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Speaker 1: First of all, the label told me if I released

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Speaker 1: that they were going.

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Speaker 2: To drop me because of what the song was.

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Speaker 1: Yeah, there was.

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Speaker 3: No song like that in the year that it came

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Speaker 3: out like it was. First of all, we're all on

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Speaker 3: our own path anyway, and the labels like, listen, if

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Speaker 3: you do this, just might as well go do it

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Speaker 3: somewhere else.

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Speaker 2: Welcome to episode five to ten with Eric Church on

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Speaker 2: Instagram at Eric Church Music. His single now is called

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Speaker 2: Hands of Time. We talk about the album, we talk

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Speaker 2: about the tour, we talk about the time he got

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Speaker 2: fired for working for basically home shopping Network, which does

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Speaker 2: a pretty funny story. It was awesome, Yeah, and it

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Speaker 2: was a good, pretty much hour with Eric. I think

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Speaker 2: what's cool And I've been lucky enough to spend a

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Speaker 2: little time with Eric outside of work, outside of anything professional.

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Speaker 2: It was just a really nice guy. He's definitely still

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Speaker 2: the chief. And he had a sunglasses on the whole interview.

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Speaker 2: See I should have done that way or like so

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Speaker 2: people can't see my eyes. I can't see my eyes.

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Speaker 2: He could have been checking out my shoes, looking inside

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Speaker 2: the house. I'd had no idea, That's all I was

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Speaker 2: wondering coming into it was he good at wear them, Yeah,

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Speaker 2: good to be the Chief, or they just could be

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Speaker 2: Eric Church. He was kind of like Chief Eric. I

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Speaker 2: feel like he's like so smart. Yeah, yeah, yeah, of course, Yeah,

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Speaker 2: you're right, because the image of Eric Church is like

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Speaker 2: this tough dude and he's you know, he gets up

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Speaker 2: and he does this thing and writes songs people love,

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Speaker 2: and he has that. But he's also, yeah, very smart,

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Speaker 2: which is why he's such a great songwriter. And he's

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Speaker 2: so cerebral. But if they called him cerebral and not

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Speaker 2: the Chief, if that was his nickname, Cerebral, probably wouldn't

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Speaker 2: have the same impact. So super cool to sit with Eric.

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Speaker 2: He came over to the house and yeah, we did

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Speaker 2: this for about an hour. He's got a new album,

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Speaker 2: Evangeline Versus the Machine, that is out now. He's playing

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Speaker 2: a ton of shows and Eric Church dot com get

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Speaker 2: tickets to the show. Here he is. I gotta say,

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Speaker 2: the Michael Jordan' story is pretty cool. It's coming up.

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Speaker 2: It's just so nonchalant mj Here he is, Episode five

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Speaker 2: to ten, Eric Church, Very good to see you, Bobby.

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Speaker 2: Do you have Carolina Blue one on purpose underneath?

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Speaker 1: Is it? Yeah?

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Speaker 2: Yeah, I mean most every well I don't. Oh, I

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Speaker 2: do too, but not on Yeah, this wasn't in your honor.

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Speaker 1: I appreciate it.

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Speaker 2: That's funny because I was talking because most everything I

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Speaker 2: have has a hog on it or a razorback on it. Yeah,

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Speaker 2: like red or phone or a lot of my clothes.

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Speaker 2: Do you have North Carolina stuff everywhere? And like you're

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Speaker 2: and now and now which is weirder. But we're involved

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Speaker 2: with the Hornets too. So I have purple and teal,

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Speaker 2: so it's Carolina blue and purple and tea. What do

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Speaker 2: you mean involved with the Hornets here part of the ownership. Yeah, dang,

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Speaker 2: I bought a pick a ball team. I don't have

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Speaker 2: NBA team though ball teams are cool too, But what's

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Speaker 2: up with that? So what's Lamela gonna do?

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Speaker 3: We'll see, well, we will see. It's a there's a

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Speaker 3: there's a there's a really important draft coming.

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Speaker 1: Okay.

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Speaker 2: Yeah.

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Speaker 3: I got to be friends with MJ a few years

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Speaker 3: back and when he sold the team, and it was

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Speaker 3: one of the weirder calls you ever get in your life.

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Speaker 1: But MJ goes, hey, I.

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Speaker 3: Want you to be involved with the Hornets ownership group.

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Speaker 3: I was, what does that mean. He said, I want

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Speaker 3: North Carolina presence. I want people that are local. The

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Speaker 3: group that's buying it's out of New York private equity,

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Speaker 3: and he said, I want you to I want you

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Speaker 3: to do it. He said, I'll help you if you

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Speaker 3: need help, but he said, I want you to be involved,

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Speaker 3: so you don't say no to Michael Jordan's So I got.

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Speaker 2: That's super cool in a couple of ways. One because

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Speaker 2: it is Michael Jordan, the greatest athlete or pop culture

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Speaker 2: sports figure in our lifetime, I think, right, it's like

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Speaker 2: bab Bruce, Michael Jordan, Tiger Woods two that Michael Jordan

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Speaker 2: played for North Carolina, right, And for you that's such

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Speaker 2: a personal thing and that now, yeah, that you talk

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Speaker 2: to him on the phone that i'n't been like put

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Speaker 2: on speaker phone recording it. So so what do you

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Speaker 2: do is like part owner?

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Speaker 3: Well, the great thing about the Hornets is the majority owners.

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Speaker 3: You have majority of the minority, but the majority guys

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Speaker 3: or you can different different groups in the NBA, but

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Speaker 3: sometimes you get a majority that you know owns the

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Speaker 3: ninety five percent of the team and you're just involved.

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Speaker 1: But our group's really good about.

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Speaker 3: Keeping us involved and all the decisions we're making, So

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Speaker 3: you know, a lot of it rolls around draft picks,

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Speaker 3: a lot of We renovated the arena there in Charlotte.

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Speaker 1: We've did a big renovation.

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Speaker 3: So you kind of have a three to five year plan,

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Speaker 3: and Charlotte needs it because the Panthers aren't awesome and

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Speaker 3: the city needs it. So we're on a three to

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Speaker 3: five year plan. Really through draft picks. That's that's the

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Speaker 3: best way to build a team. And luckily or unluckily,

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Speaker 3: the past couple of years, we've got some good draft picks.

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Speaker 3: So that's the game we play right now.

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Speaker 2: Dan, I wasn't expecting that. That's awesome. I put a

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Speaker 2: bunch of money into the Nashville baseball team, so if

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Speaker 2: we get a baseball team here, nash.

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Speaker 1: Will be a great city for that.

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Speaker 2: Yeah, let's go. Then I'll call you. I'll be like,

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Speaker 2: what's up? Owner? Owner?

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Speaker 1: So yeah, that's right.

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Speaker 2: When did you get your first guitar?

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Speaker 1: Thirteen?

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Speaker 2: Why'd you get it?

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Speaker 3: I was writing songs, poetry kind of song things, and

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Speaker 3: I was having to sing the melodies in my head

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Speaker 3: and got like a Christmas gift, and then it took

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Speaker 3: me a little bit to learn to play it, but

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Speaker 3: you know that was just an avenue.

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Speaker 1: For me to get the songs out.

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Speaker 2: Did you take to it immediately?

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Speaker 1: Yeah?

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Speaker 2: Were you good at it quickly?

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Speaker 1: Yeah?

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Speaker 2: Do you have a brain that allows you to not

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Speaker 2: just write lyrics? But how do you compute music? Like?

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Speaker 2: How were you able to do key? I mean, like

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Speaker 2: how did you learn music?

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Speaker 1: That's a great question. I I don't know. It was

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Speaker 1: the fastest thing that I was able just to kind

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Speaker 1: of get.

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Speaker 2: And then.

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Speaker 3: You learn a lot of that too in you know,

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Speaker 3: earning your salt Where I got in a band pretty quick.

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Speaker 1: I mean I was in a band.

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Speaker 3: It maybe seventeen, I was, I was on what and

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Speaker 3: eighteen years old, and I started just playing in bands

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Speaker 3: and some shady places, and I did the chicken wire

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Speaker 3: thing at that show. I've had a band member leave

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Speaker 3: the stage during a song and go fight a guy

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Speaker 3: in the parking lot and make it back before the

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Speaker 3: end of the song. And that guy was my brother.

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Speaker 3: So we've done that during Now. You know, when you

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Speaker 3: make it back for the end of the song, that's

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Speaker 3: doing quick work, you know. But it was a skinnered song,

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Speaker 3: so it was a little long. But I've done all

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Speaker 3: those I've donell those things, and you learn a lot

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Speaker 3: from those situations. I always talk about in the world

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Speaker 3: we live in now, and you know this, in the

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Speaker 3: world we live in, it's easier to get discovered and

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Speaker 3: to earn a following, but it's harder to earn that as.

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Speaker 1: A musician where you can.

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Speaker 3: I'll give you example, and I won't name a name,

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Speaker 3: but there was an act recently that I like a lot,

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Speaker 3: and we were gonna we're talking about our next tour,

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Speaker 3: and it's a person who has a presence social media whatever,

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Speaker 3: and I said, hey, you know, we'd love to have you.

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Speaker 1: They don't have a.

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Speaker 3: Band yet, they've not toured yet, that's all just on

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Speaker 3: what they do on their channel. They've not played yet,

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Speaker 3: and it's like, you know, you've not taken anything on

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Speaker 3: the road.

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Speaker 1: You don't, right, And that's.

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Speaker 3: A problem because you learn so much from being in

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Speaker 3: those situations. And what I've found in my career, you're

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Speaker 3: gonna get in big moments, and if you don't feel

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Speaker 3: like you deserve the big moment.

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Speaker 1: You might not meet the moment.

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Speaker 3: And those early days allow you to know when you

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Speaker 3: get to that moment, you've put in the work to

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Speaker 3: earned that.

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Speaker 2: I want to talk about being an advocate. I think

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Speaker 2: even in this record that there's songs where you're an

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Speaker 2: advocate as well, And so I don't think it's I

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Speaker 2: think a big part of it is what you're doing

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Speaker 2: for the communities and for people that maybe don't have

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Speaker 2: a voice, but also for people that maybe need a voice.

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Speaker 2: And I mean I could pull up a couple of

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Speaker 2: songs even like Johnny or Darkest Hour, like those feel

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Speaker 2: like advocate type songs, like you're speaking for somebody, for

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Speaker 2: yourself but also for others. Well.

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Speaker 3: I think a lot of that also comes a little

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Speaker 3: bit with our We're a little bit of an anomaly

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Speaker 3: that we got here completely on the backs of our

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Speaker 3: fans early on because we didn't have a ton of

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Speaker 3: industry success.

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Speaker 1: We were a little bit pushed to the fringes.

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Speaker 3: And you know, I remember one year I played Grand Rapids,

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Speaker 3: Michigan like nine times because I could get a thousand

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Speaker 3: tickets in Grand Rappers mission.

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Speaker 1: We just kept rolling back.

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Speaker 3: You know, how many times can we go to the

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Speaker 3: whale because we had to have gas money to be

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Speaker 3: able to move that bus around.

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Speaker 1: Right.

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Speaker 3: So a lot of that is the people that you

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Speaker 3: end up seeing every night and then something happens, or

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Speaker 3: you think about their lot in life. Yeah, I think

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Speaker 3: that comes out a little bit now when I think

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Speaker 3: about that, because I wouldn't be in the situation that

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Speaker 3: I'm in for for them.

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Speaker 2: Revisions history. As Eric Church moved to town, wrote a

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Speaker 2: bunch of songs, was it's a successful songwriter but didn't

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Speaker 2: hit and didn't even a massive star. That's revisions history.

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Speaker 1: Yeah, that's false.

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Speaker 2: What's the truth.

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Speaker 3: I came to town. It was different with what music I

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Speaker 3: was writing, and early on it wasn't great. You know,

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Speaker 3: you come to town and you learn what real now.

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Speaker 3: I mean, I say this to all young artists is

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Speaker 3: you can't imagine. And a lot of people dog now

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Speaker 3: a lot of the songwriting things and say, oh, it's

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Speaker 3: Nashville songwriters, National songwriters, the best in the world. I mean,

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Speaker 3: they're the their greatest craftsmen in the world. And it

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Speaker 3: took me a minute to come to town. And I

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Speaker 3: was fortunate I came at a time when we still

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Speaker 3: sat across from each other and did that, you know

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Speaker 3: where Now there's a lot of stuff that technologies involved,

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Speaker 3: and that's fine, but I got to learn from a

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Speaker 3: lot of those guys.

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Speaker 1: So I came here and.

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Speaker 3: My perspective when I came it's gonna be hard to believe,

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Speaker 3: but was kind of a soccer mom type format.

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Speaker 1: There were a lot of females.

