#482 - The Greatest Music Panel Returns: Eddie and Chris Owen on Defining Real Country Music, Lip Syncing Controversies and L.A. vs Nashville Music

00:00:06
Speaker 1: It gets overshadowed because nineties country is this very prestidious thin to a lot of people, even people that didn't grow up in the nineties. You have that twenty to twenty ten kind of era that's kind of lost in the shuffle there. But still there's a lot of songs that are played on the radio that were from that time period.

00:00:25
Speaker 2: The panel returns with Chris Owen, who I think is like the smartest guy. The guy has retained so much information about music it's wild. So Chris Owen, Eddie and myself we talk about Millie Vanilli, Nashville versus LA music scene, nineties country versus two thousands country, and it's the panel as it returns, and I think this is one of my favorite things to do. And by the way, Chris, you can follow him at Chris Owen Country. He is the creative director at Cornman Music and you're going to see he's like a genius. He looks like he's really young, and I think I make a reference to like, dang, you're like twelve. I think he's like, no, dude, I'm like thirty, yeah, yeah, yeah. And I don't know if he was like he thought it was awesome or he was a little insulted, but either the way, I was like.

00:01:08
Speaker 3: It's like, you're like twelve, he looks very young.

00:01:10
Speaker 1: I think it was a little of both.

00:01:11
Speaker 2: Yeah, at the same time, I think it was like, my feelings are hurt, but no, I think that's awesome.

00:01:15
Speaker 4: Yeah.

00:01:15
Speaker 2: I love this guy. His name is Chris Owen. He's so smart. Me, Eddie and Chris, the Panel returns. Panel of Greatness is back. They're somewhere, but we're here to go today.

00:01:26
Speaker 3: It's me. Yeah, it's not us, We're not the panel.

00:01:31
Speaker 2: Chris, Chris Owen and Eddie. And there were a couple of rules.

00:01:36
Speaker 3: Did you get the rules?

00:01:37
Speaker 1: No, rules, There are rules. I mean maybe it's something else. I mean I'm sure I have them. I just didn't know there were rules.

00:01:44
Speaker 2: But well, not the rules, but.

00:01:45
Speaker 3: Like what to bring what? Yes, take your shoes off at the door?

00:01:48
Speaker 1: Yeah, well I missed that first rule.

00:01:50
Speaker 2: I yes, I did not. So this is not one of the guidelines for what we're about to do. But see if you can figure out this song because I couldn't and I was doing it and like Eddie, I know it's from something. And then he tried to guess and then I finally got it way later. But just by me doing this noise, Chris, this is what we do for hours. We do it all the time, a little bit more, and it's impossible to figure out by just that.

00:02:15
Speaker 3: But I got there. But I all do it more time. I think he's got it. No, you don't. You don't have anything.

00:02:27
Speaker 1: No, I swear I don't, even with.

00:02:31
Speaker 3: A little extra.

00:02:31
Speaker 2: And I did put a little extra in there, because.

00:02:33
Speaker 3: When it first started, he just started with a But.

00:02:35
Speaker 2: I also couldn't figure it either, So it's not like a game where I'm like, let's trick the idiot. It's like I also was like, I don't know why the song's in my head and not I didn't have the full song.

00:02:45
Speaker 1: All I have is do you have an era it's from?

00:02:52
Speaker 2: I don't even want to tell you because eventually we got there, but I did not know the era when I was doing it. And you can also say, no, what do you think the persone was?

00:02:59
Speaker 3: Build me a buttercup? So don't don't, don't don't That's what I thought it was. Why don't you build me up?

00:03:07
Speaker 2: And I'm like no, But I'm also still confused because I can't place what's in my head.

00:03:16
Speaker 1: Man, I'm not going to get it. It's gonna be the onst boring podcast ever if you keep Oh, this is.

00:03:19
Speaker 2: The part of that we're reporting, but this isn't even really part of it. Read do you know it? And I don't know how I got in my head because it's not like something that's played randomly, right, Mikey.

00:03:28
Speaker 1: No, I thought building me a buttercup too?

00:03:30
Speaker 2: Okay, you did, Yeah, so let me give you a little more like.

00:03:35
Speaker 3: You're thinking, mam Oh, that's good, but no, that's not it. Nothing there. I mean, that's not up country.

00:03:51
Speaker 2: It's it's it's older than all of us. But it's a song. You can you do the melody, I'll do the okay, Oh.

00:04:04
Speaker 1: I know the song. I don't know what it's called, but I know the song.

00:04:07
Speaker 3: Yeah, I hear.

00:04:09
Speaker 2: If the daddy's rich, take her out for a meal, if a daddy's pull, just do what you do, you gottom.

00:04:21
Speaker 3: We don't what's it called in the Summertime by Mungo Jerry?

00:04:25
Speaker 2: No idea? Why was in my head? But we were together and I just started doing that and then this is what we do in our life. One of us would be like, go do what is that song? We're like just three notes, man, And so it took me a long time to figure out the song that was even in my head. And that's the game we played, and that was has nothing to do with this. I just wondered if you would. I was like, because you didn't, Yes, because you didn't and I didn't get it.

00:04:47
Speaker 3: No, we did not get it for a long time.

00:04:48
Speaker 1: How you been, Chris doing good? How about you?

00:04:50
Speaker 2: Are you building out on purpose after a Big Bill's win or do you often wear Buffalo bills?

00:04:56
Speaker 1: I wear this literally every day winter.

00:04:58
Speaker 2: Loss, Massive Bills fan, massive big MARII Cooper get yeah, excited about that, very excited for like one hundred thousand dollars, that's all. Yeah, we got one for free, mostly because the Browns had restructured and given them all the money.

00:05:10
Speaker 1: Anyway, there was a lot of friends I had there, like, man, you got to go get DeVante Adams. I'm like, he costs like thirteen million dollars. Probably not gonna happen, but the Samari Cooper guy's cheap. And I was at lunch with a coworker and we found out and I was like hell yeah.

00:05:24
Speaker 2: It's like it's like when you go to the Clarence rack, would you find something accidentally that's like really good, yeah that for some reason it didn't sell.

00:05:30
Speaker 3: It's just the right size. And you're like, dang, I think that. I think they might have messed up.

00:05:35
Speaker 2: They're like no, no, yeah, So here's kind of at the rules of the guidelines we set for this because I really respect Chris's music knowledge and I know Eddie, so we're here.

00:05:48
Speaker 3: That's that's messed up. I have music knowledge.

00:05:51
Speaker 2: No I know, but I mean I said I respect his music knowledge, and I know.

00:05:53
Speaker 3: You don't respect my Edie. Yeah, we can figure out songs together.

00:05:56
Speaker 2: I had to figure out that song, okay, So yeah, yeah, no, and Eddie is as a musician and love music, love love me. You don't have to like fight for it now. But I know we don't have to fight.

00:06:06
Speaker 3: Like a big part of my life.

00:06:07
Speaker 2: Obviously, everyone knows that.

00:06:08
Speaker 3: Do you know that I wake up with a song in my head every day? Like that is bizarre. In my head, there's a different song, not the same song, a different song in my head. And every time I jump in the shower, I'm singing the set that song. I'm like, how is that even possible? That just got in my head randomly? And why is that song in my head?

00:06:24
Speaker 4: Is?

00:06:24
Speaker 3: Okay?

00:06:24
Speaker 2: The second part I get, But I feel like I always have a song on my head?

00:06:27
Speaker 3: Do you? Yes? Me too?

00:06:29
Speaker 2: And he's like, can you believe this?

00:06:30
Speaker 3: I wake up and have to pee, but like, no, everybody does? Does everyone wake up? Pete? Yeah? Yeah, but no, it's just crazy that when I wake up, the first thing in my head is a song. That's just always always the case. I don't think it's that crazy though, Okay. I think if your.

00:06:46
Speaker 2: Life is or is around music, I always have a song in my head, I think, or a joke.

00:06:54
Speaker 3: I'm trying to write one of the two. Are you always playing music?

00:06:56
Speaker 2: Like?

00:06:57
Speaker 3: Is there a music playing everywhere you go? Like in your car as soon as you is there music? Like? Uh? Like like in my head?

00:07:04
Speaker 2: Or no?

00:07:04
Speaker 3: No? Like do you play music?

00:07:05
Speaker 2: I almost never play music on my car. I'll talk interesting, I got to hear music all the time. What about what are you do in your car?

00:07:11
Speaker 1: In my car? Yeah, now that's music. But because I listen to music all day, say at work, when I get home, it's podcast I.

00:07:18
Speaker 3: Mean the same with me. Wow, it's all podcasts.

00:07:20
Speaker 2: If I'm having a really rough because we wake up early, I'm having a really rough like I can't quite get up. I do have my exact same playlist of three songs that I play.

00:07:30
Speaker 3: It's music, but that's a rare that's what once a weak type thing. You still do the sad songs that night.

00:07:35
Speaker 2: I don't do music at all unless I'm no music, I don't do music.

00:07:39
Speaker 3: It's crazy too, because like we talk all morning long, So I would think you wouldn't want to listen to people talking in the car.

00:07:46
Speaker 2: No, but I talk all day a right, Like, no, no, I have to So you want to listen to people, Yes, I have to talk and I have to decide what we're going to talk about or yeah yeah, so I just and I also just want to listen to sports. So I just listened to you listen to sports talk a lot? Oh yeah, that's mostly all I listened to on podcasts.

00:08:02
Speaker 1: I listened to all kinds of YouTube videos from all the shows I missed here in the day, podcast about sports?

00:08:07
Speaker 3: Is it sports?

00:08:08
Speaker 2: Mostly?

00:08:08
Speaker 1: Mostly sometimes they'll be like a music podcast, but like mostly I have.

