Southern Rock Songs That Shaped The Genre, Best Debut Album, and Country Music News

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Jay Franze (00:57):
And we are coming at you live.
I am Jay Franzi, and uh with metonight the Simon to my Garf
uncle, my beautiful co-host, Mr.
Tiffany Mason.

Tiffany Mason (01:09):
Yes, ready to roll.

Jay Franze (01:11):
If you are new to the show, this is your source
for the latest news, reviews,and interviews.
And if you would like to joinin, comment, or fire off any
questions, please head over tojfranzi.com.
All right, my friend.
Tradition says before we getstarted, let me tell you about
the question of the day.
Question of the day.
Who do you think had the best?

(01:33):
The best, she put best meanscompetition.
Debut album.
Okay.
Who do you think had the bestdebut album?
This question was submitted byDawn.

Oh, thank you, Dawn.

Jay Franze (01:46):
Sounds like a dishwashing commercial.

Sorry, Dawn.

Jay Franze (01:49):
Didn't mean to say that.

Also not our sponsor, but it could be.

Jay Franze (01:53):
We all do dishes.
Alright, folks.
Let's go ahead and get thisthing started.
I came across an article, andtrue to fashion, I have not
reviewed it.
I probably should, but I liketo be surprised when you are.
So that way we can have naturalreactions.
Alright, the article.
Top 35 Southern Rock songs thatshaped the genre.

(02:17):
Top 35 Southern Rock songs thathave shaped the genre.
Let's start off with 35, theAlmond Brothers.
Ain't wasting time no more.
Came out in 1972.
Alright, 34, the AlmondBrothers.

Are these all the Allman Brothers songs?

Jay Franze (02:38):
Jessica.
That's a song.
I'm not calling you Jessica.
Probably my favorite of theSouthern Rock bands.
38 Special.

Oh.

Jay Franze (02:47):
Caught Up in You.
That's probably one of myfavorite songs.

Oh caught up in you.
Got it.

Jay Franze (02:54):
32.
Blackfoot.
Train Train.

Hmm.

Jay Franze (03:00):
1979.

Well, I wasn't born yet, probably, because I
was born at the end of December.
So unless it was a lateDecember release.
It is rough.

Jay Franze (03:10):
It's rough, folks.
31.
Leonard Skinner.
Tuesdays gone.

Hmm.

Jay Franze (03:18):
It says pronounced Lenard Skinard.
I kid you not.
It says it right there.
It's talking about the album.

Yeah.
Maybe our guy copied it fromthat when he gave us that
information the first timearound.

Jay Franze (03:31):
Right.
We learned.
We can be learned.

We learned.

Jay Franze (03:34):
All right.
30.
Hank Williams Jr.
All my rowdy friends are comingover tonight.
Yes.
1984.

Well, see.
I was four years old.
I was rocking out.

Jay Franze (03:48):
Waiting for the reason.
Well, yeah, of course it was1984.
So it was four.
29, 38 Special.
Hold on loosely.

Another great song.
I think that um remember wewere talking, like I keep
learning about all these bands.
I must too love 38 Special.

Jay Franze (04:07):
38 Special is a great band.
Do you know what makes themspecial?

Tell me now.

Jay Franze (04:13):
Who are they related to Journey?

unknown (04:17):
No.

Jay Franze (04:18):
It would probably be a pretty good guess.
Leonard Skinard.

Oh well, Schnapp.

Jay Franze (04:23):
Brothers, I believe.

Oh, really?
I'm gonna write that down,check it out.

Jay Franze (04:28):
Number 28, Leonard Skinnard.
That smell.
Yikes came out in 1977.

Is it the smell I'm thinking of Jane?

Speaker 5 (04:40):
Kind of like avocados.

Jay Franze (04:42):
About that point, my wife was one.
She was born in 76.
Alright.
27.
Leonard Skinner.

I think it's just a Leonard Skinner.

Jay Franze (04:54):
Starting to see a trend.
What's your name?

Speaker 7 (04:58):
Little girl.

Jay Franze (05:00):
Oh, I thought it was Tiffany.

The connection is that 38 Special and Leonard
Skinnard is the Van Zant family.
Donnie Van Zant is the leadsinger for 38 Special.
And the brother Ronnie VanZant, the original singer of
Leonard Skinnard.
How freaking crazy is that?
Can you imagine having two?
And they both have like theseamazing bands, and they're both

(05:30):
the lead singer in each of them.

Jay Franze (05:32):
There you go.

That's freaking cool.

Jay Franze (05:34):
See, we can learn.
Alright.
26.
Georgia Satellites.
Keep your hands to yourself.

Ooh, don't tell me no lies.

Jay Franze (05:46):
It blows my mind that came out in 86.

Yeah, I would think it was 70s.

Jay Franze (05:51):
Really?
I was thinking it was later.
I mean, I went to high schoolin the 80s, and I don't remember
that song.
I remember the song, but Idon't remember it being a high
school song.

Speaker 9 (06:00):
Mm-hmm.

Jay Franze (06:01):
Here we go.
25.
Z Z Top.
I'm Bad.
I'm Nationwide.

Speaker 9 (06:09):
Oh.

Jay Franze (06:10):
1979.
It's a great song as well.
Alright, here's another newerband.
I know it.
Oh, you would know it.

Speaker 6 (06:19):
Oh, okay.

Jay Franze (06:21):
24.
The Black Crows.
Hard to handle.
1990.
Comes from an album calledShake Your Moneymaker.

Shake Your Moneymaker.
It's a different song, but Iused to work at Famous Saves.
That's where I met my husband.
And they play a lot of jazzmusic there.
And one of the songs was a jazzsong, and it was Shake Your
Moneymaker.
Shake Your Moneymaker.
And it was like a you knowbluesy black guy singing, Shake
Your Moneymaker.

(06:52):
So we'd all go through, youknow, shaking our money maker,
serving some tables, and hopingto get some extra tips.

Speaker 1 (06:59):
Just a tip.

Jay Franze (07:01):
Alright.
23 little feet.
Fat man in the bathtub.
There's very little water inthat tub.
Come from the album DixieChicken.

Speaker 5 (07:15):
Okay.

Jay Franze (07:16):
1973.

It's interesting though, they're all really like
70s and a few 80s have squeakedin.

Jay Franze (07:26):
They have shaped in the genre.
Well, let's go ahead and changethat up for you with number 22.

Speaker 9 (07:32):
Okay.

Jay Franze (07:33):
Number 22, Kings of Leon Notion.
2009.

Oh wow.
I feel like if it's that muchlater, is it really shaping the
genre?

Jay Franze (07:46):
You were complaining a minute ago that they were all
from the 70s.
I give you a newer one, and nowyou say it doesn't qualify.
You really are a wife.
Not mine, but you are a wife.

I've got the arguing skill down.

Jay Franze (08:04):
Alright, number 21.
Elvin Bishop.
I have not heard of ElvinBishop.

You have not uh heard of Elvin Bishop?

Jay Franze (08:14):
I have not a heard of.
I have not heard of ElvinBishop.
Fooled around and fell in love.
1976.

Speaker 5 (08:26):
Okay.

Jay Franze (08:27):
The year the wife was born.
I'm sure she loves me tellingeverybody that.

I'm sure she does.

Jay Franze (08:33):
Her birthday's in January.
She will be 50.
Sure she likes that too.

I now am married to a 50-year-old.
Nice.
Look at that.

Jay Franze (08:43):
Yeah.

How about that?

Jay Franze (08:46):
I go deeper into that conversation, but I don't
want to get in trouble.

Stay where it's safe, Jay.

Jay Franze (08:53):
Number 20.
ZZ Top.
Heard it on the X, 1975.
Number 19, Outlaws.
Green grass and high tides.
1975.

I don't know, but it sounds dreamy.

Jay Franze (09:09):
Numro 18.
I don't know how you say 18.
The Allman brothers.

Your Spanish is showing it's a little weak.

Jay Franze (09:21):
In memory of Elizabeth Reed.
I never claimed to be able tospeak Spanish.
The only Spanish I know is whenyou say Numero.
Oh, I know it.
You're supposed to say it here.
I just don't know how to finishit.
Number 18, the Allman Brothers,in memory of Elizabeth Reed,

(09:41):
1971.

Of course, the Almond Brothers.
Let me guess the next one is byLynn Skinnard.

Jay Franze (09:48):
No, number 17.
The Black Crows.
She talks to Angels, 1990.

Speaker 6 (09:53):
Oh, such a good song.

Jay Franze (09:55):
It is a good song.
But I believe you are correctin that that did not shape the
genre.
The genre shaped, and then theyhearkened back to the genre.

Speaker 3 (10:05):
Oh, shoot.
Oh, yeah.
I like how you said that.

