, Um, you mean with mute where

140
00:06:41,000 --> 00:06:44,120
Speaker 1: the music was already going and you're flipping through, and

141
00:06:44,200 --> 00:06:46,960
Speaker 1: you you go, well, I could actually attach to this

142
00:06:47,000 --> 00:06:48,400
Speaker 1: and we could go somewhere with it, and it turned

143
00:06:48,400 --> 00:06:52,799
Speaker 1: out to be something, you know, pretty cool? Oh man, Sorry,

144
00:06:52,920 --> 00:06:55,480
Speaker 1: Like running through songs in my brain run through um.

145
00:06:55,800 --> 00:07:03,240
Speaker 1: Typically um, some that have been written to tracts and things. Um.

146
00:07:03,600 --> 00:07:06,479
Speaker 1: Most of the time I come in with like pieces

147
00:07:06,480 --> 00:07:10,480
Speaker 1: of music and stuff. Yeah, at least something somewhat realized

148
00:07:10,960 --> 00:07:15,080
Speaker 1: or at least enough of a concept um that trying

149
00:07:15,080 --> 00:07:18,480
Speaker 1: to match it to somebody that's something already going isn't perfect.

150
00:07:19,120 --> 00:07:21,160
Speaker 1: So even then, a lot of times the musical change

151
00:07:21,160 --> 00:07:23,800
Speaker 1: ever so slightly. It's not usually an exact match. I

152
00:07:23,840 --> 00:07:26,440
Speaker 1: don't have a slash story. Do you ever wish? I?

153
00:07:26,440 --> 00:07:28,200
Speaker 1: Did you ever find? Because what I find when you

154
00:07:28,200 --> 00:07:31,840
Speaker 1: get into a room you say you're going fearless. If

155
00:07:31,880 --> 00:07:35,000
Speaker 1: I'm writing something comedy wise and someone comes in, and

156
00:07:35,040 --> 00:07:37,920
Speaker 1: when you don't know people, it's a you're a little

157
00:07:37,920 --> 00:07:40,520
Speaker 1: timid at first, and not so much because of your ideas,

158
00:07:40,520 --> 00:07:43,680
Speaker 1: but because just you don't know everyone's sensibilities. Right, it's

159
00:07:43,680 --> 00:07:46,600
Speaker 1: like a first date, it's a dance. Yeah, you're kind

160
00:07:46,600 --> 00:07:49,200
Speaker 1: of alright, Well if they and I have found that

161
00:07:49,280 --> 00:07:51,600
Speaker 1: when someone comes in and they're totally fearless, it actually

162
00:07:51,600 --> 00:07:54,960
Speaker 1: relaxes the whole room, Like it's actually a nice start

163
00:07:55,000 --> 00:07:57,080
Speaker 1: to the whole because you're like, oh, okay, if they

164
00:07:57,080 --> 00:08:00,000
Speaker 1: are going to be an idiot, and an idiot maybe

165
00:08:00,080 --> 00:08:03,440
Speaker 1: isn't the word, but it works the best. Yeah, And

166
00:08:03,520 --> 00:08:05,119
Speaker 1: I feel at times if I do that, it actually

167
00:08:05,160 --> 00:08:07,040
Speaker 1: makes the room a more productive room. If I just

168
00:08:07,080 --> 00:08:09,360
Speaker 1: go out and do the most bone head things sometimes

169
00:08:09,360 --> 00:08:12,680
Speaker 1: on purpose, it makes the room better because then everybody goes, oh,

170
00:08:12,720 --> 00:08:14,840
Speaker 1: Bobby's an idiot. I won't be nearest big of an idiot.

171
00:08:14,880 --> 00:08:17,280
Speaker 1: Let me start suggesting my ideas. And that's actually the

172
00:08:17,280 --> 00:08:20,280
Speaker 1: whole point of the reason I do it. I don't

173
00:08:20,320 --> 00:08:23,840
Speaker 1: often assume that the ideas that I'm gonna start throwing

174
00:08:23,840 --> 00:08:26,120
Speaker 1: out are what we're gonna work on. Um, And I

175
00:08:26,120 --> 00:08:29,480
Speaker 1: don't really care. Part of it is just getting any

176
00:08:29,560 --> 00:08:34,000
Speaker 1: kind of momentum going and um and getting the comfort

177
00:08:34,080 --> 00:08:38,000
Speaker 1: zone opened up, because once somebody starts talking and starts saying, hey,

178
00:08:38,000 --> 00:08:40,600
Speaker 1: what about this, what about this? What about this? Everybody

179
00:08:40,640 --> 00:08:43,480
Speaker 1: else feels a little more open to going through their

180
00:08:43,480 --> 00:08:49,240
Speaker 1: own stuff, especially if you've never worked together that first time,

181
00:08:49,440 --> 00:08:52,000
Speaker 1: where like like we're saying, it's a dance and kind

182
00:08:52,040 --> 00:08:53,920
Speaker 1: of your everybody's trying to figure out their role, where

183
00:08:53,920 --> 00:08:57,760
Speaker 1: they fit in, what they're supposed to be doing. Um.

184
00:08:57,880 --> 00:09:00,480
Speaker 1: I just I don't I love the is it and

185
00:09:00,520 --> 00:09:03,000
Speaker 1: I love to hang and all that that comes beforehand.

186
00:09:03,040 --> 00:09:06,080
Speaker 1: It's it's great to catch up and all that, but

187
00:09:06,160 --> 00:09:08,360
Speaker 1: at some point something's got to happen. And there's no

188
00:09:08,400 --> 00:09:10,000
Speaker 1: reason for us all to be hanging out right other.

189
00:09:10,320 --> 00:09:13,160
Speaker 1: So that's my way of being, like, all right, let's

190
00:09:13,200 --> 00:09:15,800
Speaker 1: get some work done. Come on, I'm gonna resume you

191
00:09:15,840 --> 00:09:17,839
Speaker 1: just a little bit and we'll go into some stories here.

192
00:09:17,880 --> 00:09:21,680
Speaker 1: But fourteen number one's just a few of them, Luke Brian,

193
00:09:21,760 --> 00:09:23,440
Speaker 1: most people are good. I bring that up because I

194
00:09:23,480 --> 00:09:27,360
Speaker 1: was a three week number one, a rarity that almost

195
00:09:27,360 --> 00:09:31,880
Speaker 1: a do dough bird of country music songs. These days, yeah,

196
00:09:31,920 --> 00:09:34,160
Speaker 1: I would say the white tiger now do to birds extinct?

197
00:09:35,280 --> 00:09:37,480
Speaker 1: Maybe the white tiger of country music songs a three

198
00:09:37,520 --> 00:09:39,920
Speaker 1: week number one. They're getting more and more rare. It

199
00:09:39,960 --> 00:09:42,920
Speaker 1: seems like I was asked on the red carpet last

200
00:09:42,920 --> 00:09:45,200
Speaker 1: week at CMT they said, hey, what was your song

201
00:09:45,280 --> 00:09:49,720
Speaker 1: of nine? And not that I would listen to it

202
00:09:49,760 --> 00:09:52,840
Speaker 1: all the time alone, but like I said, well, my song,

203
00:09:52,920 --> 00:09:55,360
Speaker 1: I think that was the most important to the format,

204
00:09:55,720 --> 00:09:59,199
Speaker 1: and that people have really gravitated too because of the

205
00:09:59,240 --> 00:10:02,480
Speaker 1: message was most people are good, and that's what came

206
00:10:02,480 --> 00:10:05,439
Speaker 1: to my mind. That was my my visceral emotional reaction

207
00:10:05,480 --> 00:10:09,000
Speaker 1: to what was the song of So congratulations one on

208
00:10:09,080 --> 00:10:12,000
Speaker 1: three week number one, but also a lot of people went, man,

209
00:10:12,040 --> 00:10:15,200
Speaker 1: it's nice to just like I have that song. I

210
00:10:15,280 --> 00:10:18,800
Speaker 1: needed that song, Yeah, I did. I wrote most of

211
00:10:18,800 --> 00:10:22,240
Speaker 1: the time. When when um, you meet people socially and

212
00:10:22,280 --> 00:10:24,480
Speaker 1: they ask you, they find out your song right and say, so,

213
00:10:24,520 --> 00:10:28,600
Speaker 1: what do you write? You know obviously they mean rock, pop, country, whatever,

214
00:10:28,920 --> 00:10:33,199
Speaker 1: and I smile and say, I write fiction because that's

215
00:10:33,280 --> 00:10:35,200
Speaker 1: kind of what I do. I said around and just

216
00:10:35,440 --> 00:10:40,080
Speaker 1: generally make up stories and things UM put In that

217
00:10:40,120 --> 00:10:44,840
Speaker 1: particular case, that was written in two thousands sixteen during

218
00:10:44,960 --> 00:10:47,880
Speaker 1: the presidential election or the build up to the election.

219
00:10:49,080 --> 00:10:51,679
Speaker 1: Between that and some of the other things were also

220
00:10:51,760 --> 00:10:54,280
Speaker 1: going on in the world at the time, I was

221
00:10:54,320 --> 00:10:57,600
Speaker 1: really kind of depressed, I mean, just watching some things

222
00:10:57,640 --> 00:11:00,760
Speaker 1: and kind of went, you know what, UM, it's not

223
00:11:00,840 --> 00:11:04,080
Speaker 1: all bad. It's really not all bad. And I showed

224
00:11:04,160 --> 00:11:07,559
Speaker 1: up UM at my studio that day and I was

225
00:11:07,600 --> 00:11:09,840
Speaker 1: writing with Ed Hill and David Fraser, who I've written

226
00:11:09,880 --> 00:11:16,600
Speaker 1: with close to twenty years, and luckily we've again we

227
00:11:16,640 --> 00:11:19,000
Speaker 1: know each other so well that I kind of know

228
00:11:19,080 --> 00:11:21,360
Speaker 1: where they are in their lives as well, and it

229
00:11:21,520 --> 00:11:24,200
Speaker 1: just it was the right right idea for the right

230
00:11:24,200 --> 00:11:28,640
Speaker 1: group of people, and um, I desperately needed that song.

231
00:11:28,720 --> 00:11:30,600
Speaker 1: I still find that when I sat around and play

232
00:11:30,640 --> 00:11:35,240
Speaker 1: that song when I'm performing, um, it's it's still takes

233
00:11:35,240 --> 00:11:36,960
Speaker 1: me back to that place that I desperately need to

234
00:11:36,960 --> 00:11:41,040
Speaker 1: be these days. Talked me through the life of after

235
00:11:41,160 --> 00:11:44,360
Speaker 1: you wrote the song, because we know the end product.

236
00:11:44,360 --> 00:11:46,640
Speaker 1: We've seen the manufacturing of a three week number one

237
00:11:46,640 --> 00:11:49,040
Speaker 1: like it's been through. We've seen it. It's been great.

238
00:11:49,559 --> 00:11:52,319
Speaker 1: But you write it and that's a it's been a

239
00:11:52,360 --> 00:11:55,640
Speaker 1: couple of years now, a few years now actually, So

240
00:11:55,840 --> 00:11:58,400
Speaker 1: what happens right after you write this song? Do you

241
00:11:58,440 --> 00:12:00,160
Speaker 1: feel like it could be something? And where does it go?

242
00:12:00,280 --> 00:12:01,920
Speaker 1: And it just kind of talked me through that. So

243
00:12:02,080 --> 00:12:05,880
Speaker 1: we wrote the song, Um I was the only I

244
00:12:05,960 --> 00:12:07,600
Speaker 1: just sat and played guitar while we were writing it.

245
00:12:07,600 --> 00:12:09,680
Speaker 1: So I was the only one playing during the writing.

246
00:12:10,080 --> 00:12:12,480
Speaker 1: And then when the other guys left, I stayed right

247
00:12:12,480 --> 00:12:16,880
Speaker 1: there in my studio and built up the record from scratch.

248
00:12:17,480 --> 00:12:20,480
Speaker 1: And it sounds almost identical to what you ended up

249
00:12:20,520 --> 00:12:23,040
Speaker 1: hearing on the Luke record. Did they use any of

250
00:12:23,240 --> 00:12:25,079
Speaker 1: that of your track? Now, they didn't use any of

251
00:12:25,120 --> 00:12:28,040
Speaker 1: my track. I think they even might have changed the key.

252
00:12:28,160 --> 00:12:30,080
Speaker 1: And they cut with a live band and of course

253
00:12:30,160 --> 00:12:33,559
Speaker 1: playing individual bits and pieces and m Jeff didn't need

254
00:12:33,600 --> 00:12:39,960
Speaker 1: my tracks pretty obviously and finished it up. I think

255
00:12:40,040 --> 00:12:42,120
Speaker 1: I spent the rest of that day and part of

256
00:12:42,120 --> 00:12:45,440
Speaker 1: the next day finishing up the demo turned it into

257
00:12:45,440 --> 00:12:49,679
Speaker 1: the publisher, and that is usually for me where my

258
00:12:50,480 --> 00:12:53,320
Speaker 1: contact with the song essentially ends. You spent a lot

259
00:12:53,320 --> 00:12:55,160
Speaker 1: of time with it. Did you feel you just because

260
00:12:55,160 --> 00:12:57,800
Speaker 1: you spent almost two days, did you feel like it

261
00:12:57,880 --> 00:12:59,760
Speaker 1: was a two day worthy song? Or is that just

262
00:12:59,800 --> 00:13:02,280
Speaker 1: then almost process for anything that you've written. If I'm

263
00:13:02,280 --> 00:13:04,720
Speaker 1: the one doing the demo, it takes me that along.