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Speaker 3: It was very driven that way, and I had a

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Speaker 3: more masculine approach, and it was not liked by most

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Speaker 3: were everybody, and I just had a different lane. But

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Speaker 3: eventually got a record deal and got in that lane.

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Speaker 3: But then that was a hard lane because we were

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Speaker 3: just we were a little different on the radio and

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Speaker 3: we had a hard time getting songs play because it

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Speaker 3: didn't fit the formula at the time, and touring was interesting,

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Speaker 3: so it was just along. The first couple albums were

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Speaker 3: a really a really challenging time. Everybody comes to town

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Speaker 3: and you know a lot of these young artists and

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Speaker 3: they get a record deal and they think I made it,

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Speaker 3: I've done it.

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Speaker 1: But that is just the beginning of the hardest part.

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Speaker 3: And for us, it was in that first two album

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Speaker 3: period before Chief that we were grinding on the road.

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Speaker 3: There was one year we did over two hundred actual

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Speaker 3: shows in a year, and a lot of that was

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Speaker 3: just to keep the money moving in at any level

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Speaker 3: to keep moving forward, you know, to keep gaining ground.

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Speaker 3: And at the time, a lot of people in the

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Speaker 3: industry would have said, this doesn't really fit what we do, you.

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Speaker 1: Know, and it's just a it's a grind. It was

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Speaker 1: a grind for us.

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Speaker 2: Why did you move to Nashville. Was it to write

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Speaker 2: songs or was it to be an artist? In writing songs?

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Speaker 2: Was going to get you to that place? To be

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Speaker 2: an artist?

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Speaker 1: Right? Songs?

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Speaker 2: It was you're a writer? Yeah, how did you know

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Speaker 2: that was a job?

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Speaker 1: I found that out.

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Speaker 3: I was in college and I had a band and

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Speaker 3: I started, you know, just playing some of my original songs,

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Speaker 3: uh in our cover set, and you know, people the

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Speaker 3: next time I would go back and play there, they

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Speaker 3: would recrest those songs. And that just kind of where

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Speaker 3: I started thinking, Okay, you know, songwritings. I just never

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Speaker 3: thought it was viable for me to be able to

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Speaker 3: go and get a record deal and do that. It

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Speaker 3: never crossed my mind. It just wasn't something I thought

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Speaker 3: I could do. So I really wanted to come here

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Speaker 3: and write songs. And you know, I met a couple

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Speaker 3: songwriters when I moved here and kind of saw what

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Speaker 3: they did and how they did it. And you go

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Speaker 3: get a you know, you take a draw and you

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Speaker 3: go right for a big publishing house and try to

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Speaker 3: get songs cut.

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Speaker 2: So what'd you pack up? And you what did you

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Speaker 2: move into when you got here?

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Speaker 3: I was in a I came to town in a

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Speaker 3: two tone nineteen eighty six Chevy blazer, blue and gray,

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Speaker 3: that's the color back then, man and I had a guitar,

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Speaker 3: I had a Duffel bag, and I found an apartment.

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Speaker 3: But I didn't know where to be. You know, when

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Speaker 3: you moved to Nashville, it's like I didn't know what

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Speaker 3: was what?

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Speaker 2: Did you have anybody here that you could ask those

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Speaker 2: questions to? No, so you blindly moved to town.

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Speaker 1: Yeah, I came. I went to Broadway first.

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Speaker 3: I tell this story my Chief Chief Residency as I

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Speaker 3: came to Broadway because that's where the Rymen was, That's

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Speaker 3: where you know tutsis is, That's where you know all

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Speaker 3: these iconic things. And I tried to get gigs there

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Speaker 3: and I couldn't get a gig there because I came

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Speaker 3: with a you know, a sack of songs and my

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Speaker 3: guitar and they wanted cover songs, and so I couldn't.

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Speaker 3: I couldn't make it on Broadway, so I ended up

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Speaker 3: over at Printer's Alley back in the day, which is

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Speaker 3: there's a place called the Fiddle and Steel Guitar Bar.

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Speaker 3: And what I found there were all the people that

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Speaker 3: got kicked off Broadway. That's where they congregated, and I

295
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Speaker 3: kind of found my tribe and there were a lot

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Speaker 3: of hit songwriters in that group.

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Speaker 1: There are a lot of musicians in that group.

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Speaker 3: And just kind of found my people and started figuring

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Speaker 3: it out.

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Speaker 1: But I took a job. I had a job at

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Speaker 1: the Shopping Home Network. I sold knives. That was my job.

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Speaker 1: Thanks for calling Shopping Home. My name's Eric, I may

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Speaker 1: I help you? Oh yeah. I was the phone guy,

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Speaker 1: had the little headset, good stuff.

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Speaker 2: What kind of knives?

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Speaker 3: Like?

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Speaker 2: What was your what was your what was your rap?

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Speaker 1: My rap?

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Speaker 3: At that time, I actually got fired because of my

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Speaker 3: lack of rap.

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Speaker 1: But I would answer the phone. I had the I

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Speaker 1: had the shift.

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Speaker 3: It was I think my shift was eleven PM to

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Speaker 3: like seven am.

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Speaker 1: That was the overnight shift. So that's the shift where

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Speaker 1: the guy.

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Speaker 3: Comes in he's been at a bar and he turns

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Speaker 3: on Shop at Home and there's the guy. When we

319
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Speaker 3: were looking at the studio, so where the phone bank was.

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Speaker 3: It was like an amphitheater type seating and we all

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Speaker 3: have our little chairs and our headsets on, and we're

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Speaker 3: looking at them selling the knives out their television studio

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Speaker 3: in front of us. And this guy, you know, would

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Speaker 3: call in and go three o'clock in the morning, slurring, going, man,

325
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Speaker 3: I gotta I gotta have some of these knives. It's

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Speaker 3: like three hundred knives for fifteen ninety ninety nine, right.

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Speaker 3: And actually one night there was a guy that called

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Speaker 3: in and he I could tell he had had a

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Speaker 3: long night and I had a few of those two

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Speaker 3: and he was like, man, he's I asked some of

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Speaker 3: these knives, you know, and he's slurring. I was like, yeah, yeah,

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Speaker 3: you know, he said, you know. I said, hey, you know,

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Speaker 3: what what do you favor? I said, why don't you

334
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Speaker 3: want you go to bed? And first of all, when

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Speaker 3: somebody calls and says I need a knife at that

336
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Speaker 3: time of night, you think there's already a problem, right

337
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Speaker 3: they don't need yeah, not right now. You don't need

338
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Speaker 3: a knife right now. You need to go to bed.

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Speaker 3: So I said, want you go to bed? And once

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Speaker 3: you call me in the morning, I'll still be here.

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Speaker 2: You know.

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Speaker 3: He said, what says there's three left? I said, brother,

343
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Speaker 3: trust there's more than three left. Okay, You're gonna be okay.

344
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Speaker 3: And there's that thing where when you call into something

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Speaker 3: like that and they'll say, for whatever purposes, this call

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Speaker 3: may be recorded. They do that, and they happened to

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Speaker 3: record this call. That's how you got got so I

348
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Speaker 3: got cut.

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Speaker 1: That was it.

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Speaker 2: You're advocating for that, dude.

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Speaker 3: I was advocating that due they didn't like that shopping

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Speaker 3: on those, so they they fired me.

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Speaker 2: Uh, what's up with that name of the record, Evangeline

354
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Speaker 2: versus the Machine.

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Speaker 3: Well, so I think a lot of some of this,

356
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Speaker 3: some of this somewhat started. There's a there's a line

357
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Speaker 3: in Johnny that's a very important song on this album

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Speaker 3: because of the Covenant shooting here in Nashville. But there's

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Speaker 3: a line in there says, machines control of people, and

360
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Speaker 3: the people shoot shoot at kids. And what I've found

361
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Speaker 3: having younger kids is there's so much of our life nowadays.

362
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Speaker 3: It's just so fast and disposable with how we consume anything.

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Speaker 3: And what I've seen is it really rounds the edges

364
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Speaker 3: off anything we try to do different or creative, that's

365
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Speaker 3: just not what the world is set up for today.

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Speaker 3: It's not set up for the patient part of that.

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Speaker 3: And so I think that line is when that title started.

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Speaker 1: But the crux of this.

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Speaker 3: Is Evangeline on the album plays almost a creative muse

370
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Speaker 3: that song. So it's that creative muse and following that

371
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Speaker 3: versus the machine that makes it very hard to execute that.

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Speaker 3: And that's that's the that's the juxtaposition of love.

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Speaker 2: What this is.

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Speaker 4: Let's take a quick pause for a message from our

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Speaker 4: sponsor and we're back on the Bobby Cast.

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Speaker 2: When you mentioned Johnny and the shooting, and that was

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Speaker 2: very personal to all of us here because it was

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Speaker 2: so close to us, and it's probably close to a

379
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Speaker 2: lot of people in a lot of places. Because it's

380
00:17:26,359 --> 00:17:28,960
Speaker 2: so close to a lot of people, it's happening everywhere

381
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Speaker 2: all the time. The Johnny Johnny versus the Devil Devil

382
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Speaker 2: went down to Georgia that the song was playing, because

383
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Speaker 2: that is that part of the like you were thinking

384
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Speaker 2: about when you wrote the song. Yeah, I was hear

385
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Speaker 2: the song Devil went down to Georgia as I was.

386
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Speaker 3: My kids go nearby here and I was, which is

387
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Speaker 3: a couple of miles from Covenant Whatever. And the hardest

388
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Speaker 3: thing I've ever done in my life is dropped my

389
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Speaker 3: kids off the day after the shooting because they had decided,

390
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Speaker 3: you know, that kids needed to feel some normalcy and

391
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Speaker 3: go back to school. And I remember, I've never I've

392
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Speaker 3: never done anything harder than that when I when I

393
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Speaker 3: watched them walk in.

394
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Speaker 1: That school and both boys go in together.

395
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Speaker 3: There's a bunch of people out front, teachers are crying everything,

396
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Speaker 3: so everybody goes inside, and I didn't know what to do.

397
00:18:18,640 --> 00:18:25,239
Speaker 3: I felt helpless, scared all those things. So I just

398
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Speaker 3: parked in the parking lot there and I sat there,

399
00:18:29,680 --> 00:18:30,600
Speaker 3: and I don't know how long I was going to

400
00:18:30,640 --> 00:18:32,320
Speaker 3: sit there. I just felt like I needed to be there.

401
00:18:32,880 --> 00:18:35,240
Speaker 3: And as at some point in time, during probably an hour,

402
00:18:35,800 --> 00:18:37,320
Speaker 3: at some point in time, I looked to my right

403
00:18:37,359 --> 00:18:39,760
Speaker 3: and I looked to my left, and there were parents

404
00:18:40,440 --> 00:18:42,240
Speaker 3: that had done the same thing all the way down

405
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Speaker 3: the line, moms and dads, and they were just sitting there.

406
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Speaker 3: And I had the radio on and it was down low.

407
00:18:49,600 --> 00:18:53,640
Speaker 3: I wouldn't paying attention to it, but that one down

408
00:18:53,640 --> 00:18:57,119
Speaker 3: Georgia was on and there was a there was a

409
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Speaker 3: piece of that in that moment as I'm looking at

410
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Speaker 3: my left and looking to my right and thinking about

411
00:19:02,920 --> 00:19:06,040
Speaker 3: my kids, that you know, Johnny rawsing up your bow

412
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Speaker 3: and play your fiddle. Hard Hills broke loose in Georgia

413
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Speaker 3: and the Devil deals cards and if you win, you

414
00:19:10,359 --> 00:19:11,200
Speaker 3: get to shiny.

415
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Speaker 1: Fidel made of gold, and if you lose, the devil

416
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Speaker 1: gets yourself.

417
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Speaker 3: And I remember thinking, if only Johnny was confined, or

418
00:19:16,720 --> 00:19:18,760
Speaker 3: only if the Devil was confined to Georgia. He's out

419
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Speaker 3: of Georgia, He's everywhere, and we need Johnny to come

420
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Speaker 3: back and help.

421
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Speaker 1: And that was it. And I pulled out of.

422
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Speaker 3: The parking lot finally, and I went home and I

423
00:19:29,440 --> 00:19:32,280
Speaker 3: did like and some of this may have went to

424
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Speaker 3: the Evangeline versus the machine, because there is that Johnny

425
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Speaker 3: versus the devil, you know, that started that thing, good evil.

426
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Speaker 1: Kind of thing.

427
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Speaker 3: And I went home and I said, it would be

428
00:19:43,640 --> 00:19:47,160
Speaker 3: interesting if we if a song was written from that perspective,

429
00:19:47,160 --> 00:19:50,080
Speaker 3: where you bring back a character from a song we

430
00:19:50,119 --> 00:19:53,080
Speaker 3: all know from thirty forty years ago and he gets

431
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Speaker 3: to play a different role.

