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Speaker 1: All right, welcome to episode seventy five of the Bobby Cast.

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Speaker 1: We had John Mayor on the show last week and

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Speaker 1: he came by and we talked for an hour, and

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Speaker 1: so we put it all out here for you, completely

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Speaker 1: unedited for radio purposes. We had to like take some

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Speaker 1: segments and put them on the air for radio. But

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Speaker 1: this is all of the hours, so and so I

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Speaker 1: wanted to give it to you. I'm a huge John

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Speaker 1: Mayor fan, so for me it was cool. But this

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Speaker 1: is episode seventy five. It's John Mayer on myself, and

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Speaker 1: this is the Bobby Cast. Here it is now. But first,

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Speaker 1: let me talk about Express Pros for a second. Did

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Speaker 1: you know the average number of people who apply for

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Speaker 1: any given job is one hundred eighteen. Only applicants to

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Speaker 1: get an interview because many companies use software to screen

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Speaker 1: up applications before anyone even sees your resume. Simply uploading

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Speaker 1: your resume won't get you a job. To get hired,

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Speaker 1: you need advocate. Express Employment Professionals is the local resource

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Speaker 1: to help you land a new job. Express has more

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Speaker 1: than eighteen thousand jobs available weekly. When you interviewed Express,

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Speaker 1: I'll set your skills, I'll connect you to available jobs

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Speaker 1: and a team in your job search. If you're tired

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Speaker 1: of applying online and never hearing back, visit your locally

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Speaker 1: owned Express office today and speak with professionals connected to

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Speaker 1: the available jobs in your community. Express never charge the

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Speaker 1: job secret. To find employment. Visit Express pros dot com

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Speaker 1: to find the location nearest to you. Apply online at

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Speaker 1: Express pros dot com or visit an office near you

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Speaker 1: today Express pros dot Com again, Express pros dot Com

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Speaker 1: Show all right, John Mayer and Studio, Hey, dude, how

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Speaker 1: are you? Dude? Thanks for coming to appreciate that. Thank

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Speaker 1: you for supporting this record in the song and giving

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Speaker 1: me an opportunity to come in. You know, I guess

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Speaker 1: we can start this. We were talking yesterday. The last

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Speaker 1: concert that I paid money to go to was your show.

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Speaker 1: I saw you in Minneapolis and we went up and

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Speaker 1: watch that show. And I can't go tonight and night.

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Speaker 1: You're like three blocks down the road where you can't

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Speaker 1: afford it. I can't. I spent money I'm doing. I'm

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Speaker 1: at the Opera tonight, so yeah, I can't come and listen.

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Speaker 1: There's always a cool reason not to come to my

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Speaker 1: show because someone has a show of their own. That's

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Speaker 1: the best reason not to come. So I hope everybody

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Speaker 1: goes the whole thing school. You did the show in chapters, yeah,

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Speaker 1: and kind of breaking it up a little bit. Same

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Speaker 1: thing with your music. Talk about that for a second,

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Speaker 1: because I enjoyed how you put out the songs and waves,

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Speaker 1: meaning I got to enjoy four songs at a time. Yeah. Well,

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Speaker 1: as a music listener myself, I was starting to feel

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Speaker 1: the experience of listening to new music change, where like

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Speaker 1: I wasn't listening to records anymore. I was listening to

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Speaker 1: what was thrown at the top of like if you've

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Speaker 1: got Spotify placement or if you've got like the Apple

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Speaker 1: Store placement. I would listen to those things. I'd listen

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Speaker 1: to what was in memes, I'd listen to. But I

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Speaker 1: wasn't really listening to records, you know, and the records

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Speaker 1: that came out by artists that I loved. What's sort

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Speaker 1: of like you'd hear about it for a second and

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Speaker 1: then it would kind of disappear, and I go, oh,

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Speaker 1: that's a shame, is that anything? And then you hear

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Speaker 1: the record, You're like, this record is great, and so

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Speaker 1: all this great music sort of slipping through the cracks,

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Speaker 1: you know, And so I knew how hard that not

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Speaker 1: just I had worked, but how hard people around me

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Speaker 1: had worked on this record. It's not necessarily anymore like

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Speaker 1: this endeavor where I'm trying to get my name out there.

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Speaker 1: But when you see people who are staying in the

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Speaker 1: studio longer than I am, and I'm in the studio

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Speaker 1: for hours a day, and the fact that there are

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Speaker 1: people who I work with who are there an hour

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Speaker 1: and a half before me, in an hour and a

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Speaker 1: half after me, you want to you want to do

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Speaker 1: it in service to those guys, you know, and in

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Speaker 1: terms of getting the record out and making sure people

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Speaker 1: see it and making sure people understand what it is

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Speaker 1: you made. And the idea became like, well, what if

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Speaker 1: it came out the way like the way television is

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Speaker 1: going to Netflix and everyone's sort of putting the whole

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Speaker 1: season up all at once. What if records just switched

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Speaker 1: places with it, and it was like, take four songs,

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Speaker 1: get used to it, get your head around it. Here's

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Speaker 1: another four get used to because I knew each song

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Speaker 1: was really important, and twelve is a funny number to

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Speaker 1: consume now, you know, Like, hey, I want you to

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Speaker 1: watch twelve with these, you know what I mean when

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Speaker 1: someone's like, someone's like, oh, you're gonna love that series,

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Speaker 1: but you gotta get through the first six. So I

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Speaker 1: wanted to make it a little more easily consumable, and

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Speaker 1: I think it worked in the sense that people felt

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Speaker 1: really familiar with the record by the time I got

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Speaker 1: on the road. Yeah, I did for me because I

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Speaker 1: was able to consume the songs and spend time with

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Speaker 1: four of them instead of going, here's the entire dinner,

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Speaker 1: Like I got to eat a little bit of the

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Speaker 1: clisser on a little bit of chicken, and so I

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Speaker 1: enjoyed the songs because of that. And I'm not even

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Speaker 1: an album guy anymore, Like when someone puts out a

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Speaker 1: whole album, I don't have time, Like that's not the

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Speaker 1: leading songs. I mean, I'm like, you know, and then

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Speaker 1: I don't listen to it three times. That's the thing

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Speaker 1: I mean, if that. But that's a lot of great

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Speaker 1: you know, there's a lot of great stuff. You think

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Speaker 1: that like the more stuff there is, the worse it becomes,

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Speaker 1: But it's actually the other way, Like everything's really cool

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Speaker 1: right now. There's a lot of great music. There's a

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Speaker 1: lot of great movies. There's a lot of great podcasts.

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Speaker 1: By the way, everybody has a podcast I'm supposed to

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Speaker 1: listen to, and it's all great, But I just it's

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Speaker 1: very difficult to find these slots in your life to

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Speaker 1: get that in, you know, into your world, and so

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Speaker 1: it for me. It helped also because I could like,

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Speaker 1: this record was so big for me to get out

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Speaker 1: the door that I had to break it down into

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Speaker 1: four parts just to get it out. What do you

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Speaker 1: mean so big to get out that it took forever

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Speaker 1: to mix it too, you know, the record was in

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Speaker 1: suspended animation for quite a while. That was the only

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Speaker 1: challenge in this record was that the songs had been

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Speaker 1: opened for two years. I mean I was listening to

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Speaker 1: two files that were two years old, you know by

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Speaker 1: the time this record came out. So putting it out

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Speaker 1: in waves allowed me to finish it in waves too.

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Speaker 1: Like I wasn't all done with it and was like,

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Speaker 1: let's just put four out at a time. I was like,

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Speaker 1: I got four for you now, so let's hear this

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Speaker 1: one here. Why I start with this one. It was

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Speaker 1: the first one that was done, No, it was it

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Speaker 1: was the first so I had played a little bit

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Speaker 1: of cat and mouse with people for a bunch of

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Speaker 1: different reasons, and some of it I didn't mean to

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Speaker 1: be as evasive musically as I became, and I felt

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Speaker 1: like this was the song that was like, Hey, I'm

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Speaker 1: not gone talked up to the post like a good

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Speaker 1: radio guy, right up to the post. You ever tried

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Speaker 1: to do that? You ever hop in and try to

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Speaker 1: do the radio thing where you talk up to song ramps? Oh? Yeah,

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Speaker 1: I do it in the car? Oh you do if

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Speaker 1: a song comes on you just you see how hard

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Speaker 1: I hit that? Can you do your own? Give me

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Speaker 1: any one of them, I'll do it, okay, any one

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Speaker 1: of your songs. I'll talk right up to the post.

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Speaker 1: All right, I mean here, let's go back to your

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Speaker 1: first ever. Here we go, ready, three to and it's

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Speaker 1: something kind of temperature time out there in Nashville today,

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Speaker 1: sitting in the studio with John Mayer. Been a while

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Speaker 1: since he's been here with us. We're gonna talk to

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Speaker 1: him right after this. But this is a song from

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Speaker 1: his very first record. It's no such a thing by

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Speaker 1: John Mayor. Check it out. No, yeah, like three seconds loud.

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Speaker 1: But that that was where there was going to be

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Speaker 1: a church John, Oh, you're get an imaging? All right?

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Speaker 1: Have I tried it? Though? That was good? All right,

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Speaker 1: pretty close you did. How about what if I really

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Speaker 1: knew the temperature? Though? It would have been if you

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Speaker 1: had nailed the temperature. Yeah, improv to the temperature. Whenever,

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Speaker 1: when recording this record, do you have like Steve and

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Speaker 1: Piano record with you or do you just bring them

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Speaker 1: out and play? Uh? I would write as much as

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Speaker 1: I could and have them come and then kind of

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Speaker 1: flesh out the tunes, and then when we were done

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Speaker 1: with that, I'd be like, hey, stay around for an

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Speaker 1: hour or two, and then we kind of do this

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Speaker 1: thing called free play, which is where you set up

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Speaker 1: and you know, you take I take advantage of being

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Speaker 1: able to jam with those guys any time they're around,

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Speaker 1: So we set up like I set up to Mike,

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Speaker 1: let's try something, and for an hour or two I

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Speaker 1: try to find something in the universe with those guys

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Speaker 1: in the same room. But most of the time it's

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Speaker 1: uh me writing something getting good enough to where they

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Speaker 1: can come in and play on it, and then they're

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Speaker 1: pretty much the finishing touches on it. It seemed to

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Speaker 1: me having gone to a show, and I think I've

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Speaker 1: been to I mean, I'll show you my nerdiness little.

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Speaker 1: I think I've been a fifteen Mayor show. Yeah, I've

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Speaker 1: been around them in the shows. So I'm a pretty

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Speaker 1: big fan than you are. You welcome free, though I

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Speaker 1: didn't pay for many of the tickets, Like Lee, is

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Speaker 1: that since what Lee two thousand three or four you've

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Speaker 1: been hooking me up? Why did you pay for the

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Speaker 1: one in Minneapolis? Because well, I didn't pay for the tickets,

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Speaker 1: but I flew up there and paid for the trip.

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Speaker 1: And then he was like, I get your tickets. Don't worry.

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Speaker 1: I got it better. I get better seats. All the

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Speaker 1: truth comes out, I bought worse seats and then he

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Speaker 1: gave me a front row seats. He weren't standing outside

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Speaker 1: the Coconuts record store, That's true, I wasn't. So okay,

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Speaker 1: Back to Michael, what my question? You were explaining that

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Speaker 1: you have you look the happiest when you're playing in

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Speaker 1: the trio during this show, any trip to that, um probably, yeah,

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Speaker 1: there's a freedom to that that. Nobody's really quite sure

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Speaker 1: what we're gonna do. Three super capable guys who aren't

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Speaker 1: who didn't talk about what they were going to do

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Speaker 1: before they got on stage to do it. Uh, so

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Speaker 1: anybody could start it. Sometimes I'll just stand there and

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Speaker 1: all of a sudden, you're just here, Okay, Steve starting it.

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Speaker 1: It's like it's it's the it's like total freedom. Also,

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Speaker 1: it's like you can kind of embrace the fact that

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Speaker 1: that's what that band is. You don't have to worry

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Speaker 1: about whether it's going to be whether you're playing a

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Speaker 1: song that people know from the radio, or whether you're

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Speaker 1: playing it whether people are tired of hearing this or

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Speaker 1: whether they want to hear that they're kind of resigned to. Like,

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Speaker 1: you're playing three songs with this power trio that they're

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Speaker 1: probably not going to really totally know unless they're like

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Speaker 1: super fans. So I have fun in that freedom for

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Speaker 1: three songs. It's like, look, you're gonna get this super

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Speaker 1: powerful blues trio thing. I was thinking about Marty McFly

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Speaker 1: saying like, you might not understand that, but your kids

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Speaker 1: are gonna love it. That's how I feel like I'm

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Speaker 1: back to Change the Sea Dance. There are times I

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Speaker 1: look out into the crowd and I see some of

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Speaker 1: the people who are not totally initiated into the blues

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Speaker 1: rock thing. And I feel like I'm Marty McFly at

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Speaker 1: the Enchantment Out of the Sea dance in nineteen fifty five,

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Speaker 1: and they don't. They probably don't get who Marty McFly

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Speaker 1: is either. At the same they would also a shame.