264
00:13:04,880 --> 00:13:10,000
Speaker 1: I'm just not fast. Um, I'm I'm a slow builder

265
00:13:10,040 --> 00:13:14,040
Speaker 1: when it comes to building out a demo, and even

266
00:13:14,120 --> 00:13:20,480
Speaker 1: beyond that, typically, um, I'm not great at them. It's

267
00:13:20,480 --> 00:13:23,520
Speaker 1: not really my forte. I'll do them this when I'm

268
00:13:23,520 --> 00:13:25,320
Speaker 1: the one that ends up being the person in the

269
00:13:25,400 --> 00:13:28,120
Speaker 1: room that has that skill set. But I prefer having

270
00:13:28,160 --> 00:13:31,760
Speaker 1: a Jesse Fraser or Ross conferm real good, like somebody

271
00:13:31,800 --> 00:13:34,360
Speaker 1: that actually is that guy? Did you do the vocal

272
00:13:34,400 --> 00:13:36,719
Speaker 1: on it? Yeah? And so you send it off and

273
00:13:36,800 --> 00:13:38,560
Speaker 1: usually that's when you cut. You're like, all right, go

274
00:13:38,679 --> 00:13:41,880
Speaker 1: live your life, kid. I said you sent you to college. Yeah, yeah,

275
00:13:41,920 --> 00:13:43,319
Speaker 1: I don't really call I don't really think of them

276
00:13:43,320 --> 00:13:45,440
Speaker 1: as kids because I have a kid, and so I

277
00:13:45,480 --> 00:13:48,520
Speaker 1: have that emotional separation. It's like, Okay, it's another day,

278
00:13:48,880 --> 00:13:52,920
Speaker 1: it's another song. Um. I've been writing a hundred hundred

279
00:13:52,960 --> 00:13:55,480
Speaker 1: twenty songs a year professionally for the last twenty five years,

280
00:13:57,559 --> 00:14:01,120
Speaker 1: and wrote pretty much every day as an amateur for

281
00:14:01,160 --> 00:14:04,319
Speaker 1: the eight years before that. I'm at the point now

282
00:14:04,320 --> 00:14:07,320
Speaker 1: where I love all of them. Every single thing I write,

283
00:14:07,360 --> 00:14:10,760
Speaker 1: I pour myself into while I'm writing it, and then

284
00:14:11,400 --> 00:14:15,160
Speaker 1: I don't have any issues letting it go and just

285
00:14:15,880 --> 00:14:18,200
Speaker 1: waiting and see what seeing what happened. So I handed

286
00:14:18,240 --> 00:14:21,800
Speaker 1: off the publisher and it's very much there that that's

287
00:14:21,800 --> 00:14:24,800
Speaker 1: their gig, you know, go get the songs recorded. And

288
00:14:24,840 --> 00:14:27,280
Speaker 1: it's tough to get outside songs recorded these days that

289
00:14:27,320 --> 00:14:31,240
Speaker 1: aren't written with with an artist store. And in this

290
00:14:31,280 --> 00:14:34,920
Speaker 1: particular case, that song almost immediately went whole on hold

291
00:14:34,960 --> 00:14:38,720
Speaker 1: for a different artist. Not a bad taste to do

292
00:14:38,760 --> 00:14:46,160
Speaker 1: its rhyme No, no, I'm not going to do that. Okay,

293
00:14:46,200 --> 00:14:52,960
Speaker 1: go ahead, nah um, And unfortunately for me, my plugger

294
00:14:52,960 --> 00:14:56,360
Speaker 1: went ahead and and played it for Jeff for Luke,

295
00:14:57,080 --> 00:15:00,960
Speaker 1: letting Jeff know that technically it was already somewhere else

296
00:15:01,560 --> 00:15:06,360
Speaker 1: because somebody, somebody besides my publisher, had gotten had gotten

297
00:15:06,400 --> 00:15:08,560
Speaker 1: to pitch the song before I had actually turned it

298
00:15:08,560 --> 00:15:11,440
Speaker 1: into my publisher, because I sent the song to my

299
00:15:11,480 --> 00:15:13,520
Speaker 1: co writers and I was waiting to hear back from

300
00:15:13,560 --> 00:15:16,080
Speaker 1: them to see whether or not the demo was everybody

301
00:15:16,120 --> 00:15:20,320
Speaker 1: was happy, and it was on hold before I got

302
00:15:20,920 --> 00:15:25,240
Speaker 1: the thumbs up from both of them port to port Javine, Yeah, alright.

303
00:15:25,280 --> 00:15:27,680
Speaker 1: I just thought, alright, alright, he's just gonna keep trying.

304
00:15:28,040 --> 00:15:31,240
Speaker 1: This is gonna be a fun game. Um. But that's

305
00:15:31,240 --> 00:15:33,720
Speaker 1: a good sign. Right. The song goes listen, And I've

306
00:15:33,720 --> 00:15:35,400
Speaker 1: talked to a lot of people who they they've written

307
00:15:35,400 --> 00:15:38,880
Speaker 1: great songs and they feel great, they felt great songs

308
00:15:39,160 --> 00:15:41,520
Speaker 1: and they're like, oh crap, I don't want that artist

309
00:15:41,560 --> 00:15:43,120
Speaker 1: to get ahold of that song because I feel like

310
00:15:43,160 --> 00:15:45,040
Speaker 1: it could really be special for somebody. And they don't

311
00:15:45,120 --> 00:15:46,440
Speaker 1: hit on the artist. They didn't say who was I,

312
00:15:46,520 --> 00:15:50,160
Speaker 1: of course, but they would go, oh, I would really

313
00:15:50,240 --> 00:15:53,320
Speaker 1: rather someone that really has a that's working in the

314
00:15:53,440 --> 00:15:56,720
Speaker 1: radio format right now to have this song, which that's

315
00:15:56,760 --> 00:16:00,760
Speaker 1: always awkward conversation. It is, and it's not even a conversation.

316
00:16:00,800 --> 00:16:04,000
Speaker 1: I'm usually a part of UM. In this particular case,

317
00:16:05,000 --> 00:16:07,600
Speaker 1: Jeff went ahead and send it to Luke. Okay, this

318
00:16:07,640 --> 00:16:09,640
Speaker 1: is my understanding of all this, keeping keeping in mind

319
00:16:09,680 --> 00:16:11,960
Speaker 1: that I'm not present for any of this, but my

320
00:16:12,040 --> 00:16:14,480
Speaker 1: understanding of the way that's all unfolded is Jeff then

321
00:16:14,520 --> 00:16:16,960
Speaker 1: sent the song to Luke. Luke loved it. Jeff let

322
00:16:17,040 --> 00:16:20,240
Speaker 1: us know and just said, hey, I gotta keep me posted,

323
00:16:20,920 --> 00:16:24,040
Speaker 1: let us know if the song becomes you know, free

324
00:16:24,040 --> 00:16:29,320
Speaker 1: and clear, and luckily UM for me, it did and

325
00:16:29,720 --> 00:16:32,600
Speaker 1: it never left Luke after that. In the minute I

326
00:16:32,640 --> 00:16:35,560
Speaker 1: heard that that Luke was into it, because I don't

327
00:16:35,560 --> 00:16:38,800
Speaker 1: write them with people in mind typically, but as soon

328
00:16:38,840 --> 00:16:41,480
Speaker 1: as I heard his name attached to it, I was like, oh, yeah,

329
00:16:41,520 --> 00:16:46,680
Speaker 1: that's home brand. That makes perfect sense across the board,

330
00:16:46,800 --> 00:16:53,600
Speaker 1: everything about the melody, um, the lyric, the sensibility, it

331
00:16:53,720 --> 00:16:56,520
Speaker 1: just seemed to match. It seemed a perfect match. And

332
00:16:57,280 --> 00:17:02,160
Speaker 1: it was so Luke gets the song and until it's

333
00:17:02,160 --> 00:17:04,800
Speaker 1: actually cut. I don't know, if you heard a lot

334
00:17:04,840 --> 00:17:07,000
Speaker 1: of times you don't hear it until it's actually like

335
00:17:07,280 --> 00:17:10,439
Speaker 1: available for consumption. Yeah, that's typically when I get to

336
00:17:10,440 --> 00:17:15,119
Speaker 1: hear it. Although in this particular case, Jeff's Jeff's places

337
00:17:15,200 --> 00:17:19,960
Speaker 1: right around the corner from my studio, and he brought

338
00:17:21,119 --> 00:17:23,280
Speaker 1: my publisher and I over and played it for us,

339
00:17:23,440 --> 00:17:26,960
Speaker 1: and you thought, I thought amazing. I was thrilled. Now

340
00:17:27,040 --> 00:17:29,639
Speaker 1: at this point, though, is it for sure on the

341
00:17:29,680 --> 00:17:32,439
Speaker 1: record or is it just as long with the cut? Well,

342
00:17:33,080 --> 00:17:34,840
Speaker 1: I don't think Jeff would have brought me over there,

343
00:17:35,240 --> 00:17:38,160
Speaker 1: in all honesty if it wasn't going to make the record. Now,

344
00:17:38,200 --> 00:17:41,800
Speaker 1: he wasn't telling me it was a single. Matter of fact,

345
00:17:41,840 --> 00:17:45,040
Speaker 1: I think they'd already picked the first single and it

346
00:17:45,080 --> 00:17:48,320
Speaker 1: wasn't even out yet, so I obviously didn't have any

347
00:17:48,359 --> 00:17:50,800
Speaker 1: idea whether or not they would they would send it

348
00:17:50,800 --> 00:17:55,879
Speaker 1: to you guys at radio. Fortunately for me, Um, I

349
00:17:55,920 --> 00:17:58,120
Speaker 1: think they already kind of knew that it was going

350
00:17:58,160 --> 00:18:02,200
Speaker 1: to be but they're professional enough not to make promises

351
00:18:02,240 --> 00:18:04,760
Speaker 1: they can't keep, and I totally get that. I never

352
00:18:04,800 --> 00:18:06,879
Speaker 1: expect out of anybody. And the first time you heard

353
00:18:06,920 --> 00:18:10,040
Speaker 1: it on the radio, gosh, I don't know have you

354
00:18:10,040 --> 00:18:11,440
Speaker 1: even heard it yet? Do you even have a radio?

355
00:18:12,600 --> 00:18:15,639
Speaker 1: Because I'm talking you're not in anything, No Facebook, no Twitter,

356
00:18:16,080 --> 00:18:20,400
Speaker 1: barely on Instagram, well and truthful, not even on Instagram.

357
00:18:20,440 --> 00:18:24,439
Speaker 1: I made a decision years ago not to be in

358
00:18:24,600 --> 00:18:30,560
Speaker 1: social media. I Big Yellow Dog, my publisher. I decided

359
00:18:30,600 --> 00:18:33,200
Speaker 1: that it was important for those things to actually exist,

360
00:18:33,880 --> 00:18:36,920
Speaker 1: and they took it upon themselves to have those things,

361
00:18:37,160 --> 00:18:40,800
Speaker 1: and they do exist. I don't even have the passwords

362
00:18:40,840 --> 00:18:45,840
Speaker 1: for them, so I'm not on them. Which do you

363
00:18:45,880 --> 00:18:49,080
Speaker 1: even have a radio? That was my next There is

364
00:18:49,119 --> 00:18:52,520
Speaker 1: a radio in my car and I do listen to it,

365
00:18:52,640 --> 00:18:56,760
Speaker 1: switching between that and different podcasts and books on audible

366
00:18:56,840 --> 00:19:02,400
Speaker 1: and things. Um, but it's it's a pretty limited It's

367
00:19:02,520 --> 00:19:04,040
Speaker 1: none of us have a whole lot of time, right

368
00:19:04,760 --> 00:19:09,159
Speaker 1: and for the most part, if I have, if I

369
00:19:09,240 --> 00:19:11,120
Speaker 1: have a little bit of free time, I either want

370
00:19:11,119 --> 00:19:12,760
Speaker 1: to give it to my wife. I don't want to

371
00:19:12,760 --> 00:19:14,119
Speaker 1: give it to my daughter. Or I can want to

372
00:19:14,119 --> 00:19:16,400
Speaker 1: give it to one of my friends, and I want

373
00:19:16,400 --> 00:19:18,080
Speaker 1: to give it to them in a very real way.

374
00:19:18,119 --> 00:19:19,960
Speaker 1: I want to I want to talk to somebody. I

375
00:19:20,000 --> 00:19:22,680
Speaker 1: want to speak. I want to hear their voice. Um.

376
00:19:22,720 --> 00:19:26,440
Speaker 1: I don't even like texting, truthfully, I wish people still

377
00:19:26,440 --> 00:19:35,000
Speaker 1: picked up the phone. I'm gonna go through your resume

378
00:19:35,040 --> 00:19:36,680
Speaker 1: a little more. Have a drink water, Oh yeah, I

379
00:19:36,720 --> 00:19:38,320
Speaker 1: take a little drink here. I'm gonna go because we're

380
00:19:38,320 --> 00:19:40,119
Speaker 1: gonna take a second here. He's got fourteen number one,

381
00:19:40,200 --> 00:19:43,159
Speaker 1: including Drunk on You from Luke Bryan. Here you go,

382
00:19:44,359 --> 00:19:48,800
Speaker 1: my speakers go, that's you all, God, your Mama and me.

383
00:19:54,119 --> 00:19:58,720
Speaker 1: Tim McGraw Highway, don't care. Like I would like to

384
00:19:58,760 --> 00:20:00,080
Speaker 1: go into choice from all these songs, I'm gonn to

385
00:20:00,119 --> 00:20:02,679
Speaker 1: stop here. This is an interesting one to me because

386
00:20:02,720 --> 00:20:05,280
Speaker 1: I this is about the time that I come to town.

387
00:20:06,480 --> 00:20:08,280
Speaker 1: And I'm not sure when this song actually came out,

388
00:20:08,280 --> 00:20:09,720
Speaker 1: but I came to town in two thousand and thirteen,

389
00:20:09,760 --> 00:20:13,480
Speaker 1: so around is when this song that sounds about right

390
00:20:13,520 --> 00:20:15,640
Speaker 1: it comes out. So when I hear it, it reminds

391
00:20:15,640 --> 00:20:17,639
Speaker 1: me of driving to Nashville. I think we all have

392
00:20:17,680 --> 00:20:19,960
Speaker 1: a song, a couple of songs that remind us at

393
00:20:20,000 --> 00:20:22,080
Speaker 1: the time when we moved to Nashville. Yeah, because you're

394
00:20:22,080 --> 00:20:24,119
Speaker 1: from Tennessee, but you're not from Nashville right now, from

395
00:20:24,119 --> 00:20:26,680
Speaker 1: about five hours from here, okay, but from Tennessee. Yeah.

396
00:20:26,720 --> 00:20:30,680
Speaker 1: Well yeah, I grew up in Tennessee from three to seventeen. Yeah, So,

397
00:20:32,119 --> 00:20:33,760
Speaker 1: and I'm coming back to that song. What song is

398
00:20:33,800 --> 00:20:36,760
Speaker 1: it for you when you think of moving to Nashville

399
00:20:37,720 --> 00:20:39,520
Speaker 1: that pops it. It It can be any format of song,

400
00:20:40,280 --> 00:20:43,120
Speaker 1: but for me, Highway Don't Care is that as that song.

