WEBVTT 00:00.611 --> 00:03.093 [SPEAKER_00]: Hello, Bree Baggle with the only Vance Break app. 00:03.254 --> 00:09.058 [SPEAKER_00]: Thanks again to Chris at the Green Grove for letting us record this episode in his Speaky Easy downstairs. 00:10.480 --> 00:14.563 [SPEAKER_00]: Go get some amazing cocktails that says do not enter, but go in anyway and tell my sent you. 00:14.783 --> 00:23.270 [SPEAKER_00]: So today I finally get to talk to my friend Jonathan Terrell just a rad human being who's really top-notch writer, performer, and creator of cool. 00:24.011 --> 00:29.095 [SPEAKER_00]: And also a premium hang in his words, I still love about that, he's so smart and so funny. 00:29.695 --> 00:48.518 [SPEAKER_00]: We didn't get to talk about so much, we missed talking about not in the face, which is another rock project of JT's, just a really cool, different band, a wrong side of his solo project, and not sure how he has so much creative energy and time to do all of the things he does, including being DJVegan Leather. 00:49.218 --> 00:53.599 [SPEAKER_00]: But we talk about a lot of it and maybe that's why we bring up tarot cards and just taking a break. 00:53.939 --> 00:57.540 [SPEAKER_00]: Please go down and do a deep dive of JT's Instagram if you haven't yet. 00:58.020 --> 01:00.301 [SPEAKER_00]: If you're an artist, you will inspire you so much. 01:01.021 --> 01:05.622 [SPEAKER_00]: And if you're a fan, you're going to just leave totally devoted for life if you're not already. 01:06.122 --> 01:07.822 [SPEAKER_00]: And please order the new vinyl for Dove. 01:07.862 --> 01:13.224 [SPEAKER_00]: This one is a great episode to watch at the video of so you can see how the vinyl like flies. 01:13.744 --> 01:14.624 [SPEAKER_00]: It's crazy. 01:14.904 --> 01:22.173 [SPEAKER_00]: And go see Mr. Terrell live, go to JonathanTerrellmusic.com for all things JT and enjoy. 01:27.892 --> 01:32.013 [SPEAKER_02]: You know, but I also work as a DJ and I work as a photographer. 01:32.613 --> 01:35.733 [SPEAKER_02]: So it's like, you know, I call it Jamba Dexterous. 01:38.194 --> 01:41.014 [SPEAKER_02]: You gotta figure out anything you can do to support the dream that you've dedicated yourself to. 02:07.487 --> 02:29.943 [SPEAKER_02]: I think it's a good it's a good time to like circle the wagons and like recalibrate and kind of like come up with a new plan to you know, you need to like I had a Terocard reading last October and she she like lays down a card and she goes Are you an artist and I was like, yeah, she goes You should take a break. 02:29.963 --> 02:32.225 [SPEAKER_02]: You're creatively exhausted and I was like 02:37.328 --> 02:38.349 [SPEAKER_02]: Yeah. 02:38.489 --> 02:44.275 [SPEAKER_02]: Well, I mean, but in the terror world, the death doesn't mean, you know, it's like, death doesn't mean that you're going to die. 02:44.355 --> 02:48.238 [SPEAKER_02]: It means the death of something of like you're going to have to let go of something or give something up. 02:48.839 --> 02:54.424 [SPEAKER_02]: A part of that world that you held to have to die in order for this new thing to happen. 02:55.105 --> 02:55.605 [SPEAKER_00]: Yeah. 02:55.765 --> 02:57.547 [SPEAKER_02]: So it's kind of like a kind of a good 02:58.728 --> 02:59.469 [SPEAKER_00]: Okay. 02:59.509 --> 02:59.989 [SPEAKER_00]: Good to know. 03:00.049 --> 03:01.770 [SPEAKER_00]: I don't know that about Terracard. 03:01.850 --> 03:07.233 [SPEAKER_00]: So I learned something new on this podcast every time, but do you feel that happened after your record came out? 03:07.253 --> 03:10.755 [SPEAKER_00]: Because every time I release a record, I'm like, I'm never doing that again. 03:11.102 --> 03:35.336 [SPEAKER_02]: Well, so we can talk about it in the pod too, but yeah, it was after it was after it was after my record came out, but this is the first record I've done I put out like Like since getting off a label, so this was like an independent release and then just kind of going into it realizing like almost kind of how Gate kept the world is without a label 03:36.718 --> 03:47.484 [SPEAKER_02]: Um, was just really kind of jarring to like see that happen where you're like, oh, all these people that gave me like 10 stars won't return to my email, you know. 03:48.585 --> 03:49.606 [SPEAKER_00]: Like reviews and stuff. 03:49.866 --> 03:54.328 [SPEAKER_02]: Yeah, yeah, things like that or, you know, they're like, oh, you're not on a label anymore. 03:54.368 --> 03:56.750 [SPEAKER_02]: So it's like, we can't really go around that. 03:57.485 --> 03:59.066 [SPEAKER_00]: That is so interesting. 03:59.166 --> 04:03.189 [SPEAKER_00]: I know because I'm releasing a song independently this Friday too, and it's like, congratulations. 04:03.209 --> 04:03.489 [SPEAKER_00]: Thanks. 04:03.569 --> 04:09.933 [SPEAKER_00]: But just distribution is a nightmare when you're by yourself, and you went through that whole thing. 04:09.953 --> 04:21.000 [SPEAKER_00]: I mean, we might as well just dive into it, because our friend Josh Cutchmer wrote an article on you in the Rolling Stone, and I subscribed to Rolling Stone, Josh, so I could read this article. 04:21.440 --> 04:24.382 [SPEAKER_00]: I could have texted him, but I was like, you know what, they deserve my. 04:25.202 --> 04:50.313 [SPEAKER_00]: seven dollars a month they do they're amazing and he's an amazing guy but he wrote that article and I was just like I knew that that was happening because everything that I saw about you that was popping up online like you were really kind of out of cating because you feel so alone and then when someone else especially someone like you talks about it and is able to articulate what is happening it's like thank you for doing that 04:54.775 --> 05:00.297 [SPEAKER_02]: Yeah, okay, so so my album westward that was like I put it out in 2020. 05:00.537 --> 05:21.925 [SPEAKER_02]: Yeah, so one of the songs And it's actually a song that Silverado covered or Mimpas covered on a different album of mine Called the last time that song got flagged for artificial streaming So they said basically like a bot account had put my song on a playlist and they were we're playing it You know as much as they wanted or whatever 05:22.465 --> 05:27.049 [SPEAKER_02]: and so they flagged the song and instead of like hitting me up to say like, did you do this? 05:27.129 --> 05:30.492 [SPEAKER_02]: They just say, well, we're going to pull your album. 05:30.993 --> 05:36.017 [SPEAKER_02]: So, you know, tune core pulls the album because Spotify finds them if they don't. 05:37.098 --> 05:40.961 [SPEAKER_02]: And so it's kind of like, even if tune core wants to help out, they 05:41.842 --> 05:45.887 [SPEAKER_02]: They're not going to like bite the big the big hand that feeds them, you know what I mean? 05:47.129 --> 05:59.605 [SPEAKER_02]: So they pull so they pull the record and fear of like retribution from Spotify and then so I has some people that were like hey your records just gone dirt out so they didn't tell you 05:59.865 --> 06:18.566 [SPEAKER_02]: no and then so i start like googling i go get my all my analytics from you know tune core but when they take your album down they remove all your analytics so you can't prove that you didn't pay a bot account to like spin your song 2000 times in the mountains of bogaria or whatever 06:19.408 --> 06:28.060 [SPEAKER_02]: Um, and so they, but luckily my small but mighty fan base, um, went fucking ballistic. 06:28.200 --> 06:35.230 [SPEAKER_02]: Yes, people on Tune Corps and Spotify, and within 48 hours they put my record back up. 06:35.951 --> 06:39.794 [SPEAKER_02]: But they're like, hey, like we're going to put them back up, but it can still get flagged. 06:39.814 --> 06:59.109 [SPEAKER_02]: It can still do all this, but in that time period, we had like put together a whole like PDF of like every step that I took to get the record back, because then I found out hundreds of other independent artists had their album removed, or their song removed, and they're just like, I guess it's down, and I never put it back out, or I never knew who 07:06.360 --> 07:09.861 [SPEAKER_02]: into the wind, you know, which pissed me off to no end. 07:10.081 --> 07:13.842 [SPEAKER_00]: Yeah, and for the low price of, you can get that PDF too. 07:14.622 --> 07:16.663 [SPEAKER_02]: For it's free. 07:16.983 --> 07:19.043 [SPEAKER_00]: Free, I knew it was going to be free. 07:19.103 --> 07:19.784 [SPEAKER_02]: It's of course. 