Country Music in the 90’s: The Year is 1991

Bobby continues the ’90s country music countdown with 1991  a year where Brooks & Dunn exploded with Brand New Man, Trisha Yearwood broke through with “She’s in Love with the Boy,” and Garth Brooks started rewriting the record books. But the year also had some heavy chapters, from The Judds’ farewell tour to the tragic loss of Dottie West and the plane crash that changed Reba’s life. Bobby also revisits Vince Gill joining the Opry, Tracy Lawrence surviving a shooting before his debut album, and the first number ones that helped launch several major careers. Plus, he takes a few detours into 1991 outside of country music  from Nirvana and Magic Johnson to the World Wide Web, Game Boy, and the pop culture moments that made the year feel unforgettable.

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Episode Transcript

Speaker 1 (00:13):
Welcome to episode two of the 90s podcast. Today, we're
going back to 1991. This was the year we saw
the rise of a future icon, said goodbye to one
of the most beloved duos in country music, and watched
a superstar go through one of the hardest chapters of
her life. Oh, and don't worry. We'll also hit on
some of the pop culture and tech trends that made

(00:34):
1991 feel like a different world. Let's now jump into
the top 10 most memorable country music moments from 1991.
Number 10. Before Trisha Yearwood was, well, Trisha Yearwood, the
Grammy-winning star and cooking show host we all know, she
was still trying to make it in Nashville. That all

(00:56):
changed in 1991 when she dropped her debut album, and
on it was the song that would change everything, and
I'm talking about She's in Love with the Boys. But first,
how did she get that moment? Well, she grew up
in Georgia, singing in school plays, singing in church, basically
any place with a microphone. She went to the University

(01:16):
of Georgia really quickly before transferring to Belmont and Nashville
to study music business. From there, she got an internship
at MTM Records, and there she started cutting demo tapes.
And eventually, because she had done so many at such
a high level, she became the go-to voice for background vocals.

(01:36):
That's when she crossed paths with Garth Brooks. She sang
on his demos, and he promised her if he made
it big, he would help her get a record deal.
And as Garth often does, when Garth says something, he
follows through. Garth introduced her to his producer, and she
eventually got a deal of her own. By 1991, she

(01:57):
was opening for Garth Brooks. And then came the hit.
She's in Love with the Boy dropped March of 1991.
It's the story of a small town love, Katie and Tommy, young, broke,
crazy about each other, despite what her father thinks. But
the twist, mom steps in and reminds dad of their

(02:19):
own wild love story. And then suddenly everything changes, both
in the song and in the fictional life, but then
also Trisha's life. It hit number one on the Billboard
Hot Country Songs chart, and just like that, Trisha Yearwood
was on the map. That song launched a career that
is still going strong today, and even now, it is
still one of the most loved country songs of the decade.

(02:43):
You may think these artists are so good, there's no
way they have confidence issues. That is just not the case.
With most artists, and with Trisha Yearwood especially, now Trisha
had no problem singing She's in Love with a Boy,
singing anything, She can sing anything. But what a lot
of people may not realize is that Trisha battled with
her own confidence and her own ability to write her

(03:05):
own songs because of something that happened when she first
moved to Nashville. I talked to Trisha about this and
the origin story behind this fear and this lack of
confidence and why it changed just a few years ago.

Speaker 2 (03:17):
When I was in college at Belmont, I had a
guy tell me that I was not a songwriter. And
I I didn't even realize that it was in there.
Like you were talking about moving a lot. You don't
know what's in your DNA. You know, the body keeps
the score kind of thing. But I must have somehow,
and I just, I believed it. And so when I
did write some in the early nineties and I never
recorded anything that I wrote, but I just didn't, when

(03:38):
I went to work with Garth Fundus, I never said, hey,
I'd like to write something for this project. It just
never occurred to me to even say it. He wouldn't
have said, no, you can't. But I didn't believe in myself.
And so anytime anybody would say they wanted to write
with me, I'd be like, oh, you don't want to
write with me.

Speaker 1 (03:51):
I'm I'm not really a writer.

Speaker 2 (03:53):
And something just happened where the switch flipped a couple
years ago. And I was like, this guy who, bless
his heart, probably doesn't even remember he said it. Didn't
mean anything to him, but apparently it stuck with me.
But I just kind of said, that doesn't have to
be the truth just because somebody else said it about me.
And it just kind of opened up this whole new world.
So it doesn't take anything away from, I mean, I

(04:14):
feel so lucky I have found the best songs in
the world, like the song Remembers When and Walk Away
Joe and She's in Love with a Boy. But it's
just another level that I had not, that I just,
I kind of got out of that shell and was like,
that doesn't have to be the truth. And it's opened
up a whole new world for me. I'm loving it
so much. Never intended to make a record of it.
It was really therapy. It was like songs to my
younger self. And I never thought I would make a record.

Speaker 1 (04:36):
What context was that conversation where he said, you're probably
not a songwriter, you're not a songwriter?

Speaker 2 (04:41):
Well, at Belmont, you know, everybody, a lot of people
at Belmont were singers and songwriters aspiring. And there was
a group of us that were buddies. And he was
a friend. He and his wife were in school together
and we were, we were doing some writing in this group. And, um,
he said, let me see all your, cause I came
to Nashville with my stack of poetry and my songs
from high school. And so I gave him this stash

(05:04):
of stuff and he took it and said, and said,
I'll get back with you and see if there's anything
that we can work on. And he brought it all
back to me and basically and said, yeah, I don't,
I don't think you're a songwriter.

Speaker 1 (05:13):
You're a really good singer. And I just was like, Oh,
and you know, you're, It's so personal.

Speaker 2 (05:18):
Songwriting is, you have to, it's so vulnerable to put
yourself out there anyway. And if someone gives you some
negative feedback, it just shut me down completely.

Speaker 1 (05:28):
It's a weird mix of you're at an impressionable creative age. Yep.
And you're right. It is so personal and impressionable and
personal when they meet, if they don't meet almost delicately
in the right exact way, I can see where you
would be scarred and not even purposely by the person
who's saying it.

Speaker 3 (05:46):
Right.

Speaker 2 (05:47):
Because I'm sure that, you know, I've talked about him
and I feel kind of bad, but I don't have
any ill will toward him because it was me that
made it the truth.

Speaker 1 (05:54):
And I was 19 years old.