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Speaker 1: And so I wrote, Johnny, Yeah.

433
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Speaker 2: I don't know that. I I'm glad to hear that

434
00:20:02,119 --> 00:20:05,160
Speaker 2: version or like the actual story behind how you wrote

435
00:20:05,160 --> 00:20:07,680
Speaker 2: the song, because now it kind of all makes sense

436
00:20:07,720 --> 00:20:10,000
Speaker 2: with the record and even within the song, because you

437
00:20:10,040 --> 00:20:11,800
Speaker 2: may just see the name Johnny and not understand. But

438
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Speaker 2: do you believe things happen for a reason?

439
00:20:14,600 --> 00:20:14,879
Speaker 1: Yes?

440
00:20:15,320 --> 00:20:17,840
Speaker 2: Do you believe that you heard that song at that time? Yes,

441
00:20:18,359 --> 00:20:20,040
Speaker 2: so you could have that thought, yes, so you could

442
00:20:20,040 --> 00:20:20,600
Speaker 2: write this song.

443
00:20:20,800 --> 00:20:22,760
Speaker 1: Yes, Huon believed that.

444
00:20:24,080 --> 00:20:27,359
Speaker 2: And so whenever you write Johnny, you call Luke Laird

445
00:20:28,400 --> 00:20:29,800
Speaker 2: and Brett Warren.

446
00:20:30,000 --> 00:20:31,800
Speaker 1: Yeah. I couldn't get out of it. I got in it.

447
00:20:31,920 --> 00:20:33,720
Speaker 1: I just couldn't figure out how to quite get out

448
00:20:33,760 --> 00:20:33,959
Speaker 1: of it.

449
00:20:34,040 --> 00:20:34,960
Speaker 2: So what do you tell them?

450
00:20:34,960 --> 00:20:37,360
Speaker 3: Like, I just sent it to them. I record kind

451
00:20:37,359 --> 00:20:38,720
Speaker 3: of what I'm doing in that time. It was so

452
00:20:38,840 --> 00:20:40,680
Speaker 3: fresh with what was going on. They I mean, it

453
00:20:40,680 --> 00:20:43,560
Speaker 3: wouldn't once I I couldn't figure out how to land it.

454
00:20:43,600 --> 00:20:45,440
Speaker 3: Like I got in the air and got it where

455
00:20:45,440 --> 00:20:46,920
Speaker 3: it was supposed to go, and I was like, I don't.

456
00:20:47,080 --> 00:20:49,280
Speaker 3: And it was probably some of that was emotional where

457
00:20:49,480 --> 00:20:51,879
Speaker 3: I was so tiedy in I couldn't. I had a

458
00:20:51,880 --> 00:20:55,640
Speaker 3: couple of things that I thought were too They weren't

459
00:20:55,640 --> 00:20:58,760
Speaker 3: the right emotion, and so I was like, hey, check

460
00:20:58,840 --> 00:21:01,560
Speaker 3: me on this, and then within a day or so

461
00:21:01,640 --> 00:21:05,399
Speaker 3: we had it, and then I kind of knew it

462
00:21:05,440 --> 00:21:07,720
Speaker 3: was a different you know, different perspective and different thing.

463
00:21:08,000 --> 00:21:10,680
Speaker 3: And then that was before us I started the residency,

464
00:21:10,720 --> 00:21:13,040
Speaker 3: and so in the residency, one of the big moments

465
00:21:13,080 --> 00:21:15,720
Speaker 3: is I would play that song late in the show

466
00:21:15,760 --> 00:21:17,760
Speaker 3: and we would kind of do a flash mob choir

467
00:21:18,359 --> 00:21:20,720
Speaker 3: that would come out behind the people and sing those

468
00:21:20,800 --> 00:21:23,520
Speaker 3: choir parts ended up being a big, big part of

469
00:21:23,520 --> 00:21:27,120
Speaker 3: the show and also a big part of formulating what.

470
00:21:28,760 --> 00:21:31,280
Speaker 1: The conception for this album was.

471
00:21:31,960 --> 00:21:34,719
Speaker 3: Where I had voices and then all of a sudden

472
00:21:34,760 --> 00:21:37,800
Speaker 3: started thinking about strings and horns. I did Stagecoach, which

473
00:21:37,840 --> 00:21:42,000
Speaker 3: was noisy but I loved, and all these things before

474
00:21:42,040 --> 00:21:44,520
Speaker 3: I ever went in the studio. We're taking us in

475
00:21:44,560 --> 00:21:47,520
Speaker 3: a different musical direction, and I was starting to feel

476
00:21:47,520 --> 00:21:48,240
Speaker 3: a different pool.

477
00:21:48,560 --> 00:21:50,600
Speaker 2: Was this the first song that you did for the album,

478
00:21:50,600 --> 00:21:52,119
Speaker 2: maybe not even knowing it was gonna be the album?

479
00:21:52,200 --> 00:21:52,480
Speaker 1: Yeah?

480
00:21:52,560 --> 00:21:55,800
Speaker 2: First of all, so did this song actually create the

481
00:21:55,840 --> 00:21:56,639
Speaker 2: rest of the album.

482
00:21:56,880 --> 00:21:59,600
Speaker 3: I think it created the template for how we were

483
00:21:59,640 --> 00:22:01,439
Speaker 3: going to do the album. So, I mean, I've not

484
00:22:01,520 --> 00:22:03,080
Speaker 3: a lot of people look back in this well, your

485
00:22:03,160 --> 00:22:04,440
Speaker 3: last record is twenty twenty one.

486
00:22:04,520 --> 00:22:05,440
Speaker 1: That's not really true.

487
00:22:06,200 --> 00:22:08,800
Speaker 3: We recorded the album in December of twenty nineteen, in

488
00:22:08,920 --> 00:22:12,280
Speaker 3: January of twenty twenty and COVID happened, and we sat

489
00:22:12,320 --> 00:22:14,840
Speaker 3: on it for over a year, like everybody else.

490
00:22:14,680 --> 00:22:15,159
Speaker 1: In the industry.

491
00:22:15,200 --> 00:22:17,879
Speaker 3: So I've not been in the studio in five six years,

492
00:22:18,359 --> 00:22:21,880
Speaker 3: five years, and I think that I've got a lot

493
00:22:21,880 --> 00:22:25,040
Speaker 3: of songs. There's a lot of different avenues we could

494
00:22:25,080 --> 00:22:28,239
Speaker 3: have went down for this album. There's and I've done

495
00:22:28,280 --> 00:22:30,879
Speaker 3: this song enough. I understand this song is going to

496
00:22:30,920 --> 00:22:33,199
Speaker 3: be a hit song. This I get it. And there

497
00:22:33,200 --> 00:22:35,920
Speaker 3: were different lanes we could do, but it was really

498
00:22:36,080 --> 00:22:41,720
Speaker 3: Johnny and then stagecoach. It started to develop a different

499
00:22:41,800 --> 00:22:42,360
Speaker 3: path that.

500
00:22:42,760 --> 00:22:43,840
Speaker 1: Was interesting to me.

501
00:22:45,400 --> 00:22:46,560
Speaker 2: I'm a big Tom Waits fan.

502
00:22:46,800 --> 00:22:47,360
Speaker 1: Yeah, me too.

503
00:22:47,400 --> 00:22:49,440
Speaker 2: It's passed down to me because I think as a kid,

504
00:22:49,440 --> 00:22:53,560
Speaker 2: you don't really move toward Tom Waits's tone. Sort of

505
00:22:53,560 --> 00:22:56,960
Speaker 2: listening was like twelve or thirteen years old. Love the rasp,

506
00:22:57,119 --> 00:22:59,439
Speaker 2: love the grittiness. You did a Tom Waite song on

507
00:22:59,480 --> 00:23:01,760
Speaker 2: this clap hands? Why that song?

508
00:23:02,800 --> 00:23:03,320
Speaker 1: See this is you?

509
00:23:03,320 --> 00:23:05,479
Speaker 3: Remember you just You've already asked me, You've already answered

510
00:23:05,480 --> 00:23:08,000
Speaker 3: this in a question you already asked me, and do

511
00:23:08,040 --> 00:23:10,239
Speaker 3: you believe things happen for a reason. So I was

512
00:23:11,600 --> 00:23:14,800
Speaker 3: searching for filling out the rest of this project. And

513
00:23:15,280 --> 00:23:19,359
Speaker 3: the challenge of this project is not every song fifth

514
00:23:19,400 --> 00:23:21,560
Speaker 3: the room with who was in the room, and not

515
00:23:22,080 --> 00:23:24,920
Speaker 3: every not the people in the room fifth song. So

516
00:23:25,119 --> 00:23:28,600
Speaker 3: let's say we had fifty songs for this project, and

517
00:23:29,320 --> 00:23:33,840
Speaker 3: what you're finding is those songs that made it are

518
00:23:33,880 --> 00:23:36,120
Speaker 3: really the only ones we cut. Other songs it worked,

519
00:23:36,560 --> 00:23:39,720
Speaker 3: just they this didn't match this. So I was sitting

520
00:23:39,720 --> 00:23:41,360
Speaker 3: in to my house and there was a man, I'm

521
00:23:41,359 --> 00:23:43,200
Speaker 3: Tom we on the Nickels on my favorite songs of

522
00:23:43,280 --> 00:23:46,960
Speaker 3: all time, And I was sitting in my house and

523
00:23:47,000 --> 00:23:48,560
Speaker 3: there was it was the end of and I got

524
00:23:48,600 --> 00:23:50,159
Speaker 3: to go back and figure out exactly what it was

525
00:23:50,160 --> 00:23:52,120
Speaker 3: because I've been asked this already, But it was either

526
00:23:52,160 --> 00:23:55,320
Speaker 3: the end of like a Netflix series I was watching

527
00:23:55,400 --> 00:23:57,680
Speaker 3: or a movie. And on the altra on the credits,

528
00:23:58,680 --> 00:24:01,440
Speaker 3: clap hands comes on and I remembered it.

529
00:24:02,000 --> 00:24:03,680
Speaker 1: Everybody. I was like, oh, yeah, remember, it's been a

530
00:24:03,720 --> 00:24:04,800
Speaker 1: hot while since I've heard this.

531
00:24:05,160 --> 00:24:07,439
Speaker 3: And I was listening to the vibe of it, and

532
00:24:07,480 --> 00:24:09,520
Speaker 3: I was I had just left the studio that day

533
00:24:10,080 --> 00:24:12,600
Speaker 3: and I was thinking about the room and I paused

534
00:24:12,600 --> 00:24:14,520
Speaker 3: it. It was on like a DVR thing, so I paused

535
00:24:14,520 --> 00:24:16,960
Speaker 3: it and I grabbed my guitar. I rewound it to

536
00:24:17,000 --> 00:24:19,560
Speaker 3: when it started, and I sat there and just worked

537
00:24:19,600 --> 00:24:23,119
Speaker 3: up the progression and then I laid it down with

538
00:24:23,160 --> 00:24:26,360
Speaker 3: an acoustic guitar. I sent it to Jay, my producer,

539
00:24:26,480 --> 00:24:29,879
Speaker 3: and I said, Hey, call me crazy, but I feel

540
00:24:29,920 --> 00:24:31,879
Speaker 3: like this would really work with who we got in

541
00:24:31,920 --> 00:24:36,199
Speaker 3: the room, with the weapons we have there. And he

542
00:24:36,280 --> 00:24:39,120
Speaker 3: sent back almost immediately, i'll see in the morning, and

543
00:24:39,160 --> 00:24:40,480
Speaker 3: we went in the next day and cut it, so,

544
00:24:40,960 --> 00:24:43,040
Speaker 3: you know, within a twelve hour period. I heard it

545
00:24:43,080 --> 00:24:46,560
Speaker 3: on a TV show and it was cut the next day.

546
00:24:46,960 --> 00:24:50,679
Speaker 3: And there's a there's a freneticness to, you know, to

547
00:24:50,760 --> 00:24:53,440
Speaker 3: that with the voices and the breaths. There's a there's

548
00:24:53,480 --> 00:24:55,280
Speaker 3: a thing there that was really interested in me that

549
00:24:55,320 --> 00:24:57,880
Speaker 3: I hadn't heard on a cover of that song. And

550
00:24:58,200 --> 00:25:01,280
Speaker 3: Tom Waits is creatively just a name animal, and this

551
00:25:01,359 --> 00:25:02,760
Speaker 3: record is a lot about creativity.

