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Speaker 1: I'm in this bar and I look over at the

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Speaker 1: table I see Toby. I'm like, oh wait, that's Toby Keith.

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Speaker 1: I think you've cut one of our songs. He goes,

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Speaker 1: huh oh, yeah, man, did you like the song? He goes,

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Speaker 1: we cut it, man, And then he just looked back

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Speaker 1: at his dream and I was like, okay.

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Speaker 2: Moving on.

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Speaker 1: Years later, I got to know him and I told

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Speaker 1: him that story. He's like, man, I'm so sorry.

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Speaker 3: Welcome to episode five sixteen with Keith Urban. And this

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Speaker 3: was us at Keith Urban's new studio that he built,

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Speaker 3: that he owns, and we used a clip of this

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Speaker 3: for the ACM television special that is on Amazon Prime

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Speaker 3: Video if you get a chance and you want to

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Speaker 3: watch it. But we had like forty five minutes, thought

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Speaker 3: it was a really good interview, so we wanted to

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Speaker 3: play it all back here. A couple of things. Keith's

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Speaker 3: touring the High and the Live World tour going on

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Speaker 3: now wraps up in October and it wraps up in Nashville,

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Speaker 3: but there are so many stops. The Australian leg kicks

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Speaker 3: off and he's playing in a city called Wollongong.

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Speaker 2: Wallingong Ever been there?

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Speaker 3: Never heard of it. Actually, if it sounds like a

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Speaker 3: place I'd like to go, so you can check that out.

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Speaker 3: He's got Chase Matthew, Alana Springsteen, Carly Scott Collins on

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Speaker 3: tour Keith Urban dot com if you want to go

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Speaker 3: check out. His shows are so awesome. I think some

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Speaker 3: of the great stories we've learned about Keith in the

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Speaker 3: past that we don't get to here, because we did

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Speaker 3: an episode a long time ago with Keith Urban where

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Speaker 3: we talked about and we could even put that up

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Speaker 3: later this week, to the old Keith Urban episode. Yeah,

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Speaker 3: where we talked about his dad, and he talked about

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Speaker 3: his dad like super detail. I had never heard him

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Speaker 3: talk about his dad that much, so yeah, we should

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Speaker 3: put that up. But he talked about too, like playing

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Speaker 3: at the airport where he would stand on like the

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Speaker 3: conveyor belt thing in the middle, not the part that moved,

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Speaker 3: but the conveyor belt moved around it, and so he

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Speaker 3: would play music there and then people would come and get

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Speaker 3: their bags, and they'd get their bags and walk away,

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Speaker 3: then he'd start over the next time. So really interesting

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Speaker 3: his story. And here we talk about like when he

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Speaker 3: moved to Nashville and where he lived exactly and I

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Speaker 3: hope you enjoy this. And then after this forty five

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Speaker 3: to fifty minutes with Keith Urban, we're going to talk

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Speaker 3: about bands that get a lot of hate but don't

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Speaker 3: deserve the hate they get. So we had this already

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Speaker 3: recorded and we were just going to team it up

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Speaker 3: with something. So we're gonna put it at the back

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Speaker 3: end of this because I really liked it as well.

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Speaker 3: So Keith Urban, Episode five sixteen. If you want to

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Speaker 3: watch this, by the way, we've loaded it up the

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Speaker 3: whole thing Bobby Bone's channel over on YouTube. It's where

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Speaker 3: we put all the Bobby casts, Bobby Bone's channel on YouTube.

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Speaker 3: All right, here we go, Episode five sixteen with Keith Urban.

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Speaker 4: Thanks for having me, Thanks for coming.

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Speaker 2: Pretty cool space.

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Speaker 4: Thank you.

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Speaker 2: So, what's just like your dream studio? Did you build this?

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Speaker 1: I didn't build it now, this got built in the

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Speaker 1: mid nineties, but I've did a lot of recording here.

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Speaker 2: So before you bought it, you recorded here.

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Speaker 1: Yeah, a lot of stuff on all the albums from

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Speaker 1: Golden Road all the way forward.

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Speaker 2: So in that case, is that like you're waiting for

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Speaker 2: it to go for sale since I.

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Speaker 1: Couldn't believe it was for saying I put it that way,

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Speaker 1: you know, and buying it was I felt like I

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Speaker 1: bought my school.

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Speaker 4: That's what it felt like.

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Speaker 3: That would be weird, yeah, but also awesome. Yeah then

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Speaker 3: you're the ruler. Yes, yeah, that's great. There's a lot

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Speaker 3: of stuff I want to talk about. I think for me,

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Speaker 3: your origin story is really interesting, especially when you come

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Speaker 3: to Nashville. Like when you moved to Nashville, Like where

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Speaker 3: do you live? What kind of place do you live,

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Speaker 3: like for a new artist moving here, like a small apartment.

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Speaker 1: Well, weirdly enough, the first place that I stayed with

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Speaker 1: my manager when we came here the very first trip,

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Speaker 1: we stayed over the road at Shoney's Inn, which is

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Speaker 1: now comfort In, And the room that we stayed in

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Speaker 1: is literally right there. And it's crazy to walk out

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Speaker 1: the door of the studio and look over and see

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Speaker 1: that room that my manager and I stayed in on

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Speaker 1: the first trip, and to go from there to here

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Speaker 1: is mind boggling.

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Speaker 3: So why do you say you and your manager, you

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Speaker 3: guys came together.

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Speaker 1: What was that relationship we you know, we just I

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Speaker 1: made a little demo tape that we just got on

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Speaker 1: a plane and come over here.

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Speaker 4: We really didn't know anybody.

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Speaker 1: We just did the classic thing of walking up and

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Speaker 1: down sixteenth and seventeenth A and going in and seeing

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Speaker 1: if they'd let us play the my little cassette demo.

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Speaker 3: So you record a cassette of songs? How many songs

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Speaker 3: do you think?

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Speaker 4: Just guess?

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Speaker 1: Maybe five or six songs that I'd written.

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Speaker 3: And you felt strongly enough about it that we're going

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Speaker 3: to go to Nashville. He felt strongly enough about you. Yeah,

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Speaker 3: that's a lot of trusting to a person too, by

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Speaker 3: the way, like as a manager, going I trust this guy,

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Speaker 3: like this is my guy. You fly here, you're staying

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Speaker 3: at the show, and he's in for what do you

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Speaker 3: think of night?

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Speaker 2: How much?

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Speaker 1: Oh more than we could afford at the time. I mean,

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Speaker 1: we spend everything we had on the plane ticket.

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Speaker 2: In a paying nightly rent.

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Speaker 3: And then how do you do it again? You're knocking

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Speaker 3: on doors? But what doors do you knock on if

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Speaker 3: you don't know what doors are? Important?

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Speaker 1: We did anybody that would listen, we would play it for.

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Speaker 1: And I was so proud of it, you know, and thought, oh,

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Speaker 1: I can't wait for everybody to hear this. It was

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Speaker 1: terrible hindsight it was just terrible, you know, what do

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Speaker 1: I know? You know, but played it for people that

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Speaker 1: would listen to it, and it was all very much

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Speaker 1: like thanks, but you know, so it was really heartbreaking,

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Speaker 1: you know. It was just soul sucking. But I went anyway,

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Speaker 1: I want to be here, I want to live here.

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Speaker 1: Let's go, let's go.

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Speaker 3: When you say let's go, do you go back?

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Speaker 4: Yeah? So I was only on.

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Speaker 1: It was really hard to get visas back then, and

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Speaker 1: I couldn't legally stay longer than you know, a certain

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Speaker 1: period of time. I couldn't make any money here, not legally,

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Speaker 1: so I could come for a couple of weeks try

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Speaker 1: and get with people to write, and then I'd have

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Speaker 1: to go back to Australia. And I was doing little

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Speaker 1: shows at corner pubs or wherever I could on my

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Speaker 1: own solo to just stock money away so I could

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Speaker 1: then get another plane ticket come back and just keep

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Speaker 1: doing this back.

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Speaker 4: And forward forever.

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Speaker 2: How long did you go back and forth?

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Speaker 1: I don't know, two three years, something like that. I

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Speaker 1: would come over for a couple of weeks and write

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Speaker 1: with some people and then go back and come back over.

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Speaker 1: But I was staying in a hotel probably down here

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Speaker 1: at the Shawnees, I think still. And this guy who

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Speaker 1: was an engineer at one of the publishing places I

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Speaker 1: went to, he said, listen, I live on my own.

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Speaker 1: I got a spare room at my house if you

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Speaker 1: want to stay there and stay at my hotel. So

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Speaker 1: I stayed at his house and when I left to

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Speaker 1: go back to Australia, I left a bunch of a

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Speaker 1: bunch of clothes in the drill and he called me

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Speaker 1: and he goes, hey, you left some stuff here, and

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Speaker 1: I said, yeah, I'll be back because I wanted to

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Speaker 1: feel like I was moving in. So I was in

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Speaker 1: Australia thinking I've got clothes in Nashville like I have.

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Speaker 4: Like it was like saying I have a place there.

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Speaker 3: You know, before you left a toothbrush at somebody your

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Speaker 3: dating's house, so now you know same kind of Yeah,

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Speaker 3: you got to go back exactly. So the more you

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Speaker 3: would come over, and it's a pretty intimidating place because

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Speaker 3: you're coming to I mean where you are, there's music,

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Speaker 3: where everybody is, there's music, and you're kind of king

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Speaker 3: dealing and then you get here and you're like, wow,

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Speaker 3: this is the giants are here? Did that motivate you

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Speaker 3: to get better or did it did it more inspire

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Speaker 3: you to get here so you could be around it,

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Speaker 3: to grow into it.

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Speaker 4: All the above.

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Speaker 1: I knew when I got here, I just wanted to

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Speaker 1: be here. All the best here, all the best guitar

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Speaker 1: players are here, all the best songwriters are here, the

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Speaker 1: best producers, the best everybody is here. So I just

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Speaker 1: wanted to get here and get going. I knew it

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Speaker 1: was going to take a while, and I just wanted

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Speaker 1: to get going.

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Speaker 3: You know, when did you get your first piece of

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Speaker 3: positive feedback?

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Speaker 4: Monday?

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Speaker 1: Just last Monday?

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Speaker 2: Good for you? Yeah, yeah, I'm glad it's happened.

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Speaker 4: Thank you.

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Speaker 2: That's pretty cool. Fine, I'm rooting for you. Yeah.

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Speaker 1: It's all incremental, you know, it's I'm sure you got

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Speaker 1: a similar experience where it's just just one good enough

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Speaker 1: thing happens that you just hang in there. I mean

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Speaker 1: I didn't have option B anyway. I mean, I had

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Speaker 1: no other plan nothing. It never occurred to me to

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Speaker 1: go back to Australia. That was never part of the

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Speaker 1: thinking ever. It was just well, stay here until something happens.

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Speaker 3: When you look back at that tape that you made

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Speaker 3: it and now you know anything that creators make a

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Speaker 3: long time ago, hopefully it makes us cringe because that

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Speaker 3: means we've grown, right, Like That's that's the goal and

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Speaker 3: thing I do. I want to like cringe is something

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Speaker 3: I did two or ten years ago. But when you

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Speaker 3: look back at that, what do you what can you

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Speaker 3: still identify as special about that?

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Speaker 1: I think I had a good intrinsic sense of melodic

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Speaker 1: structure for songwriting, and I think people recognize that here.

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Speaker 1: So I was able to get in with really good

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Speaker 1: songwriters pretty early on. And I think even though my

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Speaker 1: voice needed a lot of work, there was some good

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Speaker 1: fundamentals in particularly commercial songwriting, you know, hook choruses and

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Speaker 1: catchy melodies and things like that.

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Speaker 3: Songwritering is interesting because you're coming from a place where

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Speaker 3: my assumption is based on other conversations. There's not a

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Speaker 3: lot of co writs, like the co writers really learned

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Speaker 3: in Nashville.

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Speaker 2: So were you're writing songs by.

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Speaker 3: Yourself and then having to learn the Nashville co write

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Speaker 3: culture when you're here.

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Speaker 5: Mm?

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Speaker 4: Yeah it was.

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Speaker 1: Then I signed a publishing deal. It was very small

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Speaker 1: income for me, which was perfect. It's all I needed.

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Speaker 1: I didn't need much to live on and I had

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Speaker 1: a really crappy rental car and I would drive down

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Speaker 1: to Music Row from this guy's house that I was

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Speaker 1: living at every day, five days a week and walk

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Speaker 1: into this you know, windowless room with two yellow legal

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Speaker 1: pads and a couple of acoustics and try and write

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Speaker 1: a song with a total stranger and it was. I

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Speaker 1: hated it, like hated it. It felt I hated going

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Speaker 1: to school, but this was even worse.

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Speaker 4: I don't know why. It was just like I just

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Speaker 4: felt so.

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Speaker 1: Insecure, so out of my depths. You know, I'm writing

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Speaker 1: with these professional writers and I don't know what I'm doing,

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Speaker 1: and it was and it was not inspiring. I was

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Speaker 1: used to having a drum machine, writing with a bit

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Speaker 1: of a groove, getting a vibe going, and that would

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Speaker 1: inspire the way I write songs. And nobody wrote like that.

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Speaker 1: It was literally legal pads and an acoustic and windowless room.

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Speaker 4: And I'm like, how do you write in here?

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Speaker 1: What?

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Speaker 4: It's not vibe? You know?

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Speaker 1: But from that experience, I think I learned a lot

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Speaker 1: about songs, even more about song structure and how to

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Speaker 1: write a song that isn't vibe based, but it actually

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Speaker 1: has the bones of a good song.

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Speaker 3: Do you feel like those experiences writing in an environment

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Speaker 3: that you weren't completely comfortable, not because of the people,

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Speaker 3: but because of what you were used to and also

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Speaker 3: where you did your best work. Do you feel like

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Speaker 3: that also help you understand where you did write the

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Speaker 3: best and how you wrote the best because you're in

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Speaker 3: a room with no windows and you're like, okay, I'm

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Speaker 3: learning here.

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Speaker 2: But it kind of reinforced the idea of you.

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Speaker 3: Like to write with a vibe, you like to write

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Speaker 3: with a machine, and so therefore you knew where you'd

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Speaker 3: be the.

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Speaker 4: Best spot on. That's exactly what it did.

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Speaker 1: It mean, it reinforced how I don't want to write

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Speaker 1: or how I can't write. It's not don't want to

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Speaker 1: it's like it's not bringing out the.

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Speaker 4: Best in me. You know, it's not inspiring me.

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Speaker 1: I feel intimidated, I feel suffocated, and I can't write

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Speaker 1: like this. And I think a lot of it was

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Speaker 1: to do with you know, I think the foundation of

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Speaker 1: country songwriting is lyric. The melody seems to always come second.

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Speaker 4: The lyric is key. The story is important, That's what's important.

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Speaker 1: And I was coming from it the other way, where

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Speaker 1: the melody and the hooks and the riffs that those

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Speaker 1: were driving the story and everything else. So I just

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Speaker 1: had to find my environment and way of writing and

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Speaker 1: people that.

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Speaker 4: Also love to write that way.

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Speaker 3: Do you feel like now when you write with people

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Speaker 3: that you know are feeling a bit of the same

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Speaker 3: intimidation from writing with you, you can remember that version

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Speaker 3: of yourself, Oh yeah, and kind of help them through it.