401
00:20:43,920 --> 00:20:47,760
Speaker 1: It's Taylor and urban and tim right, I'm gonna put

402
00:20:47,760 --> 00:20:50,320
Speaker 1: you on crazy combination. What is your song? Before we

403
00:20:50,359 --> 00:20:52,960
Speaker 1: get into the story about this song. Um, when I

404
00:20:53,000 --> 00:20:56,639
Speaker 1: think of the song that I was listening, the Border

405
00:20:56,760 --> 00:21:00,960
Speaker 1: Run album springste just the Springstet's for Innstein record is

406
00:21:01,000 --> 00:21:03,320
Speaker 1: probably the one that when I think of hopping in

407
00:21:03,359 --> 00:21:08,080
Speaker 1: the car, um and heading to Middle Tennessee Because I

408
00:21:08,119 --> 00:21:11,280
Speaker 1: was good. I moved to Middle Tennessee and at seventeen

409
00:21:11,600 --> 00:21:16,160
Speaker 1: to go to Mt. S U. And I didn't even

410
00:21:16,200 --> 00:21:20,520
Speaker 1: have a car then, so I didn't really have the

411
00:21:20,600 --> 00:21:23,480
Speaker 1: coming to Nashville moment until the following year when I

412
00:21:23,520 --> 00:21:26,720
Speaker 1: finally got a car, and so UM, when I was

413
00:21:26,760 --> 00:21:29,320
Speaker 1: leaving my parents place and drive into Nashville the first

414
00:21:29,320 --> 00:21:31,560
Speaker 1: time with my own car, it was the Born to

415
00:21:31,640 --> 00:21:34,320
Speaker 1: Run record that I listened to over and over and

416
00:21:34,400 --> 00:21:37,280
Speaker 1: over and over, and thunder Road is probably my favorite

417
00:21:37,320 --> 00:21:39,879
Speaker 1: song of all time. So anytime I'm in a car,

418
00:21:40,359 --> 00:21:44,360
Speaker 1: even if the beautiful, even if the radio isn't playing,

419
00:21:44,560 --> 00:21:47,000
Speaker 1: that's often the song that is in my head. Isn't

420
00:21:47,040 --> 00:21:49,439
Speaker 1: it a wild and I write a psychology book that

421
00:21:49,560 --> 00:21:52,040
Speaker 1: often references called I'm Okay, You're Okay, and they talk

422
00:21:52,119 --> 00:21:54,560
Speaker 1: about music in the brain and the music that we're

423
00:21:54,600 --> 00:21:57,240
Speaker 1: listening to at a certain point in our life. For you,

424
00:21:57,240 --> 00:22:01,440
Speaker 1: you talk about thunder Road from I think about being

425
00:22:01,440 --> 00:22:03,440
Speaker 1: in college and listening to Count and Cross this Desert

426
00:22:03,480 --> 00:22:05,399
Speaker 1: life all the time, over and over again. But what

427
00:22:05,440 --> 00:22:07,560
Speaker 1: happens is when we hear it again, it triggers that

428
00:22:07,640 --> 00:22:09,400
Speaker 1: same part of our brain and just for a place

429
00:22:09,400 --> 00:22:11,800
Speaker 1: a second, it's the chemical release that makes us, just

430
00:22:11,920 --> 00:22:14,000
Speaker 1: for that brief moment, feel the exact same way we

431
00:22:14,080 --> 00:22:17,360
Speaker 1: felt whenever we were doing our first round with it.

432
00:22:17,560 --> 00:22:19,880
Speaker 1: And it's why we love that music so much, because

433
00:22:19,920 --> 00:22:23,119
Speaker 1: it reminds us of a time that was insert whatever

434
00:22:23,160 --> 00:22:27,040
Speaker 1: word do you want better, worse, more fulfilling, more exciting.

435
00:22:27,640 --> 00:22:30,919
Speaker 1: But and I wonder, when you hear thunder Road, just

436
00:22:30,960 --> 00:22:34,120
Speaker 1: for a second, get that feeling every time. It's it's

437
00:22:34,119 --> 00:22:38,240
Speaker 1: a weird I have. It's great to hear it, but

438
00:22:38,320 --> 00:22:41,000
Speaker 1: I actually have a hard time sometimes listening to that

439
00:22:41,040 --> 00:22:44,480
Speaker 1: album now because it's so emotionally charged for me from

440
00:22:44,480 --> 00:22:46,720
Speaker 1: that period of my life. No, no no, no, no, no

441
00:22:48,119 --> 00:22:51,679
Speaker 1: no no, It's all good. But it's a it's that

442
00:22:52,000 --> 00:22:55,920
Speaker 1: no I go to see a Mary Chance, I can um.

443
00:22:56,000 --> 00:23:01,359
Speaker 1: But it is this weird time travel moment back to

444
00:23:01,440 --> 00:23:05,760
Speaker 1: this moment in time where I was dying to do this,

445
00:23:06,520 --> 00:23:09,160
Speaker 1: dying to come to Nashville, dying to write songs, wanting

446
00:23:09,200 --> 00:23:13,320
Speaker 1: to take on the world, um, and wanting to get

447
00:23:13,320 --> 00:23:15,320
Speaker 1: out of my little town and just get on with

448
00:23:15,400 --> 00:23:19,680
Speaker 1: life and um. Yeah. And it takes me back there

449
00:23:19,680 --> 00:23:24,120
Speaker 1: emotionally every single time. And while I get I get

450
00:23:24,200 --> 00:23:29,280
Speaker 1: super excited about it, I'm also kind of glad I'm

451
00:23:29,320 --> 00:23:32,200
Speaker 1: not there anymore, you know. I'm kind of glad that

452
00:23:32,240 --> 00:23:35,080
Speaker 1: I'm at a different, very different stage in life now.

453
00:23:35,160 --> 00:23:40,920
Speaker 1: And I remember going to see Bruce play Downtown about

454
00:23:40,960 --> 00:23:43,920
Speaker 1: a week after my daughter was born, and they were

455
00:23:44,080 --> 00:23:46,200
Speaker 1: the band was playing the whole Born to Run records

456
00:23:46,200 --> 00:23:51,240
Speaker 1: start to finish, and they played it about halfway through

457
00:23:51,440 --> 00:23:55,960
Speaker 1: the set, and from the opening notes of thunder Road

458
00:23:56,760 --> 00:23:59,600
Speaker 1: right to the very last notes of jungle Land, I

459
00:23:59,680 --> 00:24:03,120
Speaker 1: was on my feet, like trying to lose my voice

460
00:24:03,160 --> 00:24:05,800
Speaker 1: for the next three years, And as soon as the

461
00:24:05,880 --> 00:24:09,560
Speaker 1: last note faded from jungle Land, he was getting ready

462
00:24:09,760 --> 00:24:12,760
Speaker 1: to rip into the next song because they were probably

463
00:24:12,800 --> 00:24:15,760
Speaker 1: still going to play for another forty five minutes, and

464
00:24:15,840 --> 00:24:18,200
Speaker 1: I went, Okay, that's what I needed, and I went

465
00:24:18,240 --> 00:24:23,199
Speaker 1: home because at that point that record had reminded me

466
00:24:23,280 --> 00:24:25,439
Speaker 1: so much of where I am now as opposed to

467
00:24:25,440 --> 00:24:27,240
Speaker 1: where I was when I first fell in love with it,

468
00:24:27,800 --> 00:24:29,520
Speaker 1: and I just wanted to be home with my wife

469
00:24:29,520 --> 00:24:32,480
Speaker 1: and my newborn. Even even though I paid a bunch

470
00:24:32,520 --> 00:24:34,919
Speaker 1: of money for that ticket to be there, I just

471
00:24:35,000 --> 00:24:37,439
Speaker 1: kind of went, oh, and this isn't where you're supposed

472
00:24:37,480 --> 00:24:40,320
Speaker 1: to be? Now? What was it about music? Like? Where?

473
00:24:40,320 --> 00:24:42,399
Speaker 1: Where did that come from? In you? That made you

474
00:24:42,440 --> 00:24:45,480
Speaker 1: want to do this? I had a crush on a

475
00:24:45,560 --> 00:24:49,000
Speaker 1: girl in my English class when I was thirteen, and

476
00:24:49,119 --> 00:24:53,000
Speaker 1: she had a crush on somebody else. And I went

477
00:24:53,080 --> 00:24:59,679
Speaker 1: home one night and for some completely inexplicable reason, I

478
00:24:59,720 --> 00:25:06,240
Speaker 1: said down, and I wrote a lyric and found a

479
00:25:06,320 --> 00:25:08,760
Speaker 1: melody for it, and sang it into a tape recorder

480
00:25:09,880 --> 00:25:13,600
Speaker 1: and felt better. And the next day I did it again,

481
00:25:15,040 --> 00:25:17,439
Speaker 1: and to this day I have never figured out how

482
00:25:17,480 --> 00:25:21,240
Speaker 1: to stop. It wasn't a like I couldn't play an

483
00:25:21,240 --> 00:25:24,080
Speaker 1: instrument other than trumpet. It's really hard to sing and

484
00:25:24,080 --> 00:25:26,760
Speaker 1: play trump at the same time, So I didn't have

485
00:25:28,280 --> 00:25:33,800
Speaker 1: musical outlet really other than my voice and words. So

486
00:25:34,000 --> 00:25:39,240
Speaker 1: for the next three years, I wrote songs almost every

487
00:25:39,240 --> 00:25:41,040
Speaker 1: single day, just sitting down with a blank sheeet of

488
00:25:41,040 --> 00:25:43,159
Speaker 1: paper and writing words and singing them into a tape recorder,

489
00:25:43,320 --> 00:25:45,880
Speaker 1: just melodies, no guitar, just melodies, no instrument at all,

490
00:25:46,000 --> 00:25:50,240
Speaker 1: no instrumentation. And then I kind of decided that, um,

491
00:25:50,320 --> 00:25:52,480
Speaker 1: maybe I'd learned to play piano. So I went and

492
00:25:52,480 --> 00:25:54,920
Speaker 1: I started to take some piano lessons, begged my parents

493
00:25:54,920 --> 00:25:56,480
Speaker 1: for piano lessons. We didn't known a piano or a

494
00:25:56,560 --> 00:25:59,919
Speaker 1: keyboard or anything. And I think it was on a

495
00:26:00,000 --> 00:26:02,520
Speaker 1: about my third piano lesson that I sat down my

496
00:26:02,520 --> 00:26:05,920
Speaker 1: piano teacher and said, you know, the classical stuff you're

497
00:26:05,920 --> 00:26:08,399
Speaker 1: trying to teach me is great, but I really just

498
00:26:08,440 --> 00:26:11,199
Speaker 1: want to play let it be. Could could you just

499
00:26:11,240 --> 00:26:15,399
Speaker 1: teach me? Hey, Jude? And she was kind, yeah, I

500
00:26:15,440 --> 00:26:18,800
Speaker 1: don't really do that because you can probably figure that

501
00:26:18,800 --> 00:26:20,919
Speaker 1: out on your own. I said, okay. I went to

502
00:26:20,960 --> 00:26:23,760
Speaker 1: my parents and said, all right, instead of paying for

503
00:26:23,800 --> 00:26:25,639
Speaker 1: piano lessons, can you just get me a little keyboard

504
00:26:26,400 --> 00:26:29,200
Speaker 1: that I can play at home and I'll just figure

505
00:26:29,200 --> 00:26:32,679
Speaker 1: it out. And I from that point on I started

506
00:26:33,080 --> 00:26:36,600
Speaker 1: writing songs with my really simple little piano chords, and

507
00:26:36,600 --> 00:26:39,200
Speaker 1: then my eighteenth birthday, my parents bought me my first

508
00:26:39,200 --> 00:26:46,119
Speaker 1: acoustic guitar. Were they musical? My dad played guitar, about

509
00:26:46,119 --> 00:26:48,720
Speaker 1: four or five chords and a lot of oldies, a

510
00:26:48,720 --> 00:26:50,480
Speaker 1: lot of like Elvis and that sort of thing, and

511
00:26:50,520 --> 00:26:53,320
Speaker 1: I would sit around with him and sing in the

512
00:26:53,359 --> 00:26:57,840
Speaker 1: living room. But I never thought, I mean, just playing

513
00:26:57,880 --> 00:27:00,880
Speaker 1: his guitar never really was my thing, and now that's

514
00:27:00,960 --> 00:27:03,160
Speaker 1: my primary instrument. That's what I do all the time,

515
00:27:03,200 --> 00:27:04,919
Speaker 1: said around play guitar. So it's really weird to me

516
00:27:04,920 --> 00:27:07,520
Speaker 1: how there was one in our house and I just

517
00:27:07,960 --> 00:27:11,439
Speaker 1: didn't go for it. Was it ever for you? I

518
00:27:11,480 --> 00:27:13,760
Speaker 1: want to be a singer? Like, did you come to

519
00:27:13,640 --> 00:27:16,919
Speaker 1: town with the ambition I'm gonna go be a performer? No?

520
00:27:17,960 --> 00:27:26,640
Speaker 1: I had. I toyed with it briefly, but not. There's

521
00:27:26,680 --> 00:27:28,720
Speaker 1: so many, so many people that come to town. That

522
00:27:28,760 --> 00:27:31,160
Speaker 1: is they're calling, that is their desire, that is their

523
00:27:31,200 --> 00:27:33,600
Speaker 1: goal in life, that is their be all and all

524
00:27:33,720 --> 00:27:37,480
Speaker 1: dream job. That was not mine. I truly wanted to

525
00:27:37,480 --> 00:27:42,399
Speaker 1: write songs, and then I got really frustrated after about

526
00:27:42,440 --> 00:27:44,960
Speaker 1: four years of my first publishing deal at b I

527
00:27:45,000 --> 00:27:48,280
Speaker 1: was with BMG for six years, not four years into it.

528
00:27:48,760 --> 00:27:52,440
Speaker 1: I'd had a few songs recorded, but not as many

529
00:27:52,480 --> 00:27:56,360
Speaker 1: as I would have liked. That's every single songwriter from

530
00:27:56,720 --> 00:27:59,240
Speaker 1: amateurs all the way to actually corny. Probably nobody gets

531
00:27:59,240 --> 00:28:02,240
Speaker 1: as many cuts as they one. But I was, I was,

532
00:28:03,800 --> 00:28:07,160
Speaker 1: I was having these moments, was going, well, maybe maybe

533
00:28:07,200 --> 00:28:09,240
Speaker 1: the reason these songs aren't getting recorded is because I'm

534
00:28:09,240 --> 00:28:13,440
Speaker 1: supposed to do them. Not It wasn't a I really

535
00:28:13,440 --> 00:28:14,760
Speaker 1: want to get out there and play them. It was

536
00:28:14,840 --> 00:28:19,040
Speaker 1: just a huh, okay, Well, I gotta figure out some

537
00:28:19,119 --> 00:28:20,639
Speaker 1: way to stay in the music business because this is

538
00:28:20,640 --> 00:28:24,800
Speaker 1: what I want to do. So I started writing more

539
00:28:24,800 --> 00:28:28,080
Speaker 1: and more thinking of myself as the target, and going

540
00:28:28,119 --> 00:28:30,560
Speaker 1: out and playing more live by myself, and then eventually

541
00:28:31,160 --> 00:28:36,080
Speaker 1: started playing with the band where I was um, my

542
00:28:36,119 --> 00:28:38,520
Speaker 1: only friends that were musicians were studio musicians, because we

543
00:28:38,560 --> 00:28:41,600
Speaker 1: were the only people I would hang out with. But

544
00:28:41,720 --> 00:28:43,600
Speaker 1: in order to get them to play a gig, they

545
00:28:43,600 --> 00:28:46,160
Speaker 1: gotta get paid, because otherwise they're passing up a paying gig.