552
00:25:03,600 --> 00:25:06,520
Speaker 2: A few weeks ago, I was sitting just like this

553
00:25:06,640 --> 00:25:08,280
Speaker 2: with Ringo Star who come over to the house and

554
00:25:08,320 --> 00:25:10,399
Speaker 2: we were doing this and it's pretty legendary to have

555
00:25:10,440 --> 00:25:12,240
Speaker 2: a beatle. And he talked about how they would play

556
00:25:12,240 --> 00:25:16,960
Speaker 2: thirteen hours a day and they were playing clubs constantly,

557
00:25:17,840 --> 00:25:24,080
Speaker 2: and that now people aren't playing anywhere, Right's it's a

558
00:25:24,160 --> 00:25:28,359
Speaker 2: huge problem, and that it's actually taking the overall product

559
00:25:28,880 --> 00:25:31,760
Speaker 2: and it's not and he didn't say as good, but

560
00:25:31,880 --> 00:25:37,760
Speaker 2: as it's not as consistent as it was back when

561
00:25:38,160 --> 00:25:39,399
Speaker 2: they were going. I mean, you go all the way

562
00:25:39,480 --> 00:25:41,840
Speaker 2: up until the last seven or eight years or so,

563
00:25:41,880 --> 00:25:44,400
Speaker 2: probably whenever people are able to create without actually having

564
00:25:44,400 --> 00:25:46,639
Speaker 2: to go out and do it. And you know, I

565
00:25:46,680 --> 00:25:48,480
Speaker 2: think he was a little concerned for the future of

566
00:25:49,000 --> 00:25:52,560
Speaker 2: music as far as live music because these guys aren't

567
00:25:52,600 --> 00:25:55,679
Speaker 2: out playing in order to get good. That feels a

568
00:25:55,680 --> 00:25:56,560
Speaker 2: bit about what you're saying.

569
00:25:56,600 --> 00:25:59,480
Speaker 3: I am one hundred percent the same, and you can

570
00:25:59,520 --> 00:26:01,919
Speaker 3: see it, like you can just see that it's just

571
00:26:01,960 --> 00:26:03,080
Speaker 3: a key part.

572
00:26:03,240 --> 00:26:04,280
Speaker 1: It's a key part.

573
00:26:04,080 --> 00:26:07,000
Speaker 3: Of everyone's journey, is that you're going to learn a

574
00:26:07,000 --> 00:26:10,400
Speaker 3: lot about yourself. I mean, everybody should have those shows

575
00:26:10,480 --> 00:26:14,159
Speaker 3: where the band out numbers the audience, or those shows

576
00:26:14,200 --> 00:26:16,760
Speaker 3: when you've got feedback all night, or the guitar player's

577
00:26:16,800 --> 00:26:17,760
Speaker 3: guitar goes down.

578
00:26:18,040 --> 00:26:20,359
Speaker 1: You still got to play, You still got to figure

579
00:26:20,400 --> 00:26:21,200
Speaker 1: those moments out.

580
00:26:21,280 --> 00:26:25,399
Speaker 3: Those disasters that you manage in those places are what

581
00:26:25,600 --> 00:26:28,359
Speaker 3: allow you to get to a different place and grow.

582
00:26:28,680 --> 00:26:29,960
Speaker 1: The growth is the biggest thing.

583
00:26:30,240 --> 00:26:32,920
Speaker 3: It's hard to grow when you're putting out whatever it

584
00:26:33,000 --> 00:26:35,240
Speaker 3: is and all of a sudden it's massively popular. But

585
00:26:35,280 --> 00:26:38,399
Speaker 3: there's no journey from when you put that out to

586
00:26:38,480 --> 00:26:41,920
Speaker 3: the popularity. There is no arc there. It just goes

587
00:26:41,960 --> 00:26:45,120
Speaker 3: boom to boom when you go straight up vertical that way.

588
00:26:45,760 --> 00:26:49,320
Speaker 3: It's really hard to do what you need to do

589
00:26:50,600 --> 00:26:52,440
Speaker 3: to be able to do this for a long time.

590
00:26:52,680 --> 00:26:55,119
Speaker 2: It's funny you talk about disasters because I think some

591
00:26:55,160 --> 00:26:57,119
Speaker 2: of the biggest growth in my career doing stand up

592
00:26:57,200 --> 00:26:59,399
Speaker 2: or doing live television is screwing up and realizing the

593
00:26:59,400 --> 00:27:02,119
Speaker 2: world is an over. Just just keep going, right, Like,

594
00:27:02,200 --> 00:27:02,760
Speaker 2: just keep going.

595
00:27:02,960 --> 00:27:05,560
Speaker 3: Yeah, and your yours directly would be really like stand

596
00:27:05,600 --> 00:27:07,880
Speaker 3: up is exactly what I'm talking Just you just.

597
00:27:07,840 --> 00:27:09,199
Speaker 2: Have to keep you it.

598
00:27:09,640 --> 00:27:12,800
Speaker 3: You're in and you'll get admitted, but you're committed, like

599
00:27:12,800 --> 00:27:14,800
Speaker 3: that's the thing, and and and that's what. If you

600
00:27:14,800 --> 00:27:17,400
Speaker 3: didn't have that, I would venture to guess you would

601
00:27:17,440 --> 00:27:19,160
Speaker 3: not be as good at what you're doing now.

602
00:27:19,160 --> 00:27:20,040
Speaker 2: I would agree.

603
00:27:20,200 --> 00:27:22,560
Speaker 3: So that's that. That's the bones that I'm talking about.

604
00:27:22,600 --> 00:27:26,000
Speaker 3: You got to earn those bones. And yeah, no pun intended,

605
00:27:26,280 --> 00:27:28,920
Speaker 3: but it's the you got to have those things right.

606
00:27:29,000 --> 00:27:30,919
Speaker 2: For me, it's like doing it terribly, like having a

607
00:27:30,960 --> 00:27:33,080
Speaker 2: disaster happening and getting through it. It gives me the confidence

608
00:27:33,119 --> 00:27:34,600
Speaker 2: to do it and get through it again when it

609
00:27:34,600 --> 00:27:36,360
Speaker 2: happens to go, oh, the world's not ending right now,

610
00:27:36,600 --> 00:27:38,720
Speaker 2: I can keep I got my bearings. I've done this

611
00:27:38,760 --> 00:27:41,000
Speaker 2: before and it's gone wrong and I've been just fine.

612
00:27:41,040 --> 00:27:43,200
Speaker 3: And also, you got to chase some things. So there's

613
00:27:43,640 --> 00:27:45,720
Speaker 3: I'm since it's stand up, I haven't done it, but

614
00:27:45,800 --> 00:27:48,680
Speaker 3: I know what I've done on stage. Sometimes you chase

615
00:27:48,760 --> 00:27:51,439
Speaker 3: things that don't work. Oh yeah, but the chasing. But

616
00:27:51,440 --> 00:27:53,480
Speaker 3: the chasing is what allows you to kind of you

617
00:27:53,840 --> 00:27:57,000
Speaker 3: learn there, right, So and I've done that creative musically,

618
00:27:57,119 --> 00:27:59,000
Speaker 3: like we've chased some stuff like hey, you know what

619
00:27:59,040 --> 00:28:00,200
Speaker 3: we haven't played it for let's.

620
00:28:00,560 --> 00:28:01,240
Speaker 1: We've done that.

621
00:28:01,760 --> 00:28:04,159
Speaker 3: But there's a lot of the younger people and the

622
00:28:04,200 --> 00:28:08,320
Speaker 3: problem is there's just not a mechanism for them. It's

623
00:28:08,400 --> 00:28:11,520
Speaker 3: fast that they can go earn it on the road

624
00:28:11,920 --> 00:28:15,879
Speaker 3: because it's not instant gratification. Who wants to do that,

625
00:28:16,320 --> 00:28:18,760
Speaker 3: you know, so they end up going from here to

626
00:28:18,800 --> 00:28:21,359
Speaker 3: here and back to the artist I was talking about.

627
00:28:21,520 --> 00:28:24,080
Speaker 3: I was pretty surprised that. I was like, wow, so okay,

628
00:28:24,200 --> 00:28:26,840
Speaker 3: you got a pretty good following, but you don't have

629
00:28:26,880 --> 00:28:30,120
Speaker 3: a band yet. We've not even went to normally that's

630
00:28:30,119 --> 00:28:33,480
Speaker 3: step one, where you are step twelve. You've went to

631
00:28:33,520 --> 00:28:36,160
Speaker 3: step twelve, but one through eleven's not there at all,

632
00:28:36,400 --> 00:28:39,520
Speaker 3: So that's not good, you know. I would say if

633
00:28:39,560 --> 00:28:40,760
Speaker 3: someone is done it a long time.

634
00:28:41,040 --> 00:28:43,160
Speaker 2: I'm a massive fan of Andy Kaufman because he was

635
00:28:43,200 --> 00:28:46,800
Speaker 2: just brave. And Andy Kaufman died. I was a year old,

636
00:28:46,840 --> 00:28:50,040
Speaker 2: didn't know him then, but he would go and just

637
00:28:50,080 --> 00:28:52,360
Speaker 2: try things what you're talking about, and sometimes they would

638
00:28:52,360 --> 00:28:54,640
Speaker 2: go terrible, yeah, and sometimes they would be amazing and

639
00:28:54,680 --> 00:28:56,200
Speaker 2: people still talk about them today. But I feel like

640
00:28:56,240 --> 00:29:01,240
Speaker 2: you're that artist to where you will go and try things. Yeah,

641
00:29:01,320 --> 00:29:05,760
Speaker 2: I've seen you try things, yeah, and that would be mixed.

642
00:29:05,760 --> 00:29:07,160
Speaker 2: Some people would be like, that's the greatest thing I've

643
00:29:07,200 --> 00:29:09,400
Speaker 2: ever seen, and someone go like, what even just happened?

644
00:29:09,800 --> 00:29:14,080
Speaker 2: But where does that bravery come from?

645
00:29:14,520 --> 00:29:17,680
Speaker 3: I think looking at the people I think the fearlessness

646
00:29:17,760 --> 00:29:21,000
Speaker 3: of the of the moment is something that's really important.

647
00:29:21,040 --> 00:29:23,480
Speaker 3: And whether that's confidence or doing it or trying to.

648
00:29:23,920 --> 00:29:26,560
Speaker 3: I try to put myself in when I go to shows.

649
00:29:27,480 --> 00:29:30,520
Speaker 3: I would rather see a person try something and maybe

650
00:29:30,560 --> 00:29:33,400
Speaker 3: not get it than see the same show I've seen

651
00:29:33,760 --> 00:29:38,240
Speaker 3: a thousand times. And that's just me personally. So I

652
00:29:38,240 --> 00:29:40,760
Speaker 3: think a lot of times it's a safe spot with

653
00:29:40,800 --> 00:29:44,440
Speaker 3: me sometimes when there's a great relationship that we've built

654
00:29:44,440 --> 00:29:46,520
Speaker 3: with our crowd, back to what we're talking about over

655
00:29:46,600 --> 00:29:48,680
Speaker 3: a lot of shows in a lot of years, and

656
00:29:48,760 --> 00:29:51,920
Speaker 3: I feel safe to. Sometimes I'll go for something and

657
00:29:51,960 --> 00:29:54,320
Speaker 3: I feel comfortable with that, and it might not work.

658
00:29:54,360 --> 00:29:56,520
Speaker 1: There have been nights it has not worked. It has

659
00:29:56,560 --> 00:29:57,280
Speaker 1: been a disaster.

660
00:29:57,480 --> 00:29:59,120
Speaker 2: Do you know it's not working when it's not working?

661
00:29:59,120 --> 00:30:03,320
Speaker 1: Oh yeah, yeah, yeah, Hunterson. But I think we did.

662
00:30:03,640 --> 00:30:05,920
Speaker 3: We were in Pittsburgh one night and we were playing

663
00:30:05,920 --> 00:30:08,600
Speaker 3: golf the day we did the arena there, and the

664
00:30:08,640 --> 00:30:10,120
Speaker 3: guy we were playing golf with it was a Pittsburgh

665
00:30:10,120 --> 00:30:11,720
Speaker 3: Steelers fan and he said, hey, have you ever thought

666
00:30:11,720 --> 00:30:14,320
Speaker 3: about Renegade? So in the fourth quarter up there, they

667
00:30:14,320 --> 00:30:17,560
Speaker 3: play Renegade nearby Waves, The Terrible Tales or whatever, and I.

668
00:30:17,520 --> 00:30:18,960
Speaker 1: Was like, nah, you know that's cool.