07:20.284 --> 07:20.964 [SPEAKER_00]: I knew you. 07:21.264 --> 07:24.465 [SPEAKER_02]: We ended up doing a show on a acoustic show where like, 07:25.125 --> 07:48.101 [SPEAKER_02]: I played the whole album, you know, acoustic, and then we had a Q&A, and I just like, walk, I just like, told everybody, like, how it happened, and like, what I did, here's the steps that you could do to get your record back, like, effectively, and steps to take that, if it happens, then you, your, your covered, you know? 07:48.341 --> 07:50.602 [SPEAKER_00]: Yeah, but tell me if I'm wrong, but, 07:51.603 --> 08:10.310 [SPEAKER_02]: Labels use the bob farms like that whole thing with Drake where they're like, oh well he got a bunch of bot players, but we just kind of didn't we just turned to blind eye to it you know, but it's like when you have somebody there with a relationship with Tune Core or relationship with Spotify and they say 08:11.210 --> 08:28.117 [SPEAKER_02]: hey we're gonna this is gonna happen so if you could just like maybe go out for coffee for a couple hours and let this kind of slide through that'd be great or sometimes I feel like Spotify is just like we're just gonna turn the faucet on for you a little bit and see what happens you know and 08:28.557 --> 08:50.105 [SPEAKER_00]: right well yeah like and I know that labels they have such direct contact with like the all the playlists and stuff that it's like yeah it used to I really feel like I used to get on editorial playlists with no contacts in the beginning so I was like they're just adding me to these awesome playlists like thank you spot right and then all of a sudden it's like like it that door feels so closed 08:50.552 --> 09:00.715 [SPEAKER_02]: Oh, I, I, I got a, I had Spotify reach out to me to do an interview with Forbes because they put me on so many playlists without, um, a label. 09:02.183 --> 09:06.568 [SPEAKER_02]: because they're just like, we just think these songs fit great and I'm like, amazing. 09:06.608 --> 09:07.669 [SPEAKER_02]: This is how it's always gonna be. 09:07.809 --> 09:08.069 [SPEAKER_02]: Right. 09:08.169 --> 09:09.290 [SPEAKER_02]: But it's just not. 09:09.510 --> 09:10.912 [SPEAKER_00]: Yeah, they love independent artists. 09:10.932 --> 09:11.172 [SPEAKER_00]: Yeah. 09:11.312 --> 09:14.916 [SPEAKER_00]: And then they were also like creating a story around it, too. 09:14.956 --> 09:15.697 [SPEAKER_00]: Right, right. 09:15.837 --> 09:16.798 [SPEAKER_02]: Right, right. 09:16.838 --> 09:23.064 [SPEAKER_02]: Because it was also kind of like, hey, look at us, we're like, we found this independent artist and we're really helping him out. 09:23.104 --> 09:23.625 [SPEAKER_02]: So, you know. 09:23.865 --> 09:37.796 [SPEAKER_02]: which they did, you know, it got me a bunch of streams, but also, you know, in the long run, it's not like, you know, it was a trickle compared to like what they would do for, you know, a major label artist. 09:38.397 --> 09:38.717 [SPEAKER_00]: Right. 09:38.977 --> 09:43.221 [SPEAKER_00]: Or what's the difference in my, not the, I mean, we're not intentionally 09:49.946 --> 09:51.186 [SPEAKER_00]: What's the difference there, too? 09:51.246 --> 09:55.468 [SPEAKER_00]: I mean, well, there's just so much money in that area. 09:55.628 --> 09:59.149 [SPEAKER_00]: And so I did it for three months to get on a playlist. 09:59.289 --> 10:03.531 [SPEAKER_00]: And then as soon as those three months were up, like my numbers went right back down. 10:03.651 --> 10:05.971 [SPEAKER_00]: And for a while, some kind of numbers were driving me insane. 10:06.071 --> 10:07.552 [SPEAKER_00]: And honestly, I just don't care anymore. 10:08.289 --> 10:09.771 [SPEAKER_02]: I haven't even looked at mine for months. 10:09.811 --> 10:10.351 [SPEAKER_00]: Great job. 10:10.571 --> 10:11.332 [SPEAKER_00]: I didn't look at yours. 10:11.452 --> 10:12.093 [SPEAKER_00]: I don't look at mine. 10:12.373 --> 10:12.934 [SPEAKER_00]: I don't care. 10:13.134 --> 10:13.855 [SPEAKER_02]: I don't even know. 10:13.875 --> 10:19.600 [SPEAKER_00]: You know, it used to be like you can't get a, you know, people when festivals are booking they're looking at Spotify numbers. 10:19.640 --> 10:24.805 [SPEAKER_00]: I feel like they still do, but it was like the only metric for a while. 10:24.825 --> 10:24.925 [SPEAKER_00]: Sure. 10:25.646 --> 10:31.891 [SPEAKER_00]: And then I feel like they were hiring artists that had great Spotify and didn't have a great live show and then they were like, well great. 10:31.931 --> 10:37.134 [SPEAKER_00]: Now we got to go back to like finding artists that know how to have been on tour for things like that. 10:37.515 --> 10:38.195 [SPEAKER_00]: And have a band. 10:38.415 --> 10:47.762 [SPEAKER_02]: Well, I mean, I like I did this this like songwriter panel yesterday at Sage Rush with Save and Country Music and it was like one of the things that talked about was just like 10:49.463 --> 10:58.425 [SPEAKER_02]: I found out firsthand how important that Westward album was to some people, like very deep emotional connections with that record. 10:59.185 --> 11:15.968 [SPEAKER_02]: And to have that one taken away specifically, it was like, you know, it doesn't matter if you're, if you're Spotify numbers are 200,000, the reason why you put that record out is because that one person was so deeply changed by 11:17.928 --> 11:44.578 [SPEAKER_02]: that like they were driven to tell you about this and how it changed their life and it's like it can be you know you're like wow that's really intense but it's true it's like you wouldn't pick up a guitar if you didn't think it was going to make a difference and so it's like if you're looking at your Spotify numbers and like a broad sense of like oh I must have all these fans but the ones that fucking matter the most are like you know I could have six 11:45.678 --> 11:55.498 [SPEAKER_02]: Spotify listeners and if those all six listeners are going like this is my shit then that's more effective than like a broad sweep to me, you know? 11:56.269 --> 12:04.513 [SPEAKER_00]: And that's another reason why we have this podcast is to remind ourselves and everyone listening that that is the actual point. 12:05.233 --> 12:08.474 [SPEAKER_00]: And that we have to keep creating art for the reasons that it matters. 12:08.614 --> 12:10.755 [SPEAKER_00]: And we didn't think it could get any harder or a weirder. 12:10.975 --> 12:12.136 [SPEAKER_00]: And yet here we are. 12:12.176 --> 12:13.556 [SPEAKER_00]: We are so weird. 12:14.236 --> 12:15.777 [SPEAKER_00]: It's strange times. 12:16.337 --> 12:17.038 [SPEAKER_00]: And I'm... 12:18.078 --> 12:26.125 [SPEAKER_00]: you know, worried about promoting my new song in this age, I don't even know exactly what I'm doing, but I feel like no one kind of knows what they're doing. 12:26.145 --> 12:27.986 [SPEAKER_00]: Do you feel like that? 12:28.006 --> 12:40.756 [SPEAKER_00]: I mean, I feel like there's a game plan for, especially if you have a label like there's a game plan, but it doesn't always work even if they follow the game plan, so it's kind of like, what's the point at the game? 12:40.796 --> 12:46.121 [SPEAKER_00]: Like, let's just like, I guess the example that I was even moving towards was like, I loved your pool video. 12:46.841 --> 12:48.384 [SPEAKER_00]: Oh, will they give me a pool? 12:50.066 --> 12:52.950 [SPEAKER_02]: So, girls got eat, you know? 12:53.010 --> 12:54.793 [SPEAKER_02]: Yeah, they give you a pool? 12:55.654 --> 12:58.258 [SPEAKER_02]: Yeah, I'm a pool influencer. 12:59.020 --> 12:59.720 [SPEAKER_00]: you are. 12:59.740 --> 13:00.081 [SPEAKER_02]: Yeah. 13:00.221 --> 13:06.444 [SPEAKER_00]: But that's, and that was a great promotional asset for them that wasn't like a normal hey, thank you. 13:06.484 --> 13:07.925 [SPEAKER_00]: I got my pool from so and so. 13:07.945 --> 13:08.285 [SPEAKER_00]: Yeah. 13:08.325 --> 13:10.367 [SPEAKER_00]: It was like you wrote a custom pool song. 13:10.387 --> 13:17.471 [SPEAKER_02]: Well, I mean, that I feel like that Enrique Glacius slash Willie Nelson do it is a sleeper. 13:18.371 --> 13:22.033 [SPEAKER_02]: And people need to come back to that song to all the girls I've loved. 13:22.133 --> 13:23.074 [SPEAKER_00]: And his accent on that 13:25.115 --> 13:25.776 [SPEAKER_00]: I'm here for it. 13:25.796 --> 13:27.319 [SPEAKER_00]: I know what you're talking about. 13:27.399 --> 13:29.382 [SPEAKER_00]: It's just float. 