00:08:12
Speaker 3: One music podcast I listen to? Which one? Do you listen to?

00:08:15
Speaker 1: The one by Troy cart Wright? What's it called? I don't know what it's called, but he interviews a lot of songwriters or he talks to songwriters and a lot of publishers in town about you know, basically the music industry. What's his name? Troy cart Wright used to be on Warner as an artist, and I got he's at ten year Town ten year Town pod.

00:08:34
Speaker 2: I just had asked to do that podcast. Oh cool, So the question it was weird because I see the clips on TikTok and it does.

00:08:40
Speaker 3: It does a really good job.

00:08:41
Speaker 2: Like I watch his clips and and a lot of people that he has in because we've been doing this for so long, we're how many episodes we had in my five.

00:08:49
Speaker 3: Hundred five hundred?

00:08:49
Speaker 2: Yeah, yeah, So I feel like we've invested a lot of time with a lot of people, and he talks to some of the people that over the years we've talked to, and I like to kind of see how he approaches it.

00:08:59
Speaker 3: He's a.

00:09:01
Speaker 2: He's a lot more serious, yes, And I like that, I guess because I'm not all that and I'm serious about it, but my approach isn't always serious, and I make it about me as well, because that's what I feel I know the most about is me.

00:09:16
Speaker 3: This is what you are you, I know. I'm just like, oh yeah, let me tell you this about me. It's good.

00:09:20
Speaker 2: And so I got a note and I hope it's okay that I say this, but someone I can just read it so I don't screw it up.

00:09:25
Speaker 3: But what do you like about that podcast? Because I'm just like.

00:09:28
Speaker 1: Well, one thing I love about it is that he gets writers that I know, or he gets publishers that I know. I've seen their name through you know, people talking and emails and I see them online. I've never heard them actually talk. And then they're talking about their experience and you know, uh, doing any kind of thing in the music industry, and either I relate to it or it's completely different than what I thought it would be, you know. So maybe it's just a surprise that I here from people and I like that.

00:09:52
Speaker 2: Okay, here we go, this is the message I got. I hope you're doing well. I wanted to reach out because I work with Troy Klart. Right. Here's what he said on his ten year Town podcast, Troy and I just left a meeting where he mentioned Bobby Bones being one of his dream guests, so of course he needed to make that happen. Do you think Bobby would ever be interested in sitting down to discuss his career in thoughts we've had?

00:10:10
Speaker 3: Yeah, yeah, I mean.

00:10:11
Speaker 2: It was easy, and I said immediately, sure, I watch clips all the time. But they were like, we don't know if it's possible. I'm like, are you kidding me? What was I doing earlier playing Madden? Sir?

00:10:24
Speaker 3: How am I do a lot of podcasts?

00:10:25
Speaker 2: Like?

00:10:25
Speaker 3: Do you get asked to do a lot of podcasts?

00:10:27
Speaker 2: Asked? Yes, I have a bad fee, just through different instances where because everything is clipped now, it's not as bad as written interviews. Almost never do written interviews anymore because they can make you sound however they want to make you sound because there is no tone at all in words.

00:10:48
Speaker 1: I mean, you talk about losing context, that is it all. So I don't agree to any of those. I'm a journalism major, so for you to do a written kind of interview in twenty twenty four, you're out of your mind in my opinion.

00:11:00
Speaker 2: And I stopped doing those probably two or three years ago because I had a bad experience where somebody totally no tone, no context.

00:11:07
Speaker 1: And that goes on Twitter ago and I was like, this is just.

00:11:10
Speaker 3: Not fair or fun.

00:11:11
Speaker 2: So no, did that end. With podcasts, I'll do an occasional one if I'm a fan of it mostly, but again, if they clip it just right however they want to make you look, they can make you look.

00:11:24
Speaker 3: Yeah.

00:11:24
Speaker 2: Now it's to the point too, where like when I did I wasn't so much the case, but Dancing with the Stars, they have mics on you all the time. My camera's on you all the time, and after about three days you just forget about it. And I did four months of that show and you just forget there's a camera there because it exists all the time. But I was always aware that they can't put anything in that I didn't do. So they could not put stuff in that I did, or they could alter things that I did, but they could not put something in that I did not do. So anytime that we'd like fight or I took my mic off, immediately turn it off, have hers turn hers off?

00:11:58
Speaker 3: What are they gonna do? They can't.

00:12:00
Speaker 2: I mean I always feel like too, I have like so many freaking shows that if there's something that I want to say, I want to. I want to I want to own the have the autonomy of saying what I want to say, when I want to say it, and how I want to say it, And so I just say it on my stuff, especially if it's something big. But I do occasional like I did. Craig Kilbourne's probably the latest. Oh yeah, I remember you talking about I'm a big fan of Creig Kilbourne. You're probably too young for Craig Kilbourne. I know who that is and watches show he's on sports Center, sports Center back in the day, and then was like the guy who went from Sports Center to do something that wasn't sports He did the Daily Show before John Stewart and that was wild because one of the sports and rankers was doing the Daily Show.

00:12:40
Speaker 3: It's funny. And then he did like Noight Talk Seawan CB.

00:12:43
Speaker 1: Yeah, that's the one I knew him, Yeah, and I thought.

00:12:45
Speaker 2: It was super cool, and so him and I have become become friendly. But yes, I probably get a few asks a week. But also it's not even like massive podcasts. It's like some are like, hey, we're thinking about starting a podcast, would you do it? And I'm like, you're thinking about it, What I do it? How can I do with you're thinking about? Does it depend on me doing so? Some are some are cool, some aren't. But yeah, I'll do it one a month, yea possibly. But anyway, we're all here, and so I thought we would go around and mostly do like a a discussion like a round table, except only three of us. So it's like half a round tables, like a moon it's the moon table. We do not know what the people the other two people have brought in. I've made a ton of notes, a ton of notes. Well, yeah, because I don't know what I was going to ask. I don't know what okay, okay, I don't know if Chris is bringing in the hard hitting stuff like okay, you guys, what's your thoughts on racism and sexism? And and I'm like, we're like, wait what and what do you also think about the who you're voting for? What? Ye? Chris? So it's all that, okay, good, We didn't know. So just in case I had my questions similar Eddie, why don't you go first? Because I have no idea where you're coming from.

00:13:55
Speaker 3: I don't either, Honestly, I mean when.

00:13:58
Speaker 2: By the way, my thoughts on racism, bad, sexism bad? Who am I voting for? I'm going to early vote.

00:14:03
Speaker 3: Oh you are, good for you.

00:14:05
Speaker 2: I'm an undecided voter, so that was a topic. Nobody's a undecided voter. Nobody's an decided voter.

00:14:09
Speaker 3: They're all liars. Okay, d I'm ready. Okay, I want to ask Chris what do you know about millions? Because I want to start with Chris because I was on TikTok and Milli Vanilli is making a comeback, which is awesome though they are I think once dead. Well, the guy that's alive is like he's singing.

00:14:27
Speaker 2: Millie's making a comeback.

00:14:28
Speaker 3: I don't know if it's Milli or Vanilly asking a question.

00:14:31
Speaker 1: So that's too right.

00:14:32
Speaker 3: They were too dudes make But what do you know about that?

00:14:35
Speaker 1: I mean, I think I'd made it pretty clear what I know. I'm like, it's too right.

00:14:39
Speaker 3: It's like I'm about the Waifer right.

00:14:43
Speaker 1: I mean, I've heard of Millie Vanilli? Am I going in depth on their music? You know?

00:14:47
Speaker 2: What do you know about this?

00:14:48
Speaker 1: There?

00:14:48
Speaker 2: We got a good question when we say that what sticks out to you?

00:14:52
Speaker 1: Is it hip hop?

00:14:54
Speaker 3: Okay?

00:14:55
Speaker 2: Oh interested, way too young, way too young. And we tell you this, you're gonna go, holy crap, that's crazy because this is yours.

00:15:03
Speaker 3: Okay, I mean was. They were a pop duo, huge, huge, They had huge number ones.

00:15:11
Speaker 2: Really good looking guys too, yeah, really to like muscular. If I got to pick and they were like, you're not a nerdy white guy anymore, I would look like the guys from Milli Vanilli that were like black dudes ripped up with like you bul dreads, that's what's I pick.

00:15:26
Speaker 3: Yeah, I got it. They were really good looking dudes. Yeah yeah. And they would dance and they would sing and it was it was the thing. They were awesome. Then I sing the songs if he knows them? Yeah, yeah yeah. I think the biggest one was name it on the rain when the stars fall. Yeah, blame it on the stars when they shine at night.

00:15:48
Speaker 2: But whatever you do, don't put the blame on you.

00:15:52
Speaker 3: Blame it on the rain. Yeah yeah I heard that.

00:15:57
Speaker 1: Yeah I have. I had no idea they were the ones that did that.

00:15:59
Speaker 3: That similiar.

00:16:00
Speaker 2: The other one will be like, baby, don't don't forget my number, number number, that one, and then girl, you know it's true.

00:16:11
Speaker 3: Good, good girl, I love you that one.

00:16:17
Speaker 1: Yeah, I had no idea that million. But do you have heard those movies.

00:16:23
Speaker 2: We're seeing them exactly how they sing, I'm perfect, pitch everything all right.

00:16:26
Speaker 3: So they were at top of the world, leading the charts, killing it. Then they do is it okay? We talked about this is it an award show? What was it or regular show?

00:16:35
Speaker 1: It was It was.

00:16:39
Speaker 2: Not an award show, but it was like a party pre award show, Mike, you can fact check me.

00:16:43
Speaker 3: It was like pre pre like pre music or movie or something like that. Yeah, it was not an award show.