Jay Franze (10:09):
Nice, huh?
Another 50 cents there.
Number 16, Leonard Skinnard.

Speaker 3 (10:18):
There we go.

Jay Franze (10:19):
Saturday night special, 1975.

Yeah, yeah.
I mean, it would make sensethat the 70s are what shaped it,
right?
Sure.

Jay Franze (10:27):
That's when it started.
So I guess, yeah.
Number 15, Drive By TruckersOutfit 2003.

I don't know, but I like the combo.
Seems like a lot lizard wouldbe wearing a swimsuit.
That seems right.

Jay Franze (10:44):
So you've seen the album cover.
Number 14, Z Top.
Bear Drinkers and Hellraisers.
1973.

They usually go hand in hand.

unknown (10:57):
Yes.

Jay Franze (10:58):
Number 13, Ram Jam.
I think my wife and I had thatconversation a little earlier.

Was it a conversation?

Jay Franze (11:09):
It always starts that way.
I mean Ram Jam, Black Betty,1977.

Speaker 3 (11:17):
Oh god.
So good.

Jay Franze (11:21):
Number 12, Molly Hatchet.
Flirting with disaster.
That's a great song.
I remember that.
Wait, let's see what year itwas.
1979.
So I was 10.

I was the disaster that 1979 was flirting
with.

Jay Franze (11:38):
You know what?
That makes sense.

Speaker 3 (11:41):
Came out in 79.

Jay Franze (11:44):
Number 11.
The Black Crows Remedy.
Oh, another one.
1992.

So Black Crows just got thrown in there as like
a well, they are a SouthernRock band.

Jay Franze (11:56):
And they did write some good songs.

Yes.

Jay Franze (11:59):
But they did not shape the genre.

No.

Jay Franze (12:03):
Number 10, Leonard Skinnard, simple man.

Oh.
Sorry, I was shocked.

Jay Franze (12:08):
Pronounced Lenard.

Speaker 3 (12:10):
Skinard.
No, I almost can't do itwithout doing that.

Jay Franze (12:13):
1973.
Well, that's the album it'sfrom.
I'm not making that stuff up.
Thank you, Mr.
Botalato.

For what?

Jay Franze (12:22):
He's the one who told us that.

Oh, yes.

Jay Franze (12:25):
Lennard Skinard.

Okay.
I didn't realize it had comefrom him.

Jay Franze (12:29):
Number nine.
Number nine.
Number nine.
Beatles reference.
No way.
Sorry.
Leonard Skinnard.
Give me three steps.
1973.

Speaker 3 (12:43):
Yes.

Jay Franze (12:43):
Yeah, I'd be mad about this Leonard Skinnard
stuff over and over and overagain, but they're all good
songs.

Well, if somebody would say, like, do you like
Leonard Skinnard?
I can't even say that right.
Anyways, I would be like, Idon't know, I don't think so.
But all those songs.
Ooh, remember we had the Ithink it was Question of the Day
when the song comes on, whichone do you crank your radio to?

Speaker 9 (13:07):
Yeah.

I would crank my radio to almost all of those
Leonard Skinnard songs.
Because otherwise it's soundinglike Leonard Skinnard to me.
So I'm gonna know when.

Jay Franze (13:21):
We talked about their the brother, the 38
special.
Do you know where that namecomes from?

Speaker 5 (13:26):
No.

Jay Franze (13:27):
It is a firearm.

Speaker 5 (13:28):
I think it's a gun.
Yeah.
Yeah.
Okay.

Jay Franze (13:30):
Firearm.
It is a 38 special.
It's a caliber of uh, in thatparticular case, it was a
revolver.

Yes, I'm pretty sure I've heard this on movies.
Nice.

Jay Franze (13:42):
Number eight, numero ocho.

Speaker 3 (13:46):
See, senor.
The end.

Jay Franze (13:48):
I've heard you say that one several times.
The Marshall Tucker brand.
Brand?
The Marshall Tucker Band.
Can't you see?
1973.

Speaker 5 (14:01):
Oh, can't you see what that woman's been doing?

Speaker 3 (14:07):
Can't you guys see what this woman's been doing to
Jay?

Jay Franze (14:10):
She's been doing a lot to me.
She's ruined me.
She's broken me.
Number seven, Little Feet,Dixie Chicken.
From Dixie Chicken in 1973.

Didn't we have that one on there already?

Jay Franze (14:23):
We had a song by Little Feet that was off of
Little Chicken.

Oh.

Jay Franze (14:28):
This is the title track.

Speaker 3 (14:29):
Oh Dixie Chicken.

Jay Franze (14:31):
Sorry.

Because every time I think you're going to see
Dixie Chicks.

Jay Franze (14:35):
Right.
No, I'm not though.

I know.
And you're probably happy youdon't have to say it.

Jay Franze (14:40):
You know, hey.
Number six, Z Z Top LaGrange,1973.

I feel bad saying I don't know it, but maybe I
do.

Jay Franze (14:50):
You know it for sure.
You're just never going to goby that name.
LaGrange.

Speaker 6 (14:57):
I sounded it out.

Jay Franze (15:00):
Number five, The Allman Brothers, Ramblin' Man,
1973.

Speaker 6 (15:05):
That's another good song.

Jay Franze (15:06):
Number four, Greg Allman.
We took a left.

Speaker 3 (15:11):
Now we're just picking people out of the band
to make it sound like it'ssomebody else.

Jay Franze (15:14):
Greg Allman, Midnight Rider, 1973.
Number three, Leonard Skinnard.
Sweet Home Alabama, 1974.

Y'all, that was my guess.

Jay Franze (15:27):
Number two, Leonard Skinnard.
Free bird, 1973.

Speaker 3 (15:33):
Another good one.

Jay Franze (15:34):
Off of pronounced Lennard Sinnard.

Speaker 3 (15:36):
Skinard.

Jay Franze (15:39):
And number one, folks, The Almond Brothers.
Whipping Post 1971.

Oh wow.
Those are some good songs.

Jay Franze (15:49):
All right.
Anyways.
Let's move on to that.
That is our list.
Top 35 Southern Rock songs thatshaped the genre.
And I will say this list didnot offend me as much as their
lists in the past.

No, this is probably my favorite list.

Jay Franze (16:02):
Yeah.

I think the only thing that we balked a little.
It's fine that they're there,but we don't think it shaped the
genre was the Black Crows.

Jay Franze (16:09):
Yeah.
Wasn't there one other one onthere that was similar?
Black crows and somebody elsethat was from that same era.
Era.
Era.

Speaker 7 (16:19):
Era.

Jay Franze (16:20):
Maybe.
Oh, Kings of Leon.
Oh.
It was 2009.

Yeah.

Jay Franze (16:25):
Let's move on to the news.

Well, the news is littered with AI squabbling,
buzzing, humming, complaining,fuming.
Okay.

Jay Franze (16:39):
Fuming.
AI.
Fuming.
I might like in this segment.

Yeah.
Yeah.
So an AI-generated track titledWalk My Walk.
We talked about this last week.
The avatar called BreakingRust.
Hit number one on theBillboard.
Country Digital Song Chart.
The controversy highlightsgrowing concern over AI role in
country music and whethersynthetic creators might be
undermining human artistry.

Jay Franze (17:05):
I'm on the edge of the seat.
Can we do it?
You want to weigh in withopinions?
What do we do?
You tell me how you want tohandle it.

Okay, this is what I want to do.
There's four different stories.
So I'm going to give us alittle taste of all four of
them, and then we can fill inthe blinks before we fill.

Jay Franze (17:20):
I'll sit here and I'm going to rock like a crazy
person till you tell me.
Go ahead.
Come on.

As you're just dying, bursting at the scenes.
Okay.
I'm waiting.
You got this.
Okay.
So it's not just this breakingrust song.
So now there's another artistuh like Kane Walker also pulling
serious streaming numbersshowing the trend may be bigger
than a single hit.
The growth is intensifyingtension between tech-driven

(17:48):
experiments and old schoolsongwriters who fear being left
behind.
The next one is the success ofBreaking Rust is triggering
broader reckoning in thecountry's circles about AI's
role, with some songwriterssaying the genre risks losing
its authenticity if fake voiceskeep charting.
The debate raises realquestions about future

(18:10):
songwriting royalties and whatfans consider real country
music.
Last one is While Walk My Walk,the song we talked about last
week, and the song that we'retalking about right now, it
soared on digital sales charts.
Critics question whether AIsongs should even count, saying
the genre's soul lies in thehuman stories and lived

(18:31):
experience.
The controversy could forcestreaming platforms, chart
makers, and labels to rethinkhow they treat AI-generated
music going forward.
Jay, I will turn the microphoneover to you.