13:29.462 --> 13:29.982 [SPEAKER_00]: It's so good. 13:30.403 --> 13:36.212 [SPEAKER_02]: It's floaty to a margarita bar and I'm like in a pool in a pool in your backyard now. 13:36.452 --> 13:37.734 [SPEAKER_02]: A swim up margarita bar. 13:39.395 --> 13:47.779 [SPEAKER_00]: I was in a crowd of you, we got to get to this record because this is the most fun thing that I've ever seen you gave me this and I was like, well, let's do it live on that. 13:48.199 --> 13:50.460 [SPEAKER_00]: If you're listening to this, you should look at the video. 13:50.500 --> 13:54.381 [SPEAKER_00]: I guess we have a video on Spotify now, so you can see the video, but you can go to YouTube. 13:54.401 --> 13:57.343 [SPEAKER_00]: But the record's called Dev, it came out in 2025. 13:57.383 --> 14:01.585 [SPEAKER_00]: This is such a good record, I was waiting to touch, tell us all you. 14:01.965 --> 14:06.847 [SPEAKER_00]: But if you buy the vinyl and you pull this, the bird flies. 14:08.380 --> 14:08.640 [SPEAKER_02]: Yeah. 14:08.700 --> 14:10.962 [SPEAKER_00]: How did you think about did you think about that? 14:11.223 --> 14:15.987 [SPEAKER_02]: I did not think this this design was by preacher preacher in Austin. 14:17.728 --> 14:30.320 [SPEAKER_02]: They've been great friends of mine for a long time and they kind of came up with this like wild design and we couldn't get anybody to print it in the state because everybody was just like we can print those records for $30 a unit. 14:31.861 --> 14:32.781 [SPEAKER_02]: because they're insane. 14:33.241 --> 14:39.663 [SPEAKER_02]: And so we had them printed in Prague where they did it for a lot cheaper. 14:40.443 --> 14:41.543 [SPEAKER_00]: That's incredible. 14:41.863 --> 14:46.985 [SPEAKER_00]: I am like, I just can't even believe that makes me so excited because I'm about to do a vinyl project. 14:47.005 --> 14:47.885 [SPEAKER_00]: And it's like, yeah. 14:47.925 --> 14:51.406 [SPEAKER_00]: You can kind of just think of anything and just do it. 14:51.446 --> 14:52.026 [SPEAKER_00]: What color are it? 14:52.046 --> 14:52.486 [SPEAKER_00]: I'm gonna love that. 14:52.526 --> 14:53.906 [SPEAKER_02]: Yeah, there's no more rules, you know? 14:54.066 --> 14:55.266 [SPEAKER_00]: There's no more rules. 14:55.647 --> 14:56.747 [SPEAKER_00]: Oh, that's a great photo. 14:57.147 --> 14:57.527 [SPEAKER_02]: Oh yeah. 14:57.967 --> 15:00.229 [SPEAKER_00]: Oh my gosh, you put the lyrics in here. 15:00.249 --> 15:01.790 [SPEAKER_02]: And to you, had to, yeah. 15:02.070 --> 15:04.191 [SPEAKER_00]: That's, I love this. 15:04.211 --> 15:09.855 [SPEAKER_02]: I think this is, you know, it's a lost, it's a lost art because gatefolds are expensive. 15:10.375 --> 15:11.536 [SPEAKER_02]: Yeah, gatefolds are expensive. 15:11.556 --> 15:12.857 [SPEAKER_02]: They don't put lyrics in their all-time. 15:13.137 --> 15:14.257 [SPEAKER_00]: Okay, this is awesome. 15:14.738 --> 15:15.458 [SPEAKER_02]: Dream, sickle. 15:15.818 --> 15:17.540 [SPEAKER_00]: Dream, sickle color. 15:18.040 --> 15:19.181 [SPEAKER_00]: Duh, okay, can you bite? 15:19.201 --> 15:20.281 [SPEAKER_00]: You can bite those, I'm sure. 15:20.421 --> 15:26.045 [SPEAKER_02]: Yeah, yeah, they're on my website and they're all in the record shop, and especially in Austin. 15:26.393 --> 15:27.354 [SPEAKER_00]: Well, that is incredible. 15:27.374 --> 15:33.181 [SPEAKER_00]: You're kind of like a total staple of the OSTIC, the OSTIC, the OSTIC, and you didn't see. 15:34.082 --> 15:45.596 [SPEAKER_00]: And like, I think that that's, I always talk about that where that's like, one of the hardest places to be revered and like, you are that person, that's like, 15:46.812 --> 15:58.222 [SPEAKER_00]: like people really respect what you do, they respect you, they look too for advice and you get to do these really co-residencies and like, I'm weirded out that we didn't spend more time together when I lived there. 15:58.243 --> 15:58.883 [SPEAKER_02]: Yeah. 15:59.344 --> 16:12.456 [SPEAKER_02]: But I mean, you know, it is like you're the queen of your world and there's like a lot going on where, you know, it's the time where you get alone is precious. 16:13.255 --> 16:22.704 [SPEAKER_00]: Yeah, I mean, when I'm home, I'm like, I just want to stay home and do dreams and stuff and they don't really go out, trying to, you know, not drink during the weeks and stuff too. 16:22.804 --> 16:28.229 [SPEAKER_00]: It's hard to go to shows, but do you feel like I feel like the awesome music scene right now is awesome. 16:28.490 --> 16:30.432 [SPEAKER_00]: Like, the level of talent. 16:30.852 --> 16:31.573 [SPEAKER_00]: Do you feel that way? 16:31.993 --> 16:51.828 [SPEAKER_02]: there there was like a low for a second and now it's like coming back screaming there's some fucking great bands yeah great songriders and i feel like there's like a new group of people songriders especially like in their 20s that are just really um experimental and uh they they realized like i feel like we kind of grew up with 16:52.789 --> 16:53.069 [SPEAKER_02]: All right. 16:53.089 --> 16:55.071 [SPEAKER_02]: You go to Nashville and you learn these rules. 16:55.091 --> 17:10.445 [SPEAKER_02]: You go to these writing sessions and these are the formulas that we're going to use for these specific songs if you want to cut and like the rules for that are off because you know a few years ago, a few years back you go to Nashville try to get a cut. 17:10.565 --> 17:12.207 [SPEAKER_02]: It's like all right, I'm going to make some money on this. 17:12.627 --> 17:17.809 [SPEAKER_02]: Now you get a cut and you're like, yeah, I guess it's going to be streaming numbers. 17:17.889 --> 17:29.793 [SPEAKER_02]: So, you know, maybe I'll get to go out to dinner once or twice a year on that check, you know, but so there's just kind of removes his pressure of like, oh, well, I don't have to. 17:30.853 --> 17:35.558 [SPEAKER_02]: I don't have to like, kneel to that idea, so you just do whatever you want. 17:36.018 --> 17:36.439 [SPEAKER_02]: Totally. 17:36.599 --> 17:40.563 [SPEAKER_00]: I think that people are paying people on Nashville are paying a lot of attention to what's going on in Austin too. 17:40.603 --> 17:41.944 [SPEAKER_00]: I mean, now we have to be in my office. 17:41.984 --> 17:44.467 [SPEAKER_00]: We have like, you know, like, they're coming too awesome. 17:44.507 --> 17:49.452 [SPEAKER_00]: Instead of us having to go there was your, was your label out of Nashville? 17:50.012 --> 17:50.212 [SPEAKER_02]: Yeah. 17:50.452 --> 17:50.752 [SPEAKER_02]: Okay. 17:51.392 --> 17:54.153 [SPEAKER_02]: Um, and I mean, I feel like big louds doing a bunch of stuff. 17:54.173 --> 17:54.633 [SPEAKER_02]: Yeah. 17:54.753 --> 17:55.273 [SPEAKER_02]: And Texas. 17:55.293 --> 17:55.514 [SPEAKER_02]: Yeah. 17:55.914 --> 17:56.874 [SPEAKER_02]: Yeah, especially in Austin. 17:56.894 --> 18:00.715 [SPEAKER_02]: They got a lot of, you know, Austin guys run around there right now that we're two. 18:00.995 --> 18:01.175 [SPEAKER_00]: Yeah. 18:01.195 --> 18:02.295 [SPEAKER_00]: And I'm great writers. 18:02.375 --> 18:07.697 [SPEAKER_00]: And yeah, I think it's, it's really great because they're kind of, I think that they were like, oh, look at. 18:08.137 --> 18:22.184 [SPEAKER_00]: Cody Johnson and Parker McCallum and you know like all these people that were they're doing big things and and a lot of our friends in the scene like we we mentioned Silverado, which they make an appearance on your record they do but I think that people in Nashville kind of like 18:31.428 --> 18:57.466 [SPEAKER_02]: I think because I feel kind of like their cash cow slipped out the window of they had a great like boom town of a bro country and shit and then I think people kind of saw behind the curtain and they're just like this is copypaste and nothing like nothing makes it makes people want to go drink on a boat or something like that in a bar but like you know write a song that breaks my fucking heart already write a song that 18:58.807 --> 19:05.394 [SPEAKER_02]: I want to just listen to on repeat as I drive into the desert to like re you know find out who I am. 19:05.975 --> 19:07.336 [SPEAKER_02]: Tell me, you know, where's that song? 19:07.757 --> 19:08.758 [SPEAKER_00]: Yeah, you're terrible cards. 