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Speaker 1: Totally, totally. I neutralize the situation immediately. I'm like, I

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Speaker 1: don't know what's going to happen to day. Maybe nothing,

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Speaker 1: but let's just jam a bit, let's have fun. If

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Speaker 1: you get any ideas, you know, zero no pressure, no expectation.

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Speaker 1: You know, maybe we write, maybe we don't, maybe just

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Speaker 1: go to lunch.

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Speaker 4: Maybe we just hang.

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Speaker 1: Today and that will end up creating a song the

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Speaker 1: next time we get together because we know each other better.

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Speaker 3: You have a publishing deal, and you said, a Paige,

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Speaker 3: you a little enough to get by. Did you have

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Speaker 3: any success in your first publishing deal? When did you

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Speaker 3: start to have success as a writer?

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Speaker 1: I really, I mean I had to record my own

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Speaker 1: songs to get them cut to the degree that because

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Speaker 1: I wasn't a professional writer, it wasn't what I came

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Speaker 1: here to do. I didn't come here to be a writer.

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Speaker 1: I was an artist, but I could write.

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Speaker 3: And that was the first way to make money too, right, Like, yeah,

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Speaker 3: a steady check at least.

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Speaker 1: Yeah, it was a steady check. And it was a

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Speaker 1: way for songs to maybe get cut by the people

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Speaker 1: and a few little cuts here and there, you know.

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Speaker 1: Like we wrote a song, My buddy and I wrote

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Speaker 1: a song, a Christmas song that Toby Keith ended up

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Speaker 1: recording on an album. I was completely unknown, So this

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Speaker 1: is the early nineties, and.

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Speaker 4: I heard that he cut this.

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Speaker 1: Song we wrote, and I was like, the song was

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Speaker 1: called Jesus Gets Jealous of Santa Claus, right, and it's

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Speaker 1: just it's a really beautiful songs. It's all about the

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Speaker 1: anti commercialism of it, right, And so.

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Speaker 4: We wrote it. He loved it cut it.

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Speaker 1: I was amazed, because, I mean, Toby is a great writer.

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Speaker 1: I'd never met him. I was down in Lower Broadway

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Speaker 1: one night at a bar. And this is long before

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Speaker 1: Lower Broadway is what it is now, and nobody went

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Speaker 1: down there. I'm in this bar and I look over

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Speaker 1: at the table and I see Toby. I'm like, no way,

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Speaker 1: that's Toby Keith Man, I'm gonna go up and say hi,

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Speaker 1: cause I got a way to introduce myself now. And

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Speaker 1: whenever I said, Toby, your name's Keith Urban. I think

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Speaker 1: you cut one of our songs, he goes, huh. I went,

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Speaker 1: you record it one of our songs?

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Speaker 2: You know?

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Speaker 4: Jesus gives ye. He goes, oh yeah man, and I.

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Speaker 1: Went, well, thanks for recording it. You know, did did

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Speaker 1: you like the song? He goes, we cut it? And

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Speaker 1: I went yeah, yeah, no, thank you. That's but you're

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Speaker 1: a right right. I just wanted did you love the song?

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Speaker 4: You guys? We cut it, man, And then he.

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Speaker 1: Just looked back at his dream and I was like, okay.

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Speaker 4: Moving on.

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Speaker 1: Years later, I got to know him and I told

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Speaker 1: him that story.

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Speaker 4: He's like, man, I'm so.

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Speaker 1: Sorry he couldn't have been nice. And we became really,

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Speaker 1: really good friends.

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Speaker 3: The first time I met Toby, I said, Toby, how's

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Speaker 3: it going? He said, the first time I met him,

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Speaker 3: and we again became friends. His Google me, how's it going?

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Speaker 3: Google me, Yes, love it?

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Speaker 4: And I said love it?

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Speaker 3: Okay, what am I going to find? My health? And

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00:14:32,680 --> 00:14:34,920
Speaker 3: how much money I have? Oh my god? And I

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Speaker 3: was like what is up with this dude? Later on,

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Speaker 3: same later on, I did a lot with Toby, like yeah,

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00:14:40,680 --> 00:14:43,320
Speaker 3: and and but yeah, that was my experience too him.

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Speaker 3: He was very no nonsense how it felt. It's funny

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Speaker 3: talk about just going to a bar and seeing Toby

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Speaker 3: Keith sitting there. I mean, I think that's kind of

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Speaker 3: the magic of this town. And a lot of the

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Speaker 3: stories that I have are from people who just like

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00:14:55,880 --> 00:14:57,960
Speaker 3: see you walking around them all like most of them,

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Speaker 3: Like I saw Keith Thurbman. I was at a Forever twenty.

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Speaker 3: He didn't go in, but I saw your wife in

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Speaker 3: a makeup store.

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Speaker 4: I was in there, and what were you doing in that? Yeah?

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Speaker 2: Just a lot, a lot.

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Speaker 6: Hang ty, the Bobby Cast will be right back and

352
00:15:20,600 --> 00:15:22,520
Speaker 6: we're back on the Bobby Cast.

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Speaker 3: What about this town is magical?

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Speaker 1: Everything is if it's just uh, the people, it's a

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Speaker 1: it's a it's this this hub. It's the one thing

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Speaker 1: I missed a little bit about music right not being

357
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Speaker 1: what it was. You know, it got decentralized. It kind

358
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Speaker 1: of just went off into all these people's homes with

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Speaker 1: personal recording studios and various things, and.

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Speaker 4: People didn't have to.

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Speaker 1: Concentrate on the row as much anymore. And it's sort

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Speaker 1: of a bit sad because Nationalist such a community, and

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Speaker 1: I think that cross pollinating and enmeshing with artist, songwriters, publishers, managers,

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Speaker 1: everybody intersected all the time was really healthy.

365
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Speaker 3: What guy, you're your first traction as the person you

366
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Speaker 3: came here to be an artist.

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Speaker 1: Again, it was all little incremental things. The publishing company

368
00:16:16,640 --> 00:16:19,240
Speaker 1: I signed to was run by a gouck called Barry

369
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Speaker 1: Coburn and he was managing Alan Jackson at the time.

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Speaker 1: So in nineteen ninety four, Alan was shooting in music

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Speaker 1: video and they needed a longhaired guitar player, and so

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Speaker 1: they asked me to do it. And it's a similar

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Speaker 1: Toby story.

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Speaker 2: In the video.

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Speaker 4: But you didn't play on the song No, but I'm

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00:16:39,240 --> 00:16:41,200
Speaker 4: in the video to Mercury Blues.

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00:16:41,480 --> 00:16:48,680
Speaker 3: One of my favorite Alan Jackson songs, Thank You Sorry videos.

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Speaker 1: So it's a similarst thirty to the Toby thing. Like

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00:16:51,920 --> 00:16:53,960
Speaker 1: I didn't know Alan. I was so excited. You know,

380
00:16:54,000 --> 00:16:57,000
Speaker 1: we're on a We're in a sound stage somewhere and

381
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Speaker 1: I'm on this platform and I've learned Brent May guitar

382
00:17:00,600 --> 00:17:02,720
Speaker 1: solo note for note the night before because they're going

383
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Speaker 1: to be zooming in on me, and they filmed me

384
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Speaker 1: for a little bit and then I see Alan come in.

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Speaker 4: I'm like, oh, my god's Alan Jackson. This is so

386
00:17:10,080 --> 00:17:13,520
Speaker 4: freaking awesome. I mean, it's nineteen ninety four. He's king,

387
00:17:13,760 --> 00:17:13,960
Speaker 4: you know.

388
00:17:14,760 --> 00:17:16,600
Speaker 1: And he comes over with his cousi and he kind

389
00:17:16,640 --> 00:17:17,919
Speaker 1: of just looks at me and he looks back at

390
00:17:17,920 --> 00:17:20,399
Speaker 1: the camera, and then they run the song and we

391
00:17:20,480 --> 00:17:23,520
Speaker 1: both shred together. We're literally two feet from each other,

392
00:17:24,520 --> 00:17:27,480
Speaker 1: and they take a little break to set some lights whatever,

393
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Speaker 1: and I'm waiting for him to say something.

394
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Speaker 4: He said, looks around me, he.

395
00:17:31,880 --> 00:17:35,800
Speaker 6: Goes it, looks back.

396
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Speaker 1: Never said a word to me, like, not one word.

397
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Speaker 1: We finished the thing and he just walked off and

398
00:17:41,960 --> 00:17:44,359
Speaker 1: I was like oh. And I went home and my

399
00:17:44,400 --> 00:17:46,639
Speaker 1: buddies were like, what was Alan? Like, I go, I

400
00:17:46,640 --> 00:17:49,400
Speaker 1: adn't really meet him, and they go, I thought there

401
00:17:49,400 --> 00:17:51,480
Speaker 1: was a thing with the two video. I said, yeah,

402
00:17:52,480 --> 00:17:56,520
Speaker 1: never made him And again got to know Alan years

403
00:17:56,600 --> 00:17:59,320
Speaker 1: later and he's like, man, I'm so sorry.

404
00:17:59,040 --> 00:18:00,560
Speaker 4: Because I hated that video.

405
00:18:01,320 --> 00:18:04,040
Speaker 1: He said, you got to understand it's the first video

406
00:18:04,080 --> 00:18:08,760
Speaker 1: I'd done where they brought in some slick la producer director.

407
00:18:08,840 --> 00:18:10,919
Speaker 1: I didn't want to do it, but they wanted to

408
00:18:11,080 --> 00:18:13,159
Speaker 1: sort of change my image and make it look slick.

409
00:18:13,600 --> 00:18:15,800
Speaker 1: So they said, we can't use your band, and he goes,

410
00:18:15,880 --> 00:18:17,359
Speaker 1: I always use my band, what do you mean? And

411
00:18:17,359 --> 00:18:19,560
Speaker 1: they go, no, we have to use these other people

412
00:18:19,600 --> 00:18:21,840
Speaker 1: to pretend to be your band me right, you know.

413
00:18:22,200 --> 00:18:25,840
Speaker 1: So he hated it, obviously hated this longheaded dude who's

414
00:18:25,880 --> 00:18:26,959
Speaker 1: not his guitar player.

415
00:18:27,080 --> 00:18:28,920
Speaker 4: So I totally.

416
00:18:28,520 --> 00:18:31,200
Speaker 1: Got it, and we've become really really good friends.

417
00:18:31,200 --> 00:18:32,400
Speaker 2: And it's so funny about Alan.

418
00:18:32,680 --> 00:18:35,159
Speaker 3: The first time I met him, not a video, but

419
00:18:35,320 --> 00:18:37,160
Speaker 3: ACM Honors was doing a show and I was doing

420
00:18:37,160 --> 00:18:38,800
Speaker 3: like one funny song with the guitar.

421
00:18:38,840 --> 00:18:39,919
Speaker 2: I was talking.

422
00:18:40,000 --> 00:18:41,879
Speaker 3: It was after like Jaco when I was playing and

423
00:18:41,880 --> 00:18:43,480
Speaker 3: I was doing thing. Alan Jackson was behind me, but

424
00:18:43,480 --> 00:18:46,480
Speaker 3: it was raining, so moving everybody along and they paused

425
00:18:46,480 --> 00:18:48,280
Speaker 3: and I saw Alan Jackson, never seen him before, and

426
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Speaker 3: I was like, this is crazy, Alan Jackson. I said, hey,

427
00:18:50,680 --> 00:18:53,400
Speaker 3: missus Jackson bibyone, nice to meet you. He said nice

428
00:18:53,440 --> 00:18:54,600
Speaker 3: to meet you, and I looked at him and goes,

429
00:18:54,600 --> 00:18:59,720
Speaker 3: all right then, and that meant go away later awesome.

430
00:19:00,040 --> 00:19:02,680
Speaker 3: But he hit me with the ir THENT and away, I.

431
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Speaker 1: Went, it's great, and this town same experiences at the least.

432
00:19:06,119 --> 00:19:08,800
Speaker 3: GI, Yeah, it's great, and then again we find out

433
00:19:08,840 --> 00:19:10,359
Speaker 3: how freaking cool they are later.

434
00:19:10,600 --> 00:19:10,800
Speaker 5: Yeah.

435
00:19:11,160 --> 00:19:12,800
Speaker 3: I think that's and I think that's a bit of

436
00:19:12,840 --> 00:19:15,600
Speaker 3: my point too, is people are getting first impressions of

437
00:19:15,640 --> 00:19:18,119
Speaker 3: you today all the time in the same way, but

438
00:19:18,200 --> 00:19:20,000
Speaker 3: because you got to live the full experience.

439
00:19:20,040 --> 00:19:20,360
Speaker 2: Same way.

440
00:19:20,359 --> 00:19:22,800
Speaker 3: I asked you about songwriting, like, they're probably a lot

441
00:19:22,840 --> 00:19:24,399
Speaker 3: of new artists that you meet a lot of the

442
00:19:24,440 --> 00:19:29,560
Speaker 3: time and that ask you, Hey, what advice do you

443
00:19:29,600 --> 00:19:32,000
Speaker 3: have for somebody like moving to talent or a new artist, Like,

444
00:19:32,080 --> 00:19:34,840
Speaker 3: what is the standard Keith Urban advice for a new artist?

445
00:19:35,440 --> 00:19:39,359
Speaker 1: Well, it's always different because the whole thing is changing constantly.

446
00:19:39,480 --> 00:19:41,760
Speaker 1: You know. It's like you don't have twenty years experience,

447
00:19:41,800 --> 00:19:44,920
Speaker 1: you have one years experience twenty times. That's very different

448
00:19:45,200 --> 00:19:49,160
Speaker 1: because it's constantly changing. So, you know what I had

449
00:19:49,160 --> 00:19:50,600
Speaker 1: to do when I got here, you don't have to

450
00:19:50,640 --> 00:19:54,320
Speaker 1: do that now. There's like so many other ways to

451
00:19:54,400 --> 00:19:57,959
Speaker 1: get fund an audience, to make music, to write songs,

452
00:19:58,000 --> 00:20:00,199
Speaker 1: to get them cut. There's just so many ways do

453
00:20:00,240 --> 00:20:04,040
Speaker 1: it now. So it makes it better on one hand,

454
00:20:04,040 --> 00:20:07,240
Speaker 1: but on the other there is way more competition. It's

455
00:20:07,320 --> 00:20:09,800
Speaker 1: just you sort of drowning in it. Now there's so

456
00:20:10,040 --> 00:20:10,960
Speaker 1: much new talent.

457
00:20:11,359 --> 00:20:13,320
Speaker 2: Tell me about signing your first record deal.

458
00:20:15,320 --> 00:20:20,159
Speaker 1: Well, my first one was signed in Australia. I signed

459
00:20:20,200 --> 00:20:24,440
Speaker 1: it because it I want a competition where I got

460
00:20:24,480 --> 00:20:27,960
Speaker 1: to record a single for EMI Records, and I did

461
00:20:28,000 --> 00:20:29,760
Speaker 1: that and they liked it, and so they.

462
00:20:29,640 --> 00:20:31,040
Speaker 4: Said, let's do a whole album. So I did a

463
00:20:31,080 --> 00:20:31,600
Speaker 4: whole album.