Jay Franze (18:46):
Okay, good.
Well, let's start off withpeople are complaining.
Yeah.
There's complaints where someartists are saying that they
were unaware that AI wasreplicating their style, their
vocal style.
But AI has to learn fromsomething.

Speaker 6 (19:03):
Sure.

Jay Franze (19:03):
So AI has been studying all music probably ever
released.
Anything that there's a digitalversion of, AI has probably
studied it at this point.
And record labels have signed adeal with the AI companies
allowing that to happen.
It's gonna happen one way oranother by them allowing it to
happen and doing it in advanceis gonna allow them to make a

(19:25):
deal, and then they're gonna beable to profit from that.

And not pay an artist and not have the artist
go on tour and not market andnot headshots and not video and
not music video and not all thethings that they have to pay for
with a human.

Jay Franze (19:40):
They're just gonna sit back and take in a licensing
fee that the AI companies aregonna pay for the use of the
record labels catalog for theirAI models to learn.
It has to happen.
They have to learn fromsomething.
Now the question is whether ornot we think that this belongs
in the charts or in awardcategories and things like that.

(20:02):
We talk about it a lot.
We had multiple segments aboutAI, and I think there is a way
to utilize AI as part of thehuman experience without taking
over.
So for me, I don't have aproblem with utilizing pieces of
AI.
I just don't want AI to writethe song.

(20:24):
And I don't want AI to replacethe human.
I want it to accent it, to playa part of the collaboration.
So just like in the 80s, thedrum machine came out, and
everybody was afraid that thedrum machine would replace the
drummer.
It would be perfectperformances, it'd be perfectly

(20:46):
in time, there'd be no need fora drummer anymore.
But as we see 20, 30 yearslater, that that doesn't matter.
People still want the livedrummer.
So if you think about AI asthat, as like this generation's
version of the drum machine,fantastic.
We also had MIDI, which is away of replicating an

(21:10):
instrument.
So we originally started withpiano and keyboard type
instruments, and then it went onto be able to replicate other
things.
And then we have guitarmodelers that replicate guitar
amps and things like that.
So I don't see any issue withAI performing the

(21:30):
instrumentation if you thinkabout it like programmed drum
machines or MIDI or guitarmodelers or that type of stuff.

I like the points you're making.

Jay Franze (21:42):
The problem I would have with AI is if you allow AI
to write the lyrics, becausethen it has no human element.
We've mentioned that in thepast, but I think the lyrics are
what makes the human element.
It's the human's story.
Not saying AI wouldn't be ableto create a good story as we see

(22:03):
in these songs that are able tomake it to number one, they
were able to do something.

Speaker 5 (22:06):
Yeah.

Jay Franze (22:07):
But I think what makes a song unique and special
are the ones that take a twistor they don't follow the the
formulas at all times.
And those are the ones to methat's that's going to require a
the human element.
Or at least for now.
We'll see what happens in thefuture.

(22:28):
So I think lyrics are importantto be the human piece.
Talked to a musician just theother day who is a guitar
player, singer, and then has aband that they perform with.

Speaker 3 (22:40):
Okay.

Jay Franze (22:41):
They would like to record their music more often in
the studio, but it's tooexpensive.

Speaker 3 (22:45):
Okay.
Yeah.

Jay Franze (22:46):
So for this person to be able to take their
performance, their guitar vocal,and then have AI build a full
track around their guitar vocal,it is their song.
It's what they wrote, it's whatthey performed, and then AI is
just playing theinstrumentation.
Like the the drum machine andthe guitar parts and all that
stuff would be like adding thattype of stuff.

(23:09):
It just sounds real.

Speaker 4 (23:11):
Yeah.

Jay Franze (23:12):
So I think for that type of person, it's fantastic.
And for that type of purpose,it's fantastic.
I would still rather seehumans.
I mean, when you go to a liveshow, you're gonna want to see
humans, you're not gonna want tosee somebody up there with a
computer.

But why not?
Watch them hit play.

Jay Franze (23:29):
Right.
It's fantastic.
So yes, there you go.
That's my two cents.
I don't need to dwell on it toomuch more.

Okay.
Well, I would just say thattalking about like awards, like
the CMAs or whatever.
I think maybe it'd be kind ofcool if there was a category for
like best directed AI, youknow, like because listening to
the conversations of what you'vesaid for the songs that you've
created.
I think like if I went in thereand I just was like, okay, play

(23:58):
this song, I think it wouldprobably sound pretty crappy.
But knowing what you know,you're able to apply that then.
And I know we were talkingabout like a cadence of one
section of a song, and you'relike, right, like the buildup.
Like I wouldn't know how toexplain, you know, maybe there's
some kind of an award forbreaking rust that they win for

(24:20):
like I don't know, besttechnique or best whatever.

Jay Franze (24:25):
Use of AI or sure, right?
Like you say, produced.
I mean, we'll call it uhproduction.
It's still produced.
There is a human producing itat some point.
Yeah, somebody's telling it tocreate it.
Yeah.
Like what you're mentioning.
I think the difference isthere's two levels, in my
opinion, or maybe even three ifyou want to take it a step
further.
But you've got the one levelwhere you literally say, Write a

(24:50):
song.
You know, write me a rock song,press a button, and poof, you
have a rock song.

Speaker 3 (24:55):
Yep.

Jay Franze (24:56):
Then you have the next level, here's my lyrics,
create this song.
I want it to feel like this,sound like this, and you give it
all the instructions, and poof,you have a song.
And then the third step is likethat singer I was telling you
about who writes a song,performs a song, uploads those
tracks, and then says, Build thesong around my tracks.

(25:17):
So to me, 100% the lastversion, the singer that says
build the song around my tracks,I have no problem with that at
all.
The person writing the lyricsand giving the instructions, I
don't necessarily have a problemwith that either because it's
someone wrote it, somebody'sdoing it.
But then AI is performing it.

(25:37):
I don't want to hear an AI likean AI vocal on the radio.
I don't necessarily want to buya record by an AI vocal.
Even if it sounds great.
My wife had a very good point.
She wants somebody that she canfollow, a human that she can
follow at the end of the day.
Yeah.
And then there's the person whojust pressed play, write me

(25:58):
this.
That I I think is isunacceptable.

Speaker 1 (26:02):
Yeah.

Jay Franze (26:02):
I liken it back to when ChatGPT first hit the
scene, and I still feel this wayabout it today, is when you
write something, there'smultiple ways of writing it.
How much instruction are yougiving ChatGPT?
Are you giving it say anarticle?
Did you write the whole articleand you're asking it to edit
the article?
Or did you say just write me anarticle about the subject?

Speaker 3 (26:25):
Yeah.

Jay Franze (26:26):
So there's different levels of that before I feel
like you can call it your own.
And it's not my decision to saywhen when can you call it your
own?
But a committee of some sorthas to get together and say it
has to meet this level before wecan call it our own.

Yeah.
Well, what I do love about itis for the person that doesn't
have a ton of money, like you'retalking about this like
third-level person that wrotethe song, played guitar, now
they're just looking for thefull sound, like the full band
sound.
I think that that's so freakingawesome.
Like I create stuff, likegraphic art stuff in Canva all

(27:02):
the time.
But if there wasn't Canva, thenI couldn't do that.
And I don't have the degree, Idon't have the expensive
software, you know, all thosethings.
So I like that it's making itaccessible to all without
breaking the bank or, you know,like even you can pay to like
level up on the AI program thatyou use, I think.

(27:22):
And, you know, that's fine,like a small entry fee, but not
thousands of dollars to go intoa studio to just record a demo.

Jay Franze (27:30):
Well, that's another good point.
My wife is uh a trained,schooled graphic artist, visual
communications, and she cancreate something beautiful out
of a white canvas.
But my wife, she appreciatesCanva for what it is, and she'll
still use it, you know, but shewill manipulate things.
You know, she might pick atemplate, but then she'll

(27:52):
manipulate that template intowhat she's trying to create.
So I think again, those who aretruly trained and skilled in a
an area will then take these,let's say, assisted programs,
and then they'll use them justas that, as an assistant.

Yeah.
Yep.
Okay, let's move on.
The next thing that we're gonnatalk about is uh the CMA big
winner, Laney Wilson.
So at the 2025 CMA Awards,which we talked about, we
debriefed, we know Laney Wilsonswept the field winning
Entertainer of the Year, femalevocalist of the year, her
fourth, and album of the yearwith her project, Whirlwind.

(28:31):
Her wins reinforce her positionas one of country music's top
powerhouses of 2025.
And I will second that.

Jay Franze (28:40):
Yeah.
I think with this award, itsolidified her as you know, not
only one of the most powerfulpeople in country music, but
she's one of the most decoratedpeople in country music now as
well.

Yeah, yeah.
Well, this is kind of funtalking about Lenny Wilson.
She is delivering some extraChristmas cheer this season.

