Try That in a Small Town Podcast
In 2023, Jason Aldean's groundbreaking song and video "Try That In A Small Town" resonated with a resurgence of conservative values in America. The writers of the song, Kurt, Neil, Tully, and Kelley, took the opportunity to launch the Try That In A Small Town Podcast. This platform allows them to reveal the true inspiration behind the song and discuss the importance of common-sense values. With a lineup of influential guests, the hosts will entertain you with the stories behind their music, while also addressing challenging topics affecting our communities and country.
Try That in a Small Town Podcast
Songwriting Realities, Creative Hurdles and The Rise of Aldean :: Ep 31 Try That in a Small Town Podcast
Ever wondered how a cowboy hat could symbolize the turning point in a musician's career? Join us for a heartwarming exploration as we recount the early days of Jason Aldean's journey from struggling artist to country music superstar. Expect tales of makeshift catering with fried chicken, relentless showcases, and the unwavering support from industry champions like Michael Knox and Benny Brown. Discover how a simple switch from cowboy hat to baseball cap marked a pivotal connection with audiences, and hear about the camaraderie and resilience that fueled Jason's rise against all odds.
As we navigate the songwriting world, we unfold the less glamorous side of penning hits. Whether it's the long hours fueled by coffee or the financial labyrinth of recoupment, we bring light to the often-misunderstood journey of a songwriter. With anecdotes about collaborating with artists like Brad Paisley, we emphasize the importance of grit and perseverance in thriving within the vibrant Nashville music scene. Our personal stories reveal the realities and rewards of a career driven by passion, and why it's crucial to keep those creative fires burning despite the challenges.
Hang around as we reminisce about our collaborations with Neil and the evolution of music production. From funny songwriting mishaps to the unique joys of using Halloween pumpkins for Thanksgiving decor, our behind-the-scenes stories are peppered with humor and camaraderie. Whether you're an aspiring musician or simply a fan of heartfelt storytelling, our journey through the ups and downs of the music industry offers insights and advice that are both entertaining and enlightening. Tune in for a blend of personal anecdotes, industry tips, and the unwavering spirit of chasing dreams through the power of music.
Try That In a Small Town is sponsored by:
Patriot Mobile
Don’t get fooled by other cellular providers pretending to share your values or have the same coverage. They don’t and they can’t!
Go to PATRIOTMOBILE.COM/SMALLTOWN or call 972-PATRIOT
Right now, get a FREE MONTH when you use the offer code SMALLTOWN.
Original Brands
Original brands is starting a new era and American domestic premium beer, American made, American owned, Original glory.
Original glory not only tastes great, but it's under 90 calories and only two carbs, easy drinker and perfect for the active lifestyle.
Original glory. It's a veteran founded company with a deep love of country. Original glory, freedom is worth drinking to.
Join the movement at www.drinkoriginalbrands.com
Follow/Rate/Share at www.trythatinasmalltown.com -
Browse the merch: https://trythatinasmalltown.com/collections/all -
For advertising inquiries, email info@trythatinasmalltown.com
The Try That In A Small Town Podcast is produced by Jim McCarthy and www.ItsYourShow.co
I was going to ask you guys something, because that's a you know, what you guys do for a living obviously is cool to a lot of people, right? Do your kids think you're cool?
Speaker 2:we're probably the only part of the music and entertainment industry that you can actually suck and still get paid.
Speaker 3:We did multiple showcases with Jason for labels, record labels, labels like hey, he's trying to get a deal, so we invite Capitol Records out, or whoever it was at the time. But a lot of the times Michael would schedule rehearsals for us just so he could feed us. He knew that's how broke we were. That's true. He's like we don't even really have anything, but I'm going to put this on the tab and I'll get you guys a meal.
Speaker 5:The Try that in a small town podcast begins now all right, everybody.
Speaker 3:This is the try that, in a small town podcast, we're coming to you from the patriot mobile studios.
Speaker 6:It's still it's never gonna still, it's never going to get old.
Speaker 1:It still sounds good, it will never get old.
Speaker 3:They're offering a pretty awesome deal. If you go to patriotmobilecom forward slash smalltown, you can get a free month. You can get a free month from them. Just use the promo code smalltown Go to patriotmobilecom forward slash smalltown Yep. It's a pretty good deal right.
Speaker 2:I recommend everybody try that.
Speaker 1:You see what I did there, yeah, nice Neil you see what.
Speaker 2:I did there.
Speaker 3:I'm going to go counterclockwise. That was thrash, come on. Oh, what are you changing it up? I'm changing it up. K-lo, yeah, tk, I'm Kurt.
Speaker 6:Well, I think we're still basking in the glory of the election. It still feels like Christmas. It does.
Speaker 3:It feels like Christmas, but it's actually Thanksgiving. I think it's going to be Thanksgiving week.
Speaker 2:It's never too early to celebrate Christmas. We should have hung lights in here.
Speaker 3:Do you?
Speaker 6:guys like Thanksgiving, isn't it your?
Speaker 3:second favorite holiday.
Speaker 6:It's the whole part of fall, yeah it's one of my favorites.
Speaker 1:I like Thanksgiving because you can use your Halloween pumpkins and it still is seasonal. It works good, so you don't have to throw them away yet.
Speaker 3:Didn't expect that answer. No.
Speaker 1:As long as you don't put the faces you know that didn't work Just turn
Speaker 3:them around, just turn them around.
Speaker 4:Does your?
Speaker 3:family do traditional Thanksgiving.
Speaker 4:Is it?
Speaker 3:turkey is a turkey. Yep, and the fried turkey you have regular, but we do the fried turkey.
Speaker 1:My brother's really good about doing that's not who fries the turkey.
Speaker 2:Cory, my brother, yeah, he's really good. I see you lowering a turkey.
Speaker 1:No, but I stand there, I help, I stand there and talk to him. Sometimes I'll run and get some oil or something. All right, some paper towels.
Speaker 3:I'm very handy well, happy thanksgiving everybody. Neil, what do you got there? You got something draped on you yeah, I'm kind of down.
Speaker 2:I've got my my rack here, but I'm kind of down because I was sitting where calo is sitting today and I got here early, like three or four hours early, to the Patriot Mobile Studios and I was trying to write a song. And I'm on the phone with Kalo the whole time and he never tells me that he's got a great song idea. He just holds it to himself all day and I'm trying to write and make some money, make a living, and he blames me for not asking him if he's got a song idea. I'm like.
Speaker 1:what are you talking about? You're going to the end of the story, like we were on the phone for a long time and you were making deer jerky. No, it was cooking.
Speaker 2:I'd already put deer jerky on?
Speaker 1:No, but you were still doing stuff. The jerky had been on all day.
Speaker 6:And then I came up here to write, to kill time.
Speaker 2:Weren't you for it.