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Speaker 1: That would be I hope, I hope it becomes a

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Speaker 1: Citizen Kane reference in the next ten fifteen years, good

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Speaker 1: back to the future reference. If it's not understood. I'm

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Speaker 1: not sure we have a connection. John Mayor's here now.

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Speaker 1: So I'm buds with the guys from the Zach Brown

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Speaker 1: Band and Clay Cook and oh and I know the story.

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Speaker 1: But you and Clay were Berkeley together and Clay was like,

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Speaker 1: you know, let's move down to Atlanta. And you and

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Speaker 1: Clay kind of had a duo together from you all right, yep,

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Speaker 1: that's how we started. That's how I started right out

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Speaker 1: of college, was playing in an acoustic duo. And so

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Speaker 1: you move down to Atlanta, and so why at Lanta

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Speaker 1: of all places? He had Clay had family in Atlanta

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Speaker 1: and said, I think we can do and he said

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Speaker 1: there was a great music scene down there, which he

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Speaker 1: was absolutely right. He did have family, and it wasn't

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Speaker 1: long about either family and a music scene. So we

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Speaker 1: moved down there and just started doing open mic nights

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Speaker 1: and writing and you know, he that's how I got

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Speaker 1: my start in music was following him down to Atlanta.

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Speaker 1: We lived in Snellville, Georgia. Are you on the radio?

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Speaker 1: And Snaillville, Georgia where everybody's somebody that's the that's the

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Speaker 1: catchphrase for that snail like the snail the bug or

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Speaker 1: snell but it's pronounced snail Ville, but it's Snellville, S

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Speaker 1: and E L L. So you guys moved to Atlanta

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Speaker 1: and you ride a lot of things together. Yeah, we

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Speaker 1: wrote of we had we had, we had written you know,

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Speaker 1: five six songs at that point, we're still trying to

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Speaker 1: put it all together. So you guys decided to go

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Speaker 1: your own different way. Is that big decision for you too? Yes? Yeah,

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Speaker 1: well no one's ever cared about this. Yeah. Uh, falling out.

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Speaker 1: We had a falling out creatively, did you part of it?

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Speaker 1: That was part of it? Uh? The part that I

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Speaker 1: can attest to. Um said, I have pretty pretty big feet,

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Speaker 1: pretty strong head. I don't think anybody could have been

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Speaker 1: in a duo with me at that time. That's the

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Speaker 1: part that I can take responsibility for is that I

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Speaker 1: probably wasn't extremely collaborative. I was, Uh yeah, I don't think.

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Speaker 1: I don't think I was a strong group worker. Well

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Speaker 1: were your roles and that duo, because everybody's got the

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Speaker 1: role inside of a team. He was and still is

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Speaker 1: hyper musical, incredible musical mind. Um and we were also

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Speaker 1: by the way, completely we're really good friends now. I

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Speaker 1: mean we are a pure closeness. There's these are two

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Speaker 1: kids where the stars of their town, the musical stars

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Speaker 1: of their town, coming together, obviously seeing something in one

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Speaker 1: another that they identify with making music together, but never

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Speaker 1: having really given over to someone else. I probably shouldn't

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Speaker 1: have two really strong solo kind of mindsets coming together

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Speaker 1: to collaborate. And where I think if you're if you're

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Speaker 1: still going, well it doesn't add up. Uh put me

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Speaker 1: in his life as a guest, and it gets a

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Speaker 1: little strange. It's like two people sharing a birthday, you know.

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Speaker 1: It's like he I was, I entered his entire social life,

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Speaker 1: you know, and I think there was an identity thing

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Speaker 1: of like wait, what's mine and what's yours? And again

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Speaker 1: taking responsibility for it. Um, I have very big shoes.

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Speaker 1: I'm not necessarily subtle, especially at that age. He didn't

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Speaker 1: want to mess around with young John. You don't want

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Speaker 1: to mess around nineteen year old John Mayor who just

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Speaker 1: figured out that the world is bendable and he's out

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Speaker 1: to just destroy it. You know. So you decided to

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Speaker 1: move to California, like to make it well. I I had,

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Speaker 1: interestingly enough, like most of my team came out of

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Speaker 1: that time in Atlanta, you know. And then I moved

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Speaker 1: to New York, and then I kind of began this

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Speaker 1: sort of jumping around thing for me, Like I'm still

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Speaker 1: jumping around. Yeah, because you have a house, and I

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Speaker 1: where's your dog by the way, because I was watch

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Speaker 1: on social media. No, that's that's a real question. Did

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Speaker 1: your dog stay in Montana? My dog does not stay

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Speaker 1: in Montana. This is this is what happened. I got

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Speaker 1: a dog. I wanted to have a dog on the

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Speaker 1: road road dog. Uh. A dear friend of mine happens

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Speaker 1: to be an incredible dog trainer. She took my dog trained.

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Speaker 1: My dog turned into a per fick beast. And then

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Speaker 1: I was like, Okay, I'm taking my dog on the

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Speaker 1: road dog hates music. Hates music. He thinks it's like thunder,

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Speaker 1: like thunderstuck, So he's trembling in the dressing room first night.

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Speaker 1: I think Red Rocks was like the first place we

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Speaker 1: were like, Okay, well I got a dog, let's do

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Speaker 1: this cowering in the corner. Also, like when he's home

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Speaker 1: with me, if I pick up a guitar and plug

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Speaker 1: it and start playing it, he does the funniest thing

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Speaker 1: that he doesn't want to offend me, but he like

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Speaker 1: slowly SLINKs his two paws front paws off the couch

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Speaker 1: and just waddles out of the room because I'm playing music.

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Speaker 1: So it wasn't gonna work. But it turned out that

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Speaker 1: my dog trainer, she loved him so much, and she said, well,

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Speaker 1: he's a part of our family too, so I'll be

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Speaker 1: the mommy. And I thought that's awesome. So my dog

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Speaker 1: lives a better life than I do. He lives in Brentwood, California,

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Speaker 1: and I pick him up. It's like doggy daycare, but

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Speaker 1: it's months long. Sounds more like custody. It's joint customer.

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Speaker 1: Yes so, but but I've heard of people doing that.

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Speaker 1: I know singers who do that. You know they try

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Speaker 1: to get a dog, and it's a very noble idea

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Speaker 1: to get a dog. Okay, I'm growing up. I want

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Speaker 1: to get I wanna get something to take care of

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Speaker 1: and responsibility for. And then you realize that it would

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Speaker 1: be you taking the elevator down to the street level

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Speaker 1: in Denver, Colorado at seven in the morning to make

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Speaker 1: it go potty. So it's it's a wonderful thought. I

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Speaker 1: was like, where's the dog. Yeah, the dog. I was interesting.

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Speaker 1: I pick up the dog on my way out to

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Speaker 1: Montana and we get to know each other again on

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Speaker 1: the plane and then and we're then we're there and

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Speaker 1: he's got fifteen acres of pure dog park. You don't

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Speaker 1: have to take him out. He's a black lab, so

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Speaker 1: he doesn't want to run too far. There are bears, Yeah,

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Speaker 1: there are Yeah, I've seen the snapchats. There was a

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Speaker 1: bear in my yard a couple of summers ago. I'm

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Speaker 1: scared of bears, man. I'll walk outside across the driveway

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Speaker 1: in the dark and just totally scared of bears. I

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Speaker 1: know a couple of people in my life were like,

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Speaker 1: walk out in the dark and they're totally scared of bears.

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Speaker 1: Bears are scary. I mean they sell bear pepper spray

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Speaker 1: at the supermarket, and if you go hiking, you're supposed

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Speaker 1: to bring bear pepper spray. I have a feeling in

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Speaker 1: your demographic there's plenty of people who have with them

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Speaker 1: as they listen to this bear pepper spray. Do you

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Speaker 1: know what you're supposed to do if you encounter a bear?

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Speaker 1: Play dead or run or scream? I think it's different

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Speaker 1: for each bear. It actually is. I think it's deffer

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Speaker 1: bridged person too. It's different for each bear. Uh, well,

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Speaker 1: you need to be prepared. You're supposed to be prepared.

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Speaker 1: You're supposed to have bear pepper spray. I think if

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Speaker 1: you see bear poop, you're supposed to sort of get

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Speaker 1: out of there if you see you know, there's things

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Speaker 1: that ever, but I've heard I've heard things like like

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Speaker 1: a bear will mall you but not kill you, and

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Speaker 1: then like you think it's left, but it's just hiding

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Speaker 1: under some leaves, just watching you die or just watching

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Speaker 1: you be injured. There, Like these bears are serious, they're

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Speaker 1: not messing around. This is true that the bear will

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Speaker 1: maim you and then sort of hide and watch you.

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Speaker 1: You just said you heard, and now you're saying it's true.

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Speaker 1: You've converted in like two sentences this this is fact

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Speaker 1: because I have I have people who I trust in

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Speaker 1: me around my life, and they've told you that the

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Speaker 1: bear will attack you and then watch you. Yeah, a

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Speaker 1: bear will attack you. I think a grizzly will attack you,

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Speaker 1: bring you to the edge of death, and then watch

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Speaker 1: you and if you get up, then it will kill

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Speaker 1: you and you eat that. So it's like Game of Thrones.

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Speaker 1: And yes, it's the revenue. Yes in Montana. Uh, do

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Speaker 1: you have a Facebook page or something? People can verify this.

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Speaker 1: They don't worry, they will every bit of it. I

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Speaker 1: feel really good about this information. John Mayor hanging out

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Speaker 1: all right. Let me talk about blue Apron for a second.

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Speaker 1: So I love blue Apron? Do you love loves? Blue Apron?

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Speaker 1: Is lunch boxes? How many times do you blue apron?

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Speaker 1: A week? Three times a week? See, I'll have it

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Speaker 1: once twice launch pretty much ever mild just about he's

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Speaker 1: at home. It's so easy. I mean, it comes to

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Speaker 1: my front door and I've already got the recipe. I

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Speaker 1: just pull it out and sometimes I can even surprise

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Speaker 1: my wife and cook it myself. Is that what you do?

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Speaker 1: Is that the move? Yeah, that's the move. I like,

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Speaker 1: I'm a chef, but she knows I use Blue Apron.

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Speaker 1: But it's still a cool surprise. For less than ten

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Speaker 1: dollars per person per meal, Blue Apron deliver seasonal recipes

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Speaker 1: along with preportion ingredients to make delicious home cooked meals.

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Speaker 1: There's a lot of variety, like what what would you have?

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Speaker 1: We had some spicy beef tacos this week. We also

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Speaker 1: had some potato salad and chicken tinders. So good. Check

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Speaker 1: out this week's man. You get your first three meals

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Speaker 1: for free with free shipping Blue Apron dot com slash Bobby. Yeah,

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Speaker 1: you love how get it feels, I get it tastes

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Speaker 1: Blue Apron dot com slash Bobby. Blue Apron is a

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Speaker 1: better way to cook Blue Apron dot com slash Bobby.

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Speaker 1: All right, back in the studio, John Mayer's here with

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Speaker 1: us today. Let me play this song here. I like

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Speaker 1: this one, Rosy that's my hall of notes jam Philly Saltzer.

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Speaker 1: It's good. Talk up to the posts again the guitar.

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Speaker 1: Would you talk up to the guitar? Solo vocal? It

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Speaker 1: depends what format your in. So if I listen, I

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Speaker 1: did rock for a while, would you've talked over this

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Speaker 1: next time? I would have talked over the whole thing.

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Speaker 1: I have been like the vocal. Yeah, I would be like, hey,

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Speaker 1: we're with John Mayre. We're gonna play a whole seven

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Speaker 1: songs in a row, John Ayr, We're here all morning long, Hedge.

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Speaker 1: It's like karaoke, sixty four bars instrumental, and then then

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Speaker 1: you just stand there with your friends. I will that's

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Speaker 1: very vocal. It's almost its own hook. It's its own hook.

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Speaker 1: But I'd probably talk over it now. I mean I

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Speaker 1: probably talk over it. Well, let's give it. Listen to

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Speaker 1: Rosie right now. Check it out. Come down and proud

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Speaker 1: of yourself on that one. Yeah, I have to make up.

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Speaker 1: I'm truck again, Rember. When we your it's fluffy. Who

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Speaker 1: do you run your songs about you? Right one? You go, hey,

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Speaker 1: we think of this boom? Who who's that person? Me? Yeah?

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Speaker 1: I know? And and even there's even people I would

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Speaker 1: run my songs buying the go that's great, and I go, no,

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Speaker 1: it's not. So it's me again, big feet, big strong head,

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Speaker 1: most of it's most of it's in house. I don't necessarily, Yeah,

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Speaker 1: I don't know. I don't necessarily collaborate very well, but

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Speaker 1: I kind of know. I kind of know what I know.

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Speaker 1: I don't finish songs that aren't I think strong enough

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Speaker 1: to make records. I don't usually have any extra songs

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Speaker 1: left over that aren't you know, I don't have parts

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Speaker 1: falling off of them or what I'm done with an album.