19:08.798 --> 19:09.739 [SPEAKER_02]: Yeah, for sure. 19:10.259 --> 19:14.744 [SPEAKER_00]: Well, I think that you're writing and that's what I was thinking about all day today was just. 19:16.146 --> 19:31.568 [SPEAKER_00]: When you set a copy paste right now, it's like that's you have very unique Lyrical lines throughout all the records that you do and it's I think that's why it's so refreshing to listen to your music and so like invigorating because it's like 19:32.088 --> 20:00.795 [SPEAKER_00]: you hear multiple lines per song that you're like whoa cool or like wow or that wasn't what I was expecting to come next and we're so you can almost predict songs you know at least for a while there it was just the most predictable how many things can we rhyme with red cup and dip cup and big truck and stuff so I love it and I'm sure that's like very intentional but it doesn't it just feels very natural like you've always just been this writer that creates a little left 20:02.615 --> 20:07.878 [SPEAKER_02]: I think, yeah, I mean, I've always been like, you know, attracted to those writers. 20:08.158 --> 20:29.268 [SPEAKER_02]: And I mean, especially, you know, especially like, you know, whenever I was on a label, I feel like I kind of, if I had to do one thing again on that situation, I would have written more independently in the fact that, like, 20:30.602 --> 20:38.388 [SPEAKER_02]: I felt like I was leaning into the opportunity that I had of like, you know, hey, we can point you down this avenue, but we kind of need the ammunition to do that. 20:38.529 --> 20:40.290 [SPEAKER_02]: I'm like, okay, that's a strong avenue. 20:40.850 --> 20:43.232 [SPEAKER_02]: I'm going to write for that purpose and we're going to go do this. 21:00.580 --> 21:22.277 [SPEAKER_02]: Um, but then it's kind of like when when I come up, you know, with the record for dove, it's kind of like, you know, uh, I look, I look back at my heroes and like none of my heroes were mainstream guys, everybody was in the fringes and it's like, they're the guys that are, you know, 21:23.832 --> 21:25.593 [SPEAKER_02]: it took a long time for him to get there. 21:26.153 --> 21:28.615 [SPEAKER_02]: Maybe they never made it, but they're really influential. 21:30.516 --> 21:35.238 [SPEAKER_02]: They stuck to their shit and it was like, they're like, no, it's supposed to be weird. 21:35.318 --> 21:39.360 [SPEAKER_02]: It's supposed to be left to center because that's where I live. 21:39.620 --> 21:40.361 [SPEAKER_02]: And it's kind of like, 21:40.841 --> 21:48.685 [SPEAKER_02]: You know, I could never, I could never sit down and Stomach riding a song like Florida, Georgia line or something like that. 21:48.845 --> 21:55.128 [SPEAKER_02]: You know, it's just not part of my DNA to like go, oh, this this song is gonna make me happy, you know? 21:55.723 --> 21:59.404 [SPEAKER_00]: Yeah, who are some of those heroes that you're referencing? 22:00.265 --> 22:08.528 [SPEAKER_02]: I mean, of course, Chris Christofferson, but Nick Cave is a big guy for me, Leonard Cohen. 22:09.708 --> 22:18.892 [SPEAKER_02]: These guys, Patty Smith, and I just love that Gary Stewart. 22:18.992 --> 22:21.893 [SPEAKER_02]: You know, like always kind of the guys and the outliers, 22:22.753 --> 22:33.600 [SPEAKER_02]: but really just never gave up like who they really wanted to be and who they wanted to show the world who they were. 22:33.980 --> 22:48.370 [SPEAKER_02]: You know, because that fringe idea and that kind of, you know, left of center attitude has a particular value, you know, that I enjoy, you know. 22:48.788 --> 22:51.429 [SPEAKER_00]: Me too, and it was, did you ever have a publishing deal? 22:51.850 --> 22:52.730 [SPEAKER_00]: Or was that part of the... 22:52.750 --> 22:53.731 [SPEAKER_02]: I never had a publishing deal in that. 22:54.071 --> 22:59.774 [SPEAKER_00]: I had one for a while, but it was like the same kind of thing where I was like, okay, my job is to get a cut. 23:00.274 --> 23:00.534 [SPEAKER_02]: Yeah. 23:00.775 --> 23:03.916 [SPEAKER_00]: And then, um, and co-write, and, um, 23:05.257 --> 23:30.237 [SPEAKER_00]: those songs are so hard for me to write like I almost can't even do it it's like when then I sat down sat down right with myself the other day and like what I want to write and like it just happens naturally and I think we make the best music when we are authentic to ourselves and hundred percent it's so you know frustrating to be trying to be in the box for really for me it was like a paycheck so I could make my own music 23:30.877 --> 23:31.078 [SPEAKER_01]: Yeah. 23:31.839 --> 23:35.603 [SPEAKER_00]: And then when I make my own music people like this is this is this is it. 23:35.643 --> 23:46.975 [SPEAKER_00]: This is what we love and it's again small but mighty fan base It's not selling out stadiums or anything but I'm happy and it's very freeing to be able to make the music that I want to make 23:47.776 --> 23:49.678 [SPEAKER_00]: it's so fun. 23:49.898 --> 23:50.779 [SPEAKER_02]: It's important too. 23:50.919 --> 23:51.880 [SPEAKER_02]: It's so important. 23:52.540 --> 24:04.171 [SPEAKER_02]: It's like, you know, I just, I would just never want to get stuck in like a formulaic, you know, a situation that's, that's transactional, you know. 24:05.412 --> 24:12.959 [SPEAKER_02]: And there's a lot, I mean, it's, it's like, there's a lot of freedom in it, but you know, it's a, it costs a lot more, you need to figure it out. 24:13.039 --> 24:13.719 [SPEAKER_02]: But, you know, it's like, 24:14.520 --> 24:18.641 [SPEAKER_02]: you know, but I also work as a DJ and I work as a photographer. 24:19.241 --> 24:22.362 [SPEAKER_02]: So it's like, you know, I call it Jamba Dexterous. 24:24.823 --> 24:34.506 [SPEAKER_02]: You got to like, you got to figure out like anything you can do to support the dream that you've dedicated yourself to is like, okay, cool. 24:34.766 --> 24:35.386 [SPEAKER_02]: I can do that. 24:35.486 --> 24:37.607 [SPEAKER_02]: Like, yeah, it just is what it is. 24:37.987 --> 24:50.235 [SPEAKER_00]: DJing and photography are also pretty intertwined with, you know, it's art too, so that sounds really fun, like you can, like, it's, you know, you're not doing taxes all day, just kidding. 24:50.315 --> 24:51.315 [SPEAKER_00]: I wouldn't mind doing that. 24:51.416 --> 24:57.880 [SPEAKER_02]: Yeah, you learned different things about it, too, because it's like, I brought a camera on the road 10 years ago, because I couldn't afford to bring a photographer. 24:58.620 --> 25:16.837 [SPEAKER_02]: and then you just keep touring with other people and touring with other people and now you have this collection of like behind the scenes things for you know bands that you've that people love and you love and and you're like oh I have this like yeah huge you know portfolio now and then the DJ the thing it's like 25:17.638 --> 25:32.056 [SPEAKER_02]: You learn how to pace out a nightclub for four hours and work a dance floor and there's like a there's a tempo and there's like a flow to it And then so if you take those ideas back to your own show and you're applying like how to pace out your own audience 25:32.857 --> 25:48.482 [SPEAKER_02]: You know, the wind to push them, it's like you can, you can create those moments because you can almost, you can almost like oversee an audience in a DJ set and then you just be like, this is the same shit for a flyer, you know? 25:48.702 --> 25:56.364 [SPEAKER_00]: Or how cool you look in that photo because you're probably like used to seeing how things look for photos and they can like be the model in a cool way. 25:56.384 --> 25:58.265 [SPEAKER_02]: I mean that I have to have that duster. 25:58.705 --> 25:59.446 [SPEAKER_00]: Yes, right. 25:59.546 --> 26:01.347 [SPEAKER_00]: You're like, I needed that's your end this post. 26:01.367 --> 26:01.587 [SPEAKER_02]: Yeah. 26:01.847 --> 26:15.517 [SPEAKER_00]: And that also, because I was reading your, when your articles about it, but I totally get that too, because I'm also always a student of like other people's life shows in my life shows and you said something about like, you know, when you go on tour with. 26:15.817 --> 26:31.112 [SPEAKER_00]: So we're out of any of those guys you can see the audience react to a certain beat or whatever and say I want to write a song around that same idea just for the flow and I love that I do that to I remind of me of them. 26:31.913 --> 26:47.779 [SPEAKER_00]: bloodshot from making the motorcars is like my favorite song where them and born on Saturday night it's like a faster version of that drum beat and I'm like yes like you can you feel that in your body and it's not it's like taking inspiration and creating it yourself. 