Speaker 6:There's a lot of money that goes into killing one deer.
Speaker 1:Yeah that's why a lot of time for it, see a lot of money. But I just learned just a little bit ago, before we started rolling, that you were working trying to write a song. I didn't know that. I didn't know you're trying to write.
Speaker 2:You didn't say anything about it where did you think I was on a t morning? You were making jerky. The jerky was cooking by itself. I wasn't making jerky. I was done making jerky. Nope, nope. You didn't hear my guitar strumming in the background. No, really no, I didn't hear it. It's because you have those radiation ear pods in your ear and you can't hear anything.
Speaker 1:No, I could hear.
Speaker 2:That's the problem?
Speaker 1:No, I didn't know you were writing.
Speaker 2:This is a try that in a small town, this may be going a little long. This is a day in the life of a songwriter, gentlemen. No, it's fantastic, that's everyday songwriting, right here. Well we've been.
Speaker 3:We don't really have. We don't have a guest guest, obviously, but you've got us for, which is amazing for you. We've had some questions about.
Speaker 6:You know we've been in the studio starting the new record, um, and that, what that process is like, and uh, it's interesting. I think people would you know, like to know what that's like, and I'm sure what they think it's like is not at all what it is. You know what I mean.
Speaker 3:It's a yeah, give a little insight. It's a very fast-paced process the way we do it yeah, and to interject like when we were kids and you heard of somebody making a record, they'd be in the studio for the year or six months making a record. Yeah, they hold up somewhere, hash out songs, whatever. Six, nine months they make a record. That isn't the way we do it.
Speaker 6:No, I think, and we've been together so long too in the studio band that makes these records. You know, when we started this in the late 90s it wasn't much different than it is now. I mean, I think what people don't realize is a lot of times records are made it's not always the whole band on the floor in the studio recording at the same time. Today, a lot of times it's you know, they'll get the drums and they'll do guitar separately with jason. We still do it, everybody recording at the same time y'all been doing this ever since the beginning.
Speaker 2:The same process, right, Same process, same studio. And we're on. Album Number is 12. Number 12.
Speaker 3:Oh geez, I didn't even know that. Wow, yeah.
Speaker 6:And think about that. That's a lot. It is and it's yeah Since the yeah since the mid to late 90s. Same studio, same engineer. Same players right I mean, it's not just you guys.
Speaker 2:Y'all hire a couple of guys to come in and jam with you, right? Yeah, absolutely.
Speaker 6:It's Jason and me and Kurt and Rich in there, and then we supplement with another guitar player, adam Schoenfeld, and Mike Johnson on steel and Danny Rader on acoustic and Tony Harrell on keys Mike Johnson on steel and Danny Raider on acoustic and Tony Harrell on keys and it's been that core, I mean really just for a very, very long time, most of those guys from the very beginning you fit out broke.
Speaker 3:Yeah, that's kind of it in this studio, dude it's. It's not like what most people think. There's a glamorous studio. Is you guys been over?
Speaker 2:there, oh Lord, yes, the only thing I miss in that control room is cigarette smoke. Yeah, because it should have it.
Speaker 3:Yeah, it's old, but it's got some character to it and, like you said, if it ain't broke don't fix it.
Speaker 6:Yeah, and the thing about Michael Knox, who's been Michael really. He gets credit for the whole image. Not the image but the idea of the band and the idea of a country singer with a rock and roll band. And this is how all this started. And Michael's the first one that took us in to start doing demos in the 90s. Michael's not a like. He's not like a musician per se, he's more of a song guy, a song producer, like a Rick Rubin in the country world. I'd say where it's like to michael. You know, if it feels good, it's better than if it's technically right, right and so and for and. For someone like myself who's, you know, perfectionist to the core, it's like it can be frustrating, like you know it's like man, I'll be like I don't know if that's even right, but michael's like it feels great.
Speaker 6:You know what I mean. And there's the magic to that with jason. Absolutely, you know, you can, you can listen to those records and they're they're not perfect, they're imperfectly perfect. You know, um, it feels good and it's got that right energy, so but it's uh, it's, it's, it's fun oh, it's been great you.
Speaker 1:I was going to ask you guys something, because what you guys do for a living obviously is cool to a lot of people, right? Do your kids think you're cool, or are they at the ages where you're just dads? It doesn't really matter what you do.
Speaker 6:Well, I think our kids I mean, they grew up with it when they were babies and so they think it's very cool and they love it. But I think it's also a distorted vision of reality to an extent. They're growing up backstage on the bus, so yeah, it's-.
Speaker 3:I think with Levi it's more his friends think it's cool. Yeah, that's the thing it's like he just thinks you know that's my dad. I mean, like Tully said, it's just always what he's known. But I think because his friends say, oh man, your dad plays with Jason, I think you know it's cool that way.
Speaker 2:I bet Al Dean's a dork to his kids in reality, not knowing how cool their dad is, I bet he's a dork it's just an interesting it's a great question it's an interesting question because, yeah, when you grow up around it and it is all that you know it's.
Speaker 3:I don't know if cool is the right word, because it's not unique to the kids, it's just what they know, that's right.
Speaker 6:Yeah, yeah, it's definitely. You know. I have memories of both my kids. You know, just at every show they're not even walking. You know that's how long for them, that's part of their life, so, but they, you know, they still love coming out and you know, seeing it, and it's just part of their makeup. Now, though, you know so it's, you know, not so much when we were kids. I couldn't imagine that. How has the catering?
Speaker 2:changed over the years in the studio.
Speaker 4:Because I know you all have catering In the studio. Yeah, in the studio. I know you all have catering brought in.
Speaker 2:I like that. Yeah, I mean, is it? I probably used to be heavy.
Speaker 3:Back in the early early days there was a place called la paz. Remember that. Oh yeah, you used to always get mexican and yes, it was heavy. Um, it's actually not. I wouldn't say it's glamorous to catering.
Speaker 6:It's very basic as a matter of fact, for a long time it was, uh, just some grocery store chicken, fried chicken, yeah, cold, just brought in, um, maybe some fruit. Yeah, that was about it, really yeah I tell you and we don't stop. We loved it yeah, back in the early days, I mean, that's how we ate, so it's very exciting, you know, free food there it is.
Speaker 3:Yeah, till I mentioned michael knox. You know he obviously found jason had the vision for the career there was. Multiple times we did you know we've talked about this a lot we did multiple showcases with jason for labels, record labels like hey, he's trying to get a deal so we invite capital records out, or whoever it was at the time. But a lot of the times michael would schedule rehearsals for us just so he could feed us. He knew that's how broke we were. That's true, like he's.