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Speaker 1: So I know, I I know what makes a me

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Speaker 1: song now and what doesn't. And they are even good

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Speaker 1: song ideas that I have, like really cool things. I

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Speaker 1: listened back to it and I go, I don't buy it.

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Speaker 1: And I know myself well enough now that I can

425
00:20:32,119 --> 00:20:34,960
Speaker 1: do more stuff than I should be than I should do.

426
00:20:35,119 --> 00:20:37,720
Speaker 1: Like I can do more stuff with a guitar or

427
00:20:37,800 --> 00:20:40,240
Speaker 1: with a band or with a drum programming than I

428
00:20:40,400 --> 00:20:43,520
Speaker 1: then then I should have as and I you know,

429
00:20:43,680 --> 00:20:47,440
Speaker 1: as music that's called my music. So it's really weird.

430
00:20:47,480 --> 00:20:48,920
Speaker 1: It has to pass like a lot of times I

431
00:20:49,200 --> 00:20:51,760
Speaker 1: call it like it's like a four quadrant test, like

432
00:20:52,280 --> 00:20:55,639
Speaker 1: is it good? Do I like it? Which is different

433
00:20:55,640 --> 00:20:58,720
Speaker 1: than is it good? Right? So you can you can

434
00:20:58,760 --> 00:21:00,960
Speaker 1: have a song that's of that you don't like. You

435
00:21:01,000 --> 00:21:03,200
Speaker 1: can have a song you like, that's not good? Is

436
00:21:03,240 --> 00:21:06,119
Speaker 1: it me? That's the third, So it can be good

437
00:21:06,359 --> 00:21:09,439
Speaker 1: and you like it, but if it's not you, and

438
00:21:09,480 --> 00:21:11,239
Speaker 1: you're like, I don't know, if I don't know if

439
00:21:11,280 --> 00:21:13,399
Speaker 1: I really want this to be my thing. And the

440
00:21:13,440 --> 00:21:15,840
Speaker 1: fourth question is like, do I want to play this

441
00:21:15,960 --> 00:21:18,560
Speaker 1: every night as I go on tour? And if it

442
00:21:18,600 --> 00:21:21,640
Speaker 1: passes all four of those questions, then I know it's

443
00:21:21,640 --> 00:21:23,080
Speaker 1: a really good song. I don't know what a hit

444
00:21:23,200 --> 00:21:25,840
Speaker 1: is anymore, but I know what is one of those

445
00:21:25,840 --> 00:21:27,760
Speaker 1: songs where you're like, oh, this is bulletproof. Let's go

446
00:21:27,800 --> 00:21:29,760
Speaker 1: around the world with this and Rosie it's like anywhere

447
00:21:29,760 --> 00:21:34,879
Speaker 1: you go, people they're don't necessarily like cheer for the

448
00:21:34,920 --> 00:21:37,240
Speaker 1: recognition of the tune, but the cheer because like, it

449
00:21:37,280 --> 00:21:40,840
Speaker 1: feels so good, you know. So I'm pretty good about

450
00:21:40,920 --> 00:21:42,680
Speaker 1: being my own A and R guy. Do you play

451
00:21:42,720 --> 00:21:46,040
Speaker 1: all your instruments on your demos? Yes? Yes I do.

452
00:21:46,200 --> 00:21:49,480
Speaker 1: And sometimes that's tricky because the ignorance of my playing

453
00:21:49,480 --> 00:21:52,840
Speaker 1: a certain instrument that I don't really play predominantly adds

454
00:21:52,880 --> 00:21:59,240
Speaker 1: to the um the certain geneseequa of it. And uh,

455
00:21:59,320 --> 00:22:01,320
Speaker 1: and then you bring a really great musician in and

456
00:22:01,320 --> 00:22:03,480
Speaker 1: then you gotta be like, will you played a little dumber?

457
00:22:04,200 --> 00:22:06,200
Speaker 1: You're like, will you do it with just your left hand?

458
00:22:06,840 --> 00:22:08,480
Speaker 1: Like can I hit you in the head once with

459
00:22:08,520 --> 00:22:11,000
Speaker 1: a vase? And then can you do it? I go

460
00:22:11,080 --> 00:22:14,080
Speaker 1: with the vas. I don't say vase. I'm fancy and

461
00:22:14,280 --> 00:22:18,880
Speaker 1: uh so I have people try and replicate that kind

462
00:22:18,880 --> 00:22:24,439
Speaker 1: of half half awake kind of way of playing. What

463
00:22:24,600 --> 00:22:26,879
Speaker 1: is your day? Like becauld you wake up at what

464
00:22:26,960 --> 00:22:31,560
Speaker 1: time depending on time zone? Touring, Yeah, depending on the

465
00:22:31,560 --> 00:22:35,240
Speaker 1: time zone, like anywhere between ten and noon, depending on

466
00:22:35,280 --> 00:22:36,920
Speaker 1: the times. And you do what when you wake up?

467
00:22:38,080 --> 00:22:44,960
Speaker 1: I dive into like the excitement of the day via Instagram, Twitter, text, email,

468
00:22:45,920 --> 00:22:48,040
Speaker 1: and I do I go round and around for like

469
00:22:48,080 --> 00:22:53,200
Speaker 1: an hour, you know, like I was thinking this literally yesterday.

470
00:22:53,520 --> 00:22:58,040
Speaker 1: If you want to offend most of the world with

471
00:22:58,200 --> 00:23:00,880
Speaker 1: how good you have life, you don't. You wouldn't talk

472
00:23:00,920 --> 00:23:03,320
Speaker 1: about like how much money you have. You would talk

473
00:23:03,359 --> 00:23:09,240
Speaker 1: about how you haven't been like underslept in months. Like

474
00:23:09,600 --> 00:23:11,640
Speaker 1: you could say like, yeah, I have a G four jet,

475
00:23:11,640 --> 00:23:13,679
Speaker 1: People like, yeah, good for you to be, Like I

476
00:23:13,680 --> 00:23:15,920
Speaker 1: have a woken up tired in a month. People would

477
00:23:15,920 --> 00:23:18,439
Speaker 1: be like, how dare you? How dare you going so

478
00:23:18,480 --> 00:23:21,480
Speaker 1: I don't really wake up tired. I just wake up

479
00:23:21,520 --> 00:23:24,280
Speaker 1: at whatever time I have to wait my body system.

480
00:23:25,320 --> 00:23:27,960
Speaker 1: That's amazing. You wake up whenever your eyes open. Yeah,

481
00:23:28,000 --> 00:23:29,560
Speaker 1: I got I have. That's the only way to do

482
00:23:29,640 --> 00:23:31,639
Speaker 1: this for a living. The only way to do it

483
00:23:31,680 --> 00:23:33,920
Speaker 1: for a living is to sleep has to come first.

484
00:23:34,200 --> 00:23:37,560
Speaker 1: Sleep is like water. If you're in the survivalism of it,

485
00:23:38,160 --> 00:23:41,080
Speaker 1: you have to have sleep. I quit drinking so I

486
00:23:41,080 --> 00:23:43,439
Speaker 1: don't have to deal with hangovers. And I'm I'm a

487
00:23:43,520 --> 00:23:45,840
Speaker 1: dangerous man without a hangover. Why did you quit drinking?

488
00:23:46,680 --> 00:23:50,080
Speaker 1: Two things? Voice and I knew that if I wanted

489
00:23:50,119 --> 00:23:53,760
Speaker 1: to not cancel shows for either health or mental health,

490
00:23:54,480 --> 00:23:56,760
Speaker 1: that I was going to have to be um excited

491
00:23:56,880 --> 00:23:59,359
Speaker 1: every time I woke up, to be honest with you,

492
00:23:59,359 --> 00:24:02,320
Speaker 1: and I have to be fully portable as a human being.

493
00:24:02,440 --> 00:24:05,120
Speaker 1: And we've all been hungover on an airplane. Those are

494
00:24:05,160 --> 00:24:09,960
Speaker 1: long flights. Those are long, sweaty, trembling flights. So I

495
00:24:10,040 --> 00:24:11,879
Speaker 1: wake up in the morning, I'm ready to go. Like,

496
00:24:11,920 --> 00:24:14,760
Speaker 1: I'm like psyched. Do you still practice at all? I

497
00:24:14,840 --> 00:24:19,199
Speaker 1: do practice? Very good question. Um, I think that I'm

498
00:24:19,240 --> 00:24:22,560
Speaker 1: about to practice, and then I plug in and I'm like, no,

499
00:24:22,680 --> 00:24:29,040
Speaker 1: I'm still good, and then I put it down because

500
00:24:29,040 --> 00:24:31,080
Speaker 1: I've already started. Like when I was younger, I practice,

501
00:24:31,119 --> 00:24:33,480
Speaker 1: but now like I played with the best musicians in

502
00:24:33,520 --> 00:24:36,840
Speaker 1: the world, like in the world that I can brag about,

503
00:24:37,880 --> 00:24:40,160
Speaker 1: and then to go home alone to play without that sound,

504
00:24:40,160 --> 00:24:42,760
Speaker 1: You're like, it's more like, yeah, just checking, still good,

505
00:24:42,880 --> 00:24:44,439
Speaker 1: put it down and then go do something else. So

506
00:24:44,480 --> 00:24:47,399
Speaker 1: what am I going to practice? I play? So like

507
00:24:47,480 --> 00:24:50,760
Speaker 1: what's your hobby? I mean, not that's your job, but

508
00:24:50,840 --> 00:24:52,840
Speaker 1: like what do you do with all this? Like you

509
00:24:52,840 --> 00:24:54,840
Speaker 1: you wake up when you want. You don't have to practice,

510
00:24:55,040 --> 00:24:58,479
Speaker 1: like I burned large swaths of time just to kill it.

511
00:24:58,600 --> 00:25:01,840
Speaker 1: Just I'm a murderer of you've been on the road before.

512
00:25:01,640 --> 00:25:03,480
Speaker 1: You're you're just trying to get to the show, the

513
00:25:03,520 --> 00:25:06,159
Speaker 1: show we love, the show matters, and you're trying to

514
00:25:06,240 --> 00:25:10,639
Speaker 1: basically encase yourself in a protective seal in between shows

515
00:25:10,680 --> 00:25:12,840
Speaker 1: and do whatever it takes so that you're rested and

516
00:25:12,880 --> 00:25:15,600
Speaker 1: you're healthy. And for me, I'm not necessarily into the

517
00:25:15,640 --> 00:25:18,160
Speaker 1: Anthony Bourdain of life, like, oh I have an off day,

518
00:25:18,440 --> 00:25:20,200
Speaker 1: Oh what kind of food they have here? Oh it's good.

519
00:25:20,320 --> 00:25:22,480
Speaker 1: I might know. I pumped the room to like seventy

520
00:25:22,520 --> 00:25:25,720
Speaker 1: five degrees. Stay in my pajamas all day. Use every towel.

521
00:25:27,480 --> 00:25:31,040
Speaker 1: That's what I said, use every towel. Cleaning ladies come in.

522
00:25:31,160 --> 00:25:34,040
Speaker 1: I just I call them the bad idea cleanup crew.

523
00:25:34,560 --> 00:25:37,320
Speaker 1: I just come on in and used every towel. Yes

524
00:25:37,359 --> 00:25:41,800
Speaker 1: I did. Did you use this one as a napkin? Yes?

525
00:25:41,880 --> 00:25:44,359
Speaker 1: I did ever use a bath towels a napkin? Bobby

526
00:25:44,359 --> 00:25:48,639
Speaker 1: in a hotel? Yes, I have and X, but no, no,

527
00:25:48,680 --> 00:25:51,880
Speaker 1: I've I called the everything towel. It's the I call

528
00:25:51,920 --> 00:25:55,919
Speaker 1: it the luxury clean X. I get you, man, I

529
00:25:55,960 --> 00:26:00,520
Speaker 1: get it for the room. Well, that's why we are horrible,

530
00:26:00,560 --> 00:26:02,800
Speaker 1: horrible people in the hotels. They leave those little notes

531
00:26:02,840 --> 00:26:05,000
Speaker 1: to be conscious of, you know, the earth, and use

532
00:26:05,080 --> 00:26:07,399
Speaker 1: one towel. Yeah, A towel on the rack means I'll

533
00:26:07,480 --> 00:26:10,600
Speaker 1: use it again. A towel in the bathtub means a

534
00:26:10,640 --> 00:26:13,040
Speaker 1: towel with barbecue sauce on it means I hate my life.