464
00:20:31,600 --> 00:20:34,119
Speaker 1: But I already wanted to come here, you know, so

465
00:20:34,280 --> 00:20:36,120
Speaker 1: recording it to me was just a way to have

466
00:20:36,240 --> 00:20:40,639
Speaker 1: an even better demo to bring over here. But I

467
00:20:40,640 --> 00:20:45,159
Speaker 1: had some success with it in Australia and got a

468
00:20:45,200 --> 00:20:48,160
Speaker 1: band and worked my way up to having a roague crew.

469
00:20:48,240 --> 00:20:51,280
Speaker 1: This is after eight nine years in the clubs already.

470
00:20:51,680 --> 00:20:54,440
Speaker 1: So now I've worked my way up to this five

471
00:20:54,440 --> 00:20:57,920
Speaker 1: piece band, three man road crew, merchandise.

472
00:20:58,119 --> 00:20:59,240
Speaker 4: I'm like, this is great.

473
00:20:59,240 --> 00:21:02,280
Speaker 1: I got an album, songs in the radio, like everything

474
00:21:02,280 --> 00:21:07,400
Speaker 1: I've ever wanted. But I really wanted to go to America.

475
00:21:07,760 --> 00:21:10,960
Speaker 1: And so after all that work, I come here and

476
00:21:11,000 --> 00:21:15,080
Speaker 1: you just start from the bottom again. Literally, nobody cares.

477
00:21:15,160 --> 00:21:17,520
Speaker 1: You can't bring your band. I have no money, so

478
00:21:17,800 --> 00:21:20,880
Speaker 1: I'm right back to ground zero and starting to pay

479
00:21:20,880 --> 00:21:24,520
Speaker 1: the dues all over again. It was another five six,

480
00:21:24,600 --> 00:21:26,760
Speaker 1: seven years here in Nashville.

481
00:21:26,520 --> 00:21:27,400
Speaker 2: Until you got a deal.

482
00:21:27,520 --> 00:21:30,160
Speaker 3: Yeah, and what was the first single they ever wanted

483
00:21:30,160 --> 00:21:30,800
Speaker 3: to put out on you?

484
00:21:32,640 --> 00:21:34,879
Speaker 1: Well, well, technically it was with my band The Ranch,

485
00:21:35,119 --> 00:21:36,880
Speaker 1: and so we did a song called walk in the Country,

486
00:21:37,080 --> 00:21:40,359
Speaker 1: and we did a video. We had so little money

487
00:21:40,440 --> 00:21:43,120
Speaker 1: for the budget that we recorded two videos in one.

488
00:21:43,040 --> 00:21:46,160
Speaker 2: Day, only so much time. So yeah, cram on both.

489
00:21:46,200 --> 00:21:49,000
Speaker 1: I think it was like fifteen made them in ten

490
00:21:49,040 --> 00:21:51,679
Speaker 1: grand or something. We shot two videos. We went out

491
00:21:51,720 --> 00:21:54,280
Speaker 1: to a place called Adams, Tennessee. We went to this

492
00:21:54,359 --> 00:21:56,000
Speaker 1: abandoned kind of street where.

493
00:21:55,800 --> 00:21:58,760
Speaker 4: The stores were all boarded up. We helped put the

494
00:21:58,800 --> 00:22:02,080
Speaker 4: camera in the street at the stores. We stood in

495
00:22:02,080 --> 00:22:03,520
Speaker 4: front of there and shot that video.

496
00:22:03,760 --> 00:22:05,840
Speaker 1: They turned the camera around and we did our other

497
00:22:05,840 --> 00:22:08,280
Speaker 1: song on the other side in this where they'd torn

498
00:22:08,320 --> 00:22:09,960
Speaker 1: down a building and we played in the rubble.

499
00:22:10,600 --> 00:22:12,000
Speaker 4: So you know, we shot it all in one day.

500
00:22:12,080 --> 00:22:12,560
Speaker 4: It's crazy.

501
00:22:12,800 --> 00:22:14,600
Speaker 3: What was the success of the singles you put out

502
00:22:14,600 --> 00:22:15,800
Speaker 3: early with The Ranch.

503
00:22:19,440 --> 00:22:24,040
Speaker 1: Well, the critics really liked it, but it didn't get

504
00:22:24,080 --> 00:22:25,600
Speaker 1: any real push.

505
00:22:25,640 --> 00:22:27,440
Speaker 4: I mean, ready, I didn't know what to do with us, you.

506
00:22:27,400 --> 00:22:29,520
Speaker 3: Know, because of the sound, because we hear.

507
00:22:29,480 --> 00:22:31,399
Speaker 1: The sound and the look, and they're just like, what

508
00:22:31,520 --> 00:22:35,160
Speaker 1: is this three piece band? And who's this long haired guy?

509
00:22:35,280 --> 00:22:37,520
Speaker 1: And I look back at it now and I'm like,

510
00:22:37,560 --> 00:22:39,639
Speaker 1: oh my gosh, I mean, what will we think? And

511
00:22:39,680 --> 00:22:42,840
Speaker 1: we were never gonna fit in. We just weren't going

512
00:22:42,880 --> 00:22:48,080
Speaker 1: to fit in. And I was frustrated because I didn't

513
00:22:48,119 --> 00:22:48,679
Speaker 1: come here.

514
00:22:48,520 --> 00:22:49,480
Speaker 4: To be in a band.

515
00:22:49,840 --> 00:22:50,040
Speaker 2: You know.

516
00:22:51,920 --> 00:22:53,480
Speaker 1: The three piece thing happened because I had a five

517
00:22:53,520 --> 00:22:57,200
Speaker 1: piece band in Australia. I couldn't afford to bring everybody, So, Okay,

518
00:22:57,240 --> 00:23:00,359
Speaker 1: what's the minimum I can bring? While as a tapla

519
00:23:00,400 --> 00:23:03,439
Speaker 1: I can bring bass and drums. Then I got a band, Okay,

520
00:23:03,560 --> 00:23:06,080
Speaker 1: three piece, great, I'll bring my bass plan drummer. They

521
00:23:06,080 --> 00:23:07,920
Speaker 1: were the two guys in the band that didn't sing.

522
00:23:09,040 --> 00:23:11,960
Speaker 1: My keyboard player and rhythm guitarist sing. So I'm here

523
00:23:12,000 --> 00:23:14,760
Speaker 1: in a three piece band, the singer.

524
00:23:14,560 --> 00:23:17,840
Speaker 4: No harmonies. I'm like, man, this is not going to work.

525
00:23:17,880 --> 00:23:20,560
Speaker 1: And then my bass player left, got a singing bass

526
00:23:20,560 --> 00:23:22,879
Speaker 1: player and we became this three piece band. Because of

527
00:23:22,960 --> 00:23:25,400
Speaker 1: economic reasons. It wasn't an artistic choice.

528
00:23:25,840 --> 00:23:29,520
Speaker 3: When you're finally Keith Urban, what was the first piece

529
00:23:29,560 --> 00:23:32,679
Speaker 3: of material or song that you put out that actually

530
00:23:32,760 --> 00:23:39,560
Speaker 3: gains real traction or that sells tickets or got you

531
00:23:39,600 --> 00:23:41,359
Speaker 3: on a tour, right, Like, if it's something out that

532
00:23:42,160 --> 00:23:44,640
Speaker 3: somebody noticed you enough that it changed your life.

533
00:23:44,680 --> 00:23:46,560
Speaker 2: What song was that? Well?

534
00:23:46,600 --> 00:23:48,800
Speaker 1: I mean technically, the first one was a song called

535
00:23:48,800 --> 00:23:51,400
Speaker 1: It's a Love Thing, which was the first single off

536
00:23:51,440 --> 00:23:56,000
Speaker 1: the solo album that I did that did okay. And

537
00:23:56,040 --> 00:23:58,840
Speaker 1: then we put out a song cale where the Blacktop Ends,

538
00:23:59,600 --> 00:24:03,600
Speaker 1: and that did better. Sorry You're Everything. It was a

539
00:24:03,600 --> 00:24:06,639
Speaker 1: ballad called You're Everything that did better. And then the

540
00:24:06,680 --> 00:24:09,120
Speaker 1: third song was but for the Grace of God, which

541
00:24:09,160 --> 00:24:11,480
Speaker 1: became my first number one song. So it was this

542
00:24:12,280 --> 00:24:14,080
Speaker 1: very slow incremental.

543
00:24:15,480 --> 00:24:17,600
Speaker 4: Movement. I'm like, okay, we finally get traction.

544
00:24:17,680 --> 00:24:20,640
Speaker 1: And then we did Blacktop after that, and then I

545
00:24:20,680 --> 00:24:23,520
Speaker 1: got to make another record which became Golden Road, and

546
00:24:24,240 --> 00:24:26,280
Speaker 1: first single off that was Somebody Like You.

547
00:24:27,640 --> 00:24:32,000
Speaker 3: Was that song transcendent in how it landed as opposed

548
00:24:32,000 --> 00:24:32,680
Speaker 3: to your past stuff?

549
00:24:33,840 --> 00:24:37,960
Speaker 1: Yeah, Because I'm a live guy. I play live, That's

550
00:24:38,000 --> 00:24:40,679
Speaker 1: what I do. The early years in Nashville was so

551
00:24:40,840 --> 00:24:43,440
Speaker 1: hard for me because there was no I wasn't playing.

552
00:24:43,920 --> 00:24:46,280
Speaker 1: I wasn't playing anywhere. I found out very quick that

553
00:24:46,320 --> 00:24:49,160
Speaker 1: if you play down Lower Broadway, nobody wants to sign

554
00:24:49,200 --> 00:24:51,160
Speaker 1: you because they go, You're just one of those You're

555
00:24:51,240 --> 00:24:54,199
Speaker 1: just a cover band, You're not an original artist, you know.

556
00:24:54,480 --> 00:24:56,880
Speaker 1: So I'm like, ah, so I can't even play anywhere.

557
00:24:58,800 --> 00:25:00,600
Speaker 4: So after the first solo Red.

558
00:25:00,520 --> 00:25:03,280
Speaker 1: I got to put a band together and tour and

559
00:25:04,400 --> 00:25:07,160
Speaker 1: get back into my place where I feel so at home.

560
00:25:07,600 --> 00:25:09,440
Speaker 1: And I think by the time he made Golden Road,

561
00:25:10,000 --> 00:25:13,040
Speaker 1: I was feeling that sense of who I am musically,

562
00:25:13,600 --> 00:25:15,720
Speaker 1: you know, it had I like to say that record

563
00:25:15,800 --> 00:25:18,080
Speaker 1: had more stubble than the first one. It was a

564
00:25:18,080 --> 00:25:20,800
Speaker 1: bit looser, and it was more raw, and I took more.

565
00:25:21,720 --> 00:25:25,240
Speaker 1: I had more confidence in the studio of making the

566
00:25:25,320 --> 00:25:28,879
Speaker 1: music that I wanted to make, not what was on

567
00:25:28,920 --> 00:25:31,600
Speaker 1: the radio or anything like that, and it turned out

568
00:25:32,000 --> 00:25:33,879
Speaker 1: to be the music that was the right music.

569
00:25:34,000 --> 00:25:36,560
Speaker 3: Did you ever have concerned of being pigeonholed as just

570
00:25:36,600 --> 00:25:37,320
Speaker 3: a guitar guy.

571
00:25:38,280 --> 00:25:43,600
Speaker 1: No, I never had that, because I mean I always

572
00:25:43,800 --> 00:25:45,800
Speaker 1: see myself as a jewet. I mean, my guitar am

573
00:25:45,800 --> 00:25:47,960
Speaker 1: I singing? They go together the same way with Glenn

574
00:25:47,960 --> 00:25:50,040
Speaker 1: Campbell or something like that. It's just or Vin Skiel

575
00:25:50,119 --> 00:25:50,480
Speaker 1: or anybody.

576
00:25:50,520 --> 00:25:51,040
Speaker 4: It's for me.

577
00:25:52,160 --> 00:25:54,280
Speaker 1: The two go together, but even more than those guys

578
00:25:54,320 --> 00:25:58,800
Speaker 1: because they have these these voices, and I think me

579
00:25:58,880 --> 00:26:01,640
Speaker 1: and my guitar or one.

580
00:26:03,040 --> 00:26:05,040
Speaker 3: I pay a lot of attention to your tone and

581
00:26:05,080 --> 00:26:08,560
Speaker 3: not your voice tone, like your guitar tone. And even

582
00:26:08,600 --> 00:26:11,400
Speaker 3: the slightest change changes the sound of a song. How

583
00:26:11,480 --> 00:26:14,359
Speaker 3: much time do you spend focused on tone?

584
00:26:15,960 --> 00:26:18,800
Speaker 4: It depends, you know. Sometimes it's.

585
00:26:20,440 --> 00:26:23,240
Speaker 1: Every song is different, Every song is different. I'm only

586
00:26:23,280 --> 00:26:26,480
Speaker 1: seeking inspiration, that's all. That's all I'm waiting for. I'm

587
00:26:26,480 --> 00:26:29,040
Speaker 1: just waiting for a sound or a tone or something

588
00:26:29,080 --> 00:26:31,240
Speaker 1: where I'm inspired to play something. And that could be

589
00:26:31,320 --> 00:26:33,199
Speaker 1: through a cheap amp and you could have dialed it

590
00:26:33,240 --> 00:26:34,840
Speaker 1: up immediately and you go, that sounds good. Let's go

591
00:26:35,119 --> 00:26:37,000
Speaker 1: plays soul and you get good. That was great, moving

592
00:26:37,000 --> 00:26:39,840
Speaker 1: on and then the next song you like to spend

593
00:26:39,960 --> 00:26:42,679
Speaker 1: a whole day noodling and doing this and whatever.

594
00:26:42,800 --> 00:26:44,280
Speaker 4: So they're all different.

595
00:26:44,440 --> 00:26:46,520
Speaker 3: What song that became a massive hit took the longest

596
00:26:46,520 --> 00:26:48,560
Speaker 3: to actually have fully done?

597
00:26:51,440 --> 00:26:52,600
Speaker 4: Oh gosh.

598
00:26:54,640 --> 00:26:58,840
Speaker 2: Ah, maybe maybe rewrites weirdly enough?

599
00:26:59,440 --> 00:27:03,520
Speaker 1: Make Him of Us took a long time because I

600
00:27:03,520 --> 00:27:06,080
Speaker 1: grew up with Don Williams Records and they were so simple.

601
00:27:06,160 --> 00:27:09,040
Speaker 1: There was like nothing on them. They're so simple. And

602
00:27:09,080 --> 00:27:12,760
Speaker 1: when we cut Making Memories, it had a don vibe

603
00:27:12,840 --> 00:27:17,040
Speaker 1: in its structure in the recording, and I wanted to

604
00:27:17,040 --> 00:27:20,119
Speaker 1: get that minimalism. And we recorded it and it was

605
00:27:20,160 --> 00:27:21,960
Speaker 1: sort of like this, And then we spent a long

606
00:27:22,000 --> 00:27:24,280
Speaker 1: time stripping it down, stripping it down, stripping it down,

607
00:27:24,600 --> 00:27:27,679
Speaker 1: replaying the guitar, re singing it, re singing it, re

608
00:27:27,760 --> 00:27:30,320
Speaker 1: singing it, trying to make it more and more simple,

609
00:27:31,240 --> 00:27:34,200
Speaker 1: less slick, you know, just more singer songwriter.

610
00:27:34,720 --> 00:27:36,160
Speaker 2: Is there a moment where you go this is it?

611
00:27:36,359 --> 00:27:38,399
Speaker 3: Or is there never a moment where you go this

612
00:27:38,520 --> 00:27:38,800
Speaker 3: is it?