00:16:49
Speaker 1: I think I know where this is.

00:16:50
Speaker 3: And they're performing. I think it's girl. You know it's true. One of the two there there is. It's girl. You know it's true. You know it's girl. You know it's girl. You know it's And the CD started skipping. Oh and they were told way before Ashley Simpson. But yeah, and they're like uh uh oh, and they just run off the stage and that was the thing.

00:17:09
Speaker 1: Ran off.

00:17:10
Speaker 3: Oh. They didn't know what to do.

00:17:12
Speaker 2: They got no one. There weren't even like backing tracks that existed at this time, right, because there's not computers. Yeah, so it was They were literally lip syncing.

00:17:20
Speaker 1: To a scene. I mean you are live and that.

00:17:22
Speaker 3: Yeah, And they were completely exposed. So it was just like, okay, so these guys are lip syncing. Okay, so is this a one time deal? They look into it. No, no, no. They weren't even the guys recording the albums. They were not the voices on the song.

00:17:34
Speaker 2: You didn't know this read gas from behind the camera.

00:17:36
Speaker 3: There was a hole that the writers did everything. They wrote the songs, they recorded their voices. It was all them. But Millie Vanilli were the faces want a Grammy.

00:17:46
Speaker 1: They're the ones that made the money and got the fame.

00:17:48
Speaker 2: Money, I don't know, fame and Grammy. Yes, so and they and so big controversy. Had to give the Grammy back. They did a press conference.

00:17:56
Speaker 3: They gave the Grammy back. They people were like Earn in their albums.

00:18:01
Speaker 2: Oh, it was a massive scandal back then.

00:18:02
Speaker 3: Huge.

00:18:03
Speaker 2: They tried to prove they could still sing though, And so even even at the press conferen they're sitting at a table, like like when a coach does a press conference and they're sitting there and they still have the Grammy sitting in front of them.

00:18:14
Speaker 3: And they're like what did why.

00:18:16
Speaker 1: Did you do this?

00:18:17
Speaker 2: So like no, no, we just really can't sing, and they would try to. They were saying like girl, you know it's true.

00:18:23
Speaker 3: It just wasn't them.

00:18:24
Speaker 1: Yeah, oh my god.

00:18:26
Speaker 3: In any way whatsoever, it was career done like over in that instance quickly, and then I think one of them ended up committing suicide and then there's just one one left. But I've seen him on TikTok playing shows recently and people just using Milli Vanilli songs now for like videos, so like, I think it's pretty awesome. They're making it saying, well, the band as.

00:18:49
Speaker 1: Just he oh he still calls him it's.

00:18:54
Speaker 3: But there's no they, so what is he just just called? No, I don't know who.

00:19:00
Speaker 2: Even if it's Melli Vanilli. It's a heat five for fighting. That's a he okay, Oh I like this. He grabs people around him and makes a band, but that's a he okay, you know, a hybrid movie Panic at the Disco because there are actual band members, but that's really built around one.

00:19:16
Speaker 3: He's panic.

00:19:19
Speaker 2: That's a tough one though. Food fighters, no early food fighters, is he? But then once he hired the other band members dashboard good one dashboards.

00:19:30
Speaker 3: He yeah, I think it's I think Millivilla is not. He Okay, all right, well, well the music's making a comeback. But what was your point?

00:19:37
Speaker 2: My question was like, I'm entertained. I just wonder what the point was.

00:19:40
Speaker 3: I guess my point is is that you know, people are starting to play mill Vanilla now, you know the song, probably not from back then, but from now.

00:19:47
Speaker 1: From secondary listening pretty much.

00:19:49
Speaker 3: Yeah. So, so I just wanted to know what Chris like, if he knew the whole story that was kind of my whole thing.

00:19:54
Speaker 1: I knew where it was going. Once he started saying a word show, I was like, oh no.

00:19:58
Speaker 3: Because I bet people listening to millionn right now or you know the songs listen to him right now, don't know that story.

00:20:05
Speaker 1: Did that make him more famous? Though?

00:20:08
Speaker 2: I would say it was not one of the instances where infamy made it more famous.

00:20:12
Speaker 1: Okay, they were already famous.

00:20:14
Speaker 2: They were massively famous, but then there were frauds and there wasn't the culture of social media or reality shows to capitalize off that. Yes, they just hid and then one guy killed himself. Yeah, so it was if it happened now, different story. Oh you would they find a way to maybe an internet sensation. Yeah, but it is, You're right, Ashley Simpson. It's it's that before that. Did that kill her career as a singer artist? Yeah, I think they, Yeah, they never took her seriously, No, because she was always the girl she wanted like a hodown dance.

00:20:48
Speaker 1: I think she had what like he was sick, was the story, and so they were just they convinced her to do the lip syncing or something, and the drummer just kept playing the same track. Or I mean, if played the same track again and they just kept going, I've heard that.

00:21:01
Speaker 3: I don't I don't don't believe anything.

00:21:02
Speaker 2: So that possibly could be the real answer, or it could just be there was a mess up. But the thing now, if that happened, so many artists now just sing along with their singing.

00:21:12
Speaker 3: And they don't try to hide it. You can hear.

00:21:14
Speaker 2: Yeah, it's obvious, and it's they don't hide it at all.

00:21:19
Speaker 3: No, No, it's not even a thing.

00:21:21
Speaker 2: Yes, so they're not ashamed of it. It's just their singing is up and then they're just also singing with it.

00:21:26
Speaker 1: Yeah, they're singing with it.

00:21:27
Speaker 2: Yeah, absolutely, with their own full vocal if Millie could just do that.

00:21:33
Speaker 3: Back in the day, I know, man, but somebody had to fall hard for people to realize it's okay. Even the super Bowl, like super Bowl is all lip SYNCD.

00:21:41
Speaker 2: Yeah, but that's hard to pull off because of tech issues, yea more than anything else.

00:21:45
Speaker 3: But was Ashley Simpson? Does she always lip sync?

00:21:48
Speaker 1: I have no idea.

00:21:49
Speaker 3: I don't think so. I do Mike, I don't think so. I don't think so.

00:21:52
Speaker 2: I think she probably wasn't an A plus singer, and they probably helped her in a lot of ways, and uh, you know, studio tricks when you didn't have all the digital studio tricks that we have now, obviously, but she was Jessica's younger sister that helped.

00:22:06
Speaker 3: But I think she could sing.

00:22:07
Speaker 2: Yeah, I met her. We did like a radio show with her. I don't remember thinking she couldn't sing.

00:22:12
Speaker 3: Was she nice? It?

00:22:15
Speaker 2: Pop is a different world, so I don't know the answer to that. When I was in pop or just I would just compare La to Nashville in these same ways, and that when I go to California, or when I first started going to California way back in the day, I started to notice that it didn't matter what your status was.

00:22:34
Speaker 3: And that place is so status based.

00:22:36
Speaker 2: Nashville is too in a way, but it's so status based that if you didn't have status, you had to fake like you had status. And you if you went to a meeting, you showed up with four, five, six, seven people, You had agents, and you had assistants like you were to be there with all of your success people you're ontoile included like. But that was how everyone represented themselves. So even if they didn't, they faked it until hopefully they can make it, or they just didn't.

00:23:07
Speaker 3: So I didn't know that.

00:23:08
Speaker 2: So when I first started going to California, I was just flying back and forth, begging for like mercenary jobs, you know, interviewing Maria Minunez's dog on the red carpet. You know. It was like I was willing to do anything, and so I'm And then once my career in television started to actually have some real substance behind it, I still didn't under because I didn't have LA people to tell me how to act LA. So I would go to these now it was bigger meetings. I would go to meet with the president, the president of CBS. I'd go meet with executives at ABC, but I would literally uber and I would just show up with a backpack and just walk in. And the first couple of times I remember the mask and like, are you waiting on the rest of your your your team?

00:23:50
Speaker 3: Nope, just.

00:23:54
Speaker 2: Like there's no But I wasn't doing it strategically and going on, I'm them if there's zig and I'm gonna zag. That was never the idea. It was just I was going to a meeting, and so I just gotten an uber and drove over and waited and went in. But what I found out later was they found that so different and refreshing that it actually helped, if not get jobs, it helped make great relationships that later got me jobs.

00:24:25
Speaker 3: Interesting, I was gonna say, me and Mike and Reid could have been your dudes, Like, oh god, dang, but you're right, you're right. It's probably better off that way.

00:24:32
Speaker 2: And I remember somebody I ended up getting to know in LA who ended up working as part of my agency team.

00:24:41
Speaker 3: Later.

00:24:42
Speaker 2: He was like, Hey, we can go to this meeting with you, he said, But you know the people we talked to that they just say, you come in by yourself, and they like that. And I'm like, is that not normal?

00:24:51
Speaker 3: And they're like, no, it's not normal.

00:24:52
Speaker 2: Like people like to show up, and I like they have representation, like they matter, and like the little story about you has been you just show up and I thought, oh, I didn't even know it was on a purpose.

00:25:02
Speaker 1: So the more people that show up to a meeting in LA, they're deemed more successful.

00:25:06
Speaker 2: Yes, because going agent, it's your manager, it's your published people. Since you're so important, you need all this team to make sure they everything. I'll do it yourself obviously, right, Yeah, yeah, I mean I could.

00:25:18
Speaker 3: I just again, I showed up, So I would assume that the artist or whoever or the star just sits there and does nothing. All those people very little, Yeah, very little. You're supposed to.

00:25:27
Speaker 2: But that's that. It's the opposite of Nashville culture. In Nashville, if you do have nineteen people, and I will give an example of somebody and he won't care because I know him very well and I love him very well. But like Luke Bryan has a massive team because he has to. He's doing television, he's touring massively, he uh has songs, and he's commer he has agents, manager, the whole shebang on mini levels. He shows up by himself to the studio. But that's the Nashville culture where even if you have all these people, leave a lot of them behind because they will think differently about you. If you show up with eighteen people were in LA, they would think differently about you.