535
00:26:13,760 --> 00:26:15,880
Speaker 1: I also feel like they don't change the comforter anyway,

536
00:26:16,160 --> 00:26:18,200
Speaker 1: so we're even well. I can tell when they change

537
00:26:18,200 --> 00:26:20,639
Speaker 1: the comfort some places, I'll put the note up it

538
00:26:20,680 --> 00:26:22,800
Speaker 1: says your comforter has been changed. I think the note

539
00:26:22,800 --> 00:26:25,400
Speaker 1: just stays up. I think they just put the note

540
00:26:25,440 --> 00:26:27,840
Speaker 1: back up there. I don't listen. Hotel life is a

541
00:26:27,960 --> 00:26:32,879
Speaker 1: bit rich. Continue what does that mean? It means you

542
00:26:32,960 --> 00:26:38,520
Speaker 1: just run bits about hotels all day? Um? Yes, so, uh,

543
00:26:38,840 --> 00:26:40,960
Speaker 1: we're having to debate in this room before you came in,

544
00:26:41,520 --> 00:26:43,760
Speaker 1: and you mayn't want to answer this. Which song are

545
00:26:43,800 --> 00:26:47,280
Speaker 1: you just tired of playing? Um? I'm tired of playing

546
00:26:47,280 --> 00:26:52,919
Speaker 1: waiting on the World changed Boom? I said, why that

547
00:26:52,960 --> 00:26:56,960
Speaker 1: I would have one? Or that would be that one? Yeah? Yeah,

548
00:26:57,320 --> 00:26:58,880
Speaker 1: why do you think it is? I have a whole

549
00:26:58,880 --> 00:27:00,960
Speaker 1: different reason. Why do you think it? I have a reason.

550
00:27:01,000 --> 00:27:02,640
Speaker 1: I'm tired of hearing it? Why do you ever reading?

551
00:27:02,720 --> 00:27:05,320
Speaker 1: Oh that's funny, let's go, let's boog it, let's book it.

552
00:27:05,560 --> 00:27:07,840
Speaker 1: Here we go. I'm leaning into this. Why do you

553
00:27:07,840 --> 00:27:10,280
Speaker 1: why are you tired of playing it? Um? It's it's

554
00:27:10,280 --> 00:27:12,199
Speaker 1: honest to god, It's just a tactile thing. It's just

555
00:27:12,280 --> 00:27:14,840
Speaker 1: after a while, like, by the way, you're gonna be like, oh, well,

556
00:27:14,840 --> 00:27:16,480
Speaker 1: I hated the message. I was like, I just didn't

557
00:27:16,520 --> 00:27:18,640
Speaker 1: like the way I felt in my hand. Um, it's

558
00:27:18,760 --> 00:27:20,760
Speaker 1: right outside of my range. Like when I had vocal

559
00:27:20,800 --> 00:27:24,359
Speaker 1: surgery that I had a procedure and like it. It

560
00:27:24,520 --> 00:27:27,480
Speaker 1: cost me like two or three notes, and I needed

561
00:27:27,480 --> 00:27:29,280
Speaker 1: those notes for winning on the World to Change, So

562
00:27:29,280 --> 00:27:31,399
Speaker 1: I kind of kind of to sneak around it. So

563
00:27:31,440 --> 00:27:33,240
Speaker 1: it's not exactly it never really was the most comfortable

564
00:27:33,280 --> 00:27:35,720
Speaker 1: thing to sing, so weirdly enough, like all the songs

565
00:27:35,720 --> 00:27:38,080
Speaker 1: that became very popular are are very difficult to sing

566
00:27:38,119 --> 00:27:39,879
Speaker 1: for me. Meanwhile, all I wanted to do is like

567
00:27:39,920 --> 00:27:42,159
Speaker 1: have a hit with like who says a kick is?

568
00:27:42,280 --> 00:27:43,840
Speaker 1: Don't just wake up at five in the morning be

569
00:27:43,840 --> 00:27:47,480
Speaker 1: able to do it? And uh so it's out of

570
00:27:47,480 --> 00:27:52,600
Speaker 1: my range. It's also musically, um, pretty pretty circular, you know,

571
00:27:52,920 --> 00:27:55,480
Speaker 1: so there's not a ton of room in it. It's

572
00:27:55,920 --> 00:27:58,840
Speaker 1: you kind of get into it. You have to say

573
00:27:58,880 --> 00:28:01,560
Speaker 1: your piece and then get out. It's not necessarily, uh

574
00:28:02,000 --> 00:28:04,880
Speaker 1: meant for exploring the musical space of the song. Now

575
00:28:05,040 --> 00:28:07,040
Speaker 1: you go, why don't you like waiting in the world

576
00:28:07,040 --> 00:28:09,359
Speaker 1: of changing? I feel like it's not in your range anymore,

577
00:28:09,359 --> 00:28:11,280
Speaker 1: Like you lost a couple of notes. Are you kidding?

578
00:28:11,280 --> 00:28:15,439
Speaker 1: Are you just saying I didn't know I was going

579
00:28:15,960 --> 00:28:17,840
Speaker 1: that I was right. This is the true, the true,

580
00:28:18,640 --> 00:28:21,120
Speaker 1: because on that record, I feel like that's the one

581
00:28:21,240 --> 00:28:25,680
Speaker 1: song that is different than all the rest sonically listen,

582
00:28:25,680 --> 00:28:27,920
Speaker 1: not a whole album. And I'm like, man, that one

583
00:28:28,760 --> 00:28:32,000
Speaker 1: could probably go on a couple other records. That might

584
00:28:32,040 --> 00:28:35,040
Speaker 1: be true. But also it's I felt like it was

585
00:28:35,080 --> 00:28:36,520
Speaker 1: a radio song. Did you write that to be on

586
00:28:36,560 --> 00:28:39,720
Speaker 1: the radio? You know? Talk about running it by somebody.

587
00:28:40,240 --> 00:28:42,040
Speaker 1: A dear friend of mine at the time. I sent

588
00:28:42,120 --> 00:28:43,720
Speaker 1: it to her and she said, I don't hear it.

589
00:28:43,760 --> 00:28:46,520
Speaker 1: I don't think it's and I think it's huge. I

590
00:28:46,520 --> 00:28:48,760
Speaker 1: think it's gonna be huge. It's I don't really hear it.

591
00:28:49,000 --> 00:28:51,840
Speaker 1: I don't think it's gonna be huge. I'm weird when

592
00:28:51,840 --> 00:28:53,360
Speaker 1: it comes to hits, man, Like, I don't know what

593
00:28:53,520 --> 00:28:55,840
Speaker 1: makes a song of mine a hit. I have a

594
00:28:55,880 --> 00:29:00,240
Speaker 1: feeling it's like there's something in like you do stand up, uh,

595
00:29:00,880 --> 00:29:04,280
Speaker 1: you know, like your middle funny joke to you is

596
00:29:04,320 --> 00:29:07,080
Speaker 1: your funniest joke to the crowd? I don't. I never

597
00:29:07,080 --> 00:29:08,720
Speaker 1: know what jokes canna be the funniest. It's the one

598
00:29:08,800 --> 00:29:12,080
Speaker 1: that that you're the least excited about, like it's your throwaway.

599
00:29:12,080 --> 00:29:16,920
Speaker 1: They the accidental because you're interested in the upper ranges

600
00:29:16,960 --> 00:29:18,960
Speaker 1: of your mind, Like, how can I be more clever,

601
00:29:19,040 --> 00:29:21,400
Speaker 1: How can I be more interesting? And then somewhere in

602
00:29:21,440 --> 00:29:24,120
Speaker 1: your in your middle is where the crowd kind of

603
00:29:24,680 --> 00:29:27,360
Speaker 1: grabs onto what you're saying, Like the crowd probably applauds,

604
00:29:27,400 --> 00:29:31,120
Speaker 1: and you go, You're like, oh that, Oh you like that? Okay,

605
00:29:31,120 --> 00:29:33,360
Speaker 1: because that really didn't feel like anything coming out of

606
00:29:33,360 --> 00:29:35,560
Speaker 1: my head. It's the same thing with music. It's like

607
00:29:35,600 --> 00:29:37,600
Speaker 1: all the stuff where I'm like, oh my god, this

608
00:29:37,640 --> 00:29:39,840
Speaker 1: is so complex and interesting and people are gonna love it,

609
00:29:39,880 --> 00:29:42,480
Speaker 1: like they kind of don't. It's the stuff that for me,

610
00:29:42,800 --> 00:29:46,440
Speaker 1: I feel like it's a little bit um. It bores me,

611
00:29:46,600 --> 00:29:51,360
Speaker 1: just the slightest bit, and it becomes like whatever I

612
00:29:51,480 --> 00:29:55,200
Speaker 1: find boring in it, people find accessible. And here's the

613
00:29:55,280 --> 00:29:57,640
Speaker 1: joke I'm thinking about the opera tonight. Tell me funny. Yay,

614
00:29:57,680 --> 00:30:00,480
Speaker 1: I haven't used it yet. We're happy to bleep it out. Okay,

615
00:30:00,920 --> 00:30:03,440
Speaker 1: you said the guy that got caught pledging himself with

616
00:30:03,480 --> 00:30:06,960
Speaker 1: the movies to the emoji. Yes, this is good. It's

617
00:30:06,960 --> 00:30:09,040
Speaker 1: not that good. No, I mean it's a good it's

618
00:30:09,040 --> 00:30:12,200
Speaker 1: a good. Right. Everyone is freaking out about the guy

619
00:30:12,280 --> 00:30:14,080
Speaker 1: doing that to himself in a theater. I'm just wondering

620
00:30:14,120 --> 00:30:20,920
Speaker 1: which emoji he thought was super hot. Okay, so that's

621
00:30:20,920 --> 00:30:23,160
Speaker 1: a setup. That's not that's not a punch line yet,

622
00:30:23,200 --> 00:30:25,480
Speaker 1: it's still a setup, right, So then you break it down.

623
00:30:25,600 --> 00:30:28,240
Speaker 1: Is that the Sauca Lady? And then I go through

624
00:30:28,280 --> 00:30:30,240
Speaker 1: the thing and then at the end I end up

625
00:30:30,280 --> 00:30:34,520
Speaker 1: with the purpose. Yeah, there's a lot of places plants?

626
00:30:35,640 --> 00:30:37,560
Speaker 1: Is it the poop emoji? But I don't think people

627
00:30:37,600 --> 00:30:40,400
Speaker 1: are like that's funny as I start rolling through emoji's Like,

628
00:30:40,520 --> 00:30:42,480
Speaker 1: I think that's funny. It's funny if you can break

629
00:30:42,520 --> 00:30:44,880
Speaker 1: it out. And I hate that I'm on your radio

630
00:30:44,880 --> 00:30:46,880
Speaker 1: show telling you how to be funny. It's okay because

631
00:30:46,880 --> 00:30:49,000
Speaker 1: I'm telling you songs I think very good. So we're

632
00:30:49,000 --> 00:30:52,080
Speaker 1: all good. We're in a good place. Yeah, I think.

633
00:30:52,160 --> 00:30:53,880
Speaker 1: I think as long as you just like there's a

634
00:30:53,880 --> 00:30:57,240
Speaker 1: place to go there sure like getting basically you're talking

635
00:30:57,240 --> 00:31:00,440
Speaker 1: about emoji's represent is a fetishist. I like the girl

636
00:31:00,480 --> 00:31:02,800
Speaker 1: because maybe there see, there you go, there you go,

637
00:31:03,000 --> 00:31:04,680
Speaker 1: let's see, that's a whole. I probably can't tell that

638
00:31:04,760 --> 00:31:08,920
Speaker 1: that which emoji if you had only one, Like what

639
00:31:08,960 --> 00:31:10,440
Speaker 1: do you think? Somebody has a gun in your head?

640
00:31:10,440 --> 00:31:12,960
Speaker 1: And like you have to pleasure yourself to an emoji. Yeah,

641
00:31:13,040 --> 00:31:14,840
Speaker 1: what's the one you're gonna pick and be like, look,

642
00:31:14,840 --> 00:31:20,160
Speaker 1: I'll make do the Police Girl. Yeah yeah, yeah, see

643
00:31:20,200 --> 00:31:22,040
Speaker 1: I should join you on on stage of the opry.

644
00:31:22,080 --> 00:31:23,880
Speaker 1: We have a thing going to come out. We riff

645
00:31:24,720 --> 00:31:27,760
Speaker 1: and Police Girl too. Mikes. Yeah that, by the way,

646
00:31:27,960 --> 00:31:29,640
Speaker 1: che did that. We did that. You did it in

647
00:31:29,640 --> 00:31:32,320
Speaker 1: San Francisco. We did in San Francisco, Atlanta. We're gonna

648
00:31:32,320 --> 00:31:34,280
Speaker 1: we're gonna do some what we did Red Rocks in Colorado.