613
00:27:39,800 --> 00:27:40,080
Speaker 4: Both?

614
00:27:42,359 --> 00:27:45,200
Speaker 1: I mean, I've heard songs on the radio where I go.

615
00:27:45,280 --> 00:27:47,320
Speaker 4: Oh, I'm very happy with that.

616
00:27:47,440 --> 00:27:49,800
Speaker 1: You know, I hear somebody like you now I still

617
00:27:49,880 --> 00:27:52,240
Speaker 1: am really happy with that. Dave's go by things like that,

618
00:27:54,760 --> 00:27:57,120
Speaker 1: and then I'll hear other things like ah, I wish

619
00:27:57,160 --> 00:28:01,560
Speaker 1: we had, of wish we had, of whatever. But more

620
00:28:01,600 --> 00:28:03,800
Speaker 1: than anything, I'm happy with you. It's got to get

621
00:28:03,800 --> 00:28:06,320
Speaker 1: away from it for a while. I have some perspective.

622
00:28:07,359 --> 00:28:11,159
Speaker 3: You're still so creatively driven today, as I guess the

623
00:28:11,160 --> 00:28:13,040
Speaker 3: first time I met you ten years ago, like, I

624
00:28:13,080 --> 00:28:16,720
Speaker 3: still feel like you're creatively chasing whatever it is it

625
00:28:16,760 --> 00:28:20,400
Speaker 3: inspires you. Do you still feel as creatively driven now

626
00:28:20,560 --> 00:28:22,280
Speaker 3: as you did ten twenty years ago.

627
00:28:22,200 --> 00:28:25,399
Speaker 1: Exactly as when I lived over there at Showny's. I

628
00:28:25,440 --> 00:28:28,280
Speaker 1: feel pretty much the same. I've got a better group

629
00:28:28,320 --> 00:28:30,119
Speaker 1: of people I can write with and work with, and

630
00:28:30,160 --> 00:28:37,080
Speaker 1: I have more capacity and facility to create the things

631
00:28:37,080 --> 00:28:39,080
Speaker 1: that I hear in my head, you know, from years

632
00:28:39,080 --> 00:28:43,160
Speaker 1: and year of doing it. But the adrenaline rush in

633
00:28:43,200 --> 00:28:48,240
Speaker 1: the excitement of writing and creating something like straight Line,

634
00:28:48,240 --> 00:28:50,600
Speaker 1: which is the single we have at now, when that

635
00:28:50,640 --> 00:28:54,400
Speaker 1: comes to the studio, it's like it's an amazing feeling.

636
00:28:54,800 --> 00:28:56,600
Speaker 3: The opposite of the question asked a minute ago, what

637
00:28:56,720 --> 00:28:58,480
Speaker 3: song fell out of you? And it was done the

638
00:28:58,560 --> 00:29:00,880
Speaker 3: quickest and you're like, wow, that it's great and it

639
00:29:00,920 --> 00:29:02,280
Speaker 3: took almost no time.

640
00:29:02,800 --> 00:29:05,479
Speaker 1: Somebody like you was a bit like that because it

641
00:29:05,560 --> 00:29:08,960
Speaker 1: was a great band. It's the very first song I'd

642
00:29:09,000 --> 00:29:11,800
Speaker 1: done with Dan haff I think the bones of the

643
00:29:11,880 --> 00:29:17,920
Speaker 1: song just happened to be really good, and we recorded

644
00:29:17,960 --> 00:29:20,680
Speaker 1: it at the sound kitchen. Everybody on the floor, so

645
00:29:20,760 --> 00:29:23,360
Speaker 1: Chris mceu was here on drums. Jimuli SLOs is here

646
00:29:23,400 --> 00:29:26,920
Speaker 1: on bass, tom bergervack's and guitar tim akers there own keyboards.

647
00:29:26,920 --> 00:29:29,320
Speaker 1: I'm in the booth over there with banjo and a

648
00:29:29,440 --> 00:29:31,920
Speaker 1: vocal and Dan Huffer was sitting in the middle of

649
00:29:31,920 --> 00:29:35,040
Speaker 1: the floor with an electric guitar, and Justin ee Banker's

650
00:29:35,040 --> 00:29:37,360
Speaker 1: in there and he hits record and away we go.

651
00:29:37,440 --> 00:29:40,000
Speaker 1: I've got a recording somewhere. I used to set up

652
00:29:40,040 --> 00:29:42,280
Speaker 1: a video camera in the in the studio, in the

653
00:29:42,360 --> 00:29:46,640
Speaker 1: control booth and just capture a take, you know, And

654
00:29:46,720 --> 00:29:50,200
Speaker 1: I have the recording of us. You hear the song start,

655
00:29:50,440 --> 00:29:54,320
Speaker 1: you hear it finish, and you see Justin go whoa

656
00:29:54,400 --> 00:29:56,280
Speaker 1: like this in front of the console, and it's the

657
00:29:56,360 --> 00:29:57,360
Speaker 1: end of the It's the take.

658
00:29:57,480 --> 00:29:58,880
Speaker 4: It's just it was crazy.

659
00:29:59,400 --> 00:30:02,080
Speaker 3: There are a story about ACDC and Angus and he

660
00:30:02,080 --> 00:30:04,680
Speaker 3: would play so hard for so long, he'd sweat so

661
00:30:04,760 --> 00:30:06,520
Speaker 3: much that he would lose five seven pounds a night

662
00:30:06,600 --> 00:30:07,360
Speaker 3: right because he would go.

663
00:30:08,240 --> 00:30:09,840
Speaker 2: Like my version of that that I tell.

664
00:30:09,760 --> 00:30:11,840
Speaker 3: People, is you watching you perform because you go so

665
00:30:11,920 --> 00:30:17,360
Speaker 3: hard and you're so active on stage, singing, playing, running

666
00:30:17,400 --> 00:30:21,040
Speaker 3: into the crowd. Is there a ramp up period for

667
00:30:21,080 --> 00:30:22,880
Speaker 3: you getting in shape before you have to go on

668
00:30:22,880 --> 00:30:25,040
Speaker 3: the road. Because these are very active shows.

669
00:30:25,240 --> 00:30:29,320
Speaker 1: Yeah, I just I mean, I think we're the same,

670
00:30:29,520 --> 00:30:31,800
Speaker 1: like being in decent shape anyway, just to do the

671
00:30:31,840 --> 00:30:35,080
Speaker 1: things we want to do, you know, move the way

672
00:30:35,120 --> 00:30:36,840
Speaker 1: we want to move, and do the things we want

673
00:30:36,880 --> 00:30:37,040
Speaker 1: to do.

674
00:30:37,120 --> 00:30:40,000
Speaker 4: And I live to play, I really do.

675
00:30:40,160 --> 00:30:41,760
Speaker 2: Is that's still your favorite part of all of it live?

676
00:30:41,920 --> 00:30:42,880
Speaker 4: Yeah?

677
00:30:42,960 --> 00:30:44,640
Speaker 1: Yeah, But I mean I love being in the studio,

678
00:30:44,720 --> 00:30:47,600
Speaker 1: so I bought the studio. I could spend months in here,

679
00:30:47,760 --> 00:30:51,480
Speaker 1: never leave. You know, I don't have any other hobbies

680
00:30:51,560 --> 00:30:54,080
Speaker 1: or interests. I love making music. It's pretty much it.

681
00:30:54,080 --> 00:30:58,200
Speaker 1: I don't play any sport, not really. I love writing, recording,

682
00:30:58,320 --> 00:30:59,040
Speaker 1: I love touring.

683
00:31:00,200 --> 00:31:03,360
Speaker 3: So recently you did a project and you recorded, and

684
00:31:03,400 --> 00:31:06,240
Speaker 3: then you decided we're going to start over after putting

685
00:31:06,400 --> 00:31:07,200
Speaker 3: significant time.

686
00:31:07,480 --> 00:31:10,080
Speaker 2: Will you just kind of tell me that story.

687
00:31:10,240 --> 00:31:18,000
Speaker 1: It's never happened before. So really, since the first record,

688
00:31:18,000 --> 00:31:21,720
Speaker 1: the way I make him is quite It's not chaotic,

689
00:31:21,760 --> 00:31:26,400
Speaker 1: but it's very spontaneous. You know, the studios booked, we've

690
00:31:26,400 --> 00:31:28,840
Speaker 1: got the players booked, got a song chosen to do.

691
00:31:29,520 --> 00:31:31,400
Speaker 1: I'll drive in that day and maybe as I'm driving in,

692
00:31:31,440 --> 00:31:33,360
Speaker 1: I'm like, I don't really feel this song. I have

693
00:31:33,480 --> 00:31:36,280
Speaker 1: this other song that I'm sitting on or it's half

694
00:31:36,320 --> 00:31:37,880
Speaker 1: written or something, and I'll play it for Dan and

695
00:31:37,880 --> 00:31:39,120
Speaker 1: I go, let's do this one.

696
00:31:39,600 --> 00:31:40,360
Speaker 4: Let's forget that.

697
00:31:40,880 --> 00:31:44,240
Speaker 1: So I've always made records that way, so the spirit

698
00:31:44,280 --> 00:31:45,680
Speaker 1: of it is always what I want to do, you

699
00:31:45,720 --> 00:31:46,160
Speaker 1: know what I mean.

700
00:31:46,240 --> 00:31:49,720
Speaker 4: So it's good that it's now. It's fun. I'm passionate

701
00:31:49,760 --> 00:31:51,160
Speaker 4: about it. It's what I want to do.

702
00:31:52,520 --> 00:31:54,720
Speaker 1: And I thought, sometimes my records sort of go off

703
00:31:54,760 --> 00:31:59,240
Speaker 1: in weird musical directions, and maybe I need more discipline

704
00:31:59,360 --> 00:32:02,959
Speaker 1: and make a focused records. So I went in with

705
00:32:03,000 --> 00:32:04,680
Speaker 1: this idea that I was going to make a much

706
00:32:04,720 --> 00:32:09,040
Speaker 1: more focused record, call it six one five, and it'll

707
00:32:09,080 --> 00:32:12,640
Speaker 1: be very focused, and it'll be only this and only

708
00:32:12,720 --> 00:32:14,520
Speaker 1: that and blah blah blah blah blah blah, you know.

709
00:32:15,200 --> 00:32:17,720
Speaker 1: And I ended up with this record that was pretty linear.

710
00:32:18,080 --> 00:32:21,480
Speaker 1: It just sort of did this. It didn't have all

711
00:32:21,520 --> 00:32:25,080
Speaker 1: the stuff, the spontaneities, just didn't have the spontaneity and

712
00:32:25,080 --> 00:32:26,320
Speaker 1: the spark and the spirit.

713
00:32:26,960 --> 00:32:28,040
Speaker 4: So I scrapped it.

714
00:32:28,280 --> 00:32:32,880
Speaker 1: And the first song we wrote was straight Line, which

715
00:32:33,880 --> 00:32:37,320
Speaker 1: bursts with all that rhythmic spirit and liberation because I

716
00:32:37,480 --> 00:32:41,280
Speaker 1: just come out of this attempt that didn't work at all,

717
00:32:41,320 --> 00:32:43,800
Speaker 1: And I'm like, that's to your point, Earli. About writing songs,

718
00:32:43,840 --> 00:32:46,760
Speaker 1: you learn what you don't want to do, and I

719
00:32:46,880 --> 00:32:49,600
Speaker 1: learned why I don't make records that way. It's just

720
00:32:49,720 --> 00:32:52,480
Speaker 1: much more fun for me to be spontaneous.

721
00:32:52,280 --> 00:32:55,840
Speaker 3: In that process. And we'll call it the linear part

722
00:32:55,840 --> 00:32:57,960
Speaker 3: of this journey. Did you ever feel like, oh, this

723
00:32:58,000 --> 00:32:59,640
Speaker 3: isn't feeling right or are you done with it? And

724
00:32:59,680 --> 00:33:02,200
Speaker 3: you're like, man, this didn't capture really what I want

725
00:33:02,240 --> 00:33:05,000
Speaker 3: to capture. When did that happen where you had to evaluate, hey, we.

726
00:33:04,960 --> 00:33:05,680
Speaker 2: May do this again.

727
00:33:06,520 --> 00:33:09,840
Speaker 1: When I was sequencing it, and I get it, you know, sequencing,

728
00:33:09,880 --> 00:33:12,120
Speaker 1: what does it matter anymore? Who wo listens to albums

729
00:33:12,160 --> 00:33:15,080
Speaker 1: top to bottom, you know, but sometimes sequencing for me

730
00:33:15,160 --> 00:33:18,240
Speaker 1: is the way to decide what even makes it onto

731
00:33:18,280 --> 00:33:21,440
Speaker 1: an album. The sequencing kind of tells me, well, you

732
00:33:21,480 --> 00:33:23,880
Speaker 1: didn't need that one. This one over here that I

733
00:33:23,920 --> 00:33:26,280
Speaker 1: was leaving off would actually go good right there, So

734
00:33:26,320 --> 00:33:30,200
Speaker 1: that one does make sense. So when I started sequencing

735
00:33:30,240 --> 00:33:33,440
Speaker 1: these songs, that was when I realized, oh, there's a

736
00:33:33,480 --> 00:33:36,640
Speaker 1: lot of very similar sounding songs here, you know. Just

737
00:33:38,760 --> 00:33:40,480
Speaker 1: I was touring at the time, so I was sort

738
00:33:40,480 --> 00:33:44,800
Speaker 1: of recording sporadically, I'd come off the road, we'd cut

739
00:33:44,840 --> 00:33:47,960
Speaker 1: one song, We'd be like, ah, fantastic, sounds great. You know,

740
00:33:48,040 --> 00:33:49,560
Speaker 1: you go into it for a few weeks, come back,

741
00:33:49,760 --> 00:33:54,760
Speaker 1: cut another song that's great. Well, without thinking these together,

742
00:33:55,560 --> 00:33:56,360
Speaker 1: you're not going to want it.

743
00:33:56,560 --> 00:33:57,320
Speaker 4: That's what happened.

744
00:33:58,120 --> 00:33:59,920
Speaker 3: When we look at the ACMs, you're one of the

745
00:34:00,240 --> 00:34:03,640
Speaker 3: to do it, the triple crown, to hit one, two, three.

746
00:34:06,160 --> 00:34:08,839
Speaker 3: When you move here, the goals probably just to eat

747
00:34:08,880 --> 00:34:11,439
Speaker 3: and pay the bills. Yeah, But now that you look

748
00:34:11,520 --> 00:34:14,560
Speaker 3: back and you have, you know, one of the few

749
00:34:14,640 --> 00:34:18,160
Speaker 3: things that any country music artist has, the triple crown,

750
00:34:18,719 --> 00:34:21,160
Speaker 3: Like can you look back at old Keith and be

751
00:34:21,200 --> 00:34:21,960
Speaker 3: proud of them?

752
00:34:22,160 --> 00:34:22,759
Speaker 4: Yeah?

753
00:34:23,080 --> 00:34:27,640
Speaker 1: Yeah, and especially the perseverance in tinacity to just keep

754
00:34:27,680 --> 00:34:32,439
Speaker 1: going even when it seemed. I'm glad it didn't seem

755
00:34:32,480 --> 00:34:34,640
Speaker 1: as weird and crazy to me as it did to

756
00:34:34,640 --> 00:34:39,200
Speaker 1: everybody else. It seems so crystal clear why I should

757
00:34:39,200 --> 00:34:42,279
Speaker 1: be here. But I realized at the time people must

758
00:34:42,280 --> 00:34:43,799
Speaker 1: have and I know they were a sort of going,

759
00:34:44,360 --> 00:34:45,000
Speaker 1: the hell.