00:26:05
Speaker 3: If you showed it by yourself, they think you're a loser.

00:26:07
Speaker 1: It's the opposite.

00:26:08
Speaker 3: It's exactly the opposite.

00:26:09
Speaker 2: And I was just doing there what I do here and got very fortunate that people thought that was cool and refreshing.

00:26:17
Speaker 3: And I'm like, cool and refreshing.

00:26:18
Speaker 2: I did not.

00:26:20
Speaker 3: Like I like to have people. I don't know anybody else. Can you tell me where a friend is? Anybody?

00:26:26
Speaker 2: So, but the Ashley Simpson thing was a big scandal, and I think she got a.

00:26:31
Speaker 3: Reality show after that.

00:26:32
Speaker 1: So it was it was getting to that is.

00:26:33
Speaker 2: Getting to that point where you could capitalize. But her music is over.

00:26:37
Speaker 3: I liked her songs. Yeah.

00:26:39
Speaker 5: Pieces, Okay, let's take a quick pause for a message from our sponsor, and we're back on the Bobby cast.

00:26:57
Speaker 2: Let me go to my first question. All right, man, how serious do we want to go? I got a lot of them, Yeah, that's up to you.

00:27:04
Speaker 1: I love the surprise.

00:27:06
Speaker 2: Okay, I'm gonna do it easy one, Chris, I'll go to you first.

00:27:12
Speaker 1: Okay.

00:27:14
Speaker 2: It doesn't matter the song or the artists, so but you're gonna have in your mind songs and artists that people say this about a lot. But when someone says, man, that's that's not country, what is your general thought about that saying.

00:27:32
Speaker 1: That it's not country?

00:27:33
Speaker 2: You know, when someone just hears something, I'll give an example, because again I'll use people I love and that won't get mad at me, Dan and Shay. Somebody hears and go, that's not country. I like a country. I used to be real country. They'll say, that's saying that's not country.

00:27:50
Speaker 3: How does that resonate with you?

00:27:51
Speaker 1: I feel like it's so overused now. I don't know what to believe anymore when somebody says that's not country. You know what I mean? Like twenty years ago, you would say that's not country to whoever, and you're thinking about the whale and Jennings Era or the Willie Nelson or whoever. Now I think everybody says that, especially with social media, this isn't country. That's not country. Basically nothing is country anymore in Nashville, So it just kind of goes in one year out the other. For me, like when anybody says that.

00:28:19
Speaker 2: I there are guys that represent traditional country of the nine because traditional country is not even traditional country, right. Traditional country is traditional to the age of the person, yes that says that's not country. For example, like a Zach Toop who we've had here, and I love Zach although he's like twelve and he looks he acts like he's like fifty, and he's so good that he plays a guitar like he's be playing.

00:28:43
Speaker 3: One hundred years.

00:28:43
Speaker 2: Right, it's an odd because he grew up bluegrass. And you'll see and all like Zach a lot, and he's very much traditional my age, our age country, and he'll be like, that's real country music. But that's not a country thing to me. When when someone says that anything is not country ever, I ought atomatically think less of them as any sort of country music scholar or any sort of person that claims they know country music at all, because if they really knew country music, you can go back, because the only thing that really would be country, if you were to boil it all down, would be the music coming over from the slave ships in Africa and the music coming from Europe, the fiddles in Europe and the banjos on the slave ships. The combination of that and where the music landed is then what turned into hillbilly music. Is then what turned like if you're going to go, what's really country? If we got to keep going back every generation like that's where country music started.

00:29:47
Speaker 1: Everything technically came from somewhere.

00:29:49
Speaker 3: Yeah, yeah, sure.

00:29:51
Speaker 2: And when people go, well, that ain't country, and they're talking about a Dan and Shay, a jelly Roll, whomever, and you go, well, what is well chestnut?

00:30:01
Speaker 3: Well, okay, I hear you. And if you.

00:30:04
Speaker 2: Had the patients or the understanding to listen to me, explain to you that the chestnuts, the garths, the you could go through any of the nineties country artists that were told, wow, that's not country that now are the standard for what is country, or if you were to go even to like Bob Wills and the Texas Playboys, the first time they amped up a still guitar, well, flip their crap because that's not country. They flip their crap the same way that they do when Jelly Roll does this song. Obviously, there's on social media. But Johnny Cash right, they were protesting him because he was he's not country, He's rock and roll.

00:30:43
Speaker 1: People thought Deny in Garth weren't country.

00:30:45
Speaker 2: Every single generation there's that's not country. The only thing that's consistent about country music is it's not country. And so for when anybody is like, that's not even country, I think to myself, Okay, what you're saying is that's not traditional country to you based on the era that either you grew up in or that you listened to because your parents made you listen to it, And I have automatically, And you're also a moron, not maybe on life in well, not in life in every other space. They could be an astrophysicist. But when someone declares that's not country based on the criteria, they have no idea what country is. Because the one thing about the country has always been it's always been an evolution. And I was talking about this recently somebody else. The last fifteen years or so, A big reason there has been a shift in country music too, is them deciding in maybe twenty five years, is them deciding to market to a younger audience. Right, Country music used to be music for adults about not being able to pay the rent, the mortgage, the insert adult problems. But there's only so much money if you're just marketing to adults. If you market younger, older people always buy their stuff, and the stuff a little younger than them. Music started, country music started to be marketed to younger audiences. Of course, a bit it's going to shift. But anyone that ever says that's not country, I think musically you're an idiot because you're probably you're right.

00:32:12
Speaker 3: That's not country based on what you think.

00:32:13
Speaker 2: But you could say that to every single massive country artist that now is celebrated for being country.

00:32:19
Speaker 3: They were once told that.

00:32:20
Speaker 2: Now are there people that come in and try to be and it's just it never actually catches on as that because I do believe that the consumer inevitably picks what is and what isn't. Like Machine Gun Kelly is not country. He's not because I feel like he's not even trying to really be. I feel like a guy like that's like, oh that looks fun. It's the most popular format. Now I'll just go record a couple songs, hopefully make some money.

00:32:45
Speaker 1: Yeah, And there's been a lot of examples of that.

00:32:47
Speaker 2: Yeah, yeah, absolutely, and I think my my where I And again I'm not right, and there is no right and wrong in art, so I'm not right.

00:32:56
Speaker 3: But I always feel, especially if I'm gonna talk or promote or even.

00:33:02
Speaker 2: Like, if an artist fails in their respective format and they use this as a fallback, I never believe they truly wanted to do this, So I'm really not gonna believe in their I love country, yeah, So that to me is one If an artist has a history of playing in the playground a little bit like post Malone, who for years and years and years would do freaking Brad Paisley stuff would do he he and it was always kind of weird because he was he was a rapper, right, Mike, Yeah, I mean to me, he's changed who he's been a few times, but it was always kind of cool to Postmone the rapper like like country music a little bit.

00:33:42
Speaker 1: Yeah, his cover of Mud on the Tires was a thing before, and he.

00:33:45
Speaker 2: Would say, I like country music, so when he came, it wasn't that weird. But he also embraced like living here and he really embraced it.

00:33:52
Speaker 1: That's a big thing too, is that absolutely people respect Posts because he came here, he invested time in the songwriters you're right here and all the musicians and just the people on record.

00:34:01
Speaker 3: Like he played our charity show. He just showed up and played it.

00:34:02
Speaker 2: He didn't have to do that, but he was like, I'm establishing that I care about this.

00:34:06
Speaker 3: My point is he didn't have to come to country. He wanted to.

00:34:09
Speaker 2: He wasn't like on a downhill and he's like, I'm gonna just gonna grab a country for something, and all respect to these people, but like that, like Cindy Lauper tried to do a country album, like Brett Michaels tried to do a country album. Whenever it's like a last straw, that's when I'm kind of like, or if it's just a money chase, which I feel like. I think Machine On Kelly is super talented, and I probably liked his rock stuff more than his hip off stuff. But maybe because Eminem killed him, Mike, I just feel different about it.

00:34:36
Speaker 3: Yeah, I know, I know, I know, but like he's homeless.

00:34:41
Speaker 1: Come on, let somebody take me in.

00:34:43
Speaker 2: Yeah, but I do like a Machine On Kelly, But that to me, regardless of what he ever does, it's just never gonna be country, and if it is, it's going to be so forced.

00:34:51
Speaker 3: But like who who decides what is country? Likes it's just it's but but yeah, not even the consumer though, it's just radio like if it's if it's not on radio, then people don't even try to classify, Like Jason Isbell as your country.

00:35:04
Speaker 2: No is rules true because they completely put things in playlists and uh they genres.

00:35:11
Speaker 1: Okay, I guess you just label it country and the level like what happened, you know with old Ton Road. You know that was labeled country. Yeah, I mean debut number one.

00:35:19
Speaker 3: Because really anything can be country. You listen to certain songs, like I think it's more about the lyrics than it is about the music. I think it's cool the evolution of country music going from traditional steel fiddle all that to like Sam Hunt, you know, adding a trap beat, you know, to like, it's cool. The evolution is cool. But what stays consistent is the simple songwriting. Like even when you go into like a songwriting session, it's always like, all right, here are the three chords we're working with, let's write around it.

00:35:50
Speaker 2: You know, I've never been to one said we have three chords?

00:35:53
Speaker 3: Well, because they're not. They're not like, hey, why don't we start with like this cool sound and why don't we do that cool sound? All the sounds in country music comes so much les later than the creation, in the creation of the song.