26:47.979 --> 26:54.522 [SPEAKER_00]: I just thought that that was so cool because I haven't really talked to anybody else who seems like a nerd like me. 26:55.542 --> 27:06.530 [SPEAKER_02]: That born on Saturday night was like, I called Mike and was like, hey, I have a song that's like part Gary Stewart and part Queen's of the Stone Age With kind of a disco beat and he was like say less will be there. 27:06.811 --> 27:18.980 [SPEAKER_02]: Yeah, and then like songs like 10 on 6 You know was just like a I was just like writing I just kind of gotten to a flow and you know There's like no edits on that writing thing, but that but that rhythm 27:19.820 --> 27:36.428 [SPEAKER_02]: I watched, you know, I was on tour of Shainsmith and it's just like watching the way his crowd moves to a certain drum beat and I was like, you know, I don't have that certain rhythm in my catalog and I want people to feel that because I see how much they love it. 27:36.908 --> 27:41.370 [SPEAKER_02]: So I want to write that rhythm for them so that they can enjoy the process of 27:42.590 --> 27:44.912 [SPEAKER_02]: Digesting my weird wordy ship. 27:45.873 --> 27:47.894 [SPEAKER_00]: Tinnitus is so good though. 27:47.974 --> 27:49.635 [SPEAKER_00]: I mean, that's one of my favorites. 27:49.715 --> 27:52.937 [SPEAKER_00]: I love the writing style, love the delivery of it. 27:53.018 --> 27:55.659 [SPEAKER_00]: All of it is just really cool. 27:56.140 --> 28:03.605 [SPEAKER_00]: And that's, it's totally okay to take inspiration from other people, especially Shane's, when you watch their crowd, you're like, I want my crowd to do that. 28:03.645 --> 28:05.486 [SPEAKER_00]: Yeah, I mean, I want them to be that big. 28:05.686 --> 28:07.327 [SPEAKER_02]: The stones just wanted to be muddy waters. 28:07.668 --> 28:07.868 [SPEAKER_00]: Right. 28:07.988 --> 28:08.308 [SPEAKER_02]: You know? 28:08.948 --> 28:09.149 [SPEAKER_00]: Right. 28:09.429 --> 28:09.669 [SPEAKER_00]: Music. 28:09.709 --> 28:10.970 [SPEAKER_02]: Everybody wanted to be a little Richard. 28:11.310 --> 28:12.330 [SPEAKER_00]: music comes from music. 28:12.830 --> 28:13.971 [SPEAKER_00]: I mean, I've always played that. 28:13.991 --> 28:15.591 [SPEAKER_00]: My favorite one is livin' sen though. 28:16.051 --> 28:16.372 [SPEAKER_02]: Oh yeah. 28:16.452 --> 28:18.272 [SPEAKER_00]: That song wrecked me a little bit when I heard it. 28:18.292 --> 28:18.552 [SPEAKER_02]: Thank you. 28:19.132 --> 28:21.073 [SPEAKER_02]: You know, you're a piano player, though. 28:21.473 --> 28:27.035 [SPEAKER_02]: I am, my friend, uh, drawn Marshall, that plays with the Puma's, like, music piano in that one. 28:27.075 --> 28:27.435 [SPEAKER_02]: Oh cool. 28:27.935 --> 28:34.357 [SPEAKER_02]: And, uh, you know, actually wrote it differently, and then my wife and I went to, uh, we're in Japan for like three weeks. 28:35.157 --> 28:49.904 [SPEAKER_02]: And I just kind of like we'd be like walking through the streets and I just kind of kept hearing this this melody the whole time we were there and it's just like in this you know and this kind of ethereal thing in the back of my head and I could just kept singing in in my phone though I brought it home. 28:49.924 --> 28:55.827 [SPEAKER_02]: I was like the the melody behind there so it was like I went kind of recreated that song for that. 28:56.067 --> 28:56.808 [SPEAKER_00]: My word in Japan. 28:58.085 --> 28:58.806 [SPEAKER_02]: Because it's cool. 28:59.306 --> 28:59.546 [SPEAKER_02]: Okay. 28:59.606 --> 28:59.986 [SPEAKER_02]: I see it. 29:00.666 --> 29:02.507 [SPEAKER_00]: My friends Nick and Greenish wants to Japan. 29:02.547 --> 29:05.089 [SPEAKER_00]: They said it was amazing that it's like the cleanest city. 29:05.149 --> 29:05.409 [SPEAKER_02]: Yeah. 29:05.889 --> 29:07.110 [SPEAKER_00]: There's like a hunky. 29:07.130 --> 29:08.370 [SPEAKER_00]: There's like a Texas bar there. 29:08.390 --> 29:09.191 [SPEAKER_00]: Yeah. 29:09.211 --> 29:09.791 [SPEAKER_00]: Did you go there? 29:09.831 --> 29:10.151 [SPEAKER_02]: We didn't. 29:10.271 --> 29:14.533 [SPEAKER_02]: We we we we talked about it, but we're like we got Texas at home. 29:15.153 --> 29:19.035 [SPEAKER_02]: And then so we went and saw a Japanese Elvis impersonator. 29:19.055 --> 29:19.936 [SPEAKER_01]: Okay. 29:20.056 --> 29:20.896 [SPEAKER_02]: Which was so sick. 29:23.277 --> 29:30.440 [SPEAKER_02]: It was so sick, but it was like, you know, all the band was like dressed like hard, like rockabilly stuff. 29:30.480 --> 29:34.482 [SPEAKER_02]: And it was cool, like my wife and I came in and we were like, let's dress up for this thing. 29:34.722 --> 29:37.063 [SPEAKER_02]: It was like, it was like a sock-hop club. 29:37.904 --> 29:39.344 [SPEAKER_02]: And it was totally bizarre. 29:40.385 --> 29:44.426 [SPEAKER_02]: But we came in and I had like, cowboy hat and like leather jacket, it was raining. 29:44.487 --> 29:50.029 [SPEAKER_02]: And she had like this really cool, like short leather skirt on, and we walked in the band's like, 29:53.923 --> 29:55.764 [SPEAKER_00]: Yeah, they love the cowboys, man. 29:55.804 --> 29:57.305 [SPEAKER_02]: Yeah, they smelt it on. 29:57.365 --> 29:57.986 [SPEAKER_02]: Yeah. 29:58.486 --> 29:59.607 [SPEAKER_02]: This guy's never going to do. 29:59.667 --> 30:01.508 [SPEAKER_00]: Because that is so fun. 30:01.728 --> 30:03.029 [SPEAKER_00]: I thought you're going to play there. 30:03.049 --> 30:05.431 [SPEAKER_00]: And I was going to be like, I want to play there so bad. 30:05.491 --> 30:08.433 [SPEAKER_00]: That was how we were seeing the world before COVID. 30:08.453 --> 30:11.455 [SPEAKER_00]: Like my first show to cancel because the COVID was Australia. 30:11.575 --> 30:14.958 [SPEAKER_00]: And then I never, you know, I haven't played overseas since COVID. 30:14.978 --> 30:16.719 [SPEAKER_00]: So it's like, I got to get back in that. 30:17.319 --> 30:19.721 [SPEAKER_00]: I don't know who is booking all those things over there. 30:19.741 --> 30:21.462 [SPEAKER_00]: But I need to, I want to go to Italy. 30:21.482 --> 30:22.403 [SPEAKER_02]: Oh, yeah. 30:22.843 --> 30:25.667 [SPEAKER_00]: I haven't done, have you played much overseas? 30:25.947 --> 30:27.569 [SPEAKER_02]: I've played, yes. 30:27.869 --> 30:32.995 [SPEAKER_02]: I've played, um, I've probably been overseas maybe seven or eight times for tours. 30:34.077 --> 30:34.898 [SPEAKER_02]: Like, full tours? 30:35.158 --> 30:35.799 [SPEAKER_02]: Full tours, yeah. 30:36.219 --> 30:36.540 [SPEAKER_00]: What? 30:37.100 --> 30:37.421 [SPEAKER_02]: And then? 30:37.441 --> 30:39.684 [SPEAKER_00]: You want to do another one, BB and JT's. 30:42.085 --> 30:54.952 [SPEAKER_02]: I've been over there a few times to support other brands and then I was on this like independent like cyclable out of France for a minute and they were booking me a bunch over there. 30:55.152 --> 30:56.372 [SPEAKER_00]: Okay, that's cool. 30:57.033 --> 30:58.453 [SPEAKER_00]: That's really cool. 30:58.974 --> 31:00.714 [SPEAKER_00]: We went to Ruth Midland, did I know this? 31:00.754 --> 31:01.055 [SPEAKER_00]: Yeah. 31:01.555 --> 31:04.857 [SPEAKER_00]: And also Shane's been in Silverado like they probably just 31:05.837 --> 31:11.786 [SPEAKER_00]: I just imagine it being this way because I love all those people that they're like, they love you, they love your music and they're like, come on, let's go. 31:12.527 --> 31:13.949 [SPEAKER_00]: Like, is that how that happens? 31:14.349 --> 31:17.754 [SPEAKER_02]: I'm a premium, I'm a y'all, I'm a premium hang. 31:19.952 --> 31:21.173 [SPEAKER_02]: Yeah, premium. 31:21.253 --> 31:21.953 [SPEAKER_02]: I must not be. 31:22.073 --> 31:23.874 [SPEAKER_00]: I think on a big tour of any of those guys. 31:23.974 --> 31:25.075 [SPEAKER_00]: And it's big and hanged. 31:25.335 --> 31:34.620 [SPEAKER_02]: And it's, you know, but I've known those guys since we were, I mean, you know, since I remember sitting, I remember sitting at happy hour with Mike Harmire at Mohawk. 31:35.720 --> 31:40.062 [SPEAKER_02]: And he was like, JT, I'm going to start at Ultimate Country Band called Mike and the Empires, and I was like, stupid. 31:40.082 --> 31:45.185 [SPEAKER_02]: Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha 31:45.325 --> 31:55.373 [SPEAKER_02]: They did change the name, so I think it was like, but you know, years later, it's like, I go my face because they're one of my favorite bands, not just country bands, favorite bands, too, you know? 31:57.355 --> 31:59.837 [SPEAKER_02]: And I love every one of those dudes individually. 