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Speaker 1: All right, welcome to episode number eighty six. Our guest

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Speaker 1: is Dan Huff. If I've been trying to get on

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Speaker 1: for a long time, I told you because we were

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Speaker 1: in New York together. How long was that? A month ago?

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Speaker 1: Thomas Rhett And by the way, Dan Hoff, I'm gonna

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Speaker 1: go through a lot of his stuff through the next

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Speaker 1: bit of time. But of everyone that was in New York,

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Speaker 1: it was Thomas. I'm friends with Thomas Rhett and a

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Speaker 1: lot of other producers, a lot of but I was like, Dan,

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Speaker 1: can we take a picture together? Like you were the

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Speaker 1: one guy that I peeked out over because man, you

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Speaker 1: have done so much. Like I look at this and

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Speaker 1: I always like to run down the roster things real

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Speaker 1: quick albums that he produced first of all uh nine

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Speaker 1: of Rascal Flats Loven albums, Keith Urban's last seven records.

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Speaker 1: On that Thomas Rhett, Life Changes, Entangled Up. Taylor Swift

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Speaker 1: Red produced three songs on that Lone Star Carrie Underwood

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Speaker 1: some Hearts. I mean I could go on songs to

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Speaker 1: play guitar on Madonna like a prayer, Paul Abduel, straight up,

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Speaker 1: Michael Jackson, Man in the mirror. There's a lot and

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Speaker 1: I want to get to a lot of that. But

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Speaker 1: first of all, I'm just a big fans. I'm that

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Speaker 1: you're able to come in. Thanks. It was that the

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Speaker 1: significant part of that picture that you you took was

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Speaker 1: it my son in law, Jordan's, who is a rabid

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Speaker 1: fan of yours. I think he was impressed for the

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Speaker 1: first time come on in his in his father in law,

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Speaker 1: so that was a big deal. Yeah, he he You

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Speaker 1: must have put it on Instagram follows you and it

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Speaker 1: was like extremely validated that moment. So I appreciate that

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Speaker 1: Eddie is a music nerd too, so he's sitting in

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Speaker 1: as well, because he was like Dan, He's coming in

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Speaker 1: and I talked to him, So Eddie's in here too,

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Speaker 1: So I appreciate Bobby never lets me sit in on

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Speaker 1: any of these so never. I'm a fan and I

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Speaker 1: just want to listen to everything you have to say.

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Speaker 1: Right now. How about I told you I was watching

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Speaker 1: you on YouTube and this is an old old video

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Speaker 1: on YouTube of you just shredding and teaching. Do you

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Speaker 1: ner making this video? Did? It was right down here

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Speaker 1: on the row in what was Quad Studios? I think

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Speaker 1: what year did you make this video? Yeah? They're being

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Speaker 1: the nineties. I mean he's crushing it. I mean it's

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Speaker 1: a two it's a master class and just watching someone

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Speaker 1: play guitar. And then I want to start with some

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Speaker 1: of the songs, like you played guitar on like a

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Speaker 1: Virgin of Madonna. No, not like a version, no, like

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Speaker 1: a prayer, like a prayer. I was like, up, Yeah,

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Speaker 1: you played guitar on this song if if if the

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Speaker 1: credits say so. There was so much it was The

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Speaker 1: eighties were a blur to me, not because of any

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Speaker 1: uh um extracurricular activities. As a matter of fact, I was.

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Speaker 1: I was from Nashville. When I moved out there, I

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Speaker 1: was as green as you possibly can get. So when

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Speaker 1: when when I got out there, it was I was

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Speaker 1: in awe of the situation. There was so much of

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Speaker 1: this stuff that went on that it was just like

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Speaker 1: day to day stuff, you know for me, Like, for instance,

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Speaker 1: you mentioned that straight up track by Paula Abduel. I

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Speaker 1: was in London recording a giant record with my with

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Speaker 1: my brother, which was the band you played a minute ago,

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Speaker 1: and we were we were in an airport, either in

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Speaker 1: the airport or in the hotel. Saw this song and

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Speaker 1: I'm commented something about the guitar part. I liked the

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Speaker 1: waa guitar part. But even you saw this song, well

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Speaker 1: it was on a video at this point, and I said,

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Speaker 1: that's a cool guitar part. And my brother David looked

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Speaker 1: at me like, well, you know, he smiled, and I said,

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Speaker 1: what are you talking about? He said, you played on that?

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Speaker 1: Oh you didn't saw the video and didn't realize that.

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Speaker 1: I forgot. I had forgotten. And I had actually forgotten

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Speaker 1: to file a union contract too, so I hadn't gotten

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Speaker 1: paid for the thing. And it was already on a

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Speaker 1: video at that point. And that and you were a

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Speaker 1: fan of yourself, which is always a great thing, he

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Speaker 1: says a lot about me. Yet, and you don't remember

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Speaker 1: playing that song well after Paula wasn't there And I

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Speaker 1: did after I after I heard it after my brother

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Speaker 1: kind of shamed me. I did remember the session. Um,

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Speaker 1: she wasn't there there. I don't think there are any

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Speaker 1: vocals on it at that point. I was just working

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Speaker 1: with the producer and some West Hollywood studio. Yeah, that

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Speaker 1: was it. So how do you go from Nashville to

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Speaker 1: l A, Like, are you crushing it so much? As

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Speaker 1: a guitars where you start be known and they're like, hey,

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Speaker 1: we because people get in demand real quick, you know,

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Speaker 1: it's like, oh, this is a hot person. Were you

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Speaker 1: that super hot guitar player at that period of time. No, No,

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Speaker 1: that's why I moved. I mean, I grew up here

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Speaker 1: in Nashville, and um, the irony of of the fact

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Speaker 1: that that produced country records right now, um is not

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Speaker 1: lost on the fact. I've never listened to country music

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Speaker 1: until I was thirty years old, and I was a

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Speaker 1: rock fan. I was a pop fan, and that's that's

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Speaker 1: what I want to do. So so, and there was

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Speaker 1: a bass player that I started doing some sessions with

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Speaker 1: here in Nashville, Gey named David Hungate, who was kind

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Speaker 1: of legendary in this session world. He was in a

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Speaker 1: band called Toto. Yeah it's that was Africa, Yes, and

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Speaker 1: that was that was like the soup. These were the

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Speaker 1: super group of musicians in l A. They they they

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Speaker 1: played on all the records that I grew up listening to.

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Speaker 1: And he said, if you really want to make it,

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Speaker 1: you got to go out to l A and make

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Speaker 1: it as a guitar player. And remember this is in

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Speaker 1: the late seventies. Early eighties, and he was he was right,

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Speaker 1: and and through a series of events that happened. No,

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Speaker 1: I was not an in demand guitar player in Nashville.

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Speaker 1: I was a friend guitar player, played too many notes,

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Speaker 1: as you evidenced on that when the video, but and

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Speaker 1: and and it wasn't the right timing for Nashville. I was.

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Speaker 1: Nashville didn't feed on youth at that point. L A

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Speaker 1: did And I got out there through a bizarre series

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Speaker 1: of events and and uh, and it started snowballing at

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Speaker 1: that point. So do you get more? Because this song

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Speaker 1: held the record until Sam Hunt took it like One

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Speaker 1: Sweet Day and Mariah Carey boys the Man and you

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Speaker 1: played on this. I played on a bunch of Mariah

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Speaker 1: stuff and a different Walter Afanassi was a good friend

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Speaker 1: of mine. So if a song is more successful in

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Speaker 1: your player on it, do you make more money or

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Speaker 1: is it like a one time thing? Well back then

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Speaker 1: it was pretty much a one time thing. And it

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Speaker 1: was you know, you got paid. I played for Double Scale,

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Speaker 1: and that was going from demo scale and Nashville the

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Speaker 1: double scale. It was like what a scale means, what

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Speaker 1: a person in the union gets? Yeah, And I and

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Speaker 1: I would charge. I was told out there by the

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Speaker 1: musicians who I kind of got in with immediately, you know,

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Speaker 1: don't make us look bad. Charge what we're charging, which

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Speaker 1: was double scale, so I mean for for three hours

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Speaker 1: and you break your dap in three hour increments. It

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Speaker 1: was a great living for a twenty two year old

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Speaker 1: kid and a lot of money. Well, you recorded this

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Speaker 1: again out without the artists sometimes sometimes like there was

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Speaker 1: you know, like um, this guy that I that I

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Speaker 1: worked with, Walter f Finos, if he would just hire

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Speaker 1: me on on just tons of stuff. A lot of

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Speaker 1: times the vocals were on there. I remember one time

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Speaker 1: we did um that, um my, my my voice will

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Speaker 1: go on the theme from Titanic. Yeah, yeah, yeah, and

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Speaker 1: you played guitar on this. Yeah. Just ironic that you

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Speaker 1: have those that but it's um yeah and the vocal

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Speaker 1: wasn't on it. We actually did that after I moved

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Speaker 1: back to Nashville at studio down the streets. So how

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Speaker 1: do they call you and they go do they tell

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Speaker 1: you it's a Titanic song or they just say, hey,

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Speaker 1: we're gonna send you some a sheet of paper with

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Speaker 1: all the I don't even know what language that is.

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Speaker 1: That you guys read, How does that work? It's any

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Speaker 1: and everything you can imagine. So he's just going to

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Speaker 1: studio with with you play music and you just start

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Speaker 1: jamming with it. I mean I was, I was horrible reader.

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Speaker 1: I grew up being a guitar player. You just you

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Speaker 1: you you you. Your education musically is somehow stunted because

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Speaker 1: you're a narcissist. Number one. You're a guitar player. You

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Speaker 1: want to shared and you want girls to look at

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Speaker 1: you and for some reasons. So I didn't get the

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Speaker 1: reading memo. So I was always pretty remedial and reading.

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Speaker 1: But I could. I could. I can hear a song

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Speaker 1: once and know it pretty much. So usually what they

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Speaker 1: would do it just play a track and say, you know,

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Speaker 1: play what you feel or what they hear a lines,

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Speaker 1: maybe play this or something like that. At what point

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Speaker 1: in your life because you start to play things back,

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Speaker 1: because that's something that's kind of grained into you. I

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Speaker 1: grew up wanting I was the the opposite of young

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Speaker 1: guitar players wanted to be a rock star. I wanted

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Speaker 1: to be a studio player. I thought that was the

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Speaker 1: coolest thing. So I grew up in Nashville. My father

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Speaker 1: was in in Christian contemporary Christian music. He was an orchestrator,

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Speaker 1: and so I'd go to all the sessions with him

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Speaker 1: when I was, you know, started thirteen years old, and

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Speaker 1: that's I thought that was a greatest thing in the world.

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Speaker 1: So you saw sessions because a lot of people what

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Speaker 1: they see is the rock and roll on stage. Yes,

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Speaker 1: so you actually saw sessions and thought that would be cool.

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Speaker 1: I thought those musicians were the best because what they

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Speaker 1: could do is site, basically on site at that moment,

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Speaker 1: they could create something that didn't exist before before that moment.

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Speaker 1: That's wild. You played on all these songs. It's like,

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Speaker 1: do you know what I think? Bobby too, I think sometimes.

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Speaker 1: I mean, uh, somebody told me that the Wikipedia page

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Speaker 1: on me is quite extensive. I don't I've never really

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Speaker 1: looked at it. I glanced that for two seconds and

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Speaker 1: it looked like, really, I don't know who keeps all

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Speaker 1: these stats. I think some of them are right. I

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Speaker 1: think some of them are are wrong. I don't know

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Speaker 1: how I get. I mean, I played with all these artists,

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Speaker 1: but as far as per song, some of them I

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Speaker 1: can't remember, to be honest. So what about this one here?

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Speaker 1: This is a pretty legendary one. Yeah Jackson, Yeah, yeah,

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Speaker 1: played on that one. Now, that one you do remember?

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Speaker 1: I mean I remember most of them, but but that

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Speaker 1: one especially, that was a that was a pretty big deal.

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Speaker 1: It was twenty I don't know what year that record

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Speaker 1: was recorded in. I'm assuming I was about now. Did

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Speaker 1: you know the Michael Jackins song? Oh yeah, I mean

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Speaker 1: I got called in. I mean that was that wasn't

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Speaker 1: lost to me. I mean I got you know, you

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Speaker 1: kind of knew you had made it when when you

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Speaker 1: got a call from Quincy Jones and you know how

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Speaker 1: I knew Michael Jackson was And I remember going in

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Speaker 1: the first day. The first session I worked on with

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Speaker 1: him was not that song. It was a song. It

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Speaker 1: was his leadoff single, which is I can't remember the

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Speaker 1: name of It was like a ballot. He would release

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Speaker 1: a ballot first, and um, I was just an awe.

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Speaker 1: I mean I I walked into the studio and it

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Speaker 1: was bizarre. Did I tell you this there in New York?

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Speaker 1: Somebody asked me about this. And I walked into Westlake

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Speaker 1: Studio and basically you walk in an alleyway and and

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Speaker 1: uh it opens up right into a lounge and there's

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Speaker 1: a bathroom right in front of you. And I walked

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Speaker 1: in and I saw this, this what looked like a

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Speaker 1: pretty ragged you know, raggedy. I mean, I hate to

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Speaker 1: say it like this, but it's like a street person.

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Speaker 1: I mean it really unkept person in the bathroom being

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Speaker 1: attended to by somebody. And and that was my first

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Speaker 1: inclination of that kind of you kind of look at

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Speaker 1: and go, okay, well, I'm just gonna kind of mosey

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Speaker 1: on down the hall way. And the person that was

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Speaker 1: attending him, attending to this person, then all of a

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Speaker 1: sudden pulled off the hair and and and it was

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Speaker 1: a wig. It was Michael Jackson in in um Hollywood

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Speaker 1: uh quality garb to make him be able to blend

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Speaker 1: in to walk down Melrose. So what he was wearing

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Speaker 1: was to fake people out so they wouldn't know was

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Speaker 1: Michael Jackson. And you saw him peeling off the sky, yeah,

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Speaker 1: I mean I was and and and I saw what

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Speaker 1: it looked a little uncomfortable. A sudden, there there's no hair,

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Speaker 1: and it's like nobody screamed. So I looked back and

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Speaker 1: I realized realized that it was him. I had never

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Speaker 1: met him, and I asked him, you know, I mean,

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Speaker 1: it seems pretty obvious now, but at that moment, you're

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Speaker 1: it was kind of surreal. And he just he articulated

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Speaker 1: that that's the way he could walk down the street,

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Speaker 1: which I thought was pretty interesting. So did you spend

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Speaker 1: much time with him in studio and did he have

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Speaker 1: any production like was he like, hey, do some more

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Speaker 1: of this? Was he hands on even though question he

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Speaker 1: was present. Yeah, I mean they they to be invited

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Speaker 1: to that kind of setting. The bar is pretty high.

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Speaker 1: I mean, all the musicians are kind of the musicians,

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Speaker 1: you know, and and they they're pretty loose about them

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Speaker 1: and they hire whoever they want. So they get people

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Speaker 1: they think we are going to do the job and

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Speaker 1: and and add to their music, and they pretty loose reins.

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Speaker 1: They let you kind of do what you what you

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Speaker 1: do and they'll they'll weigh and I remember Michael would

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Speaker 1: walk around and ask questions about some equipment. You know,

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Speaker 1: just very hospitable, kind of friendly guy that will make

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Speaker 1: you nervous. That was definitely nervous. Oh yeah, I mean,

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Speaker 1: you know this is this is and in in the

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Speaker 1: session world, it's you're pretty much only as good as

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Speaker 1: your last session, you know, and as long as you

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Speaker 1: keep playing good and you you you know, I didn't

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Speaker 1: alwaysn't aware what hit records. I was pretty naive back then.

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Speaker 1: All I cared about was just being invited and playing.

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Speaker 1: I cared about guitar, you know, that was it. But

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Speaker 1: when you get invited there, if you if you do

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Speaker 1: a good job, you get asked back. And that's why

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Speaker 1: I got asked back to do that Man in the

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Speaker 1: Mirror song. That's crazy, like that's a generational song. Yeah,

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Speaker 1: I mean a lot of all those are like those are.