760
00:34:44,840 --> 00:34:48,440
Speaker 4: Is this boar doing here? It's just crazy? He's crazy,

761
00:34:48,520 --> 00:34:48,719
Speaker 4: you know.

762
00:34:49,680 --> 00:34:51,640
Speaker 1: I'm glad I didn't know that at the time, because

763
00:34:51,680 --> 00:34:54,520
Speaker 1: I felt really comfortable here and like I should be.

764
00:34:55,360 --> 00:34:58,040
Speaker 1: It just took years and years and years of chipping

765
00:34:58,080 --> 00:35:04,120
Speaker 1: away to finally figure out out how to fit in

766
00:35:04,320 --> 00:35:07,880
Speaker 1: and not lose myself. That was the balancing act that

767
00:35:07,920 --> 00:35:09,120
Speaker 1: took the longest to figure out.

768
00:35:09,320 --> 00:35:11,959
Speaker 3: To walk through all three pretty quickly. The Best New Artist,

769
00:35:12,600 --> 00:35:15,399
Speaker 3: you're that guy? Does that change you? Does it change

770
00:35:15,400 --> 00:35:18,000
Speaker 3: how people treat you in town? After you get the

771
00:35:18,040 --> 00:35:18,759
Speaker 3: trophy of the award?

772
00:35:21,160 --> 00:35:21,560
Speaker 4: A little?

773
00:35:21,560 --> 00:35:25,319
Speaker 1: I mean, just more an awareness that's all in potential, like.

774
00:35:26,880 --> 00:35:27,760
Speaker 4: Go a little potential.

775
00:35:28,680 --> 00:35:30,120
Speaker 2: You know a male vocalist.

776
00:35:31,000 --> 00:35:33,239
Speaker 4: Oh man, that was a shock. That was a shock.

777
00:35:34,400 --> 00:35:37,040
Speaker 2: I believe you when you said that, Like why why?

778
00:35:37,600 --> 00:35:43,080
Speaker 1: Because I've never seen myself. I guess I'm so singer

779
00:35:43,160 --> 00:35:46,600
Speaker 1: guitar oriented that to think of my vocal as being

780
00:35:46,640 --> 00:35:50,840
Speaker 1: an independent, singular thing I've never given. I just didn't

781
00:35:51,320 --> 00:35:54,160
Speaker 1: didn't see myself in that category.

782
00:35:54,440 --> 00:35:56,239
Speaker 3: So when you're nominated, do you feel like you're just

783
00:35:56,280 --> 00:35:58,240
Speaker 3: not going to win? Like this is cool to be nominated?

784
00:35:58,440 --> 00:36:00,040
Speaker 2: Yeah? And when they called your name it was and

785
00:36:00,120 --> 00:36:00,560
Speaker 2: you went shock.

786
00:36:00,880 --> 00:36:05,120
Speaker 1: Yeah, And especially because you historically you get nominated and

787
00:36:05,160 --> 00:36:07,239
Speaker 1: then you get nominated the next year, and if you're

788
00:36:07,280 --> 00:36:10,680
Speaker 1: lucky the year after that, and then eventually eventually they

789
00:36:10,760 --> 00:36:12,760
Speaker 1: give it to you because you've been nominated so many times,

790
00:36:13,000 --> 00:36:16,920
Speaker 1: so to get nominated and win it is a big show.

791
00:36:17,000 --> 00:36:18,000
Speaker 2: The Big Ones entertainer.

792
00:36:18,600 --> 00:36:21,920
Speaker 3: Yeah, I think if all the voters saw you perform

793
00:36:22,000 --> 00:36:24,160
Speaker 3: every night, I don't know who else would have won

794
00:36:24,200 --> 00:36:26,520
Speaker 3: in the last twenty years, Like to watch it or

795
00:36:27,080 --> 00:36:29,000
Speaker 3: I guess your show or why I think I told

796
00:36:29,040 --> 00:36:30,560
Speaker 3: you the first time I saw you do a real show,

797
00:36:30,560 --> 00:36:32,279
Speaker 3: I was like, oh, I'm blown away because I heard

798
00:36:32,280 --> 00:36:34,239
Speaker 3: you play, and I've seen you play intimately, and I've

799
00:36:34,239 --> 00:36:37,040
Speaker 3: seen you play on my show. But to watch a

800
00:36:37,239 --> 00:36:42,120
Speaker 3: full like arena performance, I was blown away and I'm jaded.

801
00:36:42,840 --> 00:36:46,080
Speaker 3: And I remember telling you that I think this is

802
00:36:46,120 --> 00:36:48,960
Speaker 3: a compliment, but you're awesome. I had no idea like

803
00:36:49,080 --> 00:36:55,480
Speaker 3: how how enthralled I would be, the people around me

804
00:36:55,520 --> 00:36:57,480
Speaker 3: would be to watch you embrace the crowd, to get

805
00:36:57,520 --> 00:36:59,640
Speaker 3: very personal, to get within the crowd, all the energy.

806
00:37:00,480 --> 00:37:01,719
Speaker 3: So I feel like you'd be entertained of the year

807
00:37:01,719 --> 00:37:04,240
Speaker 3: every year if everybody had to go and watch you perform.

808
00:37:04,520 --> 00:37:07,680
Speaker 3: But to finally be acknowledged for that, the big One

809
00:37:07,840 --> 00:37:09,799
Speaker 3: tell me about that, I.

810
00:37:09,760 --> 00:37:12,680
Speaker 1: Mean, that's you know it's it's off of the Mountain

811
00:37:13,520 --> 00:37:19,840
Speaker 1: an award recognition. Yeah, it's I mean, especially for me

812
00:37:19,880 --> 00:37:21,759
Speaker 1: because I love to do it more than anything in

813
00:37:21,800 --> 00:37:25,239
Speaker 1: the world. I love to play live and I love

814
00:37:25,280 --> 00:37:28,080
Speaker 1: to play with an audience. I love to entertain. You know,

815
00:37:28,239 --> 00:37:30,840
Speaker 1: I'm not a shoe gazer. I love to entertain.

816
00:37:31,480 --> 00:37:33,000
Speaker 3: I'm a shoe gazer little bit in a different way.

817
00:37:33,000 --> 00:37:34,680
Speaker 3: I think we're both shoegazers, just in a different way

818
00:37:34,680 --> 00:37:36,399
Speaker 3: than you mean that, because you got it. I think

819
00:37:36,920 --> 00:37:39,480
Speaker 3: maybe one A one B becomes the shoes. I think

820
00:37:39,520 --> 00:37:40,799
Speaker 3: you and are kind of rock in the whole town.

821
00:37:41,560 --> 00:37:43,120
Speaker 3: I don't ever see it, not in great shoes. Well

822
00:37:43,120 --> 00:37:46,960
Speaker 3: thank you, yeah, thank you or a great car. Likewise, yeah,

823
00:37:47,120 --> 00:37:47,640
Speaker 3: I remember why.

824
00:37:47,640 --> 00:37:48,640
Speaker 4: It's your fancy kicks.

825
00:37:48,640 --> 00:37:52,640
Speaker 3: Look and we'll land on a very music based story.

826
00:37:52,880 --> 00:37:55,600
Speaker 3: One of my favorite Keith Urban stories is there's this

827
00:37:55,640 --> 00:37:59,359
Speaker 3: big truck behind me, big like right on my butt,

828
00:37:59,640 --> 00:38:00,640
Speaker 3: and I'm.

829
00:38:00,200 --> 00:38:01,600
Speaker 2: About to get beat up. Whoever this is.

830
00:38:01,600 --> 00:38:03,560
Speaker 3: I'm about to get beat up. And it was you

831
00:38:04,000 --> 00:38:05,480
Speaker 3: and we were going to the opera. It was during

832
00:38:05,480 --> 00:38:08,480
Speaker 3: COVID whatever, Yeah, and you were in this big truck.

833
00:38:08,719 --> 00:38:09,960
Speaker 3: I hadn't I don't know it was you don't think

834
00:38:09,960 --> 00:38:11,040
Speaker 3: you'd be in a truck like you're being like a

835
00:38:11,239 --> 00:38:12,359
Speaker 3: I don't know, helicopter or something.

836
00:38:12,400 --> 00:38:13,200
Speaker 2: You know, you're Keith Thurban.

837
00:38:13,760 --> 00:38:14,880
Speaker 4: I think it was an F three fifty.

838
00:38:14,920 --> 00:38:15,960
Speaker 2: It was a monster.

839
00:38:16,040 --> 00:38:17,160
Speaker 3: But I thought I'm about to get beat up by

840
00:38:17,160 --> 00:38:18,840
Speaker 3: whomever's behind me because we're going on that part of

841
00:38:18,840 --> 00:38:20,520
Speaker 3: the opera that's like nobody else canna drive?

842
00:38:20,640 --> 00:38:22,160
Speaker 2: Yeah, yeah, yeah, And then and.

843
00:38:22,080 --> 00:38:24,720
Speaker 3: You're like hey, I was like, oh man, thank god,

844
00:38:25,200 --> 00:38:28,160
Speaker 3: but didn't You're a car guy.

845
00:38:29,840 --> 00:38:32,400
Speaker 1: My dad loved cars, so I grew up with my

846
00:38:32,440 --> 00:38:35,400
Speaker 1: whole life. We've had We're the odd ball couple, the

847
00:38:35,400 --> 00:38:37,880
Speaker 1: odd ball family in Australia that always had American cars

848
00:38:38,400 --> 00:38:40,600
Speaker 1: in this tiny little town we lived in Australia. We

849
00:38:40,640 --> 00:38:43,760
Speaker 1: had like Chevyes and Pontiacs and Buicks and you know, can.

850
00:38:43,640 --> 00:38:46,279
Speaker 2: You fix a car like drink drink?

851
00:38:46,320 --> 00:38:46,840
Speaker 3: Can you fix it?

852
00:38:46,880 --> 00:38:46,960
Speaker 2: Like?

853
00:38:47,200 --> 00:38:47,399
Speaker 1: No?

854
00:38:47,680 --> 00:38:48,759
Speaker 4: I wish I could.

855
00:38:49,080 --> 00:38:52,440
Speaker 1: It's just it's the driving aspect. I mean, my passion

856
00:38:52,520 --> 00:38:54,919
Speaker 1: next to music is driving. I drive all the time,

857
00:38:55,080 --> 00:39:00,239
Speaker 1: and when I'm touring, I'll rent a car if we're

858
00:39:00,239 --> 00:39:01,440
Speaker 1: going to if we're going to get from a hotel

859
00:39:01,480 --> 00:39:03,399
Speaker 1: to the venue, I'd rather rent to Carr and drive

860
00:39:03,440 --> 00:39:05,280
Speaker 1: it myself. I hate being driven.

861
00:39:06,640 --> 00:39:10,160
Speaker 3: Final question, because I know how much you value the

862
00:39:10,200 --> 00:39:12,359
Speaker 3: people that come to your live shows, and you put

863
00:39:12,360 --> 00:39:14,400
Speaker 3: so much work into the live shows. Talk to me

864
00:39:14,440 --> 00:39:17,120
Speaker 3: about a set list and the art of your set

865
00:39:17,160 --> 00:39:18,480
Speaker 3: list and how you put together a night.

866
00:39:20,160 --> 00:39:22,800
Speaker 1: I probably obsess over way too much a set list

867
00:39:25,040 --> 00:39:27,359
Speaker 1: because it's an experience. I mean, it's not a group

868
00:39:27,360 --> 00:39:31,680
Speaker 1: of songs. I'm shaping an experience that I want to

869
00:39:31,800 --> 00:39:35,080
Speaker 1: create for those two hours for the audience, and I'm

870
00:39:35,120 --> 00:39:38,359
Speaker 1: trying to guess will this have that effect? And if

871
00:39:38,360 --> 00:39:41,080
Speaker 1: we go from here and to here, will will that

872
00:39:41,120 --> 00:39:43,560
Speaker 1: do this? Will this be about the time that the

873
00:39:43,600 --> 00:39:46,680
Speaker 1: audience would want that that should be right, and then

874
00:39:46,719 --> 00:39:49,640
Speaker 1: we would be able to do this after that because that.

875
00:39:49,560 --> 00:39:50,360
Speaker 4: Would make sense.

876
00:39:50,440 --> 00:39:54,160
Speaker 1: And you trying to create this a playlist, you know,

877
00:39:54,280 --> 00:39:56,640
Speaker 1: trying to create a great playlist for a two hour party.

878
00:39:57,000 --> 00:39:58,680
Speaker 3: You were closing your eyes as you were even talking

879
00:39:58,719 --> 00:40:00,960
Speaker 3: to me through it is that in every night thing

880
00:40:01,000 --> 00:40:03,920
Speaker 3: where you're changing it or changing it based on how

881
00:40:03,920 --> 00:40:04,800
Speaker 3: you felt the night before.

882
00:40:05,800 --> 00:40:09,960
Speaker 1: I've learned that it's a delicate balance of don't take

883
00:40:10,000 --> 00:40:12,480
Speaker 1: too much data from that night because that was that

884
00:40:12,640 --> 00:40:16,960
Speaker 1: night in that venue in that town. And if you

885
00:40:17,040 --> 00:40:20,480
Speaker 1: go tinkering too much because of that feedback, this audience

886
00:40:20,480 --> 00:40:25,560
Speaker 1: could be completely different. So just do it enough where

887
00:40:25,560 --> 00:40:29,319
Speaker 1: at some point the set list becomes pretty solid. For me,

888
00:40:29,640 --> 00:40:31,319
Speaker 1: you know, I mean always going to make quarterback calls

889
00:40:31,320 --> 00:40:33,440
Speaker 1: because I can't do the exact same thing night.

890
00:40:33,320 --> 00:40:35,719
Speaker 4: After night after night. I couldn't do it. But like

891
00:40:35,760 --> 00:40:38,879
Speaker 4: an episode of SEVENS or something, I just can't do it.

892
00:40:39,400 --> 00:40:40,800
Speaker 2: Going back out on the road again.

893
00:40:41,480 --> 00:40:44,279
Speaker 1: Yeah, High in a Live World tour is going to

894
00:40:44,360 --> 00:40:48,759
Speaker 1: kick off. Got a predominantly new band, new obviously, new

895
00:40:48,840 --> 00:40:53,480
Speaker 1: songs are put in there, and brand new production, working

896
00:40:53,480 --> 00:40:56,360
Speaker 1: with a production design I've never worked with before, and

897
00:40:56,600 --> 00:40:58,759
Speaker 1: just trying to create a whole brand new experience.

898
00:40:59,160 --> 00:41:01,879
Speaker 3: What is a production designer do with you? I don't

899
00:41:01,920 --> 00:41:03,359
Speaker 3: know that process.

900
00:41:03,400 --> 00:41:06,480
Speaker 1: Just the look of the stage, you know, and for me,

901
00:41:06,560 --> 00:41:08,000
Speaker 1: what the lighting is going to do with the video

902
00:41:08,040 --> 00:41:08,880
Speaker 1: aspects is going to do?