546
00:28:46,560 --> 00:28:48,880
Speaker 1: So during that period of my life, I was literally

547
00:28:49,040 --> 00:28:53,240
Speaker 1: using my draw to pay my musicians to play here

548
00:28:53,240 --> 00:28:56,400
Speaker 1: in Nashville, and all my living expenses were going on

549
00:28:56,440 --> 00:29:00,160
Speaker 1: to a credit card, which I don't recommend anyone. It's

550
00:29:00,160 --> 00:29:03,720
Speaker 1: a really terrible life plan, but that's what I was doing.

551
00:29:04,640 --> 00:29:07,520
Speaker 1: And then a few years after that, I met my

552
00:29:07,840 --> 00:29:10,680
Speaker 1: the woman who became my wife, who was also she

553
00:29:10,840 --> 00:29:12,840
Speaker 1: came to Nashville to be a singer. That was that

554
00:29:12,920 --> 00:29:20,080
Speaker 1: was her pursuit, and we had this long, um serious

555
00:29:20,120 --> 00:29:24,280
Speaker 1: conversation about what would happen if for some reason it

556
00:29:24,320 --> 00:29:26,800
Speaker 1: worked for both of us, and we kind of looked

557
00:29:26,800 --> 00:29:29,760
Speaker 1: at each other and went, yeah, we'd be done. And

558
00:29:29,920 --> 00:29:32,360
Speaker 1: I went into my publisher, who at that point was

559
00:29:32,400 --> 00:29:34,720
Speaker 1: Big Yellow Dog, because I was on my second publishing

560
00:29:34,720 --> 00:29:38,000
Speaker 1: deal and they've been hanging in there with me, trying

561
00:29:38,000 --> 00:29:40,560
Speaker 1: to be patient let me figure my artist thing out

562
00:29:40,600 --> 00:29:44,000
Speaker 1: because I had gotten weird. I was writing really dark

563
00:29:44,040 --> 00:29:47,480
Speaker 1: folk songs and I was writing five minute songs and

564
00:29:47,520 --> 00:29:51,040
Speaker 1: six minute songs with no choruses. It was my My

565
00:29:51,160 --> 00:29:54,680
Speaker 1: music was getting stranger and stranger all the time. And

566
00:29:54,800 --> 00:29:56,400
Speaker 1: sat down with him and said, you know, that whole

567
00:29:56,480 --> 00:30:00,200
Speaker 1: artist thing that you signed me to do, I'm not

568
00:30:00,280 --> 00:30:04,360
Speaker 1: going to do that anymore. Into their credit they kind

569
00:30:04,360 --> 00:30:07,000
Speaker 1: of went, what are you gonna do? Well, I'm just

570
00:30:07,040 --> 00:30:09,080
Speaker 1: gonna go back to writing songs and hoping to get

571
00:30:09,120 --> 00:30:11,800
Speaker 1: them cut And they said great, and that was the

572
00:30:11,880 --> 00:30:16,240
Speaker 1: end of the discussion. No, but you told us, you

573
00:30:16,360 --> 00:30:21,600
Speaker 1: promised us. We've been invested in this, and a couple

574
00:30:21,640 --> 00:30:24,760
Speaker 1: of years later we wrote Before He Cheats and everything changed.

575
00:30:25,320 --> 00:30:30,280
Speaker 1: I wonder and I'm gonna come back the highway. Don't care, No,

576
00:30:30,440 --> 00:30:32,280
Speaker 1: I'm one. I love wandering with you. We're walking down

577
00:30:32,280 --> 00:30:34,240
Speaker 1: these these paths that that I like, that we're creating.

578
00:30:34,560 --> 00:30:37,000
Speaker 1: As you talk about doing the artist thing. For a second,

579
00:30:37,040 --> 00:30:40,800
Speaker 1: I was reading about the the a lot of the

580
00:30:40,840 --> 00:30:43,880
Speaker 1: writers from the Office, the television of the Office, which

581
00:30:43,920 --> 00:30:45,880
Speaker 1: is my favorite show. But what they did when that

582
00:30:45,920 --> 00:30:48,000
Speaker 1: show first started after I got picked up from pilot,

583
00:30:48,080 --> 00:30:50,200
Speaker 1: they took a lot of the writers and made them

584
00:30:50,360 --> 00:30:53,680
Speaker 1: bit players actors so they could understand what it was

585
00:30:53,720 --> 00:30:56,360
Speaker 1: like as an actor, because they felt like they could

586
00:30:56,360 --> 00:30:59,400
Speaker 1: write better for the actors if they had also had

587
00:30:59,440 --> 00:31:02,040
Speaker 1: a little bit of acting experience. Now, I wonder with you,

588
00:31:02,280 --> 00:31:04,760
Speaker 1: do you think it affected your songwriting at all? Actually

589
00:31:04,760 --> 00:31:08,040
Speaker 1: going to be an artist, performer, singer. Now that you're

590
00:31:08,040 --> 00:31:11,320
Speaker 1: pulled back a bit, you're writing again for that That

591
00:31:11,600 --> 00:31:14,840
Speaker 1: question makes sense. It makes total sense. Um. And I

592
00:31:14,880 --> 00:31:19,040
Speaker 1: don't know if it's strictly the the opening my mind

593
00:31:19,080 --> 00:31:21,800
Speaker 1: to the artist thing at one point, but certainly I

594
00:31:21,880 --> 00:31:26,840
Speaker 1: know for a fact all of those weird roads that

595
00:31:26,880 --> 00:31:29,320
Speaker 1: I took my music down during that period of my

596
00:31:29,400 --> 00:31:34,360
Speaker 1: life had a huge impact on everything that I wrote

597
00:31:34,360 --> 00:31:39,040
Speaker 1: after For no other reason than um, my idea of

598
00:31:39,120 --> 00:31:43,240
Speaker 1: what counts as commercial I think became much broader than

599
00:31:43,280 --> 00:31:47,360
Speaker 1: what a lot of other people around me thought of

600
00:31:47,480 --> 00:31:52,520
Speaker 1: as being commercial music. Um. I didn't see any reason

601
00:31:52,520 --> 00:31:54,840
Speaker 1: why a five minutes song with no chorus shouldn't be

602
00:31:54,840 --> 00:31:57,880
Speaker 1: played on the radio. I really couldn't wrap my mind

603
00:31:57,880 --> 00:32:00,560
Speaker 1: around it. I was like, but if it's really good, cares,

604
00:32:01,160 --> 00:32:05,680
Speaker 1: if it is compelling and emotional and you don't notice

605
00:32:05,680 --> 00:32:08,960
Speaker 1: that there's no chorus, then why would it matter. I

606
00:32:09,080 --> 00:32:11,040
Speaker 1: understand now the reasoning behind it. I get it, to

607
00:32:11,040 --> 00:32:14,520
Speaker 1: totally get it. But but all of those things that

608
00:32:14,600 --> 00:32:17,280
Speaker 1: I tried, then, by the time I got around to

609
00:32:17,400 --> 00:32:21,000
Speaker 1: coming back to writing and thinking in terms of trying

610
00:32:21,040 --> 00:32:23,840
Speaker 1: to get on the radio strictly and having to get

611
00:32:23,880 --> 00:32:28,320
Speaker 1: somebody else to record it, um, yeah, I think my

612
00:32:28,400 --> 00:32:32,360
Speaker 1: target was just a lot wider, which I think has

613
00:32:32,480 --> 00:32:35,800
Speaker 1: incredibly served me well over the years. Well, you got

614
00:32:35,800 --> 00:32:38,640
Speaker 1: three humongous commercial artists this Highway don't care. I'm back

615
00:32:38,680 --> 00:32:40,600
Speaker 1: to it. Yeah, yeah, I keep coming back back to

616
00:32:40,680 --> 00:32:43,520
Speaker 1: it because this song reminds me of being here and

617
00:32:43,720 --> 00:32:48,000
Speaker 1: it's it's a McGraw song. Now, when you write that,

618
00:32:48,320 --> 00:32:49,880
Speaker 1: who'd you write the song with? I wrote it with

619
00:32:49,960 --> 00:32:53,640
Speaker 1: Marker when in the Warren Brothers. So when you write

620
00:32:53,680 --> 00:32:58,760
Speaker 1: the song, is it written as just one person? Two people?

621
00:32:58,840 --> 00:33:00,760
Speaker 1: Eight people? Like? What? What when you write the song?

622
00:33:00,840 --> 00:33:04,200
Speaker 1: What's the feeling in the room? And who's it for? Okay? Well,

623
00:33:04,200 --> 00:33:06,600
Speaker 1: we weren't really thinking in terms of who it was for. Okay,

624
00:33:06,600 --> 00:33:08,400
Speaker 1: So there was no idea then we're gonna get two

625
00:33:08,440 --> 00:33:13,840
Speaker 1: or three people on here. We I had that title. Um,

626
00:33:13,960 --> 00:33:18,080
Speaker 1: this idea that the Highway could actually be a character. Um.

627
00:33:18,120 --> 00:33:22,400
Speaker 1: I love personifying things. I like the idea of of

628
00:33:22,720 --> 00:33:25,080
Speaker 1: an in an object being a character. I've done it

629
00:33:25,440 --> 00:33:28,479
Speaker 1: multiple times. Well I'm sure I'll continue to do it

630
00:33:28,560 --> 00:33:32,360
Speaker 1: just because I find it fascinating. So I kicked the

631
00:33:32,360 --> 00:33:35,520
Speaker 1: idea of the room. Um Brett jumped over the piano

632
00:33:35,560 --> 00:33:37,080
Speaker 1: real fast and he goes, what about something like this

633
00:33:37,360 --> 00:33:39,840
Speaker 1: and kind of started playing those opening lines to the song,

634
00:33:41,120 --> 00:33:43,400
Speaker 1: and we didn't write the chorus right away. We just

635
00:33:43,480 --> 00:33:47,600
Speaker 1: kind of started chasing that and the last line that

636
00:33:47,720 --> 00:33:50,480
Speaker 1: we got to write before we kind of went we

637
00:33:50,480 --> 00:33:53,080
Speaker 1: need to write a pre it was about the radio,

638
00:33:54,400 --> 00:33:57,720
Speaker 1: and so it made sense to write the Beasts that

639
00:33:57,840 --> 00:34:01,240
Speaker 1: little b section as the song that was on the radio.

640
00:34:02,440 --> 00:34:04,400
Speaker 1: And I think I said to him, well, what if

641
00:34:04,440 --> 00:34:09,279
Speaker 1: we intentionally make it a female part and we'll just

642
00:34:09,400 --> 00:34:12,000
Speaker 1: hire somebody to come in and sing that part on

643
00:34:12,080 --> 00:34:17,359
Speaker 1: the demo. And all of them are, fortunately for me,

644
00:34:18,160 --> 00:34:22,120
Speaker 1: also have strange enough sensibilities in their songwriting to go, yeah,

645
00:34:22,160 --> 00:34:26,200
Speaker 1: that's just weird enough to work. It's also weird enough

646
00:34:26,239 --> 00:34:31,160
Speaker 1: to keep a song from getting cut. Yeah, every time

647
00:34:31,239 --> 00:34:33,799
Speaker 1: I do something like that, you kind of know you

648
00:34:34,160 --> 00:34:37,160
Speaker 1: probably either really hitting a home run or you just

649
00:34:37,239 --> 00:34:43,160
Speaker 1: created a roadblock. That's the game, that's my game. I like.

650
00:34:43,800 --> 00:34:48,000
Speaker 1: I like those kinds of songs. So we left it in.

651
00:34:48,320 --> 00:34:52,000
Speaker 1: When we came back around the second time the premates,

652
00:34:52,080 --> 00:34:53,840
Speaker 1: we made sure it made sense again so that you

653
00:34:53,880 --> 00:34:56,360
Speaker 1: were listening to the radio for a second time, and

654
00:34:56,400 --> 00:34:59,000
Speaker 1: it just became a bit It became part of what

655
00:34:59,160 --> 00:35:01,480
Speaker 1: made the set the on his side that made it special.

656
00:35:02,080 --> 00:35:04,680
Speaker 1: We put it on the demo that way. I sang

657
00:35:04,760 --> 00:35:06,280
Speaker 1: lead on the demo, and then we hired a female

658
00:35:06,280 --> 00:35:09,480
Speaker 1: singer to come in and sing that part, and we

659
00:35:09,680 --> 00:35:11,600
Speaker 1: filtered it and everything to try to make it sound

660
00:35:11,640 --> 00:35:14,160
Speaker 1: like pop radio at the time. They took all that

661
00:35:14,160 --> 00:35:16,160
Speaker 1: stuff back off when they brought Taylor in, which was

662
00:35:16,239 --> 00:35:19,560
Speaker 1: the right move. Taylor already sounded enough like pop radio.

663
00:35:19,560 --> 00:35:22,239
Speaker 1: You certainly didn't need to do anything special to to

664
00:35:22,320 --> 00:35:28,760
Speaker 1: her voice to change that. Um, she was the dream,

665
00:35:28,800 --> 00:35:31,200
Speaker 1: you know, she's She's like beyond what I was, what

666
00:35:31,239 --> 00:35:33,600
Speaker 1: I was even hoping for. So do you first get

667
00:35:33,640 --> 00:35:37,040
Speaker 1: the message? Hey mcgrals put it on hold? M Grass

668
00:35:37,080 --> 00:35:38,879
Speaker 1: cutting it, same deal. We're gonna walk down the same

669
00:35:39,080 --> 00:35:41,640
Speaker 1: the same path here, same path, and it's just gonna

670
00:35:41,640 --> 00:35:44,000
Speaker 1: be a McGraw song. Or what point did they go

671
00:35:44,080 --> 00:35:45,520
Speaker 1: and not only the girl cutting it? I think we're

672
00:35:45,520 --> 00:35:49,200
Speaker 1: gonna get Taylor swept on the song. You know, immediately

673
00:35:49,280 --> 00:35:54,279
Speaker 1: they said they were going to get someone, but they

674
00:35:54,320 --> 00:35:57,719
Speaker 1: never said who. And again, that makes sense not to

675
00:35:57,760 --> 00:36:00,239
Speaker 1: tell us because we're not part of the process us.