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Speaker 1: It doesn't feel like that when you're going through it, though,

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Speaker 1: it's it's I mean, every day, like you know, there

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Speaker 1: would be this session and the next day might be

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Speaker 1: doing like like Pepsi cola jingle, and then a movie

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Speaker 1: or a TV soundtrack, and then you know, I mean

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Speaker 1: just and then a lot of international music. I mean

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Speaker 1: l A was a hub for just everything in the

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Speaker 1: recording and the eighties. As it turned out, I left

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Speaker 1: in ninety right or eighty nine, and that was really

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Speaker 1: the end of the golden years. I think the seventies

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Speaker 1: were the true golden years in l A. UM. I

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Speaker 1: missed it by a decade. You know, but but it

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Speaker 1: was still really healthy. And I moved back to Nashville

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Speaker 1: because we had this band and I want to raise

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Speaker 1: my kids here. My family, extended family was here, and um,

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Speaker 1: I didn't realize that I kind of just got out

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Speaker 1: right under under the radar, you know. I we're talking

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Speaker 1: about sleep number for one second. So it's fall now.

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Speaker 1: As you hear my voice, life is folly. I mean,

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Speaker 1: it's like salur racations over and kids back at school,

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Speaker 1: and it's like time to get everything in before the holidays.

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Speaker 1: So you need that best quality sleep so when you

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Speaker 1: go to work you feel like it. And to be

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Speaker 1: the best, you need a good bed. The sleep number

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Speaker 1: bed let you choose your ideal comfort, your support on

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Speaker 1: each side. It's the perfect bed for couples because you

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Speaker 1: can do one on each side. As I'm talking about,

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Speaker 1: their newest beds are so smart. They actually sense your

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Speaker 1: every move and automatically adjust so that you stay sleeping

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Speaker 1: comfortably through the night. There's even a snoring adjustment. There's

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Speaker 1: so much to this bed that's awesome. My sleep number

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Speaker 1: setting is thirty. My sleep i Q score last night

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Speaker 1: was in the nineties. Right now. Sleep number beds cost

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Speaker 1: about the same traditional matches and last twice as long

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Speaker 1: over n owners recommend it and right now up to

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Speaker 1: six hundred bucks off special financing free home delivery. This

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Speaker 1: ends soon though. You only find the sleep number one

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Speaker 1: of the fifty sleep number stores nationwide and sleep number

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Speaker 1: dot com. And when you go you call them up.

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Speaker 1: You what you get out store or whatever, telling Bobby

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Speaker 1: Bones sent you. Okay, so you talk about your band Giant,

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Speaker 1: that was my That was my departure into singing for

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Speaker 1: a few minutes. Look you, that's out sold every night too.

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Speaker 1: That's such a that's as such a big song, like

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Speaker 1: in the way of like vocally like that's a large song.

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Speaker 1: I'll see you hurt every night every night. I didn't

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Speaker 1: grow up wanting to be a singer, especially not in

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Speaker 1: the rock band. And so how did you have been

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Speaker 1: the singer of your band? Oh? You got time for this.

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Speaker 1: I'll try to let me see tell me. We got

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Speaker 1: plenty of time. Tell me the story. It was just

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Speaker 1: one of those things. You know, you're you're kind of

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Speaker 1: on the fast track, and and you're recording with a

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Speaker 1: lot of rock bands and a lot of pop artists,

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Speaker 1: and and through that journey you kind of see, you know,

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Speaker 1: there are very few what I would say would be

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Speaker 1: transcendent artists. Most people it's it's a business, right and

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Speaker 1: you sit there and you kind of developed this. I

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Speaker 1: would say it would be an you know, certain certain

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Speaker 1: ego sense. God, if these guys can do this, I

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Speaker 1: can do this. So we started a practice band out

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Speaker 1: I remember it was Ario. Remember the rock band are Yeah, Yeah,

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Speaker 1: they had a rehearsal space. So a bunch of us

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Speaker 1: got together. There are a couple of songwriters who were

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Speaker 1: the singers, and a bunch of studio musicians, and we

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Speaker 1: started just kind of writing songs and and kind of

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Speaker 1: a total esque situation again and it total ask you me,

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Speaker 1: two singers total, the studio musicians, not a bunch of

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Speaker 1: pretty dudes. I mean, like you know, it was. We

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Speaker 1: were musically proficient. I'd say, on the live side of

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Speaker 1: the presentation, we're probably pretty lacking. One of the singers

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Speaker 1: was Tom Kelly and and and he was a great

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Speaker 1: singers are great. Tommy Funderbrook was sang on all the

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Speaker 1: hit records of a backup singer, Tom Kelly. The same thing.

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Speaker 1: Tom Kelly, I remember one day brought in a song

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Speaker 1: he said he wanted us to work it up, and

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Speaker 1: it was it was a song that he wrote, and

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Speaker 1: they were getting this young girl Madonna was going to record.

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Speaker 1: It was called like a Virgin, and and I just

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Speaker 1: remember We're all sitting there going like, we didn't get

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Speaker 1: to work this song up. This is not I'm not

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Speaker 1: gonna sit there and sing like a Virgin and and

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Speaker 1: and and you know, obviously we know what happened to

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Speaker 1: the song. And Tom Tom was a great writer. That

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Speaker 1: is basically I'm fast forward. And because this gets really boring,

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Speaker 1: one of the guys in the band and I Alan Pasqual,

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Speaker 1: we said, why don't we try this on our own,

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Speaker 1: invited my brother David out. Mike Bringerdella was a session

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Speaker 1: stalwart here in Nashville, and uh, I said, I'll sing

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Speaker 1: and so we started writing songs and that was it.

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Speaker 1: And I started singing and kind of learning, and I

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Speaker 1: had a bunch of cool people helped me out. I

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Speaker 1: had a range, but I had no control. I was

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Speaker 1: working a lot with Michael Bolton. Then Michael gave me

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Speaker 1: some tips, which is kind of interesting, how well what tips?

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Speaker 1: Because Michael a great vocalist without very wide range, Like

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Speaker 1: what does he say to you like, what's his tips

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Speaker 1: to learn to sing? It was all breath support, you know,

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Speaker 1: I mean, none of which I ever accomplished to that level.

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Speaker 1: I mean it was like he'd make it look easy.

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Speaker 1: It was like, yeah, I just do this right, you know.

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Speaker 1: But but it did. It kind of firmed and he said,

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Speaker 1: you know, he said, sing from here, do this when

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Speaker 1: you go for the high notes and um, and so

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Speaker 1: I kind of I kind of eked my way through

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Speaker 1: and we we did some demos, got signed by an

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Speaker 1: M record. It was bizarre. So this kid, who was

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Speaker 1: a studio player, all of a sudden, we're out there

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Speaker 1: on the road playing, you know. And I just realized

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Speaker 1: that this was in the middle of the eighties. Bands

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Speaker 1: like Poison, White Snake, you know, all these bands were

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Speaker 1: doing it, and if you look at them, you look

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Speaker 1: at us, there was something definitely missing. And it was

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Speaker 1: the commitment to that thing. You know. We liked the music,

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Speaker 1: but the rest of it it wasn't It wasn't there

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Speaker 1: for us. Look at this guy. We just did a

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Speaker 1: we just did um. Twenty seven years later, uh, two

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Speaker 1: months ago, we did a what I swore we'd never did.

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Speaker 1: We we played together again and being people have been

385
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Speaker 1: asking us over in Europe. We we did pretty good

386
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Speaker 1: in Europe, and it's for me. Those days are gone, right,

387
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Speaker 1: I mean, look at my hair, you know, it's like

388
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Speaker 1: you know, I couldn't fit into the Spandex yet. And

389
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Speaker 1: and uh, but a local musician his house was burned

390
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Speaker 1: down and he was apparently a fan. And so I

391
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Speaker 1: had no excuse because Mike Brgnadello, the bass player in

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Speaker 1: our band, said that there's a guy Brian Cole from

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Speaker 1: Pittsburgh's a rock singer. He said he's a huge fan.

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Speaker 1: He come down and sing the songs. Because I said,

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Speaker 1: I'm not trying to sing that again, it's been twenty

396
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Speaker 1: seven years. I'd sound like a I tried it. I

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Speaker 1: will say this. I tried at my studio at the

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Speaker 1: house and it was laughable. I said, that's there's not

399
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Speaker 1: a chance. No excuse. And so we actually got together

400
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Speaker 1: and played the other night. Uh where do we play?

401
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Speaker 1: A camera? Which club? But we play? It was fun.

402
00:18:23,280 --> 00:18:26,680
Speaker 1: It was fun. It was great and and um um

403
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Speaker 1: I was hoping to land. I started it with like

404
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Speaker 1: a minute and a a half guitar sol like kind of

405
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Speaker 1: in the days of yore. And I thought either I

406
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Speaker 1: land this or I looked like a fool. And you,

407
00:18:33,600 --> 00:18:35,879
Speaker 1: of course everybody's filming it, you know, on their their phones.

408
00:18:36,359 --> 00:18:38,360
Speaker 1: Landed it. That's all I cared about. We got through

409
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Speaker 1: it. It It was the reunion farewell tour within fifteen minutes.

410
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Speaker 1: That's fine. So when does Giant stop? The Giants stopped?

411
00:18:49,280 --> 00:18:52,080
Speaker 1: When when I when I saw even Flow, uh by

412
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Speaker 1: pearl Jam, I saw that guy. We were in New

413
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Speaker 1: York finishing our second record, and uh I saw this video.

414
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Speaker 1: Somebody innocently played me Eddie Vetter, and I thought it, well,

415
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Speaker 1: that ain't me, and I can't do that. Remember that,

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Speaker 1: do you remember that? You know you're too young, and

417
00:19:05,760 --> 00:19:09,720
Speaker 1: he's a die hardpologize. You remember even Flow the first

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Speaker 1: video when he was in that little theater climbing on

419
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Speaker 1: the up into the balcony. He climbs all the way

420
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Speaker 1: to the side and then he lets himself go to

421
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Speaker 1: let the crowd catch him on his back. I just,

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Speaker 1: I mean, and that's commitment, and and that was something

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Speaker 1: that that I I mean, I knew I didn't have

424
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Speaker 1: that in me, and in music was changing. We were

425
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Speaker 1: the end of the eighties, you know, and it was

426
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Speaker 1: just like this ain't gonna happen. We we we kind

427
00:19:29,840 --> 00:19:32,320
Speaker 1: of limped for another year. I still kept my studio

428
00:19:32,359 --> 00:19:36,119
Speaker 1: career going and then um, during that time, um, you know,

429
00:19:36,160 --> 00:19:39,200
Speaker 1: we just moved back to Nashville and James Shroud, who

430
00:19:39,280 --> 00:19:43,520
Speaker 1: was kind of a legendary producer at that time. He's

431
00:19:43,520 --> 00:19:45,520
Speaker 1: still legendary, but at that time he was doing I

432
00:19:45,520 --> 00:19:48,119
Speaker 1: don't know, twenty records a year. It was something I

433
00:19:48,160 --> 00:19:50,960
Speaker 1: can't process. And he asked me to play on all

434
00:19:50,960 --> 00:19:52,720
Speaker 1: of his records and I said, why, I don't know

435
00:19:52,760 --> 00:19:54,960
Speaker 1: how to play country music? Said, it doesn't matter, just

436
00:19:55,000 --> 00:19:57,560
Speaker 1: play how you play. I'm gonna incorporate that in. And

437
00:19:57,560 --> 00:20:00,280
Speaker 1: that was kind of during that that era when when

438
00:20:00,320 --> 00:20:03,640
Speaker 1: country music started incorporating rock and pop values. So when

439
00:20:03,640 --> 00:20:06,199
Speaker 1: you come over and it's you say that era, like

440
00:20:06,240 --> 00:20:07,919
Speaker 1: what was that, you can think back to, like the

441
00:20:07,920 --> 00:20:09,719
Speaker 1: big artists, to the big record that you worked on

442
00:20:09,800 --> 00:20:12,399
Speaker 1: first where you're like, okay, this might work because there

443
00:20:12,440 --> 00:20:17,800
Speaker 1: was some success to it. John Anderson that was he

444
00:20:17,880 --> 00:20:21,879
Speaker 1: had this record called Seminole Wind and It and It's

445
00:20:21,880 --> 00:20:23,760
Speaker 1: funny is one of those records like kind of old school.

446
00:20:23,800 --> 00:20:25,520
Speaker 1: We we got a banded and then we probably cut

447
00:20:25,520 --> 00:20:28,560
Speaker 1: the whole record in three days and it was just magical.

448
00:20:28,640 --> 00:20:30,479
Speaker 1: And then you know, and then James is doing Clinton

449
00:20:30,480 --> 00:20:32,000
Speaker 1: Black and he invited me to play on some of

450
00:20:32,040 --> 00:20:33,879
Speaker 1: that stuff, and you know, it's the same thing that

451
00:20:33,880 --> 00:20:35,760
Speaker 1: happened in Los Angeles word of mouth. You know, if

452
00:20:35,760 --> 00:20:38,560
Speaker 1: you play on a hit, everybody wants that new thing

453
00:20:38,640 --> 00:20:42,960
Speaker 1: whatever that you know, unquantifiable thing that gives them that

454
00:20:43,240 --> 00:20:45,920
Speaker 1: hit status or whatever. So if you if you're lucky

455
00:20:46,040 --> 00:20:47,520
Speaker 1: enough to do it, and you're consistent enough, you know,

456
00:20:47,560 --> 00:20:49,160
Speaker 1: it kind of starts rolling. So I so I got

457
00:20:49,200 --> 00:20:52,240
Speaker 1: back into the session world again playing in country music,

458
00:20:52,280 --> 00:20:54,480
Speaker 1: and the learning curve was steep because I knew that

459
00:20:54,520 --> 00:20:56,560
Speaker 1: I was when you have people like Brent Mason run

460
00:20:56,640 --> 00:20:59,080
Speaker 1: around Nashville at that time and this guy, this guy

461
00:20:59,320 --> 00:21:01,880
Speaker 1: is a legend and a guitar god in my mind.

462
00:21:02,720 --> 00:21:04,680
Speaker 1: But there was a place for me in my kind

463
00:21:04,680 --> 00:21:07,160
Speaker 1: of rock background to do it. And we worked well.

464
00:21:07,240 --> 00:21:09,160
Speaker 1: And I I mean I would do two in three

465
00:21:09,160 --> 00:21:11,720
Speaker 1: sessions a day. So as you're doing those again, you're

466
00:21:11,800 --> 00:21:14,479
Speaker 1: in three sessions, you're talking about nine hours of playing

467
00:21:14,680 --> 00:21:16,960
Speaker 1: with time and travel in between. And it's just down

468
00:21:17,000 --> 00:21:18,520
Speaker 1: here in music grow So it's not a big deal.

469
00:21:19,480 --> 00:21:21,560
Speaker 1: So if you get that, because it's like nine to

470
00:21:21,720 --> 00:21:24,280
Speaker 1: noon most of the time, right, Well back then it

471
00:21:24,320 --> 00:21:27,040
Speaker 1: was ten to one, two to five, and then six

472
00:21:27,119 --> 00:21:29,360
Speaker 1: to nine, and you have like three sessions some days,

473
00:21:29,440 --> 00:21:33,240
Speaker 1: Oh yeah, it's four. Would you wow, I was greedy?

474
00:21:33,400 --> 00:21:36,680
Speaker 1: Would you prepare for each session or were you so

475
00:21:36,800 --> 00:21:38,439
Speaker 1: strong in your own mind that you could walk in

476
00:21:38,480 --> 00:21:40,600
Speaker 1: and pretty much catch it? No, nobody, there was no

477
00:21:40,680 --> 00:21:43,359
Speaker 1: prep You didn't the night before, You didn't go over notes. No, no,

478
00:21:43,400 --> 00:21:45,000
Speaker 1: you do. You didn't hear the songs until you walked

479
00:21:45,000 --> 00:21:47,520
Speaker 1: into the studio. That's the that's the beat. I mean,

480
00:21:47,680 --> 00:21:50,080
Speaker 1: you know this happens every day here in town still,

481
00:21:50,560 --> 00:21:53,320
Speaker 1: you know. You you come in and teams are kind

482
00:21:53,359 --> 00:21:55,520
Speaker 1: of put together, and you hear this music for the

483
00:21:55,560 --> 00:21:58,960
Speaker 1: first time. There's very settlementny any kind of uh of

484
00:21:59,280 --> 00:22:03,359
Speaker 1: tapes being from before the session. You just react to it. Wow.