00:36:02
Speaker 1: That was the idea. I don't know.

00:36:04
Speaker 3: I just I've written with a bunch of track guys, though, so I would push they start they start with the track, I mean, but it's not the sound of the song. I think once kind of the song is taken shape, then it's like, how do we make this sound cool? Or now?

00:36:17
Speaker 2: I would just push back on the track part though, because but no one's wrong. I've written with ross, a bunch of a bunch of time Dross comperment, and we'll go in and be like, Okay, we're starting with this, you like, let me try with this them do let me put a middle mellet and.

00:36:32
Speaker 3: You really it's all just that that sound first. But most then where do the lyrics come in?

00:36:39
Speaker 1: Like people sometimes you write around it people, Yeah, people write different.

00:36:43
Speaker 2: People are different most And again I've been very like I did it. I did a secret project once that we ended up having to bail on, but it was me Nicole Gallion and Ross Komperman, and we created this fake group and we wrote and it still exists. It's like four or five songs up. It's called Neon People, and we were going to try to keep secret. Then Nicole Guy got a job as president of the freaking record label once you had to leave the group before we got to officially launch it, So I was I got super lucky to write with him a lot, and we pulled another really good writers too, So I got to watch, like, I mean, people one hundred number ones not be written, but people who did that.

00:37:15
Speaker 1: So I got to watch people write.

00:37:18
Speaker 2: Concept based, which is super cool, which is kind of how I would write comedy anyway. But I got to watch you write melody based, which means all they do is come in and they're like, okay, I got this, and.

00:37:32
Speaker 3: Then it's like hmm, I was walking down.

00:37:36
Speaker 2: We walked down together by the tree. Then you find the words. And then I got to watch track. Yeah, it's three different versions of writing the freaking song where Roster come in and be like all right, let's listen to these five tracks that came in with today, like like you'd come in with a concept idea or you come in with a melody. He'd be like, what about this one?

00:37:55
Speaker 1: Well, there was one of us. So there was a song that was written maybe two or three months ago by two of our writers with a track, guy, explain what you what you do? Okay? So I word Cornman Music, which is a music publisher, and basically we have writers and we booked their calendar. They write songs, sometimes with artists, sometimes just with other writers, and we try to get the songs cut and hopefully they become hits and we make money and everybody's happy. It's like the very quick and simple way to put how I do my job.

00:38:22
Speaker 2: But yeah, okay, so I just want everybody to know that, so go ahead and keep going with that.

00:38:26
Speaker 1: So we had two writers write with a producer and they were maybe an hour and a half into the song, and this producer had this really cool track and they're trying to basically force feed this idea, this melody to this track, and it just wasn't working. So the producer was like, look, I could just find a new one, guys, and we can just keep this idea going. And they're like, no, no, no, this track is great. We're just going to scrap what we did and write around your track and come up with a whole new idea.

00:38:54
Speaker 2: Like every lyric, every part of the concept is like the track is so strong.

00:38:57
Speaker 1: YEP.

00:38:58
Speaker 2: I agreed with what you're saying generally, but I think since it's been marketed to younger audiences and the people have just been younger, right, there's technology, technology is you know. I don't think tracks and there was a real bad stigma about me called a track guy for a while. I don't think that exists as much and nowe as it used to, because yeah, and now you need a really good Now it's like should we get a track guy?

00:39:21
Speaker 3: Now it's like we need a really good one?

00:39:23
Speaker 2: Like to yes, yeah, I think that a mess some sort of message right in country music, But I don't. I don't think every I don't think every song is country. I don't think every song can be country.

00:39:36
Speaker 3: Music though, like every song in country music. No, I don't think just any song can be No. No, I just mean, like, you know, I remember we talked a while back when John Mayer had his Paradise Vallet album, like like you listen to that album, like this could be a country album. You know, probably said that a long time ago, and it's like it's.

00:39:53
Speaker 1: Right ed, Sharon, could it could have? I mean, you know, you just go one way a little bit.

00:39:58
Speaker 2: Slightly so slightly so eighteen percent sonically different. Yeah, nobody says a thing about it. Yep, for some So yeah, the question I forget, I let to put my phone.

00:40:07
Speaker 3: That was my question. Well, how would you tell let people to say that that's not country?

00:40:11
Speaker 1: I just don't take any stock into it, and I never really have. Just I mean, if you grew up, let's say you got into country twenty thirteen or whatever, you know, when the bro movement started and you grew up in Florida, George the Line and Luke Brian and Thomas Rhett and all these artists, that to you is country. That is country. And it's like, you know, you can't tell that person they're wrong, you know that that's not country. What's not country about Florida? George the Line? I mean, it's twenty It talks about subjects that's very relatable to the average country listener, whether it's streaming or radio. So you know, I mean you can go about, well, it's got to beat, you know, it's got this snap track behind it, or whatever the case is. But that just becomes normal to the point where it is country now and it doesn't have to be put into this box anymore. You know, do I think that Sabrina Carpenter is country? No, she's not.

00:41:00
Speaker 2: And she has one song on it if you listen to the record, yeah the uh I got that song on my head.

00:41:07
Speaker 3: I know. I know every song on that record, sadly.

00:41:09
Speaker 2: Not sadly, not sadly because they're really good.

00:41:11
Speaker 3: Surprisingly, Yeah, it is a really it's a really great record. A little too much cursing for me.

00:41:18
Speaker 2: Really, you wouldn't expect it like it just pops out of It's not even those cursewordsuse. I don't mind cursing. Cursewords in the middle of the chorus. They hit me kind of weird.

00:41:27
Speaker 3: I'm just like, why whoa that for? You're right in the middle of the chorus.

00:41:32
Speaker 2: Let me get the tracks up, because there's one song that if you didn't say it was Sabrina Carpenter and you just played it for somebody, they would be like, Oh, that's a massive that is a massive country it it is going to be It's slim Pickens, Its slim Pickens, slim Pickens. Yeah. Inactively, Yeah, I'll play a little bit a bit.

00:41:53
Speaker 3: From my phone.

00:41:54
Speaker 2: Yeah, and it's a freaking jam in that sonically already it could be any.

00:42:18
Speaker 3: I mean could be country.

00:42:21
Speaker 1: Yeah.

00:42:21
Speaker 2: Is if that if you just took her name off of it, same person and you're like, no, this is uh bringing to Joe Carpenter, and you'd be like this, but you didn't play the rest of the music around it, people be like, oh, yeah, for sure. But then when she has it, I mean like, please please please freaking jam.

00:42:36
Speaker 3: But yeah, uh okay.

00:42:39
Speaker 1: Chris, you know, going off the topic of what is or what is in country? One thing I've noticed about and I've been going through TikTok a lot lately, just because it's eleven PM, I can't sleep, I can't help myself. I grab it and I pull it out. A lot of nineties country stuff comes up through the TikTok feed, stuff that isn't technically nineties country, but asking around with writers and family and friends, basically anything from like nineteen eighty six to two thousand and seven is nineties country.

00:43:07
Speaker 3: That's funny. They would go up that high. Yeah.

00:43:09
Speaker 2: Yeah, the late eighties stuff for sure, Like a lot of the Randy Travis stuff gets put into that and some of the George straight from the late eighties.

00:43:15
Speaker 1: Most of the Shenandoah hits you know, are from the eighties.

00:43:18
Speaker 3: Wow, I didn't realize that.

00:43:19
Speaker 1: Yeah, that's eighty rate yea.

00:43:21
Speaker 2: Point, because that's definitely what it could said that nineties where I guess it's the music that was wildly popular in that era. Since most of it was the nineties, it's just all considered nine.

00:43:33
Speaker 3: And you all think, like some of Tim McGraw's or like some of his early two thousands feels like nineties, but it does already two thousand Faith Hill like a lot of two thousand songs.

00:43:42
Speaker 1: People think that Jessica Jessica Andrews and Who I Am as a nineties country song. That's two thousand and one. That's you know, I mean, it's close, it's not nineties. The other some people that think two thousand and four songs are a country or nineties country, you know, like live Like You Were Dying. Somebody wants reference on TikTok is a nineties country song. I'm like, you're five years off. That's like not even close.

00:44:00
Speaker 2: So I guess it's just people that hear Old Good semi contemporary country music.

00:44:05
Speaker 3: If it's good and semi contemporary, it must be nineties.

00:44:07
Speaker 1: It must be nineties country.

00:44:08
Speaker 2: It's funny that that is all classified that. But I do feel like a lot of the eighties, even some of the late eighties, like Garth Early, Garth.

00:44:16
Speaker 1: Stuff nine eighty nine.

00:44:19
Speaker 2: Yeah, like that, the Dance eighty nine nineties because it was just really popular in that era when it popped, which just so happened to be the nineties.

00:44:30
Speaker 1: Yes, most people too don't think of two thousands country in the same way as nineties country.

00:44:36
Speaker 2: Well, I agree, except I'm married to someone that is while we were younger than me, and.

00:44:42
Speaker 3: I felt the same way.

00:44:43
Speaker 2: I was like, I always had like two thousands sucked, like like twenty fourteen. I was like, man, just not a good era. And she's like, are you kidding? Eastern Corbin, Are you kidding? And she starts listening off Joe and Joe Choles. She's like, if I did a New Highwayman, I'm not kidding. This what she said she had to be Easton, Joe Nichols, Craig Morgan, and I Fegar. The other one was yeah, but she that's that's Fred Neck yacht Club. Her jam that that era is like her that the guy that played your rehearsal dinner it was Josh Grace. That would be her because she was a twenty ten and that could have been two thousand and eight to two thousand.

00:45:29
Speaker 1: I mean, that's the era I grew up on.