Speaker 6:Like we don't even really have anything, but I'm gonna put this on the tab and I'll get you guys a meal and for those of you out there who don't a showcase, this doesn't really happen much anymore, but back in the day, like if you were a new artist, you do what's called a showcase and you'd work up five of your songs, um, and you'd, you know, get the band together and you'd set a date and you'd go down to a local music hall or bar and you'd invite label presidents out and A&R people and you invite them and they come, listen to you and pretty much decide your fate in 25 minutes. And I'm not kidding you, we easily set the record for that For getting passed on. Yes, I'm not joking you, we easily set the record for that For getting passed on. Yes, I'm not joking. Was it 30? It was at least that.
Speaker 3:I mean we joke about it, but it's a lot Damn. That's hanging in there right there. Yeah, so Jason Aldean he got rejected by the same label multiple times and multiple labels.
Speaker 6:And the funny thing is about those days is that we were playing songs like why in amarillo sky and johnny cash in these showcases in the late 90s to early 2000s, and I don't hear a hit.
Speaker 1:That's all you know. I didn't know that.
Speaker 3:That that's interesting yeah, but you already had songs that were huge hits they didn't get and in those days.
Speaker 6:I remember in the early days they're like Jason wore a baseball hat or he didn't wear a hat, and they're trying to figure out. Well, put a hat on, take it off, put the baseball hat on. Well, and do you guys remember?
Speaker 3:in the mid 90s everybody wore a cowboy hat right that was like the guy. That was what you did, and so they were like maybe we're gonna have him be unique, so he's gonna wear like tall. He said you're gonna have a baseball hat, or maybe he just doesn't wear a hat at all and through a few years of that he's like man, screw that. That, that's actually what I am, so I'm gonna do that, and then it worked but you know, we got passed on over and over and over and over again.
Speaker 6:Thank God for Benny Brown no, that and knocks too, because it was like yes, I think what Kurt said is true like there were some dark times where there wasn't anybody asking to see us play, to see Jason play, and Michael would be like, hey, gotta go rehearse, let's go take the band and go into SIR rehearsal studios for three days and work up some songs, and we knew there was nothing on the horizon, but we'd get paid $150 to go in for a couple days and for us then, yeah, $150.
Speaker 3:That's a lot of money. Yeah, not like a lot of money.
Speaker 6:A little bit of whiskey, a little bit of food, mainly whiskey.
Speaker 2:I remember singing demos for $40 a song. When you got down yeah, I mean, people started hiring me to sing demos. It was $40 a song, wow, I thought that was like that's great. Heck, yeah, I'll go sing a song for $40. That's easy.
Speaker 3:I'll do that. Do you remember any songs that you sang on that became hits?
Speaker 2:Let's see.
Speaker 3:Or artists, like what artists were they?
Speaker 2:Yeah, Michael Delaney had a song I sang one time. There's been a few, yeah, of course, all the ones that I've had I sang the demo on, but before that I know Michael Delaney had one that Colin Ray did. It was the number one, I think, for me.
Speaker 3:Yeah.
Speaker 2:I sang the demo on that one, but there was a lot of demo singers in town when I was doing it. So I mean, if you got called to sing a demo, you're like, yep, I'm in oh yeah, do you remember which Colin Ray song was in this? Life what the Heart Wants.
Speaker 1:The Heart Wants okay.
Speaker 2:Wow, it's amazing that I remember that. That is right, I can't even believe I remember that.
Speaker 1:Me. Either believe I remember that me, either I can't. It's amazing. And you're talking about the, the food and catering stuff, the studio and uh y'all know, uh, luke wooten, he's a producer in your town, great guy anyway.
Speaker 1:So so later in brad paisley's career, uh, he came over to studio and he was uh, producing, co-producing and stuff like that not already known. You know he lived on the same farm and brad studio was on the farm and brad's house is on the farm and Brad's house is on the farm, you know so. So I guess he would eat at some point, but there never was like food. You know, like catering, that was a, that was a big thing and generally we're writing and then he's just recording something. So Luke was new to the new to the scene and um, and we'd been there a good 12 hours and and Brad, he just doesn't, he just he just didn't think about eating. You know he'll eat eventually, but he's working. You know he's just working and not thinking about eating. Me I'm always bringing snacks and stuff.
Speaker 1:So, luke, I could tell he was hungry. Finally he looked over, been there about a good 12 hours and Brad walked downstairs or whatever, and he looks back and he goes man, what about food? What time does food come? And I said, oh, there ain't no food coming. He goes really. Then Brad comes back in and he goes, he goes back in the vocal booth and I'm about to, I'm about to leave and I went by and I had my my backpack with me and I pulled out a couple of power bars and I slid it over across the board and I slid it over to him.
Speaker 1:I said, tell no one of this.
Speaker 6:You know, know, our gasoline in there is is coffee. I mean, I don't need food? I don't, I don't really if it. If food's there, fine, whatever, coffee. Yep, I mean, when we're working we are plowing through some coffee it's copious amounts of no telling the gallons, it's not even and it's just habit. It's like I don't even I'm going to the coffee machine. I don't know if I want it, it doesn't matter, it's happening More. Yeah, I mean, how much coffee do we drink when we're working? Seriously, all of it, all of it, yeah.
Speaker 1:Well, there's a lot of water in there. You're hydrating and dehydrating. No, we do.
Speaker 3:It's actually an unhealthy amount of coffee.
Speaker 2:No such thing.
Speaker 3:Okay, good, yeah, I read that somewhere, I'm going to go with it.
Speaker 1:Copy's good for you. There's a lot worse things.
Speaker 3:No, caleb. What was the first hit you had, or number one you had, with Paisley? He didn't have to be, he didn't have to be. And was that your?
Speaker 1:first number one. First number one, it was December. It peaked December of 99.
Speaker 3:Okay, Okay. So before that, you're just making a writer's salary or draw.
Speaker 1:Yeah, like a draw, and you had a couple cuts. I think the first cut I ever had actually was with Brad. We were trying to write for him. He didn't even have a record deal and it was a Tracy Bird cut. It's called I Still Love the Nightlife. I don't know if we made money on it or not. I don't think we did. I never saw it because you didn't recoup.
Speaker 3:So you're getting paid a little bit, but you don't make enough to recoup it. Yeah, and people probably don't understand when you become a songwriter and we say you get a draw, you might think that's a salary, but it's not.
Speaker 6:Right, the word recoup is a good word on our side sometimes.
Speaker 2:Yeah, when you're a publisher.
Speaker 6:It's not a good word. So, caleb, explain to the listeners. I think they are interested in this, because how many times do you hear someone say you should sell your songs?
Speaker 2:How much did you get for that song? It's the only word in a publisher's contract. That's all caps.
Speaker 1:Yeah, well, generally if you come to town and as things get better, contracts change. But generally if you come to town, um, a hundred percent of your publishing is going to that publisher. You're getting an advance right or a draw, and let's say it's $20,000 a year, you know. Or let's 40, let's say we're living a little better, right? So so it's 40. And then you've been there for a couple years and so you're, you're, or you've been there three years, and let's say you're 120 grand in the hole.