Speaker 2 (05:56):
So yeah, it took a long time for that to
kind of get out of my head. And even my
husband who, you know, he's in several songwriting hall of fames,
you know, he's been telling me for years, you're a writer.
And there's a song on the Chris Gaines project actually
that I'm a co-writer on But that was pulling teeth
where he sat me down and said, tell me about
growing up in a small town.

Speaker 1 (06:14):
And we had this conversation. He made it rhyme. He
made it poetry. Because I was like, I'm not a writer.
I'll tell you what I know.

Speaker 2 (06:20):
And so I actually went to him after all this started.
And I said, you should write with me. It would
be a lot more fun for you now. And we
have written some together because I just feel different.

Speaker 1 (06:32):
Now time for a quick pause from the countdown. Okay,
when I think about 1991 as far as where I
was and what was happening. I was in Mountain Pine, Arkansas,
doing my Mountain Pine thing, but Nirvana released Nevermind. That
album to me was a masterpiece. I ended up memorizing
every song, every word, every song, and obviously the biggest

(06:56):
song was Smells Like Teen Spirit. I mean, that song hit,
and it changed everything, and we don't, at the time,
know what's going on. Looking back, I mean, it really
changed the complete texture of I would say even pop music.
I mean, because at the time, going into like the
early 90s, pop music was very much still that glam
rock type stuff. Those 80s hair bands. It was pop

(07:19):
music for the most part.

Speaker 4 (07:20):
Yeah, sure.

Speaker 1 (07:21):
There was New Kids on the Block and stuff. But
those glam rockers is what was really on pop radio.
And as soon as Nirvana existed, as soon as they
put out Nevermind, as soon as Smells Like Teen Spirit hit,
That started to change. Now, it wasn't as easy as
the song came out and everybody was now wearing flannel.

(07:42):
Very much not the case. However, you started to see
a lot of the glam and a lot of the
big hair bands just slowly start to disappear. Some of
them would even try to change. But, you know, when
you're committed, it's hard to completely flip the script and
say you're something else. But man, it completely eliminated the
hair bands and it launched what ended up being a

(08:03):
massive hit. Seattle based grunge movement. Now there was no
movement in 1991 because this was the start of the movement.
And the movement is when the other band started to
hit and crossover. Now it had been happening in Seattle
for a while. Now, looking back now, you know, seeing
the history of it, but Nirvana hits that allows Pearl
jam that allows insert all of those awesome bands from

(08:26):
the nineties. And for me, there were two kinds of
music all through the nineties, country music and alternative music.
And why? Well, country music talked about where I was
coming from. Alternative music talked about kind of how I felt.
And both of those are cliche things to say, but
cliches generally are for a reason. But man, Smells Like

(08:48):
Teen Spirit was everywhere. I remember I didn't even really
know what he was saying. Heck, I don't think I
really knew what he was saying until I had the
internet and could really look it up and I don't
even know if you quiz me now, I'd get all
the words right. I can sing along with it perfectly,
but there's a lot of weird owl even did a
parody of it. Now that I think about this, it's
all coming back. He did a parody of this song.

(09:11):
And the whole joke was you couldn't understand what Kurt
Cobain was saying. And the song smells like teen spirit.
So 1991, nevermind comes out, smells like teen spirit hits
and holy crap. That song changed it all. Nirvana broke through.
Alternative music broke through. A more realistic version of people

(09:32):
making music broke through. It is pretty dynamic. It was dramatic.
It was amazing. So that's the first one. That's like
the good one. But also in 1991, I remember watching
the press conference when Magic Johnson announced he had HIV.
I remember watching that. They put it up on all
the networks. And back at the time of 1991, there
were like four channels. I mean, you could have cable,

(09:57):
but there really were the networks. were dominating all the
good shows on network tv occasionally there would be something
on cable but whenever something went across abc nbc cbs
and even fox you know that didn't become a real
network until around you know the early to mid 90s
When something was that big and it went on all four,

(10:19):
it was like the presidential address. It was like the
OJ Bronco chase. It was like Magic Johnson at a
press conference announcing that he had HIV. That was crazy.
And I didn't understand much about HIV or AIDS at
the time. I mean, no one did when you think back,
especially a kid. I'm sure some people did, but I didn't.

(10:42):
But I was a fan of Magic Johnson. Everybody knew
Magic Johnson. He was on TV. He was winning championships.
He was smiling. He's doing commercials. He was larger than life.
Then all of a sudden he was talking about something
that I had mostly only heard about in like serious,
scary ways as a kid. So 1991 was memorable in
two ways. Nirvana was music. I loved that ended up shifting.

(11:05):
Everything is big. It was strange. It was exciting. It
was different. Magic's announcement was another kind. It wasn't fun
or cool, but, But it made the world feel a
little bigger and more complicated. It's like, wait, what? So
I look back at 1991 with those two moments and
I go, those hit hard. Like I can remember exactly

(11:28):
where I was when I was watching Nirvana, Smells Like
Teen Spirit, that video for the first time. Or I
can remember where I was when Magic Johnson did the
press conference. So that's what's up. That's my personal story.
1991 memories that are not country related. The Bobbycast. We'll

(11:50):
be right back. Number nine. While 1991 had its highs,
it also had one of country music's saddest moments. On
September 4th, we lost Dottie West in a tragic car accident.

(12:11):
She was on her way to perform at the Grand
Ole Opry when her car broke down. A neighbor offered
her a ride to get there on time, but he
ended up losing control of the car and crashing into
the divider. At first, she seemed okay, but internally she
had some serious injuries. After multiple surgeries and 30 units
of blood, she sadly passed away during a third operation.
Her driver survived, but was later put on probation for

(12:34):
reckless endangerment. The entire country music world was devastated. Kenny Rogers,
one of her close friends, gave a beautiful eulogy saying,
He said, when she sang about pain, she felt pain.
When she sang about love, she felt love. That sums
her up. A bunch of artists showed up to honor her.
Johnny Cash, June Carter Cash, Connie Smith. It was a
big loss. It was a big loss in Nashville. It

(12:55):
was a big loss in country music. In 2018, Dottie
was finally inducted into the Country Music Hall of Fame,
something fans and friends have been pushing for since her death.
She was a trailblazer. The first female country artist to
win a Grammy. A member of of the Opry since 1964.
Her life was even made into a TV movie back
in 1995, and her hometown honored her with Dottie West