485
00:22:03,800 --> 00:22:06,439
Speaker 1: So yeah, so you moved to town and you're playing,

486
00:22:06,440 --> 00:22:09,000
Speaker 1: But when do you make that transition to go, hey, listen,

487
00:22:09,119 --> 00:22:12,680
Speaker 1: I can. I'm a great player, but I want to

488
00:22:12,720 --> 00:22:14,880
Speaker 1: be the guy that actually controls all the sounds. Want

489
00:22:14,920 --> 00:22:18,080
Speaker 1: be the producer. I didn't make that decision. It was

490
00:22:18,200 --> 00:22:20,640
Speaker 1: it was it was I guess this would be near

491
00:22:20,680 --> 00:22:24,119
Speaker 1: the mirror the end of the nineties. And I think

492
00:22:24,160 --> 00:22:26,800
Speaker 1: I told you this the other night. Um Uh, it

493
00:22:26,840 --> 00:22:29,520
Speaker 1: was Mutt Lane. Ironically, I mean, it's just my my

494
00:22:29,600 --> 00:22:33,159
Speaker 1: whole uh for Indo country music. It's just bizarre how

495
00:22:33,200 --> 00:22:36,320
Speaker 1: it happened, bizarre when it happened. And then kind of

496
00:22:36,320 --> 00:22:38,040
Speaker 1: getting that push out of the nest of a player.

497
00:22:38,080 --> 00:22:40,960
Speaker 1: I was working on the Shanai records with him and

498
00:22:40,960 --> 00:22:43,040
Speaker 1: and he had told me, by the way, I had

499
00:22:43,080 --> 00:22:45,840
Speaker 1: done some other records with him over over in London,

500
00:22:45,960 --> 00:22:47,560
Speaker 1: and uh, and he told me he was dating the

501
00:22:47,560 --> 00:22:49,639
Speaker 1: school named Shania Twain had heard of her, and I

502
00:22:49,640 --> 00:22:51,960
Speaker 1: said yeah, and he said I'm gonna do a record

503
00:22:52,000 --> 00:22:54,199
Speaker 1: on her. And I said, oh, it's cool. And he

504
00:22:54,200 --> 00:22:56,679
Speaker 1: said I'm not going to use you though, And I

505
00:22:56,720 --> 00:22:59,280
Speaker 1: said why because I was playing. I can't remember the

506
00:22:59,359 --> 00:23:03,080
Speaker 1: artist I was playing at that moment. Um Uh. He said, well,

507
00:23:03,080 --> 00:23:05,119
Speaker 1: because you're not a country guitar, but you don't know

508
00:23:05,119 --> 00:23:06,720
Speaker 1: how to do that. And he was right. He was

509
00:23:06,760 --> 00:23:09,320
Speaker 1: so right. And then all I remember and I kind

510
00:23:09,320 --> 00:23:10,840
Speaker 1: of felt a little bit bad. It's like, come on,

511
00:23:11,080 --> 00:23:12,520
Speaker 1: give me a shot. I'm playing on all these other

512
00:23:12,520 --> 00:23:16,360
Speaker 1: country records. But he being this rock super producer. I mean,

513
00:23:16,359 --> 00:23:18,359
Speaker 1: this guy is in the status that that none of

514
00:23:18,440 --> 00:23:21,680
Speaker 1: us will ever achieve, you know. And and but he

515
00:23:21,720 --> 00:23:25,000
Speaker 1: was right, he knew it. He understood I wasn't a

516
00:23:25,040 --> 00:23:28,040
Speaker 1: country guitar player, There's no way. Two days into the

517
00:23:28,080 --> 00:23:29,919
Speaker 1: track and I got this phone call. He said, hey, Danny,

518
00:23:30,560 --> 00:23:32,720
Speaker 1: and you mind coming down and giving it a play?

519
00:23:34,080 --> 00:23:36,760
Speaker 1: And I said, what happened? What happened? You know? He said, well,

520
00:23:36,800 --> 00:23:38,680
Speaker 1: I mean this is a big compliment for me, He said,

521
00:23:38,680 --> 00:23:41,000
Speaker 1: I I need your risk, the way that you that

522
00:23:41,119 --> 00:23:43,840
Speaker 1: you articulated certain kind of rhythm. And the first song

523
00:23:43,880 --> 00:23:46,280
Speaker 1: that I remember going and playing was any Man of Mine.

524
00:23:46,480 --> 00:23:48,200
Speaker 1: It was kind of a trippy and so anyway that

525
00:23:48,200 --> 00:23:51,880
Speaker 1: that went. That went on for a while, and and

526
00:23:52,040 --> 00:23:54,160
Speaker 1: a lot of time spent with him. I learned so

527
00:23:54,240 --> 00:23:56,240
Speaker 1: much from being around him, as I did these other prisoners.

528
00:23:56,280 --> 00:23:58,159
Speaker 1: And he told me, said, you're a producer. What was

529
00:23:58,200 --> 00:24:05,159
Speaker 1: this thing? Like? Why is he that genius that he is? Like?

530
00:24:05,280 --> 00:24:09,040
Speaker 1: What is it about him that made him special? He's

531
00:24:09,040 --> 00:24:11,400
Speaker 1: a great songwriter, number one, which I'm not. I mean,

532
00:24:11,440 --> 00:24:14,920
Speaker 1: he's he's a great songwriter. He gets to the essence

533
00:24:14,960 --> 00:24:17,280
Speaker 1: of a song. He knows what it is, whether it's

534
00:24:17,320 --> 00:24:19,240
Speaker 1: whether it was a C. D C or Shania Twin

535
00:24:19,359 --> 00:24:22,280
Speaker 1: or anything in between. He just gets it. He's the

536
00:24:22,320 --> 00:24:27,040
Speaker 1: most unassuming um person. He walking here, you wouldn't know

537
00:24:27,359 --> 00:24:29,160
Speaker 1: it was him. He used to write when he would

538
00:24:29,160 --> 00:24:31,080
Speaker 1: come to Nashville, and this is a guy who number one.

539
00:24:31,320 --> 00:24:35,040
Speaker 1: When he moves to a country, they negotiate his tax status.

540
00:24:35,080 --> 00:24:37,920
Speaker 1: It's bizarre. I mean, this guy's this guy's worth quite

541
00:24:37,920 --> 00:24:42,119
Speaker 1: a bit. Never well wears his wealth, which I so respect.

542
00:24:42,440 --> 00:24:44,840
Speaker 1: He would He would ride a bike around music row

543
00:24:45,800 --> 00:24:48,240
Speaker 1: strap of guitarist back were sandals, and that was that

544
00:24:48,320 --> 00:24:52,120
Speaker 1: was him. He has this ability to he has an

545
00:24:52,119 --> 00:24:56,119
Speaker 1: an innate respect for humans. So he never makes you

546
00:24:56,160 --> 00:24:59,959
Speaker 1: feel um less. He knows how to he knows how

547
00:25:00,080 --> 00:25:04,120
Speaker 1: lead he knows how to how to bring um out

548
00:25:04,160 --> 00:25:06,520
Speaker 1: stuff and players. He would work with bands that they

549
00:25:06,560 --> 00:25:08,440
Speaker 1: didn't know they had and so when he would work

550
00:25:08,440 --> 00:25:10,440
Speaker 1: with studio musicians, that was kind of a treat for him.

551
00:25:10,640 --> 00:25:12,320
Speaker 1: But he would do the same thing, and you just

552
00:25:12,359 --> 00:25:14,119
Speaker 1: had to buy into the fact that he was hearing

553
00:25:14,200 --> 00:25:16,639
Speaker 1: something and he was listening for something, as long as

554
00:25:16,680 --> 00:25:18,439
Speaker 1: your ego wouldn't get too involved, because you would do

555
00:25:18,440 --> 00:25:19,879
Speaker 1: it over and over again. You'd sit and play a

556
00:25:19,920 --> 00:25:22,640
Speaker 1: little ding ding ding ding ting part for maybe three

557
00:25:22,640 --> 00:25:25,159
Speaker 1: hours at a time. Would you ever go I just

558
00:25:25,359 --> 00:25:28,640
Speaker 1: now that no, I actually knew what he was talking about.

559
00:25:28,720 --> 00:25:30,080
Speaker 1: I could, I could hear it. He's he kind of

560
00:25:30,080 --> 00:25:32,160
Speaker 1: hears in slow motion. He wants every note of every

561
00:25:32,200 --> 00:25:35,200
Speaker 1: song to be the greatest. And I don't know the

562
00:25:35,240 --> 00:25:37,760
Speaker 1: philosophically that I'm a hundred percent down with that. I

563
00:25:37,800 --> 00:25:39,359
Speaker 1: like a little bit more around the edges. I've been

564
00:25:39,400 --> 00:25:42,600
Speaker 1: affected by some other music that I like a balance between.

565
00:25:42,800 --> 00:25:45,320
Speaker 1: But I understood it. But he also heard the way

566
00:25:45,359 --> 00:25:47,000
Speaker 1: that I was hearing, and then I think that's why

567
00:25:47,000 --> 00:25:48,600
Speaker 1: he said you need to do this, And it was

568
00:25:48,760 --> 00:25:51,480
Speaker 1: a shock to me. So then how do you do

569
00:25:51,560 --> 00:25:54,160
Speaker 1: it the first time? Who takes their risk on all

570
00:25:54,280 --> 00:25:56,879
Speaker 1: Danny Huff, the guy that's never produced a record, Well,

571
00:25:56,920 --> 00:25:58,359
Speaker 1: it's a little tough because of the way that the

572
00:25:58,440 --> 00:26:00,960
Speaker 1: music situation was set up here in Nashville. You know,

573
00:26:01,000 --> 00:26:02,960
Speaker 1: there's a hierarchy, there's a way things are done. You've

574
00:26:02,960 --> 00:26:05,119
Speaker 1: got your producers, you got your publishers. You know, your

575
00:26:05,200 --> 00:26:08,520
Speaker 1: labels and your musicians were you know, your audience can't

576
00:26:08,520 --> 00:26:11,119
Speaker 1: see my my tear. But when I say musicians, it's

577
00:26:11,160 --> 00:26:14,760
Speaker 1: down to the bottom and respected. But everybody kind of

578
00:26:14,760 --> 00:26:16,359
Speaker 1: does their gig, you know, and you didn't. You didn't

579
00:26:16,520 --> 00:26:19,159
Speaker 1: poke your head too much out of your your class

580
00:26:19,200 --> 00:26:22,679
Speaker 1: and what you're doing. And um so, anyway to back up,

581
00:26:23,160 --> 00:26:28,080
Speaker 1: because of my rock music background, there was a chance

582
00:26:28,119 --> 00:26:30,159
Speaker 1: to produce Megadeth. They were kind of near the end

583
00:26:30,160 --> 00:26:31,960
Speaker 1: of their days and Megadeth came down here. I started

584
00:26:31,960 --> 00:26:41,920
Speaker 1: producing them. You listen to that? That's so funny? Was

585
00:26:41,960 --> 00:26:45,240
Speaker 1: that cryptic writings? It is? That was recorded to the

586
00:26:45,320 --> 00:26:51,119
Speaker 1: Nashville at that you your way on top of goth

587
00:26:51,160 --> 00:26:54,240
Speaker 1: go on. So at the same time, Faith Hill was

588
00:26:54,320 --> 00:26:57,159
Speaker 1: changing her producer and and uh she and she and

589
00:26:57,200 --> 00:26:58,920
Speaker 1: I were friends, and I guess they were all hanging out,

590
00:26:58,960 --> 00:27:00,919
Speaker 1: and I think it was my wood you said, hey,

591
00:27:01,080 --> 00:27:03,800
Speaker 1: why don't you try your guitar player? And I played

592
00:27:03,840 --> 00:27:05,959
Speaker 1: on a bunch of Faith's records at that point, and

593
00:27:06,000 --> 00:27:08,920
Speaker 1: you know, that just wasn't done. So she took a chance.

594
00:27:09,000 --> 00:27:12,399
Speaker 1: She she used Tim's producer, Byron Galimore, who is a

595
00:27:12,440 --> 00:27:14,439
Speaker 1: longtime friend of mine. I used to play tons of

596
00:27:14,480 --> 00:27:16,760
Speaker 1: records for Byron, and so I got that was kind

597
00:27:16,760 --> 00:27:19,719
Speaker 1: of my break but ironically and Nashural, I mean I

598
00:27:19,720 --> 00:27:22,560
Speaker 1: remember hearing you know, you go to the publishing companies

599
00:27:22,560 --> 00:27:24,760
Speaker 1: and back then, you know, back then, the producers were

600
00:27:24,760 --> 00:27:26,960
Speaker 1: the ones who were listening to the songs for the artist,

601
00:27:27,160 --> 00:27:29,800
Speaker 1: very much different than it is now. And I remember,

602
00:27:29,880 --> 00:27:31,399
Speaker 1: you know, I played on all these hit songs, but

603
00:27:31,520 --> 00:27:33,800
Speaker 1: when I was listening to songs from these publishers, they

604
00:27:33,800 --> 00:27:36,520
Speaker 1: were really bad. And I didn't realize until later that

605
00:27:36,560 --> 00:27:39,000
Speaker 1: they've given me their like their their third drawer songs

606
00:27:39,080 --> 00:27:41,240
Speaker 1: that you aren't even getting the high they were going

607
00:27:41,280 --> 00:27:44,560
Speaker 1: to to the big dogs first totally. I mean it's like,

608
00:27:44,600 --> 00:27:46,320
Speaker 1: come on that your guitar player. I remember hearing one

609
00:27:46,520 --> 00:27:49,280
Speaker 1: and our guy say anybody can produce his hit song

610
00:27:49,359 --> 00:27:51,600
Speaker 1: of faith Hill, which there's some truth to. I mean,

611
00:27:51,640 --> 00:27:54,840
Speaker 1: I hurt to hear it. Um, I mean, I think

612
00:27:54,880 --> 00:27:56,720
Speaker 1: I did good on that song. Um that was that

613
00:27:56,800 --> 00:27:58,280
Speaker 1: was a Southern song called let Me Let Go. That

614
00:27:58,440 --> 00:28:01,399
Speaker 1: really kind of me up in my career at that point.

615
00:28:01,880 --> 00:28:03,960
Speaker 1: But it took a while, and it actually took a young,

616
00:28:04,119 --> 00:28:06,359
Speaker 1: a young tape copy guy back. This is in the

617
00:28:06,400 --> 00:28:10,200
Speaker 1: day when they were actually tapes involved. These weren't empty

618
00:28:10,320 --> 00:28:12,920
Speaker 1: three's and he was in the tape copy room in Almo,

619
00:28:13,040 --> 00:28:15,040
Speaker 1: and he was friends. His name is Darryl Franklin. He

620
00:28:15,080 --> 00:28:17,080
Speaker 1: was friends with a lot of the writers, and he

621
00:28:17,600 --> 00:28:21,080
Speaker 1: figured a way to circumvent the system, and he handed

622
00:28:21,119 --> 00:28:22,520
Speaker 1: me some of their songs. And there was a young

623
00:28:22,520 --> 00:28:25,280
Speaker 1: writer at that point, he was pretty undiscovered named Jeff Steele,

624
00:28:26,040 --> 00:28:28,960
Speaker 1: who ended up writing you know, I mean, I can't

625
00:28:29,440 --> 00:28:32,479
Speaker 1: enumerate how many massive hits this guy has written. I

626
00:28:32,560 --> 00:28:35,640
Speaker 1: was lucky this former relationship with him early, and that's

627
00:28:35,640 --> 00:28:37,239
Speaker 1: how I got the songs. And you know how it's

628
00:28:37,240 --> 00:28:39,400
Speaker 1: how everybody breaks and you you have to bend the rules,

629
00:28:39,960 --> 00:28:42,200
Speaker 1: and it takes a lot of people. So it wasn't

630
00:28:42,200 --> 00:28:44,320
Speaker 1: all me, but I delivered the goods and and one

631
00:28:44,360 --> 00:28:46,200
Speaker 1: thing led to the next to the next, and and

632
00:28:46,240 --> 00:28:48,320
Speaker 1: then I produced. I got asked to produce this band

633
00:28:48,320 --> 00:28:50,160
Speaker 1: who I think was getting ready to get get cut

634
00:28:50,240 --> 00:28:55,600
Speaker 1: from r C at that time, named Lone Star. Have

635
00:28:55,720 --> 00:29:03,640
Speaker 1: we done this before I'm done producing myself over here something? Yeah,

636
00:29:03,720 --> 00:29:10,480
Speaker 1: let me look for this over here. There there's and

637
00:29:10,920 --> 00:29:13,480
Speaker 1: I'll give you the other side of that. I thought.