Speaker 1:Then you get a song on outing record and, uh, that song let's say, for the sake of math, it's nine cents is what you get per song, per sold song, right, that somebody purchases, right, whatever a mechanical royalty. And so there's a million of those. Let's say a million, it was really. That's great, okay. So that's 90,000, that's $90,000 total for that song. Well, three of us wrote it, okay. So it's 30, 30, 30. So you only got 30 in your bucket. You write for a publisher, so 15 goes to the publisher to recoup your 120. Right. And so it takes a very long time. So you really have to have radio hits with a co-pub, you have to own some publishing to recoup. It's hard to recoup, it takes a minute.
Speaker 3:Yeah, people think you have a number one, you're rich, woo-hoo you can retire.
Speaker 2:Unfortunately not the case. I even thought that.
Speaker 1:I did too.
Speaker 6:I thought, if I had one, I'd be set, and it's even harder now to be completely transparent with our listeners. I know what they think the business is sometimes is different, right? So, as a songwriter, right now the only way to really profit is if you have a song on the radio. Honestly unless you have a song that's streaming billions and billions of Post Malone or somebody. Yeah, it's gotta be a, b you know you could maybe do that, but streaming doesn't pay us. The radio airplay is how we see some profit.
Speaker 1:That's the mailbox money. That's what you want. And it doesn't go through anybody, it goes straight to your house.
Speaker 6:And it's challenging today too because, look, we're in the town with the greatest songwriters and it's why we're blessed to have Jason to have this outlet to radio as a new songwriter. I couldn't imagine, honestly, as a songwriter just moving here and trying to figure it out.
Speaker 2:I know We've talked to a lot of them that have moved here and had a few cuts. And then they get in the room with somebody that had hits in the 90s, in the early 2000s, and they find out you made how much? Yeah, I know when they were selling cds, yeah, and albums, and even going back to vinyl when they were actually selling a product you could hold in your hand.
Speaker 2:They're blown away, yeah, yeah, they're like what. I moved here for what? And I missed it. They missed the party and I hate it for them.
Speaker 6:But and it worries me too, because I'll be that we wear a lot of different hats. You know, players in studio songwriters, we're producers and publishers. When we wear the songwriting hat, though, I'll be honest, like I worry about um, honestly like, like the incentive to give a new artist a really great song, or write with a new artist and and give them a really good idea. When you're really shooting, for you know aldine, and if he doesn't want to, hopefully blake shelton or urban or kenny chesney, well, you got a shot to go to radio the guys that still look for outside songs, or at least have a shot to go to radio. Yeah, you know. So you know, because a lot of these artists today might they might just be streaming trying to build up their name, build up their career, and you're sitting there, you've got X amount of great ideas and it's. I hate that. That feels like that sometimes and it does like it's just business on this end of it. You know what I mean.
Speaker 1:And this is kind of interesting too, like, uh, and I'll ask this question and we can expound uh, did you move to Nashville to become a hit songwriter? Nope, did you no? No, telly, did you? No, most of them didn't. I didn't either, but yet we're all hit songwriters. It's kind of fascinating because the majority of the whole industry the people who run labels and publishers and everything they move to town a lot to be singers, songwriters, anything but doing what they're doing. They end up, you know, being publishing moguls, you know, and stuff like that. So it's kind of an interesting, interesting job to where, like I don't think, people. I didn't even know that you could be a songwriter and make a living at it. I didn't know that was a thing, you know. I didn't learn that I went to there's a lot of songwriters.
Speaker 2:There's a lot of artists I shouldn't. I should say they come to town and songwriting ruined your career. It absolutely destroyed my career or my intended career. Thankfully it did. I wouldn't be writing songs if it wasn't for my wife. She hadn't set me up and saw something in me that I didn't see.
Speaker 1:Say that again, though. What did you say? Ruined your career. What did you say?
Speaker 2:Songwriting ruined my artist career.
Speaker 1:Ruined your artist career, gotcha, okay, yeah that's what I meant, songwriting ruined my artist career ruined your artist career gotcha.
Speaker 3:Okay, yeah, that's what I meant. Okay, can you still find the?
Speaker 2:the uh, thrasher, shiver stuff. Oh heck, yeah, it's out there it's, I know it's on youtube we know that. I know y'all sent me a video it's in the rough, it's a cult you know, on apple music spotify.
Speaker 3:I have no idea. Jim says it is, so it is, that's fantastic.
Speaker 6:I have no idea you brought up a great question and it made me just reminisce about something you know I moved to nashville to play on albums. I wanted to play I mean, I wanted to play bass on on albums. That's what I wanted to do. I'd played in bands as a kid. When I turned 21, 21, moved, I wound up playing albums and I really wanted to be in a band, kind of like Tom Petty.
Speaker 4:And I was thinking I was.
Speaker 6:How lucky and blessed to. You brought up a good point. Did I move here to be a songwriter? Not really, but it's amazing, when you get with the right people, how much your dreams can come through for you, though. You know it's a, so I always hate to tell people don't move here, because I'm a product of things working out. You're a product of things working.
Speaker 2:We're all a product of that right.
Speaker 6:So you know, I don't want people to uh, because I did go through a phase where I would tell young bass players don't move here, don't move here, you know, because it's it's uh, you know well, I you know, to be fair to you, some of those people you probably told they shouldn't have moved some of those people you probably told they shouldn't have moved. Well, I think that's some of my problem as a uh you can't tell somebody not to.
Speaker 3:Well, you're right. But you know, if you see somebody that I mean you got to come here and grind in all ways Like it didn't just happen, it's like okay, no, we didn't move here to be songwriters. Oh, look at that, I just wrote a hit. No, it doesn't happen that way. No, it doesn't. Or to play on albums, or to get to play with Jason Aldean. A lot of it is luck and circumstance, but you have to do all the work to be ready for that circumstance. There is grinding, it's always about doing.
Speaker 2:You got to work. In my case, it was always something that happened that I wasn't expecting, either by accident or meeting Lana, my wife, but you were ready for the moment. Yeah, I was always ready. Yeah, but it never happened like you think it's going to happen.
Speaker 1:Yeah, that's because you're not in control of it, but God had you in the right spot, exactly. Yeah For success to happen. I backed into.
Speaker 2:Wendell Mobley's pickup truck in County Q Studios one day. Is that how you met him? That's how we met. I backed and crushed his grill.
Speaker 1:That's a good move.
Speaker 3:And Wendell Moble him money for the truck. No.
Speaker 2:He actually knew Lana before I did. Okay, I left a note. I went around to all the rooms in Canicue Studios, all the different rooms that people were singing in, vocal booths and stuff, but I went in the one that he was in. I did not go to that one and I left a note on the window with my name and number.