903
00:41:09,360 --> 00:41:11,239
Speaker 4: What the physical.

904
00:41:12,680 --> 00:41:14,919
Speaker 1: Environment of the stage is going to be, what's the

905
00:41:15,480 --> 00:41:17,759
Speaker 1: what's the material that we're going to be standing on

906
00:41:17,840 --> 00:41:19,560
Speaker 1: and the durability of it and the color of it

907
00:41:19,640 --> 00:41:23,359
Speaker 1: and all this stuff so that when you walk in

908
00:41:23,560 --> 00:41:26,239
Speaker 1: it has a very particular look about it.

909
00:41:26,480 --> 00:41:29,000
Speaker 3: Other than the music rehearsal part is our timing rehearsal

910
00:41:29,040 --> 00:41:30,920
Speaker 3: part with the videos, the elements that you're putting into

911
00:41:30,920 --> 00:41:31,200
Speaker 3: the show.

912
00:41:31,560 --> 00:41:33,480
Speaker 1: Yeah, it's tricky for me because I have a lot

913
00:41:33,520 --> 00:41:38,120
Speaker 1: of spontaneity. So even with tracks, if we've got backing

914
00:41:38,160 --> 00:41:41,239
Speaker 1: tracks on certain things that might be just percussion. There

915
00:41:41,280 --> 00:41:45,200
Speaker 1: may be percussion components that the band is playing along with,

916
00:41:45,719 --> 00:41:48,680
Speaker 1: but I may not want to do that exact arrangement tonight.

917
00:41:48,800 --> 00:41:52,000
Speaker 1: So you know, our track guy knows how to move

918
00:41:52,040 --> 00:41:54,160
Speaker 1: things in real time, and the video guys are getting

919
00:41:54,200 --> 00:41:55,719
Speaker 1: really good at knowing how to move things in real

920
00:41:55,800 --> 00:42:00,200
Speaker 1: time too, and swap songs around and be on the fly.

921
00:42:00,800 --> 00:42:02,600
Speaker 3: By getting really good at it, that means being forced

922
00:42:02,640 --> 00:42:05,040
Speaker 3: to because you're like, I'm changing this, and so they

923
00:42:05,040 --> 00:42:06,000
Speaker 3: just have to roll with it, right.

924
00:42:06,239 --> 00:42:06,719
Speaker 4: It's great.

925
00:42:06,760 --> 00:42:09,839
Speaker 1: I love that kind of just that spontaneity keeps everybody

926
00:42:10,680 --> 00:42:13,279
Speaker 1: on edge, like nobody can get up. Nobody in the

927
00:42:13,320 --> 00:42:16,640
Speaker 1: band or in the crew can just be like, you

928
00:42:16,680 --> 00:42:19,359
Speaker 1: know if you're on because you don't know what's going

929
00:42:19,400 --> 00:42:22,320
Speaker 1: to happen next. And I love those kinds of shows.

930
00:42:22,400 --> 00:42:24,320
Speaker 1: You can feel that kind of energy in the audience.

931
00:42:24,400 --> 00:42:28,520
Speaker 1: That especially when you go into a like a spontaneous thing,

932
00:42:28,600 --> 00:42:30,879
Speaker 1: a guitar solo or some moment breakdown moment or something

933
00:42:30,960 --> 00:42:32,320
Speaker 1: musically and the band's like, I don't.

934
00:42:32,120 --> 00:42:33,239
Speaker 4: Know what's happening, what's going on?

935
00:42:33,320 --> 00:42:35,200
Speaker 1: And you're like, I don't know, we to here, we are,

936
00:42:35,200 --> 00:42:38,560
Speaker 1: but we're doing it. The audience feel that they don't

937
00:42:38,600 --> 00:42:40,960
Speaker 1: They don't have to be musical. They just go what

938
00:42:41,160 --> 00:42:44,200
Speaker 1: is going on? What is what's this energy that's happening

939
00:42:44,280 --> 00:42:46,320
Speaker 1: right now? And it's just unpredictability.

940
00:42:46,440 --> 00:42:48,640
Speaker 3: So keep the band scared. That's the advice, is to

941
00:42:48,719 --> 00:42:52,640
Speaker 3: keep your band scared anytime. Yeah, I really appreciate you.

942
00:42:52,560 --> 00:42:55,040
Speaker 2: Having me out. Thank you, thanks for showing me the place.

943
00:42:55,080 --> 00:42:59,560
Speaker 3: And always inspired by how you're so inspired. That's a

944
00:42:59,560 --> 00:43:01,359
Speaker 3: weird thing, hey, but that's the truth, and I thank you. Yeah,

945
00:43:01,360 --> 00:43:03,799
Speaker 3: I'm inspired by how you stay so inspired. So yeah,

946
00:43:03,880 --> 00:43:05,200
Speaker 3: thanks for having us out any time.

947
00:43:05,239 --> 00:43:18,359
Speaker 7: Bubby, the Bobby Cast will be right back. This is

948
00:43:18,440 --> 00:43:19,320
Speaker 7: the Bobby Cast.

949
00:43:20,040 --> 00:43:23,239
Speaker 3: I was reading this article about fifteen rock bands that

950
00:43:23,360 --> 00:43:26,960
Speaker 3: supposedly don't deserve all the hate they get and ultimate

951
00:43:27,000 --> 00:43:30,520
Speaker 3: classic rock lists the fifteen and all we're going to

952
00:43:30,560 --> 00:43:32,440
Speaker 3: do is put it on a one to ten scale,

953
00:43:32,440 --> 00:43:35,200
Speaker 3: how much we hate the band love it. We're not

954
00:43:35,239 --> 00:43:37,239
Speaker 3: even going to say if they deserve the hate, we can,

955
00:43:37,400 --> 00:43:40,719
Speaker 3: but the main purpose is one to ten ten mean

956
00:43:40,880 --> 00:43:42,680
Speaker 3: most hate, one meaning love.

957
00:43:42,840 --> 00:43:46,719
Speaker 5: And personal opinion. Yeah, all personal opinion, and that's art, right,

958
00:43:46,719 --> 00:43:49,279
Speaker 5: like you judge art differently based on who you are.

959
00:43:49,320 --> 00:43:52,360
Speaker 3: A number fifteen limp Biscuit. I put Limbisku out of

960
00:43:52,360 --> 00:43:55,800
Speaker 3: a nine. I love limp Biscuit and love that time.

961
00:43:56,280 --> 00:43:58,919
Speaker 3: Was never much of a corn guy, but loved limp

962
00:43:58,960 --> 00:44:01,440
Speaker 3: Biscuit and limt Biscuit. It was a bit derivative of corn.

963
00:44:01,520 --> 00:44:02,040
Speaker 5: Yeah they were.

964
00:44:02,320 --> 00:44:06,000
Speaker 3: Yeah, so love limp Biscuit, love the white rock or

965
00:44:06,080 --> 00:44:10,320
Speaker 3: rap type thing. I still will watch limb Biscuit videos

966
00:44:10,440 --> 00:44:13,880
Speaker 3: now of them doing festivals now and still killing it,

967
00:44:13,960 --> 00:44:15,520
Speaker 3: still doing good. Yeah, so I put them in a nine.

968
00:44:15,600 --> 00:44:18,680
Speaker 5: You I'm gonna go five. Don't care either way because

969
00:44:19,120 --> 00:44:22,120
Speaker 5: I respect what they did and what they're still doing.

970
00:44:22,239 --> 00:44:25,759
Speaker 5: Fred Durst, I mean, you know, it's whatever. The guitarists,

971
00:44:25,800 --> 00:44:27,800
Speaker 5: the guy that looked like, you know, he wore the contacts,

972
00:44:27,800 --> 00:44:30,640
Speaker 5: and the monkey guy like that's pretty cool. So I

973
00:44:30,680 --> 00:44:32,640
Speaker 5: didn't care much for their music. But I respect them,

974
00:44:32,640 --> 00:44:33,239
Speaker 5: so I go five.

975
00:44:34,719 --> 00:44:36,600
Speaker 3: Rarely do people say they respect limb Biscuit.

976
00:44:36,719 --> 00:44:39,600
Speaker 5: Yeah, I haven't heard that really. Yeah, because I understand

977
00:44:39,600 --> 00:44:41,520
Speaker 5: their success, I understand why people like them.

978
00:44:41,960 --> 00:44:43,680
Speaker 3: Yeah, I really still like them. I wish they'd come

979
00:44:43,719 --> 00:44:47,440
Speaker 3: in here doing acoustic. That would be to break stuff.

980
00:44:47,800 --> 00:44:51,120
Speaker 3: Number fourteen Dave Matthews Band, I'm gonna put them at

981
00:44:51,160 --> 00:44:56,360
Speaker 3: a I'll go eight. Their live shows aren't for me

982
00:44:56,400 --> 00:44:58,680
Speaker 3: because they're jam banded and too long. But I really

983
00:44:58,719 --> 00:45:01,680
Speaker 3: like Dave Matthews Band when it comes to listening to

984
00:45:02,120 --> 00:45:04,040
Speaker 3: songs or albums.

985
00:45:04,120 --> 00:45:06,600
Speaker 5: Solid, that's pretty solid. I want to put them at

986
00:45:06,640 --> 00:45:09,960
Speaker 5: an eight for a different reason. I like their early stuff.

987
00:45:10,160 --> 00:45:13,839
Speaker 5: I like Dave Matthews Band till about two thousand. Then

988
00:45:13,880 --> 00:45:16,080
Speaker 5: after two thousand they kind of lost me. After space

989
00:45:16,120 --> 00:45:19,040
Speaker 5: between some of the music kind of it didn't like

990
00:45:19,440 --> 00:45:21,359
Speaker 5: I don't know, it didn't click with me. So I'm

991
00:45:21,360 --> 00:45:23,520
Speaker 5: gonna go eight because I do love Dave Matthews Band,

992
00:45:23,560 --> 00:45:25,239
Speaker 5: but some of their early their their later stuff, for

993
00:45:25,320 --> 00:45:27,359
Speaker 5: their most recent stuff don't like so much.

994
00:45:27,400 --> 00:45:30,120
Speaker 3: It's probably because you're on your formidable years anymore, and

995
00:45:30,160 --> 00:45:31,799
Speaker 3: that stuff that you grow up with in that time

996
00:45:31,840 --> 00:45:36,440
Speaker 3: of like fifteen to nineteen, thirteen to nineteen really becomes you.

997
00:45:36,480 --> 00:45:38,040
Speaker 3: And if they change it all from that, you don't

998
00:45:38,080 --> 00:45:40,040
Speaker 3: like that anymore because it's not in your formidable years.

999
00:45:40,080 --> 00:45:42,280
Speaker 3: More than their change is just so drastic.

1000
00:45:42,440 --> 00:45:44,520
Speaker 5: Could be right, You could be right about that. I mean, dude,

1001
00:45:44,480 --> 00:45:47,520
Speaker 5: I love Dave Matthews so much that I would listen

1002
00:45:47,560 --> 00:45:51,200
Speaker 5: to all their live albums. I mean their Red Rocks album.

1003
00:45:51,239 --> 00:45:54,839
Speaker 5: I'd listen from start to finish.

1004
00:45:53,960 --> 00:45:54,640
Speaker 3: Dave and Toom.

1005
00:45:55,040 --> 00:45:56,960
Speaker 5: I would listen to a lot of those college albums.

1006
00:45:57,200 --> 00:45:57,759
Speaker 3: That's a good one.

1007
00:45:57,880 --> 00:45:58,200
Speaker 5: Loved it.

1008
00:45:58,239 --> 00:46:00,440
Speaker 3: That was like from Chicago theater, right. They did a

1009
00:46:00,480 --> 00:46:02,000
Speaker 3: bunch of different ones the day in ten. There was

1010
00:46:02,040 --> 00:46:04,719
Speaker 3: like one real big record though, uh Luther College. I

1011
00:46:04,719 --> 00:46:06,440
Speaker 3: believe that what it was that was like in Chicago.

1012
00:46:06,800 --> 00:46:07,920
Speaker 3: Oh possibly, don't.

1013
00:46:08,000 --> 00:46:08,759
Speaker 5: Let's let's google that.

1014
00:46:08,880 --> 00:46:14,680
Speaker 3: I don't know. Number thirteen. You too, I like you too, fine.

1015
00:46:15,400 --> 00:46:18,680
Speaker 3: I find them to be overrated. I put them in

1016
00:46:18,680 --> 00:46:23,719
Speaker 3: about a five. I don't hate you too. I would

1017
00:46:23,760 --> 00:46:27,320
Speaker 3: bet either Chicago or North Carolina from where they're from.

1018
00:46:27,520 --> 00:46:29,040
Speaker 5: Where is it? Iowa?

1019
00:46:29,239 --> 00:46:29,520
Speaker 2: Danger?

1020
00:46:29,560 --> 00:46:33,200
Speaker 3: Mister mc du okay, Uh you too? I put them

1021
00:46:33,200 --> 00:46:35,120
Speaker 3: a five. You're crazy, dude, you put you Tube where

1022
00:46:35,160 --> 00:46:37,360
Speaker 3: you put on biscuit. You two is a ten for me.

1023
00:46:38,120 --> 00:46:41,080
Speaker 5: I still love what YouTube puts out like I love

1024
00:46:41,160 --> 00:46:41,560
Speaker 5: you too.

1025
00:46:41,920 --> 00:46:43,480
Speaker 3: They take themselves way too seriously for me.

1026
00:46:43,560 --> 00:46:46,399
Speaker 5: They do. They're serious about their music, but.

1027
00:46:46,280 --> 00:46:48,880
Speaker 3: It's different than serious about their music than take themselves

1028
00:46:48,960 --> 00:46:51,160
Speaker 3: way too serious. Two different things. Oh you think like

1029
00:46:51,400 --> 00:46:54,680
Speaker 3: they Yeah, they have attached themselves like we have a

1030
00:46:54,680 --> 00:46:56,520
Speaker 3: purpose bigger than everybody else, and you should listen to

1031
00:46:56,560 --> 00:46:59,600
Speaker 3: everything we say always because we are rock stars and

1032
00:46:59,680 --> 00:47:02,080
Speaker 3: people have accepted and loved ust on a level that

1033
00:47:02,160 --> 00:47:05,000
Speaker 3: makes us superior. They have a superiority complex unfairly.

1034
00:47:05,040 --> 00:47:07,560
Speaker 5: I think that is Bono, that's I mean. And they've

1035
00:47:07,600 --> 00:47:10,160
Speaker 5: chosen Bono as their leader as the leader of the band.

1036
00:47:10,200 --> 00:47:12,759
Speaker 5: I get it, and part partly too, Like I mean,

1037
00:47:12,800 --> 00:47:15,799
Speaker 5: he named himself Bono, and then the Edge has a name.

1038
00:47:16,040 --> 00:47:18,719
Speaker 5: That doesn't help that they have these like weird first

1039
00:47:18,800 --> 00:47:22,040
Speaker 5: names or whatever. But dude, you two is so good.

1040
00:47:22,400 --> 00:47:24,239
Speaker 5: The whole world loves you too, and I think there's

1041
00:47:24,280 --> 00:47:24,719
Speaker 5: a reason for.

1042
00:47:24,680 --> 00:47:27,920
Speaker 3: The whole world doesn't love you too. They had their moment.