638
00:29:13,520 --> 00:29:15,520
Speaker 1: Another song on the record was the Big Heads. I

639
00:29:15,520 --> 00:29:18,360
Speaker 1: mean this, you know, nobody knows this stuff. And I

640
00:29:18,400 --> 00:29:20,000
Speaker 1: put all the money and all the time in this

641
00:29:20,040 --> 00:29:23,520
Speaker 1: other song. When they released it, it almost tanked their career.

642
00:29:23,600 --> 00:29:26,680
Speaker 1: And it wasn't because it was because Joe Gilani, who

643
00:29:26,800 --> 00:29:29,960
Speaker 1: was running that label at that time, had the foresight.

644
00:29:30,280 --> 00:29:31,800
Speaker 1: He had some other people listening to the song. He

645
00:29:31,800 --> 00:29:33,920
Speaker 1: flipped the first single in the middle of the first single.

646
00:29:34,040 --> 00:29:36,960
Speaker 1: I can't remember what this other song was called, but

647
00:29:37,400 --> 00:29:40,440
Speaker 1: you know you so that ended up totally validating me.

648
00:29:40,480 --> 00:29:42,480
Speaker 1: All of a sudden, I'm this this, you know, I mean,

649
00:29:42,840 --> 00:29:46,760
Speaker 1: I'm the new genius right in the new Genius are hard.

650
00:29:47,480 --> 00:29:49,560
Speaker 1: I mean not just country that crossed over into like

651
00:29:49,680 --> 00:29:52,800
Speaker 1: mainstream America pop world. It was you know, and it's

652
00:29:52,840 --> 00:29:55,720
Speaker 1: it's that. And then all of a sudden, you know

653
00:29:55,760 --> 00:29:59,560
Speaker 1: a lot of young you know, musicians who aspired to

654
00:29:59,640 --> 00:30:02,080
Speaker 1: this me. You know, it's how do you get in?

655
00:30:02,200 --> 00:30:04,840
Speaker 1: And it's the chicken and the egg thing. Nobody knows

656
00:30:05,160 --> 00:30:07,280
Speaker 1: you have to have a hit for these for these

657
00:30:07,400 --> 00:30:10,360
Speaker 1: label heads to to entrust you with the money and

658
00:30:10,400 --> 00:30:14,800
Speaker 1: these these projects. Because the answer, the truth is that

659
00:30:14,840 --> 00:30:18,320
Speaker 1: nobody really knows. We just if we if we've battened

660
00:30:18,320 --> 00:30:19,800
Speaker 1: in our three hundreds we're gonna be in the Hall

661
00:30:19,840 --> 00:30:22,400
Speaker 1: of Fame, you know. But talking about Blue Apron for

662
00:30:22,480 --> 00:30:26,320
Speaker 1: one second. This October, Blue Apron is celebrating its fifth

663
00:30:26,320 --> 00:30:30,560
Speaker 1: anniversary by bringing back its top twenty recipes from throughout

664
00:30:30,600 --> 00:30:33,400
Speaker 1: the past five years that's picked by you, the Blue

665
00:30:33,440 --> 00:30:36,000
Speaker 1: Apron community. Did you know this lunchbox bringing back the

666
00:30:36,000 --> 00:30:38,080
Speaker 1: top ones? I did not know. What's your very favorite one?

667
00:30:38,080 --> 00:30:40,320
Speaker 1: If you had to pick one, Oh man, I can't

668
00:30:40,360 --> 00:30:44,000
Speaker 1: even I like the enchiladas. Let you get a lot

669
00:30:44,000 --> 00:30:46,760
Speaker 1: of enchiladas, a lot of enchiladas and tacos. And their

670
00:30:46,800 --> 00:30:48,840
Speaker 1: pizza is really good. If you've ever had their pizza,

671
00:30:48,920 --> 00:30:52,440
Speaker 1: the dough is so good. Now you say that I

672
00:30:52,440 --> 00:30:53,880
Speaker 1: don't have a favorite, I'm just a certain name and

673
00:30:53,920 --> 00:30:56,440
Speaker 1: every one of them, your favorite Blue Apron recipes are

674
00:30:56,480 --> 00:30:58,720
Speaker 1: back on the menu for a limited time only. Blue

675
00:30:58,760 --> 00:31:00,680
Speaker 1: Apron is all that give people fresh recipes and you

676
00:31:00,680 --> 00:31:03,600
Speaker 1: can explore new things. And this is why that they

677
00:31:03,640 --> 00:31:05,880
Speaker 1: don't repeat recipes. But now they're doing this where they're

678
00:31:05,880 --> 00:31:08,720
Speaker 1: bringing back their all time customer favorites. Go to Blue

679
00:31:08,720 --> 00:31:12,840
Speaker 1: Apron dot com slash Bobby cast blue Apron dot com

680
00:31:12,920 --> 00:31:15,960
Speaker 1: slash bobby Cast for less than ten bucks per person

681
00:31:16,000 --> 00:31:18,160
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682
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683
00:31:20,440 --> 00:31:23,000
Speaker 1: first feel of free shipping. Blue Apron dot com slash

684
00:31:23,040 --> 00:31:26,000
Speaker 1: Bobby Cast a better way to cook Blue Apron dot

685
00:31:26,040 --> 00:31:28,560
Speaker 1: Com slash Bobby Cast. All right, so you work with

686
00:31:28,640 --> 00:31:31,440
Speaker 1: Lone Star and that's the That was the one where

687
00:31:31,440 --> 00:31:33,560
Speaker 1: at least you said, hey, here's my resume and it's

688
00:31:33,640 --> 00:31:35,680
Speaker 1: quite big now because I did the Lone Star record.

689
00:31:36,080 --> 00:31:37,680
Speaker 1: How many songs on the Lone Star records you do?

690
00:31:37,720 --> 00:31:39,560
Speaker 1: I'll do all of it? Yeah, that was that was

691
00:31:39,640 --> 00:31:42,480
Speaker 1: that record. I can't remember the Lonely Grill. It was

692
00:31:42,520 --> 00:31:44,520
Speaker 1: a record, and then there's a bunch of hits off that.

693
00:31:45,360 --> 00:31:48,120
Speaker 1: So to a producer, because we move into the producer

694
00:31:48,200 --> 00:31:51,239
Speaker 1: part for my listeners that I don't know exactly what

695
00:31:51,240 --> 00:31:53,840
Speaker 1: a producer does, because luckily I do, and I didn't

696
00:31:53,920 --> 00:31:56,200
Speaker 1: until I started going into the studio myself and seeing.

697
00:31:56,800 --> 00:31:59,720
Speaker 1: The producer pretty much has to hear and see everything.

698
00:32:00,360 --> 00:32:03,760
Speaker 1: So now you're not just playing guitar, you're listen, you're

699
00:32:03,800 --> 00:32:06,280
Speaker 1: putting keys on things like what is in your mind?

700
00:32:06,440 --> 00:32:11,400
Speaker 1: How would you describe a record producer? But it's the

701
00:32:11,400 --> 00:32:13,800
Speaker 1: person that gets it done. I mean, there's no set

702
00:32:13,840 --> 00:32:15,680
Speaker 1: way to do it. I mean I worked for great

703
00:32:15,680 --> 00:32:18,440
Speaker 1: producers who were not musicians, even who you couldn't talk

704
00:32:18,480 --> 00:32:21,200
Speaker 1: in terms of musical language. They they couldn't tell you

705
00:32:21,200 --> 00:32:22,720
Speaker 1: which cord to player or whatever, but they knew how

706
00:32:22,760 --> 00:32:26,680
Speaker 1: to put teams together. I'm obviously a musician, so it's

707
00:32:26,720 --> 00:32:28,680
Speaker 1: kind of like being a player coach, you know, that

708
00:32:28,720 --> 00:32:31,320
Speaker 1: type of thing, and it helps me cast. I'm a

709
00:32:31,320 --> 00:32:33,600
Speaker 1: real believer in casting. You know, you don't put I

710
00:32:34,280 --> 00:32:37,120
Speaker 1: learned probably more about how to produce by by working

711
00:32:37,160 --> 00:32:40,400
Speaker 1: with producers who who you know, I was on the

712
00:32:40,520 --> 00:32:42,280
Speaker 1: receiving end of some of their mistakes. You know, you

713
00:32:42,360 --> 00:32:45,200
Speaker 1: get somebody cast who's not the right person to play,

714
00:32:45,320 --> 00:32:48,040
Speaker 1: and you're kind of, you know, pistol whipping him into

715
00:32:48,240 --> 00:32:50,280
Speaker 1: into doing something that he doesn't know how to do.

716
00:32:50,640 --> 00:32:52,360
Speaker 1: You don't do that, you know, you you play to

717
00:32:52,440 --> 00:32:57,400
Speaker 1: people's strengths, and and so knowing who does what and

718
00:32:57,440 --> 00:32:59,320
Speaker 1: who does what really well is a good is a

719
00:32:59,360 --> 00:33:02,280
Speaker 1: good leg up in it. And I know how to communicate.

720
00:33:02,320 --> 00:33:04,800
Speaker 1: I usually don't like to play guitar well i'm producing.

721
00:33:04,840 --> 00:33:07,840
Speaker 1: I usually do it after the fact and in the

722
00:33:07,880 --> 00:33:10,920
Speaker 1: overdub scenario just because it's hard to when I sit

723
00:33:10,960 --> 00:33:12,840
Speaker 1: and play guitar, I'm a guitar player. I can't help it.

724
00:33:12,880 --> 00:33:15,440
Speaker 1: I just that's that's kind of what who I am, Um,

725
00:33:15,520 --> 00:33:17,520
Speaker 1: when when? And sometimes I will do it. But but

726
00:33:17,600 --> 00:33:20,760
Speaker 1: you you try to listen to the big picture. You're

727
00:33:20,800 --> 00:33:24,200
Speaker 1: you're supposed to be listening to that relationship between the artist,

728
00:33:24,360 --> 00:33:26,680
Speaker 1: that song and the band. So that's the big picture.

729
00:33:26,720 --> 00:33:29,320
Speaker 1: And then what kind of minusia you get into is

730
00:33:29,320 --> 00:33:32,080
Speaker 1: is kind of dependent on, you know, your ability and

731
00:33:32,120 --> 00:33:35,080
Speaker 1: your interest in Some producers get you know, get you know,

732
00:33:35,120 --> 00:33:37,040
Speaker 1: put on the gloves and get way down deep into it.

733
00:33:37,280 --> 00:33:39,840
Speaker 1: Some producers hire that out, you know, and there's no

734
00:33:39,960 --> 00:33:41,680
Speaker 1: right or wrong way of doing it. But in the end,

735
00:33:42,360 --> 00:33:45,040
Speaker 1: does it work? And that's what the record companies care about.

736
00:33:45,320 --> 00:33:47,640
Speaker 1: My question, I guess is And so I'll go back

737
00:33:47,680 --> 00:33:51,400
Speaker 1: to the Beach Boys for example, whenever Brian Wilson would

738
00:33:51,440 --> 00:33:54,640
Speaker 1: produce the Beach Boys, the band would go and tour

739
00:33:55,520 --> 00:33:57,920
Speaker 1: and he and he would have all the stuff ready

740
00:33:57,920 --> 00:33:59,880
Speaker 1: for them, and you know, the Wrecking Crew, I mean,

741
00:34:00,440 --> 00:34:03,400
Speaker 1: all those guys were playing the band wasn't really playing

742
00:34:03,920 --> 00:34:05,920
Speaker 1: the records. But then they would go out on tour

743
00:34:05,960 --> 00:34:08,480
Speaker 1: and play all the songs. Now, as a producer, are

744
00:34:08,520 --> 00:34:10,920
Speaker 1: there times where you're like, you know what, I'm producing

745
00:34:10,960 --> 00:34:13,360
Speaker 1: a band, but to really get a good record, I

746
00:34:13,400 --> 00:34:15,760
Speaker 1: need to get players in here and not the actual band.

747
00:34:15,960 --> 00:34:19,279
Speaker 1: Is that ever awkward? Oh, it's always awkward, especially if

748
00:34:20,040 --> 00:34:24,239
Speaker 1: in Nashville we set up a little bit differently. Historically,

749
00:34:24,360 --> 00:34:26,759
Speaker 1: it's always been I think this town has been more

750
00:34:26,760 --> 00:34:29,040
Speaker 1: of an extension of publishing. And that's the way that

751
00:34:29,200 --> 00:34:32,240
Speaker 1: the record business, that's my view of it. Um touring

752
00:34:32,320 --> 00:34:35,239
Speaker 1: is a separate entity, you know. And and so it was,

753
00:34:35,400 --> 00:34:37,640
Speaker 1: you know, the artists would come in with the producers,

754
00:34:37,640 --> 00:34:40,120
Speaker 1: with their players and studio players. They would do that

755
00:34:41,040 --> 00:34:43,480
Speaker 1: record we cut. The artists would outdid their thing with

756
00:34:43,480 --> 00:34:46,560
Speaker 1: their bands, and never the two kind of intertwined. You

757
00:34:46,560 --> 00:34:49,080
Speaker 1: know what about a band though, That's that's where now

758
00:34:49,120 --> 00:34:52,799
Speaker 1: all of a sudden fast forward, you know. Yeah, there

759
00:34:52,800 --> 00:34:55,480
Speaker 1: are artists who who is like, I want my sound.

760
00:34:55,520 --> 00:34:57,920
Speaker 1: I don't want to sound like the last record. It's

761
00:34:58,080 --> 00:34:59,560
Speaker 1: and that's really tough to do because you get these

762
00:34:59,640 --> 00:35:03,640
Speaker 1: musicians the songs, I mean, pop music, pop country, it's all.

763
00:35:03,719 --> 00:35:07,400
Speaker 1: It's it's still a pretty narrow tunnel to go through. Right.

764
00:35:07,440 --> 00:35:10,239
Speaker 1: There's it's it's just the pop music in general. You

765
00:35:10,280 --> 00:35:13,560
Speaker 1: get the same musicians, the same songs, ish right, and

766
00:35:13,640 --> 00:35:15,319
Speaker 1: it's going to kind of sound the same. So these

767
00:35:15,400 --> 00:35:17,960
Speaker 1: artists have a have a have a real reason to

768
00:35:18,040 --> 00:35:21,400
Speaker 1: say I want my people. There's the rub because sometimes

769
00:35:22,360 --> 00:35:26,080
Speaker 1: there it's dependent on time um ability. You know, just

770
00:35:26,120 --> 00:35:28,160
Speaker 1: because you can play what's on the record doesn't mean

771
00:35:28,200 --> 00:35:31,360
Speaker 1: you can create it, play in in time and be

772
00:35:31,440 --> 00:35:33,439
Speaker 1: able to move on a moment's notice. So so there's

773
00:35:33,440 --> 00:35:37,720
Speaker 1: always some negotiation there. As a producer, I prefer having

774
00:35:38,080 --> 00:35:41,040
Speaker 1: band members from the touring crews come in because I

775
00:35:41,040 --> 00:35:43,000
Speaker 1: think that even though it takes a little bit longer,

776
00:35:43,040 --> 00:35:45,480
Speaker 1: sometimes I think that gives it a little more identity.

777
00:35:45,840 --> 00:35:47,319
Speaker 1: And now would never ask you to name anyone, but

778
00:35:47,320 --> 00:35:49,759
Speaker 1: as there's been a situation where that a whole band

779
00:35:49,800 --> 00:35:51,000
Speaker 1: that we even know as a band, where the lead

780
00:35:51,000 --> 00:35:52,960
Speaker 1: singer was the only because the band just didn't have

781
00:35:52,960 --> 00:35:55,160
Speaker 1: the chops, but the lead singer saying and the rest

782
00:35:55,200 --> 00:35:58,680
Speaker 1: of the gazer studio players, oh yeah, oh that's a comment.