00:45:30
Speaker 2: She it's her that some of the Tim McGraw stuff that I don't even know is her favorite Tim McGraw stuff because it happened after the early and before he kind of had this like reinvented. Yeah, yeah, because he never retired but like hit hard again.

00:45:45
Speaker 3: But I agree.

00:45:46
Speaker 2: I always thought that I was like, that's the worst generation, but because she was right in it and she's from Oklahoma, she was like, no, no.

00:45:51
Speaker 3: This is my favorite.

00:45:52
Speaker 2: So I agree. The only person I've ever heard that from my wife.

00:45:55
Speaker 1: Though it gets overshadowed because nineties country is this very prestigious thing into a lot of people, even people that didn't grow up in the nineties, and then obviously anything post Florida George the Line breaking Out is its own entity as well. So you have that twenty to twenty ten kind of era that's kind of lost in the shuffle there. But still there's a lot of songs that are played on the radio that were from that time period.

00:46:16
Speaker 2: I used to think too, it was just the age of the people that got to make the decisions. I mean that's funny, meaning the people that you know, us executives, people that are playing, like putting songs in movies the nineties because that was their thing. Yeah right, I don't think that as much anymore. The nineties it was so commercially massive.

00:46:39
Speaker 3: Like see I always wondered that like because we lived it.

00:46:42
Speaker 1: Or technology maybe took such advanced steps that might have been a.

00:46:46
Speaker 2: Well no, but it popped so hard, like the concerts. I mean it was huge they made.

00:46:50
Speaker 3: Yes, ninety's country was huge, but I lost.

00:46:53
Speaker 2: Over into mainstream so much that people that didn't know country music started. It was like the seventies whenever like disco or and then even like the disco cowboy type stuff where people in New York City but start wearing cowboy hats. Yeah, like I got that big or did that again in the night.

00:47:09
Speaker 1: Remember that they did a halftime show at the super Bowl, Like there was a nineties country Yeah.

00:47:13
Speaker 3: Yeah, there's a bunch of winch artists.

00:47:14
Speaker 1: Be pretty I mean, you would never think that would happen nowadays, that they would pay.

00:47:18
Speaker 2: Maybe maybe right now I would for the first time, but never up until right now.

00:47:22
Speaker 1: With Morgan and more.

00:47:24
Speaker 2: I think that we have three football stadium MacX right now that aren't that are under forty Morgan, Luke, Zach Bryant, who he says he's not country artist, but that just makes it more of a country artist.

00:47:35
Speaker 1: They stream so much more than anybody else, and everybody mad.

00:47:37
Speaker 2: Yeah, so, but I agree there's no country artist. Okay, Shania did it, but she also was.

00:47:42
Speaker 3: A pop artist.

00:47:43
Speaker 2: Yes, so yeah, that's but I stand by twenty tens bad Era.

00:47:48
Speaker 3: I'm with you, bad Era. I don't know any of that.

00:47:50
Speaker 2: So Eddie, I do, and it's actually pretty good. With my wife plays and she's like what about I'm like, I'm like.

00:47:55
Speaker 3: Yeah, it's goal. Yeah, all right, go ahead, Eddie. So when you listen to music, question for both of you guys, are you a melody person or are you a lyric person?

00:48:04
Speaker 2: Like?

00:48:04
Speaker 3: What are you listening to? First?

00:48:05
Speaker 1: I think, I mean I'm a melody person. I just think it's what grabs the average listener, you know, So when our writers turn in songs. That's really the first thing I'm looking for is a melody. Lyrics obviously have to make some sort of sense, and I have to like that as well. But I mean, if you've got a great melody, and I mean a great melody like Cruise is an all time melody. If you get that right, you're I mean, you're to the five yard line. You just got to take it into the end zone.

00:48:30
Speaker 2: Could you have made that song.

00:48:34
Speaker 3: Don't hit on the alarm, make me want.

00:48:37
Speaker 2: A snooze melody? Yeah, with any lyrics, and also because it's a very strong melody, yes, as long as it's it's not absurd as all.

00:48:44
Speaker 1: As it's not absurd yet, Yeah, like don't I mean, if you got the great melody, you're driving the corvette, just don't drive it off the road into the ditch, you know, just you know. But yeah, I look for melody first. I think ten years ago, maybe fifteen years ago, I would have said lyric, But I think now it's melody.

00:49:00
Speaker 2: Know that you've grown up to the rifle age of like what fifteen now thirty five? Youngest crap, youngest crap he does. So you're thinking like Mama, I'm thinking like I'm like a kid through the door to things with him. Looks like he just like, you know, it's you got that young face? What say you, Eddie?

00:49:17
Speaker 3: No, I was trying to think of like, yeah, you could put anything in cruise.

00:49:21
Speaker 2: I mean, you do anything.

00:49:23
Speaker 3: But yeah, Mama, I really love her.

00:49:27
Speaker 2: But then I woke up and I was wrong.

00:49:29
Speaker 1: You're about mementos or something.

00:49:31
Speaker 2: Yeah, yeah, me guess I don't know lyrics. I love slow. I think part of the reason I love slow songs is because I can actually hear the lyrics and I can learn them a little bit.

00:49:44
Speaker 3: But I can't.

00:49:44
Speaker 2: I don't know lyrics we were trying to sing.

00:49:49
Speaker 3: I don't know. I think every time you and I try to sing any song, whether it's a song we just heard or whatever, it's no, I don't know any lyrics.

00:49:58
Speaker 2: My wife has a weird brain where she knows relurked every song. After one listen, she can spell words from order backward in her head. She memorizes every but it's not it's not like something that she desired to do.

00:50:07
Speaker 3: So she's not like, look at this.

00:50:08
Speaker 2: She actually kind of embarrassed about it because we'll get someone I'll be like, hey, somebody, just say a word. It don't matter what the word is, okay, peacock, and I'll be like, do it, Kaylene trickle p.

00:50:19
Speaker 3: E A c O c k k c O c e aby. She could do it all words.

00:50:23
Speaker 1: Crazy. That's amazing.

00:50:25
Speaker 2: It's annoying and awesome because if we get into a fight, I know she remembers, and that sucks because most like, like, you didn't say that, I didn't say that. I know that she remembers. And so now though, my my argument back to her is you know that I know that you remember, and so you know you can say anything even if you're wrong. So you're probably not telling the truth. I got a double back.

00:50:50
Speaker 3: That's your technique.

00:50:51
Speaker 2: Yeah, God, or I just stopped talking and it's like, you know what, I'm so mad. I'm not gonna talk anymore with a silent yeah. But just because I know she photographed memory, it's wild.

00:51:00
Speaker 3: It really is wild.

00:51:02
Speaker 2: It's like a special something that she was born with. Okay, let's see it.

00:51:06
Speaker 3: I got here. Next up man again?

00:51:13
Speaker 1: So many man, I feel the pressure too to come up with something good. Every time it comes back around to me.

00:51:17
Speaker 3: I know I'm starting to as soon as I'm done. I'm saying okay, I wrote like nine this kind of advice.

00:51:23
Speaker 2: That's your style to over overdo it too, Chris, without saying any names, because I don't want you to say names or to feel pressure to say names, nor am I going to say names. Do you believe there are any artists who are only having success because they are being strategically pushed, and that if they were not being pushed by powerful entities, they would not be successful at all?

00:51:47
Speaker 1: Yeah, I mean I think it goes for any format of music.

00:51:51
Speaker 2: Yeah, you know, uh, pop especially, but there's usually a reason with pop meaning they got Disney following, they're really pretty to do or a really good look, there's something about it in this format.

00:52:05
Speaker 3: Do you feel like there's anyone.

00:52:08
Speaker 2: In your mind that you go, they're actually not that good And it's rare in this format because you have to be good in this format, but everybody.

00:52:14
Speaker 1: Has talent to a degree in this format. I think it's very hard to succeed in.

00:52:18
Speaker 2: This Are there any in very low degrees that you can think of where you're like, this is much lower degree and they're pretty, they're they've reached the level of success or they probably wouldn't have without.

00:52:27
Speaker 3: I mean, Chris, can you think of one?

00:52:30
Speaker 1: Obviously not going to say names, but I mean I can probably get there.

00:52:33
Speaker 3: Yeah, you know, I wouldn't want to.

00:52:36
Speaker 1: Well about it is that there are so many artists now in music, not just country, any format because of TikTok and social media and streaming. I mean, you grab your guitar, you turn on your phone, you're an artist.

00:52:48
Speaker 3: Let me back it up. Okay, that's an absolutely great point.

00:52:50
Speaker 2: I want to make sure that that is not allowed in this question because that is a perfect point. I didn't think about anyone with multiple.

00:52:58
Speaker 1: Hits, multiple hits streaming radio does it well radio?

00:53:03
Speaker 2: Okay, his streaming is weird because he to make a stream of town I don't know they are.

00:53:07
Speaker 1: I'm gonna actually say like a soft no. And the reason being is that, you know, going back on country radio. Country radio is a very whether it should be this way or not, it's a very people oriented thing where if certain programmers don't believe you're invested into the format, and they don't personally believe you're good or you're not a good person, you're gonna have a harder time getting airplay at country radio. It's not that way for other formats, but it is in country, or at least it was when I was in radio.

00:53:37
Speaker 3: Yeah, yeah, you're a big diddy guy. Oh gosh, oh my goodness, kidding, he's not.

00:53:44
Speaker 2: I'm kidding. It's just like the worst thing you can say, red Yeah.

00:53:47
Speaker 1: Yeah. We added that.

00:53:51
Speaker 4: The Bobby cast will be right back. This is the Bobby Cast.

00:54:05
Speaker 2: I can think of someone that is not good one or one specifically that's not I would say there they lived in Tulsa, because they're not from Tula they'd be locally, they'd be like really good, but here.