1043
00:47:28,080 --> 00:47:30,719
Speaker 3: They're a five for me. There are ten wow, ten

1044
00:47:31,239 --> 00:47:37,879
Speaker 3: Genesis a little before us, though I've been unfair. So

1045
00:47:37,960 --> 00:47:41,400
Speaker 3: the original singer of Genesis was Phil Collins.

1046
00:47:41,520 --> 00:47:44,920
Speaker 5: No go Peter Gabriel. Yes, it's fifty to fifty.

1047
00:47:44,920 --> 00:47:46,920
Speaker 3: And then Phil Collins was the drummer who ended up

1048
00:47:46,920 --> 00:47:49,799
Speaker 3: being the singer. I don't have a feeling of love

1049
00:47:49,920 --> 00:47:52,200
Speaker 3: or hate because I don't even know why people would

1050
00:47:52,239 --> 00:47:53,719
Speaker 3: hate them, right, and I liked them. I give them

1051
00:47:53,760 --> 00:47:56,759
Speaker 3: a six because I liked some of the early Peter

1052
00:47:56,840 --> 00:47:58,960
Speaker 3: Gabriel stuff. And we've done this in podcasts, like try

1053
00:47:59,000 --> 00:48:04,719
Speaker 3: to figure out what was what it's really present on

1054
00:48:04,800 --> 00:48:07,759
Speaker 3: Genesis more than it is a score sure, and why

1055
00:48:07,760 --> 00:48:09,359
Speaker 3: don't know why people don't like them though I don't know.

1056
00:48:09,320 --> 00:48:11,759
Speaker 5: Either, And we're definitely at the age where were we

1057
00:48:11,800 --> 00:48:14,120
Speaker 5: didn't grow up with it, like you said. And I

1058
00:48:14,120 --> 00:48:16,239
Speaker 5: think that hurts it for me because I wouldn't never

1059
00:48:16,280 --> 00:48:18,279
Speaker 5: turn it off if it's on the radio or it's

1060
00:48:18,320 --> 00:48:20,040
Speaker 5: on like, I mean, that's cool. I like that song,

1061
00:48:20,239 --> 00:48:22,480
Speaker 5: but I'll never seek Genesis. I half the time, I

1062
00:48:22,520 --> 00:48:24,719
Speaker 5: don't really even know if it's Genesis or not.

1063
00:48:24,800 --> 00:48:28,320
Speaker 3: So I go four Green Day.

1064
00:48:28,480 --> 00:48:31,600
Speaker 5: I'm wann to go love me some Green Day too,

1065
00:48:33,680 --> 00:48:36,880
Speaker 5: if ever, like I'm just like at a Friday, you know,

1066
00:48:37,239 --> 00:48:40,120
Speaker 5: six o'clock on a Friday evening and I want to

1067
00:48:40,160 --> 00:48:42,200
Speaker 5: just go back to a certain time. I will just

1068
00:48:42,239 --> 00:48:44,319
Speaker 5: grab a six pack of beer and listen to Green

1069
00:48:44,400 --> 00:48:47,120
Speaker 5: Day and like just flash back to high school, to

1070
00:48:47,320 --> 00:48:51,359
Speaker 5: college to getting out of college. I love it all.

1071
00:48:51,400 --> 00:48:53,239
Speaker 5: So Green Day I'll give a nine because they're not

1072
00:48:53,280 --> 00:48:54,640
Speaker 5: my favorite band, but I love Green Day.

1073
00:48:54,640 --> 00:48:56,959
Speaker 3: I'll give it a nine as well. I think maybe

1074
00:48:56,960 --> 00:48:59,680
Speaker 3: people don't like them now because they're extremely political.

1075
00:49:00,239 --> 00:49:00,920
Speaker 5: Oh are they?

1076
00:49:01,280 --> 00:49:01,520
Speaker 3: Yeah?

1077
00:49:02,360 --> 00:49:05,040
Speaker 5: I didn't even realize. And I guess you two is

1078
00:49:05,080 --> 00:49:05,520
Speaker 5: too right?

1079
00:49:05,760 --> 00:49:08,920
Speaker 3: Pretty political, but they're not American. Yeah, but they do

1080
00:49:09,000 --> 00:49:10,720
Speaker 3: hit on a lot of American polic they're not Americans.

1081
00:49:10,719 --> 00:49:11,960
Speaker 3: You just go, you guys aren't even American.

1082
00:49:12,120 --> 00:49:14,160
Speaker 5: A good point, Like, what are you talking about? Don't

1083
00:49:14,160 --> 00:49:14,880
Speaker 5: claiming your country?

1084
00:49:14,920 --> 00:49:17,480
Speaker 3: I know Motley Crue at ten.

1085
00:49:19,920 --> 00:49:23,200
Speaker 5: Again, I think it's our age. Uh, I don't. I

1086
00:49:23,200 --> 00:49:25,960
Speaker 5: don't hate Motley Crue. I don't see a lot of

1087
00:49:26,040 --> 00:49:29,520
Speaker 5: substance to Motley Crue music. It's kind of just turning

1088
00:49:29,600 --> 00:49:33,120
Speaker 5: on in the background. Uh, Home Sweet Home.

1089
00:49:34,000 --> 00:49:35,879
Speaker 3: Yeah, they got like two songs I like. I think

1090
00:49:35,920 --> 00:49:38,000
Speaker 3: I have a bunch of songs. I am indifferent about that.

1091
00:49:38,080 --> 00:49:40,200
Speaker 3: If it comes on the classic rock station, like I

1092
00:49:40,200 --> 00:49:43,080
Speaker 3: don't chase down smoking in the boys room. I was

1093
00:49:43,080 --> 00:49:45,880
Speaker 3: trying to think, but if it's on, I'm like smoking

1094
00:49:46,000 --> 00:49:46,959
Speaker 3: in the balls room.

1095
00:49:47,400 --> 00:49:50,720
Speaker 5: Girls, girls, girls, girls, guess gurs.

1096
00:49:50,320 --> 00:49:54,640
Speaker 3: Right, yeah, four. I see why people don't like them

1097
00:49:54,760 --> 00:49:58,040
Speaker 3: or didn't like them because they were cheesy and they

1098
00:49:58,080 --> 00:50:00,680
Speaker 3: were massive in the glam era. And when you're the

1099
00:50:00,719 --> 00:50:03,720
Speaker 3: biggest and part of an era that looks super cheesy.

1100
00:50:04,320 --> 00:50:06,560
Speaker 3: Mm hmm, I'm gonna yeah, I'm gonna go four.

1101
00:50:06,840 --> 00:50:07,880
Speaker 5: I'll go four with you.

1102
00:50:09,200 --> 00:50:15,560
Speaker 3: Nickelback, go ahead, go ahead, man, ten to seven, you're crazy.

1103
00:50:15,960 --> 00:50:16,200
Speaker 5: Seven.

1104
00:50:16,200 --> 00:50:17,640
Speaker 3: I think they get a lot of hate because it's

1105
00:50:17,640 --> 00:50:18,960
Speaker 3: the cool thing to do, and people that say they

1106
00:50:18,960 --> 00:50:20,560
Speaker 3: hate Nickelback actually just want to be a part of

1107
00:50:20,560 --> 00:50:20,920
Speaker 3: a group.

1108
00:50:20,920 --> 00:50:22,920
Speaker 5: I don't understand. Was it cool to ever say they're

1109
00:50:22,960 --> 00:50:23,400
Speaker 5: not cool?

1110
00:50:23,760 --> 00:50:24,080
Speaker 2: Yes?

1111
00:50:24,440 --> 00:50:26,759
Speaker 3: Yes, why that was the cool thing to say? It

1112
00:50:26,800 --> 00:50:29,200
Speaker 3: was Nickelback sucks. They got so big. It's the same

1113
00:50:29,200 --> 00:50:31,879
Speaker 3: thing people do to Coldplay. It's Coldplay does not suck.

1114
00:50:32,040 --> 00:50:35,600
Speaker 3: I know, but that's what happened to Coldplay. They got

1115
00:50:35,680 --> 00:50:38,040
Speaker 3: so big people started to go o, it's corny.

1116
00:50:38,719 --> 00:50:41,880
Speaker 5: Mm hmm. You don't think Nickelback's music, is you don't.

1117
00:50:41,719 --> 00:50:44,680
Speaker 3: Think cole plays music is wow, dude, it's very I

1118
00:50:44,680 --> 00:50:47,120
Speaker 3: love Coldplay, but there's definitely a corny element. It's deep

1119
00:50:47,160 --> 00:50:51,120
Speaker 3: to their anthemic, fast disco type song.

1120
00:50:51,920 --> 00:50:52,800
Speaker 5: Is it a little emo?

1121
00:50:53,040 --> 00:50:53,279
Speaker 2: Yes?

1122
00:50:53,480 --> 00:50:57,799
Speaker 3: No, guys, you're talking about like the fast stuff that

1123
00:50:57,840 --> 00:51:00,560
Speaker 3: they do now, Coldplate, Sky Full of Stars like that one.

1124
00:51:00,560 --> 00:51:03,320
Speaker 3: Cool Play gets lame, but I love Coldplay, love Coldplay.

1125
00:51:03,520 --> 00:51:05,520
Speaker 3: Nickelback can kind of get lame. But I think Nickelback's

1126
00:51:05,520 --> 00:51:07,120
Speaker 3: great and they should not be hated up on like

1127
00:51:07,160 --> 00:51:08,960
Speaker 3: they do because it became cool to hate on them.

1128
00:51:09,160 --> 00:51:11,520
Speaker 5: This is one of those things where, like, I think

1129
00:51:11,560 --> 00:51:13,480
Speaker 5: you and I could really get into a fight over

1130
00:51:14,120 --> 00:51:17,239
Speaker 5: because every time we talk about it, it's like you're

1131
00:51:17,280 --> 00:51:19,920
Speaker 5: so serious about like no, they're so good, and I'm

1132
00:51:19,960 --> 00:51:21,560
Speaker 5: so serious about like no, dude, they suck.

1133
00:51:21,719 --> 00:51:24,759
Speaker 3: You don't write that many massive songs without being a

1134
00:51:24,800 --> 00:51:27,520
Speaker 3: really great writer. Even if you think the songs have

1135
00:51:27,640 --> 00:51:34,240
Speaker 3: no texture or depth, they write bangers. The people have spoken,

1136
00:51:36,360 --> 00:51:38,080
Speaker 3: and I'm not going to go to a Nickelback concert.

1137
00:51:38,120 --> 00:51:39,440
Speaker 3: I got invited to one. I didn't want to go.

1138
00:51:39,520 --> 00:51:41,719
Speaker 3: Oh yeah, but I'm not because I'm not a Nickelback fan.

1139
00:51:42,160 --> 00:51:43,840
Speaker 3: So what do you give them, But I'm a fan

1140
00:51:44,040 --> 00:51:45,600
Speaker 3: of not being a hater for no reason.

1141
00:51:45,719 --> 00:51:48,279
Speaker 5: No, no, no, no, no, just seven. Rate them the way

1142
00:51:48,280 --> 00:51:49,279
Speaker 5: you rated Motley Kruz.

1143
00:51:49,280 --> 00:51:51,920
Speaker 3: I already did seven. They have enough good songs to

1144
00:51:51,960 --> 00:51:53,560
Speaker 3: come on. I'm like, that's fun, I like the song,

1145
00:51:54,000 --> 00:51:55,560
Speaker 3: or I definitely don't hate this song, or I'm singing

1146
00:51:55,560 --> 00:51:57,319
Speaker 3: along with it. Don't even realize I'm sing along with it.

1147
00:51:58,000 --> 00:52:02,239
Speaker 3: Never made it as a wise man. Or look at

1148
00:52:02,239 --> 00:52:03,440
Speaker 3: this photograph.

1149
00:52:04,600 --> 00:52:06,239
Speaker 5: Remember I told you how like Green Day, I get

1150
00:52:06,280 --> 00:52:08,520
Speaker 5: a six pack of beer and go back. Dude, if

1151
00:52:08,520 --> 00:52:09,719
Speaker 5: I ever got a six pack of her and listen

1152
00:52:09,719 --> 00:52:11,840
Speaker 5: to nickel Back, I would probably throw away that speaker.

1153
00:52:12,480 --> 00:52:13,479
Speaker 3: You're a hater for no reason.

1154
00:52:13,520 --> 00:52:14,280
Speaker 5: What's our scale?

1155
00:52:15,040 --> 00:52:15,520
Speaker 2: One to ten?

1156
00:52:16,160 --> 00:52:16,760
Speaker 5: No zeros?

1157
00:52:16,880 --> 00:52:18,480
Speaker 3: Nope, one liar.

1158
00:52:19,239 --> 00:52:21,840
Speaker 8: Let's take a quick pause for a message from our sponsor.

1159
00:52:30,440 --> 00:52:34,520
Speaker 8: Welcome back to the Bobby cast created eight.

1160
00:52:36,239 --> 00:52:38,879
Speaker 5: How you do this on furmose Let them out?

1161
00:52:38,960 --> 00:52:40,279
Speaker 3: It's on the list nine to eight.

1162
00:52:41,360 --> 00:52:44,680
Speaker 5: Look, the reason Creed rubbed me the wrong way is

1163
00:52:44,719 --> 00:52:47,359
Speaker 5: because I love Pearl Jam and I hated the fact

1164
00:52:47,719 --> 00:52:50,720
Speaker 5: even MTV did what was remember the Celebrity death matches

1165
00:52:51,080 --> 00:52:54,120
Speaker 5: even did any better versus Scott Creed because.

1166
00:52:55,800 --> 00:52:58,360
Speaker 3: Whatever his name is, respect him. He's played with us before.

1167
00:52:59,120 --> 00:53:03,879
Speaker 5: Because he tried to sound like Eddie Vedder. I hated that.

1168
00:53:04,280 --> 00:53:07,640
Speaker 5: I hated that he would talking like, do you.

1169
00:53:07,560 --> 00:53:09,520
Speaker 3: Think anybody that sings like that is trying to sing

1170
00:53:09,560 --> 00:53:10,160
Speaker 3: like Eddie Vedder?

1171
00:53:10,239 --> 00:53:12,319
Speaker 5: Yes, because Eddie Vedder didn't try to sing like that.

1172
00:53:13,600 --> 00:53:15,040
Speaker 5: It was the first one to ever sing like that.

1173
00:53:15,520 --> 00:53:17,799
Speaker 5: Name me someone else who sing like that before Eddie Vedder.

1174
00:53:17,880 --> 00:53:22,360
Speaker 3: Okay, everybody's derivative of something, including Eddie Vedder. Go ahead.

1175
00:53:22,400 --> 00:53:26,520
Speaker 5: I hated that about Creed so immediately I never like Creed,

1176
00:53:26,640 --> 00:53:31,680
Speaker 5: so I give them a one as well. Eight You're

1177
00:53:31,760 --> 00:53:36,760
Speaker 5: crazy with thems wide O. Did you ever buy their albums?

1178
00:53:36,920 --> 00:53:37,040
Speaker 4: Oh?

1179
00:53:37,080 --> 00:53:38,120
Speaker 3: Yeah, I went to concerts.

1180
00:53:38,320 --> 00:53:38,840
Speaker 5: How many?

1181
00:53:40,280 --> 00:53:43,040
Speaker 3: At least two? You're crazy sticks?

1182
00:53:43,760 --> 00:53:44,080
Speaker 2: Hmmm?

1183
00:53:45,120 --> 00:53:48,879
Speaker 3: Sail Away before me so much. I never saw the hate.