649
00:31:34,320 --> 00:31:37,840
Speaker 1: What do you do? Though? So I go on stage

650
00:31:37,840 --> 00:31:41,000
Speaker 1: and I played for like minutes. He comes out and

651
00:31:41,040 --> 00:31:42,920
Speaker 1: he's he's working on his new hour. He's almost done

652
00:31:42,960 --> 00:31:45,959
Speaker 1: with this new hour, which is phenomenal, and then he

653
00:31:46,000 --> 00:31:48,720
Speaker 1: calls me out and I'm sort of a DJ. It's

654
00:31:48,760 --> 00:31:50,720
Speaker 1: like two guys at a party who found a guitar

655
00:31:51,360 --> 00:31:55,120
Speaker 1: and I'm the DJ of like a joke DJ. So

656
00:31:55,640 --> 00:31:59,600
Speaker 1: he loves music, Dave loves to like joke about songs,

657
00:31:59,640 --> 00:32:03,520
Speaker 1: and he's he's almost like a the Savant where he's

658
00:32:03,520 --> 00:32:05,640
Speaker 1: almost he's he's a musical MC as well. It's really

659
00:32:05,640 --> 00:32:08,960
Speaker 1: straight like he's performing music but he's not singing. It's

660
00:32:08,960 --> 00:32:12,160
Speaker 1: really hard to explain, but he's he's a genius and obviously,

661
00:32:12,720 --> 00:32:15,720
Speaker 1: and so we throw ideas back and forth, and I

662
00:32:15,720 --> 00:32:17,480
Speaker 1: can kind of play anything if I've ever heard it before.

663
00:32:17,520 --> 00:32:18,600
Speaker 1: So he can throw a song to me and I

664
00:32:18,640 --> 00:32:20,320
Speaker 1: just kind of know it. So it's a little bit

665
00:32:20,400 --> 00:32:23,719
Speaker 1: like he throws a song idea to me, I do it,

666
00:32:23,960 --> 00:32:26,480
Speaker 1: and he works it into this brilliance. Like basically it's

667
00:32:26,480 --> 00:32:29,760
Speaker 1: like watching the Chapel Shaw. So it's like jazz with jokes. Yeah,

668
00:32:29,760 --> 00:32:32,360
Speaker 1: that's right. And and and we have little we're starting

669
00:32:32,400 --> 00:32:34,520
Speaker 1: to develop things that we know work. So it's like

670
00:32:34,720 --> 00:32:37,520
Speaker 1: it's like a it's like two people thinking with the

671
00:32:37,560 --> 00:32:39,960
Speaker 1: same brain. Now, like like the way you build a

672
00:32:40,000 --> 00:32:42,600
Speaker 1: file cabinet of jokes in your head, we're building a

673
00:32:42,600 --> 00:32:45,120
Speaker 1: file cabinet of jokes based on songs. Like there's a

674
00:32:45,120 --> 00:32:47,720
Speaker 1: foot loose joke that's just super funny because I'm I'm

675
00:32:47,720 --> 00:32:52,200
Speaker 1: playing the footloose lick downing ironing, ironing earner, and with

676
00:32:52,320 --> 00:32:55,960
Speaker 1: his mind he takes it into you know how out

677
00:32:56,000 --> 00:32:59,320
Speaker 1: of place that would be. You know in the quote

678
00:32:59,360 --> 00:33:03,120
Speaker 1: unquote hood you know the quote unquote which song when

679
00:33:03,160 --> 00:33:05,360
Speaker 1: you start to get the biggest pot from when you

680
00:33:06,120 --> 00:33:08,840
Speaker 1: first first second? Now, what's really weird in keeping with

681
00:33:08,880 --> 00:33:11,400
Speaker 1: a conversation of like who knows what makes a hit

682
00:33:11,440 --> 00:33:14,400
Speaker 1: of mine? Or whether people like slow dancing in a

683
00:33:14,440 --> 00:33:16,520
Speaker 1: burning room? Man, Like I play slow dancing in a

684
00:33:16,560 --> 00:33:18,040
Speaker 1: burning room, and if you had never heard any of

685
00:33:18,120 --> 00:33:20,440
Speaker 1: my music, you'd be like, oh, was this his massive hit?

686
00:33:20,440 --> 00:33:22,320
Speaker 1: You're like, no deep album track, and it wasn't even

687
00:33:22,360 --> 00:33:25,040
Speaker 1: a thing. Almosn't even a single. I mean there are

688
00:33:25,040 --> 00:33:27,160
Speaker 1: things about me that I don't end the other people

689
00:33:27,200 --> 00:33:30,240
Speaker 1: for having to work with. One of those things is

690
00:33:30,280 --> 00:33:33,320
Speaker 1: like I don't put records out where you're like, oh yeah, Like,

691
00:33:33,400 --> 00:33:36,800
Speaker 1: first of all, I'm not technically a pop artist. I

692
00:33:36,800 --> 00:33:38,479
Speaker 1: don't hand in a record where people are like, oh,

693
00:33:38,480 --> 00:33:40,760
Speaker 1: this is a smash, this is smash. It's hard to

694
00:33:40,840 --> 00:33:43,560
Speaker 1: be my record company. Like, not that I think that

695
00:33:43,600 --> 00:33:46,040
Speaker 1: they've been like brilliant this time out, but we do

696
00:33:46,160 --> 00:33:49,920
Speaker 1: live in an ever shifting landscape. But uh, it's it's

697
00:33:49,920 --> 00:33:52,160
Speaker 1: really hard to be my record company. I give twelve

698
00:33:52,240 --> 00:33:54,000
Speaker 1: songs to you. Four of them are like R and

699
00:33:54,040 --> 00:33:57,640
Speaker 1: B bangers. Four of them are like, you know, like

700
00:33:58,120 --> 00:34:00,560
Speaker 1: what someone else would call it sappy who stick ballad?

701
00:34:00,640 --> 00:34:03,520
Speaker 1: You know, so I don't really know what makes a hit,

702
00:34:04,280 --> 00:34:06,600
Speaker 1: but this is my new record, the Project, that's the

703
00:34:06,960 --> 00:34:08,960
Speaker 1: Lindsay L record. So can we get a shot out

704
00:34:08,880 --> 00:34:10,560
Speaker 1: of my new record the Project. Part of it was

705
00:34:10,600 --> 00:34:14,560
Speaker 1: because you know, they didn't really recognize me on the cover,

706
00:34:14,640 --> 00:34:16,800
Speaker 1: but this is who I this is my new record.

707
00:34:17,120 --> 00:34:20,879
Speaker 1: I went by Lindsay L and U can we play

708
00:34:20,960 --> 00:34:26,880
Speaker 1: cut off that? So yeah, so there it is. This

709
00:34:26,880 --> 00:34:29,879
Speaker 1: this is a great recording, and you're asking me like seriously, yeah,

710
00:34:29,880 --> 00:34:33,040
Speaker 1: it's a great it's a great recording. What's the difference recording?

711
00:34:33,080 --> 00:34:35,840
Speaker 1: I just hear a song the way the way it

712
00:34:35,880 --> 00:34:40,759
Speaker 1: was engineered. It's set. It's gorgeous. It's the best. That's

713
00:34:40,800 --> 00:34:42,839
Speaker 1: the Gravity is the best record, Like you know, it's

714
00:34:42,840 --> 00:34:44,440
Speaker 1: a difference between song of the year record of the year.

715
00:34:44,560 --> 00:34:48,040
Speaker 1: Grammy's like, that's this isn't this is quite a record.

716
00:34:48,480 --> 00:34:50,600
Speaker 1: This is how spare it is. If I stopped talking,

717
00:34:51,120 --> 00:34:52,840
Speaker 1: well now I'm just gonna keep going because we're so

718
00:34:53,400 --> 00:34:55,480
Speaker 1: really key into the record, especially the vocals. This is

719
00:34:55,480 --> 00:35:03,360
Speaker 1: gravity from continue checking out Gravity when I want to

720
00:35:03,360 --> 00:35:04,960
Speaker 1: When I want your show Minneapolis, she didn't play it.

721
00:35:05,000 --> 00:35:07,239
Speaker 1: I was sad, and I know you get that every

722
00:35:07,239 --> 00:35:09,360
Speaker 1: show because you can't play everything. Well, well no, but

723
00:35:09,400 --> 00:35:11,080
Speaker 1: you saw me at the beginning of this tour where

724
00:35:11,080 --> 00:35:13,200
Speaker 1: I was like, I'm gonna just play whatever I want,

725
00:35:13,719 --> 00:35:18,440
Speaker 1: and the crowd was adamant that I played Gravity, so

726
00:35:18,680 --> 00:35:21,640
Speaker 1: we added Gravity back in every night. That's cool. Look,

727
00:35:22,000 --> 00:35:24,880
Speaker 1: it's cool to be that artist where you know there

728
00:35:24,920 --> 00:35:27,759
Speaker 1: are things that people identify with you so so much

729
00:35:27,840 --> 00:35:29,320
Speaker 1: that you have to play them. I dig it, and

730
00:35:29,480 --> 00:35:31,160
Speaker 1: I'll play Gravity every night for the rest of my life.

731
00:35:31,160 --> 00:35:33,759
Speaker 1: Like that's a song I'll never get tired of. Yeah,

732
00:35:34,000 --> 00:35:36,680
Speaker 1: there's something about it. It's simple, but you can insert

733
00:35:36,719 --> 00:35:39,680
Speaker 1: however you feel. And gravity can be different every day

734
00:35:39,760 --> 00:35:41,560
Speaker 1: when you when you sing to it. It could be

735
00:35:41,560 --> 00:35:45,480
Speaker 1: emotional gravity, it can be your time spent in space

736
00:35:45,560 --> 00:35:49,479
Speaker 1: if you literal gravity. Yeah, I don't know the movie

737
00:35:49,520 --> 00:35:53,160
Speaker 1: with George that's right. And what's your favorite song off

738
00:35:53,160 --> 00:35:56,880
Speaker 1: the new record? Oh? Well, you know I have the

739
00:35:56,920 --> 00:35:59,120
Speaker 1: one about She doesn't know any words to it, she

740
00:35:59,160 --> 00:36:01,200
Speaker 1: doesn't knows the parts of it. No, I know about how.

741
00:36:01,320 --> 00:36:04,560
Speaker 1: I just think it's really really clever about how you

742
00:36:05,440 --> 00:36:08,759
Speaker 1: keep the shampoo in the shower in case and romantic.

743
00:36:08,920 --> 00:36:12,520
Speaker 1: I'm like, I think every girl sort of would would

744
00:36:12,520 --> 00:36:15,919
Speaker 1: want a guy to to sing that for her. Got

745
00:36:16,000 --> 00:36:20,359
Speaker 1: sticky hands man, it's hard, hard, getting hard, getting out.

746
00:36:20,440 --> 00:36:25,000
Speaker 1: For me, it's it's good. But this song, no dude

747
00:36:25,040 --> 00:36:27,360
Speaker 1: wants to have to write this song though, Yeah, but

748
00:36:27,400 --> 00:36:32,799
Speaker 1: he's both being gonerable all songs. Sorry, enjoy it. No

749
00:36:32,800 --> 00:36:35,120
Speaker 1: one knew what to do with it for listening because

750
00:36:35,120 --> 00:36:37,960
Speaker 1: she told me, what do you get this song to like?

751
00:36:38,040 --> 00:36:41,279
Speaker 1: And this leads in the blood conversation like if you're

752
00:36:41,320 --> 00:36:43,520
Speaker 1: a station that's like a triple A station, you played

753
00:36:43,560 --> 00:36:46,319
Speaker 1: John Man music and all of a sudden, Columbia is like, hey,

754
00:36:46,360 --> 00:36:48,080
Speaker 1: here's the next John May song. Like it doesn't fit

755
00:36:48,080 --> 00:36:51,359
Speaker 1: anyone's radio station, but does it have to fit? Because

756
00:36:51,360 --> 00:36:54,440
Speaker 1: I'm a radio I think nothing has to fit radio.

757
00:36:54,520 --> 00:36:57,319
Speaker 1: I'm with you, man, I mean, maybe that's why we're

758
00:36:57,320 --> 00:37:00,560
Speaker 1: still filling the places up with people's because I'm not

759
00:37:00,680 --> 00:37:03,400
Speaker 1: following this sort of format rule, you know, like I

760
00:37:03,520 --> 00:37:07,920
Speaker 1: put mixed tapes out. I feel like so and you're

761
00:37:07,960 --> 00:37:09,480
Speaker 1: here for a reason because you have a song. And

762
00:37:09,520 --> 00:37:11,120
Speaker 1: I remember I went to this show and I was

763
00:37:11,160 --> 00:37:14,120
Speaker 1: talking and by the way, Lee Levesner is your you

764
00:37:14,160 --> 00:37:17,640
Speaker 1: want to explain you who he is? Lee Livesner uh

765
00:37:17,920 --> 00:37:21,400
Speaker 1: died in ninette and it's come back as a ghost

766
00:37:22,520 --> 00:37:27,560
Speaker 1: to set things straight. Is that correct? Yeah? I don't know. Sorry,

767
00:37:27,840 --> 00:37:33,560
Speaker 1: I'm just pitching movie ideas now, Leah. For years, thirteen

768
00:37:33,640 --> 00:37:36,200
Speaker 1: years or so, like Lee has been in one way

769
00:37:36,239 --> 00:37:38,560
Speaker 1: another with you champion, my champion of the stuff that

770
00:37:38,600 --> 00:37:42,400
Speaker 1: I make. He I there are times he probably doesn't

771
00:37:42,440 --> 00:37:45,279
Speaker 1: see where a song could work and promptly stuffs that

772
00:37:45,360 --> 00:37:48,759
Speaker 1: thought deep deep, deep down inside him and returns back

773
00:37:48,760 --> 00:37:50,360
Speaker 1: with the thought that this song can be huge and

774
00:37:50,360 --> 00:37:51,759
Speaker 1: goes out and fights for it. Mean, there's a guy,

775
00:37:52,760 --> 00:37:55,240
Speaker 1: I've the funniest thing you ever said. It is life

776
00:37:55,960 --> 00:37:58,960
Speaker 1: was about Still Feel Like Your Man, because I thought

777
00:37:59,000 --> 00:38:01,400
Speaker 1: that it could change the like I, I always believe

778
00:38:01,480 --> 00:38:03,640
Speaker 1: that a song can change a format, a song can

779
00:38:03,719 --> 00:38:07,560
Speaker 1: change people's thinking. And we're backstage at Madison Square, Carden,

780
00:38:07,680 --> 00:38:10,919
Speaker 1: Columbia is there and this is right before Still Feel

781
00:38:10,920 --> 00:38:13,080
Speaker 1: Like Your Bad comes out. And I looked at him.