669
00:30:19,440 --> 00:30:21,320
Speaker 3: So in the van on the way back from the

670
00:30:21,320 --> 00:30:23,600
Speaker 3: golf course, and this is right before meet and greet,

671
00:30:23,600 --> 00:30:26,240
Speaker 3: we got back late showtime. I send the band the

672
00:30:26,280 --> 00:30:29,000
Speaker 3: Renegade thing, the song. I said, let's just try this tonight,

673
00:30:30,080 --> 00:30:32,480
Speaker 3: and they're sitting. That's a complex song to try to

674
00:30:32,480 --> 00:30:36,160
Speaker 3: come together in a hurry. And we started it and

675
00:30:36,880 --> 00:30:40,680
Speaker 3: it starts out acapella and I couldn't hear the a

676
00:30:40,720 --> 00:30:46,240
Speaker 3: cappella thing when we started because it's you know, hell mama,

677
00:30:46,360 --> 00:30:50,239
Speaker 3: that whole thing. And I looked at I looked at

678
00:30:50,240 --> 00:30:50,560
Speaker 3: the band.

679
00:30:50,600 --> 00:30:52,280
Speaker 1: I was like, I need a notice. What keat? What

680
00:30:52,520 --> 00:30:53,000
Speaker 1: did I send?

681
00:30:53,040 --> 00:30:54,640
Speaker 3: You know, I didn't know what I sent them, And

682
00:30:54,840 --> 00:30:58,360
Speaker 3: three different guys gave me three different notes like it

683
00:30:58,440 --> 00:31:02,400
Speaker 3: was d C minor and I'm so so I started

684
00:31:02,360 --> 00:31:04,160
Speaker 3: it as a disastrou and I didn't even make it

685
00:31:04,200 --> 00:31:05,680
Speaker 3: at the chorus. I was like, you know, I caught

686
00:31:05,720 --> 00:31:08,640
Speaker 3: it off, like I audibled, I punted, you know, but

687
00:31:08,720 --> 00:31:10,600
Speaker 3: it was one of those things that it's still he

688
00:31:10,680 --> 00:31:13,360
Speaker 3: called it off mid oh mid No. We had I

689
00:31:13,400 --> 00:31:14,920
Speaker 3: had a bass player and a key and I had

690
00:31:15,000 --> 00:31:16,960
Speaker 3: a guitar player. None of us were in the same key,

691
00:31:17,000 --> 00:31:20,160
Speaker 3: So I mean, jazz is cool, but it just didn't

692
00:31:20,160 --> 00:31:21,800
Speaker 3: really work. You know, it didn't work in that setting.

693
00:31:21,800 --> 00:31:22,600
Speaker 2: Have you ever tried again?

694
00:31:23,160 --> 00:31:24,160
Speaker 1: I ain't tried it ever again.

695
00:31:24,360 --> 00:31:28,320
Speaker 2: No, that is you know what I learned that I've

696
00:31:28,320 --> 00:31:32,280
Speaker 2: also cut losses. Yeah, like this was never gonna work

697
00:31:32,480 --> 00:31:35,080
Speaker 2: because nobody nobody cares, Like if you cut I've done

698
00:31:35,120 --> 00:31:36,400
Speaker 2: that too, where it's like, you know what, this is not.

699
00:31:36,600 --> 00:31:38,040
Speaker 2: This joke gan't work and I want to go and

700
00:31:38,080 --> 00:31:40,880
Speaker 2: move off of it. Nobody goes home and man, he

701
00:31:40,920 --> 00:31:42,480
Speaker 2: was the mele of a joke and quit and it sucked.

702
00:31:42,480 --> 00:31:43,240
Speaker 2: I'm never going back.

703
00:31:43,320 --> 00:31:47,000
Speaker 3: They probably honestly went home and said they tried renegade

704
00:31:47,000 --> 00:31:48,600
Speaker 3: and it fell in the face. Like the rest of

705
00:31:48,600 --> 00:31:50,240
Speaker 3: the show could have been the great show of all time.

706
00:31:50,480 --> 00:31:51,840
Speaker 3: But that's what they're going to go home and talk

707
00:31:51,880 --> 00:31:53,240
Speaker 3: about it. And that's what I think is great about

708
00:31:53,280 --> 00:31:57,960
Speaker 3: live music. It's experiencing a moment that no one else

709
00:31:58,000 --> 00:31:59,960
Speaker 3: will ever get to experience and the rest of them.

710
00:32:00,440 --> 00:32:02,120
Speaker 2: Is that why your shows are so different, because you

711
00:32:02,160 --> 00:32:03,400
Speaker 2: want the moments to be different.

712
00:32:03,240 --> 00:32:04,360
Speaker 1: Yes, and we try to change it.

713
00:32:04,520 --> 00:32:06,560
Speaker 3: There should be something every night doesn't always have to

714
00:32:06,600 --> 00:32:09,800
Speaker 3: be a song this set list difference. Either it could

715
00:32:09,840 --> 00:32:12,240
Speaker 3: just be something that happens at the show that that

716
00:32:12,320 --> 00:32:15,000
Speaker 3: person knows. I had to be here and I had

717
00:32:15,000 --> 00:32:17,440
Speaker 3: to be present. I couldn't have saw this anywhere else.

718
00:32:18,320 --> 00:32:20,600
Speaker 3: I think that's what makes live music and the world

719
00:32:20,600 --> 00:32:23,080
Speaker 3: we live in with streaming and all the stuff we're

720
00:32:23,080 --> 00:32:24,880
Speaker 3: going to, it still makes it the most special thing

721
00:32:25,360 --> 00:32:29,800
Speaker 3: because you can't really simulcast that and feel that the

722
00:32:29,800 --> 00:32:31,080
Speaker 3: way you can if you're there.

723
00:32:31,920 --> 00:32:33,840
Speaker 2: About four more questions for you. I want to ask

724
00:32:33,840 --> 00:32:40,840
Speaker 2: about another song though, Darkest Hour and based in concerting Carolina,

725
00:32:40,920 --> 00:32:42,120
Speaker 2: Like what happened there was it.

726
00:32:42,200 --> 00:32:45,680
Speaker 3: A bit was written before this is back to the

727
00:32:45,720 --> 00:32:49,560
Speaker 3: things happened for a reason. I had written Darkest Hour

728
00:32:49,640 --> 00:32:51,480
Speaker 3: and I was listening to a guy at the time.

729
00:32:51,560 --> 00:32:53,560
Speaker 3: Darkest Hower is a little bit interesting that it's a

730
00:32:53,560 --> 00:32:57,400
Speaker 3: hopeful song. Wrote it by myself and I wrote it

731
00:32:57,440 --> 00:33:03,479
Speaker 3: about ten days before happened. I wrote it, I recorded it,

732
00:33:04,080 --> 00:33:06,200
Speaker 3: I went to Florida. I was in Florida for something.

733
00:33:06,240 --> 00:33:08,239
Speaker 3: I was on my way back when Hurricane Helene hit

734
00:33:09,200 --> 00:33:15,000
Speaker 3: and I got back home and I remember seeing the devastation,

735
00:33:15,560 --> 00:33:19,760
Speaker 3: which I couldn't fathom with being from that area. I

736
00:33:19,800 --> 00:33:22,080
Speaker 3: didn't recognize any of the areas that I knew intimately.

737
00:33:22,760 --> 00:33:24,640
Speaker 3: And there's a line in that song, in your darkest hour,

738
00:33:24,680 --> 00:33:27,520
Speaker 3: I'll come running, I'll light your way. And we were

739
00:33:27,560 --> 00:33:30,440
Speaker 3: way off schedule. We were nowhere near releasing a song

740
00:33:31,160 --> 00:33:33,520
Speaker 3: we were going to be We were eight months early,

741
00:33:33,920 --> 00:33:36,520
Speaker 3: and I called John Peakes, my manager, and I said, hey,

742
00:33:37,200 --> 00:33:40,400
Speaker 3: you're not going to like this, but I'm going to regret.

743
00:33:41,720 --> 00:33:45,480
Speaker 1: If we wait till next year to put this out.

744
00:33:45,520 --> 00:33:49,480
Speaker 3: When the I think this song could be an anthem

745
00:33:49,760 --> 00:33:52,800
Speaker 3: mainly for the moment, because what I realize is in

746
00:33:52,840 --> 00:33:56,560
Speaker 3: this world and we all know this, something happens and

747
00:33:56,680 --> 00:34:00,640
Speaker 3: everybody pays attention, and then it's a busy world news

748
00:34:00,640 --> 00:34:02,600
Speaker 3: cycle on this world's in the hours, it's not in

749
00:34:02,640 --> 00:34:06,200
Speaker 3: the days, and then something else happens. And I said,

750
00:34:06,320 --> 00:34:11,520
Speaker 3: we need something just to keep people focused on this problem,

751
00:34:12,120 --> 00:34:14,279
Speaker 3: and that it's going to take years, and I said,

752
00:34:14,280 --> 00:34:16,400
Speaker 3: I really want to put this song out and I said, no,

753
00:34:16,480 --> 00:34:19,239
Speaker 3: it's not a radio song. I know it's not what

754
00:34:19,239 --> 00:34:21,399
Speaker 3: we would have done, but I said, I think it's

755
00:34:21,400 --> 00:34:26,880
Speaker 3: a great anthem for the people there. And we it

756
00:34:27,000 --> 00:34:30,400
Speaker 3: ended up everybody thinks I wrote it after Helene.

757
00:34:30,480 --> 00:34:32,640
Speaker 1: That's not true. I wrote it. I wrote it before.

758
00:34:33,080 --> 00:34:35,720
Speaker 2: That's why I thought you wrote it yeah, after Helene.

759
00:34:36,000 --> 00:34:38,839
Speaker 1: Yeah, but it was sitting there ready to go. And

760
00:34:38,840 --> 00:34:39,480
Speaker 1: that's what you know.

761
00:34:39,880 --> 00:34:42,719
Speaker 3: Sometimes you give a song its moment, Sometimes a song

762
00:34:42,760 --> 00:34:45,360
Speaker 3: finds its moment. And that's one of those that it

763
00:34:45,480 --> 00:34:47,160
Speaker 3: just did. And I didn't feel it didn't feel right

764
00:34:47,160 --> 00:34:49,560
Speaker 3: to me to wait almost a year to then go

765
00:34:49,680 --> 00:34:52,040
Speaker 3: oh yeah, you know it Just it felt like I

766
00:34:52,080 --> 00:34:53,200
Speaker 3: was missing an opportunity there.

767
00:34:53,800 --> 00:34:57,120
Speaker 2: Did you and Morgan buy field and Stream as a hey,

768
00:34:57,840 --> 00:35:00,000
Speaker 2: it's open you text themod like, let's buy it? Because

769
00:35:00,440 --> 00:35:02,919
Speaker 2: we had every fielding stream in Arkansas? My step dad

770
00:35:02,960 --> 00:35:05,640
Speaker 2: had all of them. Like that was a brand. Oh,

771
00:35:05,640 --> 00:35:07,520
Speaker 2: it's still a brand like it was. It's it's an

772
00:35:07,560 --> 00:35:09,680
Speaker 2: old it's it's the o G. Yes, eighteen seventy one

773
00:35:09,760 --> 00:35:12,880
Speaker 2: o G as a brand, it still exists. But the magazine,

774
00:35:12,880 --> 00:35:14,360
Speaker 2: I didn't see the magazine after a while, like the

775
00:35:14,360 --> 00:35:15,080
Speaker 2: actual page.

776
00:35:14,840 --> 00:35:16,759
Speaker 1: It's coming back. Yeah now yeah, so what was that?

777
00:35:16,800 --> 00:35:18,879
Speaker 2: How did you guys decide to do that?

778
00:35:18,960 --> 00:35:21,279
Speaker 3: We got I've got a partner who I did Chiefs with,

779
00:35:21,560 --> 00:35:25,520
Speaker 3: who called who actually just kind of stumbled across a deal.

780
00:35:25,560 --> 00:35:27,200
Speaker 1: He Dix Dix owned it at the time.

781
00:35:27,239 --> 00:35:29,319
Speaker 3: He was stumbled across a deal this sporting good store

782
00:35:30,280 --> 00:35:33,319
Speaker 3: and they he called and we were actually getting ready

783
00:35:33,360 --> 00:35:35,560
Speaker 3: to go on a golfing trip with with Morgan. It

784
00:35:35,600 --> 00:35:39,240
Speaker 3: was me Morgan Ben ben Weberns's name, and he called

785
00:35:39,280 --> 00:35:42,080
Speaker 3: and he said, hey, do we uh do we want

786
00:35:42,080 --> 00:35:44,520
Speaker 3: to look at Field and Stream And I went, we

787
00:35:44,680 --> 00:35:48,040
Speaker 3: mean He said, well, they're they're looking to maybe sell it.

788
00:35:48,160 --> 00:35:51,760
Speaker 1: I said, the brand. He said, yeah, I said sold.

789
00:35:52,840 --> 00:35:54,799
Speaker 3: Well that was it was a bible growing up for me,

790
00:35:55,680 --> 00:35:59,440
Speaker 3: and they had let it kind of uh fall in disarray.

791
00:35:59,600 --> 00:36:03,360
Speaker 3: And what happened it was such a big umbrella that

792
00:36:03,440 --> 00:36:06,440
Speaker 3: they had let all the pieces be sold to different entities.