Speaker 6:You, that one, and I left a note on the window with my name and number. You wrote your romantic thing, I know, right, well, god's got a great way, yeah, of doing that. But also I agree with kurt, you know, if you're not the one working the hardest, then you're already putting yourself behind the eight ball. You know, I always looked at it like that, like I remember when we were playing showcases what we talked about earlier for we wouldn't just do that for Jason, we did that for numerous people, you know Lee, bryce and those guys, and it ran when everybody's trying to come up and they were young. I remember we would like me and Rich and Kurt were living in the same house back in those days and and'd go do a showcase with somebody and we'd come back that night and we'd start working on the songs for the next one.
Speaker 6:And I never wanted to. I always wanted to know the songs and make it feel like we were their band, that artist band, for that night. So we never had music stands in front of us reading the charts. We always learned the songs and performed. So we never had music stands in front of us reading the charts and we always learned the songs and performed because I always thought that's what they deserved and it was a lot of hard work. But that hard work people would say, wow, you guys know those songs, like, oh, we learned them. We didn't just write down music charts or number charts and read them, we put the work in and I think all that stuff adds up to giving yourself a better shot in the work ethic. And I try to tell my kids that, like you know, don't get outworked, don't get it.
Speaker 4:If you get outworked, that's on you, that's the one thing you can control, god's going to give you these chances and these tools.
Speaker 6:But he's not just going to tap you on the shoulder and it's all going to be good. You've got to be the hardest worker. That's how I've at least in my thoughts.
Speaker 1:That's you know. Well, if you have, you know, a little bit of talent toward what you're going toward, and then you have a great work ethic and then you're stubborn as all get out and you refuse to leave something work ethic, and then you're stubborn as all get out and you refuse to leave something. Good probably will happen eventually, maybe five years, maybe 10, who knows. But I would encourage writers, singers, musicians, whatever, if that's your thing, if that's all you can think about, and people, not just your mom and dad, but other people, say, hey, you're really good, not just your boyfriend or girlfriend, you know somebody you know. Get in front of somebody to listen to your song or your voice or your playing or whatever. And if people are like, hey, man, he's pretty dang good.
Speaker 6:Well, this town's going to let you know.
Speaker 1:You know you got it but you got to move to give it a real chance, because nobody's Nobody's going to be passing by your porch in Oklahoma on the side road and you're playing Doolin' Banjos and they're going to hear you play these amazing licks and sign you and say, oh, you're the one we've been looking for. It's just not going to happen.
Speaker 6:You've got to move, you've got to come here and be stubborn, I think even on the player end of it. Like I tell young players you've got to move For me personally and I think we're very similar.
Speaker 1:There was no backup plan, you know, no problem. Wow, you know they have a vibrate function on that Patriot mobile phone there.
Speaker 6:No, there was no backup plan. It was like music or I don't know. I mean, who knows what would have happened. But I tell young players too if you're fortunate enough to get yourself on a good gig, an artist gig, and you get fortunate enough to get yourself on a good gig, an artist gig, and you get hired to play guitar or bass or whatever, when you get home, don't be the guy that gets home and just waits for the bus to leave. Again when you get home, take advantage of your situation. Like when Jason started to pop, we started to play on a bunch of sessions.
Speaker 6:Y'all played on one of my demos, that's how me and you know we met neil yeah, demo sessions and and you take advantage of the situation that you're given. Don't come home and and go to your apartment or your house and just sit there and wait for wednesday night to come again and leave again. I think a lot of people can get caught in that. Where they they get an opportunity, yeah, maybe a little piece of their dreams coming true, and they don't see that that's just a piece of the dream.
Speaker 2:I remember that day that y'all were playing on one of my demo sessions and y'all were like not the norm guys, and I remember it was at Omni Studios. Yeah, I'll never forget it. Yeah, and I'm like, and I remember a question, I'm going who are these guys? Who are these guys? I don't. I mean, is this we good? I mean, I didn't know, I never, I didn't know. You know the?
Speaker 3:thing was? Is that like I wasn't good, like I distinctly remember this?
Speaker 2:Yeah, whatever, no, but seriously.
Speaker 3:I'll play the demo you played on on. Are you kidding me? But it took me a while and I think totally falls into this too. But like I kind of do one thing, like I I can do one thing and it's, it's okay, it's pretty good, it's pretty good, but no, but what?
Speaker 4:I'm saying is when I came to national.
Speaker 3:We started playing on sessions. I was like, oh, I gotta play like brent mason or you know, and be able to play country, and I've tried to kind of go that way for a little bit, but that's not what I can do or what I can bring to this session, brent.
Speaker 2:Mason could not have played on what y'all played on, and that's not his deal. Well, but what that deal was, y'all were handpicked for a reason, yeah, and it was like, oh my God and I remember hearing y'all when the tracking was going down, when I was in the vocal booth. I'm going, oh my God.
Speaker 1:You know these guys.
Speaker 6:You know what's a cool thing? This is?
Speaker 2:freaking great.
Speaker 6:The edge of this is so good, I think a cool thing and you learn it. And I think, like Kurt said, you know I'm self-taught Like I learned to play from listening to albums and when we started playing on sessions, like we, you know we have our style and we never really changed from that and I think you know some people it was too much for them. That's too much, that's too different, but it's not like we ever tried to change or bend. So I think, from being confident in what we were doing, out of whatever reason, whether it was we weren't versatile enough or whatever we just did what we did and it's all worked out. But I think it all comes back to that thing for me personally, of just being the hardest worker, whether you're writing songs or singing or being an artist or don't get outworked. Yeah, 1,000%.
Speaker 2:And I think if you're good, if you're good at what you do, then it comes down to the right relationships, right, mm-hmm? Yeah?
Speaker 3:I mean, it really does.
Speaker 2:Absolutely, because everybody at this table is super talented at what they do and you got in with the right people. God's design, yeah.
Speaker 6:How many times do you guys get asked seriously, how did you do that? Or you know what about the other? Don't get me going on that one. What?
Speaker 3:was that, kurt, don't get me out of here. We hear this a lot.
Speaker 2:What's the other?
Speaker 3:You know? Oh, you're playing with your bass for Jason. Yeah, I was going to move to Nashville and be a bass player too. Huh, come on, show and be a bass player too. Huh, come on. Yeah, oh, I was gonna.
Speaker 5:Uh, yeah, I was gonna go do that song or anything, but you know I've decided not to.
Speaker 2:Maybe I'll try it maybe I'll give it, you know but, what's your answer when they ask you well, how do you do that? How I'm always, it's a long answer I don't know.