(13:18):
Memorial Highway. Even decades later, she's remembered as one of
the women who helped shape the genre. August 10, 1991.
A big day in country music. That's when Vince Gill
officially became a member of the Grand Ole Opry. And
get this, he was inducted by Roy Acuff himself. If
you know anything about country music, you know the Opry

(13:39):
is sacred ground. So for Vince to be welcomed in
like that, that was huge. It was a moment that
solidified his place in country music history. During the ceremony,
he sang When I Call Your Name. And you could
feel the emotion when looking back at the YouTube videos
of how much he appreciated not only that moment, but

(13:59):
the honor that is being a Grand Ole Opry member.
He first stepped on the Opry stage back in 1989.
And by 1991, after a run of hits, awards, and respect,
he was finally invited and then joined the Grand Ole Opry.
Since then, Vince has kept coming back to that stage,
still playing the Opry regularly. And he's even brought in

(14:21):
some people, like Rascal Flatts and Little Big Town. Pretty cool.
His 1991 induction was a career milestone. And all these
years later, it still holds a ton of weight. Vince
Gill has a catalog of songs that can go up
against anyone in country music. I'm lucky enough to know Vince.
I'm lucky enough to have spent a significant amount of

(14:42):
time with him at the Opry. I'm lucky enough that
he has been on microphones with me and we've talked
about things over the years. And we recently talked about
his Mount Rushmore of his own songs and what songs
would make that list. One, two, three, and four. And
if Vince ever gets tired of singing his own songs,
because he has sang them thousands and thousands of times.
So here's a clip of Vince Gill and myself sitting

(15:04):
down talking about that. What would you put on your
Mount Rushmore?

Speaker 5 (15:06):
Oh, God, good question. First would be Go Rest High
on that mountain. And then one might be an obscure
song of mine called Young Man's Town. I love the
message of that. When I Call Your Name, probably. And
maybe I still believe in you.

Speaker 1 (15:21):
Ah, come on. That one makes mine too. Are there
any songs that you're in that maybe you don't love
to sing as much as you used to because you're
kind of over it?

Speaker 5 (15:28):
Oh, I don't know about that, you know, because I
remember when I was young and struggling to have, and
I struggled for a lot of years in town before
I really started having some hits. Those years for me of,
of wanting to have a familiar song, it made me
not ever be critical of having to do a certain
song for the rest of my life. So I'm, I'm

(15:49):
grateful for just about any song that ever showed up
that did something.

Speaker 1 (15:53):
Whenever Caitlin's grandfather came to town, I took him to
see the Grand Ole Opry because anyone that comes to
town and knows country music wants to go see the
Grand Ole Opry. And so we go to the show. Luckily,
I'm fortunate enough, I've played it probably around 20 times.
And so I also did the television show. And I
hosted it when they launched that show and all during COVID.
So I have a very special relationship with the Opry.

(16:16):
And so before the show, I took him and we
were walking around backstage and Vince Gill was playing that night.
And Vince Gill is the nicest guy. And so I
introduced Caitlin's grandfather to Vince Gill. And Vince Gill is
so nice and kind. I think he probably spent 15
minutes with Caitlin's grandfather. And that's a memory he'll never forget.
And that's something I'm super appreciative of. So shout out

(16:37):
Vince Gill and shout out 1991. Okay, quick detour from
country music because 1991 had some wild tech moments. This
was the year of the World Wide Web. It went
public in 91. British scientist Tim Berners-Lee launched the first
web page and basically said, World, here's the internet. And

(16:58):
how'd you access it? Dial up. Slow, loud, and painful.
but it was the only way in. Here's that sound
that you would hear when you were dialing in. And also,

(17:36):
if you were on the internet and someone picked up
the phone, they heard that sound too. Because you couldn't
be on the phone if someone was dialed into the
internet because, well, that was the phone. Also, in 91,
the Game Boy was dominating. It was so cool because
it was basically Nintendo in your hand. And now, that

(17:58):
seems normal. But back then, I didn't have one. But
one of my friends did, and we thought it was
the coolest thing ever. Tetris? I sucked at it, but
I love playing. And if you were good at Tetris,
you were automatically cool. All right, back to the countdown.
Number seven. Let's jump back to November 12th, 1991, because
that is the day Tracy Lawrence dropped his debut album

(18:19):
called Sticks and Stones. The record had it all. Upbeat energy,
slow ballads, tons of emotion. Right out of the gate,
Tracy made a splash. And honestly, the album is still
considered one of the best from the 90s. James Stroud
produced the record, and it delivered four big-time hits. Somebody
Paints the Wall made it to number eight. Running Behind
peaked at number four. Today's Lonely Fool hit number three.

(18:42):
And the title track Sticks and Stones became Tracy Lawrence's
first number one song. The album itself climbed to number
10 on the country album charts. And critics love Tracy's
deep baritone and the strong songwriting. But really what makes
the album stand out is what it meant for Tracy's career.
This album officially planted him as part of the 90s
new traditionalist movement in country music. And it also featured

(19:04):
band members from Garth Brooks' band, the G-Men. And producer
James Stroud even played drums on one of the tracks.
Now here's something that a lot of people don't know
about Tracy. The album was actually delayed for months because
Tracy was shot. Yeah, in May 91, he was the
victim of a robbery attempt in a hotel parking lot
in Nashville and was shot four times. He had to

(19:25):
have surgery and recover before he could even think about
releasing music. And I talked to him for a while
about this on the Bobbycast. I was talking with a friend.
I said, hey, Tracy Lawrence is coming over. And he
was like, ask him about the time he was shot. Now,
some people in my life that have been shot don't
like talking about when they were shot.

Speaker 6 (19:43):
You know, I've had to talk about it so much
that I kind of just kind of go through the motions.
So if I get glassy-eyed and act like I'm not here,
I just... just kind of go through the deal because
people are curious about it. And it was a tough
time in my life.

Speaker 4 (19:56):
That happened May of 91.

Speaker 6 (19:58):
I had just finished the background vocals on the last
track on the album. And I had a friend of
mine that came in town that I'd grown up with,
a young lady that I graduated high school with, completely
platonic relationship.

Speaker 4 (20:08):
And she was excited.

Speaker 6 (20:09):
She was coming through to go see some other folks
we graduated with that lived in Indiana. And so she
stayed a couple of nights, came to the studio.

Speaker 4 (20:16):
We went out.