783
00:35:58,800 --> 00:36:01,279
Speaker 1: That's really a common thing, and that's the the real

784
00:36:01,320 --> 00:36:03,880
Speaker 1: band like that absolutely yeah, I mean, you know, and

785
00:36:03,920 --> 00:36:06,719
Speaker 1: it just and again it you know, I mean I

786
00:36:06,800 --> 00:36:09,879
Speaker 1: understand somewhere. I mean again, I've warned both hats. I've

787
00:36:09,880 --> 00:36:12,600
Speaker 1: been a player on these things before. I used to

788
00:36:12,800 --> 00:36:15,560
Speaker 1: uh the first two records of Rascal Flats. I played

789
00:36:15,600 --> 00:36:17,680
Speaker 1: guitar on those records. I was one of you know,

790
00:36:17,800 --> 00:36:23,359
Speaker 1: Joe Don Rooney's a great guitar player. And the first

791
00:36:23,360 --> 00:36:26,080
Speaker 1: song that we did, yeah, that's my first song that

792
00:36:26,080 --> 00:36:30,520
Speaker 1: I produced him and and and Martin Bright, Marty Williams

793
00:36:30,560 --> 00:36:32,759
Speaker 1: produced the first two records. They were great that God

794
00:36:32,800 --> 00:36:34,400
Speaker 1: bless the Broken Road on it. I mean, this is

795
00:36:34,440 --> 00:36:36,920
Speaker 1: great stuff. It was more studio players that I think

796
00:36:37,000 --> 00:36:38,680
Speaker 1: Jay played a little bit on those records. He may

797
00:36:38,719 --> 00:36:41,120
Speaker 1: played a little bit more. I probably, you know, I

798
00:36:41,320 --> 00:36:43,960
Speaker 1: probably don't have all my research, but I remember that

799
00:36:44,000 --> 00:36:46,319
Speaker 1: we were all in there planning and I kept looking

800
00:36:46,320 --> 00:36:48,360
Speaker 1: at Joe Don, Dude, you need to play these things.

801
00:36:48,680 --> 00:36:51,560
Speaker 1: And so when they decided to make a change and

802
00:36:51,640 --> 00:36:54,480
Speaker 1: they called me, that was that was the big thing.

803
00:36:54,560 --> 00:36:57,279
Speaker 1: You know. I got Joe Don playing all that stuff.

804
00:36:57,320 --> 00:36:59,000
Speaker 1: I mean, that's that's him. Now. Some of the rhythm

805
00:36:59,000 --> 00:37:01,200
Speaker 1: parts I played, or or I would hire that out,

806
00:37:01,440 --> 00:37:03,360
Speaker 1: but he was always there playing all the solos with

807
00:37:03,520 --> 00:37:06,320
Speaker 1: Joe Don from that moment on, those guys pretty professional

808
00:37:06,360 --> 00:37:08,640
Speaker 1: all the way around. Absolutely. Jay is a great baseball

809
00:37:08,680 --> 00:37:11,279
Speaker 1: he's a great musician period. I mean, there's only three

810
00:37:11,280 --> 00:37:13,560
Speaker 1: of them, so um, and I think now, I mean

811
00:37:13,600 --> 00:37:16,160
Speaker 1: I still used other studio players. I mean, you know,

812
00:37:16,200 --> 00:37:18,880
Speaker 1: I mean I didn't use their road crew and and

813
00:37:18,880 --> 00:37:21,360
Speaker 1: and to their credit, Jay, who is producing their records

814
00:37:21,400 --> 00:37:24,160
Speaker 1: now and they're really good records. I think he's using

815
00:37:24,360 --> 00:37:26,279
Speaker 1: I know he's using Jim Riley, their drummer, who's a

816
00:37:26,280 --> 00:37:28,799
Speaker 1: great drummer. So you know, I mean, producers get you know,

817
00:37:28,840 --> 00:37:32,840
Speaker 1: you get comfortable. They expect you to deliver. The record

818
00:37:32,920 --> 00:37:35,480
Speaker 1: label and the band actually expects you to deliver. As

819
00:37:35,520 --> 00:37:38,200
Speaker 1: long as you're having hits, you're in right. So so

820
00:37:38,360 --> 00:37:40,520
Speaker 1: there is that I think you said. It's it's just

821
00:37:40,600 --> 00:37:42,960
Speaker 1: awkward and uncomfortable and you kind of got to navigate

822
00:37:43,000 --> 00:37:46,600
Speaker 1: those those uh, those situations kind of those only been

823
00:37:46,680 --> 00:37:49,560
Speaker 1: three guys, but those three guys can play well. Gary

824
00:37:49,560 --> 00:37:51,239
Speaker 1: doesn't play mean he sings well, but you can play

825
00:37:51,280 --> 00:37:54,279
Speaker 1: that voice. He plays that voice, Yeah, yeah, play at all.

826
00:37:54,640 --> 00:37:56,439
Speaker 1: That was I do have a great story about that song.

827
00:37:56,560 --> 00:37:58,120
Speaker 1: This is and I don't think they will mind it

828
00:37:58,360 --> 00:37:59,680
Speaker 1: me tell this sort of but that's this is a

829
00:37:59,680 --> 00:38:02,239
Speaker 1: great ory and this is just this is just the

830
00:38:02,520 --> 00:38:05,120
Speaker 1: beauty and the recklessness and craziness of these guys, you know.

831
00:38:05,560 --> 00:38:09,040
Speaker 1: So I think the first song that I did with them,

832
00:38:09,040 --> 00:38:11,560
Speaker 1: when when they said they're gonna make a producer change,

833
00:38:11,800 --> 00:38:14,879
Speaker 1: it was I think we recorded the song, um life

834
00:38:14,920 --> 00:38:17,400
Speaker 1: is a Highway for that car. Yeah, so it was

835
00:38:17,400 --> 00:38:18,839
Speaker 1: great and everybody's and there we did that and it

836
00:38:18,880 --> 00:38:20,640
Speaker 1: was you know, it was like we we really nailed it.

837
00:38:20,680 --> 00:38:23,520
Speaker 1: I mean, doing a cover song sometimes scary anyway, So

838
00:38:23,719 --> 00:38:25,600
Speaker 1: it was gonna be well in a month and a half,

839
00:38:25,960 --> 00:38:27,839
Speaker 1: we're gonna start the record, and it was look great

840
00:38:27,840 --> 00:38:30,360
Speaker 1: and you know, very loose, and the guys are touring

841
00:38:30,360 --> 00:38:32,400
Speaker 1: all the time. So we show up in the studio

842
00:38:32,680 --> 00:38:35,200
Speaker 1: and uh, this is out in Franklin and we're gonna

843
00:38:35,239 --> 00:38:37,680
Speaker 1: cut what hurts the most that night, right, So we

844
00:38:37,680 --> 00:38:39,239
Speaker 1: show up and I think it's we're gonna start at

845
00:38:39,239 --> 00:38:44,000
Speaker 1: seven o'clock and it's about eight o'clock and I asked Jay,

846
00:38:44,040 --> 00:38:46,680
Speaker 1: I said, hey, so when's Gary gonna show up? And

847
00:38:46,800 --> 00:38:50,120
Speaker 1: just without missing a beat, Jay goes, oh, he's not coming,

848
00:38:51,360 --> 00:38:54,319
Speaker 1: so huh he said, no, he's hunting, this is this

849
00:38:54,360 --> 00:38:57,000
Speaker 1: is whatever scenes. I don't know what do you shoot

850
00:38:57,120 --> 00:38:59,840
Speaker 1: right now? Right? You know, but there's there is a

851
00:39:00,000 --> 00:39:02,680
Speaker 1: on of a season, right and he acted like you know,

852
00:39:02,760 --> 00:39:04,920
Speaker 1: well duh, I mean everybody knows that Gary's not going

853
00:39:04,960 --> 00:39:07,920
Speaker 1: to show up during hunting season. And I'm sitting there going, well,

854
00:39:07,920 --> 00:39:10,319
Speaker 1: I didn't get the memo. I mean, I'm assuming that

855
00:39:10,360 --> 00:39:12,600
Speaker 1: we need a singer to sing this song that we've

856
00:39:12,640 --> 00:39:16,960
Speaker 1: never you guys never And Jay goes home hit a key,

857
00:39:17,040 --> 00:39:21,840
Speaker 1: goes about that key. That'll be about rastbuter Jerry's Gary

858
00:39:21,880 --> 00:39:24,600
Speaker 1: sings and that was it. So we we just cut

859
00:39:24,640 --> 00:39:29,080
Speaker 1: the track. Is that bizarre? And Gary lives in the

860
00:39:29,120 --> 00:39:30,480
Speaker 1: woods when Gary is not in the woods, Like I

861
00:39:30,520 --> 00:39:32,120
Speaker 1: know that about Gary now, Like Gary lives in the

862
00:39:32,160 --> 00:39:35,400
Speaker 1: woods when he's not on the he's unapologetically and you

863
00:39:35,400 --> 00:39:37,440
Speaker 1: know that's his right, that's what it's sacred for him.

864
00:39:37,480 --> 00:39:39,800
Speaker 1: I get it. I was a little thrown off at first,

865
00:39:39,840 --> 00:39:42,000
Speaker 1: but you know, because you're producing a record without a singer,

866
00:39:42,280 --> 00:39:44,359
Speaker 1: well yeah, the first yeah, you'd think you know, But

867
00:39:44,640 --> 00:39:46,480
Speaker 1: now there was president because I mentioned I used to

868
00:39:46,480 --> 00:39:49,200
Speaker 1: play on records without singers, So okay, we can do this,

869
00:39:49,239 --> 00:39:51,920
Speaker 1: but it just it took me about fifteen minutes to

870
00:39:51,920 --> 00:39:54,799
Speaker 1: get my head kind of when does Gary show up

871
00:39:54,840 --> 00:39:59,200
Speaker 1: to do the vocals? Then whenever he wanted to, whenever

872
00:39:59,280 --> 00:40:01,359
Speaker 1: it wasn't hunting season, you know, I mean he would

873
00:40:01,360 --> 00:40:03,400
Speaker 1: he would come in and and he just come over

874
00:40:03,480 --> 00:40:07,279
Speaker 1: the house and and you know, you know, he get

875
00:40:07,400 --> 00:40:09,400
Speaker 1: has his chew and tobacco, you know, point me in

876
00:40:09,440 --> 00:40:11,680
Speaker 1: the direction. He just going there in wale and you know,

877
00:40:11,680 --> 00:40:16,120
Speaker 1: it just does what he does. He's he's he's beautifully

878
00:40:18,680 --> 00:40:21,359
Speaker 1: naive is not the right word. Detached in a lot

879
00:40:21,400 --> 00:40:24,319
Speaker 1: of ways. He's such a pure talent and he just

880
00:40:24,360 --> 00:40:25,799
Speaker 1: does it. When he does it, you know, it's just

881
00:40:25,840 --> 00:40:27,480
Speaker 1: it's he's not like a guy who likes to be

882
00:40:27,480 --> 00:40:30,520
Speaker 1: in the studio, and there's a freshness about it. It

883
00:40:30,520 --> 00:40:31,799
Speaker 1: takes a little while to getting used to it. But

884
00:40:31,880 --> 00:40:35,239
Speaker 1: I love that story and that song. That song, Um

885
00:40:35,360 --> 00:40:38,239
Speaker 1: that was that was a massive part in in kind

886
00:40:38,239 --> 00:40:40,640
Speaker 1: of another validation for me as a producer in town.

887
00:40:41,480 --> 00:40:48,040
Speaker 1: How about this one Taylor? Yeah, yeah, what she liked

888
00:40:48,040 --> 00:40:51,480
Speaker 1: to work with as an artist, sh she's great. I

889
00:40:51,480 --> 00:40:57,200
Speaker 1: mean that song. I'm trying to think how that came down.

890
00:40:57,560 --> 00:40:59,160
Speaker 1: I think that was that was kind of in her

891
00:40:59,160 --> 00:41:02,920
Speaker 1: transition era, and they weren't. They weren't roping that. And

892
00:41:02,960 --> 00:41:05,480
Speaker 1: so I think she'd already done the vocals and and uh,

893
00:41:05,600 --> 00:41:09,319
Speaker 1: Scott burschetta Um said, I don't think she's gonna come

894
00:41:09,320 --> 00:41:10,880
Speaker 1: in and re sing. I think you're gonna have to

895
00:41:10,960 --> 00:41:13,600
Speaker 1: use that, but could you recut the track? So she

896
00:41:13,719 --> 00:41:17,279
Speaker 1: had already cut the vocals somewhere else, and so they

897
00:41:17,320 --> 00:41:20,960
Speaker 1: just give that to you and say make the song happen. Yes, yeah,

898
00:41:21,000 --> 00:41:23,160
Speaker 1: it was. It was a little bit bizarre. They just weren't,

899
00:41:23,200 --> 00:41:24,600
Speaker 1: you know. And this happens to all of us. This

900
00:41:24,719 --> 00:41:26,600
Speaker 1: is tough thing, and and it just happened to me

901
00:41:26,640 --> 00:41:29,560
Speaker 1: just recently too. You know, sometimes you don't get it,

902
00:41:29,640 --> 00:41:32,920
Speaker 1: you know, and and and the label and the artists

903
00:41:32,920 --> 00:41:36,759
Speaker 1: really think that that this song is the deal. They

904
00:41:36,760 --> 00:41:38,719
Speaker 1: gotta get it done. And if you know, sometimes you

905
00:41:38,719 --> 00:41:39,920
Speaker 1: look at it's like if you look at a painting

906
00:41:39,960 --> 00:41:42,280
Speaker 1: so close. That's how it is to you, and you can't.

907
00:41:42,080 --> 00:41:44,960
Speaker 1: And her producer at that time, Nathan Chapman, who is

908
00:41:45,280 --> 00:41:49,560
Speaker 1: I don't know, this guy is genius level. I think

909
00:41:49,560 --> 00:41:51,640
Speaker 1: he's one of the best that we got here in Nashville,

910
00:41:51,640 --> 00:41:53,879
Speaker 1: and he's one of the best people I know too.

911
00:41:54,560 --> 00:41:56,399
Speaker 1: So it was tough one, Nate, and he was he

912
00:41:56,480 --> 00:41:59,040
Speaker 1: was man, he was so pro about it. He was

913
00:41:59,080 --> 00:42:01,160
Speaker 1: so cool. And he just sent me over the vocal

914
00:42:01,280 --> 00:42:02,719
Speaker 1: said he have a go at this thing. Man. You know,

915
00:42:02,760 --> 00:42:05,279
Speaker 1: I said, I'm just I'm I'm I'm looking at it's

916
00:42:05,280 --> 00:42:07,480
Speaker 1: too close for me. And so so I took it.

917
00:42:07,520 --> 00:42:09,000
Speaker 1: And you know, I had had a different kind of

918
00:42:09,000 --> 00:42:12,120
Speaker 1: take on and when did it? And so you send it?

919
00:42:12,320 --> 00:42:14,279
Speaker 1: And did you since you are saying the vocals, did

920
00:42:14,280 --> 00:42:15,759
Speaker 1: you work with her or do you just work with

921
00:42:15,800 --> 00:42:19,040
Speaker 1: her voice? That was in a recorded little well mostly

922
00:42:19,080 --> 00:42:21,960
Speaker 1: on that the voice the voice had been recorded. I

923
00:42:22,000 --> 00:42:23,560
Speaker 1: can't remember if I did. It was a while back,

924
00:42:23,560 --> 00:42:26,879
Speaker 1: so I can't remember if I READD harmony vocals or what.

925
00:42:27,160 --> 00:42:28,800
Speaker 1: I remember. She came over the house wants to re

926
00:42:28,920 --> 00:42:30,640
Speaker 1: sing a couple of lines that I wanted to try.

927
00:42:30,800 --> 00:42:32,680
Speaker 1: And that was that was basically She's great. I mean,

928
00:42:32,760 --> 00:42:37,960
Speaker 1: she's she's Taylor Swift. You say you missed what did

929
00:42:37,960 --> 00:42:39,560
Speaker 1: you miss on? You said you missed recently? What did

930
00:42:39,600 --> 00:42:43,200
Speaker 1: you miss It? Was? It was only tell you the story? Yeah, story, Yeah, yeah,

931
00:42:43,200 --> 00:42:45,080
Speaker 1: it was. I mean, I don't think I mixed missed,

932
00:42:45,080 --> 00:42:46,600
Speaker 1: but but I was. I was doing a song with

933
00:42:46,719 --> 00:42:51,200
Speaker 1: Keith and and it was you know, and because of

934
00:42:51,239 --> 00:42:53,800
Speaker 1: my I guess, my age, my status in the industry,

935
00:42:53,840 --> 00:42:56,520
Speaker 1: I I heered a lot of projects like this and

936
00:42:56,560 --> 00:43:00,840
Speaker 1: I and I see the pain in the producers that

937
00:43:00,880 --> 00:43:02,840
Speaker 1: have worked their their ass off basically to get this

938
00:43:02,880 --> 00:43:05,160
Speaker 1: stuff right, and all of a sudden they're calling in

939
00:43:05,239 --> 00:43:07,400
Speaker 1: this old geezer, you know, to fix it, and so

940
00:43:07,520 --> 00:43:09,759
Speaker 1: and it's it's it's hurtful. It just really is. It's

941
00:43:09,760 --> 00:43:12,360
Speaker 1: a business, right, and usually I know how to finish.