1184
00:53:48,920 --> 00:53:50,040
Speaker 3: So it's just do I like him or not?

1185
00:53:50,560 --> 00:53:50,759
Speaker 2: Yeah?

1186
00:53:50,880 --> 00:53:56,320
Speaker 3: Like I'm okay. I watched them do the web series

1187
00:53:57,840 --> 00:53:58,960
Speaker 3: at john.

1188
00:54:00,200 --> 00:54:00,480
Speaker 2: House.

1189
00:54:00,680 --> 00:54:03,279
Speaker 3: Yes, and then he was awesome to sing from six

1190
00:54:06,840 --> 00:54:09,319
Speaker 3: It's Darryl's house whatever it is. One of the two

1191
00:54:09,360 --> 00:54:11,080
Speaker 3: had a house and the artist would go over and

1192
00:54:11,280 --> 00:54:13,359
Speaker 3: I was like, that didn't sound roight. What I didn't

1193
00:54:13,360 --> 00:54:14,200
Speaker 3: sound right, but it's great.

1194
00:54:14,480 --> 00:54:16,719
Speaker 5: Hold on, we've done this before, man, where we like

1195
00:54:16,800 --> 00:54:19,960
Speaker 5: go down the sticks songs and like they're all so good.

1196
00:54:20,080 --> 00:54:23,200
Speaker 3: Dix is great, except they're great as a classic rock

1197
00:54:23,280 --> 00:54:25,480
Speaker 3: band that I never had any sort of relationship with

1198
00:54:25,520 --> 00:54:30,440
Speaker 3: because they weren't alive while I was alive. Like Renegade Gone,

1199
00:54:30,520 --> 00:54:36,560
Speaker 3: just stop a Renegade, that's a jam. Come sail Away,

1200
00:54:36,840 --> 00:54:40,400
Speaker 3: Come sail away, Come sail away with mister Robotto.

1201
00:54:40,520 --> 00:54:41,520
Speaker 5: Mister rob is awesome.

1202
00:54:41,960 --> 00:54:46,200
Speaker 3: I got too much time on my hands that I'm

1203
00:54:46,239 --> 00:54:46,640
Speaker 3: in Wait.

1204
00:54:46,640 --> 00:54:49,640
Speaker 5: Do they sing show me the Way like I want you? Okay?

1205
00:54:49,680 --> 00:54:51,920
Speaker 3: We played with that band, did Foreigner?

1206
00:54:52,040 --> 00:54:53,040
Speaker 5: Yeah? Oh that's cool.

1207
00:54:53,120 --> 00:54:54,759
Speaker 3: Yeah, I'm gonna give m a six.

1208
00:54:55,040 --> 00:54:57,319
Speaker 5: I like six six is strong because they I do

1209
00:54:57,480 --> 00:54:59,640
Speaker 5: like their songs. Don't know anything about them other than

1210
00:54:59,680 --> 00:55:02,400
Speaker 5: I did see that lead singer guy at home Depot

1211
00:55:02,480 --> 00:55:05,279
Speaker 5: one time long crazy Yeah, blonde.

1212
00:55:05,040 --> 00:55:08,840
Speaker 3: Hair, it still sounds great. Saw him over John O's house, No,

1213
00:55:09,239 --> 00:55:12,840
Speaker 3: Darryl's house, Pearl jam, go ahead?

1214
00:55:14,239 --> 00:55:17,400
Speaker 5: Five? Why do you do that? I swear you do

1215
00:55:17,440 --> 00:55:19,759
Speaker 5: that just to piss me off? Five Because there's no

1216
00:55:19,880 --> 00:55:22,640
Speaker 5: way that you grew up in the nineties loving.

1217
00:55:23,000 --> 00:55:24,480
Speaker 3: Don't tell me. There's no way I said what I said?

1218
00:55:24,480 --> 00:55:31,920
Speaker 5: Five, Explain yourself, my friend.

1219
00:55:31,960 --> 00:55:33,080
Speaker 3: It sounds like a cartoon character.

1220
00:55:33,239 --> 00:55:35,480
Speaker 5: What do you talk? No, one sounded like that. Do

1221
00:55:35,480 --> 00:55:36,600
Speaker 5: you remember Hunger Strike?

1222
00:55:37,320 --> 00:55:39,520
Speaker 3: Yeah? Okay, remember saw them play that at a show recently.

1223
00:55:39,680 --> 00:55:41,359
Speaker 3: They played it in the crowded the other part Chris

1224
00:55:41,400 --> 00:55:42,279
Speaker 3: Cornell bar that's.

1225
00:55:42,160 --> 00:55:44,439
Speaker 5: Pretty cool when they do that. That wasn't the show

1226
00:55:44,440 --> 00:55:49,280
Speaker 5: I went to when Hunger Strike came out. I remember

1227
00:55:49,440 --> 00:55:53,600
Speaker 5: people being like, who is that? Like that voice is

1228
00:55:53,719 --> 00:55:57,000
Speaker 5: so unique, so awesome. Who is that? That's the new

1229
00:55:57,040 --> 00:55:58,080
Speaker 5: lead singer of Pearl Jam.

1230
00:55:58,440 --> 00:55:58,640
Speaker 2: Dude?

1231
00:55:58,680 --> 00:56:02,000
Speaker 5: They were just they were great from the beginning and

1232
00:56:02,040 --> 00:56:06,000
Speaker 5: they continue to be great. They continue to didn't they

1233
00:56:06,000 --> 00:56:07,600
Speaker 5: move to Seattle? If fake like the from Seattle to

1234
00:56:07,719 --> 00:56:10,919
Speaker 5: be part of the grunch scenes Eddie did Eddie was No, no, no,

1235
00:56:11,040 --> 00:56:13,600
Speaker 5: that's not fair at all. Because Stone and Jeff, the

1236
00:56:13,640 --> 00:56:16,880
Speaker 5: two founding members of Pearl Jam, were in Mother Love Bone,

1237
00:56:17,080 --> 00:56:19,600
Speaker 5: who were the roots of Seattle grunge.

1238
00:56:19,760 --> 00:56:21,800
Speaker 3: These are the people they say Eddie Vedder is derivative

1239
00:56:21,800 --> 00:56:23,600
Speaker 3: of Jim Morrison. They stole a lot of his delivery

1240
00:56:23,600 --> 00:56:24,320
Speaker 3: from Jim Morrison.

1241
00:56:24,320 --> 00:56:24,759
Speaker 5: I get that.

1242
00:56:24,880 --> 00:56:26,839
Speaker 3: Neil Young stole a lot of his delivery from No Young.

1243
00:56:27,000 --> 00:56:28,560
Speaker 5: You think Eddie Vedder sounds like Neil Young.

1244
00:56:29,600 --> 00:56:33,000
Speaker 3: They say Neil's voice is higher, but veterans credited Young

1245
00:56:33,120 --> 00:56:36,319
Speaker 3: as a spiritual godfather of grunge, especially when he sings

1246
00:56:36,360 --> 00:56:39,880
Speaker 3: and does acoustian material. Okay, Michael Stie because of his

1247
00:56:39,960 --> 00:56:46,720
Speaker 3: mumble delivery, please mark Lanigan from streaming Screaming Trees, grunge guy. Yeah,

1248
00:56:46,760 --> 00:56:48,920
Speaker 3: So anyway, I'm just saying you had to look at

1249
00:56:49,000 --> 00:56:51,920
Speaker 3: that totally original voice that you claim everything's derivative of everybody.

1250
00:56:52,040 --> 00:56:54,439
Speaker 5: My final answer is a ten for Pearl Jam Guns

1251
00:56:54,480 --> 00:56:58,640
Speaker 5: and Roses. Ooh, I like Guns n' Roses. I'll give

1252
00:56:58,640 --> 00:57:01,919
Speaker 5: Guns and Roses a solid eight five.

1253
00:57:02,600 --> 00:57:07,279
Speaker 3: Really, Yeah, grunge kind of made them look worthless before me.

1254
00:57:07,400 --> 00:57:09,279
Speaker 3: You're right, and grunge made them look weird to me

1255
00:57:09,320 --> 00:57:11,840
Speaker 3: because I never listened to Guns and Roses in real time. Yeah,

1256
00:57:12,320 --> 00:57:14,440
Speaker 3: and so I was kind of like, I like, welcome

1257
00:57:14,480 --> 00:57:17,200
Speaker 3: to the Jungles in football movies. You're in a jungle baby,

1258
00:57:17,200 --> 00:57:19,880
Speaker 3: And I was like, yeah, it's a five. Cold Play

1259
00:57:20,560 --> 00:57:21,560
Speaker 3: unfair hated ten.

1260
00:57:22,240 --> 00:57:23,200
Speaker 5: You're gonna put them at ten?

1261
00:57:23,280 --> 00:57:23,480
Speaker 2: Yeah?

1262
00:57:23,560 --> 00:57:23,760
Speaker 5: Nice?

1263
00:57:23,880 --> 00:57:26,360
Speaker 3: I love cold Play. They have some really goofy, cheesy songs.

1264
00:57:26,360 --> 00:57:27,120
Speaker 3: But I love Coldplay.

1265
00:57:27,160 --> 00:57:29,400
Speaker 5: It's funny you like you like this the sad Ones

1266
00:57:29,400 --> 00:57:29,840
Speaker 5: more than.

1267
00:57:29,720 --> 00:57:31,880
Speaker 3: The only the sad Ones. I don't want the anthem

1268
00:57:32,000 --> 00:57:32,160
Speaker 3: So you.

1269
00:57:32,120 --> 00:57:33,120
Speaker 5: Don't like Viva Levita?

1270
00:57:34,760 --> 00:57:38,040
Speaker 3: Who cling?

1271
00:57:38,840 --> 00:57:39,880
Speaker 5: I don't even know what you're saying.

1272
00:57:40,280 --> 00:57:47,400
Speaker 3: Viva Lvida. Journey at three ooh, Journey before me, before us,

1273
00:57:48,120 --> 00:57:50,520
Speaker 3: But still like Journey, I mean, don't Stop Believing is

1274
00:57:50,560 --> 00:57:52,400
Speaker 3: a Yeah. They have a lot of hits too.

1275
00:57:53,280 --> 00:57:57,320
Speaker 5: I'll put them at six. The Eagles O ten.

1276
00:57:57,680 --> 00:57:58,479
Speaker 4: Eight for sure.

1277
00:57:59,400 --> 00:58:02,320
Speaker 3: Number one most hated band. Kiss?

1278
00:58:02,760 --> 00:58:03,960
Speaker 5: Oh, why do you hate Kiss?

1279
00:58:04,400 --> 00:58:04,840
Speaker 3: I don't.

1280
00:58:04,960 --> 00:58:06,680
Speaker 5: I know it's in the list, Like why would you

1281
00:58:06,680 --> 00:58:07,360
Speaker 5: hate on Kiss?

1282
00:58:09,080 --> 00:58:10,680
Speaker 3: I think because there wasn't a lot of substance and

1283
00:58:10,720 --> 00:58:12,960
Speaker 3: it was mostly all on flash, which was the makeup.

1284
00:58:13,320 --> 00:58:16,080
Speaker 5: Yeah, and uh Gene Simmons tongue.

1285
00:58:16,160 --> 00:58:17,760
Speaker 3: Yeah, but part of that, that's part of the makeup

1286
00:58:17,800 --> 00:58:19,160
Speaker 3: and part of that. We're going to be creatures on

1287
00:58:19,160 --> 00:58:23,160
Speaker 3: stage more so than just knock out hit after hit

1288
00:58:23,480 --> 00:58:25,360
Speaker 3: or like music with depth. But again I'm not a

1289
00:58:25,400 --> 00:58:25,880
Speaker 3: Kiss fan.

1290
00:58:26,080 --> 00:58:28,720
Speaker 5: Forget the depth though? Do those were jams? Though? You

1291
00:58:28,760 --> 00:58:29,600
Speaker 5: can roll all night?

1292
00:58:29,720 --> 00:58:30,080
Speaker 2: Go ahead?

1293
00:58:30,280 --> 00:58:33,840
Speaker 3: I know, like three songs you know that's the same

1294
00:58:33,840 --> 00:58:34,600
Speaker 3: song you just said.

1295
00:58:35,120 --> 00:58:37,240
Speaker 5: No, I mean I couldn't. I couldn't tell you, like I.

1296
00:58:37,240 --> 00:58:38,840
Speaker 3: Know, they have Detroit Rock City, but I can't sing

1297
00:58:38,880 --> 00:58:41,040
Speaker 3: that back right now. And they have the slow song

1298
00:58:41,560 --> 00:58:46,040
Speaker 3: from the Paul Rudd movie where he's a mentor.

1299
00:58:48,000 --> 00:58:48,560
Speaker 8: Role Models.

1300
00:58:48,640 --> 00:58:49,480
Speaker 3: Yeah, role Models.

1301
00:58:49,520 --> 00:58:50,320
Speaker 5: I've never seen that movie.

1302
00:58:50,320 --> 00:58:52,080
Speaker 2: I think all their music was in that. It was

1303
00:58:52,280 --> 00:58:52,720
Speaker 2: munch song.

1304
00:58:52,840 --> 00:58:55,480
Speaker 3: Yeah, yeah, let me see, because I do like that song,

1305
00:58:55,480 --> 00:58:56,280
Speaker 3: and it's a slow song.

1306
00:59:00,360 --> 00:59:01,200
Speaker 5: I love it loud.

1307
00:59:02,120 --> 00:59:03,800
Speaker 3: That's what I'm saying. They don't have a lot of songs.

1308
00:59:03,880 --> 00:59:07,440
Speaker 3: They have a lot of like we I was made

1309
00:59:07,480 --> 00:59:09,320
Speaker 3: for Loving You, rocking around, dishors hapens, if I wud

1310
00:59:09,320 --> 00:59:11,520
Speaker 3: lick it up, love gun Forever. Maybe Forever is a

1311
00:59:11,520 --> 00:59:12,959
Speaker 3: slow No, Beth is what I'm talking about.

1312
00:59:13,040 --> 00:59:13,280
Speaker 5: Beth.

1313
00:59:13,520 --> 00:59:26,400
Speaker 3: Yeah, Beth's awesome. It sounds like a Beatles song, it does.

1314
00:59:26,680 --> 00:59:27,120
Speaker 5: Yeah.

1315
00:59:27,200 --> 00:59:29,400
Speaker 3: Okay, so there's that. I just want to see where

1316
00:59:29,400 --> 00:59:30,520
Speaker 3: you fell on the hated scale.

1317
00:59:30,880 --> 00:59:32,600
Speaker 5: Yeah, you know, I didn't realize Kiss didn't have a

1318
00:59:32,600 --> 00:59:33,080
Speaker 5: lot of jams.

1319
00:59:33,240 --> 00:59:35,240
Speaker 3: I might know them because they got a bunch of

1320
00:59:35,280 --> 00:59:37,080
Speaker 3: pain on their face. That's why when they came back

1321
00:59:37,120 --> 00:59:38,959
Speaker 3: and did songs without paint, on their face. Nobody cared

1322
00:59:39,160 --> 00:59:41,800
Speaker 3: they had no more hits. All right, that's it. Thank

1323
00:59:41,800 --> 00:59:44,640
Speaker 3: you guys, we'll see you next week. Thanks for listening

1324
00:59:44,720 --> 00:59:46,240
Speaker 3: to a Bobby Cast production