782
00:38:13,360 --> 00:38:15,120
Speaker 1: We had just finished a hug, but now we've got

783
00:38:15,120 --> 00:38:18,920
Speaker 1: hands on each other's shoulders, and I said, I really

784
00:38:19,200 --> 00:38:21,360
Speaker 1: believe and still feel like you're man, and he said,

785
00:38:21,840 --> 00:38:27,160
Speaker 1: and we know that you do. And I thought that

786
00:38:27,320 --> 00:38:30,920
Speaker 1: was just absolutely the funniest thing that I record company,

787
00:38:31,040 --> 00:38:32,800
Speaker 1: Like the funniest if it was if there was a

788
00:38:32,840 --> 00:38:35,920
Speaker 1: Curb Enthusiasm style show about my life, I would write

789
00:38:35,920 --> 00:38:38,279
Speaker 1: that in and that would be in the trailer. It's

790
00:38:38,640 --> 00:38:41,600
Speaker 1: hilarious and we know that you do. That's a guy

791
00:38:41,640 --> 00:38:44,440
Speaker 1: who can't lie. Man. It was amazing. But listen to

792
00:38:44,480 --> 00:38:48,319
Speaker 1: the jam three days. I lost my mind and I

793
00:38:48,360 --> 00:38:52,200
Speaker 1: was only thinking about this song three days and a trance.

794
00:38:53,440 --> 00:38:56,880
Speaker 1: What are you doing a trance? You're only about bringing

795
00:38:56,920 --> 00:38:59,520
Speaker 1: the song with life. I was in a therapist office

796
00:39:00,200 --> 00:39:03,239
Speaker 1: and I said, I still feel like her. I still

797
00:39:03,280 --> 00:39:06,560
Speaker 1: feel like her Mania and I went, oh, no, here

798
00:39:06,560 --> 00:39:08,919
Speaker 1: we go. It's I got in the car, I wrote down,

799
00:39:09,560 --> 00:39:11,640
Speaker 1: still I still feel like your Man. And I looked

800
00:39:11,640 --> 00:39:13,799
Speaker 1: at that title and I went, if we play our

801
00:39:13,840 --> 00:39:16,359
Speaker 1: cards right, that is a major song I had felt like.

802
00:39:16,640 --> 00:39:19,759
Speaker 1: And I immediately googled the title I still feel like

803
00:39:19,800 --> 00:39:23,640
Speaker 1: your Man, because I thought someone must have had this idea.

804
00:39:23,760 --> 00:39:27,080
Speaker 1: Whenever I have a good idea, I'm not even excited

805
00:39:27,080 --> 00:39:29,920
Speaker 1: about it. I get immediately frightened that someone else has

806
00:39:29,920 --> 00:39:33,280
Speaker 1: already had that good idea. So I google that good idea.

807
00:39:33,800 --> 00:39:36,480
Speaker 1: No search results. That's when I got even more excited.

808
00:39:36,520 --> 00:39:40,080
Speaker 1: I went, okay, I'm actually getting right now, like excited.

809
00:39:40,440 --> 00:39:42,600
Speaker 1: My heart is racing as I talked about this, because

810
00:39:42,840 --> 00:39:44,680
Speaker 1: this is about how you sneak up on an on

811
00:39:44,760 --> 00:39:48,359
Speaker 1: an idea, trying to catch a greasy pig, and you're

812
00:39:48,400 --> 00:39:51,400
Speaker 1: just like, Okay, there it is. Let's not sing it

813
00:39:51,440 --> 00:39:55,560
Speaker 1: too soon. Let's not just throw some BS cliche stuff

814
00:39:55,600 --> 00:39:58,799
Speaker 1: on this idea. And for for a whole day, I

815
00:39:58,800 --> 00:40:00,879
Speaker 1: didn't sing it. I feel like your Man. I didn't

816
00:40:00,880 --> 00:40:02,919
Speaker 1: make a note with it because I knew that whatever

817
00:40:02,960 --> 00:40:05,000
Speaker 1: I sang, I was gonna start getting attached to and

818
00:40:05,040 --> 00:40:06,840
Speaker 1: I don't want to get attached to a dumb idea

819
00:40:06,960 --> 00:40:09,400
Speaker 1: for still feel like. So now I just have sheets

820
00:40:09,400 --> 00:40:11,799
Speaker 1: of paper and I'm typing all different ideas about still

821
00:40:11,800 --> 00:40:13,600
Speaker 1: feel like You're Man, and I don't list think. And

822
00:40:13,640 --> 00:40:14,799
Speaker 1: then I was in the shower and I was like,

823
00:40:14,800 --> 00:40:17,120
Speaker 1: could I do it like a Prince ballad? I still

824
00:40:17,160 --> 00:40:21,000
Speaker 1: feel lack you me? You know, no, that's gonna be shallow. Okay,

825
00:40:21,200 --> 00:40:23,680
Speaker 1: don't don't even sing it. Don't even sing it. And

826
00:40:23,719 --> 00:40:26,640
Speaker 1: then I had already had written this idea, this chord changes,

827
00:40:26,680 --> 00:40:28,960
Speaker 1: and then one day I went in the studio and

828
00:40:29,000 --> 00:40:30,880
Speaker 1: it was the greatest luck in the world. That this

829
00:40:30,920 --> 00:40:33,239
Speaker 1: one idea that I'd written musically locked in would just

830
00:40:33,280 --> 00:40:35,880
Speaker 1: still feel like you're man thing, And it became this

831
00:40:36,000 --> 00:40:40,400
Speaker 1: like we I called it ancient Japanese R and B.

832
00:40:40,880 --> 00:40:43,560
Speaker 1: If you listen to it's like super staccato and clean

833
00:40:43,600 --> 00:40:47,719
Speaker 1: toda didn't doom like I've never heard anything like it

834
00:40:47,800 --> 00:40:50,120
Speaker 1: comes from me. And so for the next three days

835
00:40:50,120 --> 00:40:53,040
Speaker 1: I did nothing but enter like this. It's hard to explain,

836
00:40:53,080 --> 00:40:55,680
Speaker 1: but it's true. If you can feel it, you're a

837
00:40:55,719 --> 00:40:58,640
Speaker 1: little bit not on earth, You're like half of you

838
00:40:58,760 --> 00:41:02,680
Speaker 1: is in another place. And for three days I did

839
00:41:02,760 --> 00:41:06,319
Speaker 1: nothing but bring this song into my life, and I

840
00:41:06,360 --> 00:41:08,719
Speaker 1: listened to a lot of Marvin Gay. There's definitely like

841
00:41:08,800 --> 00:41:10,920
Speaker 1: some Marvin Gay thing happening in the tune that I

842
00:41:10,920 --> 00:41:14,520
Speaker 1: didn't want to block. And when I was done with it,

843
00:41:15,920 --> 00:41:21,000
Speaker 1: this really interesting jam that's like hopeful but also like

844
00:41:21,160 --> 00:41:24,240
Speaker 1: has the saddest line I've ever written. I literally cried

845
00:41:25,120 --> 00:41:27,360
Speaker 1: when I wrote I still keep your shampoo in my

846
00:41:27,400 --> 00:41:30,239
Speaker 1: shower in case you want to wash your hair. That's

847
00:41:30,280 --> 00:41:34,000
Speaker 1: the saddest lyric I've ever written in my life. Think

848
00:41:34,040 --> 00:41:37,080
Speaker 1: of how much desperation is in that line. She's not

849
00:41:37,560 --> 00:41:40,959
Speaker 1: coming to wash her hair at your house. It's over.

850
00:41:41,360 --> 00:41:44,200
Speaker 1: But the idea of keeping the torch lit where you say, well,

851
00:41:44,239 --> 00:41:47,440
Speaker 1: I'm keeping it there. It's like, you know, there's like

852
00:41:47,480 --> 00:41:51,680
Speaker 1: this dog in Japan and dog had an owner. The

853
00:41:51,760 --> 00:41:53,840
Speaker 1: owner would go to the train every day and the

854
00:41:53,880 --> 00:41:57,080
Speaker 1: dog would follow the owner of the train and then

855
00:41:57,239 --> 00:42:00,399
Speaker 1: be there at the exact time the own or came

856
00:42:00,440 --> 00:42:02,279
Speaker 1: back from work off the train. The dog will be

857
00:42:02,360 --> 00:42:05,960
Speaker 1: waiting on the train platform. The one day the owner died,

858
00:42:07,000 --> 00:42:10,920
Speaker 1: and the dog still waited at that platform for his

859
00:42:10,960 --> 00:42:15,480
Speaker 1: owner for years until the dog passed away. I love

860
00:42:15,520 --> 00:42:18,960
Speaker 1: that story. It is true. There's a statue of the

861
00:42:19,040 --> 00:42:22,759
Speaker 1: dog where the dog once stood himself, and I very

862
00:42:22,840 --> 00:42:26,240
Speaker 1: much in breakups feel like the statue of that dog,

863
00:42:28,000 --> 00:42:31,120
Speaker 1: not even the dog, I feel like the statue of

864
00:42:31,120 --> 00:42:37,280
Speaker 1: the dog. Fantastic story that I take a drink of water. Yeah, see,

865
00:42:37,280 --> 00:42:40,080
Speaker 1: but where are you? I saw hope in you keeping

866
00:42:40,080 --> 00:42:46,480
Speaker 1: the shampoo there. I think that's I think it's lovely. Yeah, everybody,

867
00:42:46,840 --> 00:42:48,680
Speaker 1: it's different. Like for me, I was like, oh, that's

868
00:42:48,680 --> 00:42:51,799
Speaker 1: so vulnerable, and it's vulnerable. But I felt like me,

869
00:42:52,000 --> 00:42:56,120
Speaker 1: like I would do that. Yeah, she does come back.

870
00:42:58,320 --> 00:43:00,400
Speaker 1: So the shower is a very vulnerable play, you know,

871
00:43:00,719 --> 00:43:03,799
Speaker 1: and and you stare at it as this sort of totem.

872
00:43:03,840 --> 00:43:07,760
Speaker 1: It's still life, it's the last It's like someone's shampoo

873
00:43:08,360 --> 00:43:13,000
Speaker 1: is what they use in their most intimate, solitary moments,

874
00:43:13,400 --> 00:43:15,560
Speaker 1: and they've brought their shampoo to your place and they've

875
00:43:15,640 --> 00:43:19,000
Speaker 1: left it there because the implication is I'm going to

876
00:43:19,040 --> 00:43:22,040
Speaker 1: be here so often it's worth my time to place

877
00:43:22,160 --> 00:43:25,000
Speaker 1: some shampoo here and get some more for myself because

878
00:43:25,239 --> 00:43:27,040
Speaker 1: I really feel like I'm going to take, you know,

879
00:43:27,200 --> 00:43:31,400
Speaker 1: setup shop here and then it doesn't end up working out.

880
00:43:31,800 --> 00:43:35,759
Speaker 1: But the shampoo, they're like the kids of divorce. The

881
00:43:35,800 --> 00:43:38,680
Speaker 1: shampoo and condition are like children of divorce. And how

882
00:43:38,680 --> 00:43:42,919
Speaker 1: do you break it to the kids? Never wants to suffer? Yeah,

883
00:43:43,719 --> 00:43:46,240
Speaker 1: I have feeling you and I could bullshit for six

884
00:43:46,280 --> 00:43:49,040
Speaker 1: hours straight. Let me let me. I gotta call the

885
00:43:49,120 --> 00:43:52,320
Speaker 1: more because around the time here, How about this the

886
00:43:52,760 --> 00:43:55,600
Speaker 1: fact that you see colors when you play. I don't

887
00:43:55,600 --> 00:43:59,279
Speaker 1: have synesthesia, and people, okay, that's that's where people know

888
00:43:59,480 --> 00:44:03,680
Speaker 1: people somebody, Um, why would someone fake that about you? Then? Well,

889
00:44:03,920 --> 00:44:07,160
Speaker 1: people misinterpret my metaphors a lot, which is easily done.