942
00:43:12,360 --> 00:43:14,160
Speaker 1: I'm I'm a really good finisher on this stuff. So

943
00:43:14,719 --> 00:43:16,640
Speaker 1: um so I get it, you know, and it and

944
00:43:16,680 --> 00:43:18,399
Speaker 1: it it doesn't happen to me a lot, I will

945
00:43:18,400 --> 00:43:20,279
Speaker 1: say that. But but the other day I was doing

946
00:43:20,280 --> 00:43:22,920
Speaker 1: a song with Keith and and actually Ross Copperman and

947
00:43:22,960 --> 00:43:25,279
Speaker 1: I were doing it together and and I think we

948
00:43:25,280 --> 00:43:26,920
Speaker 1: did a really good job, but just Keith hurt it

949
00:43:26,960 --> 00:43:29,440
Speaker 1: differently and and he and he took it somewhere else.

950
00:43:29,440 --> 00:43:30,600
Speaker 1: So it's like you get a little you know, you

951
00:43:31,200 --> 00:43:32,680
Speaker 1: gotta learn how to take it. I mean, this is

952
00:43:32,719 --> 00:43:35,520
Speaker 1: you know, you get benched in in in pro sports,

953
00:43:35,560 --> 00:43:37,560
Speaker 1: you get benched in music. I mean you know, as

954
00:43:37,600 --> 00:43:39,879
Speaker 1: a player they raise my parts at time, and and

955
00:43:39,880 --> 00:43:42,759
Speaker 1: and it's it's one thing that you get it intellectually,

956
00:43:42,800 --> 00:43:46,120
Speaker 1: but you still it hurts. It never it never gets

957
00:43:46,360 --> 00:43:48,800
Speaker 1: you never get used to to getting replaced on something

958
00:43:49,440 --> 00:43:51,600
Speaker 1: just happens to you. You mentioned Keith and Ross and

959
00:43:51,640 --> 00:43:53,799
Speaker 1: I hit this one here because in different ways they

960
00:43:53,800 --> 00:44:00,960
Speaker 1: were both involved in this with yous wrote if I'm

961
00:44:01,000 --> 00:44:03,840
Speaker 1: right because Ross was the friend of mine, right that? No?

962
00:44:03,960 --> 00:44:06,000
Speaker 1: He actually that's one of the only hits in Nash

963
00:44:06,000 --> 00:44:09,920
Speaker 1: from the Roston right. Okay, so Stephen Stephen Lee Olson

964
00:44:10,000 --> 00:44:14,120
Speaker 1: wrote it, I know, did you produce with Ross? No?

965
00:44:14,640 --> 00:44:16,799
Speaker 1: I do, Keithan Ross had nothing to do with the song.

966
00:44:17,080 --> 00:44:19,040
Speaker 1: Just giving Ross every hit, for every every credit for

967
00:44:19,040 --> 00:44:21,359
Speaker 1: every head I guess there is. It's great. No, it's good. No, No,

968
00:44:21,520 --> 00:44:24,640
Speaker 1: actually he didn't know that one. Um, but you know

969
00:44:24,840 --> 00:44:29,080
Speaker 1: you know what I think, Stephen Lee Old, Stephen Lindsay

970
00:44:29,280 --> 00:44:32,719
Speaker 1: and Clint Luggerbert, sorry about that. Ross, I gave your

971
00:44:32,800 --> 00:44:35,560
Speaker 1: extra credit. So but this is you. You produced a

972
00:44:35,600 --> 00:44:40,799
Speaker 1: song here, which if when Keith comes to you and

973
00:44:40,800 --> 00:44:42,399
Speaker 1: to say I want a song to feel a certain way,

974
00:44:42,480 --> 00:44:44,000
Speaker 1: does he do that on this song and go ahead.

975
00:44:44,000 --> 00:44:46,319
Speaker 1: I needed to feel and then what does that song

976
00:44:46,400 --> 00:44:50,080
Speaker 1: feel like? With Keith? Did? I go back to somebody

977
00:44:50,120 --> 00:44:53,160
Speaker 1: like you right? And it was bizarre. I mean, I

978
00:44:53,200 --> 00:44:54,759
Speaker 1: don't think he wanted to work with me at first

979
00:44:54,760 --> 00:44:57,120
Speaker 1: because because he didn't like the records that I was producing.

980
00:44:57,640 --> 00:44:59,480
Speaker 1: But it worked out. That was the first song that

981
00:44:59,480 --> 00:45:01,160
Speaker 1: we actually did together. And then I don't know how

982
00:45:01,160 --> 00:45:03,840
Speaker 1: many we did, like six records straight, and now I

983
00:45:04,160 --> 00:45:05,720
Speaker 1: work with him. I don't do all of his records.

984
00:45:05,760 --> 00:45:07,840
Speaker 1: I mean, you know, there's a certain amount, you know,

985
00:45:07,680 --> 00:45:11,160
Speaker 1: you kind of squeeze the fruit, and that's you know,

986
00:45:11,640 --> 00:45:13,800
Speaker 1: you can only get so much. But we keep returning

987
00:45:14,120 --> 00:45:18,640
Speaker 1: because there's something that we have um and it's really undefinable.

988
00:45:19,040 --> 00:45:20,359
Speaker 1: I don't know how to tell you. Like when Keith

989
00:45:20,400 --> 00:45:22,040
Speaker 1: and I get in a room that we usually do

990
00:45:22,120 --> 00:45:25,480
Speaker 1: no prep and just play me a song, go you think,

991
00:45:26,960 --> 00:45:32,440
Speaker 1: and we just start. We usually pick up guitars on Keith,

992
00:45:32,520 --> 00:45:34,839
Speaker 1: I don't. It's never worked out where I haven't been

993
00:45:34,840 --> 00:45:37,640
Speaker 1: able to do it. No, I've I've um you know,

994
00:45:37,719 --> 00:45:41,600
Speaker 1: interesting song on that same record, the first single I

995
00:45:41,600 --> 00:45:44,160
Speaker 1: did I did with him, Ross wrote it. He didn't

996
00:45:44,200 --> 00:45:47,600
Speaker 1: produce it, but he the John three sixteen song John

997
00:45:49,320 --> 00:45:51,920
Speaker 1: John and I think I think actually Keith took that

998
00:45:52,000 --> 00:45:54,400
Speaker 1: one to Nathan Chapman first, and I think Nathan just

999
00:45:54,440 --> 00:45:57,040
Speaker 1: was like it was a totally different song at that point,

1000
00:45:57,600 --> 00:45:59,320
Speaker 1: and and Nate just said, you know, I just I

1001
00:45:59,400 --> 00:46:01,000
Speaker 1: just don't hear it, which is fine, you know. And

1002
00:46:01,000 --> 00:46:02,719
Speaker 1: and and so Keith called me up. I was second

1003
00:46:02,719 --> 00:46:05,040
Speaker 1: calling that one, you know, And we went into studio

1004
00:46:05,400 --> 00:46:09,120
Speaker 1: and we just I think it was a drummer and

1005
00:46:09,120 --> 00:46:11,000
Speaker 1: and uh, Keith and I that was it, and the

1006
00:46:11,000 --> 00:46:13,240
Speaker 1: bass player was going to come in, and the bass

1007
00:46:13,239 --> 00:46:15,440
Speaker 1: player hadn't shown up yet, and we were just kind

1008
00:46:15,440 --> 00:46:17,640
Speaker 1: of strumming through ideas. I grabbed a guitar started playing something.

1009
00:46:17,680 --> 00:46:19,560
Speaker 1: He said, oh I did that listen, Okay, is there

1010
00:46:19,560 --> 00:46:22,080
Speaker 1: a bass here? So he grabbed the bass, and all

1011
00:46:22,080 --> 00:46:25,120
Speaker 1: of a sudden, the identity of the song happened that

1012
00:46:25,239 --> 00:46:28,080
Speaker 1: quickly when when he played bass. Poor bass player came

1013
00:46:28,120 --> 00:46:30,840
Speaker 1: in right on time for his big Keith Urban session.

1014
00:46:30,840 --> 00:46:33,160
Speaker 1: I think it was a debut session, and I had

1015
00:46:33,160 --> 00:46:34,920
Speaker 1: to say bass player, and I think we got the

1016
00:46:34,920 --> 00:46:38,080
Speaker 1: bass part. It was like, yeah, it was Keith and

1017
00:46:38,080 --> 00:46:39,560
Speaker 1: it but it was really good, you know, Keith, I

1018
00:46:39,560 --> 00:46:40,960
Speaker 1: thought we were going to replace it, but it had

1019
00:46:40,960 --> 00:46:44,680
Speaker 1: so much personality. All that to say, with Keith and I,

1020
00:46:44,760 --> 00:46:47,080
Speaker 1: there is no we have no set way of doing things.

1021
00:46:47,080 --> 00:46:49,160
Speaker 1: I mean a lot of times he'll come over to

1022
00:46:49,280 --> 00:46:51,959
Speaker 1: the house or I'll go over to his house. We

1023
00:46:51,960 --> 00:46:54,719
Speaker 1: we hand guitars back and forth, you know, and and uh,

1024
00:46:54,840 --> 00:46:57,400
Speaker 1: we have a certain understanding as guitar players, and songs

1025
00:46:57,440 --> 00:47:00,680
Speaker 1: just kind of emanate out of that, you know. Urban

1026
00:47:00,840 --> 00:47:04,440
Speaker 1: as a player. Where would he be in this studio

1027
00:47:04,560 --> 00:47:06,840
Speaker 1: session world if he decided to be a studio player.

1028
00:47:08,560 --> 00:47:12,000
Speaker 1: If he Keith is a is a great musician, is

1029
00:47:12,000 --> 00:47:15,280
Speaker 1: a great guitar player, he is an identity, which which

1030
00:47:15,800 --> 00:47:20,359
Speaker 1: doesn't necessarily translate into studio work because studio sometimes it's

1031
00:47:20,400 --> 00:47:26,239
Speaker 1: it's it's it's the ability to take on different identities. So, um,

1032
00:47:26,360 --> 00:47:28,399
Speaker 1: the talent, I don't I don't think Keith reads his

1033
00:47:28,400 --> 00:47:30,600
Speaker 1: his musical like you is off the charts, so he

1034
00:47:30,640 --> 00:47:34,680
Speaker 1: could adapt to anything. Um how that would translate in

1035
00:47:34,760 --> 00:47:37,279
Speaker 1: day to day session work, I don't know. I guess

1036
00:47:37,280 --> 00:47:40,600
Speaker 1: it's a different lending versus non lending your minds totally

1037
00:47:41,080 --> 00:47:42,600
Speaker 1: and it's not and it's ever thought about it like

1038
00:47:42,680 --> 00:47:45,879
Speaker 1: that before. Yeah, I mean it's like, yeah, it's it's

1039
00:47:45,920 --> 00:47:49,399
Speaker 1: it's it's like the idea that the foolish nose is saying,

1040
00:47:49,400 --> 00:47:52,040
Speaker 1: who's the best drummer, who's the best guitar player in

1041
00:47:52,080 --> 00:47:54,560
Speaker 1: the role that you can how can you compare? You know,

1042
00:47:54,719 --> 00:47:57,719
Speaker 1: how could you compare with Keith Richards to under Segovia.

1043
00:47:58,080 --> 00:48:01,160
Speaker 1: You can't that comparison. They both play guitar. But that's

1044
00:48:01,239 --> 00:48:05,600
Speaker 1: it's a different world. Who have you seen play as

1045
00:48:05,640 --> 00:48:08,600
Speaker 1: a player? Like that's not where you're just like, man,

1046
00:48:08,680 --> 00:48:11,239
Speaker 1: I could never do that like that you've seen with

1047
00:48:11,239 --> 00:48:13,919
Speaker 1: your on eyeballs and you're like, I don't know, there's

1048
00:48:14,000 --> 00:48:18,799
Speaker 1: no way. I'm humbled like that all the time. There's

1049
00:48:18,840 --> 00:48:20,319
Speaker 1: there's a lot of things I can do, like I

1050
00:48:20,360 --> 00:48:24,040
Speaker 1: can do just because I practiced so much in my life. Um,

1051
00:48:24,080 --> 00:48:25,839
Speaker 1: I mean there were some there were some like like

1052
00:48:26,040 --> 00:48:28,040
Speaker 1: jazz players like Joe Pass I could I could never

1053
00:48:28,080 --> 00:48:31,279
Speaker 1: play like that. I couldn't uh chicken pick like Brent

1054
00:48:31,400 --> 00:48:33,560
Speaker 1: Mason does on some of those records in the nineties

1055
00:48:33,600 --> 00:48:36,160
Speaker 1: was Alan Jackson records. I could play the notes, but

1056
00:48:36,160 --> 00:48:40,319
Speaker 1: they wouldn't sound like that. So so it's more it's

1057
00:48:40,360 --> 00:48:44,200
Speaker 1: more like it's not that physically I can't do those things.

1058
00:48:44,239 --> 00:48:45,880
Speaker 1: It's like that I know they will never sound that

1059
00:48:45,920 --> 00:48:48,400
Speaker 1: good artists wise, who have you been blown away by

1060
00:48:48,440 --> 00:48:49,920
Speaker 1: with their style and how good they were? Like we

1061
00:48:49,960 --> 00:48:52,920
Speaker 1: would like they really are as legit as we see them.

1062
00:48:52,960 --> 00:48:54,400
Speaker 1: Like you mentioned Keith Richers, I don't have you ever

1063
00:48:54,400 --> 00:48:56,839
Speaker 1: seen Keiths play like in person? When you see Keith

1064
00:48:56,920 --> 00:49:00,440
Speaker 1: Richers play, what do you see the soundtrack in my

1065
00:49:00,440 --> 00:49:02,919
Speaker 1: my life? I mean it's it's not that what Keith

1066
00:49:02,960 --> 00:49:04,839
Speaker 1: can do I couldn't do when I was twelve years

1067
00:49:04,880 --> 00:49:07,040
Speaker 1: old or ten for that fact. I mean it's not

1068
00:49:07,120 --> 00:49:09,640
Speaker 1: it's not that hard to do, but to do it

1069
00:49:09,640 --> 00:49:12,120
Speaker 1: like he does it that that's a lifetime and nobody

1070
00:49:12,160 --> 00:49:15,080
Speaker 1: can do it but him. Keith. Keith is has really

1071
00:49:15,120 --> 00:49:19,200
Speaker 1: I think developed into that soul as a as a

1072
00:49:19,280 --> 00:49:21,960
Speaker 1: musician he speaks. I think the highest combment I can

1073
00:49:22,000 --> 00:49:24,719
Speaker 1: play pay to Keith is it when you hear him

1074
00:49:24,719 --> 00:49:27,080
Speaker 1: play guitar, you can you know it's Keith Urban And

1075
00:49:27,120 --> 00:49:29,520
Speaker 1: I think that that identity that's very hard to achieve.

1076
00:49:29,960 --> 00:49:33,000
Speaker 1: It's a different scale than a studio musician who's who's

1077
00:49:33,040 --> 00:49:35,040
Speaker 1: having to to to wear ten hats maybe in the

1078
00:49:35,040 --> 00:49:36,960
Speaker 1: course of a of a week about like a guy

1079
00:49:37,040 --> 00:49:41,880
Speaker 1: like a John Mayer. Oh, he's stunning, stunning, great, he's

1080
00:49:41,960 --> 00:49:44,719
Speaker 1: he's like a student of guitar. I mean it's like, uh,

1081
00:49:44,840 --> 00:49:48,440
Speaker 1: and his identity changes quite a bit. I mean he's rhythmically,

1082
00:49:48,480 --> 00:49:52,280
Speaker 1: his chops are first rate. He he can play Jeff

1083
00:49:52,320 --> 00:49:54,520
Speaker 1: Beck almost like Jeff Beck. And that's a pretty high

1084
00:49:54,600 --> 00:49:58,319
Speaker 1: compliment because that's my favorite guitar player. Um, he's a

1085
00:49:58,320 --> 00:50:01,320
Speaker 1: blues aficionado. I mean he he can play pretty much anything,

1086
00:50:01,480 --> 00:50:07,640
Speaker 1: and he plays a legit prince. Totally underrated, totally underrated.