676
00:36:02,160 --> 00:36:04,560
Speaker 1: In my head, I think I probably was like, well,

677
00:36:04,560 --> 00:36:09,399
Speaker 1: maybe Faith. It seems kind of obvious they know each other.

678
00:36:09,440 --> 00:36:15,000
Speaker 1: Pretty well. Um, what I didn't know was from the

679
00:36:15,000 --> 00:36:18,239
Speaker 1: earliest part of Taylor's career, supposedly because of the song

680
00:36:18,320 --> 00:36:22,360
Speaker 1: Tim McGraw, they had always talked about maybe doing something together.

681
00:36:24,160 --> 00:36:27,000
Speaker 1: I couldn't have known that. I couldn't have planned for that,

682
00:36:27,280 --> 00:36:31,239
Speaker 1: couldn't have Certainly, you can't walk into a writing room thinking, oh,

683
00:36:31,320 --> 00:36:34,280
Speaker 1: we'll write the thing that finally will give them something

684
00:36:34,320 --> 00:36:40,080
Speaker 1: to do together. We kind of got lucky, right song,

685
00:36:40,280 --> 00:36:43,799
Speaker 1: right moment, right set of circumstances, and then they added

686
00:36:43,880 --> 00:36:46,200
Speaker 1: urban playing guitar, which just made this song bigger because

687
00:36:46,239 --> 00:36:49,800
Speaker 1: you got to go it's Tim McGraw big with Taylor

688
00:36:49,800 --> 00:36:52,000
Speaker 1: Swept Holy Crap and Keith or It's just it makes

689
00:36:52,000 --> 00:36:56,160
Speaker 1: it like this whole event. It was a true event. Yeah,

690
00:36:56,239 --> 00:36:59,080
Speaker 1: but again not an event you could plan for. I

691
00:36:59,520 --> 00:37:02,719
Speaker 1: can't make that happen. There is no way in any

692
00:37:02,800 --> 00:37:05,960
Speaker 1: writing room ever that I can sit down and write

693
00:37:06,000 --> 00:37:08,080
Speaker 1: a song and be like, yeah, now we'll go get

694
00:37:08,120 --> 00:37:13,440
Speaker 1: those three artists on a song. That's impossible. It was

695
00:37:13,560 --> 00:37:15,919
Speaker 1: just one of those amazing phone calls that you get.

696
00:37:15,960 --> 00:37:19,440
Speaker 1: Then you're like, wait a minute, you're telling me that

697
00:37:19,600 --> 00:37:22,919
Speaker 1: Taylor's gonna sing on it. He's gonna come play all

698
00:37:22,960 --> 00:37:25,840
Speaker 1: the lead stuff on it and and be a feature

699
00:37:25,880 --> 00:37:27,840
Speaker 1: on it. They're all three going to show up for

700
00:37:27,880 --> 00:37:34,160
Speaker 1: the video shoot. That makes no sense, but how freaking cool.

701
00:37:34,400 --> 00:37:37,040
Speaker 1: That's awesome. Yeah, it's a great story. H Derek Spentley.

702
00:37:37,080 --> 00:37:40,160
Speaker 1: Woman Amen wrote that one Derek Spentley drunk on a plane,

703
00:37:41,560 --> 00:37:46,440
Speaker 1: Blake Shell Neon lights. The next one hit is a

704
00:37:46,480 --> 00:37:50,640
Speaker 1: real familiar one for me. Gloriana kissed you Goodnight. Yeah,

705
00:37:51,040 --> 00:37:54,680
Speaker 1: so it's been a while for this one. Rachel and

706
00:37:54,680 --> 00:37:56,759
Speaker 1: I were together for a bit when this song was

707
00:37:56,760 --> 00:37:57,960
Speaker 1: was hit, so I would go out on the road

708
00:37:57,960 --> 00:37:59,480
Speaker 1: of them a little bit. I just remember she was

709
00:37:59,560 --> 00:38:02,719
Speaker 1: so good. Yeah, one of the best pure singers I've

710
00:38:02,760 --> 00:38:05,560
Speaker 1: ever heard. She's fabulous. Tom too. I mean they're both

711
00:38:05,560 --> 00:38:08,520
Speaker 1: they're great. So who did you write that one with?

712
00:38:08,640 --> 00:38:11,000
Speaker 1: Because okay, so you and Tom wrote this just the

713
00:38:11,040 --> 00:38:13,879
Speaker 1: two of us, and so this is it's been a while.

714
00:38:13,960 --> 00:38:17,400
Speaker 1: This has had what two thousand twelve, Yeah, that sounds

715
00:38:17,440 --> 00:38:21,840
Speaker 1: about right. Some of the dates kind of blew a

716
00:38:21,880 --> 00:38:24,520
Speaker 1: little bit. I don't know what today is um on

717
00:38:24,640 --> 00:38:29,080
Speaker 1: this song was this This is the number one actually

718
00:38:29,200 --> 00:38:31,760
Speaker 1: number two that never hit number one. It hit number

719
00:38:31,760 --> 00:38:34,160
Speaker 1: one and didn't stay at number one. It was I

720
00:38:34,160 --> 00:38:40,040
Speaker 1: actually have two songs that on the chart got to

721
00:38:40,160 --> 00:38:42,239
Speaker 1: number one at the beginning of the week. Oh you

722
00:38:42,360 --> 00:38:45,520
Speaker 1: actually didn't finish as a number one and hit and

723
00:38:45,600 --> 00:38:48,799
Speaker 1: held for like five or six days, and then at

724
00:38:48,800 --> 00:38:53,399
Speaker 1: the very last minute got bumped and that was the end.

725
00:38:53,680 --> 00:38:55,520
Speaker 1: And that was one of That was one of the two.

726
00:38:55,960 --> 00:38:58,040
Speaker 1: This is what I remember by this song barely, not

727
00:38:58,080 --> 00:39:00,560
Speaker 1: because you were here, just from my mind. Remember dumb stuff?

728
00:39:00,600 --> 00:39:05,320
Speaker 1: Is it? This song and a Loven Theft song? Maybe Angelis?

729
00:39:05,640 --> 00:39:07,720
Speaker 1: We're battling it out all week and they kept trading

730
00:39:07,760 --> 00:39:10,439
Speaker 1: places and at the last minute on the last night,

731
00:39:11,360 --> 00:39:16,680
Speaker 1: Angelis jumped over it. That's crazy. I haven't thought about

732
00:39:16,719 --> 00:39:19,640
Speaker 1: that since since I've happened. I actually couldn't have told

733
00:39:19,640 --> 00:39:21,560
Speaker 1: you what song it was, but right I think it

734
00:39:21,600 --> 00:39:23,600
Speaker 1: was Angelized. It was yeah, and I'm pretty sure that

735
00:39:23,640 --> 00:39:25,640
Speaker 1: was love and that's first number one. And so it

736
00:39:25,719 --> 00:39:27,960
Speaker 1: was also one of those weird I really liked those guys,

737
00:39:27,960 --> 00:39:30,719
Speaker 1: so it was kind of one of those will you

738
00:39:30,760 --> 00:39:33,439
Speaker 1: want everybody to win? You can't really like be mad

739
00:39:33,440 --> 00:39:35,680
Speaker 1: at I don't know. I wasn't upset with them, you know,

740
00:39:35,719 --> 00:39:39,480
Speaker 1: you just kind of just sit around and go Okay, well, okay,

741
00:39:39,600 --> 00:39:42,719
Speaker 1: that is what it is. Next song? Had you had

742
00:39:42,960 --> 00:39:45,640
Speaker 1: number one at that point? Okay, so it wasn't. You're

743
00:39:45,680 --> 00:39:47,320
Speaker 1: not missing out on your first number one? No, I

744
00:39:47,360 --> 00:39:49,759
Speaker 1: did not. I was not. Just to run down the

745
00:39:49,760 --> 00:39:53,320
Speaker 1: list real quick. Tyler Farr read Neck Crazy, Lee Bryce

746
00:39:53,400 --> 00:39:55,160
Speaker 1: Drinking Class, which, by the way, was the most played

747
00:39:55,160 --> 00:39:59,399
Speaker 1: country song of Yeah, that's I think that's right. That's

748
00:39:59,400 --> 00:40:00,880
Speaker 1: probably you didn't. I know you don't have a radio,

749
00:40:00,920 --> 00:40:03,200
Speaker 1: but this song was played all over the radio. If

750
00:40:03,239 --> 00:40:04,719
Speaker 1: you were turned on, you would have heard it. If

751
00:40:04,719 --> 00:40:06,560
Speaker 1: it isn't crazy, Yeah, it was played a lot that year.

752
00:40:06,560 --> 00:40:09,320
Speaker 1: It was. It was pretty wild. Frankie Ballard hell of alife.

753
00:40:10,480 --> 00:40:12,719
Speaker 1: Now I want to go up and talk about because

754
00:40:12,719 --> 00:40:15,120
Speaker 1: you have four Grammys. So the first the question is

755
00:40:16,160 --> 00:40:20,640
Speaker 1: where in your house are they. Um there's a shelf

756
00:40:20,719 --> 00:40:23,680
Speaker 1: in a hallway in my house that they sit on.

757
00:40:24,680 --> 00:40:29,040
Speaker 1: Um there there. Unfortunate I forgot anyway, So there's a

758
00:40:29,080 --> 00:40:31,600
Speaker 1: couple of little trophy things in there, and then the

759
00:40:31,640 --> 00:40:33,480
Speaker 1: rest of the shelves is all pictures of the family

760
00:40:33,480 --> 00:40:36,200
Speaker 1: and stuff. It's just it's it's in a spot in

761
00:40:36,200 --> 00:40:38,480
Speaker 1: the house where I get to see if my wife

762
00:40:38,480 --> 00:40:41,560
Speaker 1: gets to see it and stuff, But if anybody came

763
00:40:41,600 --> 00:40:43,920
Speaker 1: over the house, it wouldn't be like the first thing

764
00:40:44,000 --> 00:40:46,400
Speaker 1: you see because all, yeah, I'm not really gonna commable

765
00:40:46,400 --> 00:40:48,520
Speaker 1: with that. Well, my mirror ball when you walk in

766
00:40:48,560 --> 00:40:50,200
Speaker 1: the house from Dancing with the Stars and one that

767
00:40:50,239 --> 00:40:51,919
Speaker 1: you have to kiss it till we've become in the house.

768
00:40:52,000 --> 00:40:54,360
Speaker 1: I actually have a mirrorball as well hanging in my

769
00:40:54,400 --> 00:40:57,319
Speaker 1: living room from a dance party that we threw. We

770
00:40:57,360 --> 00:41:02,239
Speaker 1: put it up and I had a I needed a

771
00:41:02,320 --> 00:41:04,560
Speaker 1: ladder to flip the switch to turn it back off

772
00:41:04,600 --> 00:41:06,840
Speaker 1: because I didn't have a remote for it. So for

773
00:41:06,880 --> 00:41:08,840
Speaker 1: the next two days after that dance party, we we

774
00:41:08,840 --> 00:41:10,520
Speaker 1: did the dance when we first moved into the house,

775
00:41:10,920 --> 00:41:14,799
Speaker 1: and it's it's pretty vaulted ceiling and everything, and so

776
00:41:14,880 --> 00:41:17,600
Speaker 1: that that thing was continuing to spin and spin and

777
00:41:17,600 --> 00:41:20,040
Speaker 1: spin it. I would bust out laughing every single time

778
00:41:20,040 --> 00:41:22,120
Speaker 1: I would walk back into the living room, and I

779
00:41:22,160 --> 00:41:25,520
Speaker 1: thought it was so damn funny. It just kept It

780
00:41:25,600 --> 00:41:28,400
Speaker 1: just was a reminder not to take life so seriously

781
00:41:28,480 --> 00:41:31,520
Speaker 1: that I went, oh, no, that's staying. That is a

782
00:41:31,520 --> 00:41:34,680
Speaker 1: permanent fixture in our home and it will always be there.

783
00:41:35,239 --> 00:41:40,120
Speaker 1: It does not belong there at all. It looks really weird,

784
00:41:40,239 --> 00:41:43,080
Speaker 1: and yet it's the thing that gets most common, Like,

785
00:41:43,160 --> 00:41:45,239
Speaker 1: we really worked hard. We spent a lot of time

786
00:41:45,280 --> 00:41:49,680
Speaker 1: designing our home and I love it dearly, and strangely enough,

787
00:41:49,719 --> 00:41:53,680
Speaker 1: the thing everybody talks about is that stupid mirror ball,

788
00:41:53,320 --> 00:41:56,719
Speaker 1: and I don't care. I think it's awesome. Four Grammys

789
00:41:56,760 --> 00:42:00,560
Speaker 1: from three different songs. Was before he Cheats the pop

790
00:42:00,640 --> 00:42:02,759
Speaker 1: for you? Was that? Was that the one that kind

791
00:42:02,760 --> 00:42:05,399
Speaker 1: of You've obviously been doing your thing, but the one

792
00:42:05,440 --> 00:42:08,959
Speaker 1: that was like boom train is now here? Yeah, ten

793
00:42:09,040 --> 00:42:14,439
Speaker 1: years into publishing deals, um, that was my first hit.

794
00:42:14,680 --> 00:42:16,880
Speaker 1: It's a five week number one. It was a five

795
00:42:16,960 --> 00:42:19,560
Speaker 1: week number one, and I was at the time doing

796
00:42:19,680 --> 00:42:22,319
Speaker 1: pop and hip hop. We were playing it, yeah, I

797
00:42:22,320 --> 00:42:27,840
Speaker 1: mean it was a multi genre monster country pop, a

798
00:42:28,040 --> 00:42:32,160
Speaker 1: c like it. It kind of ran the gamut and

799
00:42:32,440 --> 00:42:35,840
Speaker 1: blew up strangely enough, and it wasn't even one of

800
00:42:35,880 --> 00:42:38,240
Speaker 1: those where they cut a pop version of it too. Literally,

801
00:42:38,400 --> 00:42:43,560
Speaker 1: was just that record. And I don't think I realized

802
00:42:43,600 --> 00:42:46,880
Speaker 1: at the time how surreal it was because I had

803
00:42:46,920 --> 00:42:49,920
Speaker 1: never had a hit at all. I didn't know what

804
00:42:50,000 --> 00:42:53,600
Speaker 1: I was supposed to make of it, but it sent us, Yes,

805
00:42:53,680 --> 00:42:56,719
Speaker 1: send us the Grammys. We were nominated for not just

806
00:42:56,760 --> 00:42:59,480
Speaker 1: country song, we were nominated for overall Song. We lost

807
00:42:59,520 --> 00:43:03,600
Speaker 1: out me wine House for rehab while she was in

808
00:43:03,719 --> 00:43:06,840
Speaker 1: rehab for a song swearing she would never go to rehab.