32:00.397 --> 32:04.100 [SPEAKER_02]: You know, same thing with Midland, I met Mark when I was still bartending at the white horse. 32:05.241 --> 32:09.745 [SPEAKER_02]: And I mean, that's crazy because I haven't had a job job in like 10 years. 32:09.925 --> 32:11.807 [SPEAKER_00]: That's what's up, you know, good job. 32:11.827 --> 32:12.427 [SPEAKER_02]: So, thank you. 32:13.648 --> 32:21.334 [SPEAKER_02]: But I met Mark at the bar, and they're like, hey man, we got a big single coming out. 32:21.374 --> 32:27.058 [SPEAKER_02]: And he showed me a drinking problem, the first, like the un-mixed version of drinking problem in my truck. 32:27.298 --> 32:28.659 [SPEAKER_02]: It was just like, this is our song. 32:28.899 --> 32:29.360 [SPEAKER_00]: No. 32:29.380 --> 32:30.621 [SPEAKER_02]: I was like, cool. 32:31.421 --> 32:32.002 [SPEAKER_00]: That is awesome. 32:32.102 --> 32:35.765 [SPEAKER_00]: I almost sold just my Sprinter van in the parking lot of my horse. 32:36.925 --> 32:39.947 [SPEAKER_00]: He was like, we need a van, we're next to add to their fleet. 32:40.428 --> 32:43.850 [SPEAKER_00]: And I was like, oh, no, this printer van is cursed. 32:43.890 --> 32:45.891 [SPEAKER_00]: I promise you, it's the worst one that they ever made. 32:45.932 --> 32:47.192 [SPEAKER_00]: And he was like, all right, you would check right now. 32:47.212 --> 32:49.494 [SPEAKER_00]: And I was like, I'm not selling you this van. 32:50.215 --> 32:51.536 [SPEAKER_00]: And I didn't sell it to him. 32:51.616 --> 32:53.537 [SPEAKER_00]: And of course, everyone's like, you're an idiot. 32:53.557 --> 32:58.981 [SPEAKER_00]: I'm like, I'm not going to be the girl that sold the worst van ever made to you. 32:59.101 --> 33:01.983 [SPEAKER_02]: Once you saw that, taught it along, you know, that ain't your baby to spank no one. 33:01.983 --> 33:07.285 [SPEAKER_00]: Midland dies in a fiery, he's a printer man crash, like I wasn't going to be that person. 33:07.765 --> 33:10.946 [SPEAKER_00]: Walter Blue did a lot of shows them, and it's pretty funny. 33:11.406 --> 33:15.307 [SPEAKER_00]: Paul was always like, Marcus, he's just, he would walk in, he's just such a good-looking man. 33:15.327 --> 33:16.727 [SPEAKER_00]: That's like it's so funny here. 33:16.747 --> 33:19.368 [SPEAKER_00]: I'll talk about a man like that, but... 33:19.548 --> 33:21.009 [SPEAKER_00]: That's, well, that's great. 33:21.049 --> 33:24.891 [SPEAKER_00]: You are a premium hang, but you bring so much to life show. 33:24.931 --> 33:30.735 [SPEAKER_00]: I remember I was going to tell you that night, and I forgot, but we got to play it right away a couple of weeks ago together. 33:31.315 --> 33:35.057 [SPEAKER_00]: And my steel player Rob, he was so excited that you were playing with us. 33:35.998 --> 33:57.216 [SPEAKER_00]: because he's such a big fan and I was like I'm a big fan too and I'm like how can we've never talked about this and then my guitar players like I'm a big fan too so we were so pumped your life shows are so good like your band is always so good I mean it's very important to you to put on a live show but I was so proud of you when you did a live record because it's like that is 33:58.017 --> 34:05.680 [SPEAKER_00]: I mean, your records are so unbelievably good, but like your live show is also equally as good so that was that hard or easy? 34:05.700 --> 34:06.580 [SPEAKER_00]: That was awesome. 34:06.720 --> 34:12.022 [SPEAKER_02]: I mean, you just, we just, we got the opportunity to record it like we knew like two days in advance. 34:12.622 --> 34:13.823 [SPEAKER_02]: So we didn't get rehearsal. 34:13.843 --> 34:18.945 [SPEAKER_02]: We just kind of ran our extra, extra rehearsal at sound check. 34:19.585 --> 34:25.187 [SPEAKER_02]: And the crazy part, you listen back in your like, whoa, everything's like so fast. 34:25.807 --> 34:30.011 [SPEAKER_02]: we're like we play that like you don't even I didn't realize that we play that fast. 34:30.631 --> 34:40.180 [SPEAKER_02]: It's just like we you know that shows in front of like 4,000 people you get up there and you're just like here we go you know that's amazing that was it sounded like a giant crowd. 34:40.580 --> 34:46.766 [SPEAKER_02]: It wasn't big crowd and then so I was talking to the guy that makes the record and I was like I was like damn this sounds huge and he goes 34:48.406 --> 34:49.807 [SPEAKER_02]: This is how your band sounds, dude. 34:49.987 --> 34:51.929 [SPEAKER_02]: Like, it's awesome. 34:52.049 --> 34:55.371 [SPEAKER_02]: I didn't know, because, you know, you just hear what you hear on stage. 34:55.591 --> 34:57.932 [SPEAKER_00]: You ought to play to a click so you just, like, yeah, right? 34:58.373 --> 34:59.293 [SPEAKER_00]: That's incredible. 34:59.433 --> 35:06.498 [SPEAKER_00]: You just made so many bands jealous right now, including mine, that you can just, like, be like, we're going to make a live record in two days and just all with it. 35:06.778 --> 35:12.523 [SPEAKER_02]: It was fast as fuck and then there was like one song that we cut out because we're just like dude, I'm this too fast. 35:12.903 --> 35:13.544 [SPEAKER_02]: It's too fast. 35:13.624 --> 35:18.247 [SPEAKER_00]: Yeah, but we play our songs a couple of BPM's faster live than we do on the record. 35:18.307 --> 35:18.548 [SPEAKER_02]: Yeah. 35:18.768 --> 35:19.648 [SPEAKER_00]: I think that's normal. 35:19.889 --> 35:30.878 [SPEAKER_02]: I think you should think you should and I mean like you know all here all here bands like you know live versions of the cure or you know Queens and Stone Age and they're just like 35:31.638 --> 35:45.577 [SPEAKER_02]: cranking through it where you know I think I try to push my tempos as much as my vocal cadence will allow like when I start because you know like ten on six has like six fucking pages of words. 35:45.617 --> 35:47.179 [SPEAKER_00]: And you have to breathe at some point. 35:47.199 --> 35:47.379 [SPEAKER_00]: Yeah. 35:47.940 --> 35:51.763 [SPEAKER_02]: Yeah, I mean, like, did you reduce circle breathing to try to get through that last line? 35:51.783 --> 35:55.385 [SPEAKER_02]: You know, and it's like, uh, but I hear those bands like cranking through it. 35:55.425 --> 35:56.546 [SPEAKER_02]: I'm going, okay. 35:56.626 --> 35:58.567 [SPEAKER_02]: And, you know, I wasn't mad at that. 35:58.807 --> 35:59.708 [SPEAKER_02]: I thought it was kind of cool. 36:00.208 --> 36:00.508 [SPEAKER_00]: Yeah. 36:00.548 --> 36:03.930 [SPEAKER_02]: But it's a great time stamp of like, where we were as a band. 36:04.411 --> 36:10.375 [SPEAKER_02]: And then not only that of like, if I have other players that play with me, I'm like, this is the gig. 36:11.375 --> 36:12.696 [SPEAKER_02]: Oh, sound like this. 36:13.117 --> 36:14.418 [SPEAKER_02]: This is how fast we play it. 36:15.018 --> 36:15.959 [SPEAKER_02]: So keep up. 36:16.059 --> 36:17.440 [SPEAKER_00]: You have like a permanent board tape. 36:17.840 --> 36:18.081 [SPEAKER_02]: Yeah. 36:18.161 --> 36:19.662 [SPEAKER_00]: That doesn't sound like a board tape. 36:19.762 --> 36:20.923 [SPEAKER_00]: It sounds amazing. 36:20.943 --> 36:22.884 [SPEAKER_00]: Like board tapes makes me crazy. 36:23.425 --> 36:25.066 [SPEAKER_02]: And that was a lot of it floors. 36:25.306 --> 36:26.087 [SPEAKER_00]: Yeah, live at floors. 36:26.107 --> 36:27.208 [SPEAKER_00]: Could you start shout out to them? 36:27.348 --> 36:27.928 [SPEAKER_00]: Oh, PS well. 36:27.948 --> 36:28.689 [SPEAKER_00]: I'm thinking about it. 36:28.929 --> 36:29.690 [SPEAKER_00]: Shout out to you. 36:30.970 --> 36:32.351 [SPEAKER_00]: our friend Chris of the Green Grove. 36:33.111 --> 36:34.872 [SPEAKER_00]: My RV slide out is broken. 36:35.392 --> 36:36.472 [SPEAKER_00]: It's only $4,200 to fix it. 36:36.492 --> 36:36.852 [SPEAKER_00]: Oh, that's cool. 36:36.872 --> 36:39.173 [SPEAKER_02]: This is the first of all coming up. 36:39.273 --> 36:41.094 [SPEAKER_02]: Yeah, yeah, you're fine. 36:41.434 --> 36:42.014 [SPEAKER_00]: I'm fine. 36:43.214 --> 36:48.656 [SPEAKER_00]: We're only going 70, all the way to New Mexico and yeah, that's going to be our green room with no slide out. 36:49.016 --> 36:55.679 [SPEAKER_00]: So he was super sweety offered us these beckysie downstairs at the Green Grove called Good Winds to film the podcast in. 36:56.219 --> 36:57.959 [SPEAKER_00]: And there's a sign on the door 36:59.640 --> 36:59.881 [SPEAKER_00]: going. 