793
00:36:06,840 --> 00:36:08,440
Speaker 3: And so what we were able to do was take

794
00:36:08,440 --> 00:36:11,960
Speaker 3: about a year and go and pull all those entities

795
00:36:12,000 --> 00:36:14,799
Speaker 3: back under that umbrella and buy each one of those

796
00:36:14,800 --> 00:36:17,680
Speaker 3: little pieces. So for the first time in almost one

797
00:36:17,719 --> 00:36:21,040
Speaker 3: hundred years, it's back under the same roof. All the

798
00:36:21,080 --> 00:36:23,960
Speaker 3: things are vertical. You've unified the belt right, all of it.

799
00:36:24,120 --> 00:36:27,200
Speaker 3: So and then Morgan's so we talked to Morgan and

800
00:36:27,239 --> 00:36:29,040
Speaker 3: we were like, hey, list we we should do this.

801
00:36:29,239 --> 00:36:31,200
Speaker 3: He had the same experience growing up that I did

802
00:36:31,239 --> 00:36:35,880
Speaker 3: with Field and Stream, and it's been it's been a

803
00:36:35,920 --> 00:36:37,200
Speaker 3: ton of fun and doing well.

804
00:36:37,640 --> 00:36:39,960
Speaker 1: It's it's it's it's it's it's a it's a wagon,

805
00:36:40,080 --> 00:36:42,919
Speaker 1: so it's it's fun for me. It's fun.

806
00:36:42,960 --> 00:36:47,640
Speaker 3: From a writer's side, some of my favorite writers and

807
00:36:47,800 --> 00:36:52,120
Speaker 3: articles were those articles by guys who wrote for Fielding Stream.

808
00:36:52,200 --> 00:36:54,880
Speaker 3: There was humor, there was satire, there was I mean

809
00:36:54,920 --> 00:36:57,840
Speaker 3: that that we were looking at. Have a wall in

810
00:36:57,920 --> 00:37:00,319
Speaker 3: my house where I went back and took all the

811
00:37:00,360 --> 00:37:03,239
Speaker 3: old iconic covers. And what's interesting is you look up

812
00:37:03,280 --> 00:37:06,200
Speaker 3: there and at the bottom there's the date and you're like,

813
00:37:06,320 --> 00:37:10,640
Speaker 3: it's nineteen seventeen, Like that's insane. You know that there's

814
00:37:10,800 --> 00:37:15,600
Speaker 3: hand hand drawn, just an American icon. And they were

815
00:37:15,640 --> 00:37:18,360
Speaker 3: telling me a story one of the guys that's been

816
00:37:18,400 --> 00:37:21,640
Speaker 3: at Fielding Stream a long time. When World War two happened,

817
00:37:22,719 --> 00:37:25,000
Speaker 3: they weren't sure how they were going to address that

818
00:37:25,280 --> 00:37:27,839
Speaker 3: such a big thing in the world. Well, the only

819
00:37:27,880 --> 00:37:30,160
Speaker 3: thing that's on the cover of Field and Stream is

820
00:37:30,560 --> 00:37:34,680
Speaker 3: outdoor scenes, and they couldn't figure out how they were

821
00:37:34,719 --> 00:37:39,480
Speaker 3: going to address World War two ending. And they took

822
00:37:39,560 --> 00:37:43,200
Speaker 3: a flock of geese in the v Formation the Victory

823
00:37:43,239 --> 00:37:46,560
Speaker 3: Formation and that's the cover of Field Stream and just

824
00:37:46,600 --> 00:37:49,440
Speaker 3: stuff like that that you think about a brand that

825
00:37:49,480 --> 00:37:53,120
Speaker 3: you're involved with. And I keep saying to Stewart, to

826
00:37:53,800 --> 00:37:58,200
Speaker 3: Ben and Morgan that you know, we are stewards of

827
00:37:58,239 --> 00:38:03,080
Speaker 3: the brand. It's we don't own the brand. It's our

828
00:38:03,200 --> 00:38:06,160
Speaker 3: job to get the brand to the next generation and

829
00:38:06,280 --> 00:38:08,480
Speaker 3: to make sure it's taken care of because it's a

830
00:38:08,520 --> 00:38:09,840
Speaker 3: piece of it's an American treasure.

831
00:38:10,480 --> 00:38:12,719
Speaker 2: You have twenty two arena day, it's on the Free

832
00:38:12,760 --> 00:38:15,279
Speaker 2: the Machine Tour. All of them be different, a little bit,

833
00:38:15,320 --> 00:38:18,439
Speaker 2: little something different. Yeah, that's for now on your life

834
00:38:18,480 --> 00:38:20,640
Speaker 2: is you're going to present a different environment. Again.

835
00:38:20,719 --> 00:38:22,760
Speaker 3: I usually I get bored if I do a show

836
00:38:22,920 --> 00:38:24,560
Speaker 3: on let's say Friday and Saturday. If I do a

837
00:38:24,600 --> 00:38:28,560
Speaker 3: show on Friday, I'm allergic to doing that same show Saturday.

838
00:38:28,600 --> 00:38:30,239
Speaker 3: I just can't do it, you know. So I'll come

839
00:38:30,360 --> 00:38:32,480
Speaker 3: there'll be something that happens, and a lot of that

840
00:38:32,560 --> 00:38:35,200
Speaker 3: I take myself where towards the end of the show.

841
00:38:35,200 --> 00:38:37,640
Speaker 3: A lot of times I'll just get an acoustic and

842
00:38:37,760 --> 00:38:40,080
Speaker 3: I'll just play for a while and I'll bring up

843
00:38:40,080 --> 00:38:43,000
Speaker 3: stuff I hadn't played, or maybe a song nobody's heard.

844
00:38:43,040 --> 00:38:44,319
Speaker 1: I mean I do that at the end of the show.

845
00:38:44,520 --> 00:38:47,000
Speaker 2: So how's your memory with songs and things you've written

846
00:38:47,040 --> 00:38:48,879
Speaker 2: forever ago? People that play this, like, I haven't thought

847
00:38:48,880 --> 00:38:50,640
Speaker 2: about that in ten years? Can you do it? Can

848
00:38:50,640 --> 00:38:51,200
Speaker 2: you pull it out?

849
00:38:51,560 --> 00:38:53,560
Speaker 1: Yeah? I mean pretty deep. Yeah.

850
00:38:53,840 --> 00:38:57,560
Speaker 3: Yeah, well I'm gonna try it back to your thing.

851
00:38:57,600 --> 00:39:00,320
Speaker 1: Oh that's right in three different keys many.

852
00:39:02,360 --> 00:39:05,760
Speaker 2: Uh, you're taking out Marcus King. I love that dude,

853
00:39:05,800 --> 00:39:06,800
Speaker 2: and he's so good.

854
00:39:06,960 --> 00:39:07,640
Speaker 1: It's talented.

855
00:39:07,800 --> 00:39:10,200
Speaker 2: Yeah. We sat over here and talk forever like that.

856
00:39:10,239 --> 00:39:12,080
Speaker 1: He's South Carolina guy. So he's he's near he's Caro

857
00:39:12,320 --> 00:39:13,000
Speaker 1: kind of Carolina.

858
00:39:13,160 --> 00:39:16,200
Speaker 2: Yeah, yeah, kind of. Yeah, he's the other Carolina has

859
00:39:16,200 --> 00:39:19,560
Speaker 2: like a second cousin, not quite the same. Last last thing,

860
00:39:19,680 --> 00:39:20,640
Speaker 2: you're playing golf at all?

861
00:39:21,160 --> 00:39:24,399
Speaker 3: I played this. I just got back this last night. Oh,

862
00:39:24,440 --> 00:39:25,879
Speaker 3: I was in I was in Pebble.

863
00:39:26,680 --> 00:39:28,680
Speaker 2: We I played the Pebble pro am when you played

864
00:39:28,719 --> 00:39:30,520
Speaker 2: it a couple of years ago. Yeah, you probably played

865
00:39:30,560 --> 00:39:32,840
Speaker 2: it since Uh I played with this pecialar. Yeah, I

866
00:39:32,840 --> 00:39:36,160
Speaker 2: saw it. We have the same golf buddy coach. Yeah,

867
00:39:36,480 --> 00:39:38,600
Speaker 2: and so I saw a caddied for you. I was like,

868
00:39:38,600 --> 00:39:40,120
Speaker 2: I should have I should have taken you because I

869
00:39:40,560 --> 00:39:41,920
Speaker 2: took my buddy Eddy and he sucks.

870
00:39:42,120 --> 00:39:44,439
Speaker 1: Yeah, it was actually it was actually a good idea.

871
00:39:44,400 --> 00:39:45,880
Speaker 3: And now that didn't really help when you're not playing

872
00:39:45,920 --> 00:39:48,719
Speaker 3: well and he's telling you you can never fix it

873
00:39:48,719 --> 00:39:50,480
Speaker 3: in the middle of the round, as you know, it's

874
00:39:50,520 --> 00:39:53,040
Speaker 3: either there or not. Don't when once you start moving

875
00:39:53,120 --> 00:39:54,920
Speaker 3: hands around on stuff, it's a disaster.

876
00:39:55,080 --> 00:39:57,040
Speaker 2: I felt like he's like a good like golf, there's

877
00:39:57,040 --> 00:39:58,880
Speaker 2: a good therapy. Yeah, good there, that's what it is.

878
00:39:58,960 --> 00:40:02,520
Speaker 2: I got a simulator by here that you know, whenever

879
00:40:02,560 --> 00:40:06,200
Speaker 2: I am having a bad night or anxiety or just

880
00:40:06,280 --> 00:40:08,000
Speaker 2: want to get away, I'm going to crank out some balls.

881
00:40:08,040 --> 00:40:09,680
Speaker 2: You have one of those. I don't.

882
00:40:10,000 --> 00:40:10,759
Speaker 1: I won't come up here.

883
00:40:10,760 --> 00:40:14,160
Speaker 3: I'm only I'm only I'm only five houses from here.

884
00:40:14,239 --> 00:40:16,400
Speaker 1: So this is really easy now that I know.

885
00:40:17,280 --> 00:40:21,440
Speaker 2: Lea gates open. Yeah, okay, last last thing eight Only

886
00:40:21,480 --> 00:40:22,719
Speaker 2: eight songs on the record.

887
00:40:22,680 --> 00:40:25,759
Speaker 3: Yeah, there was six, and I was very happy with

888
00:40:25,800 --> 00:40:28,239
Speaker 3: the record with six songs. The two songs that weren't

889
00:40:28,280 --> 00:40:31,480
Speaker 3: on the record were Hands of Time and Rockets White Lincoln,

890
00:40:31,840 --> 00:40:34,520
Speaker 3: and it had the thing I like about this record,

891
00:40:34,560 --> 00:40:39,319
Speaker 3: Bobby is it's got a it's a ride and when

892
00:40:39,360 --> 00:40:42,759
Speaker 3: you put it in, it's meant to write it. And

893
00:40:42,880 --> 00:40:44,359
Speaker 3: if you start and then you go to the fen,

894
00:40:44,360 --> 00:40:46,799
Speaker 3: it's only thirty eight minutes, right, but it's meant to

895
00:40:46,800 --> 00:40:47,280
Speaker 3: be ritten.

896
00:40:48,320 --> 00:40:51,719
Speaker 1: And the six songs were great. I loved it. It

897
00:40:51,760 --> 00:40:54,960
Speaker 1: was but it was a little thick, it was a little.

898
00:40:54,920 --> 00:40:58,120
Speaker 3: Heavy, and I was missing a smile. I was missing

899
00:40:58,120 --> 00:41:01,120
Speaker 3: a Rye moment. And I I've told Jay that. I said,

900
00:41:01,280 --> 00:41:02,640
Speaker 3: he said, what do you think? He said, We're doing

901
00:41:02,680 --> 00:41:04,640
Speaker 3: a sixth song album and I said, I don't. I

902
00:41:04,680 --> 00:41:06,239
Speaker 3: don't have a problem with that, but I said, I don't.

903
00:41:06,320 --> 00:41:10,560
Speaker 3: There's something I'm missing, a thing, and and I'll relate

904
00:41:10,600 --> 00:41:14,440
Speaker 3: this to this is important. So when Hurricane Eleen happened,

905
00:41:14,920 --> 00:41:18,320
Speaker 3: I called Radio, I called Rod, I called the captains

906
00:41:18,360 --> 00:41:20,120
Speaker 3: and I said, I need a favor.

907
00:41:21,560 --> 00:41:23,840
Speaker 1: I need you to lean in on Darkest Hour.