809
00:43:07,920 --> 00:43:14,600
Speaker 1: Only Carrie was cheating or getting cheated on Take one

810
00:43:14,600 --> 00:43:18,239
Speaker 1: for the team. Um, yeah, no, it was. It was

811
00:43:19,560 --> 00:43:22,440
Speaker 1: crazier I think than I realized. Let's let's go to

812
00:43:22,480 --> 00:43:24,839
Speaker 1: the beginning of it. Then. Yeah, you're you're in a room.

813
00:43:24,880 --> 00:43:27,520
Speaker 1: Who's in the room with you? Um? I got a

814
00:43:27,680 --> 00:43:33,919
Speaker 1: call on a Saturday from my buddy Chris Thompkins. Um.

815
00:43:33,960 --> 00:43:36,399
Speaker 1: I wasn't married, I didn't have kids, so I still

816
00:43:36,440 --> 00:43:39,399
Speaker 1: wrote on Saturdays. I wrote twenty four hours a day,

817
00:43:39,440 --> 00:43:42,719
Speaker 1: any day of the week. Back then, I just that's

818
00:43:42,719 --> 00:43:44,680
Speaker 1: all I had to do. I didn't have much of

819
00:43:44,680 --> 00:43:48,239
Speaker 1: a life. And Chris called me on Saturday and said, Dude,

820
00:43:48,680 --> 00:43:50,319
Speaker 1: my publisher is bugging the crap out of me to

821
00:43:50,360 --> 00:43:53,680
Speaker 1: try to write something for Christian Wilson. Red Neck Woman

822
00:43:53,680 --> 00:43:58,239
Speaker 1: had already popped. They put out something else after that,

823
00:43:58,280 --> 00:43:59,920
Speaker 1: but they were already starting to really look for the

824
00:44:00,040 --> 00:44:03,959
Speaker 1: next record. He said, I got I got a couple

825
00:44:03,960 --> 00:44:05,920
Speaker 1: of lines on a song that I think might be

826
00:44:05,960 --> 00:44:08,760
Speaker 1: good for her. Can you come over? So I dropped

827
00:44:08,800 --> 00:44:11,000
Speaker 1: whatever I was doing to go to a Gretchen Wilson

828
00:44:11,120 --> 00:44:14,640
Speaker 1: aimed writing today, writing at the point for this thing

829
00:44:14,640 --> 00:44:18,000
Speaker 1: that he already had going. She wasn't even something I

830
00:44:18,040 --> 00:44:20,319
Speaker 1: was thinking about, but he had something wanted to do it.

831
00:44:20,320 --> 00:44:21,759
Speaker 1: So I drove her to his house. We sat on

832
00:44:21,800 --> 00:44:24,759
Speaker 1: his back porch. He played me the opening lines of

833
00:44:24,760 --> 00:44:29,200
Speaker 1: what We came before he cheats. We spent a couple

834
00:44:29,200 --> 00:44:33,720
Speaker 1: of hours writing that song. I think we got everything

835
00:44:33,760 --> 00:44:36,120
Speaker 1: done but the little bridge and I think we got

836
00:44:36,120 --> 00:44:40,359
Speaker 1: back together one afternoon and finished out the song when

837
00:44:40,440 --> 00:44:43,600
Speaker 1: the studio demno, okay, so wait a second backtrack. Before that,

838
00:44:44,200 --> 00:44:47,239
Speaker 1: we turned in the work tape to both of our publishers.

839
00:44:49,719 --> 00:44:53,360
Speaker 1: Chris's publisher told him they didn't want him to demo

840
00:44:53,440 --> 00:44:57,920
Speaker 1: the song because they thought it was way too scary

841
00:44:58,000 --> 00:45:02,799
Speaker 1: and crazy for country radio. Chris calls me up, tells me, Hey,

842
00:45:02,800 --> 00:45:04,959
Speaker 1: then I want that one. I said, dude, we're demo

843
00:45:05,040 --> 00:45:07,680
Speaker 1: on it, which means you're gonna pay for it yourself. Man, Yeah,

844
00:45:07,800 --> 00:45:11,120
Speaker 1: if I have to, this is coming out of my pocket. Um,

845
00:45:11,160 --> 00:45:13,960
Speaker 1: it's just not not that I had any idea of

846
00:45:13,960 --> 00:45:17,640
Speaker 1: what it was capable of. It was mostly just another

847
00:45:17,640 --> 00:45:19,760
Speaker 1: song for me, but I thought it was a good one.

848
00:45:20,880 --> 00:45:25,120
Speaker 1: And then, to her credit, Lisa Johnson, who was the

849
00:45:25,120 --> 00:45:27,560
Speaker 1: one that originally told him that, called him back the

850
00:45:27,600 --> 00:45:30,080
Speaker 1: next day and said, you know what, I don't care

851
00:45:30,120 --> 00:45:33,280
Speaker 1: if it's too crazy for your country. Um, it's really

852
00:45:33,280 --> 00:45:36,879
Speaker 1: really good. You need a demo it And so we did.

853
00:45:37,160 --> 00:45:39,759
Speaker 1: Do you had him demo? A dude saying the original demo? No, no, no.

854
00:45:39,920 --> 00:45:44,200
Speaker 1: We we hired somebody um to sing the demo and

855
00:45:44,280 --> 00:45:50,440
Speaker 1: she was great, and um, it sounded quite a bit different.

856
00:45:50,520 --> 00:45:54,839
Speaker 1: It was much darker and kind of angrier, had much

857
00:45:54,880 --> 00:46:01,759
Speaker 1: heavier rock, gutars on it. Somebody they played it for folks. Um,

858
00:46:01,920 --> 00:46:03,759
Speaker 1: I don't think Gretchen never heard it. At least the

859
00:46:04,000 --> 00:46:05,879
Speaker 1: best of my knowledge, she never got to hear it.

860
00:46:06,000 --> 00:46:10,200
Speaker 1: They passed on it immediately. A little time goes by,

861
00:46:10,360 --> 00:46:12,480
Speaker 1: Chris calls me up on the phone says, dude, you're

862
00:46:12,480 --> 00:46:15,120
Speaker 1: not gonna believe this. Carrie under What's going to record

863
00:46:15,160 --> 00:46:21,480
Speaker 1: our song. And dude, that's great. I don't know who

864
00:46:21,520 --> 00:46:27,200
Speaker 1: Carrie under What is, but that's awesome because I don't

865
00:46:27,239 --> 00:46:30,920
Speaker 1: watch much television. Obviously I am and I certainly not

866
00:46:31,000 --> 00:46:35,600
Speaker 1: a reality TV guy, so I had no clue. I didn't.

867
00:46:35,760 --> 00:46:37,839
Speaker 1: He's like, no, no no, no, you don't understand. She just

868
00:46:37,880 --> 00:46:40,640
Speaker 1: won American Idol. This is she's going to be the

869
00:46:40,680 --> 00:46:44,080
Speaker 1: first country artist coming off of American Idol. This is

870
00:46:44,120 --> 00:46:50,839
Speaker 1: gonna be huge, great, Okay, I didn't get it. I

871
00:46:50,880 --> 00:46:54,040
Speaker 1: had no idea what was coming. And again I hadn't

872
00:46:54,040 --> 00:46:58,680
Speaker 1: had any hits, so I was kind of used to

873
00:46:59,000 --> 00:47:02,240
Speaker 1: be in disappointed a little bit. You know. It had

874
00:47:02,680 --> 00:47:06,880
Speaker 1: cuts along the way and things that happened other people

875
00:47:06,880 --> 00:47:10,960
Speaker 1: that always told me, hey, braise yourself, this is the one.

876
00:47:11,200 --> 00:47:14,040
Speaker 1: This is going to be big, and it hadn't happened.

877
00:47:14,960 --> 00:47:19,080
Speaker 1: So yeah, I took it with a grain of salt

878
00:47:19,080 --> 00:47:22,200
Speaker 1: and went, okay, that'd be awesome. But I wasn't holding

879
00:47:22,200 --> 00:47:25,000
Speaker 1: my breath. And then when they finally really did put

880
00:47:25,040 --> 00:47:29,600
Speaker 1: it out and it blew up the way it did. Yeah,

881
00:47:29,719 --> 00:47:33,080
Speaker 1: I I did not know what was going on, and

882
00:47:33,120 --> 00:47:36,719
Speaker 1: I didn't know how to handle it all as a

883
00:47:36,760 --> 00:47:39,879
Speaker 1: fun ride, but I wish I would have had more

884
00:47:39,920 --> 00:47:43,320
Speaker 1: perspective while it was going on. What do you wish

885
00:47:43,320 --> 00:47:46,239
Speaker 1: one thing you wish you had done differently. Um, I

886
00:47:46,280 --> 00:47:49,960
Speaker 1: wish I would have enjoyed it more like I can

887
00:47:50,000 --> 00:47:53,920
Speaker 1: remember standing next to Joe Galani at the after party

888
00:47:53,920 --> 00:47:59,520
Speaker 1: of the Grammys, and he looked at me, all these

889
00:47:59,560 --> 00:48:03,920
Speaker 1: tons of stars around and everything, and um, I'm kind

890
00:48:03,920 --> 00:48:07,880
Speaker 1: of uncomfortable. I don't I love large social settings. I

891
00:48:07,920 --> 00:48:11,240
Speaker 1: really like small settings, like writing rooms, where I can

892
00:48:11,480 --> 00:48:14,680
Speaker 1: really have pointed conversations with a couple of people without

893
00:48:14,680 --> 00:48:17,560
Speaker 1: a lot of distraction. And so we're in this big

894
00:48:17,600 --> 00:48:22,279
Speaker 1: space Beverly Hills Hotel and he looks at me and

895
00:48:22,280 --> 00:48:31,080
Speaker 1: he said, um, is having fun? I think so, And

896
00:48:31,120 --> 00:48:34,080
Speaker 1: he kind of gave me this weird look and he said, well,

897
00:48:34,120 --> 00:48:36,239
Speaker 1: if you can't enjoy this, you might be in the

898
00:48:36,239 --> 00:48:41,680
Speaker 1: wrong business. And of course I take it. I took

899
00:48:41,719 --> 00:48:43,440
Speaker 1: these things so too hard at the time that I

900
00:48:43,480 --> 00:48:45,840
Speaker 1: was like going, oh, ship, maybe I'm in the wrong business.

901
00:48:47,080 --> 00:48:48,960
Speaker 1: And instead what I should have should have been doing

902
00:48:49,000 --> 00:48:52,200
Speaker 1: was just laughing and going and taking tequila shots with

903
00:48:52,320 --> 00:48:54,279
Speaker 1: some big star that would have done it with me

904
00:48:54,320 --> 00:48:56,520
Speaker 1: because we were everybody was there and celebrating having a

905
00:48:56,520 --> 00:48:59,040
Speaker 1: good time. And instead I was just kind of looking

906
00:48:59,040 --> 00:49:03,720
Speaker 1: around and going, Um, why am I here? What happened?

907
00:49:03,920 --> 00:49:09,200
Speaker 1: What's going on, um, I'd be better at it now.

908
00:49:09,680 --> 00:49:11,640
Speaker 1: I got better at it well, and that rolls me

909
00:49:11,680 --> 00:49:14,640
Speaker 1: to the next one, because you know, you can talk

910
00:49:14,719 --> 00:49:16,360
Speaker 1: to a few people who have one of these songs

911
00:49:16,360 --> 00:49:18,520
Speaker 1: that crosses over, and they have they have they're one

912
00:49:18,520 --> 00:49:20,440
Speaker 1: big song they write and it crosses over, and they're like,

913
00:49:20,480 --> 00:49:22,600
Speaker 1: I couldn't believe it first of all, to get a

914
00:49:22,640 --> 00:49:24,840
Speaker 1: big country hits one thing, but it goes to pop

915
00:49:24,880 --> 00:49:27,000
Speaker 1: and the whole world different country, not even just pop.

916
00:49:27,200 --> 00:49:29,880
Speaker 1: It goes international and people are and that happens with

917
00:49:29,960 --> 00:49:31,520
Speaker 1: Carrie and you had your one song and you're just

918
00:49:31,560 --> 00:49:35,879
Speaker 1: gonna write country songs and but then, Josh, but then

919
00:49:35,960 --> 00:49:39,399
Speaker 1: you do it freaking again with Lady Annabellum and need

920
00:49:39,400 --> 00:49:43,960
Speaker 1: you now. So with all of this from the before

921
00:49:43,960 --> 00:49:45,279
Speaker 1: you cheeth and you wish you had enjoyed it, you

922
00:49:45,320 --> 00:49:48,000
Speaker 1: get a chance to now experience it again. Did you

923
00:49:48,560 --> 00:49:53,800
Speaker 1: do better at enjoyment the second time? Yes? So imber

924
00:49:53,960 --> 00:49:56,920
Speaker 1: At backtracking back to the to the before he cheats

925
00:49:56,920 --> 00:50:02,200
Speaker 1: Grammy Night, We're sitting there in the audience and I

926
00:50:02,320 --> 00:50:05,840
Speaker 1: have Simon who created all those American aisle shows and everything,

927
00:50:06,120 --> 00:50:10,799
Speaker 1: Simon Fuller. Simon Fuller, He's sitting next to me, and

928
00:50:11,280 --> 00:50:17,120
Speaker 1: the award is given for best Overall Song, which we know,

929
00:50:17,160 --> 00:50:22,120
Speaker 1: we discussed it was nominated for, and we lost, and

930
00:50:22,160 --> 00:50:25,000
Speaker 1: he looks at me, he goes, it was always next year,

931
00:50:25,600 --> 00:50:30,560
Speaker 1: And of course I'm thinking, are you kidding? Next year?

932
00:50:30,800 --> 00:50:34,000
Speaker 1: Do you know how rare it is for any songwriter

933
00:50:34,160 --> 00:50:37,560
Speaker 1: to ever get to this point one time in their life?