Speaker 6:But how many times it happens all the time like, yeah, yeah, I got, I got a message on in social media or whatever and like, hey, I've, I'm wanting to do this. Got any advice for me? And really my, my only advice I ever give to them is move here. If you really want to do something in the music business, move here and put it all on the line and you'll know quick. You'll know quick. I think you'll learn.
Speaker 1:The people that I've listened to back in my publishing days listen to a lot of songwriters, a lot of songs, and there's three categories. Either somebody's great and I send them on up the line hey, you got to hear this kid. Or they're terrible and I can say, hey, I don't think this is your gifting. The ones that are hard are the people right in the middle, where you're kind of good, and there's a lot of kind of good writers, singers, artists that work hard, develop their brand, their thing and can be really successful. That's the hard for the advice. They say so you think I should move, move today and I could start making income. No, no, I'm not saying that. I'm not saying you're going to make income today.
Speaker 3:But yeah, you might make it, but you've got to move. Well, music is the I don't know if it's the one job, but it is a unique profession. That talent is kind of subjective and if you're a football player and you are supremely talented, you are going to make it. That isn't the case. We all know people that are supremely talented, that are amazing singers or whatever, and they just didn't make it.
Speaker 1:Yeah, and no rhyme or reason.
Speaker 2:Really Right, and we are probably the only uh, we're probably the only part of the music and entertainment industry that you can actually suck and still get paid. Yeah, that's true. It's true, you don't have to be technically good to make it in the music business.
Speaker 3:No, you don't technically actually you don't are definitively good, but if you're like, you don't have to be technically good to make it in the music business.
Speaker 2:No, you don't. Technically actually you don't, or definitively good.
Speaker 1:But if you're likable, if you're likable, it helps.
Speaker 2:If you got good teeth and you're likable. I tell you what I think. The intangible, though, is no, I'm just saying.
Speaker 6:I'm just saying no, but I disagreed a little bit. There's an intangible factor to success in this business for me, and everyone at this table has an intangible factor and it always comes down. I know a lot of technically great bass players, a lot of technically great guitar players, technically great singers, technically great songwriters. For me, it's always comes down to the creativity part of that talent. Like what guitar part can you create? What melody can you tweak? What melody can you create when you're singing a song? That's different. What can you create in a hook? That's different. And I, that's our approach my playing is like what can I do that's different than, yeah, this guy might be technically better, but he's not more creative. Well, you know. But there's something more than that even too like.
Speaker 3:It still has to be palatable to uh it has to be relatable.
Speaker 6:I'm mainly talking about singers, yeah yeah, well, I mean, I'm mainly talking. No, I know what you're talking about and it's agreed. But but if you, but if you listen, okay, all right. Technically great singers okay, well, you're not gonna put tom petty in that, in that category, because he's is he technically a great singer?
Speaker 2:no, but he's one of the coolest, but he's also not tone deaf. There's in country music there's there's tone deaf singers, but you gotta I mean that make it, sure, but.
Speaker 6:But as an artist, it's never and never will be a singing contest.
Speaker 2:There's a difference between a singer and an artist Right A huge difference.
Speaker 3:A huge difference, right.
Speaker 2:There's a huge difference between a hit and a good song Right Huge difference.
Speaker 6:But as an artist, though, it's the charismatic side of it. You're right. Is he a technically great singer? No, but something in that package and, and you know, in the voice or in the image.
Speaker 2:Yeah, it's a court for some reason you know, we probably should go to a break before I start naming names. That's a great idea, hey we no no, no, no, seriously.
Speaker 3:This is actually. I hope you guys think it's interesting because we do Thanks for hanging with us, hang through us through the break, and while we do that, we need to say hello and what's up to Mike at Original Glory. He's been super good to us. We just want you to know we're thinking about you, prayers and love to you, my man, absolutely.
Speaker 1:We're so thankful for our sponsor. Original Brands is starting a new era in American domestic premium beer. American made American owned Original Glory.
Speaker 6:Original Glory not only tastes great, but it's under 90 calories and only two carbs, easy drinker and perfect for the active lifestyle. Bring it Original Glory. It's a veteran founded company with a lifestyle. Bring it Original Glory. It's a veteran-founded company with a deep love of country Original Glory.
Speaker 2:Freedom is worth drinking. To Join the movement at drinkoriginalbrandscom.
Speaker 4:My name is Glenn Story. I'm the founder and CEO of Patriot Mobile. And then we have four principles First Amendment. Second Amendment, amendment right to life, military and first responders. If you have a place to go put your money, you always want to put it with somebody that's like mine, of course. I think that's the, that's the beauty of patriot mobile.
Speaker 5:We're a conservative alternative don't get fooled by other providers pretending to share your values or have the same coverage. Go to patriot mobilecom, forward slash small town to get a free month of service when you use the offer code small town or call 972 patriot all right, guys, we're back.
Speaker 3:We're here at the patriot mobile studios. Let's just try that. In a small town podcast, talking a little music business, talking some writer stories. History how we got started. Tully, you were talking about being on Broadway and kind of how you came to town and started working.
Speaker 6:Well, first of all, I think one of the key things when you move here is I grew up 18 hours from Nashville by car ride. So I drove down here and had this old truck, an 88. It was beat so I started playing on Broadway. My truck would barely run. I remember I got called for a gig. This is, I mean 96. What bar Tootsie's in the front window at Tootsie's. It was only the small I was. I got called for a gig. This is, I mean 96. What bar Tootsies in the front window of.
Speaker 3:Tootsies, it was only. It was only the small I was going to say before Tootsies it's expanded.
Speaker 6:Yeah, it's small there now, but I got called. I was excited and I didn't know 90% of the songs, but I was. So I loaded up my truck and my radiator had like completely pretty much blown on the drive down here. So I had those little pellets you pour in the radiator, oh yeah, just to clog up the leak or whatever you know. So I filled it up with that. So I put these pellets in the radiator and I start heading down to Broadway. And I pulled into Broadway and there was smoke coming out of this truck. You could see it, dude, it was like something was on fire. So I pull up. I'm like, oh my God, I made it. So I pull and I started playing in the front window of Tootsie's and I would do the God. It was probably 2 pm on a Sunday, till midnight some shift.
Speaker 3:But yet I remember, back in those days there wasn't much going on down there.
Speaker 6:No, broadway was a ghost town actually it's not like it is today, not the bachelorette capital of the world like it is now. So we, we played from 2 pm to midnight and I made 16 was the way the tips cut out and that's that's the way it was, and I did that for god for for months. And that's where I met, uh, keith Thompson, at Thompson Square, which we ended up producing their stuff years later yeah, we're in.
Speaker 6:I was in a Merle Haggard uh tribute band, which was a little bit of a stretch, but you know it, just it's awesome. It just goes to the thing, though, of like, if you move here, I think I, I think you, you, you can't, you gotta do everything Even today, like you gotta. You gotta do everything. You know, we, you know, play, write, produce all of it. You know as far as what we do, you know. But anyway, I mean, I would never tell someone not to move here. But I think that it always comes down to the work ethic and do you have that creative niche? That's the thing right there that's going to set you apart.