1087
00:50:08,000 --> 00:50:10,080
Speaker 1: I underrated him even in the eighties. I just I

1088
00:50:10,120 --> 00:50:12,640
Speaker 1: didn't realize how great of a rhythm guitar player and

1089
00:50:12,680 --> 00:50:18,560
Speaker 1: a lead guitar player. He was fearless too, Tom Petty. Uh,

1090
00:50:19,000 --> 00:50:23,560
Speaker 1: it's you can't extract that from the identity of his music. Um.

1091
00:50:23,600 --> 00:50:25,439
Speaker 1: Great in the in the sense that it's it's when

1092
00:50:25,440 --> 00:50:28,239
Speaker 1: he defined a genre in the way he plays. I

1093
00:50:28,239 --> 00:50:30,440
Speaker 1: wouldn't say he's not a shredder. He couldn't do that.

1094
00:50:30,480 --> 00:50:32,240
Speaker 1: Hen he's not a guy that we blow you away

1095
00:50:32,239 --> 00:50:35,480
Speaker 1: with a soloing. But he's But he's I don't think

1096
00:50:35,480 --> 00:50:37,239
Speaker 1: you can take the guitar away from Tom Petty. He

1097
00:50:37,400 --> 00:50:41,080
Speaker 1: is that with the guitar. What about the guys And

1098
00:50:41,120 --> 00:50:43,799
Speaker 1: I'm just asking, obviously we talked about none of this,

1099
00:50:43,880 --> 00:50:46,879
Speaker 1: but I guess someone like died Bag Darrel from like Pantera,

1100
00:50:47,360 --> 00:50:50,040
Speaker 1: who I watched him and I'm just like, holy crap,

1101
00:50:50,160 --> 00:50:53,120
Speaker 1: that's a different kind of guitar. But when you see

1102
00:50:53,560 --> 00:50:55,960
Speaker 1: I don't even know what that is called. And it's metal,

1103
00:50:56,080 --> 00:50:59,799
Speaker 1: but is that that trash metal? Heavy metal? But when

1104
00:50:59,800 --> 00:51:01,440
Speaker 1: you watch him like dime bag Darrel, is that a

1105
00:51:01,440 --> 00:51:02,640
Speaker 1: guy you look at a go man? I got to

1106
00:51:02,760 --> 00:51:05,040
Speaker 1: play Oh yeah yeah, and that in that job. I

1107
00:51:05,040 --> 00:51:08,000
Speaker 1: mean again, you know it's like in in that style

1108
00:51:08,040 --> 00:51:10,279
Speaker 1: of music. He was as legit as as as it came,

1109
00:51:10,320 --> 00:51:13,239
Speaker 1: and it flowed from him. If you like mus you

1110
00:51:13,239 --> 00:51:15,480
Speaker 1: don't even like us the style, but you can you

1111
00:51:15,520 --> 00:51:17,960
Speaker 1: know when it's true. And the way he played was

1112
00:51:17,960 --> 00:51:20,000
Speaker 1: was staggering. Because there's a lot of great guys from

1113
00:51:20,000 --> 00:51:26,160
Speaker 1: there there for you, man, he he makes a guitar.

1114
00:51:26,880 --> 00:51:28,480
Speaker 1: The best way I can say is I took Sherry,

1115
00:51:28,520 --> 00:51:32,560
Speaker 1: my wife, Sherry does not like instrumental music, and I

1116
00:51:32,600 --> 00:51:34,960
Speaker 1: took her down to a show down in Atlanta, one time, actually,

1117
00:51:35,040 --> 00:51:38,400
Speaker 1: Joe Don Rooney had us come down with him and

1118
00:51:38,400 --> 00:51:40,719
Speaker 1: and uh, I took my wife, who would never watch

1119
00:51:40,760 --> 00:51:42,720
Speaker 1: a guitar player in her life. She thinks guitar solos

1120
00:51:42,760 --> 00:51:47,040
Speaker 1: are waste of time. Yeah, yeah, yeah, and since since

1121
00:51:47,040 --> 00:51:49,120
Speaker 1: we were twenty so so yeah, so I've been I've

1122
00:51:49,120 --> 00:51:52,080
Speaker 1: been tutored on so my guitar solos are very succinct

1123
00:51:52,080 --> 00:51:54,279
Speaker 1: these days. But but I took her down the show

1124
00:51:54,360 --> 00:51:57,600
Speaker 1: and she was enraptured because he's so lyrical. It's not

1125
00:51:57,719 --> 00:52:00,799
Speaker 1: about chops, it's not it's he's beaks. It's like a

1126
00:52:00,880 --> 00:52:03,840
Speaker 1: human voice, and it's I mean, you know, way seventy

1127
00:52:03,880 --> 00:52:05,640
Speaker 1: something like that. And he still plays as good as

1128
00:52:05,800 --> 00:52:08,799
Speaker 1: as as he ever did. He does stuff that that

1129
00:52:08,960 --> 00:52:11,400
Speaker 1: again you could you could sit and do, but you

1130
00:52:11,440 --> 00:52:14,399
Speaker 1: could never do and sound like him. You know. As

1131
00:52:14,400 --> 00:52:18,239
Speaker 1: a producer, now, how do you watch your lockdown on

1132
00:52:18,320 --> 00:52:22,239
Speaker 1: music not getting leaked? Because m h it was. It

1133
00:52:22,360 --> 00:52:27,000
Speaker 1: was actually scarier um in the early two thousand's because

1134
00:52:27,000 --> 00:52:29,000
Speaker 1: we're still making CD copies and a lot of stuff

1135
00:52:29,000 --> 00:52:31,800
Speaker 1: was getting linked by by you know, temporatres at the

1136
00:52:31,800 --> 00:52:36,960
Speaker 1: studios and whatnot. Right now, I just know I don't

1137
00:52:37,000 --> 00:52:39,960
Speaker 1: send out stuff. I mean, I just people come to

1138
00:52:40,000 --> 00:52:41,720
Speaker 1: me and I just keep it on my hard drives

1139
00:52:41,840 --> 00:52:45,439
Speaker 1: my computer. That's it, you know. And if I send

1140
00:52:45,480 --> 00:52:47,319
Speaker 1: stuff out, I'll send I'll send them, you know, I'll

1141
00:52:47,320 --> 00:52:50,040
Speaker 1: send them something like an MP three on their their

1142
00:52:50,719 --> 00:52:53,440
Speaker 1: I message. You'll do that. You'll do that, though, Like

1143
00:52:53,480 --> 00:52:57,040
Speaker 1: you don't worry that. I don't know the Russians or

1144
00:52:57,160 --> 00:53:03,440
Speaker 1: anybody came up. Russians like country music. They like money though. Yeah,

1145
00:53:03,560 --> 00:53:05,839
Speaker 1: in the in the in the popular I remember there

1146
00:53:05,880 --> 00:53:08,600
Speaker 1: was I guess there's a certain protocol. I remember Justin

1147
00:53:08,640 --> 00:53:12,200
Speaker 1: Bieber was doing a song with Rascal Flats, and I

1148
00:53:12,280 --> 00:53:15,200
Speaker 1: remember I apparently made the mistake of sending an MP

1149
00:53:15,320 --> 00:53:19,440
Speaker 1: three via email to one of the New York record

1150
00:53:19,520 --> 00:53:21,680
Speaker 1: labels so they could sign off of this thing. And

1151
00:53:21,760 --> 00:53:23,960
Speaker 1: I got reprimanded royally, we do it this way. It

1152
00:53:24,080 --> 00:53:26,400
Speaker 1: was encrypted. You know, it's like whatever, Okay, I got it.

1153
00:53:26,480 --> 00:53:28,919
Speaker 1: Maybe we're a little slower here. And they even figured out,

1154
00:53:29,000 --> 00:53:31,239
Speaker 1: you know, with new artists, it doesn't matter because nobody

1155
00:53:31,280 --> 00:53:33,040
Speaker 1: knows who they are. Like there's a lot of new artists,

1156
00:53:33,080 --> 00:53:37,759
Speaker 1: you know, like when you're doing you know, so I

1157
00:53:37,760 --> 00:53:39,720
Speaker 1: got about three or four new artists you have, you've

1158
00:53:39,719 --> 00:53:41,480
Speaker 1: probably heard of him because you're you have, you're, you're

1159
00:53:41,600 --> 00:53:43,479
Speaker 1: you're pretty close to the post what's going on in town.

1160
00:53:43,600 --> 00:53:45,520
Speaker 1: But for the most part, nobody's gonna know who these

1161
00:53:45,520 --> 00:53:49,120
Speaker 1: people are. And it's some pretty significant music. It doesn't matter,

1162
00:53:49,320 --> 00:53:51,440
Speaker 1: you know, just it's floating around. Tell they there's But

1163
00:53:51,560 --> 00:53:53,799
Speaker 1: when it's a star, yeah, it takes on a little

1164
00:53:53,800 --> 00:53:58,480
Speaker 1: different dimension. Tell me about this one. So we talked

1165
00:53:58,520 --> 00:54:00,480
Speaker 1: about you producing some hart carry on or what here?

1166
00:54:01,440 --> 00:54:03,160
Speaker 1: Now did you produce with cart Was she in the

1167
00:54:03,160 --> 00:54:05,920
Speaker 1: studio with you? Yes, because I've seen her singing in

1168
00:54:05,920 --> 00:54:10,920
Speaker 1: a studio and it's like she's like, man, man, she

1169
00:54:11,000 --> 00:54:13,279
Speaker 1: makes you she makes you look like a genius. I

1170
00:54:13,280 --> 00:54:16,399
Speaker 1: mean you you love singers like that. She's there. There's

1171
00:54:16,400 --> 00:54:18,680
Speaker 1: a there's also a new I mean she curious who

1172
00:54:18,719 --> 00:54:21,040
Speaker 1: she is. Um. I didn't do any of the country stuff.

1173
00:54:21,040 --> 00:54:22,640
Speaker 1: That was a weird story on that one. I ended

1174
00:54:22,680 --> 00:54:25,400
Speaker 1: up doing this stuff that they that was not country,

1175
00:54:25,480 --> 00:54:27,800
Speaker 1: which is you know, which is heartbreaking me because I

1176
00:54:27,840 --> 00:54:30,279
Speaker 1: knew she was gonna be a country star. That's that

1177
00:54:30,440 --> 00:54:33,520
Speaker 1: that that's kind of water under the bridge. But uh,

1178
00:54:33,680 --> 00:54:35,920
Speaker 1: like there's a there's a young artist named Rachel Womack

1179
00:54:36,080 --> 00:54:38,200
Speaker 1: right now, who I don't. You probably haven't heard of her.

1180
00:54:38,280 --> 00:54:42,879
Speaker 1: She's so new, but she's in that league totally thin air, right,

1181
00:54:42,960 --> 00:54:45,960
Speaker 1: I mean, and she comes into the studio and just

1182
00:54:46,200 --> 00:54:49,239
Speaker 1: sings a pass. I mean normally you're working on this

1183
00:54:49,280 --> 00:54:51,520
Speaker 1: stuff for days and it's like you just sit there

1184
00:54:51,560 --> 00:54:53,760
Speaker 1: and go, God, there is a God. Somebody is looking

1185
00:54:53,760 --> 00:54:58,399
Speaker 1: out after me. It just makes you get past the

1186
00:54:58,480 --> 00:55:00,839
Speaker 1: technical side of making records and just you're just onto

1187
00:55:00,920 --> 00:55:03,520
Speaker 1: making music. So because what it is is so big,

1188
00:55:03,640 --> 00:55:06,959
Speaker 1: it's like technical because I'm that's greatness right here? Yes,

1189
00:55:07,360 --> 00:55:11,640
Speaker 1: and yeah, yeah, and not everything is like that and

1190
00:55:11,640 --> 00:55:13,520
Speaker 1: and and you know what, not every song is made

1191
00:55:13,560 --> 00:55:15,520
Speaker 1: like that. And there's some significant songs that have made

1192
00:55:15,520 --> 00:55:19,920
Speaker 1: the air work pieces. Um. You know. Um. There was

1193
00:55:19,960 --> 00:55:22,319
Speaker 1: a song years ago that Keith and I did UM

1194
00:55:22,400 --> 00:55:26,040
Speaker 1: that I think was so significant. It was called What's

1195
00:55:26,040 --> 00:55:28,759
Speaker 1: the one? Uh, I'm horrible on title has always been

1196
00:55:29,760 --> 00:55:32,920
Speaker 1: Rodney Kraw wrote Making Memories. I don't know if you

1197
00:55:33,000 --> 00:55:36,600
Speaker 1: know that song. Great lyrics is something that Keith didn't write,

1198
00:55:36,600 --> 00:55:38,879
Speaker 1: but he was. He was fanatical but getting a song

1199
00:55:39,000 --> 00:55:40,560
Speaker 1: right because he didn't write it. He wanted to honor

1200
00:55:40,600 --> 00:55:44,040
Speaker 1: the writer. We must have recorded that song seven different ways.

1201
00:55:44,480 --> 00:55:47,120
Speaker 1: It's not that Keith Keith come singing in one take two,

1202
00:55:47,960 --> 00:55:50,800
Speaker 1: but we were trying to get to that the essence

1203
00:55:50,840 --> 00:55:52,640
Speaker 1: of that song, it's so simple. It sounds like you

1204
00:55:52,640 --> 00:55:54,680
Speaker 1: could have done in ten minutes. That song is probably

1205
00:55:54,680 --> 00:55:56,759
Speaker 1: the hardest song we've ever been a part of. So

1206
00:55:57,080 --> 00:55:59,120
Speaker 1: you never know what you're getting into and this stuff.

1207
00:55:59,360 --> 00:56:02,799
Speaker 1: Let me give you a boll scenarios. Scenario one, you

1208
00:56:04,440 --> 00:56:07,719
Speaker 1: have an artist, you really couldn't hit it with them.

1209
00:56:07,760 --> 00:56:09,320
Speaker 1: It just didn't work. So they went somewhere else and

1210
00:56:09,320 --> 00:56:12,000
Speaker 1: they were huge successful and they worked with somebody else

1211
00:56:12,120 --> 00:56:16,080
Speaker 1: who had that artist totally. I mean, that was That

1212
00:56:16,160 --> 00:56:18,920
Speaker 1: was a heartbreaker for me. You know, you you it was,

1213
00:56:19,000 --> 00:56:21,839
Speaker 1: it was, it was, And it went to a dear

1214
00:56:21,880 --> 00:56:24,200
Speaker 1: friend of mine, so I Mark Bright, So I mean

1215
00:56:24,280 --> 00:56:26,120
Speaker 1: it's it's as it should be, you know, but it

1216
00:56:26,160 --> 00:56:28,000
Speaker 1: But it was one of those situations. I knew I

1217
00:56:28,040 --> 00:56:30,640
Speaker 1: was being teed up by by Clive Davis to do

1218
00:56:30,680 --> 00:56:32,799
Speaker 1: these songs. He he thought she should be a pop

1219
00:56:32,880 --> 00:56:35,040
Speaker 1: arts That was like a Diane Warrant song there, and

1220
00:56:35,080 --> 00:56:37,160
Speaker 1: I knew it carry was gonna declare and I wasn't

1221
00:56:37,160 --> 00:56:38,840
Speaker 1: gonna be Hey, well she won't give you a pop artist.

1222
00:56:39,200 --> 00:56:41,239
Speaker 1: But I was recording these songs that we're not going

1223
00:56:41,280 --> 00:56:43,480
Speaker 1: to do anything. I just knew it, you know. So

1224
00:56:43,520 --> 00:56:46,160
Speaker 1: that was a tough one. But who was it that

1225
00:56:46,200 --> 00:56:48,400
Speaker 1: you heard then that you know had been around and

1226
00:56:48,440 --> 00:56:51,040
Speaker 1: just but you were like, I think I got these

1227
00:56:51,080 --> 00:56:53,839
Speaker 1: guys or girls like that. You were like, man, let

1228
00:56:53,920 --> 00:56:55,960
Speaker 1: me have a shot at him, and and you actually

1229
00:56:55,960 --> 00:56:58,560
Speaker 1: broke through with them because of how together you jelled.

1230
00:57:00,040 --> 00:57:06,160
Speaker 1: You know. I've really never actually I've been lucky, Bob.