934
00:50:38,719 --> 00:50:43,000
Speaker 1: I I just so I didn't even I don't even

935
00:50:43,000 --> 00:50:45,759
Speaker 1: know if I responded to him. I think I just

936
00:50:45,840 --> 00:50:49,720
Speaker 1: kind of sat there, not fuming. I'll get upset very easily,

937
00:50:49,719 --> 00:50:52,600
Speaker 1: but kind of just confused and going, are you really

938
00:50:52,640 --> 00:50:55,400
Speaker 1: that out of touch with what I do for a living.

939
00:50:56,200 --> 00:51:01,239
Speaker 1: And then when it happened a second time, I wish

940
00:51:01,280 --> 00:51:03,520
Speaker 1: I could have backtracked to that moment and been like

941
00:51:04,320 --> 00:51:06,080
Speaker 1: able to turn around to him and go, well, not

942
00:51:06,160 --> 00:51:07,920
Speaker 1: next year, with the year after, give me two year,

943
00:51:08,600 --> 00:51:12,319
Speaker 1: give me two years. Um, because you want not just

944
00:51:12,440 --> 00:51:14,600
Speaker 1: country song of year, you want to you want Foresaw

945
00:51:14,719 --> 00:51:17,360
Speaker 1: overall song of the year. Yeah. I have been picked

946
00:51:17,400 --> 00:51:20,680
Speaker 1: up by Charles Kelly on live television and spun around

947
00:51:20,680 --> 00:51:23,960
Speaker 1: in front of a very large audience. Um, do you

948
00:51:23,960 --> 00:51:26,600
Speaker 1: remember who you beat? Because you remember who beat? I

949
00:51:26,640 --> 00:51:29,520
Speaker 1: remember the song that I thought was going to win.

950
00:51:29,920 --> 00:51:33,120
Speaker 1: I thought Love the Way You Lie, UM, the Rihanna

951
00:51:33,239 --> 00:51:38,640
Speaker 1: Eminem song, I really thought that was gonna win. Um,

952
00:51:38,680 --> 00:51:42,719
Speaker 1: a rap song had never won the award before. It

953
00:51:42,840 --> 00:51:47,680
Speaker 1: seemed overdue. They were both massive at the time. The

954
00:51:47,800 --> 00:51:51,360
Speaker 1: song had been huge. It seemed like it was gonna

955
00:51:51,400 --> 00:51:55,880
Speaker 1: be Eminem's year. I had kind of resolved myself to

956
00:51:55,920 --> 00:51:59,799
Speaker 1: the idea that maybe we had a shot again at UM.

957
00:52:01,160 --> 00:52:02,640
Speaker 1: And the other thing is the House That Built Me

958
00:52:02,680 --> 00:52:05,480
Speaker 1: was also nominated for Overall Song that year. There were

959
00:52:05,480 --> 00:52:07,880
Speaker 1: two country songs. There were two countries. Worried about then

960
00:52:07,920 --> 00:52:10,319
Speaker 1: it being split by the that was That's the other thing.

961
00:52:10,360 --> 00:52:16,080
Speaker 1: I kind of assumed there was good possibility because that

962
00:52:16,200 --> 00:52:19,080
Speaker 1: sounds amazing, you know, I love that was My favorite

963
00:52:19,080 --> 00:52:21,000
Speaker 1: song that year was House to Built Me. So I

964
00:52:21,040 --> 00:52:24,560
Speaker 1: said there, going okay, well, we might not win either

965
00:52:24,640 --> 00:52:27,440
Speaker 1: of these. You know, it wouldn't have been shocking to

966
00:52:27,520 --> 00:52:30,359
Speaker 1: me it for House to Built Me to have one

967
00:52:30,400 --> 00:52:33,919
Speaker 1: country song I Love the Way You Lie to win

968
00:52:34,160 --> 00:52:36,640
Speaker 1: overall and you kind of go home going wow, that

969
00:52:36,719 --> 00:52:40,759
Speaker 1: was fun, but it certainly wouldn't have been weird. And

970
00:52:40,800 --> 00:52:43,000
Speaker 1: the thing about splitting the vote is for for if

971
00:52:43,000 --> 00:52:45,640
Speaker 1: you're listening now, what happens is, especially the Nashville block

972
00:52:45,640 --> 00:52:48,120
Speaker 1: of voters, Like I'm a Grammy voter, a lot of

973
00:52:48,239 --> 00:52:51,600
Speaker 1: us because we're familiar with the songwriters, of the producers,

974
00:52:51,680 --> 00:52:54,960
Speaker 1: even the artists. We just vote for our people. I

975
00:52:55,040 --> 00:52:58,000
Speaker 1: get it. And so then you go, well, there's two

976
00:52:58,040 --> 00:53:01,200
Speaker 1: songs getting voted by people, and they gotta pick one

977
00:53:01,719 --> 00:53:04,000
Speaker 1: some of that vote. Even if it's six thirty three

978
00:53:04,320 --> 00:53:06,600
Speaker 1: are it's still gonna be split. So the fact that, wow,

979
00:53:06,600 --> 00:53:08,680
Speaker 1: I didn't there are two country songs in that category.

980
00:53:08,760 --> 00:53:11,640
Speaker 1: There were? Yeah. I think in the end what really

981
00:53:11,680 --> 00:53:15,120
Speaker 1: helped us was was all the different genres that played in. Um,

982
00:53:15,160 --> 00:53:17,200
Speaker 1: it was a hitting country, so we got some of

983
00:53:17,239 --> 00:53:19,840
Speaker 1: those votes. It was a hit and pop, it was

984
00:53:19,840 --> 00:53:23,480
Speaker 1: a hit and acy. It was a hit worldwide. Um

985
00:53:23,480 --> 00:53:26,720
Speaker 1: I think it went number one and at thirty something countries,

986
00:53:27,600 --> 00:53:30,799
Speaker 1: and all of that I think just kind of ended

987
00:53:30,880 --> 00:53:38,040
Speaker 1: up culminating in a bizarre, crazy, crazy, like an unexplainably

988
00:53:38,239 --> 00:53:42,759
Speaker 1: crazy night. Okay, so that night, are you a little happier? Yeah?

989
00:53:43,000 --> 00:53:46,279
Speaker 1: And you're like I I was, I was euphoric. Did

990
00:53:46,280 --> 00:53:48,719
Speaker 1: you do any tequila shots with any big stars? I

991
00:53:48,760 --> 00:53:51,640
Speaker 1: did not, but I did some whiskey shots with some people. Yeah.

992
00:53:52,200 --> 00:53:54,239
Speaker 1: As a matter of fact, as soon as we won,

993
00:53:54,560 --> 00:53:57,880
Speaker 1: we went backstage and they put us in this tiny

994
00:53:57,960 --> 00:54:01,680
Speaker 1: little room, um in the backstage of the Staples Center.

995
00:54:02,320 --> 00:54:04,360
Speaker 1: And I don't know where they got it, but I

996
00:54:04,360 --> 00:54:07,680
Speaker 1: guess somebody from Lady A's crew was already back there,

997
00:54:08,040 --> 00:54:10,040
Speaker 1: and they already had a bunch of whiskey shots ready

998
00:54:10,080 --> 00:54:12,680
Speaker 1: to go on the chance that we won. So they

999
00:54:12,960 --> 00:54:14,520
Speaker 1: like the World Series and they have all the bottles

1000
00:54:15,000 --> 00:54:18,359
Speaker 1: exactly exactly, so they ushered us back to that room,

1001
00:54:18,360 --> 00:54:22,919
Speaker 1: and I'm assuming they probably I think those shots were

1002
00:54:23,000 --> 00:54:26,160
Speaker 1: probably lined up for record or something else that they

1003
00:54:26,239 --> 00:54:29,080
Speaker 1: might have thought they had a better shot at. But

1004
00:54:29,160 --> 00:54:31,160
Speaker 1: that was the first war of the night. Of course,

1005
00:54:31,239 --> 00:54:33,160
Speaker 1: they ended up, I'm sure, going back there and drinking

1006
00:54:33,160 --> 00:54:34,920
Speaker 1: a lot more whiskey before the night was over. And

1007
00:54:35,000 --> 00:54:36,200
Speaker 1: I was only there for one of them, but it

1008
00:54:36,239 --> 00:54:38,480
Speaker 1: was still fun. So they passed around a bunch of

1009
00:54:38,520 --> 00:54:42,800
Speaker 1: shots and we we um get a bunch of hugs,

1010
00:54:42,880 --> 00:54:48,000
Speaker 1: and my mind was melting. I mean, um, like I said,

1011
00:54:48,040 --> 00:54:51,000
Speaker 1: I was kind of resolved. I'd already lost the thing

1012
00:54:51,040 --> 00:54:54,719
Speaker 1: once UM assumed I was gonna lose a second time.

1013
00:54:54,840 --> 00:54:59,080
Speaker 1: And and but this time, that time, yeah, I was happy.

1014
00:54:59,360 --> 00:55:01,560
Speaker 1: Do you were remember when they have the card out

1015
00:55:01,600 --> 00:55:03,600
Speaker 1: and they're about to read it. Do you remember who

1016
00:55:03,640 --> 00:55:08,200
Speaker 1: was presenting? Um? Yeah, John Mayer? Okay, And do you

1017
00:55:08,280 --> 00:55:11,360
Speaker 1: remember that brief space before they say the winner, Like

1018
00:55:11,400 --> 00:55:14,960
Speaker 1: can you look back and go, oh god, and remember

1019
00:55:14,960 --> 00:55:18,000
Speaker 1: your heart or anything like, because it's one of two things.

1020
00:55:18,080 --> 00:55:22,279
Speaker 1: It's either blackout or it's every second is vividly remembered. Now,

1021
00:55:22,400 --> 00:55:27,880
Speaker 1: I kind of have this, yeah, kind of missing moment

1022
00:55:28,560 --> 00:55:30,600
Speaker 1: where I think I probably close my eyes or something,

1023
00:55:31,320 --> 00:55:34,799
Speaker 1: and I kind of remember my wife's screaming more than

1024
00:55:34,880 --> 00:55:39,040
Speaker 1: I remember anything being called out on stage. And then

1025
00:55:39,320 --> 00:55:43,200
Speaker 1: us like we're hugging and jumping and like we were

1026
00:55:43,280 --> 00:55:45,640
Speaker 1: losing our minds, which is why we got to the

1027
00:55:45,680 --> 00:55:49,600
Speaker 1: stage and Charles just picks me up and start spinning

1028
00:55:49,640 --> 00:55:53,360
Speaker 1: me around. I had this picture of Dave and Hillary

1029
00:55:53,400 --> 00:55:57,600
Speaker 1: at the microphone like doing the responsible thing, and Charles

1030
00:55:57,680 --> 00:56:00,719
Speaker 1: like holding like practically throwing me over his shoulder like

1031
00:56:00,719 --> 00:56:05,719
Speaker 1: a sack of ages, and it was pure joy. I mean,

1032
00:56:05,760 --> 00:56:08,960
Speaker 1: we're looking at it here and there you four are,

1033
00:56:09,640 --> 00:56:11,840
Speaker 1: and you what did you write that with? When I

1034
00:56:11,840 --> 00:56:13,880
Speaker 1: wrote it with them? All three of them, Yeah, the

1035
00:56:13,960 --> 00:56:15,800
Speaker 1: day I met them. Well, how special is that that

1036
00:56:15,840 --> 00:56:17,640
Speaker 1: you wrote with all three? You all got to experience

1037
00:56:17,640 --> 00:56:20,360
Speaker 1: that together. Yeah, it was pretty wild. It was a

1038
00:56:21,440 --> 00:56:23,600
Speaker 1: that was a weird right. You're looking so happy in

1039
00:56:23,640 --> 00:56:27,680
Speaker 1: this part. Yeah, you are very happy, right. But he

1040
00:56:27,960 --> 00:56:31,120
Speaker 1: was also I was also shocked at what was happening.

1041
00:56:30,640 --> 00:56:35,480
Speaker 1: He's a well both, he's a very large man as

1042
00:56:35,480 --> 00:56:38,120
Speaker 1: far as height, and so when he picks you up

1043
00:56:38,160 --> 00:56:40,120
Speaker 1: and starts swinging you, I don't care if you're on

1044
00:56:40,120 --> 00:56:43,839
Speaker 1: a stage or not, it's shocking. Um, that's a that's

1045
00:56:43,840 --> 00:56:46,400
Speaker 1: a great picture. Do you have that picture? That's A

1046
00:56:46,600 --> 00:56:49,319
Speaker 1: that's a great picture. Yeah. Well, listen, I'll ask you

1047
00:56:49,360 --> 00:56:51,680
Speaker 1: some of these generic questions and we'll finish up with

1048
00:56:51,719 --> 00:56:55,120
Speaker 1: something point yet. I'm sure it's our style, all right, However,

1049
00:56:55,160 --> 00:56:57,279
Speaker 1: you want to roll what country artists would you most

1050
00:56:57,440 --> 00:57:01,359
Speaker 1: likely get invited into their house for Thanksgiving? M hmm,

1051
00:57:03,160 --> 00:57:12,480
Speaker 1: that's a great question. Um, maybe Dirk's maybe I don't know,

1052
00:57:13,360 --> 00:57:16,120
Speaker 1: But even then I don't I don't expect that not

1053
00:57:16,120 --> 00:57:18,240
Speaker 1: but any means, although he's man, he's a great guy.

1054
00:57:18,240 --> 00:57:19,680
Speaker 1: He's the best dude. Yeah, he's the best. He's the

1055
00:57:19,720 --> 00:57:23,640
Speaker 1: best dude. Yeah. Last week, Lizzo had to give songwriting

1056
00:57:23,640 --> 00:57:27,040
Speaker 1: credit to someone for a tweet that inspired lyrics. Do

1057
00:57:27,080 --> 00:57:30,600
Speaker 1: you know, Lizzo? Truth hurts. I just took a DNA test.

1058
00:57:30,680 --> 00:57:33,160
Speaker 1: Turns out I'm a hundred percent that you know that

1059
00:57:33,200 --> 00:57:34,920
Speaker 1: song at all. So it's the number one pop song

1060
00:57:34,960 --> 00:57:38,000
Speaker 1: rights for weeks. But what happened was somebody tweeted out

1061
00:57:38,160 --> 00:57:40,760
Speaker 1: the biggest lyric of the song, she used it in

1062
00:57:40,760 --> 00:57:42,800
Speaker 1: a song, and had to give him songwriting credit. Oh

1063
00:57:42,840 --> 00:57:47,240
Speaker 1: my goodness, this is Oh no, I do know this. Yeah, yeah,

1064
00:57:47,280 --> 00:57:54,240
Speaker 1: it sounds different when she does. You don't think I was.