Jay Franze (29:00):
Is she buying me a present?

Kind of, kind of.
Okay, cool.
She's releasing a video, whichis like a present to everyone of
her version of her.

Speaker 9 (29:10):
Something special.

Let it snow, let it snow, let it snow.
A charming collaboration with aman who made the song famous in
1940, Bing Crosby.
Created in partnership withHershey's.
The video brings a nostalgicholiday classic to life through
animated versions of the musicalacts.
It does look really cute, andher little character is like a
little Laney Wilson holding alittle hot cocoa mug.

(29:33):
And so, uh, yeah, I will belooking forward to watching
that.
Does not say what streamingservice it is.

Jay Franze (29:38):
When I think of music and Christmas music, I
think of Hershey's.
All right, sweet.

Everybody's collabing.

Jay Franze (29:46):
Hershey had to get in on it.

Okay.
Well, we have severalhigh-profile country acts that
are setting up to drop newalbums in 2026, including what
may be the genre's biggestnames.
Could 2026 set up as one ofcountry's biggest years yet?
Between rising stars andreturning legends, fans have a
lot to look forward to andplenty to anticipate in the

(30:12):
months ahead.
The new rounds of upcoming2025-2026, they must just be
talking about December toursjust dropped.
So they are laying out whereyour favorite country stars will
be playing and when, whetheryou're planning a road trip or
just keeping tabs on live musicscene, now is a great time to
bookmark those dates.
I know there's two concerts Iwant tickets for.

(30:33):
Bad, bad here in Jacksonville.

Jay Franze (30:37):
My daughter would like to go to a few shows as
well.
But of course, the ones shewants to go to are like three,
four hundred dollars a ticket.

Oh, I know.
No, we're getting lucky.
We must it must be likeLaurie's Roadhouse because these
are not crazy expensivetickets, but guess who it is?

Speaker 1 (30:50):
Who is it?

Good old Russ.
Old Russ.
Yes, I'm very excited aboutthat.

Jay Franze (30:59):
Lori's Roadhouse put out a post today that said, Who
would you like to see come playat our at our venue?

Speaker 3 (31:05):
Who'd you say?

Jay Franze (31:06):
I said McBride and the Ride.

Speaker 3 (31:09):
Uh-oh.
Okay.

Jay Franze (31:11):
I had plenty that I wanted to list.

Speaker 3 (31:14):
Yeah.

Jay Franze (31:14):
Like the next one I was going to go for was Presley
Tennant.

Speaker 3 (31:17):
Yeah.

Jay Franze (31:18):
However, I don't think it's feasible for Presley
Tennant to be making her wayover to play at Laurie's
Roadhouse, but I do think it'sfeasible for McBride and the
Ride.

Speaker 3 (31:26):
Mm-hmm.
Yeah.

Jay Franze (31:27):
It's probably also feasible for the Oak Ridge boys.
Also crossed my mind.

Okay.
Well, maybe you need to make asecond submission.

Jay Franze (31:37):
We'll see.
See how well the first one'sreceived.

unknown (31:42):
Okay.

Jay Franze (31:45):
Question of the day.
Thank you, Don, for yoursubmission.
If you would like to submit aquestion for the question of the
day, please head over tojfranzi.com and click on submit
the question of the day.

(32:06):
Send the smoke signal.
Send us an email, J atJFranzi.com, whatever you want.
We don't care.
Miss Tiffany say use thepull-down menu.
Just send the question.
All right.
Miss Tiffany, would you like togo first?
Or would you like to go at theend?

Speaker 4 (32:23):
I will go at the end on this one, Jay.

Jay Franze (32:26):
You might.
All right.
Again, best debut album.
This is a competition.
You don't have to write themall down, but write down the
ones that matter.
Let's say bring us the top fivewhen we reach the end.

In my opinion.

Jay Franze (32:46):
I don't know if we can trust that.
Number one, first one, Sarahwith an H.
Thank you for being here yetagain, Sarah.
Please forgive me.
I will probably do it everytime.
Sarah with an H.
With an H.
She says Morgan Wallen.

(33:07):
If I know me.

I mean, it was good.

Jay Franze (33:12):
She says every track feels like it could have been a
single.

Kind of like this last album.
I mean, gosh.

Jay Franze (33:19):
Alright.
Justin says Carrie Underwood.
Some hearts.

I do love that one.
I listen to that one more thanany of her regular her current
stuff.

Jay Franze (33:29):
Do you?

Mm-hmm.

Speaker 9 (33:30):
Alright.

Jay Franze (33:31):
Keep them there for now.
Placeholders.

Placeholders?

Jay Franze (33:35):
Lacey says Luke Combs.
This one's for you.

The tough thing when we do albums is like I
don't know all of the songs onthere.

Jay Franze (33:48):
Unless you're a diehard fan, I wouldn't expect
you to know all of them.

Yeah.
But Luke Combs is a goodartist.

Jay Franze (33:55):
You also know, too, like, say Luke Combs, and did he
hit hard when he first cameout, or did it take a little
while?
So like Brent says ChrisStapleton, Traveler.
He hit pretty hard when he cameout.

Mm-hmm.

Speaker 9 (34:13):
Yeah.

What was the Carrie Underwood album called?
Okay, and Morgan's.

Jay Franze (34:21):
If I know me.

If I know me.

Jay Franze (34:26):
I think Chris Stapleton Traveler belongs on
the list.

Speaker 7 (34:31):
Going in.

Jay Franze (34:31):
Dana says Kelsey Ballerini.
The first time.
Tyler says Zach Bryan.
Deanne.

Speaker 6 (34:41):
I would like to know what's on that one.

Jay Franze (34:43):
Marie says Laney Wilson.
Saying what I'm thinking.

Speaker 7 (34:49):
You want it on there?

Jay Franze (34:50):
I think it's a good choice so far.
It might get kicked off soon.
I don't know.
We'll see how it goes.
Cody says Keith Urban.
Keith Urban.
1999.
That is the year that I movedto Nashville.
That is the year that I workedwith Keith Urban.

Speaker 6 (35:04):
Oh.

Jay Franze (35:05):
Alright.
Emily says Ashley McBride.
Rick says Alan Jackson.
Megan says Taylor Swift.
Taylor Swift.
That probably belongs on there.
Wes says Travis Tritt CountryClub.
That's a good album.
I don't know if it's the best.
Jordan says Gretchen Wilson.
Here for the party.

I think she hit hard when she came out.

unknown (35:30):
Did she?

What'd they say?

Jay Franze (35:33):
Henry says Dirk's Bentley, Dirk's Bentley.
I think that hit the ice hard.

Speaker 4 (35:40):
Hell no.

Jay Franze (35:44):
I have no qualms with Mr.
Bentley.
If you listen to the episodethat was released today, I will
tell you that.
Um Nicole says Carly Pierce.
Every little thing.
I'm not seeing anything that'sjumping out to me as the best of
all time.

Because it doesn't say Journey on it?

Jay Franze (36:08):
No, I don't think Journey's debut album was the
best either.
It was it was 1970s and it wasjam band style.
Clint says The Chicks, wideopen spaces.
Hard no.
Hannah with an H.
Hannah with an H says JohnParty.

(36:29):
Write you a song.

Speaker 6 (36:32):
Want it on there?

Jay Franze (36:33):
No.
I don't.
If you think it deserves to beon the list, you can go ahead
and try that out.

Speaker 5 (36:39):
No.

Jay Franze (36:40):
Okay.
Um Big Dan from Bowling Green.
Big Dan from Bowling Green.
Dan says, Billy Ray Cyrus.
Some gave all.
And then he says, Don't actlike achy breaky heart didn't
take over the world.

Speaker 5 (37:00):
That's true.

Jay Franze (37:02):
Okay, I'll give it to you.
It's not the best of all time.
As much as I like Billy RayCyrus, it is not the best of
all.
Tina says, Luke Bryan.
I'll stay me.
I like Luke Bryan.
Not the best of all time.
No.
Oh, okay.
Now we're getting somewhere.
I will never be able topronounce this name.

(37:25):
P-I-P-P-I-L-O-T-T-A 1974.

Pipalot.

Jay Franze (37:34):
Pipalotta?

Pipulata?

Jay Franze (37:37):
I don't know.
Whatever.
Don't mean to butcher yourname, sorry.
But Daughtry.
I like Daughtry, and I thinkthe first album is a great
album.

Yeah.

Jay Franze (37:46):
Alright.

Does she say what it is?

Jay Franze (37:48):
You're gonna say that's a girl.
It looks like a girl from thevery fuzzy profile picture.

Well, it made me think of Pippi Longstocking.

Jay Franze (37:59):
Does it say what is the album?
I'm assuming it's self-titled.
Oh, okay.
Dodgery.

Speaker 7 (38:05):
Okay.