890
00:44:08,080 --> 00:44:11,680
Speaker 1: And I don't have synesthesia. I have probably some um

891
00:44:11,719 --> 00:44:15,799
Speaker 1: interpretive form of synesthesis. Synesthesia, by the way, is some

892
00:44:15,840 --> 00:44:17,839
Speaker 1: people have a clinical I don't know if i'd call

893
00:44:17,880 --> 00:44:21,040
Speaker 1: it a disorder. It was a gift of sorts whereby

894
00:44:21,200 --> 00:44:25,839
Speaker 1: words and sounds actually are interpreted as colors in their brain.

895
00:44:26,400 --> 00:44:28,759
Speaker 1: I have it, but not visually. I'm pretty close to

896
00:44:28,800 --> 00:44:31,399
Speaker 1: I have relative synesthesia. Like what are you seeing when

897
00:44:31,400 --> 00:44:33,319
Speaker 1: you're playing a solo? What are you singing in your head?

898
00:44:33,360 --> 00:44:40,560
Speaker 1: How are your numbers? Colors? Muscle memory? What is it? Shapes? Colors? Uh? Geometry?

899
00:44:40,600 --> 00:44:43,680
Speaker 1: That's actually, man, you're a very good interviewer, Like you're

900
00:44:43,719 --> 00:44:50,120
Speaker 1: asking really interesting, untrodden on questions that are exciting to answer. Uh.

901
00:44:50,200 --> 00:44:53,880
Speaker 1: The way that I do it is tons and tons

902
00:44:53,920 --> 00:44:58,080
Speaker 1: and tons of streams of possibilities of shapes, What's where?

903
00:44:58,320 --> 00:45:00,399
Speaker 1: Where does it go? And I've done it for so

904
00:45:00,480 --> 00:45:03,879
Speaker 1: long now that a lot of that data has sort

905
00:45:03,880 --> 00:45:06,359
Speaker 1: of dissolved and it's all feeling now. I just know

906
00:45:06,400 --> 00:45:09,160
Speaker 1: where it is. I just it's very Jedi now, like

907
00:45:09,239 --> 00:45:11,799
Speaker 1: I just know where it is, and it's sometimes I

908
00:45:11,800 --> 00:45:14,319
Speaker 1: don't know how I know It'll be different every single night.

909
00:45:14,920 --> 00:45:19,680
Speaker 1: But I found some weird confluence of what I know

910
00:45:19,800 --> 00:45:21,960
Speaker 1: and what I don't know, but what I'm pretty sure

911
00:45:22,080 --> 00:45:24,239
Speaker 1: is going to be there. And it's more fun than

912
00:45:24,280 --> 00:45:26,160
Speaker 1: ever to play guitar because I'm not playing it like

913
00:45:26,239 --> 00:45:29,399
Speaker 1: a student of guitar anymore, Like I'm I'm just sort

914
00:45:29,400 --> 00:45:32,640
Speaker 1: of forgetting it all. It's like a photographer wouldn't think about,

915
00:45:32,680 --> 00:45:35,280
Speaker 1: like what f stopped there at? You just start shooting

916
00:45:35,680 --> 00:45:37,960
Speaker 1: after a certain period of time. Is it easier to

917
00:45:38,000 --> 00:45:42,000
Speaker 1: go for a jog or to play a solo? Because

918
00:45:42,040 --> 00:45:44,839
Speaker 1: I feel like this, when you move your hands, it's

919
00:45:44,880 --> 00:45:47,680
Speaker 1: just happening. It's just happening. At this point, it's a whole.

920
00:45:47,719 --> 00:45:51,440
Speaker 1: It's I got, you know, it's its own other world.

921
00:45:51,640 --> 00:45:53,319
Speaker 1: You know, whereas you run you have to be somewhat

922
00:45:53,360 --> 00:45:56,240
Speaker 1: conscious of your steps. Are you conscious of your hands?

923
00:45:57,560 --> 00:46:00,239
Speaker 1: And there are sometimes when I'm playing, like I looked

924
00:46:00,239 --> 00:46:02,319
Speaker 1: out of my hands and I go, what is any

925
00:46:02,360 --> 00:46:04,920
Speaker 1: of this? Like as I'm playing, I'm like, what is

926
00:46:04,960 --> 00:46:06,560
Speaker 1: any of this stuff? You know, Like you've had the

927
00:46:06,560 --> 00:46:09,560
Speaker 1: word mustard twelve times in a rug, You're like, mustard, mustard,

928
00:46:09,600 --> 00:46:11,200
Speaker 1: this is a weird word. Not much. I did it

929
00:46:11,200 --> 00:46:15,000
Speaker 1: the other day with certain and I went, did I

930
00:46:15,000 --> 00:46:16,880
Speaker 1: ever really hear the word certain? Or did I just

931
00:46:16,960 --> 00:46:18,719
Speaker 1: kind of ignore it? For did I have a really

932
00:46:18,719 --> 00:46:23,000
Speaker 1: pay attention to the words certain certain mustard, A certain mustard,

933
00:46:23,320 --> 00:46:29,360
Speaker 1: certain m's real certain Let me hear one more thing. Uh.

934
00:46:29,440 --> 00:46:31,279
Speaker 1: So you went out and play with the Dead Company, Yeah,

935
00:46:31,480 --> 00:46:36,120
Speaker 1: which is fantastic. But I wondered how two things. One

936
00:46:36,160 --> 00:46:38,480
Speaker 1: you had to learn a lot of songs, and too

937
00:46:39,000 --> 00:46:43,120
Speaker 1: you had to learn them so good because you're playing with,

938
00:46:43,640 --> 00:46:46,520
Speaker 1: you know, one of the greatest ever. You're playing a

939
00:46:46,560 --> 00:46:51,600
Speaker 1: big shadow. So what's that pressure like as compared to

940
00:46:51,680 --> 00:46:54,840
Speaker 1: John Mayer pressure, because it seems like it would be bigger.

941
00:46:55,160 --> 00:46:57,120
Speaker 1: I think I always knew that it was. Sorry, I'm

942
00:46:57,160 --> 00:47:00,200
Speaker 1: not on Mike always. I think that I all aways

943
00:47:00,280 --> 00:47:01,839
Speaker 1: knew it was in my heart, like I could do it.

944
00:47:02,200 --> 00:47:03,719
Speaker 1: I knew that I couldn't do it the day I

945
00:47:03,760 --> 00:47:05,719
Speaker 1: said that I could do it, or that the day

946
00:47:05,719 --> 00:47:08,560
Speaker 1: I said I was gonna do it. But I knew

947
00:47:08,600 --> 00:47:13,040
Speaker 1: in my heart that I had that that I could

948
00:47:13,080 --> 00:47:18,640
Speaker 1: somehow do something to it and with it that would

949
00:47:18,640 --> 00:47:23,080
Speaker 1: be valuable. So I remember looking at it like, Okay,

950
00:47:23,640 --> 00:47:26,200
Speaker 1: this is this might be in October, it's like April now,

951
00:47:27,000 --> 00:47:28,879
Speaker 1: And I looked at the number of days that I had.

952
00:47:29,760 --> 00:47:31,560
Speaker 1: I looked at the number of songs that were to learn,

953
00:47:31,560 --> 00:47:33,799
Speaker 1: and I went, all right, that's three a day, let's go,

954
00:47:34,480 --> 00:47:37,920
Speaker 1: you know, And I just knew in my heart. You know.

955
00:47:37,960 --> 00:47:41,359
Speaker 1: It's like people ask me sometimes, like will you do

956
00:47:41,440 --> 00:47:44,560
Speaker 1: this documentary about this person's life because we know you

957
00:47:44,600 --> 00:47:46,000
Speaker 1: liked them, And I go like, well, I liked him,

958
00:47:46,000 --> 00:47:47,480
Speaker 1: but I don't know what to say, and I don't

959
00:47:47,480 --> 00:47:50,760
Speaker 1: really have anything to say. It's like, doesn't it doesn't

960
00:47:50,800 --> 00:47:52,719
Speaker 1: really reverberate inside of me, So I don't really know

961
00:47:52,760 --> 00:47:54,200
Speaker 1: if I can talk about it or like I'll have

962
00:47:54,239 --> 00:47:56,440
Speaker 1: anything to say about it. The topic of Grateful Dead

963
00:47:56,520 --> 00:47:59,759
Speaker 1: music for me at that time was like I want

964
00:47:59,840 --> 00:48:01,840
Speaker 1: no thing but to think about it, talk about it.

965
00:48:01,880 --> 00:48:03,719
Speaker 1: So I knew that it had taken some sort of

966
00:48:03,719 --> 00:48:06,360
Speaker 1: purchase inside of me on a deeper level than anything

967
00:48:06,520 --> 00:48:08,920
Speaker 1: ever had, and all I had to do was just

968
00:48:08,960 --> 00:48:11,640
Speaker 1: take it day by day. And I felt like with

969
00:48:12,880 --> 00:48:17,920
Speaker 1: my knowledge of the guitar and I think understanding where

970
00:48:18,080 --> 00:48:20,960
Speaker 1: the music was coming from, even if I didn't necessarily

971
00:48:21,000 --> 00:48:23,840
Speaker 1: have that myself, like I could play genealogists like I

972
00:48:23,880 --> 00:48:25,759
Speaker 1: could I could figure out the d n A. I

973
00:48:25,760 --> 00:48:28,719
Speaker 1: looked at it like a contractor looking at like an

974
00:48:28,760 --> 00:48:30,880
Speaker 1: empty space, going like, yeah, I can I can build you.

975
00:48:31,040 --> 00:48:33,439
Speaker 1: I can build this out. You can't eat here now,

976
00:48:34,239 --> 00:48:36,800
Speaker 1: But in six months I think I can think I

977
00:48:36,840 --> 00:48:40,040
Speaker 1: can build this. And it was really cool to become

978
00:48:40,080 --> 00:48:43,600
Speaker 1: a student. I didn't tour, I didn't make a dime. Uh,

979
00:48:43,719 --> 00:48:46,080
Speaker 1: I wasn't out in the world making a name for myself.

980
00:48:46,120 --> 00:48:50,439
Speaker 1: I sat at home for six months and learned those

981
00:48:50,480 --> 00:48:52,880
Speaker 1: songs which I was already learning. It wasn't like I

982
00:48:53,280 --> 00:48:57,160
Speaker 1: um had forced myself to like something what a perfect

983
00:48:57,160 --> 00:48:58,760
Speaker 1: thing that I was already in the midst of learning

984
00:48:58,760 --> 00:49:01,480
Speaker 1: these songs on my own, just as a listener. And

985
00:49:01,600 --> 00:49:03,960
Speaker 1: it it was like at a certain point in my

986
00:49:04,000 --> 00:49:06,960
Speaker 1: career where where you'd think that I'd be done learning,

987
00:49:07,200 --> 00:49:09,240
Speaker 1: it was like going to school for the first time again.

988
00:49:09,760 --> 00:49:12,000
Speaker 1: And that was really good for me to not feel

989
00:49:12,040 --> 00:49:13,880
Speaker 1: as if, well, this is your life, John, you spend

990
00:49:14,600 --> 00:49:16,520
Speaker 1: you you just basically play your own music till you die.

991
00:49:16,640 --> 00:49:19,480
Speaker 1: Like that doesn't excite me. It will maybe at some

992
00:49:19,520 --> 00:49:21,080
Speaker 1: point when I'm like, look, I got a wife and kids.

993
00:49:21,120 --> 00:49:24,279
Speaker 1: I don't necessarily want to reinvent the wheel. But it

994
00:49:24,400 --> 00:49:28,440
Speaker 1: brought so much more complexity to the life of a

995
00:49:28,480 --> 00:49:32,800
Speaker 1: guy like me who craves complexity and gets not bored

996
00:49:33,000 --> 00:49:36,879
Speaker 1: but complacent really quickly. It was like a whole new

997
00:49:36,960 --> 00:49:39,960
Speaker 1: world that I could discover, and every day was exciting,

998
00:49:40,000 --> 00:49:42,560
Speaker 1: and it still is with those guys, it's incredibly exciting.

999
00:49:43,520 --> 00:49:45,279
Speaker 1: I'm glad you're here. I'm glad this all worked out

1000
00:49:45,360 --> 00:49:47,120
Speaker 1: where he could come in the day I came back

1001
00:49:47,120 --> 00:49:49,279
Speaker 1: from the show, I was like, man, you know, some

1002
00:49:49,320 --> 00:49:52,800
Speaker 1: of this record sounds like music that we would play,

1003
00:49:53,239 --> 00:49:56,520
Speaker 1: you know, in this format. And I went and listen.