1231
00:57:06,520 --> 00:57:09,720
Speaker 1: Most people I haven't solicited gigs. It's just they usually

1232
00:57:09,760 --> 00:57:13,080
Speaker 1: they usually come towards me, which is bizarre. Um, I'm

1233
00:57:13,080 --> 00:57:15,319
Speaker 1: trying to think if there's anybody that I've I mean,

1234
00:57:15,360 --> 00:57:18,240
Speaker 1: I remember at one point ten twelve years ago that

1235
00:57:18,280 --> 00:57:20,840
Speaker 1: I called Scott Bruschette and I said, hey, why don't

1236
00:57:20,840 --> 00:57:24,240
Speaker 1: you call me for your new label? And he laughed,

1237
00:57:24,240 --> 00:57:25,880
Speaker 1: he said I thought you were too expensive, And so

1238
00:57:26,000 --> 00:57:28,080
Speaker 1: that was like a call like that, and that led

1239
00:57:28,120 --> 00:57:33,000
Speaker 1: to a bunch of these things. You're pretty expensive expensive.

1240
00:57:33,360 --> 00:57:36,120
Speaker 1: Listen I hear how much of the A side. Listen,

1241
00:57:36,280 --> 00:57:39,320
Speaker 1: it's worth it? It ain't h ain't hungary Dan Hug

1242
00:57:41,160 --> 00:57:42,920
Speaker 1: you also did a lot with t R. Thomas on

1243
00:57:43,560 --> 00:57:47,200
Speaker 1: the last record. Oh man, yeah, that's he's he's he's special.

1244
00:57:47,280 --> 00:57:49,440
Speaker 1: I mean, you know that record, the stuff that got

1245
00:57:49,480 --> 00:57:51,240
Speaker 1: left on the cutting room floor on that record. You

1246
00:57:51,240 --> 00:57:53,560
Speaker 1: think there were two records there? Oh yeah, yeah, I mean,

1247
00:57:53,600 --> 00:57:55,120
Speaker 1: you know that's hard to market it, you know, but

1248
00:57:55,120 --> 00:57:57,640
Speaker 1: but it's so freaking good. How do you work with

1249
00:57:57,680 --> 00:58:00,880
Speaker 1: another producer because that you co produced songs? I couldn't,

1250
00:58:01,160 --> 00:58:02,680
Speaker 1: you know what? And I think that's kind of the

1251
00:58:02,680 --> 00:58:04,360
Speaker 1: new thing. I mean, I look, I'm I'm I'm at

1252
00:58:04,400 --> 00:58:06,360
Speaker 1: the old end of this of this game here. I mean,

1253
00:58:06,520 --> 00:58:09,400
Speaker 1: you know, it's like and I know my worth, I

1254
00:58:09,440 --> 00:58:11,440
Speaker 1: know what what I what I bring to the table.

1255
00:58:11,640 --> 00:58:14,680
Speaker 1: But I'm not years old, you know. I mean I'm

1256
00:58:14,720 --> 00:58:17,680
Speaker 1: not I'm not thirty. And it's and so my I

1257
00:58:17,760 --> 00:58:21,080
Speaker 1: have to look through the lens of younger people. I mean,

1258
00:58:21,080 --> 00:58:24,600
Speaker 1: it's really important. And I saw the great Quincy Jones

1259
00:58:24,600 --> 00:58:27,000
Speaker 1: was was a guy who really made that very obvious.

1260
00:58:27,000 --> 00:58:28,880
Speaker 1: And you want to stay in the game, you can't

1261
00:58:28,960 --> 00:58:32,160
Speaker 1: let your pride dictate dictate you know how you're gonna

1262
00:58:32,160 --> 00:58:36,320
Speaker 1: make your music. So it's really reinvented me being Jesse Fraser.

1263
00:58:36,520 --> 00:58:39,320
Speaker 1: You you you met him the night and I mean,

1264
00:58:39,360 --> 00:58:44,440
Speaker 1: you know, and all those guys, um, they they hear

1265
00:58:44,520 --> 00:58:46,240
Speaker 1: music a different way. And then I kind of put

1266
00:58:46,280 --> 00:58:49,640
Speaker 1: what I do on top of that or or underneath whatever,

1267
00:58:49,960 --> 00:58:53,480
Speaker 1: you know, And I'm sure what two people calling shots

1268
00:58:53,480 --> 00:58:54,760
Speaker 1: at times, there's got to be a sort of a

1269
00:58:54,760 --> 00:58:58,560
Speaker 1: power struggle, right if you have two bosses you think

1270
00:58:59,280 --> 00:59:04,120
Speaker 1: you know, No, No, I mean maybe because I'm so

1271
00:59:04,200 --> 00:59:06,560
Speaker 1: much older, you know, it doesn't seem it doesn't seem

1272
00:59:06,600 --> 00:59:13,040
Speaker 1: that way. And I'm not old, younger than you have

1273
00:59:13,040 --> 00:59:16,200
Speaker 1: all your hair. It's well, you know, you know, but

1274
00:59:16,240 --> 00:59:18,960
Speaker 1: in musical years and dog years, dog musical years, I'm

1275
00:59:18,960 --> 00:59:21,080
Speaker 1: I'm two thousand. You know, I'm methus a little bit.

1276
00:59:21,320 --> 00:59:26,080
Speaker 1: But no, it's so far, you know. It's like sometimes

1277
00:59:26,120 --> 00:59:27,800
Speaker 1: you have a difference of opinion, but but you know,

1278
00:59:28,040 --> 00:59:30,520
Speaker 1: like I'm not. I'm not dictatorial in the way I

1279
00:59:30,560 --> 00:59:32,760
Speaker 1: do things. And it's it's weird because I do enough

1280
00:59:32,800 --> 00:59:35,280
Speaker 1: co production, you know, work with Julian and Joe on

1281
00:59:35,360 --> 00:59:38,000
Speaker 1: that record too. I didn't know Julian that well. So

1282
00:59:38,120 --> 00:59:39,800
Speaker 1: Julian done a bunch of one direction stuff and I

1283
00:59:39,880 --> 00:59:43,080
Speaker 1: much have pop stuff. Yeah, and and he has has

1284
00:59:43,160 --> 00:59:46,600
Speaker 1: his direction, you know. Um, and and sometimes it's just

1285
00:59:46,680 --> 00:59:49,520
Speaker 1: learning kind of getting your dance coordination. But then then

1286
00:59:49,520 --> 00:59:51,120
Speaker 1: I'll end up doing you know, it's like so, so

1287
00:59:51,160 --> 00:59:52,600
Speaker 1: I'll do that, and I think, well, that's gonna kind

1288
00:59:52,600 --> 00:59:54,880
Speaker 1: of be my lot. I'm gonna be the that dude

1289
00:59:54,880 --> 00:59:57,040
Speaker 1: in the co production thing. And then I end up

1290
00:59:57,040 --> 00:59:59,520
Speaker 1: working with Kane Brown and you know, and you know

1291
00:59:59,560 --> 01:00:02,520
Speaker 1: that's to least something that you wouldn't put me with,

1292
01:00:02,720 --> 01:00:05,440
Speaker 1: you know, And that's that's going stunning. Lee, Well, all

1293
01:00:05,440 --> 01:00:08,880
Speaker 1: of a sudden, that's that was a real gift obviously

1294
01:00:08,960 --> 01:00:11,320
Speaker 1: for Kane. You know what he's doing. It's just all

1295
01:00:11,320 --> 01:00:17,120
Speaker 1: of a sudden taking off like a rocket. It's bizarre. So, um,

1296
01:00:17,600 --> 01:00:21,360
Speaker 1: I don't know how my production career is going to

1297
01:00:21,440 --> 01:00:23,160
Speaker 1: be even in a year from now. It just is

1298
01:00:23,240 --> 01:00:25,480
Speaker 1: kind of what it is. If you lower your rate,

1299
01:00:25,720 --> 01:00:27,720
Speaker 1: raging idiots will hire you. You need to lower it. Like, well,

1300
01:00:27,760 --> 01:00:32,320
Speaker 1: how are you like like a tent do the pro

1301
01:00:32,400 --> 01:00:37,040
Speaker 1: bona thing just to hang out with you? I think that, Yeah,

1302
01:00:37,160 --> 01:00:42,800
Speaker 1: I don't know if i'd have much to offer there. Yeah,

1303
01:00:41,200 --> 01:00:44,560
Speaker 1: everything by watching anything you want to ask this, I've

1304
01:00:44,560 --> 01:00:46,880
Speaker 1: been just learning a lot and taking it all in. Um,

1305
01:00:47,600 --> 01:00:49,840
Speaker 1: I'd like to do something kind of like a prediction,

1306
01:00:49,920 --> 01:00:52,560
Speaker 1: you know, what's out there right now and in our

1307
01:00:53,000 --> 01:00:55,240
Speaker 1: our format right now, Like what what's the prediction for

1308
01:00:55,280 --> 01:01:01,280
Speaker 1: you that like people need to look out for this artist? Wise? Um, well,

1309
01:01:01,280 --> 01:01:03,919
Speaker 1: there's right now sitting at the studio I'm getting ready

1310
01:01:03,920 --> 01:01:07,800
Speaker 1: to go back today. There's a young guy named Ryan

1311
01:01:07,840 --> 01:01:10,680
Speaker 1: Follows A know Ryan, Yeah, and you know he's trying

1312
01:01:10,680 --> 01:01:12,919
Speaker 1: to find his way in here. I think we got

1313
01:01:12,960 --> 01:01:15,960
Speaker 1: this one song that's gonna do something, it really hits.

1314
01:01:16,600 --> 01:01:20,520
Speaker 1: There's just this young artist, Rachel Warwick I speaking about

1315
01:01:20,560 --> 01:01:22,960
Speaker 1: a minute ago. She's she's a lightning boat. I don't know.

1316
01:01:23,080 --> 01:01:26,360
Speaker 1: She's from Muscle Shoals, doesn't know anything about country music

1317
01:01:26,600 --> 01:01:29,600
Speaker 1: at all. She's and she's she's the southern as a banjo,

1318
01:01:29,760 --> 01:01:32,560
Speaker 1: you know, and she has a soul. I mean there's

1319
01:01:32,600 --> 01:01:35,400
Speaker 1: something about this girl that's that's riveting. Is it for

1320
01:01:35,480 --> 01:01:37,080
Speaker 1: you with work up with Ryan? Because I know Ryan

1321
01:01:37,200 --> 01:01:40,560
Speaker 1: and Ryan did the pop punk stuff for a while. Okay,

1322
01:01:40,600 --> 01:01:43,560
Speaker 1: So I mean that right, there's a challenge. How do

1323
01:01:43,680 --> 01:01:47,360
Speaker 1: you transition that without people going Okay, come on, like

1324
01:01:47,400 --> 01:01:49,440
Speaker 1: you gotta find like you said, you gotta find that

1325
01:01:49,560 --> 01:01:53,040
Speaker 1: spot where it still feels natural. Well yeah, I mean,

1326
01:01:53,120 --> 01:01:55,600
Speaker 1: you know, and you gotta you know, country music is

1327
01:01:55,400 --> 01:01:57,520
Speaker 1: a huge tent. I mean, it's which is sweet. You know,

1328
01:01:57,560 --> 01:02:01,520
Speaker 1: it's like it doesn't have to be one certain way. Um.

1329
01:02:01,560 --> 01:02:03,520
Speaker 1: I think with him, I started, I came in on

1330
01:02:03,560 --> 01:02:05,160
Speaker 1: the back end of the record. He had already done

1331
01:02:05,760 --> 01:02:08,800
Speaker 1: the same thing, kind of a closer. They needed some credibility,

1332
01:02:08,880 --> 01:02:11,760
Speaker 1: I guess, and this, uh the record was really good,

1333
01:02:11,800 --> 01:02:14,680
Speaker 1: but it was extremely pop leaning and I don't know

1334
01:02:14,760 --> 01:02:17,480
Speaker 1: if he had quite found his his voice. And as

1335
01:02:17,520 --> 01:02:20,280
Speaker 1: a result of that, I don't think they released the

1336
01:02:20,280 --> 01:02:21,760
Speaker 1: whole record yet. So we went in kind a couple

1337
01:02:21,760 --> 01:02:23,400
Speaker 1: of songs, and I think we found that kind of

1338
01:02:23,480 --> 01:02:27,080
Speaker 1: nice contrast, that juxtaposition of kind of how he sings.

1339
01:02:27,120 --> 01:02:29,920
Speaker 1: He's a great singer and and kind of that soul

1340
01:02:30,040 --> 01:02:32,720
Speaker 1: and and you know, words, I have a hard time

1341
01:02:32,760 --> 01:02:34,280
Speaker 1: describing this. Words. You just kind of fiddle with this

1342
01:02:34,280 --> 01:02:36,240
Speaker 1: stuff and all of a sudden it feels true. And

1343
01:02:36,280 --> 01:02:38,800
Speaker 1: he's got a song called level Do That to You,

1344
01:02:38,800 --> 01:02:41,400
Speaker 1: which which I think is really powerful. You know, I

1345
01:02:41,400 --> 01:02:44,080
Speaker 1: hear the producers pretty good st I don't know, I

1346
01:02:44,080 --> 01:02:46,840
Speaker 1: didn't step on the streets, just on the streets. So

1347
01:02:47,360 --> 01:02:49,640
Speaker 1: I really appreciate you coming in, Like you want a

1348
01:02:49,640 --> 01:02:51,360
Speaker 1: couple of c m as for Producer of the Year,

1349
01:02:51,560 --> 01:02:54,280
Speaker 1: like you do. You got it, you have, you got nothing,

1350
01:02:54,440 --> 01:02:55,840
Speaker 1: and you got it all. Like I tell you, there

1351
01:02:55,880 --> 01:02:57,640
Speaker 1: was the one guy Geet. There are people everywhere, and

1352
01:02:57,640 --> 01:02:59,320
Speaker 1: I was like, I gotta get a picture of Dan.

1353
01:02:59,800 --> 01:03:01,240
Speaker 1: So like, I'm a huge fan. So the fact that

1354
01:03:01,280 --> 01:03:02,560
Speaker 1: you would come there and talk to me for an hour,

1355
01:03:02,680 --> 01:03:06,840
Speaker 1: I really appreciate that. Than kidding. I mean you guys, um,

1356
01:03:06,880 --> 01:03:10,920
Speaker 1: you stepped into some massive shoes here too. I mean this,

1357
01:03:11,080 --> 01:03:12,640
Speaker 1: you know this, you know the history of this time,

1358
01:03:12,680 --> 01:03:15,600
Speaker 1: and I know your your ability and you have stepped

1359
01:03:15,640 --> 01:03:19,240
Speaker 1: into him and commanded it. So congratulations. Thanks. It's also

1360
01:03:19,280 --> 01:03:21,400
Speaker 1: the same old equipment. Luckily for me, they won't even

1361
01:03:21,480 --> 01:03:24,960
Speaker 1: upgrading facilities. As you can see, this is Jerry House's

1362
01:03:25,000 --> 01:03:27,720
Speaker 1: old equipment here on the board. So let me say

1363
01:03:27,760 --> 01:03:30,000
Speaker 1: this real quick. You can search for the Whiskey Riff

1364
01:03:30,040 --> 01:03:32,680
Speaker 1: episode thirty three. Uh, they're doing a State of the

1365
01:03:32,720 --> 01:03:35,320
Speaker 1: Union on the Country format where they talk about Vegas

1366
01:03:35,640 --> 01:03:38,920
Speaker 1: and producer an Assis down with Hunter Hayes, and so

1367
01:03:39,040 --> 01:03:41,000
Speaker 1: you can check out the Whiskey Riff podcast. Just search

1368
01:03:41,080 --> 01:03:43,680
Speaker 1: for that on iTunes or iHeart radio or wherever you

1369
01:03:43,680 --> 01:03:46,400
Speaker 1: listen to podcasts. But that's gonna be it for us here, Dan,

1370
01:03:46,560 --> 01:03:48,360
Speaker 1: I really appreciate you coming in. I know I said

1371
01:03:48,360 --> 01:03:51,400
Speaker 1: it like eighty four times already, but I'm a huge fan.

1372
01:03:51,480 --> 01:03:53,280
Speaker 1: If you have anything you haven't needed any New Year

1373
01:03:53,440 --> 01:03:56,520
Speaker 1: fresh here, you haven't need fresh here, you let me know.

1374
01:03:57,280 --> 01:04:00,000
Speaker 1: It's been really great. Thank you. We'll see you got

1375
01:04:00,040 --> 01:04:01,280
Speaker 1: us next time. Here podcast