Jay Franze (38:07):
And I'm assuming this is J, but it's
J-A-Y-S-V-A-N-E.
And sorry if I just gave outyour last name too, but J S
Vaughn.

Jason.
Maybe it's supposed to beJason.

Jay Franze (38:22):
Think you're closer the first time.
Says Led Zeppelin.

Speaker 5 (38:27):
Led Zeppelin.

Jay Franze (38:29):
Alright, Jeffrey Panzer.
I'm going to use your fullname, even though you are not a
guest of the show in as much asI would like you to be a guest
of the show.
I understand.
However, I'm not going to readyour comment.

Speaker 3 (38:41):
Oh.

Jay Franze (38:42):
Not because of that, Jeffrey.
But because it's my answer aswell.
So I'm going to hold that oneoff till the end.

Oh, you and Mr.
Panzer, same answer.

Jay Franze (38:51):
So don't let me forget to go back to Mr.
Panzer.
Alright.
Oh.
Dear God.
Okay, I got it.
Maybe I'm a Leo 42.

Cute.

Jay Franze (39:06):
But it's all lowercase in all one word.

It was tricky for you.
I'm very proud of you.

Jay Franze (39:10):
Maybe I'm a Leo 42 says Kansas.
Great album.

Okay.

Jay Franze (39:17):
See now these rock albums I think belong on here.

Well, also, don't you think that when these
albums came out, you got thewhole album.

Speaker 1 (39:27):
Yeah, these were right.

Like you right.
They weren't digital, theyweren't streaming, so of course
you remember.

Jay Franze (39:34):
Yeah.

Yeah.

Jay Franze (39:36):
Nice.
I like it.
See?
And they say you can't come upwith anything good.

Speaker 3 (39:43):
Who is they?
You?

Jay Franze (39:44):
That's what I keep saying.
Who who who are they?
I don't know.
Use your name, people.
Maya Project Music.
Thank you again, my friend.
Previous guest of the show,here every week.
I cannot thank you enough.
Maya Project Music says Bjork.

(40:05):
Now I'm not gonna give it toyou.
I appreciate you being here.
Oh, June says the Eagles.
That's also a good one.
Mark, the.
I forgot the.
The Mark Botalado says AussieBlizzard of Oz.

(40:29):
Yes, that's the one that hascrazy terrain.
Great album.
And then of course we have wellnew information to me.
Jacob is pronounced Yop.
So Yop.
Yop.
True to form says a bunch ofpeople that I have no idea who

(40:53):
they are.
I think he does it just to messwith me.
Yop, if that's true.
I'm gonna call him Yop fromnow.
I'm not calling him Jacobanymore.
Apparently Jacob is formal andYop is informal.

Speaker 3 (41:07):
Okay.
Yop.

Jay Franze (41:08):
So Yop says J J C A L E S Kals.

Kales.

Jay Franze (41:17):
Kales.
Okay.
Kales.
Debut album naturally.
Dave.
Dave Gibbs, not a previousguest of the show, but I'm gonna
tell you his last name anyway.

You know, Jay, I appreciate how discreet you are
about everything.

Jay Franze (41:36):
Dave Gibbs is a recording artist, so I don't
think he minds me sharing hisname.
And I was lucky enough to workon his album that was produced
and engineered by Bob Bullock.
He says the Beatles.
Please please me.
I'm assuming that's not aquestion he's presenting to me.
I'm assuming that's the name oftheir debut album.

I also don't think it's a question.

Jay Franze (42:05):
Starts with please.

Speaker 3 (42:08):
Please please me.

Jay Franze (42:10):
I'm not gonna do it.
James, the James, the one thattypically submits us questions
of the day, he says, no, I getit.
He says, Guns and Roses,Appetite for Destruction.

Mm-hmm.
Although you wouldn't put themon there, hey?

Jay Franze (42:27):
I would.
I think that's an amazingalbum.

Okay.

Jay Franze (42:30):
Yes, I think when that album came out, socks were
blown off for sure.
But just socks?
True to form, he has more.
Just socks.
Now the next one may have blownoff a little bit more.
He also says Alanis More set,Jagged Little Pill.

Speaker 3 (42:50):
Oh yeah.

Jay Franze (42:52):
Yes, absolutely.
And then he has a third, hesays Dr.
Dre, the chronic.
And he specifies Guns N' Rosesfor rock, Alanis for pop, and
Dr.
Dre for hip hop.

I like him covering his basses.

Jay Franze (43:09):
He's a good man.
Next, Scotty Simpson.
I will use his last namebecause he's a previous guest of
the show and the bass playerfor the Oak Ridge Boys.
Okay.
He says Van Halen.
Yes, absolutely belongs on thelist.
If you needed to knock somepeople off, Van Halen would do

(43:30):
it for sure.

Speaker 4 (43:31):
Okay.

Jay Franze (43:31):
Okay, Tom, I'm gonna skip yours as well because it
is also mine.
So now that's two people youhave to go back to, Tom and
Jeffrey.
Tom?
Okay.
Tom and Jeff.

Tom and Jerry.
Tom and Jeffrey.

Jay Franze (43:45):
Gary.
Gary says Crosby still's aNash.

My mom would agree with that.

Jay Franze (43:51):
Miss Kathy, do you agree?
While we're waiting for MissKathy to tell us, we'll move on
to John.
John says, A foreigner.
He says, it is a fantasticalbum.
John, you my friend, arecorrect.
It is a fantastic album.
And then last, yes.

(44:15):
Last but not least, Joe says,Are you experienced?
by Jimi Hendrix.

I don't know.

Jay Franze (44:27):
Joe, I think it's a good one.
I don't know if it's myfavorite though.

I think it's gonna get knocked off easily, so
that I'm not gonna put on thelist.

Jay Franze (44:34):
Joe?
Hate mail goes to Tiffany atchickfrenzy.com.

4J.

unknown (44:42):
Nice.

Jay Franze (44:42):
Thanks.
All right.
I think that covers the list.

Speaker 4 (44:46):
Okay.

Jay Franze (44:47):
So now I'm gonna go to you.

Speaker 4 (44:49):
Yep.

Jay Franze (44:49):
And you're gonna say goose egg by Tiffany Mason.

Speaker 4 (44:54):
No.

Jay Franze (44:55):
Oh.
You have one?

Speaker 4 (44:57):
No.

Jay Franze (44:57):
So you're going with goose egg.

Well, I would like to cheat, and I would like
to take one off of this list.

Jay Franze (45:04):
And if you're gonna take one off this list, I can
tell you which one you're gonnatake.

Okay.

Jay Franze (45:09):
Alanis Morissette, Jagged Little Pill.

Speaker 5 (45:16):
Yes! Holy crap.
Yep.
Okay.

Jay Franze (45:21):
Take that, folks.
I can read minds.
Miss Kathy, would you like meto tell you what you're
thinking?
Stop it, girl.
Stop it.
All right.

Speaker 4 (45:35):
You want to knock them off?

Jay Franze (45:36):
Nope.

Speaker 4 (45:37):
Oh, oh, oh, oh.
Jeffrey Panzer and Tom.
And Tom.

Jay Franze (45:42):
I will not say Tom's last name.
I will not say that it'sMorehouse.
So Jeffrey Panzer and Tom, notMorehouse.
Sorry, Tom.
323 Main Street.
So Jeffrey and Tom and myself.

And the Jay Francis.

Jay Franze (46:03):
The me.

What is the last one I'm adding to the list, Jay?

Jay Franze (46:09):
What is the best city in the world?

Speaker 5 (46:14):
Boston.
Thank you.

Jay Franze (46:17):
Boston with their debut album.
Boston.

All right.
Are we ready?

Jay Franze (46:26):
I'm ready.

Okay.

Jay Franze (46:28):
Read all 26 you got.

Okay.

Jay Franze (46:31):
Two at a time.

Okay.
Morgan Wallin, CarrieUnderwood.

Jay Franze (46:34):
Carrie Underwood.

Okay.
Carrie Underwood or ChrisStapleton?

Jay Franze (46:40):
I like Carrie, I'm going with Chris.

Okay.
Chris or Laney Wilson.
Best album.
Best debut album.

Jay Franze (46:50):
I like Laney, I'm going with Chris.

Yeah, I think that was a solid choice.
Chris Stapleton or Keith Urban?

Speaker 1 (46:57):
Chris Stapleton.

Yep.
Chris Stapleton or TaylorSwift.

Speaker 1 (47:02):
Taylor Swift.

Whoa.
Taylor Swift or Gretchen Wilsonhere for the party.

Speaker 1 (47:09):
Taylor Swift.

Okay.
Taylor Swift or Dotry.

Jay Franze (47:15):
Ooh.
I like Dotri, I'm saying TaylorSwift.