00:54:24
Speaker 1: Just everybody's the best in their hometown.

00:54:27
Speaker 2: Yeah, but just even but here not that good. And I had a big career. I think got I had the right push and had it happened with anybody else, it would not have happened. It's like the least talented star people said about me too, and and it'd be like thank god, like at.

00:54:44
Speaker 3: Least of the starr. And that's why we're not saying names, or.

00:54:49
Speaker 1: I think that's a good way to put it. The least talented. Least talent is like zero talent.

00:54:55
Speaker 2: We've had some people that sing in the studio and we're just like we have to like look down.

00:55:00
Speaker 3: Look. There's two versions of it.

00:55:01
Speaker 2: One is if I look down and keep my head down because I'm just like, oh man, I feel bad for them. Two as if I look down and you know, like in church when some monsters laughing and you can't stop, you look down and you're.

00:55:11
Speaker 3: Like you don't want to.

00:55:13
Speaker 1: It's such a cringe worthy moment you have to look away from everybody or you're going to laugh.

00:55:17
Speaker 3: Well, what's cool about our studio? And kind of a bad thing too. For artists. It's like it's it's stripped down. It's just you and your guitar most of the time. Yeah, there's no hiding, there's no hide in it. So we get to see the true of everyone that comes in.

00:55:30
Speaker 2: Yeah, and we need to say it a couple of times because sometimes you can just be sick, we're having a bad day and not sing your best. Because there are times where I do stuff and it's not my best.

00:55:39
Speaker 1: I mean we say that about you know people, or I mean it could be writers or artists where we ask our writer how it went and they're like that was pretty bad, but they're like it could have just been a bad day.

00:55:50
Speaker 2: Yeah, it could have been multiple instances. I like your answer. You're a nice guy.

00:55:56
Speaker 3: You are a nice guy. You're a nice guy.

00:55:57
Speaker 1: No, you are like it literally, so zero zero talent versus lead to yes. I like that is argue with that they.

00:56:08
Speaker 2: Are not for other people in their category.

00:56:12
Speaker 3: They are not near.

00:56:13
Speaker 1: Yes, I agree on hundred percent it, which is.

00:56:16
Speaker 2: Rare for this format because the pop music that happens all the time because they have different reasons to push people for marketability purposes. But here you need to be good first and then they figure how to market you. I think I was talking.

00:56:27
Speaker 1: About this with another music publisher in talent a few weeks ago, and we were talking about, you know what it takes to succeed not only with a record deal, but a publishing deal. We with talent was the only reason you were successful, It is not. You got to have the right people around you, the right timing, the right work ethic, the right personality, all these other things have to go into it. Some of the most talented people lose their record deals or lose their publishing deals and they're never famous and nobody knows who they are.

00:56:52
Speaker 2: So and the timing thing again, Yet It's such a big part of it because there are people who are freaking awesome, but they're like sonically, their style is not perfect for what is commercially viable. What's cool is when it catches up. Yes, I think we saw that a little bit with Haley Witters, who was doing her own thing for years and it was never gonna work because she was just yeah, and then it kind of came around to her and then gave her a role opportunity, you know, to at least have an opportunity.

00:57:22
Speaker 1: There's a lot of examples like that in country where they just could not have picked, not to their own fault, they just couldn't pick the worse time to you know, debut, whether it be a radio or just in general. I can think of acts like Greg Bates. I think Greg Bates is great. Just he decided to have his debut single right when Florida Georgia line did, and like radio completely shifted from that point. And sometimes it's not your own fault, it's just timing.

00:57:45
Speaker 3: Yeah, that's that's when I sell out, though I don't even know who that is. Greg Bates.

00:57:49
Speaker 2: Oh, he now goes by the name Machine On Kelly.

00:57:51
Speaker 3: Yeah, you go who is not country by the way. I mean, don't you think though, like it takes so much to be an artist, Like there are all these elements to being an artist, where like sometimes your likability, yeah, the personality, every part of it is can there.

00:58:11
Speaker 1: Yes, there's so much that goes into it that most people don't realize.

00:58:14
Speaker 2: But you still in this format you can have all of that. But if you're not good, you still don't make it. Ninety nine point numbers in at the time, Like, you.

00:58:20
Speaker 3: Have to be good here at some point.

00:58:22
Speaker 1: It is like you are going to stumble, Like whether it's now or whether it's down the road, at some point you will stumble if you don't have the you know, the talent.

00:58:28
Speaker 2: You have to be good here. Except if it's one person I'm thinking of there's and there's two other ones that I'm like, yeah, right right, this is one. I'm just like, it's pretty amazing.

00:58:40
Speaker 3: Yeah, it's like what I need to like celebrate it because it really is.

00:58:43
Speaker 2: Yeah, it's like they've managed to escape Alcatraz and then you wonder.

00:58:47
Speaker 3: You're like, wow, yeah, use a boat.

00:58:49
Speaker 2: We thought you diedot sharks, Like were you even in jail?

00:58:52
Speaker 1: Just makeshift rauts that you're built and you made it across the bay.

00:58:55
Speaker 3: Okay, uh, Christy beck Up, Yeah, I am so.

00:59:00
Speaker 1: This is actually a topic I was discussing two days ago with the writer, me and him. You know, this guy is in his thirties. I'm in my thirties. We both grew up at a time where you would go to Walmart and buy an album on a Tuesday, and you would read the pamphlet and listen, you know, front the back to the whole album. Maybe you go to iTunes and you know, you have twenty dollars available on the card and you have to make sure you pick the right songs because you're spending your money or you're using your mom's card or something to pick the right songs to download, and you would listen over and over again. Now with streaming, it has become so easy to access any kind of music, as it may be kind of devalued listening to music, and maybe that's affecting who succeeds in music who doesn't, Because you can listen to anything anytime you want to. So music isn't not to say it's not as special anymore, but it's just different. And now we're so far into streaming, there's people that growing up with streaming, they don't know how it was back then, and maybe they don't value records in music and artists like maybe you and I did.

01:00:01
Speaker 3: It's funny because like I have four kids, and one of them loves to listen to old music stuff I grew up with, you know, because he like, I play it all the time in the car and he's just like, that's a jam, Dad, love it. And he's got his own playlist and he listens to def Leppard, you know, Van Halen Pearl jam. But he's done with it after a week that song's off the playlist. He listened to it a thousand times off the playlist, which is almost like what you're saying, like the mind of a young music consumer that's like, all right, we're on in the next Yeah, I consumed everything I could out of that song. Don't like it anymore. I'm good without without hearing it ever again.

01:00:41
Speaker 1: You listen to it so much when it first comes out that you just get burnt out on it on your own doing, you know, And then maybe you have ten thousand songs on your iPhone. Yeah, you're not going to get to all of them. So after you listen to something so many times, you're probably not gonna listen to it again for the most part, maybe ever again, or at least not for a very long time.

01:00:58
Speaker 3: And me, dude, I can listen to Power of Love for the rest of my life. Amen, Like, for the rest of my life. I could hear it every that I know.

01:01:08
Speaker 2: I think it's one of those your strength is your weakness, your bigges strength is your biggest weakness. I don't think music is as precious anymore because we're not having to spend money on a tangible even a downloading a song. We could call that tangible because we now owned it on our computer. It doesn't happen anymore, and we had to use our own money to do that. So I don't think music is as precious anymore individually. But I think the so that that's.

01:01:32
Speaker 1: The weak part of it, and there's so much of it too.

01:01:34
Speaker 2: I think the great part of it, though, is that you can really find specifically what you like it extremely nuanced. For we're called a format of what you like. I think you could like the like say you like country music, which is like man like Sierra Ferrell, say you say her last name, like, you probably wouldn't find her because a label probably wouldn't have signed her because there were eight labels. It's like TV channels and there are only so many artists are gonna sign. And you were treating anything you bought precious and you liked it because of all that was offered. But maybe you don't find her because they label didn't invest money in signing her deal developing her abcdf T right, So I think music isn't as precious individually, but I think the fact that it allows each person to find out and to find music that excites them on an intimate level, I think that is the real strength in having unlimited music. So the opposite, like twenty years ago, music is much more precious and you find the stuff that you really like, but there's not as much of it, so maybe it's hard to find stuff that you like really personally like, feel and understand. So yeah, I think the bigges strength is your biggest way and your biggest weakness. That's your biggest strength in this case, and it's probably always going to be like that. But yeah, you're right, I don't and I think albums are done right. I understand why artists want to do them. So you put in a bunch of songs.

01:03:11
Speaker 3: It's just it's a.

01:03:13
Speaker 2: It would be my my. The parallel I would put in my career is I will get offered to do a certain TV show and the TV show is garbage or semi garbage, and I go, man, but it's TV, and then I may my agent will go bro, you get more eyes and ears on like eight other things that you do more than doing this prestigious TV show. Like so you can do it if it just makes you feel good, so go ahead, go do your TV show. Not usually gonna some people are gonna watch it.

01:03:48
Speaker 3: Something sounds cool to have a TV show exactly.

01:03:50
Speaker 2: It sounds going to put out an album.

01:03:53
Speaker 3: It does because it's a it's.

01:03:55
Speaker 1: You've made it if you put out on an album, absolutely.

01:03:57
Speaker 2: And you've made it if you've got a TV show. But they're like, you have to like think about this differently now, because eyes and ears are currency, right, you got them.

01:04:05
Speaker 3: You can turn it.