1004
00:49:56,560 --> 00:49:59,040
Speaker 1: I'm not always the most popular guy traditionally in this format,

1005
00:49:59,719 --> 00:50:01,839
Speaker 1: just because I do things at lets out of the box,

1006
00:50:01,880 --> 00:50:04,160
Speaker 1: but I was like, man, some of this record, A

1007
00:50:04,239 --> 00:50:08,080
Speaker 1: couple of songs on there, um in the blood, they're

1008
00:50:08,360 --> 00:50:11,080
Speaker 1: rolling on, rolling on home for sure. I was like,

1009
00:50:11,120 --> 00:50:15,000
Speaker 1: this is exactly what it is, even more traditional than

1010
00:50:15,040 --> 00:50:18,120
Speaker 1: some of the things being played now. Um. And so

1011
00:50:18,160 --> 00:50:19,920
Speaker 1: I was like, hey, why aren't we playing it? And

1012
00:50:19,920 --> 00:50:21,880
Speaker 1: so I played it and get screamed at, and you know,

1013
00:50:21,960 --> 00:50:24,640
Speaker 1: the whole thing. But now there we come full circle

1014
00:50:25,080 --> 00:50:28,160
Speaker 1: and you've had a little time and some other stations

1015
00:50:28,160 --> 00:50:29,640
Speaker 1: and other people have played it, and I think it's

1016
00:50:29,640 --> 00:50:32,319
Speaker 1: been embraced really well by people outside and with you

1017
00:50:32,360 --> 00:50:34,640
Speaker 1: to thank for it. Let me ask you a question.

1018
00:50:34,800 --> 00:50:37,720
Speaker 1: If you had played that song in the Blood without

1019
00:50:37,760 --> 00:50:41,160
Speaker 1: telling people that it was me, would they have objected? Now?

1020
00:50:42,360 --> 00:50:48,359
Speaker 1: But this is the truth. Almost nobody, I say almost, man,

1021
00:50:48,520 --> 00:50:53,320
Speaker 1: Almost nobody objected that listen anyway. The only people that

1022
00:50:53,400 --> 00:50:57,279
Speaker 1: objected were radio people. No listeners are like, this song

1023
00:50:57,360 --> 00:51:00,120
Speaker 1: is not country, the song is not anything. They were like, wow,

1024
00:51:00,160 --> 00:51:02,479
Speaker 1: that's a fantastic song, or wow, I love John Marry,

1025
00:51:02,520 --> 00:51:04,719
Speaker 1: but we don't play John Marry. That's what they're saying.

1026
00:51:05,160 --> 00:51:07,719
Speaker 1: That's what it was, just the thing from the inside.

1027
00:51:08,200 --> 00:51:10,680
Speaker 1: It wasn't people that wouldn't embrace it, that listen to

1028
00:51:10,719 --> 00:51:12,840
Speaker 1: consume it. And that's the weird part. I try to

1029
00:51:12,840 --> 00:51:14,080
Speaker 1: be a person of the people more so than a

1030
00:51:14,080 --> 00:51:16,440
Speaker 1: person in the industry. I get you and then that, well,

1031
00:51:16,960 --> 00:51:19,600
Speaker 1: that's why I feels so good. Like you said outside

1032
00:51:19,600 --> 00:51:22,480
Speaker 1: of the box to give a sense of how different

1033
00:51:22,520 --> 00:51:24,400
Speaker 1: the world is. I haven't heard the phrase outside of

1034
00:51:24,400 --> 00:51:26,920
Speaker 1: the box. No offense to you. I haven't heard the

1035
00:51:26,920 --> 00:51:29,000
Speaker 1: phrase outside of the box in ten years. Everything is

1036
00:51:29,000 --> 00:51:32,320
Speaker 1: outside of the box every possible, Like there's no box anymore.

1037
00:51:32,520 --> 00:51:35,120
Speaker 1: You know, and I think what you're saying is there's

1038
00:51:35,120 --> 00:51:37,480
Speaker 1: a box here, Well, there's a box here to box here,

1039
00:51:37,520 --> 00:51:41,800
Speaker 1: and and you know, people have vested interest in keeping

1040
00:51:41,840 --> 00:51:44,960
Speaker 1: the box taped up shut you know. And I think

1041
00:51:44,960 --> 00:51:47,319
Speaker 1: it's very interesting to say the least, that you're looking

1042
00:51:47,360 --> 00:51:49,319
Speaker 1: at it going well, why do you have to keep

1043
00:51:49,360 --> 00:51:52,040
Speaker 1: the box closed? Um? And that just goes to show

1044
00:51:52,040 --> 00:51:53,799
Speaker 1: you there's there's like when's the last time someone asked

1045
00:51:53,800 --> 00:51:55,600
Speaker 1: you what's on your iPod? Once the last time someone

1046
00:51:55,640 --> 00:51:58,040
Speaker 1: said like, what genre of music do you like? It's

1047
00:51:58,080 --> 00:52:01,480
Speaker 1: all completely disassembled and uh, you know, thank you for

1048
00:52:02,480 --> 00:52:06,279
Speaker 1: being a champion of stuff that's cool and fits and

1049
00:52:06,320 --> 00:52:09,000
Speaker 1: saying like, well, whatever your notion is of it, you know,

1050
00:52:10,680 --> 00:52:14,640
Speaker 1: let's try not putting that, you know, as a barrier

1051
00:52:14,960 --> 00:52:17,320
Speaker 1: in front of the song. You know, it's not not country,

1052
00:52:17,760 --> 00:52:23,560
Speaker 1: It's true, you know what I mean? Down in Livingston, Montana.

1053
00:52:23,880 --> 00:52:27,480
Speaker 1: I live in Livingston, Montana. That's pretty country. That's pretty western.

1054
00:52:28,360 --> 00:52:35,399
Speaker 1: That's pretty western. So a body in my backyard, hey

1055
00:52:35,440 --> 00:52:37,040
Speaker 1: do you want to? Amy gave him this picture in

1056
00:52:37,080 --> 00:52:39,239
Speaker 1: like two thousand and an old six shooter buried in

1057
00:52:39,280 --> 00:52:41,279
Speaker 1: the ground. For my birthday, Amy painted this for me

1058
00:52:41,280 --> 00:52:45,480
Speaker 1: a long time ago ago? Did you only have like

1059
00:52:45,640 --> 00:52:49,279
Speaker 1: one tattoo here? A long time ago? And then I

1060
00:52:49,320 --> 00:52:52,239
Speaker 1: started doing silly stuff and say this is you don't

1061
00:52:52,239 --> 00:52:55,960
Speaker 1: get to keep it. I'm a fan of Yeah, she

1062
00:52:56,040 --> 00:52:58,920
Speaker 1: painted it for me, So if you wouldn't mind signing that,

1063
00:52:59,000 --> 00:53:00,799
Speaker 1: I would love to. I'mna put it back in my

1064
00:53:00,840 --> 00:53:04,200
Speaker 1: room where it has been a gift from her. Yea, yeah,

1065
00:53:04,280 --> 00:53:08,680
Speaker 1: it was like saying, what do you think UM like

1066
00:53:08,760 --> 00:53:11,759
Speaker 1: as an artist? As an artist, I think it's I

1067
00:53:11,800 --> 00:53:18,480
Speaker 1: could tell it was me. Yeah, yeah, I want that

1068
00:53:18,520 --> 00:53:25,160
Speaker 1: haircut bag. We're gonna play in the blood Busts. I

1069
00:53:25,200 --> 00:53:27,680
Speaker 1: appreciate you coming by. I help shore. It was awesome tonight.

1070
00:53:27,760 --> 00:53:29,520
Speaker 1: Thank you and yours too. I want to know how

1071
00:53:29,560 --> 00:53:31,279
Speaker 1: the emoji joke works, and I don't think I'm going

1072
00:53:31,320 --> 00:53:33,000
Speaker 1: to do that at the operation giving you my cell

1073
00:53:33,040 --> 00:53:35,520
Speaker 1: phone number, and I want you to I'm like, I

1074
00:53:35,560 --> 00:53:37,840
Speaker 1: have a home number, I'm gonna give you my home

1075
00:53:38,480 --> 00:53:41,760
Speaker 1: office and cell phone number. I'm giving you my cell

1076
00:53:41,840 --> 00:53:44,000
Speaker 1: phone telephone number. I don't want you to tell me

1077
00:53:44,040 --> 00:53:46,080
Speaker 1: how the emoji joke goes, and you can use emojis

1078
00:53:46,120 --> 00:53:48,800
Speaker 1: for it. I will not do that at the operate,

1079
00:53:48,880 --> 00:53:51,520
Speaker 1: but I'm a California show to California this weekend. We're

1080
00:53:51,520 --> 00:53:53,800
Speaker 1: you gonna be in California and so plug it, plug

1081
00:53:53,800 --> 00:53:57,279
Speaker 1: it well, trust me, I do enough. But I'll be

1082
00:53:57,320 --> 00:53:59,880
Speaker 1: in Monree a modesto both. But like a lot of

1083
00:54:00,080 --> 00:54:02,520
Speaker 1: a lot of TV bookers are coming out to watch

1084
00:54:02,520 --> 00:54:04,920
Speaker 1: because I'm rarely on the West Coast and booking for

1085
00:54:04,960 --> 00:54:07,600
Speaker 1: what for lots of shows night slots? Or would you

1086
00:54:07,600 --> 00:54:09,560
Speaker 1: would you bail on this dump to be on a sitcom?

1087
00:54:09,600 --> 00:54:11,360
Speaker 1: Is this what you're saying? I would not bail, but

1088
00:54:11,440 --> 00:54:16,200
Speaker 1: they are coming out. It is kind of a dumpy theories.

1089
00:54:16,200 --> 00:54:18,960
Speaker 1: All right. They're gonna give you cones, are gonna give

1090
00:54:18,960 --> 00:54:22,480
Speaker 1: you a reserved spot. You're gonna Lisa Porsche Cayenne. You're

1091
00:54:22,480 --> 00:54:25,200
Speaker 1: gonna you're gonna live in Studio City. It's gonna be

1092
00:54:25,200 --> 00:54:29,839
Speaker 1: great for you. Your shop at Whole Foods. Oh, I see,

1093
00:54:30,000 --> 00:54:33,200
Speaker 1: they're gonna live the life parked right next to Johnny Galecky.

1094
00:54:34,360 --> 00:54:36,040
Speaker 1: You're gonna be on a You're gonna be on a lot,

1095
00:54:37,080 --> 00:54:39,960
Speaker 1: you know, running to Mario Lopez every damn day and

1096
00:54:40,080 --> 00:54:43,560
Speaker 1: forget about all these losers, aren't you? That's the goal,

1097
00:54:44,760 --> 00:54:47,239
Speaker 1: all right, John Mayre. Thank you, John. Good to see

1098
00:54:47,239 --> 00:54:48,640
Speaker 1: you about it than you have you enjoyed this? This,

1099
00:54:48,800 --> 00:54:53,719
Speaker 1: this was You're great. This was great. This is great. Like, no,

1100
00:54:53,840 --> 00:54:56,239
Speaker 1: I don't do that. I wouldn't do that. Um, this

1101
00:54:56,320 --> 00:54:58,240
Speaker 1: is like we we had a dinner and work already

1102
00:54:58,280 --> 00:55:00,319
Speaker 1: on dessert and I'm like, oh, we didn't even really

1103
00:55:00,360 --> 00:55:01,839
Speaker 1: get to it. I agree, we could have spent when

1104
00:55:01,880 --> 00:55:03,200
Speaker 1: next time you come to town or I'll come over.

1105
00:55:03,239 --> 00:55:04,680
Speaker 1: I'll come up to Mindanna. I would love to hang

1106
00:55:04,680 --> 00:55:06,279
Speaker 1: out with the dog, would love to all right, here

1107
00:55:06,280 --> 00:55:08,440
Speaker 1: we go, John Mayor. Everybody all right there It is

1108
00:55:09,080 --> 00:55:12,880
Speaker 1: episode seventy five The Bobby Cast thanks to John Mayer.

1109
00:55:13,320 --> 00:55:16,480
Speaker 1: I'm going to twitter now at the Bobby Cast. Its

1110
00:55:16,560 --> 00:55:18,480
Speaker 1: awesome to hang out with John Mayor for an hour

1111
00:55:18,520 --> 00:55:20,680
Speaker 1: and just talk. It was really fun. And here's a

1112
00:55:20,719 --> 00:55:22,400
Speaker 1: little bit of in the Blood from John Mayer. If

1113
00:55:22,400 --> 00:55:24,000
Speaker 1: you haven't heard this song yet, I think you should

1114
00:55:24,000 --> 00:55:25,600
Speaker 1: listen to it. Check it out. There's in the Blood.

1115
00:55:25,600 --> 00:55:28,080
Speaker 1: And we'll see you next week. How much from my

1116
00:55:28,239 --> 00:55:34,600
Speaker 1: father am I destined to become? You're that lesson? Sad

1117
00:55:34,760 --> 00:55:38,439
Speaker 1: me just to say it is fast and worm, You're

1118
00:55:38,520 --> 00:55:43,000
Speaker 1: not let this woman kill me? A joy with Jennis

1119
00:55:43,080 --> 00:55:48,719
Speaker 1: Love You're little watch out and water, see it always in.

1120
00:55:51,800 --> 00:55:53,680
Speaker 1: I can't feel about