Okay.
Taylor Swift or Led Zeppelin.

Jay Franze (47:26):
Zeppelin.

Okay.

Jay Franze (47:28):
If we're saying best debut album.

Yeah.
Led Zeppelin or Kansas.

Jay Franze (47:34):
Ooh.
I like Kansas, I'm goingZeppelin.

Okay.
Led Zeppelin or Van Halen.

Jay Franze (47:41):
Van Halen.

Van Halen or the Eagles.

Jay Franze (47:45):
Van Halen.

I almost crossed off Van Halen.
Van Halen or Oussie withBlizzard of Oz.
Ooh.

Jay Franze (47:55):
I'm going Van Halen.

Sorry, Mark.

Speaker 6 (47:58):
Okay.

Jay Franze (48:00):
Ozzy's a great album.
Please.
I mean, don't anybody you knowmiss that.
That was a great album by Ozzy.

Van Halen or Guns N' Roses.

Jay Franze (48:11):
Oh, I'm still going with Van Halen, but man, Guns N'
Roses, great album.
Mark Bottelato.
Thank you, my friend.

Speaker 5 (48:19):
Hey, Mark.

Jay Franze (48:19):
He says it's only allow because it's Van Halen.
I agree, Mark.
I agree.

Okay.
Van Halen or Alanis?
What's that?

Jay Franze (48:30):
Oh, mercy.
I love Alanis Morissette, butshe can't be Van Halen.

I know.
I knew better.
Van Halen or Foreigner?

Jay Franze (48:40):
Again, I love Foreigner, but Van Halen.

Van Halen or Boston?

Jay Franze (48:47):
Oh, Boston, hands down.

Well then Boston is our winner winner chicken
dinner.

Jay Franze (48:54):
Now I'm curious, Mr.
Botelato, since you're chimingin, what is your thoughts on
that?
Van Halen or Boston?
Now that Boston album waslegendary, just absolutely
amazing.

Was it the guitar?
Was it the production?

Jay Franze (49:13):
It was all of it.
It was all of it.
Mark says both are epic, but hewould go with Van Halen.

Oh.

Jay Franze (49:21):
Mark, you're fired.

At least you get to say being his friend, Mark.

Jay Franze (49:26):
No, I don't know if he does.
Go on here if you want to dukeit out, let me know.

Speaker 5 (49:31):
Whoa.

Jay Franze (49:32):
No, I agree.
Van Halen's album was awesome,but I think the Boston album was
something different at thetime.
And I think the fact that itwas all out of one guy's mind.
You know, he formed the bandout of you know necessity.
That was all one person.

Way to go.

Jay Franze (49:58):
There you go.

Desperate times call for desperate measures.

Jay Franze (50:02):
All right.
I say Boston.

Boston.

Jay Franze (50:07):
Let's move on to the charts.
How about that?

Okay, that sounds great.
Well, let's start at number 10.
Number 10.
Okay.
Hudson Westbrook House Again.

Speaker 1 (50:18):
Yeah.

Yeah.

Jay Franze (50:20):
That's all right.

Number number nine is Mr.
Blake Shelton.
Number nine.
With Stay Country or DieTrying.

Jay Franze (50:26):
I really want to like it.
I do.
And I think overall I like it,but there's a few really cheesy
lines in there.

Yeah.
That'll ruin a song.

Jay Franze (50:35):
But I like the song as a whole.
I like the feel of the song.
I just really there's a fewcheesy, cheesy lyrics in there.

How did it not get caught?

Jay Franze (50:44):
I don't know.

Before they recorded it, like nobody in the
recording studio said, like Canyou do a little bit better here?
Yeah.

Jay Franze (50:53):
I don't know.
Country is cheesy.
It does ride the line of cheesya lot.

Speaker 3 (50:58):
Yeah.

Jay Franze (50:59):
Mark says smooches.
Thank you, Mark.
It's all better now.
All right, move on.

Couple smooches between friends.

Jay Franze (51:07):
Yeah.

Well, number seven is oh, we forgot number
number John Cardy.
I know.
Hardy with favorite countrysong.

Jay Franze (51:17):
I like that one.

I do too.

Jay Franze (51:19):
Hardy.
Hardy.
Not John Party.

Number seven is Miss Megan Moroni with Six
Months Later.
And I just learned one of theverses.
I mean, I don't know.
You know how you hear it amillion times?
And then all of a sudden youhear it and it like clicks, and
you're like, oh.
So I like when she says, Whatdoesn't kill you makes you
stronger and blonder and hotter.

unknown (51:45):
Nice.

Somehow that finally clicked for me, and I
was like, that's funny.
It is funny.
Okay.
Number six is Mr.
Tucker Wetmore with three, two,one.

Jay Franze (51:55):
Yeah.
Yeah.
That's not my favorite.

No.
I think we say that every time.
In spot five, we have ParkerMcCollum, What kind of man?
Like that song.

Speaker 9 (52:07):
Yeah, it's all right.

Okay.
Number four, Parmalee, Cowgirl.
I was enjoying this song.
And then Hannah wanted tochange the channel, and I was
like, but it's Cowgirl byParmalee.
And she was like, eh.
And I was like, she normallywins.
So okay, well, here's a realshocker.
Number three is Riley Green,Don't Mind If I Do, with Ella

(52:30):
Langley.

Jay Franze (52:31):
And you know what?
I like it.

I love it.

Jay Franze (52:33):
I like it all.

Clearly, a lot of people like it.

Jay Franze (52:35):
Not that many.
It's still only number three.

Well, maybe more people learned about it after
the CMAs.

Jay Franze (52:43):
Yeah, possibly.

Okay.
And I don't really remember itclimbing up the charts.

Jay Franze (52:49):
No, it just appeared.

Yeah, it debuted at three.
I don't know.
Okay.
And spot number two.

Jay Franze (53:00):
I brought it back.

Lainey Wilson was somewhere over Loreto.
This song came on, and Hannahsaid.

Speaker 3 (53:13):
She said, What's a Loreto?
It's a technical.

Jay Franze (53:19):
It's like a taco.

Oh, that was pretty awesome.
Okay.
And I'm super pumped.
Spot number one.

Jay Franze (53:28):
What are you pumped about, Darlin?

Goes to Chase Matthew, Darlin.

Jay Franze (53:40):
Okay.

Let it finish.
Let it finish.
Let it breathe.
I like in that song, Darlin,when it's like, why does he call
you Darlin?
Like whatever that littlethat's what I like.
The song is good, but thelittle sound effect is pretty
good.
Fantastic.

Jay Franze (54:00):
Why don't we start this next one off at number 10
as well?
Yeah.
I think that I think thatworked out well with the first
one.
Let's try it again.

Let's do it again.

Jay Franze (54:09):
Let's see if we can keep it.

Spot number 10 on the indie charts is Secondhand
Smoke by Alex Miller.

Jay Franze (54:18):
Nothing worse than secondhand smoke.

Nothing worse.
Because you didn't want tosmoke in the first place.
First hand smoke's greatbecause you chose to.

Jay Franze (54:26):
I don't smoke.
I've never had the time topractice.
I'm going to do it.
I want to be good.

Spot number nine is Three Sheets to the Wind by
Kelly and Sarah.

Jay Franze (54:37):
By Kelly and Sarah.

And Sarah with an H.

Jay Franze (54:40):
Sarah with an H.
Which I don't know why we saythat because that's the
traditional way of doing it.

Yeah.
We're going to say it a lot ifwe have to say it every time.

Jay Franze (54:51):
Sarah with an H.

Why am I roping myself into this?
Because it's not really a weething until just a little bit.

Jay Franze (54:55):
I just want to point out you named your daughter
Hannah.
Your daughter.
I heard it that time.
You named your daughter Hannahwith no H.
Not even one at the beginning.

Speaker 5 (55:09):
Say it the other way.
Come on, be a Bostoniandaughter.

Jay Franze (55:13):
Just move on.

Speaker 3 (55:16):
Favorite moment of the entire year.
Numeroocho.
Come on.
Do not cut that out of theepisode.
Okay.
Spot number eight.
Numeroocho.

Single of the year by Maddie True.

Jay Franze (55:36):
True Blue Music.

Spot number seven, said no redneck ever by
Aaron Goodwin.
I see you want to do your go.

Speaker 9 (55:51):
Move on quick.

Okay.
Number six is Wish You Wouldn'tGo by Ken.

Speaker 9 (55:59):
Just go.

Jay Franze (55:59):
Don't match.

unknown (56:01):
Go.

Jay Franze (56:02):
Keep going.
Keep going.

Number five, perfume on my jersey by Caleb
Lathrop.

Jay Franze (56:08):
Jersey, move on.

unknown (56:09):
Oh my God.