908
00:41:25,680 --> 00:41:27,960
Speaker 3: Because I want to raise the awareness of what this

909
00:41:28,080 --> 00:41:33,839
Speaker 3: is and I'm raising money. And they were they did,

910
00:41:34,360 --> 00:41:36,759
Speaker 3: and then what was interesting is in one of the

911
00:41:36,800 --> 00:41:41,800
Speaker 3: conversations they said, you're still really important in this format

912
00:41:42,200 --> 00:41:45,000
Speaker 3: and when the time comes, we need something that we

913
00:41:45,040 --> 00:41:48,080
Speaker 3: can run with too. And I had hands in time,

914
00:41:49,000 --> 00:41:52,360
Speaker 3: and that resonated with me. Because I was asking for

915
00:41:52,440 --> 00:41:56,000
Speaker 3: help and I understood the position they were in. I

916
00:41:56,080 --> 00:42:00,120
Speaker 3: understand that, and when it came time to do that

917
00:42:00,040 --> 00:42:04,200
Speaker 3: that I that fit what could be the smile and

918
00:42:04,320 --> 00:42:07,239
Speaker 3: lighter part of the album along with Rockets White Lincoln,

919
00:42:07,800 --> 00:42:10,560
Speaker 3: And it just ended up being the last two songs

920
00:42:10,560 --> 00:42:12,200
Speaker 3: that filled out the puzzle.

921
00:42:12,520 --> 00:42:14,600
Speaker 2: Which leads me to this and then we're done. What

922
00:42:14,719 --> 00:42:17,160
Speaker 2: song almost didn't get recorded that ended up being a

923
00:42:17,200 --> 00:42:21,440
Speaker 2: massive consumption or a massive just hit for you that

924
00:42:21,520 --> 00:42:24,759
Speaker 2: you almost didn't record Smoke of Smoke? Why didn't you not?

925
00:42:24,960 --> 00:42:26,160
Speaker 2: Why did you almost not record it?

926
00:42:26,160 --> 00:42:28,000
Speaker 1: I didn't get it at the time.

927
00:42:28,160 --> 00:42:31,880
Speaker 3: I mean that was my wife and another my guitar

928
00:42:31,920 --> 00:42:34,200
Speaker 3: player I had that kept saying and we What really

929
00:42:34,280 --> 00:42:37,040
Speaker 3: changed it is we started playing it before I recorded it.

930
00:42:37,400 --> 00:42:41,480
Speaker 3: We started doing a janky version of it live and

931
00:42:41,560 --> 00:42:44,880
Speaker 3: they climbed the walls. But I didn't get it in

932
00:42:44,920 --> 00:42:48,640
Speaker 3: the moment. First of all, the label told me if

933
00:42:48,640 --> 00:42:50,280
Speaker 3: I released that they were going to drop.

934
00:42:50,080 --> 00:42:52,120
Speaker 2: Me because of what the song was.

935
00:42:52,239 --> 00:42:55,160
Speaker 3: Yeah, at that time, no marijuana, So there was no

936
00:42:55,239 --> 00:42:57,080
Speaker 3: song like that in the year that it came out

937
00:42:57,120 --> 00:42:59,080
Speaker 3: like it was. First of all, we're all on our

938
00:42:59,120 --> 00:43:01,719
Speaker 3: own path, anyway, and the labels like, listen, if you

939
00:43:01,760 --> 00:43:04,279
Speaker 3: do this, you just might as well go do it

940
00:43:04,320 --> 00:43:09,160
Speaker 3: somewhere else. And so that was a big moment. But yeah,

941
00:43:09,239 --> 00:43:10,920
Speaker 3: I got close to going I don't they, I don't

942
00:43:10,920 --> 00:43:11,640
Speaker 3: know if it's gonna work.

943
00:43:11,680 --> 00:43:13,040
Speaker 1: You know, this is not what I think.

944
00:43:13,120 --> 00:43:15,920
Speaker 2: But once it did, did it give you more at

945
00:43:15,960 --> 00:43:17,879
Speaker 2: to use the word credibility within the label? But did

946
00:43:17,920 --> 00:43:18,919
Speaker 2: it get huge? Yeah?

947
00:43:19,480 --> 00:43:21,880
Speaker 3: Yeah, because the next thing we did was made the

948
00:43:21,960 --> 00:43:26,480
Speaker 3: Chief album and we came out with Homeboy first, and

949
00:43:26,520 --> 00:43:29,120
Speaker 3: they were instead of fighting that, which they probably a

950
00:43:29,120 --> 00:43:31,719
Speaker 3: lot of labels would have, they just went, hey, I

951
00:43:31,719 --> 00:43:34,160
Speaker 3: don't I don't know that smokes songworks. Should just let

952
00:43:34,200 --> 00:43:36,600
Speaker 3: him run a minute. They get whatever rope you gave him,

953
00:43:36,680 --> 00:43:37,759
Speaker 3: let him, let him use it all.

954
00:43:37,920 --> 00:43:51,440
Speaker 5: So the Bobby Cast will be right back. This is

955
00:43:51,520 --> 00:43:53,400
Speaker 5: the Bobby Cast.

956
00:43:53,400 --> 00:43:56,320
Speaker 2: Home obviously super important to you. I was talking I

957
00:43:56,480 --> 00:43:58,839
Speaker 2: just some friends about the news story that came out

958
00:43:58,840 --> 00:44:01,920
Speaker 2: where they're like Eric's in these houses in North Carolina.

959
00:44:02,760 --> 00:44:06,200
Speaker 2: Where did that version of you giving back because you've

960
00:44:06,200 --> 00:44:08,479
Speaker 2: done it in many ways you did the concert. Where

961
00:44:08,480 --> 00:44:10,839
Speaker 2: did that like building a neighborhood come from.

962
00:44:10,960 --> 00:44:11,760
Speaker 1: From the concert?

963
00:44:11,800 --> 00:44:13,600
Speaker 3: So when the concert was over with, we were able

964
00:44:13,600 --> 00:44:18,759
Speaker 3: to raise a substantial amount of money. And when it

965
00:44:18,880 --> 00:44:21,239
Speaker 3: was we had raised the money, immediately was like, what

966
00:44:21,239 --> 00:44:23,359
Speaker 3: are we going to do with it? And there were

967
00:44:23,400 --> 00:44:25,200
Speaker 3: four or five charities that were lined up there that

968
00:44:25,239 --> 00:44:28,560
Speaker 3: are great charities, they do great work, and they said,

969
00:44:28,560 --> 00:44:29,960
Speaker 3: you know why, why don't you give it to us?

970
00:44:30,719 --> 00:44:33,720
Speaker 3: And my next question was, Okay, what are you doing?

971
00:44:34,320 --> 00:44:37,560
Speaker 3: And a lot of them were doing immediate stuff, keeping

972
00:44:37,600 --> 00:44:42,720
Speaker 3: people alive, water, diapers, just temporary housing.

973
00:44:43,280 --> 00:44:46,560
Speaker 1: But none of that did anything to change the.

974
00:44:46,560 --> 00:44:50,760
Speaker 3: Trajectory of the lives that the people who had lost homes.

975
00:44:51,800 --> 00:44:54,399
Speaker 3: None of that was going on. So I asked about

976
00:44:54,440 --> 00:44:58,840
Speaker 3: housing and nobody had an answer for me on housing.

977
00:45:00,000 --> 00:45:03,279
Speaker 3: So is opposed to what the government does where they

978
00:45:03,320 --> 00:45:07,080
Speaker 3: come in and they provide temporary housing in a different

979
00:45:07,120 --> 00:45:10,719
Speaker 3: location to have a roof over their head. So basically,

980
00:45:11,040 --> 00:45:13,240
Speaker 3: and you know the area some so it's little, small

981
00:45:13,280 --> 00:45:16,799
Speaker 3: communities and there's not a lot of people in these communities.

982
00:45:16,920 --> 00:45:19,480
Speaker 3: Some of these communities are three four hundred people and

983
00:45:19,520 --> 00:45:21,680
Speaker 3: you're taking a majority of those people and you're moving them,

984
00:45:21,680 --> 00:45:24,000
Speaker 3: you're going to lose the community because you lost the people.

985
00:45:24,520 --> 00:45:27,319
Speaker 3: So we started trying to see can we do this ourselves?

986
00:45:28,000 --> 00:45:31,840
Speaker 3: And so I started working my Rolodex and my phone

987
00:45:32,520 --> 00:45:34,920
Speaker 3: and calling people, and I got to Kevin Clayton of

988
00:45:34,960 --> 00:45:37,000
Speaker 3: Clayton Holmes and I said, hey, can we do this?

989
00:45:37,120 --> 00:45:40,040
Speaker 3: And I called Buddy Miney round Cisco, and I said

990
00:45:40,080 --> 00:45:42,440
Speaker 3: can we do this? And they said, yeah, if you

991
00:45:42,480 --> 00:45:44,000
Speaker 3: want to do it, we'll do it. So we really

992
00:45:44,040 --> 00:45:47,760
Speaker 3: came up with a novel idea of building permanent housing,

993
00:45:48,640 --> 00:45:52,879
Speaker 3: not temporary, and not only allowing them to live there

994
00:45:52,920 --> 00:45:56,839
Speaker 3: for a period of time costs free. But the key

995
00:45:56,920 --> 00:45:58,520
Speaker 3: to this, the whole we call it Blueprint for the

996
00:45:58,520 --> 00:46:01,080
Speaker 3: Blue Ridge. The whole key is we want to give

997
00:46:01,080 --> 00:46:03,120
Speaker 3: them a path to ownership for that home.

998
00:46:03,800 --> 00:46:05,000
Speaker 1: So a lot of these.

999
00:46:04,840 --> 00:46:07,279
Speaker 3: People are people that maybe could have never owned a

1000
00:46:07,320 --> 00:46:11,600
Speaker 3: home in their life because of their financial situation. But

1001
00:46:11,719 --> 00:46:15,760
Speaker 3: now with our help and with the people who gave help,

1002
00:46:16,280 --> 00:46:20,040
Speaker 3: you can change that entire family's generational life, not just theirs,

1003
00:46:20,040 --> 00:46:23,200
Speaker 3: but their kids. And so for those forty five families,

1004
00:46:24,239 --> 00:46:27,520
Speaker 3: the idea would be they'll end up owning those homes.

1005
00:46:27,640 --> 00:46:29,680
Speaker 3: And we just closed on two other properties. We're doing

1006
00:46:29,680 --> 00:46:32,440
Speaker 3: two additional properties. We'll end up doing about as of

1007
00:46:32,520 --> 00:46:34,680
Speaker 3: right now, about two hundred homes. But the best thing

1008
00:46:34,760 --> 00:46:36,920
Speaker 3: is like, as I looked around the country, nobody's done this,

1009
00:46:37,000 --> 00:46:39,919
Speaker 3: which is shocking by the way that in the United

1010
00:46:39,920 --> 00:46:42,719
Speaker 3: States of America this is not done. But it wasn't

1011
00:46:42,719 --> 00:46:45,680
Speaker 3: done during Katrina, it wasn't done during any other disaster

1012
00:46:45,760 --> 00:46:49,360
Speaker 3: we've had. And affordable housing is a major problem in

1013
00:46:49,360 --> 00:46:53,920
Speaker 3: the US, and this is when a disaster happens, it

1014
00:46:54,080 --> 00:46:57,640
Speaker 3: just shines a spotlight on that problem. And so we're

1015
00:46:57,680 --> 00:47:00,560
Speaker 3: trying to solve that the best we can in something

1016
00:47:00,600 --> 00:47:04,200
Speaker 3: that's blue printable for other states when it disaster happens.

1017
00:47:04,239 --> 00:47:07,359
Speaker 2: That was my question, is it's a template that what

1018
00:47:07,440 --> 00:47:10,239
Speaker 2: areas can use. Yes, that's the whole purpose, and that's

1019
00:47:10,280 --> 00:47:14,760
Speaker 2: all Usually again, I do a lot of food insecurity

1020
00:47:14,800 --> 00:47:16,680
Speaker 2: where that's important to me back in Arkansas, right, right,

1021
00:47:16,800 --> 00:47:20,320
Speaker 2: And it's a difference to help people right the second

1022
00:47:20,760 --> 00:47:23,399
Speaker 2: and do it some temporary but also actually building them

1023
00:47:23,440 --> 00:47:27,120
Speaker 2: something that they can have. It's like give a person

1024
00:47:27,120 --> 00:47:28,880
Speaker 2: a fish or teach them to fish. Right, It's a

1025
00:47:28,960 --> 00:47:33,080
Speaker 2: version of that. And the hardest thing is having something

1026
00:47:33,120 --> 00:47:36,480
Speaker 2: that you can easily pass along a template, a formula

1027
00:47:36,680 --> 00:47:38,560
Speaker 2: that somebody else can use. But it sounds like what

1028
00:47:38,600 --> 00:47:41,240
Speaker 2: you guys are doing with that group that you're working

1029
00:47:41,239 --> 00:47:42,920
Speaker 2: with is able to produce that, and there is so

1030
00:47:43,040 --> 00:47:45,560
Speaker 2: much value in that for other people to just lay

1031
00:47:45,560 --> 00:47:46,399
Speaker 2: it down and do the same.