Speaker 2:Has anybody? I know we haven't told anybody not to move here. I actually have. Have you really? I?
Speaker 6:feel bad about it now as I'm getting older, but there was a point years ago, probably 10 years ago, where it was just constant, like should I move? Should I move? I'm like, well, if you're asking me, then you shouldn't.
Speaker 3:That's kind of what I was going to say. You know what, if you really believed in it, you wouldn't ask.
Speaker 6:Don't ask. You asked me twice.
Speaker 3:Just go, just do it. Should I move there? Well then, you're already behind.
Speaker 2:You're already behind, you're already lost. To me, that's a scary decision.
Speaker 6:Well, I mean, but that's the bone, you. That's the difference, though I think that's Just do it.
Speaker 2:I think that's the difference, though, in success that's true, I didn't ask anybody, I just freaking left I think if you have any, if you trust in my opinion whether you should move.
Speaker 3:I think you're.
Speaker 1:But it depends on, like, different life situations. When you moved you were single, right, you weren't married, didn't have kids or anything like that, so that's, that's kind of easy. But but somebody might ask you that question and they've got two kids and a decent job. Should they move to nashville to be a bass?
Speaker 3:player. I don't know, I'm gonna say no, you know, I'm gonna go back to man if you're asking and if you do have two kids and you're married and you're worried about it, then it's probably not for you. I have a lot of friends.
Speaker 6:Okay, so I used to play in bands back home. For a long time I was a kid, from 14 until I moved to 21. And there was a guitar player in one of my bands, very talented especially for where we were. He was really really good and we were going to move together and you know that slowly, you know that didn't happen. He, he didn't want to risk it. You know we were young, we're barely, you know, not even 21 yet. And every time I see him to this day he's like, ah, now he's got. You know, beautiful family and kids are grown at this point. But he lives with that regret every day. Yeah, and he tells me that.
Speaker 3:And I'll ask this, and I'm not insinuating anything, but does he have the regret because you made it? Oh, I think Like say you didn't make it, he'd probably say to himself oh, I made the right decision. Oh, tully hadn't made it yet he's not done.
Speaker 6:Well, I'm sure, I'm sure that there's always, you know, those people that you were playing with when you were younger and it makes them feel like, well, I could have did that too, which is probably true. But the difference is music for me wasn't really an option. It was like all that I really loved and all that I really was good at, that was my gift. You know what I mean? Yeah, so for me, I remember and I'm not going to tell you it wasn't a lonely, scary time, it was. But I look back on it and thinking, you know, that's the difference, and I tell my son, my son's enacting.
Speaker 6:It's very challenging, you know, but it always comes down to. You know, if you want to do it, don't get out worked and you gotta, you gotta go do it. No one's gonna do it for you. We wouldn't be sitting here if we didn't all share that common, if that wiring wasn't similar, you know, because this, this business doesn't allow that to happen't. Similar, you know, cause this this business doesn't allow that to happen where it's, you know, going to be easy.
Speaker 1:Yeah, you know, when songwriters have a little advantage, because I think, as opposed to to just a bass player or guitar player like a specialist or a singer, that's that's. That's a specialist songwriting most of the time not all the time, but most of the time it's a team effort, so you can be good at one thing and team up with other people. That strengthens your weakness and be very successful.
Speaker 2:That's a good point right there. You don't have to be good at everything. I never thought about it. There's so many great players in this town that are worthy of playing with anybody. There's so many of them. Usually great songwriters in this town usually find it.
Speaker 6:They usually get discovered the great ones do, yeah, but the good ones you're not gonna. But here's the thing, though even as, even as a songwriter and, trust me, I love the fact that every day, I feel like we're learning. I know I am learning something every day, we're getting better at songwriting or music, whatever, but I feel like you've got to have something intangible. That's great, even if you do get invited into a right with two other people, kayla, that are great. You've got to be great too, because you're not going to get invited into a right with two other people, kayla that are great.
Speaker 1:You've got to be great too, because you're not going to get invited back. Yeah, what I'm saying is you know, you can just be gifted in one area Like. You don't have to. You don't have to have the idea, have the melody, write all the lines.
Speaker 6:You can have one you can do one thing.
Speaker 1:I'm kidding, I'm just saying I just think songwriters have an advantage.
Speaker 3:It gives you.
Speaker 1:It actually is an interesting point, but you do have to do that, whatever that one thing is, you need to do it really well.
Speaker 6:Really well, or you're not going to get invited back. But you, I mean, I do feel like you can. It's not for the faint of heart any of this. You can for the faint of heart, any of this. You can have a hit as a songwriter and I think people don't realize you can go a long spell without a, without another run of success. It's like anything else you know, and, and how many great songs we write that never get heard. Most of them, you know, and it's every time you, you know people hear the ones that have having success, but the other hundreds sitting there that you work on just as hard.
Speaker 3:Yeah, I think the normal public probably thinks uh oh, you guys wrote, try, try that in a small town. That was the one song you wrote. Now there's, there's hundreds of yeah, the songs that you write that don't make it.
Speaker 6:Yeah, yeah, kind of call it a lottery ticket you know it's like if you buy enough, it's more like thousands. Yeah, right, it's no, it is yeah, and very challenging and and so rewarding when everything, when everything works, you know. But it's fun now to look back. I mean, we get the luxury now of looking back and 30 years in the business, and you look back and you're like, wow, you know, you can kind of laugh about the hard times now, but a lot of people fail and they leave and it's not a good memory. You know what I mean. Unfortunately, when you're a creative, though, to be truly happy you've got to give it a shot. And I feel like, if you're like Kurt said, if you're asking yourself should you give it a shot, then you probably shouldn't. Yeah, because that means you already have that seed planted. You know, of doubt, which I think like there's that little. I think we have that four of us where it's like, okay, failure wasn't an option, but it's going to be tough. You know what I mean.
Speaker 2:Yeah.
Speaker 6:Yeah, but.
Speaker 1:Well, neil was talking about before. Actually today, I guess I think we played that show with Ashley Gourley. Ashley Gourley, he's a buddy of all of ours but he's the most successful commercial songwriter in any genre of music, you know he just has his 80th number one, 80th. You know he surpassed Paul McCartney like two or three years ago, but um, but he was. He was playing, uh, his song, the post malone song. Uh, uh, need some help right had some help anyway.
Speaker 1:So he was talking about he goes. Yeah, what's interesting is, uh, morgan wallen, who's a writer on that, and morgan is blowing up the whole world and he doesn't get nominations really for you know, for anything but but that's, that's his first grammy nomination as being a songwriter on that song, you know, which is really cool, you know. But just thought that was kind of interesting. As huge as he is, that's his first grammy nom yeah, and why is he doing a show with us?