36:59.901 --> 37:00.603 [SPEAKER_00]: It's really cool. 37:00.623 --> 37:01.064 [SPEAKER_00]: Speak easy. 37:01.184 --> 37:02.547 [SPEAKER_00]: It's one of my favorite hangs down here. 37:02.748 --> 37:04.071 [SPEAKER_00]: So, thank you, Chris. 37:04.412 --> 37:06.337 [SPEAKER_00]: Um, and another thing I wanted to talk to you about is, 37:07.678 --> 37:13.381 [SPEAKER_00]: I saw that you were like, you didn't necessarily want to have like one producer for this record. 37:13.421 --> 37:30.349 [SPEAKER_00]: It's kind of all different people involved and all different producers and like I just wanted to talk to you about that because I feel like you grow so much as an artist where at first you're like so reliant on a producer and then like the older you get the more you know more what you want than somebody else, probably even knows. 37:30.909 --> 37:32.750 [SPEAKER_00]: So but I still feel like a sense of 37:33.310 --> 37:38.364 [SPEAKER_00]: like, okay, I need direction or if I involve more than one person that might be like people biting heads or something. 37:38.805 --> 37:41.772 [SPEAKER_00]: So I loved that you were just like, that's not how it's going to be. 37:42.333 --> 37:43.654 [SPEAKER_02]: Yeah, I mean, I was paying for the record. 37:43.754 --> 37:44.834 [SPEAKER_02]: So, you know. 37:45.454 --> 37:46.275 [SPEAKER_00]: Yeah, we forget that. 37:46.315 --> 37:47.815 [SPEAKER_00]: We're the ones writing the text right here. 37:47.835 --> 37:48.656 [SPEAKER_02]: Right, yeah. 37:49.196 --> 37:53.558 [SPEAKER_02]: But also, it's kind of like, you know, I had certain producers in mind that I wanted to work with. 37:54.098 --> 37:57.399 [SPEAKER_02]: And I would just be like, hey, I want you to produce this one song. 37:58.080 --> 37:58.980 [SPEAKER_02]: And they're like, what's this for? 37:59.040 --> 38:00.040 [SPEAKER_02]: I'm like, it's for a record. 38:00.140 --> 38:02.742 [SPEAKER_02]: Like, well, what are the other songs I'm like, don't worry about those. 38:03.222 --> 38:03.462 [SPEAKER_00]: Great. 38:03.922 --> 38:05.523 [SPEAKER_02]: I just want you to do this one song. 38:05.703 --> 38:10.045 [SPEAKER_02]: Like, this is like, I have, for some reason, there's some kind of connection that I've drawn. 38:11.305 --> 38:16.270 [SPEAKER_02]: And with you at the helm, I know that this one song is going to be fucking magical. 38:16.970 --> 38:17.391 [SPEAKER_00]: And they don't. 38:17.431 --> 38:20.193 [SPEAKER_00]: I feel like times have changed so much that they're not going to care if there's other. 38:20.213 --> 38:26.439 [SPEAKER_00]: I mean, even my producer, I'm about to release a vinyl, and it has two or three songs on it that Paul produced in our home studio. 38:26.879 --> 38:29.662 [SPEAKER_00]: And then, you know, I did five with her in Nashville, and then we did like one remotely. 38:29.722 --> 38:33.525 [SPEAKER_00]: It's like, she's not going to care if I have a song next to us another song. 38:33.565 --> 38:34.306 [SPEAKER_00]: She didn't produce. 38:34.486 --> 38:36.428 [SPEAKER_00]: She's like, she just doesn't even care about that. 38:36.428 --> 38:47.662 [SPEAKER_02]: there's like 11 producers on Beyonce records so that's true you know who cares and right different writers yeah that makes a lot of sense okay so writers on all the all the single ladies 38:48.893 --> 38:49.273 [SPEAKER_00]: Right. 38:49.774 --> 38:51.035 [SPEAKER_00]: Oh, I know all the pop writers. 38:51.675 --> 38:52.836 [SPEAKER_00]: There's a vibe in up that money. 38:53.216 --> 38:53.856 [SPEAKER_00]: Hulk cow. 38:53.876 --> 38:55.217 [SPEAKER_00]: Okay, so name drop a little bit. 38:55.237 --> 38:56.338 [SPEAKER_00]: Who's involved with this record? 38:56.358 --> 38:57.999 [SPEAKER_00]: Because there's some good people. 38:58.079 --> 39:02.142 [SPEAKER_02]: Okay, obviously, so Varada is on there. 39:02.782 --> 39:06.084 [SPEAKER_02]: Jake Lynn, that plays drums for a while. 39:06.104 --> 39:12.068 [SPEAKER_02]: Whereas he's on a bunch of these Luke from Midland. 39:12.128 --> 39:16.091 [SPEAKER_02]: The guitar players on a bunch of this stuff, Simon Page. 39:16.111 --> 39:17.092 [SPEAKER_02]: That guy is a bit of evil. 39:17.852 --> 39:18.453 [SPEAKER_02]: Yeah, Luke. 39:18.673 --> 39:19.654 [SPEAKER_02]: Luke, he's, yeah, he's. 39:19.674 --> 39:32.386 [SPEAKER_02]: Oh my gosh, um, uh, I worked with Adrian Casada on Midnight Machine, and then Dron Marshall, the keyboard player from the Puma's, uh, and also his own solo stuff's amazing. 39:32.726 --> 39:35.469 [SPEAKER_02]: Um, he played a bunch of, uh, keys and B3 on there. 39:37.530 --> 39:53.673 [SPEAKER_02]: I friend Robbie Crowell, you played drums in Midland, now he plays keys for Sturgeonal, played on 10 on 6, his keys on there, the West Coast synth, and then I worked with the drummer from Depesh Mode on, he produced Mona and Danes. 39:54.254 --> 40:00.875 [SPEAKER_00]: Dang, Mona is so killer to me, I mean there's just this whole, everything is, is really killer, it's like, um, 40:02.237 --> 40:26.934 [SPEAKER_00]: it's you as music like you as a part like the music is you which is like that sounds so stupid but that's how it should always be but like the way you look the way you acts like the way you are the way you're seeing like the way you make your records the way it's just so beautiful to see that and it's just such a breath of fresh air and I mean I just love watching everything that you do and being your friend I feel very lucky 40:27.354 --> 40:29.696 [SPEAKER_00]: Are you still doing any resonances right now or anything? 40:29.816 --> 40:40.263 [SPEAKER_02]: I'm doing an August residency in Austin at the White Horse every Friday and then we're gearing up to release a new project. 40:45.227 --> 40:46.908 [SPEAKER_00]: Yeah, gas station dice. 40:46.968 --> 41:07.080 [SPEAKER_02]: Is that on the new I'm actually that that song's already out, but I mean is it a part of a big I'm actually going to put it on so there's Whenever to kind of tie it back into the whole thing with my album getting pulled I was like really looking at how I just didn't know how deeply some of these people were affected by my record 41:07.920 --> 41:09.542 [SPEAKER_02]: and it was just so beautiful to see. 41:09.762 --> 41:17.989 [SPEAKER_02]: And then I was like, man, I have all these other songs that I've cut that are just dying in a drop box. 41:18.830 --> 41:20.251 [SPEAKER_02]: And so I'm like this. 41:20.731 --> 41:22.232 [SPEAKER_02]: So that means that there's a whole 41:24.094 --> 41:32.457 [SPEAKER_02]: that I haven't got to have with people that admire my music, and I don't want to short-change the conversation. 41:32.857 --> 41:40.280 [SPEAKER_02]: So I went back and I was like, man, I have 24 other songs that were mixed and mastered, and so I divided them. 41:41.120 --> 41:59.272 [SPEAKER_02]: into what I'm calling roadside graves, volume one and volume two, because you know, living out in the lock heart, driving out there, you're on the highway the whole time and you just see these roadside graves constantly at these intersections, these little crosses and things like that. 42:00.132 --> 42:27.132 [SPEAKER_02]: and it's such a like a powerful energy point of like you know maybe that's where somebody has passed away or but it's a it's a point where like it meant enough for some family to come out there and make a visual point of grieving in that exact area and a lot of times you just drive past them and you don't really think about them but then I was kind of applying that mentality of these songs of 42:28.233 --> 42:30.115 [SPEAKER_02]: they're just in their great songs. 42:30.135 --> 42:35.462 [SPEAKER_02]: They're beautiful songs and they just been sitting on a roadside waiting to be acknowledged. 42:36.042 --> 42:38.766 [SPEAKER_02]: And I just want to give them that light. 42:38.806 --> 42:41.849 [SPEAKER_02]: So I put them together in two different albums. 42:41.909 --> 42:42.750 [SPEAKER_02]: Volume 1 of Volume 2. 42:44.062 --> 42:45.143 [SPEAKER_00]: That is so exciting. 42:45.483 --> 42:47.585 [SPEAKER_02]: Yeah, I'm very, and they're, they're beautiful. 