Speaker 6 (20:16):
I took her to some of the bars and stuff
that I like to frequent. We had a couple of beers,
and I was taking her back to drop her off
at a hotel. Opened the door and had a pistol
stuck in my face. And they were trying to force
us up to her room. They were going to do
you can imagine what. And I was able to fight
them off, and she ran to the front of the hotel,
and they emptied two pistols on me.

Speaker 1 (20:36):
I've had a gun to my head.

Speaker 4 (20:37):
It's not fun.

Speaker 1 (20:39):
You were shot. I thank God I wasn't shot. I
remember that. I got pistol whipped, but I didn't feel it.
You know, they had a gun to my head and
they're like, I couldn't remember my pin number. Like I
blanked out where I was like, I don't know my
pin number to get in the ATM. And so they
pistol whipped me and I was like, I don't feel that.
And I was just praying like, please don't pull the trigger.
But because I don't remember it or didn't feel it.

(21:00):
Did you feel when you got shot?

Speaker 6 (21:02):
I didn't feel the initial impact, but what I do
remember is that they shot the worst of it. I
grabbed the pistol with my left hand. The guy was
right behind me, and I grabbed the gun, and it
went off and shot my finger. So I hit him
in the mouth. Other people came back on me. She
took off running to the front. And I got hit

(21:22):
in the hip, which I still carry a bullet there.
I got hit in the upper right arm. And they
shot me right through the left knee, right through the joint,
from the outside.

Speaker 4 (21:30):
Of the leg all the way through.

Speaker 6 (21:31):
So I had three surgeries and wound up having to
have a total knee replacement in 2016.

Speaker 4 (21:35):
So this is 91, though?

Speaker 1 (21:37):
This was May of 91. This happened before you– I.

Speaker 4 (21:43):
Mean– No, it was a random thing.

Speaker 1 (21:45):
But I know, but I'm saying you went through– you
then got to have major success after you were shot
multiple times.

Speaker 4 (21:52):
Yeah.

Speaker 1 (21:52):
Like you toured after you had to go through all
of this.

Speaker 6 (21:55):
And the bad thing about it, you know what– you
know how– how fragile a launch is. And if you've
got the priority of anybody at a record label or
the powers that be, you better capitalize on your opportunity
while you have that moment because they're going to move
on to the next flavor of the month pretty quick
if you don't hit or.

Speaker 4 (22:11):
Get something rolling.

Speaker 6 (22:12):
So I'm getting ready to drop my first record. I
got all this momentum, all this belief around me.

Speaker 4 (22:17):
And here I am. I can't even freaking walk.

Speaker 1 (22:18):
That's my point.

Speaker 4 (22:19):
And I'm like, I'm mad.

Speaker 6 (22:21):
I'm mad that I'm about to lose my slot. And
if I don't come back quick. So I never took
care of my mental health. I didn't rehab properly. I
had a lot of physical issues with it that have
plagued me for years and years and years that I
still struggle with to this day. But I knew that
if I didn't get out of that hospital bed and
get back on the bus as fast as I could
and start working that first album, that I'd lose my shot.

Speaker 4 (22:42):
And I probably wouldn't get another shot.

Speaker 1 (22:43):
And that was my point with you toured. Like you
had success. You probably went back too early.

Speaker 6 (22:48):
If you pull up the Sticks and Stones album cover,
I don't know if y'all have it, but if you
look at the back shot, I'm in a pair of
red acid wash jeans. And you can tell how skinny
I am. I lost so much weight through that because
I was in the hospital bed for a while. And
they literally, we did a photo shoot for that album.
Part of it was done out at Percy Priest. And
I'm actually bent down on a rock. And they had

(23:10):
to carry me out there because I couldn't walk on
that left leg. So I literally got on a guy's
back and he carried me out there and set me
on that rock. And I can't bend my knees. You
can tell by the way I'm sitting. That knee, I mean,
it's probably as big as a cantaloupe in that photo, too.
But I'd lost so much weight through that period. I
really needed to take six months before I got out
there and started doing what I did.

Speaker 1 (23:30):
And how much did you take?

Speaker 4 (23:32):
Oh, so that would have happened in May.

Speaker 6 (23:36):
I think I was probably on the road July, August.

Speaker 1 (23:39):
Wild.

Speaker 4 (23:40):
Stupid. But I didn't have a choice.

Speaker 7 (23:42):
Right.

Speaker 4 (23:43):
You know? I mean, I had to, without a doubt.

Speaker 1 (23:47):
Just wild at two months.

Speaker 8 (23:48):
Yeah.

Speaker 1 (23:49):
It's not like you can go half throttle either.

Speaker 8 (23:51):
No.

Speaker 4 (23:51):
That single dropped in August. Six and Stones dropped in August.
So I had to.

Speaker 1 (23:57):
Was that a big story then?

Speaker 4 (23:59):
They used it.

Speaker 6 (24:00):
The label used it for everything they could squeeze out
of it because it just gave us something to talk about.
I didn't want to do it, but I didn't have
any control over it. But, you know, who's to say?
Would they have been able to launch my career without
that nugget? I would have preferred not to get shot.

Speaker 4 (24:18):
But.

Speaker 6 (24:19):
Got to take advantage of the opportunities you're given.

Speaker 1 (24:22):
Number six, number six, number six. In 1991, we said
goodbye to one of the most iconic duos in country
music history. I'm talking about the Judds, Naomi and Wynonna Judd.
They had this one-of-a-kind mother-daughter harmony, and their songs were
full of heart and truth. But before we get to

(24:42):
the farewell, let's rewind. The Judds got their start in
the early 80s and they blew up fast with songs
like Why Not Me? And also Grandpa, tell me about
them good old days. Their music connected because it was real. Family, love, struggle.

(25:03):
It was all there because that's exactly who they were.
Then in 1990, Naomi Judd was diagnosed with Hepatitis C
and she made the tough decision to retire from touring.
So they planned one final tour to give fans a
proper goodbye. Now, it wasn't just a tour. It was
an event. They hit major cities across the United States.
They shared personal stories on stage. And they played all

(25:26):
the hits. Love can build a bridge. How's the jam?
Between your heart and mine. Man, people just crying in
their seats. Flies on the butter. It was all fan
interaction as well. They were family, and they made everyone
in the audience feel like family. That tour was very emotional,

(25:49):
but it also marked the beginning of Wynonna's solo career.
She would go on to crush that in her own right.
The Judds didn't just make music. They opened doors for
women in country music, and their songs still live on today.
November 1991, NBC premiered a show called Hot Country Nights.