Speaker 1:who actually? Yeah, because he likes golf and I had some golf passes. He does songwriting shows for fun or money and I had some fun.
Speaker 2:So that's me.
Speaker 3:I'll do it for fun, golf, or hunting, yeah, exactly yeah, yeah, put the word out maybe this is it where we will do for you'll do it for hunting, we'll do it for golf. We'll write or sing, or hunting or golf. I think we fell into a pretty interesting topic right, and you know a lot of people wonder what the journey was and if it was easy or if it was hard or if it happened right away.
Speaker 2:And I don't know, it's good to go back. Yeah, it's good. I mean it took me back.
Speaker 6:Well, I love how God will literally lay people in your path. The road that winds is so amazing to me, like sitting around this table and thinking about that day at Omni, we knew who you were. When you walked into that studio, we were like, oh, it's Neil Thrasher.
Speaker 3:We're playing on a demo with Neil Thrasher and the journey is, I have so much fun talking about it now, you know because we've lived so much of it. No, it's, and we may have mentioned this before, but so do you remember what year that was? So we played on? Your demo had to be, and it's are you kidding me?
Speaker 2:oh, I'm gonna say it had to be 05, no it was before that.
Speaker 6:Oh, it was probably 04. Wow, could have actually, actually, I think it was 03, if you want to know the truth, I think it was 03, but the point is is that so?
Speaker 3:that's when we met you, knew of you, and then really fast forward 20 years later.
Speaker 2:I know, and I'm supposed to be retired right now. Yeah, but it was forward, 20 years later.
Speaker 1:No, and I'm supposed to be retired right now, yeah but it was probably 20 years ago when I met Neil at church. We were at Brentwood Baptist Church and it was after the service and I was walking out and I knew who he was but I'd never met him before.
Speaker 1:I was walking by he's very nice and we talked for a minute and he goes man, are you ever going to write with me? I'm like, yeah, yeah, I'd love to. And I walked out in the hallway and I was thinking Neil Thrasher wants to write with me. This is amazing you know, but that's how our, our relationship started. Was that I didn't know?
Speaker 6:like. I got a funny story about one time I got scolded by Neil. I get scolded by Neil all the time. It was a light scolding. No, we were producing an artist named Lindsey L. It was a light scolding, it wasn't a hard, harsh scolding, it was probably firm but fair. It was very firm.
Speaker 2:It's good for you to get this off your chest. I just remembered this.
Speaker 6:We were producing an artist named Lindsay L I. I wish I could remember the name of this song. I can't um. A great song that you wrote, we got, we heard it. I can't remember. I think um really.
Speaker 3:Oh uh, yeah, someone pitched the song it might have.
Speaker 6:I can't remember where you were writing then you probably got a scolding.
Speaker 2:if you didn't cut it, go ahead.
Speaker 6:No, no, no. So we did cut it. The problem was we just cut it because we were under a little bit of a time crunch and we got pitched it but we didn't let anyone know. We cut it and Lindsay was a brand new artist and had no success yet and we were just cutting her first project. I remember calling you and I said hey, neil, and of course we had this connection through Aldine and all the songs and stuff. So it's probably around 2010 when this happened or something, and I said hey, neil, we cut this song and we didn't tell you. And you go ask next time.
Speaker 2:No, I didn't. Yes, you did.
Speaker 6:Wow, no, you did.
Speaker 2:No, that doesn't sound like me, it doesn't.
Speaker 6:No.
Speaker 1:No, I don't believe it.
Speaker 6:That doesn't sound right. I would not make it up. I called.
Speaker 2:Ask next time. You said just ask, it wasn't mean no, no, no. Well, I mean you might have been kidding but it's sound but the way you said it wasn't jovial, sound like an asshole language.
Speaker 6:Ask next time no, it wasn't that. It was like you're like ask next time. It was firm, but there it was firm.
Speaker 2:It's okay. Is that where the tension comes from? I just remember the story.
Speaker 6:I remember the story. I did the same thing because we just talked about new artist, no success. And the song was great and I remember the first line was cell phone, wish I could sell this phone. Oh yeah, and I heard that first line.
Speaker 2:It's called Farther Away, farther Away.
Speaker 6:It's a great song. It's a great song. Cell phone. Wish I could sell this phone.
Speaker 2:I was like Better yet song.
Speaker 6:It's a great song. Cell phone wish I could sell this phone. I was like, better yet, sell this phone. It's into the middle of some deep lake. Yes, so I heard that first line. I'm like we're cutting a song. And we were like so those days we're, we're pushing so hard, we're coming off the road, we're going right producing, right to the studio, and so, and we were green on that end of it, like letting everyone know. And so, hey, neil, we cut the song. You're like ass next time.
Speaker 3:I was like oh well, I don't think lindsey was signed at that time, so we were trying to get her signed. That's probably we kind of used your song to help get her signed anyway it was.
Speaker 2:It was firm but fair I don't remember being that way that surprises me, neil it wasn't mean knowing you now, you were probably just being Neil.
Speaker 6:Wow, wow, terrible Neil, but thank you anyway, it's a great song it is a great song.
Speaker 3:Maybe we should play a little bit of that as we go out, alright guys from the Patriots, are you going to play it? Do you know it? Maybe we should play a little bit of that as we go out. All right, guys.
Speaker 4:From the Patriots. Are you going to play it?
Speaker 3:Do you know it? We don't have time to just sit here and wait.
Speaker 2:You're talking about going back? Damn this cell phone, wow.
Speaker 3:No, that's how it started.
Speaker 2:That's how it started. Damn this cell phone. Wish I could sell this phone.
Speaker 3:No, it's around that.
Speaker 2:Better yet, sell this phone out in the middle of some deep lake and laugh about how long it'll take them to figure out. I've checked out.
Speaker 3:Wow.
Speaker 1:Just want to get away.
Speaker 2:But these days getting away is getting farther away.
Speaker 6:That's a great song and that's like.
Speaker 3:Rain man stuff.
Speaker 6:And that right. There is why we cut that song without asking.
Speaker 3:Did anybody, did any artist have to? Cut that song yes, did anybody happen to cut? That song Besides Lindsay Ell.
Speaker 6:Probably missed out on. Oh, what a great song. I'm not kidding. When I when that I'll never forget hearing the opening lines of that song, I was like this is so good I remember I I'll try to dig up the the track, yeah all right guys that's awesome, that's fun fun stuff from the patriot mobile studios.
Speaker 3:we got thrash counterclockwise again. Kalo TK, I'm Kurt. This is Try that in a Small Town. Thanks for listening.
Speaker 5:Make sure to follow along, subscribe, share rate the show and check out our merch at trythatinasmalltowncom.