1032
00:47:46,680 --> 00:47:49,600
Speaker 3: Right you probably affect from a government standpoint, like the

1033
00:47:49,600 --> 00:47:53,279
Speaker 3: way they would look at it, you're probably not affecting

1034
00:47:53,360 --> 00:47:57,560
Speaker 3: as many people in a minor way where you take

1035
00:47:57,600 --> 00:48:00,480
Speaker 3: a big sum of money and you put more people

1036
00:48:00,520 --> 00:48:03,640
Speaker 3: in something for a year, but you're not changing those

1037
00:48:03,680 --> 00:48:06,200
Speaker 3: people's lives. Then you have problem number two, which is

1038
00:48:06,280 --> 00:48:08,960
Speaker 3: year two, year three. So what we looked at was

1039
00:48:09,080 --> 00:48:12,640
Speaker 3: if you can affect a smaller number and change their

1040
00:48:12,800 --> 00:48:17,080
Speaker 3: entire life and their family's life, it provides a pillar

1041
00:48:17,120 --> 00:48:21,160
Speaker 3: for the foundation of that community, which was a little

1042
00:48:21,160 --> 00:48:24,080
Speaker 3: bit different than what's completely different than what's been done,

1043
00:48:24,120 --> 00:48:28,160
Speaker 3: but it's what we're doing in so far, it's going well,

1044
00:48:28,200 --> 00:48:29,720
Speaker 3: and we'll see where we're.

1045
00:48:29,560 --> 00:48:29,960
Speaker 1: Go from here.

1046
00:48:30,160 --> 00:48:32,400
Speaker 2: It's interesting the seasons of your career. I feel like

1047
00:48:32,440 --> 00:48:34,880
Speaker 2: this is very much the advocate season. I feel like

1048
00:48:34,880 --> 00:48:37,879
Speaker 2: the last five seven to ten years, and I don't

1049
00:48:37,880 --> 00:48:40,359
Speaker 2: know if you ever thought you would end here or

1050
00:48:40,520 --> 00:48:42,760
Speaker 2: it'd be a part of your career where you're often

1051
00:48:42,800 --> 00:48:45,040
Speaker 2: spending a lot of your time and energy advocating for

1052
00:48:45,120 --> 00:48:48,399
Speaker 2: other people was that the plan was it purposeful at all?

1053
00:48:48,640 --> 00:48:48,719
Speaker 4: No.

1054
00:48:49,239 --> 00:48:51,400
Speaker 1: I think a lot of that is things happen.

1055
00:48:51,600 --> 00:48:51,799
Speaker 2: You know.

1056
00:48:53,360 --> 00:48:55,120
Speaker 3: I'm fortunate to have done what I've done in my

1057
00:48:55,200 --> 00:48:58,120
Speaker 3: career to be in a position that I could influence,

1058
00:48:58,760 --> 00:49:02,880
Speaker 3: specifically North Carolina. I could when Hurricane Heleen happened, I

1059
00:49:02,960 --> 00:49:05,799
Speaker 3: was able to I was able to help there, and

1060
00:49:05,840 --> 00:49:08,160
Speaker 3: then you know, all of a sudden, you start helping and.

1061
00:49:10,120 --> 00:49:12,440
Speaker 1: Trying to help. It did intrigue me.

1062
00:49:13,360 --> 00:49:16,560
Speaker 3: I remember being on a call and I was talking

1063
00:49:16,560 --> 00:49:20,840
Speaker 3: to some state legislators and a person from Washington involved

1064
00:49:20,840 --> 00:49:25,279
Speaker 3: with FEMA, and I remember saying, like, how has this

1065
00:49:25,480 --> 00:49:29,120
Speaker 3: not already been Why is this not what we do? Like?

1066
00:49:29,800 --> 00:49:31,920
Speaker 1: How has this not been thought of or tried? And

1067
00:49:31,960 --> 00:49:32,920
Speaker 1: it just hadn't.

1068
00:49:33,200 --> 00:49:36,440
Speaker 3: And so the interesting thing for me was like, Okay,

1069
00:49:36,719 --> 00:49:40,359
Speaker 3: you know, I like stuff like that. Let's try something here,

1070
00:49:40,480 --> 00:49:42,319
Speaker 3: you know, let's try something that hadn't been done. It

1071
00:49:42,360 --> 00:49:45,279
Speaker 3: may not work, but nobody else is trying it, you know,

1072
00:49:45,320 --> 00:49:48,600
Speaker 3: and what's happening is not working, So let's try something here.

1073
00:49:48,680 --> 00:49:50,120
Speaker 3: So I think a lot of that is just it's

1074
00:49:50,160 --> 00:49:52,040
Speaker 3: it's the position to answer your question you're just in

1075
00:49:52,080 --> 00:49:54,759
Speaker 3: a position in your life that you never thought you

1076
00:49:54,760 --> 00:49:58,919
Speaker 3: would be in, and you have a chance to use

1077
00:49:58,960 --> 00:50:05,120
Speaker 3: your voice and Rolodex to call people and move the needle.

1078
00:50:05,360 --> 00:50:11,160
Speaker 2: I found that bureaucracy shuts down a lot of change. Yeah,

1079
00:50:11,200 --> 00:50:14,560
Speaker 2: and you need big, loud voices and you talk about

1080
00:50:14,560 --> 00:50:17,759
Speaker 2: you rolodex, but yeah, you need people that can be

1081
00:50:17,840 --> 00:50:21,200
Speaker 2: louder than the bureaucracy because if you have to like

1082
00:50:21,239 --> 00:50:23,080
Speaker 2: go through nine and I've had to do this at times,

1083
00:50:23,080 --> 00:50:25,959
Speaker 2: go through nine different people to get one thing checked off,

1084
00:50:26,440 --> 00:50:29,000
Speaker 2: that just that was three months to get a small

1085
00:50:29,040 --> 00:50:32,799
Speaker 2: thing maybe changed. But if you can take a sledgehammer

1086
00:50:32,800 --> 00:50:35,239
Speaker 2: to it, which you usually can with louder voices and

1087
00:50:35,280 --> 00:50:38,160
Speaker 2: bigger tools, they'll often listen.

1088
00:50:38,600 --> 00:50:41,400
Speaker 3: And that's the That's the with what we did the

1089
00:50:41,440 --> 00:50:43,840
Speaker 3: federal government, I mean, that's what we were doing, you know,

1090
00:50:43,920 --> 00:50:48,400
Speaker 3: I mean just as an aside, but like nine billion

1091
00:50:48,440 --> 00:50:50,200
Speaker 3: dollars went to the state of North Carolina from the

1092
00:50:50,239 --> 00:50:55,759
Speaker 3: federal government for Hurricane Helen relief. Right, you could give

1093
00:50:55,760 --> 00:50:59,400
Speaker 3: me a billion dollars right now, and I can't weaponize

1094
00:50:59,400 --> 00:51:04,160
Speaker 3: that billion, and nobody can. There's no down chain weaponization.

1095
00:51:04,239 --> 00:51:06,880
Speaker 3: There's not the contractors there's not the land to purchase,

1096
00:51:07,280 --> 00:51:10,480
Speaker 3: so take your billion dollars. And what we didn't really

1097
00:51:10,560 --> 00:51:13,040
Speaker 3: think about that I've seen and been on a thousand

1098
00:51:13,080 --> 00:51:16,960
Speaker 3: calls is as you go down the line from the

1099
00:51:17,080 --> 00:51:21,080
Speaker 3: money to putting people under a roof, we don't have

1100
00:51:21,239 --> 00:51:24,520
Speaker 3: that chain developed. So some of this is trying to

1101
00:51:24,560 --> 00:51:28,480
Speaker 3: develop one very small arm of that chain that Okay,

1102
00:51:28,640 --> 00:51:31,560
Speaker 3: we're into mid midtal long term housing forever, we want

1103
00:51:31,640 --> 00:51:34,239
Speaker 3: them to own them. We'll take this lane and you

1104
00:51:34,239 --> 00:51:36,480
Speaker 3: guys can figure out some other stuff. So it's not

1105
00:51:36,480 --> 00:51:38,520
Speaker 3: trying to solve all the problems, but it is trying

1106
00:51:38,520 --> 00:51:39,319
Speaker 3: to solve one of them.

1107
00:51:39,600 --> 00:51:41,279
Speaker 2: Okay, and we talked about fore you got here, But

1108
00:51:42,920 --> 00:51:47,560
Speaker 2: just the records out the Evangeliic versus the Machine that

1109
00:51:47,560 --> 00:51:49,719
Speaker 2: the Freedom Machine tours twenty two days with all King

1110
00:51:49,760 --> 00:51:54,640
Speaker 2: and Marcus King and Charles Wesley at Godwin and yeah,

1111
00:51:54,719 --> 00:51:58,520
Speaker 2: it's it's awesome again. What I'm talking about it, I'm

1112
00:51:58,560 --> 00:51:59,840
Speaker 2: not talking about the record of the tour. I'm just

1113
00:51:59,880 --> 00:52:02,399
Speaker 2: like about what what kind of you stand for? Now?

1114
00:52:02,719 --> 00:52:04,759
Speaker 2: Like just generally, I think we talk about a brand

1115
00:52:04,800 --> 00:52:07,680
Speaker 2: like Field and Stream. I think the part of the

1116
00:52:07,719 --> 00:52:10,239
Speaker 2: cliche statement the Eric Church brand now has turned into

1117
00:52:10,320 --> 00:52:14,839
Speaker 2: somebody who cares and like, I hope you like that.

1118
00:52:15,360 --> 00:52:17,479
Speaker 2: You didn't really pick it, it's kind of been put

1119
00:52:17,520 --> 00:52:22,800
Speaker 2: on you because you feel like helping. Well.

1120
00:52:22,840 --> 00:52:24,040
Speaker 1: There's a lot of parallels too.

1121
00:52:24,160 --> 00:52:27,520
Speaker 3: I mean, the longer you do something, like in music,

1122
00:52:28,560 --> 00:52:30,520
Speaker 3: you think, you think more about the people that did

1123
00:52:30,520 --> 00:52:34,600
Speaker 3: it before you. In music, you think about those artists.

1124
00:52:34,640 --> 00:52:37,399
Speaker 3: But like with Field and Stream, those writers and those

1125
00:52:37,400 --> 00:52:39,839
Speaker 3: stories and what that meant. I think the more you

1126
00:52:39,880 --> 00:52:43,200
Speaker 3: do something in any lane you're in, the more you

1127
00:52:43,239 --> 00:52:45,600
Speaker 3: have reverence and respect for the people that did it

1128
00:52:45,640 --> 00:52:48,239
Speaker 3: before you, and that leads you to widen out in

1129
00:52:48,280 --> 00:52:49,120
Speaker 3: a lot of different ways.

1130
00:52:49,480 --> 00:52:51,560
Speaker 2: I think the Eric Church brand cares now, which is

1131
00:52:52,360 --> 00:52:54,520
Speaker 2: different than it was to me even ten years ago,

1132
00:52:54,560 --> 00:52:56,040
Speaker 2: which was the Eric Church brand don't give.

1133
00:52:56,000 --> 00:52:59,319
Speaker 3: Up, you know, young and young and arrogant is the thing.

1134
00:52:59,360 --> 00:53:01,840
Speaker 3: That's also it's very powerful. It's very powerful.

1135
00:53:01,880 --> 00:53:03,560
Speaker 1: I mean I see a lot of artists now that

1136
00:53:03,600 --> 00:53:05,680
Speaker 1: are that way, and they should be that way. They

1137
00:53:05,680 --> 00:53:08,040
Speaker 1: should be. That's a little bit of a superpower.

1138
00:53:08,600 --> 00:53:11,240
Speaker 3: But as you get older, you know, and you start

1139
00:53:11,280 --> 00:53:12,960
Speaker 3: to there's other superpowers out there.

1140
00:53:13,200 --> 00:53:15,759
Speaker 2: I appreciate the time. Eric, good luck with everything. Yeah,

1141
00:53:15,920 --> 00:53:16,480
Speaker 2: making a difference.

1142
00:53:16,520 --> 00:53:16,640
Speaker 3: Man.

1143
00:53:16,880 --> 00:53:18,560
Speaker 2: That's the coolest thing that I can say about somebody

1144
00:53:18,640 --> 00:53:19,200
Speaker 2: making a difference.

1145
00:53:19,239 --> 00:53:23,240
Speaker 4: So thanks, thanks for listening to a Bobby Cast production.