(26:09):
Think of it as Saturday Night Live meets the Opry.
It featured performances from big names like, looking back, Alabama,
Vince Gill, Travis Tritt. I saw some of those. There
were comedy bits from people like Tim Allen and Jeff Dunham.
They weren't blue-collar comedy yet, but you get it, right?
There's a little music, a little stand-up, all packed into
one show. It was created by Dick Clark and Gene Weed,

(26:31):
and they were hoping to ride the wave of country's
mainstream boom. I mean, 90s country was out of its mind...
So they wanted to make a show that reflected that. Unfortunately,
it went up against some of the other massive shows
at the time, like.

Speaker 9 (26:44):
Murder, She Wrote.

Speaker 1 (26:45):
Dang you, Jessica Lansbury! Is her name Jessica Lansbury? I'm
going to have to go to Google here. In my mind,
it was Jessica Lansbury. Her name is, drumroll please, Angela Lansbury.
Angela Lansbury. and her fictional character was Jessica Fletcher. Dude,
that's my mind. My mind gave me both answers, and

(27:07):
because of that, neither were right. I was double wrong.
So the actor was Angela Lansbury, who played Jessica Fletcher
in Murder, She Wrote. Dang, why did my brain do
crap like that? Well, yeah, anyway, went up against Murder,
She Wrote, and Angela Lansbury was solving crimes. Yeah, good
luck beating that. Also, America's Funniest Home Videos, back when

(27:29):
you actually made videos... and Hot Country Nights, 12 episodes,
and done. Still, it was a cool attempt to bring
country music to primetime, and it gave a lot of
artists a big national spotlight, even if it were just
for a short while. It's hard to picture country music
without Reba, but we did come very close to losing

(27:50):
her in 1991. That year, Reba's band was flying out
of San Diego when their plane hit bad weather and
hit the side of a mountain. All 10 people on
board were killed, including the pilot and the co-pilot. Reba
was not on the flight, but she was devastated. These
weren't just band members, they were her friends. She considered
walking away from music altogether, but instead she did what

(28:11):
Reba does, she turned heartbreak into something powerful. She dedicated
her next album, For My Broken Heart, to them. The
title track, still one of her most emotional songs. She
hosted a benefit concert in Nashville to raise money for
a scholarship in their memory. That loss changed her forever,
but it also showed the world Reba's strength. And thankfully,

(28:34):
she kept going, she kept singing, and she kept being Reba.
Let's take a quick pause from the countdown. 1991 was
a wild year in America in general. And all of it,
whether we realize it or not, ended up touching country
music in some way. Here are a few of the
major headlines from that year that tell us where we
were as a country and maybe why certain songs hit

(28:56):
a little bit harder. The Gulf War begins and ends fast.
It was January of 1991, Operation Desert Storm launched, and
it was the first war that most people actually watched
on live television. This was America's first CNN war. We
were glued to our TVs watching night vision bombs drop
in real time. I just remember seeing red, what looked

(29:18):
like rockets, flying through the top of a screen in
a dark night. It was crazy. It also sparked a
massive wave of patriotism. especially in southern and rural communities,
aka country music's core audience. Suddenly, flag wave and song
started getting a lot more airplay. Toby Keith wouldn't hit
until a few years later, but the groundwork for that

(29:39):
post-911 sound it was being laid right there thanks to
lee greenwood alabama's song of the south getting revived and
even garth sliding in themes of pride and tradition on
rope in the wind The Rodney King beating gets caught
on tape, March 3rd, 1991. Rodney King is beaten by
LAPD officers, and a guy happens to catch it on
his camcorder. This wasn't like today where everybody had a phone.

(30:03):
The guy just happened to have a camcorder. The video
airs everywhere. It's shocking. And for the first time, Americans
are seeing police brutality on their home televisions. It starts
a national conversation around race and justice that would carry
over for decades. Now, this wasn't something that country music
tackled directly in 1991, because the genre didn't move that fast,

(30:25):
but it did signal a moment where artists started to
get more socially aware. You could argue this helped plant
the seeds for the outlaw revival that came later, like
Sturgill and Isbell and artists who would actually write about
this kind of stuff. Jeffrey Dahmer's arrested in 1991. He's
arrested in Milwaukee in July, and the public finds out
what he's been doing. And I'm not going to get

(30:45):
too graphic. But let's just say he was doing things
that made serial killers like Ted Bundy look like part-timers.
And maybe you've seen the show on Netflix, but holy crap.
This was the true crime boom before it was the
podcast category. There were documentaries and news specials and magazine covers.
It definitely added to this weird undercurrent of the darkness

(31:06):
of the early 90s in America. That paranoia in the
suburbs feeling. Again, not something that was sang about directly
in country music, but the vibe was there. dark. And
this was a time where a lot of dark started
to be translated through all kinds of music. In October
of 91, the entire country watched as Anita Hill testified

(31:29):
before Congress, accusing Supreme Court nominee Clarence Thomas of sexual harassment.
This was another first. It was the beginning of America
grappling with sexual harassment in the workplace, and it forced
these conversations into the mainstream. It was messy political Everybody watched,
and a lot of women who had never spoken out
before started speaking out. If you want to draw a

(31:52):
line from that moment to the rise of strong, outspoken
women in country music, Reba, Trisha, the Chicks, and Miranda,
a lot of people do say it starts here, or
at least a version of it does. The whole, I'm
not just going to be a supportive wife ballad starts
to take root here. And it had been started years
and years before. But this was a new generation of

(32:15):
women that started to take ownership of their own story.
And in 1991, Michael Jordan finally broke through. After years
of being the most talented guy in the NBA, but
always getting knocked out by the Pistons, Jordan and the
Bulls finally did it. They swept the Pistons in the
Eastern Conference Finals, then beat Magic Johnson and the Lakers

(32:35):
for Michael Jordan's first ever NBA championship.

Speaker 4 (32:38):
That's right.

Speaker 1 (32:39):
And why does that matter in a country music podcast?
Because this is the exact moment when Michael Jordan became
more than just an athlete. He became a global brand.
Air Jordans took off. Gatorades Be Like Mike commercials hit hard.
And suddenly we're living in a world where sports stars
are now pop culture icons, not just players. It's that

(33:00):
same crossover energy that we start seeing in country music
right around this time. Garth becomes a stadium act. Reba
becomes a TV star. Line dancing becomes mainstream. And just
like Jordan, country stars are no longer playing just to
their base. They're crossing over into everything. Music, TV, fashion, branding.