1065
00:57:55,840 --> 00:57:57,560
Speaker 1: You just gotta said no. Anyone we've done with our

1066
00:57:57,640 --> 00:58:01,240
Speaker 1: lives so as anything ever played a pivotal part in

1067
00:58:01,240 --> 00:58:02,680
Speaker 1: the song with You where you're like, oh, I got

1068
00:58:02,680 --> 00:58:04,320
Speaker 1: that from something elis now that I think about it,

1069
00:58:06,040 --> 00:58:15,200
Speaker 1: sort of. There's a line before he cheats Um where

1070
00:58:16,160 --> 00:58:18,920
Speaker 1: it talks about in the chorus, m carving a name

1071
00:58:18,960 --> 00:58:24,400
Speaker 1: in leather seats. There's an outtake from the Barn to

1072
00:58:24,520 --> 00:58:29,400
Speaker 1: Run album called Linda let Me Be the One. Um.

1073
00:58:29,400 --> 00:58:32,520
Speaker 1: It's almost impossible to understand the lyric and the outtake,

1074
00:58:33,120 --> 00:58:36,400
Speaker 1: but he talks about it's this guy who goes to

1075
00:58:36,480 --> 00:58:40,640
Speaker 1: his teenage kid goes to his girlfriend's house and he's

1076
00:58:40,640 --> 00:58:42,360
Speaker 1: standing on the hood of the car and he's trying

1077
00:58:42,400 --> 00:58:44,960
Speaker 1: to get her to open the window and talk to him,

1078
00:58:45,000 --> 00:58:47,240
Speaker 1: and she won't come to the window. Linda just won't

1079
00:58:47,280 --> 00:58:49,400
Speaker 1: show up, and so he breaks into the car I'm

1080
00:58:49,440 --> 00:58:51,280
Speaker 1: assuming it's like her dad's car or something, and he

1081
00:58:51,480 --> 00:58:56,240
Speaker 1: carves Linda's name in the seats of the car. Um

1082
00:58:56,320 --> 00:59:02,080
Speaker 1: That image was such a bizarrely viole and romantic image

1083
00:59:02,800 --> 00:59:07,120
Speaker 1: that I didn't even realize I had done it until

1084
00:59:07,720 --> 00:59:10,120
Speaker 1: years later, and I went because I was like, where

1085
00:59:10,120 --> 00:59:12,440
Speaker 1: did some of this come from? Is my head really

1086
00:59:12,480 --> 00:59:16,080
Speaker 1: that strange? And I was listening to the box set

1087
00:59:16,920 --> 00:59:21,080
Speaker 1: and got to that song, and I was listening to

1088
00:59:21,120 --> 00:59:23,000
Speaker 1: it and I was like, oh, ship, that's where it

1089
00:59:23,040 --> 00:59:25,880
Speaker 1: came from. I bet that's where it came from, because

1090
00:59:25,920 --> 00:59:28,200
Speaker 1: otherwise I don't I don't have any reason to think

1091
00:59:28,240 --> 00:59:30,160
Speaker 1: that any woman should be showing up at a bar

1092
00:59:30,280 --> 00:59:34,880
Speaker 1: not only with a bat but also with a knife. Um. Yeah,

1093
00:59:34,960 --> 00:59:38,400
Speaker 1: so I think that, But I mean, that's kind of

1094
00:59:40,360 --> 00:59:43,200
Speaker 1: that's kind of what most art is, right. It's it's

1095
00:59:43,280 --> 00:59:45,760
Speaker 1: every book you've ever read, it's every piece of music.

1096
00:59:45,800 --> 00:59:48,240
Speaker 1: You've ever heard. It's it's every movie you've ever seen,

1097
00:59:48,280 --> 00:59:51,680
Speaker 1: every TV show you've ever watched, every conversation you've ever

1098
00:59:51,680 --> 00:59:56,320
Speaker 1: had with anybody. That's literally who you are. So at

1099
00:59:56,400 --> 01:00:00,200
Speaker 1: some level it has to become okay. Well, if it's

1100
01:00:00,240 --> 01:00:04,880
Speaker 1: part of me, then it's somewhat fair game, unless it's

1101
01:00:04,960 --> 01:00:09,520
Speaker 1: literally just regurgitating an exact copy of something that came before,

1102
01:00:10,040 --> 01:00:13,120
Speaker 1: because it's impossible not to be influenced. So I don't

1103
01:00:13,160 --> 01:00:16,760
Speaker 1: have any problem with that. Um. Even even my biggest heroes,

1104
01:00:17,120 --> 01:00:19,640
Speaker 1: some of them have songs with the exact same titles

1105
01:00:19,680 --> 01:00:24,760
Speaker 1: of some of their heroes. It's that stuff's been done before,

1106
01:00:24,760 --> 01:00:29,120
Speaker 1: long before I ever wrote my first song I'm I'm okay,

1107
01:00:29,160 --> 01:00:32,240
Speaker 1: and at piece with some of that. UM, I try

1108
01:00:32,320 --> 01:00:36,320
Speaker 1: not to intentionally do it when your songs get put

1109
01:00:36,360 --> 01:00:42,560
Speaker 1: into movies Pitch Perfect to Zero Dark thirty, Uh, Country Strong?

1110
01:00:42,880 --> 01:00:45,880
Speaker 1: Do you ever watch the movie? Yeah? I actually suck.

1111
01:00:46,760 --> 01:00:49,560
Speaker 1: I saw Zero Dark thirty without knowing our song was

1112
01:00:49,600 --> 01:00:51,880
Speaker 1: in it. Oh you just went to watch I just

1113
01:00:52,040 --> 01:00:54,840
Speaker 1: wand of possibly that movie. Yeah, I thought the movie

1114
01:00:54,880 --> 01:00:57,240
Speaker 1: looked great. We went and were sitting there in the

1115
01:00:57,320 --> 01:01:00,120
Speaker 1: seats and when needs you now started to play in

1116
01:01:00,120 --> 01:01:03,840
Speaker 1: the background, it's like reaching over. We're still trying to

1117
01:01:03,880 --> 01:01:08,200
Speaker 1: both watch and it's just like grabbing my arm and squeezing,

1118
01:01:08,200 --> 01:01:12,320
Speaker 1: and I'm like, yeah, I know, but um yeah, I

1119
01:01:12,320 --> 01:01:14,360
Speaker 1: guess they just that it was said at a certain

1120
01:01:14,360 --> 01:01:18,360
Speaker 1: time period and they just wanted something that had been

1121
01:01:18,440 --> 01:01:20,800
Speaker 1: played a lot during that time period. It was nothing

1122
01:01:20,840 --> 01:01:22,480
Speaker 1: more than that. I mean, it wasn't like they went

1123
01:01:23,720 --> 01:01:27,160
Speaker 1: that fits the scene perfectly or anything. It was just again,

1124
01:01:27,320 --> 01:01:30,840
Speaker 1: right time. One final question, and we're gonna wrap this up.

1125
01:01:30,880 --> 01:01:33,480
Speaker 1: What piece of advice from another songwriter or an artist

1126
01:01:33,840 --> 01:01:38,000
Speaker 1: has stayed with you the longest. It could be early,

1127
01:01:38,000 --> 01:01:49,040
Speaker 1: it could have been today. Yeah, Um, gosh, there's a

1128
01:01:49,120 --> 01:02:00,200
Speaker 1: lot of them. So I had I had a lot

1129
01:02:00,200 --> 01:02:04,800
Speaker 1: of mental roadblocks to overcome to be successful in life,

1130
01:02:06,960 --> 01:02:13,240
Speaker 1: not the least of which was my idea of selling out,

1131
01:02:14,040 --> 01:02:25,320
Speaker 1: you know, being willing to be commercials at all. Um.

1132
01:02:25,400 --> 01:02:29,960
Speaker 1: And then I had a friend of mine, Ed Hill,

1133
01:02:30,520 --> 01:02:32,360
Speaker 1: one day. He didn't even realize he was doing it,

1134
01:02:32,360 --> 01:02:34,560
Speaker 1: because I talked to him at many years later about it,

1135
01:02:34,560 --> 01:02:36,160
Speaker 1: and he didn't know he was saying it to me.

1136
01:02:37,920 --> 01:02:41,400
Speaker 1: We were talking about art and art and commerce and

1137
01:02:41,400 --> 01:02:44,240
Speaker 1: and music and money and how it all comes together,

1138
01:02:44,360 --> 01:02:49,320
Speaker 1: and in my head I had these these ideas that

1139
01:02:49,360 --> 01:02:55,640
Speaker 1: if it was if it was commercials, that probably wasn't

1140
01:02:55,680 --> 01:03:00,960
Speaker 1: that great. And he said, you know, there's an art

1141
01:03:01,000 --> 01:03:05,240
Speaker 1: to getting on the radio too, and there's no shame

1142
01:03:05,680 --> 01:03:07,680
Speaker 1: in wanting to get to make a living and something

1143
01:03:07,760 --> 01:03:15,400
Speaker 1: you love for the rest of your life. And that

1144
01:03:15,440 --> 01:03:18,760
Speaker 1: conversation with him was one of those moments where I

1145
01:03:18,760 --> 01:03:24,560
Speaker 1: I kind of, oh, okay, it's not not truly selling out,

1146
01:03:25,680 --> 01:03:28,280
Speaker 1: You're just creating something that a lot of people get

1147
01:03:28,320 --> 01:03:33,640
Speaker 1: to hear. Anohing a moment with that. I mean, if

1148
01:03:33,640 --> 01:03:35,640
Speaker 1: I had wanted my songs to just sit in a

1149
01:03:35,720 --> 01:03:38,960
Speaker 1: shoe box in the closet, I could have done that

1150
01:03:39,040 --> 01:03:41,440
Speaker 1: without getting a publishing deal. I could have done that

1151
01:03:41,480 --> 01:03:45,000
Speaker 1: without coming and spending twenty five years of my life

1152
01:03:45,360 --> 01:03:49,960
Speaker 1: working my butt off in Nashville. Um, more of those

1153
01:03:50,000 --> 01:03:53,720
Speaker 1: six minute non core songs could have had his. I know,

1154
01:03:54,160 --> 01:03:58,880
Speaker 1: I could have just stuck to my creative artsy guns

1155
01:03:59,000 --> 01:04:03,200
Speaker 1: and and not been interested whatsoever in ever making a

1156
01:04:03,240 --> 01:04:07,480
Speaker 1: dime in the music business. And every now and then

1157
01:04:07,520 --> 01:04:11,520
Speaker 1: I meet somebody that isn't a similar place where I

1158
01:04:11,560 --> 01:04:15,920
Speaker 1: was at the time, and um, it's a fun conversation

1159
01:04:15,960 --> 01:04:17,960
Speaker 1: for me to have because I've very much been on

1160
01:04:18,000 --> 01:04:21,080
Speaker 1: both sides of that. Well, listen, I have thoroughly enjoyed

1161
01:04:21,080 --> 01:04:23,400
Speaker 1: this conversation. Yes, great, and I hope that I hope

1162
01:04:23,440 --> 01:04:27,200
Speaker 1: you did too. Yeah. Thanks, it's been a lot of fun. Um. Well,

1163
01:04:28,120 --> 01:04:29,640
Speaker 1: this is everything that I hoped it would be. It's

1164
01:04:29,640 --> 01:04:32,280
Speaker 1: the opposite of prom in New Year's where you really

1165
01:04:32,320 --> 01:04:33,960
Speaker 1: hope it's going to be something and then you're like,

1166
01:04:34,120 --> 01:04:36,480
Speaker 1: I mean it was okay, but it really wasn't. I

1167
01:04:36,840 --> 01:04:38,720
Speaker 1: saw you. This is much better. This is like a

1168
01:04:38,760 --> 01:04:40,640
Speaker 1: Thursday night when her friend calls and goes, hey, you

1169
01:04:40,680 --> 01:04:42,439
Speaker 1: want to wat some dinner, and you're like, I kind

1170
01:04:42,440 --> 01:04:44,080
Speaker 1: of tired, but all right, then you want It's like

1171
01:04:44,120 --> 01:04:47,200
Speaker 1: the greatest night and you can't actually predict it. This

1172
01:04:47,480 --> 01:04:51,200
Speaker 1: was Josh. Yes, so you had very low expectations of

1173
01:04:51,240 --> 01:04:54,439
Speaker 1: me and I exceeded them. Yes, that is always my goal,

1174
01:04:55,120 --> 01:04:59,320
Speaker 1: really good expectations, and you still need was great? Good? Um,

1175
01:04:59,800 --> 01:05:01,960
Speaker 1: well there we go. That wraps it up, um as

1176
01:05:01,960 --> 01:05:05,560
Speaker 1: we walk out the door. Which financially does more fourteen

1177
01:05:05,640 --> 01:05:10,000
Speaker 1: number ones or two together massive international songs across the

1178
01:05:10,040 --> 01:05:13,600
Speaker 1: pop If you which one is the bigger, the Bigger House.

1179
01:05:13,720 --> 01:05:16,240
Speaker 1: All fourteen number ones are the two songs that cross genre.

1180
01:05:16,880 --> 01:05:19,800
Speaker 1: I can truly tell you I have no idea, and

1181
01:05:19,840 --> 01:05:25,640
Speaker 1: I believe you. In my house, my wife takes care

1182
01:05:25,680 --> 01:05:28,920
Speaker 1: of it. Deals with money, I am not a numbers guy.

1183
01:05:29,680 --> 01:05:32,160
Speaker 1: That's like, the worst idea ever is to hand me

1184
01:05:32,200 --> 01:05:35,400
Speaker 1: a checkbook and expect me to balance it. So, yeah,

1185
01:05:36,080 --> 01:05:37,920
Speaker 1: I wouldn't have a clue how to answer that. I'll

1186
01:05:37,960 --> 01:05:40,160
Speaker 1: accept that answer. There is, Josh, good to see, but

1187
01:05:40,640 --> 01:05:42,520
Speaker 1: thank you very much. It's really been enjoyed. All right,

1188
01:05:42,880 --> 01:05:45,120
Speaker 1: So two oh eight of the Bobby Cast with Josh

1189
01:05:45,200 --> 01:05:46,760
Speaker 1: Kre tell your friends about this if you don't mind,

1190
01:05:47,000 --> 01:05:49,000
Speaker 1: tell him about this one specifically. I'm gonna listen to

1191
01:05:49,040 --> 01:05:50,920
Speaker 1: this one like five times. Even though I did, I'm

1192
01:05:50,920 --> 01:05:52,920
Speaker 1: gonna go back listen like five times. Yeah, all right,

1193
01:05:52,920 --> 01:05:53,360
Speaker 1: thanks