42:47.805 --> 42:52.249 [SPEAKER_02]: There's some, it's, I feel like some of this is my best writing I've ever done. 42:52.369 --> 43:08.143 [SPEAKER_02]: And some of them when I was like holding onto you to like pitch to other writers and, you know, you like pitch it and every here back and then you're like, oh, well, now it's been two years and that beautiful songs are just sitting there doing nothing, you know, with a no job to do. 43:08.915 --> 43:13.318 [SPEAKER_00]: I have a lot of Sony dimples that are like that, you know, but I will never on the publishing on them. 43:13.358 --> 43:13.718 [SPEAKER_00]: So. 43:14.779 --> 43:24.065 [SPEAKER_00]: But then whatever, I'm recording a lot of my early catalog that I can, at least on my master's site, you know, I don't own a lot of those, which is really frustrating. 43:24.966 --> 43:28.568 [SPEAKER_00]: Well, NDJ vegan leather, what's he up to these days? 43:29.088 --> 43:29.309 [SPEAKER_02]: Oh, yeah. 43:30.469 --> 43:50.961 [SPEAKER_02]: Um, you know, I'm actually working on an EP of a original music that's like Dark Wave, disco, a little bit of techno stuff, but it's, uh, I wrote, I wrote this song and when I finished the song, I was like, it was like full body chills. 43:51.001 --> 43:53.582 [SPEAKER_02]: I'm sitting at the piano and I was just like, I 43:55.053 --> 44:12.272 [SPEAKER_02]: It was like the song that I was always supposed to write thing where I'm playing the hook on it and I can just hear like Other I can hear all like these kind of like angelic tones like happening in the room with me And I'm just getting like super emotional and I was and I'm sorry. 44:12.292 --> 44:13.553 [SPEAKER_02]: I told my wife I was like look 44:14.234 --> 44:20.058 [SPEAKER_02]: I wrote this song and I think it might be one of the best songs ever written, but it's not a JT song. 44:20.439 --> 44:21.519 [SPEAKER_02]: It's a vegan leather song. 44:22.260 --> 44:30.506 [SPEAKER_02]: And in order for this song to live, I have to build this vehicle for it to drive the fuck out of this driveway. 44:31.446 --> 44:36.190 [SPEAKER_02]: And so and I said that is going to entail me wearing a lot of leather. 44:38.532 --> 44:39.793 [SPEAKER_02]: And I was like, and if you're cool, 44:42.092 --> 44:46.295 [SPEAKER_02]: then I'm going to get you a lot of leather too, and she was like, I'm definitely cool. 44:47.016 --> 44:49.078 [SPEAKER_02]: And so, you know, that's what you want. 44:49.098 --> 44:49.438 [SPEAKER_02]: She's cool. 44:49.578 --> 44:51.319 [SPEAKER_02]: She has a cucumber bed. 44:51.339 --> 44:54.002 [SPEAKER_00]: She, yeah, she will wear some leather for the. 44:54.102 --> 44:54.582 [SPEAKER_02]: She will. 44:54.942 --> 44:55.603 [SPEAKER_02]: For the cause. 44:55.643 --> 44:56.183 [SPEAKER_02]: She loves it. 44:56.384 --> 44:57.564 [SPEAKER_02]: She got a bunch of leather already. 44:57.665 --> 44:57.925 [SPEAKER_00]: Yeah. 44:58.345 --> 45:01.726 [SPEAKER_00]: Yeah, if I listen, if she needs any more boy, do I have a closet for her? 45:01.906 --> 45:08.989 [SPEAKER_02]: I should, you know, I paid for this whole record, um, DJ and nightclubs, gay bars, Hunky Tonks, you fucking name it. 45:09.009 --> 45:11.830 [SPEAKER_02]: I was picking up every DJ gig that I could possibly do. 45:12.351 --> 45:13.471 [SPEAKER_02]: Every photography gig. 45:14.472 --> 45:22.595 [SPEAKER_02]: I would say the majority of it, I paid for that record doing extra DJ gigs on the side, you know, every weekend I had off. 45:23.235 --> 45:27.277 [SPEAKER_02]: I'm just like, hitting up nightclubs and like, I'm in this, I'm in this town. 45:28.177 --> 45:31.640 [SPEAKER_02]: Yeah, and I'm like, I'll just, we'll figure it out. 45:32.040 --> 45:35.003 [SPEAKER_00]: I've always wanted to learn, but I never had time, but that's very fun. 45:35.043 --> 45:36.184 [SPEAKER_00]: I want to come catch one of those. 45:36.264 --> 45:38.886 [SPEAKER_02]: Oh, well, I mean, I've also been DJing for like nine years. 45:38.966 --> 45:39.927 [SPEAKER_02]: Yeah, you're real good at it now. 45:40.007 --> 45:42.930 [SPEAKER_02]: I've been, but you're high demand. 45:43.590 --> 45:47.954 [SPEAKER_02]: The vegan leather sets when I, because I go up and DJ the Shane Smith parties. 45:48.034 --> 45:48.314 [SPEAKER_00]: Right. 45:48.835 --> 45:51.377 [SPEAKER_02]: And Idaho, and it's a different beast. 45:52.178 --> 45:54.419 [SPEAKER_02]: It's a different, it's a different beast. 45:54.439 --> 45:54.940 [SPEAKER_02]: I had that. 45:55.160 --> 46:14.275 [SPEAKER_00]: that whole festival is a different beast like I love their fans like and that in that scenery like you belong there with your leather i love it so much and and signs of life i want to say of our mutual friend Rachel he showed me that the other day she sent it to me and and and that song that i wrote last week yes it's really good thank you 46:14.815 --> 46:18.479 [SPEAKER_00]: and we have a home studio if you ever need free harmonies on anything but free. 46:18.499 --> 46:21.542 [SPEAKER_00]: I mean I'll take Pauli's into Chipotle or something. 46:21.622 --> 46:22.663 [SPEAKER_00]: Right. 46:23.564 --> 46:24.365 [SPEAKER_00]: I just love that. 46:24.385 --> 46:24.906 [SPEAKER_02]: I'll take him. 46:25.306 --> 46:26.487 [SPEAKER_00]: Okay, how about you take him? 46:26.647 --> 46:28.850 [SPEAKER_02]: Yeah, I'll take him. 46:28.990 --> 46:36.658 [SPEAKER_02]: You know, I wrote that for some, you know, some people in my life that I know that are 46:37.378 --> 46:57.610 [SPEAKER_02]: like going through a divorce, and it was a song where I just, I woke up and just felt like something needed to be said to acknowledge their resilience, and I wanted to offer that. 46:59.073 --> 47:01.294 [SPEAKER_00]: Yeah, I mean, great, yeah, totally. 47:01.454 --> 47:07.415 [SPEAKER_00]: I mean, I've just been kind of in a little bit of a tornado, not a divorce, so it's not started any rumors. 47:07.795 --> 47:10.296 [SPEAKER_00]: But yeah, it was really, really great. 47:10.316 --> 47:10.856 [SPEAKER_02]: Thank you. 47:11.076 --> 47:14.136 [SPEAKER_00]: And I am so glad, thank you for driving here today. 47:14.456 --> 47:17.277 [SPEAKER_00]: And y'all, please go get dove. 47:17.617 --> 47:19.698 [SPEAKER_00]: This is the coolest vinyl I've ever seen. 47:19.718 --> 47:23.719 [SPEAKER_00]: I am blown away and go see Jonathan Terrell out of show. 47:23.739 --> 47:25.079 [SPEAKER_00]: And I'm going to be here. 47:25.819 --> 47:29.001 [SPEAKER_00]: I saw your playing old court over this will be out by then, but tell them hide down there. 47:29.021 --> 47:29.922 [SPEAKER_00]: I love them so much. 47:30.002 --> 47:31.042 [SPEAKER_02]: It's my first time to play there. 47:31.543 --> 47:31.663 [SPEAKER_00]: Oh. 47:31.823 --> 47:33.284 [SPEAKER_02]: Yeah, I'm really excited. 47:34.453 --> 47:36.474 [SPEAKER_00]: Oh my gosh, you're playing there with someone else too. 47:36.514 --> 47:37.374 [SPEAKER_02]: My buddy, Graham Weber. 47:37.494 --> 47:37.754 [SPEAKER_02]: Right. 47:37.814 --> 47:38.034 [SPEAKER_02]: Yeah. 47:38.594 --> 47:39.215 [SPEAKER_02]: Great. 47:39.535 --> 47:40.395 [SPEAKER_00]: I wish I was down there. 47:40.415 --> 47:41.435 [SPEAKER_00]: That's such a great room. 47:41.716 --> 47:46.097 [SPEAKER_00]: And I would kill it to see you in that sort of listening room. 47:46.117 --> 47:49.558 [SPEAKER_00]: But also your white horse show with your band. 47:50.239 --> 47:50.999 [SPEAKER_00]: We love the white horse. 47:51.019 --> 47:51.699 [SPEAKER_00]: That's such a cool. 47:52.179 --> 47:52.979 [SPEAKER_00]: Hunky-tongued room. 47:53.060 --> 47:54.380 [SPEAKER_00]: Please go support that venue. 47:54.520 --> 47:56.001 [SPEAKER_00]: And our friend, J.T. 47:56.021 --> 47:56.821 [SPEAKER_00]: Thank you. 47:56.841 --> 47:57.741 [SPEAKER_00]: Did I miss anything? 47:58.421 --> 47:59.702 [SPEAKER_00]: You dressed super cool. 48:00.422 --> 48:01.663 [SPEAKER_00]: We didn't talk about that. 48:02.043 --> 48:03.644 [SPEAKER_00]: You got the cool story and outfit. 48:03.664 --> 48:04.685 [SPEAKER_00]: Yeah. 48:05.045 --> 48:07.327 [SPEAKER_00]: Don't call it anywhere in and out. 48:07.767 --> 48:08.087 [SPEAKER_00]: Okay. 48:08.467 --> 48:09.308 [SPEAKER_00]: Anyway, thank you. 48:10.068 --> 48:11.109 [SPEAKER_00]: You can get some of them right now. 48:11.389 --> 48:11.669 [SPEAKER_00]: I know. 48:11.709 --> 48:12.210 [SPEAKER_00]: Me too. 48:26.905 --> 48:53.712 [SPEAKER_01]: But you're my person, but you're a draw, I'm a man Like you should've seen, look on face and a midway Like you've known before, love and just a little too soon Mistake days can't be explained But I gotta give you an answer, won't be all right on me 48:58.880 --> 49:11.583 [SPEAKER_01]: It's a way Hey Feelin' my tears More I'll settle in now I love you More I'll settle in now