(33:20):
1991 was the year just being great stopped being enough.
You had to be iconic. Let's take a quick pause
for a message from our sponsor. Number three, let's talk
about some of the artists who hit number one in

(33:42):
1991 and then kind of never looked back, meaning they
were cemented. Mark Chestnut, Brother Jukebox. That song's all about
heartbreak and finding comfort in things that won't leave you.
Like a jukebox, Sister Wine, Mother Freedom, Father Time. That's
country music poetry right there. It was originally recorded though
by Don Everly in 1976 and Keith Whitley had a version.

(34:04):
But in February of 91, Mark Chestnut took it all
the way to number one for two weeks. His first
number one song and one that still hits today. Brooks
and Dunn, Brand New Man. It was their debut single.
It was an instant smash. Brand New Man hit number
one in 1991 and introduced the world to the perfect
mix of honky-tonk and modern energy. The song was upbeat.

(34:28):
and basically announced, we're here, we're going to be huge,
and they were, and they still are. Mike Reed had
a walk on faith. Now, before Mike Reed ever topped
the charts, he was an NFL player for the Bengals.
After injuries forced him to retire, he pivoted to country
music and nailed it. For those that don't know Mike Reed,
think of Sam Hunt. Played college football, went and tried

(34:51):
out for the Chiefs, now a country music star, pivoted,
nailed it. Walk on Faith was his only solo number one,
but he co-wrote tons of hits for other stars. Walk
on Faith was released in late 1990, but it hit
number one February of 1991 and became a standout for
its message of hope and resilience. How about this one,

(35:13):
Trisha Yearwood, She's in Love with the Boy. We talked
about this one earlier, but it's worth repeating. She's in
Love with the Boy was Trisha's first number one and
helped launch a powerhouse career. She'd go on to have
five number ones, but this is the one that started
it all. And it is her number one most streamed
song ever. Number one is She's in Love with a Boy.
I'm going from memory here because I just had her

(35:35):
over at the house. We were talking about this. Number
two is X's and O's. And number three is How
Do I Live Without You? Remember she recorded that and
Leigh-Anne Rimes recorded that. It was all weird because the movie. Yeah,
check that whole story out. There's Lionel Cartwright, Leap of Faith.
This was Lionel Cartwright's only number one song. It came

(35:56):
in September of 1991. It's a love song on the surface,
but the deeper message is about believing in yourself and
going all in, both in relationships and in life. He
later became a preacher, so it kind of tracks. Alan Jackson,
I'd Love You All Over Again. Alan's first number one
came from his debut album, and it hits the top
of the chart March of 1991. He actually wrote it

(36:18):
for his wife Denise as an anniversary gift, and it's
a straight-up love song beginning to end. That track and
the whole album made Alan Jackson a household name. Doug
Stone in a different light. What a jam. This one
came from his debut album and hit number one in mid-91.
It's about seeing someone in a completely new way once

(36:40):
they're outside their workday persona. By the way, Doug Stone...
Not his real name. His real name is Doug Brooks,
but he went by Stone to avoid confusion with that
other Brooks who was blowing up at the time. Yeah,
good call. Good call. But love that song. Diamond Rio,
Meat in the Middle. Man, what a jam. My youth
director had this CD and we would play it in

(37:03):
the church van all the time because he would come
and pick us up on Sundays, Wednesdays, It felt like
we were always in the church band and we were
always listening to Diamond Rio. Also, the very first concert
I ever went to at Magic Springs. It was a
theme park in Stroll, Arkansas. Who played? Freaking Diamond Rio.

(37:23):
Me in the middle. Dang. The first debut single by
our group to ever go number one on the Billboard
country chart. Me in the middle had a message that
still holds up. Compromise, communication, meeting halfway in a relationship,
killer harmonies, tight musicianship, and still such a jam. Also,
very hard to sing. Because once, I sang this with
Dierks Bentley's comedy band Hot Country Nights. And we'll talk

(37:47):
about that later, kind of. But they played it in
its original key. Holy crap, is that song high. You
don't even know how high it is until you try
to sing it. But it is a jam still to
this day. Number two, we mentioned Garth's band, The G-Men.
Let's talk a little more about Garth, which you're going

(38:07):
to be hearing a lot of all through the 90s
because obviously, well, it's Garth. In 1991, Garth Brooks had
firmly started rewriting the record books. That year at the
ACM Awards, Garth went six for six. Yeah, he won
every category he was nominated for. Top male vocalist, album
of the year for No Fences, song of the year

(38:28):
for The Dance, and Video of the Year for The Dance,
Single of the Year for Friends on Low Places, and
of course, Entertainer of the Year. Can you imagine giving
six different acceptance speeches in one night? At some point,
you just start thanking your dog. I'd like to thank
Stanley and Eller. Without them being good dogs, I don't
know that I'd be here. Like six speeches? That's crazy.
Garth held the record for most ACM wins in a

(38:51):
single year until Faith tied him in 1999 and Chris
Stapleton matched it again in 2016. One of the coolest
moments of that night, though, back then was when Garth
accepted Mel Vocalist and gave a heartfelt shout out to
the legends who paved the way. Garth always talking about
others who allowed him to do what he does. Classic
Garth move. That night basically locked Garth in as a

(39:12):
country superstar like everybody already knew, but now they had
to accept it. And he eventually went on to be
named ACM Artist of the Decade. Big night, big era. Yeah,
big Garth. Before we wrap up 1991, let's talk about
some of the artists that were born in 1991. You
want to feel old? Okay, here's a quick rundown of

(39:35):
some of the most famous people born in 1991. Ed Sheeran,
Emma Roberts, Austin Butler, Jeremy Allen White, Travis Scott, Tyler Childers,
and of course, a good friend of mine, Shea Mooney
from dan and shay shay barely made the list because
he wasn't born until late december 91 but we got
to put him in there you probably know dan and

(39:57):
shay from speechless and tequila they have 11 massive number
one songs and since we can't really play songs on
the podcast itself because i will go to podcast jail
i thought i'd play this clip of shay in studio
of my radio show doing public domain karaoke this was
to avoid paying any sort of fee And yeah, you

(40:18):
can sing these songs because they're over 100 years old.
Shay had no idea this was coming, but being as
talented as he is, here is Shay from Dan and Shay,
born in 1991. doing public domain karaoke would you how
about a little hush little baby public domain oh can
be sang for free oh nice yes would you mind
giving us 15 20 seconds hush little baby oh he's

(40:39):
standing bobby.