01:04:05
Speaker 2: You can make way more money, you can get way more people watching and listening by doing these albumove the radio show from it, but doing this podcast, doing the social content. Doing this, then you would do in the TV show and so to me, I compare albums and like how how I would relate to it? And so an artists wanted to put out at eleven twelve track album to be like I'm releasing an album to me going I've got a TV show, when in reality I would probably get way more traction doing a couple smaller things here that pop so much harder when releasing a single or two songs at once. Now there are the outliers like the Morgans who put out forty songs, which that was a crazy outlier, and everyone now everybody does it because he did it and they saw like the success of just a big dump. But that's not even an album. That's like a quadruple yeah album of So not.

01:04:56
Speaker 1: Only certain artists can do that kind of thing. You've got to make sure that you have the or base where that would pay off and benefit you and the label to do something like that. So only Morgan and select other few like Zach Bryant can actually do that, or at least in this format.

01:05:09
Speaker 3: But I agree with your statementition your question.

01:05:14
Speaker 2: I think music is far less precious, but I think it gives everybody an opportunity to find things that are specifically precious to them. We want to spend money on it, so it's like who cares? Yeah, we just And if you put out an album I'm listened to, I'm not gonna listen to the whole thing. I'm almost like five songs and I'm gonna be like, like this one, I'll save this one, maybe I save two.

01:05:33
Speaker 1: I can't imagine. I have a friend who's like twenty five years old. I can't imagine him literally buying an album of fifteen songs and start to finish it. Will will not happen? Will never happen?

01:05:43
Speaker 3: Are Vinyls still thing? Like I know they're trying to?

01:05:46
Speaker 2: Yeah, Vinyls beat see these to the first time ever, like two years.

01:05:50
Speaker 1: Ago, because it's cooler. It's the branding.

01:05:51
Speaker 2: It's like, what is this and there's new or that's tangible, land of non te people collected.

01:05:56
Speaker 1: It's a collector's item for people, you know pictures.

01:05:59
Speaker 2: This's the only place you get to see album art anymore.

01:06:00
Speaker 3: That's right, Yes, yeah, in the sleeve of the record.

01:06:03
Speaker 2: Yeah, all right.

01:06:04
Speaker 3: Thirty second question or the final question. It's a quick hitterer, go real quick. What's your favorite music documentary?

01:06:11
Speaker 1: Music documentary. That's a great one. Man. I love the Tom Petty.

01:06:15
Speaker 3: One Running Out of Dream. Yeah, so good.

01:06:18
Speaker 1: It's so good, all the stories that I had no idea how they made it that far without basically yeah good.

01:06:23
Speaker 3: But long it is is long. But it was one of those where you watched and I didn't realize how long it was until I finished it, Like, wow, that was that took a long time.

01:06:30
Speaker 2: Yes, I remember I started watching it the day after my birthday and then when I finished it was my birthday again. Yeah, I was like wow, yeah, but right, if so long?

01:06:41
Speaker 3: The right one it is?

01:06:42
Speaker 2: Yeah, yeah, it was really good. That's a good answer. So I guess my answer is going to be because I don't know if what best is and I would sit and argue with myself and change my mind four times. But the one that that I think about when someone goes, hey, recommend me a music documentary is the Janish Shoplin one.

01:06:57
Speaker 3: Because I felt one so bad for her and you learned so much.

01:07:00
Speaker 2: Learned a bunch about her, meaning I mean I felt bad for her because they just treated her so bad because she was quote ugly.

01:07:05
Speaker 3: Yes, have you ever said you've seen it? Her whole life? They treated her like she was ugly. I had no idea that her and Jerry Garcia were a thing like that. That like hurt my heart for her.

01:07:15
Speaker 2: And then the fact that she never even got to see success because she died before me and Bobby McGee came out, you know, Christoph, and she died before that. So I I still think about that and I felt so.

01:07:26
Speaker 3: Bad for her.

01:07:28
Speaker 2: So that one really touched me in a way that I wasn't expecting because I was just like, let's go watch Oh lord, won't you buy me Mercy? Then you watch it and you're like, man, that is it is a troubled, troubled life in person, and uh so not my favorite, but I think about it. Yeah, last quite give me a quick one.

01:07:51
Speaker 1: Oh man, quick, Well, I'm gonna do I'm gonna do an audible here because it just saw to this okay as we were talking. I just think it's funny now that I've been living in Nashville for about seven months now and I've been coming here for a few years. Me growing up on nineties two thousands country, you know, may being kind of weird and knowing every single song that there is, you know, every artist that both takes off and doesn't take off. And I don't know, there's there seems to be some kind of stigma, maybe in town or maybe just with the community, where like maybe some people don't want to talk about their failures in the music industry when it shouldn't be viewed that way, and it happens to so many people, and it's okay to talk about a song in a glowing way that did not hit the top forty or something like that. Or it's almost like now I have to be careful. I don't want to, you know, make anybody mad when I've remfered a song that I like that you know, died in the fifties, but I love it. But I still want people to know about this artist when it came out. I just feel like, is there like, have you ever come across any kind of artist that maybe don't like talking about their past because it wasn't successful, even though it'd have been good and cool, they just don't like talking about it because they didn't, you know, succeed.

01:09:03
Speaker 2: I won't say her name. I had a conversation with somebody about two weeks ago. She called and she was like, hey, I'm off I got dropped. I know her personally because I don't really have I just don't have artist conversations with people, meaning not that I wouldn't, but it's just not my job, right, like I'm just supposed to be funny or whatever. And but she called, I'm known forever decade. She just got droped from my label. And she asked, like, what do I do? And I was like, first, you gotta stop thinking that anybody cares.

01:09:31
Speaker 3: You got to drop from your label. Nobody cares.

01:09:33
Speaker 2: We don't know that, like like people know, people don't even know the label does and people don't have a label now for a good reason. She was like, yeah, but they were. They were like, you know billboards. It said, hey, what what name of billboard you saw last month? Is what I said, Just name any billboard you saw last month.

01:09:50
Speaker 3: I don't know.

01:09:51
Speaker 2: Yeah, that's and I said, and in the best way, because it can also seem like the worst way, nobody cares. Nobody cares. And yeah, it might sound sad, Oh nobody cares about me. That's not what I'm saying. Everybody cares about themselves so much that they're not focusing on you were remembering any failure that you had no so and if you want to talk about it, great, that's strength, and that's that's something for you to talk about. But if you don't, you can't be worried other people are thinking about you as that person.

01:10:17
Speaker 1: They're not at all at all.

01:10:19
Speaker 2: They're so hyper focused on themselves what they're trying to do, that they're not I.

01:10:22
Speaker 1: Think we're in I think like going off with that. We're all self conscious about what other people think. Yes, where because we're all self conscious, we're actually just thinking about ourselves. And you know, when we hear your name as an artist, we're not thinking about what label you're on. Most people don't even know what label you were on, or they.

01:10:37
Speaker 2: I don't know what labels are going on, and I'm just like part of my job.

01:10:40
Speaker 1: Most people that are Zach Bryan fans, the vast majority of them probably have zero idea he's even on a label.

01:10:45
Speaker 2: Yeah, And that was a conversation I had with her. It was like, a you really shouldn't be afraid to talk about it. Actually give you something to talk about that. People were like, oh, because everyone thinks the artists are you know, perfect millionaires. And as soon as you stop worrying about trying to impress people and you start thinking about relating to people like that's where the success comes from. So we're just reminding her that it doesn't matter nothing, nobody cares, and there's real power nobody caring. And she's she's she's awesome, she's she's the exact opposite of the other artist I was talking about, where she is so talented, she just has not had it go her way, but in every way, just pure, pure, pure as an artist.

01:11:25
Speaker 3: And yeah, what you're talking about.

01:11:28
Speaker 2: There was that experience that I had with her where it was hopefully welcoming her to talk about this stuff that maybe she was embarrassed to talk about because I said, don't be embarrassed, because don't take this wrong a way.

01:11:41
Speaker 3: Nobody cares. I bet to a lot of artists, though. The pinnacle feels like getting that deal it is and once you get there, you're like, Okay, we're going to start rolling now, and then you get dropped and you're like, oh.

01:11:52
Speaker 2: You don't have to drop No, you can literally get signed and nothing happens.

01:11:56
Speaker 1: You just sit there collecting dust.

01:11:58
Speaker 2: Even if you don't get chilled, nothing happens. If you get a shelves the worse. But even if you don't get Shelder times, what's that?

01:12:06
Speaker 3: What's up?

01:12:07
Speaker 1: I'm not rich.

01:12:07
Speaker 3: Actually I'm losing money doing radio tour.

01:12:09
Speaker 1: You're playing free shows everywhere.

01:12:11
Speaker 2: Yeah yeah, uh, gentlemen, there's a reason they call this the greatest moon crescent crescent crescent conversation ever.

01:12:21
Speaker 1: If one of us was sitting over, there would be more of a round table.

01:12:24
Speaker 2: So we should move the chairs around. It'd be a triangle. Actually, Chris, you're awesome, dude.

01:12:30
Speaker 1: I like this. I like to very cool.

01:12:31
Speaker 3: I like the format.

01:12:32
Speaker 2: We should do this again a couple of months follow Chris. We said all your stuff in the beginning too. But doesn't Chris look so young and vibrant.

01:12:39
Speaker 1: Yes, it's like vibrants a great word to use that for now. Yeah, crazy, tremendous word.

01:12:43
Speaker 2: And it's like that he was like, you know, just came out of his mom's womb, come in here, talk about like.

01:12:47
Speaker 3: I'm like this guy. So yet I do want to say, like, Chris, you're a good kid man, You're a good I know.

01:12:52
Speaker 2: No, no, please please keep calling me, you know at Chris owen Country on Instagram. Chris go to talk to you buddy, and we'll talk to you soon. In the artists, I'm talking about that.

01:13:03
Speaker 4: No, thanks for listening to a Bobby Cast production