Speaker 3 (56:11):
Spot number four.
I don't know how to saygoodbye.
Bang, bang, bang, bang.
Bang, bang.
Boom, boom.

Jay Franze (56:17):
I couldn't do it.
Keep going.

Speaker 3 (56:21):
Jergensmeier.

Okay, spot number three.
Jay's already ruined it, butit's read by Jet Jergensmeyer.

Speaker 3 (56:33):
Oh mercy.
And number two.
Hell that I call home by PorterMartin.

Jay Franze (56:43):
Should we dance now?

Spot number one.
Truly, sincerelycongratulations, Miss Billy Joe
Jones with turquoise and silver.

Jay Franze (56:59):
Let it play.
Hold it.
Hold it.
Hold it.
First time ever on an indiechart.

Never on an indie chart.
We've never done that.

Jay Franze (57:07):
Never let it go.

Billy Joe Jones gives a whole round of applause.

Jay Franze (57:12):
Yes, she does.
Congratulations, Miss Billy JoeJones.

Are we going to talk mailbog?

Jay Franze (57:19):
Yes, we're going to talk mailbog.
It's a dish down in Louisiana.

Speaker 4 (57:25):
What's a mailbox?

Jay Franze (57:28):
Moving on to the mailbag.
If you would like to send anyfeedback to us, head on over to
jfranzi.com.
You can go ahead and do thatover there.
You can send an email, you cando the smoke signals, you can do
all the same things you do onall the other things.
You know what?
We need to just create oneemail address.
Feedback at jfranzi.com foreverything.

Speaker 3 (57:46):
Yes.

Jay Franze (57:47):
Is that easy?
Feedback?
Did everybody know how to spellfeedback?
Should it be contact?
I mean, contact sounds boring.

Speaker 3 (57:54):
Yeah, feedback.

Jay Franze (57:55):
Feedback.

Speaker 7 (57:56):
Feedback.

Jay Franze (57:57):
I like feedback too because it reminds me of an
amplifier.

Speaker 7 (58:00):
Feedback.

Jay Franze (58:01):
Alright.
There's a lot of a lot offeedback.
So I'm gonna blow through acouple of these real quick and
see if we can stop on the onesthat make me giggle.
If they make me giggle.
I don't know.
Carla.
You probably will.
Carla.
Carla.
Carla.
Carla.
One of my friends.
Carla.
One of my best friends.

(58:22):
I don't know if it's this,Carla.
I don't think it is, becausethis one says from Birmingham.

Speaker 6 (58:27):
That's weird, Jay.
I thought we were best friends.

Jay Franze (58:30):
I said one of my best friends.
Okay, fair enough.
Okay.
Best friend.

Speaker 7 (58:35):
Okay.

Jay Franze (58:35):
I didn't say the pinnacle.

Speaker 7 (58:37):
That's what you would got it.
Okay.
If you were referring to me, Iwould have known that.

Jay Franze (58:41):
Oh, referring to you?
Oh.
Wait, yeah, no.
A friend for sure.

Speaker 5 (58:47):
Nice.

Jay Franze (58:48):
Anyways, Carla says, I started listening during my
commute, and now I'm hooked.
Oh, hook line sinker.
A relative of yours.
You have a cousin namedMidnight?

Speaker 3 (59:01):
Nope.

Jay Franze (59:02):
Midnight Mason.
Says, with Zach Top hitting thescene, do you think country
music is shifting back towardstraditional sounds?
Or are we stuck with popcountry for a while?

I think we talked about that, right?
At the beginning of the show.

Jay Franze (59:18):
I think that there is a shift going back towards
traditional sound.
However, I don't think it'sgoing to replace what's going on
in the pop side of it.
I think we'll have both.
And I think unfortunately theZach Top stuff will be the
novelty side of it.
I don't think we're going toget like a flood of 90s style

(59:41):
country artists.
Might get a few.
Usually when there's one, therecord labels like to get their
own version of that person.

Speaker 7 (59:49):
Yeah.
Yeah.

Speaker 1 (59:50):
So we'll see.

Jay Franze (59:52):
Eddie.
Eddie says, We need more womenin commentary with your energy,
Tiffany.
Then he says, There, Jay.
I put it at the end.

Speaker 3 (01:00:07):
I like it.

Jay Franze (01:00:08):
Eddie, you had me for a minute, buddy.

Speaker 3 (01:00:11):
You had me the whole time.

You're not the first, Eddie.
Relax.
Oh, Roadhouse Rick.

Speaker 3 (01:00:21):
Oh.

I like that one.
Roadhouse Rick.

Speaker 3 (01:00:26):
Why is that getting you so excited?

I like Roadhouse.
I don't know.
Rick might be pretty cute too.
Who knows?
What's one guest you haven'thad yet that you are dying to
talk to?
Lizzie Hill.
I would like to talk to LizzieHill.

Tiffany Mason (01:00:41):
I would have to think about that.

Well, that doesn't help us much.

I don't think on my feet well.

unknown (01:00:48):
No.

I am sitting, so I'm not really on my feet.

Or you're at us or your back.

Oh just saying.

I don't know.
Lizzie Hill is the first onethat comes to my mind.
I also want to speak to JohnSnyder.
Bob Bullock is hooking that oneup for us.

Nice.

Because Bob Bullock just produced John Snyder's
latest album.

Okay, I know mine.
I would like to talk to AdamSanders, one of Billy Joe's
competitors on the road.

Speaker 9 (01:01:20):
Oh.

He's written a couple songs and he's had some
success.
He's great on stage.
He's a great performer.
I would love to have aconversation with him.

See, Billy Joe, I would not do that to you.
Matter of fact, I would love tohave you back.
If you would like to come backon the show, I'll talk to you.
Miss Tiffany can go talk tothat Adam dude.
All right.
Maria.
Maria.

Speaker 5 (01:01:48):
My Maria.
Oh, Maria?

Okay.

Speaker 5 (01:01:53):
Is it Shenandoah?
No.

No.
It's Perks and Dumb.

Speaker 5 (01:01:56):
Yeah.

Jay, thank you for interviewing artist the right
way.
Your pacing is spot on.
I don't really think that mypacing is horrible.
But thank you.
Thank you, Maria.

Speaker 9 (01:02:10):
It's all post-production.

Thanks to Tiffany at VirtualView.
Jeff P.
I don't know if that's JeffPanzer.

Speaker 5 (01:02:20):
Panzer.

But Jeff P says longtime listener, first-time
mailbagger.
I love it.
Jay, when you're producing atrack, how do you decide whether
a song needs a live drummer orprogram drums?
What's the line you draw in thestudio?
I draw the line in Live Drummerall the time.

Speaker 6 (01:02:44):
You always want live.
Yeah.

I am not a fan of drum machines or programmed
drums, even though Tidbit.
I did a song for a guy namedKen Elevin, and it was a very
low-budget song, so I had toprogram drums, and I won an
award for best programmed drums.

Of course you did.
Yeah.
Like my husband, just like theMidas touch.
Just like freaking good.
Not just the fact that I had toprogram drums.

I don't like drum machines, and I had to program
them.
But I think at the time, whatgot me the award was at the
time, if people were programmingdrums, they were programming
drum machines.
And I used samples, drumsamples that I recorded when I
was in the studio.
So I was in the studio with JimCristaldi and Andy Hall, one of

(01:03:34):
the best drummers I know.
And I would just have him playhits on his drum kit.
And then I I would programthose, and I kind of played his
drum kit in my head and placedthe hits where I thought they
would go.
Anywho.
Darren, Darren says, not aquestion.
Just a big thanks.
I discovered more new artistsfrom your show than any other

(01:03:57):
playlist.

That is amazing.

Thank you.
Thank you very much.
Penny and the twins.
Now either Penny has a couplekids.
Or she has a Victoria's Secretbra.

Speaker 3 (01:04:17):
Maybe she got the twins because of the Victoria's
Secret bra.

I'm just saying.
I'm going with the bra.
In my mind, Penny, that's whatwe're talking about.
Just so you know.
Especially since you startedoff with Tiffany.
Tiffany, my daughters adoreyou.
You're the reason they thinkbeing a smart, funny woman in
the industry is normal.

(01:04:41):
Keep shining.
Excited, Mark.

Oh, thank you, Penny.

unknown (01:04:47):
Okay.

Grant.
Grant said, Country lyricspeaked between 1992 and 1999.
Everything else is just politechaos.
Prove me wrong.
What's a good lyrical songafter he said 99?

I would beg to differ.

You gotta name one.
If you're gonna call Grant.

What's coming to mind is like Garth Brooks of the
Thunder Rolls.

His last name is Mason.

Well, maybe we maybe we have an argument here.

Sorry, Grant.

Mason versus Mason.

Is Grant a relative?

No.
Um, I'm thinking like, like Isay, Garth Brooks and the
Thunder Rolls and that wholestory, and how many stories
similar do we have playing outin country music?