Speaker 7 (40:40):
Oh i've been waiting my whole life for this i
actually i was practicing this this morning okay he's gonna.

Speaker 1 (40:44):
Perform it to me as well which you know for.

Speaker 7 (40:46):
A video effect i'm trying to make sure i know
the words to this i might screw this up i
don't know all.

Speaker 10 (40:50):
Right Hush, little baby, don't say a word. Daddy's going
to buy you a mockingbird. And if that mockingbird don't sing,
that's all right, because Dan and Shay is here to
do it.

Speaker 1 (41:06):
For you, baby. There we go. We like that. Good, good, good.

Speaker 7 (41:11):
Thank you, guys.

Speaker 11 (41:12):
Thank you, guys.

Speaker 1 (41:12):
That was good. Bingo, B-I-N-G-O, as done by Shay, public domain. Yeah, okay.
This is B-I-N-G-O? Yeah, I'm not sure.

Speaker 10 (41:22):
B-I-N-G-O, B-I-N-G-O, B-I-N-G-O. And Bingo was his name.

Speaker 11 (41:32):
Yeah, go on.

Speaker 1 (41:33):
All right.

Speaker 8 (41:35):
Thank you.

Speaker 5 (41:36):
That's your next single.

Speaker 1 (41:37):
It is, actually. It's about her, you know? So good.
Our last freebie, a song we can do for free,
Mary Had a Little Lamb as done by Dana Shea,
all right?

Speaker 7 (41:47):
Okay, I feel like this is kind of the rendition
of our silent night, you know what I mean?

Speaker 1 (41:50):
Honestly, though, Mary Had a Little Lamb is not too
far off from Dan and Shay's sound, you know? Thrown
back is like the Savage Garden of Country, the OG.
I haven't said that in 15 years. Give me a break.
Give me a break. That's pretty good. I don't like
the Savage Garden. Give me a break. All right, let's
see here.

Speaker 11 (42:05):
Mary Had a Little Lamb. You started too high.

Speaker 1 (42:11):
I did, yeah. I measured the lamp a bit.

Speaker 11 (42:13):
Dang.

Speaker 4 (42:13):
Oh, here we go.

Speaker 1 (42:15):
Mary had... Dang, this is harder than I thought it
was going to.

Speaker 3 (42:20):
Be.

Speaker 11 (42:21):
Mary had a little lamb.

Speaker 1 (42:26):
What's the rest of the words? Little lamb, little lamb.
Mary had a little lamb. Oh, I was doing the
wrong melody. What were you doing?

Speaker 3 (42:33):
I don't know.

Speaker 11 (42:33):
I don't know.

Speaker 1 (42:34):
That's a good trip.

Speaker 11 (42:36):
Mary had a little lamb.

Speaker 1 (42:39):
Little lamb, little lamb. Oh, no, no, not everybody.

Speaker 11 (42:43):
Mary had a little lamb whose coat was white as snow.
Everybody now, Mary had a little lamb.

Speaker 4 (42:53):
Bobby!

Speaker 11 (42:54):
Horrible. Little lamb, Mary had a little lamb whose something.

Speaker 10 (43:02):
White as snow.

Speaker 1 (43:08):
Dan and Shay, come on. That's for the podcast listeners.

Speaker 11 (43:12):
Thank you guys so much.

Speaker 1 (43:13):
I wonder what you were doing at first. I don't know,
but it sounded familiar, didn't it? Yeah, I was like,
is he doing Row, Row, Row Your Boat? I didn't
know what it was, but it was something. You run
a pocket. I'll tell you this. It was another public
domain song. I can guarantee that.

Speaker 9 (43:26):
It hasn't been written yet.

Speaker 1 (43:27):
Check back in 200 years.

Speaker 9 (43:28):
I've been thinking.

Speaker 7 (43:29):
Dan and I have been having a discussion about this.
Our next album is going to be all public domain songs, actually.

Speaker 1 (43:34):
For free. There's not enough of them. Christmas songs? Christmas, baby.
You guys are smart because you do originals, but also
you can record the classics for free. It's unbelievable. Yeah,
it's great. And make the money.

Speaker 11 (43:42):
What are you doing?

Speaker 9 (43:43):
Twinkle, Twinkle Little Star?

Speaker 1 (43:44):
That's what it was, Amy. Twinkle, twinkle, little star. And
now we're singing Mary Had a Little Lamb. Morgan Long
had an interpolation of Twinkle, Twinkle, Little Star. He did?

Speaker 4 (43:53):
Yeah.

Speaker 1 (43:54):
Neon Star, written by Ernest. It's sick. How does Twinkle go, though? Twinkle, twinkle.
Let me sing it for you, Bobby. Twinkle, twinkle, little star.
Got it.

Speaker 11 (44:05):
How I wonder what you are. Up above the neon signs.

Speaker 1 (44:14):
Wait, wait, wait. Is twinkle, twinkle, little star public domain?
It is. Sure is. Bing, bang, boom.

Speaker 9 (44:20):
Here we are.

Speaker 1 (44:20):
They kicked the door in right now and arrest Dan
and Shay.

Speaker 11 (44:22):
No.

Speaker 1 (44:24):
Number one one one one one one one that's not
an effect that's my voice number one we mentioned brooks
and dunn earlier let's take a second and talk about
those guys august 13th 1991 brooks and dunn dropped brand
new man and it was a game changer for all
of country music for me for you for everyone still
today it is a game changer the record was packed

(44:46):
with hits my next broken heart neon moon come on
neon moon one of the top 10 greatest country songs
of all time Or how about Brand New Man, the
song that we talked about earlier, and the song that
alone launched them into the stratosphere. The album blended traditional
country with a very modern twist and set the tone
for a whole new career because they were solo artists,

(45:09):
and they were kind of matched up together. And I
was talking to them about that, and here they are
kind of giving that story.

Speaker 3 (45:15):
I mean, we were thrown together, you know, 1990, and
just told to go write songs.

Speaker 9 (45:21):
We didn't know what we were doing. I mean, for
what project?

Speaker 3 (45:24):
And it was in this room, a different form of
this room. And we did it over a weekend and
took a few of the songs back to Brand New
Man and Next Broken Heart, back to Tim Dubois, who
was starting Arista Records with Clive Davis at the time.

Speaker 8 (45:41):
Had some Neon Moon, some Boots, Scootin' Boogie, some Lost
and Found.

Speaker 9 (45:45):
Some of that.

Speaker 1 (45:45):
What I hear, though, is like an arranged marriage. It
feels like a musically arranged marriage, but you didn't know?

Speaker 8 (45:51):
No.

Speaker 3 (45:51):
No.

Speaker 9 (45:52):
Not a clue. Very much so.

Speaker 3 (45:54):
Worst case scenario, we were thinking one thing would lead
to another, and we'd go out and find other jobs
or get record deals or whatever. But it took off immediately.
I don't know what the answer.

Speaker 1 (46:07):
Is to that.

Speaker 8 (46:07):
I mean, 35 years, yeah, a lot of ebb and
flow for sure. I went through that period of... We've
both been doing this a long time without a whole
lot to show for it, honestly.

Speaker 1 (46:20):
And....

Speaker 8 (46:22):
All of a sudden, number one, number one, number one,
number one. You're like, what in the hell? You know,
it's just weird when you beat up bars and you
work so hard and you feel like you're every bit
as good then as you are now.

Speaker 1 (46:38):
But what just happened?

Speaker 9 (46:39):
Well, what did happen?

Speaker 1 (46:40):
Because, again, you're both doing it.

Speaker 4 (46:43):
Yeah.

Speaker 1 (46:43):
You get together. So what's the difference? What was the alchemy?
What was the combination that you think worked?

Speaker 3 (46:51):
Within the group, we don't know. We still wonder about that.
We just put one foot in front of the other
and do what we're told or not told. But there
was just a lot going on. I mean, there's such
a broad reference to different circumstances that are happening at
the time. You know, timing has something to do with it.

(47:12):
I'm sure politics and the record labels and the business,
you know. I think the country singer thing to say is,
gosh darn, we're just glad.

Speaker 9 (47:20):
To be here, you know. Three chords and a truth.
I think we didn't have. Got a few hits and darn,
we're not here now.

Speaker 8 (47:28):
And I think we had some pretty good songs, but
I think we had absolutely nothing in common. We had
nothing in common on stage. We came from totally different
backgrounds as far as performing went. And I think it
was kind of a NASCAR race.

Speaker 1 (47:40):
It's like there's a wreck.

Speaker 8 (47:41):
There's a wreck on the way. You know, so let's
watch this for a while and see how hard they
hit the wall, you know. And we did plenty of times, but.
I think there was some nervous energy between the two
of us, kind of always has been.

Speaker 9 (47:55):
We didn't know.

Speaker 3 (47:56):
I mean, you start at that level where you don't
even know who's going to be the lead singer or
if there is going to be a lead singer.

Speaker 9 (48:03):
That feels honestly awkward.

Speaker 1 (48:05):
If I'm just saying it to you guys and both
of you guys are great singers, that feels awkward that
you have to have that discussion.

Speaker 9 (48:12):
I don't know that we ever had the discussion.

Speaker 8 (48:16):
Ronnie was singing hits right off the bat, even though
we wrote Next Broken Heart and Brand New Man. He
grabbed on it. I couldn't have sung either one of
those songs near that well. It's easy for me to
look back on it. I think we're both trying so
hard with our egos involved, not knowing how it's going
to go. But it shook out to me, realizing really
what a great singer he is. And I don't have

(48:37):
any trouble saying that now after 35 years. We've been
through freaking miles of up and down and mud and
running through the freaking daisies out there. You know, it's just...
It's crazy to look back on, even going through 2010
when we quit and meant it. But it didn't take
but a couple of years, and a couple of gigs

(49:00):
showed up, and we never really lost that whatever it
is that happens on stage. And especially when Reba got involved,
we'd done a couple of big tours with her, and
she drug us into Vegas, and Then we're doing a
two and a half hour show just shooting the bull
and singing the songs. We both had a pretty good
handful of hits. and like damn this is fun and

(49:22):
just reminded us this is great and we put this
thing together with reba but damn we got a hillbilly
band back there that's our honky-tonk bands the truth and
and uh let's go bang that again because that really
was fun you know let's get over our bs and.

Speaker 9 (49:38):
We tried to blow it real hard.

Speaker 1 (49:41):
Who do you credit as to keeping it from being blown?

Speaker 9 (49:46):
Our manager.

Speaker 8 (49:47):
Clarence?

Speaker 9 (49:48):
Clarence.

Speaker 3 (49:49):
Yeah. Especially with the sudden resurgence of things with the
reboot projects and stuff. I can remember being in Cancun
at Reba Narble's place and we were all out facing
the ocean in the pool in this really Rockstar Reba's house,

(50:10):
and kicking back and going, you know, I don't care, Norval,
if I never sing again.

Speaker 9 (50:16):
I said, I'm good. I'm good right here, right now.

Speaker 3 (50:20):
He goes, well, just be still for a minute. Let
things pan out. Well, but it wasn't two weeks probably
after that that he and Clarence came to us and said,
you want to do Vegas?

Speaker 9 (50:33):
I thought, well, sure. I don't care.

Speaker 4 (50:35):
How much?

Speaker 3 (50:38):
And it just, you know, it just everything snowballed from
there again.

Speaker 1 (50:43):
Next thing you know, they sell over a million albums,
except now it's certified seven times platinum.
.

Speaker 8 (50:51):
.

Speaker 1 (50:54):
Dang, seven million. They actually wrote a bunch
of the songs themselves. It won awards. And decades later,
they're still playing those songs and also still making a
lot of money from those songs that they wrote a
long time ago. The album cover, them sitting on a
fence with a sunset behind them. Pure country vibes. I
love Brooks and Dunn.

Speaker 4 (51:18):
Ah, beautiful, yes.

Speaker 1 (51:20):
Coming next, spoiler alert, it's the year after 1991. I'm
talking about 1992. There you go. Thank you guys for
listening to this series. We're two episodes in. I hope
you enjoyed it. We're going to do After 1992 Brace yourself. 1993.

Speaker 4 (51:40):
Thank you.

Speaker 1 (51:41):
Follow me on Instagram at MrBobbyBones or at BobbyCast. I'll
see you next week or next year. That's stupid. That's
a stupid joke. That's like when people go, see you
next year on New Year's, except my joke was a
little stupider.

Speaker 4 (51:57):
All right.

Speaker 1 (51:58):
Bye, everybody. Love this episode of the BobbyCast? Subscribe on iHeartRadio,
Apple Podcasts, or wherever you listen to podcasts.