But and he knows.
Garth Brooks falls in that timeframe.

Right.
But I'm saying lyrically, wehave very similar things.
So polite chaos, I feel like,comes from Beyoncé being in
country music or shabuzi orcountry club versus traditional
country.
Discrepancies in people or thegenre, not necessarily the

(01:06:01):
lyrics.

I think if you're gonna tell Grant no, you have to
tell me a song that has qualitylyrics past 1999.
It should be easy for you.

Um I do not think good off my o on my toes.
Um the Laney Wilson songs?

Any of them?

Yeah.

Somewhere over Laredo?

Yeah.
That's not I guess.

What was the one we said was clever?

Huh?

What was the one we just recently said was clever?
Bar none.
Oh, Barnun.
Yeah.
That was clever.

Yeah.
Clever?
Okay, read the comment again.

Okay.
Grant says country lyricspeaked between 1992 and 1999.

Okay, I'm gonna interrupt you and just say he's
correct in saying they peaked.
But I don't necessarilyunderstand the chaos.
Polite chaos.

Everything else after that is just polite chaos.
Prove me wrong.

I I think that he's correct that they peaked in
the 90s.
But I think we have plenty ofgood songs that still come out.

Man, I'm thinking about just songs that I've
written, because I've writtenfrom before that time frame till
now.
And I think songs I've writtenrecently lyrically are better
than any song that I've writtenin the past.
Now, I'm not saying that I'm,you know, charts between 92 and
99.
I'm just saying that there'sgotta be other lyricists out

(01:07:37):
there that are the same.

Yeah, there's also a Dan and Shea song that's
coming to mind.

Alright, well, let's move on.
Otherwise, we could be here allnight.
We will be here all nightarguing about your comments.
But thank you.
You got us thinking?
Marissa.
Marissa Tomei.
No, man, I wish it was.
I wish it was actually, youknow what?
She's um a little left fieldthese days, but is she a
Bostonian?
No.

(01:08:03):
No, she's a New Yorker.

unknown (01:08:06):
Okay.

But she's a beautiful, beautiful woman.
I've always thought that abouther.
And she's Italian.
And my cousin Vinny, oh my.

Speaker 5 (01:08:16):
Oh my.

All right.
Marissa.
This is Marissa, I'll say Kay.

unknown (01:08:22):
Okay.

Keep it discreet, Jay.

Marissa Kay, period.

Oh, you saw Kerma the Frog.

Marissa Kay, do you think the loudness war is still
a thing?
Or are producers finallybacking off?
Miss Tiffany, do you know whatthe loudness war is?

Nope.
Let me I have to imagine it'swhere everything is set to the
loud, where it's all coming atyou.

Close enough.
What happens is back in the daywhen songs were on the radio,
there was no regulation toanything.
So what would happen is the DJwould play your song, then they
would play my song.
And if I can make my song justa hair louder than yours, the
listeners' ears will perk up andthey will think it's a better

(01:09:11):
song just because it's louder.

Oh, interesting.

So what happened all the way through and up to the C
D, engineers were trying tofind ways of making their songs
that they worked on louder.
Which created this loudnesswar.
Like I can make mine louderthan yours.
So basically, what happens whenyou do that is we're taking

(01:09:37):
compression.
So we're taking the loudestpart of a song and the softest
part of the song, and we'retaking those dynamics.
So if I'm singing really loudand then I go sing really soft,
I'm taking those and I'mbringing them closer together.
I'm reducing the dynamic rangebetween those two notes.

Speaker 3 (01:09:54):
Yep.

By doing that, I can then increase them both up to
the loudest possible point.
Sure.
So now when you hear that song,you're hearing the loud parts
still at the same spot theywere, but the softer spots are
even louder.
Which makes the song comeacross louder overall.
And then what people keep doingis at first it was a little

(01:10:17):
bit, and then it was a littlebit more, and a little bit more,
and a little bit more, and theysquash the living hell out of
it and throw it up there.
So there's no dynamic rangewhatsoever.

Speaker 7 (01:10:28):
I don't like that.

No, and engineers like Bob Bullock and Bob
Clearmountain specifically,those two are very wide open
mixed engineers.
Meaning you want that dynamicrange.
You want to be taken on thatride.
You want at some spots for thesinger to just lay into it and
scream, and then you want themto whisper and you want to move

(01:10:49):
with that arse.
I will say when you're drivingin the car, it's kind of hard to
hear the nuances.
Sure.
However, that's what you wantfrom an audiophile's point of
view.
However, we talk about digitalmusic.
CDs would only let us go so farbefore that music would get
distorted.
But digital streaming platformshave regulations on what you

(01:11:13):
can do.
Yep.
It's measured in lufts, andit's typically between negative
14 and negative 16 lufts, so sayon average negative 15 lufts,
is what everybody is required tomeet for Spotify and for Apple.

Speaker 3 (01:11:27):
Yep.

And if you meet that, fantastic.
Your music is accepted by thoseplatforms, so that way when you
play your song and then my songgets played next, they're at
the same volume.

Speaker 3 (01:11:39):
Seems fair.

It's kind of now taking away that need for the
loudness ward.
And hopefully that means we areintroducing more dynamic range
back into our music again, whichI would think, like everything
else, it's a cycle, and nowmaybe we'll get to big wide open
mixes again.

Speaker 3 (01:11:56):
Yeah.

So that's one thing.
I think the digital streamingplatforms, it's one benefit of
those platforms.
I think that's it.

Okay.

Thank you for watching.

I enjoyed your commentary.
Thank you for sharing.

Lily.
Lily from Ohio.
Ohio.

Not too far from you.

Go blue.
Oh, wait.
Nope.
They don't like that there.
Oh.
Ohio and Michigan.
Big rivals.
Buckeyes and Wolverines is theMichigan.
So you don't want to say goblue as you're driving through
Ohio.
It's probably not a good thing.

Get your tires slashed.

Anyway, Lily from Ohio.
Every time y'all do y'all.

unknown (01:12:40):
I love it.

That's come up so much recently, it blows my mind.
We talked about it one time onthe show, and now all of a
sudden I hear y'all everywhere Igo.

Part of your reticular activating system.

Yeah, there you go.
Lily from Ohio.
Every time y'all do thequestion of the day, I feel like
I'm sitting in the studio withyou.
It's my favorite way to end thework day.
Alyssa, please do a segment onunderrated female artists.
Have we done something likethat before?

Yeah.
I thought so.

I don't know.
We'll check it.
Big Lou.
Big Lou.
Isn't there a big Lou from thecommercials on the radio about
life insurance?

Speaker 5 (01:13:25):
Not in Florida.

Oh, I bet you I bet you it is.
I guarantee it.
You're gonna have to look thatup.
Big Lou.
Anyways, Lou, if this is you,huh?
Tell me.
I think that would be prettycool.
I don't know why, but I thinkit'd be pretty cool.
Big Lou.
I think half the industryforgot that live vocals matter.
Now he goes on.
Watching some of these starssing acoustic is just an F and

(01:13:51):
Mess.
All right.
I like it.
You know what, Lou?
I think you are the big Lou.
That's the same attitude Iwould get from those
commercials.

Speaker 5 (01:14:04):
Yeah, he's not wrong.

All right, let me move a little faster.
Savannah says, I love when youtook off the script.
Those little moments are whatmakes the show awesome.
All right.
Brandon.
No, you can take this multipleways.
His name, I'm not giving awayanything I shouldn't.
Brandon, the bedroom producer.

(01:14:28):
Now your mind went to where mymind went.

Speaker 5 (01:14:33):
However, does he know Penny?

We talk Penny and her twins.
However, when we talk aboutmusic, we talk about bedroom
studios.
I'm assuming that's what hemeans.
However, probably.

That's probably what it is.

I like the other way better.
How much of a modern countryrecord is actually recorded in
Nashville studios versus remotehome setups now?
Has the workflow really changedthat much?
Yes.
Bedroom producer.
That makes more sense.
I think we discussed it brieflythe other day.

(01:15:07):
I think the majority of thebasic tracks are recorded in the
big studios in Nashville, andthen everything else is recorded
in some sort of home setup orsmall production studio
somewhere.
It is unfortunate, but I thinkthat's the way it is.
And I think with the additionof AI and all of the other
artificial instruments becomingextremely realistic sounding,

(01:15:29):
we're going to end up havingmore of that.

Or not even in home, just on desktop.
On desktop.

There you go.
Lila?
L I L A?
Yep.
Lila.
Look at that.
I got one right.
When you're producing newartists, what's the biggest
rookie mistake you see?
Is it performance, song choice,overthinking, or is it all of
the above?
I think the biggest mistakethat new artists make is that

(01:16:00):
they feel like they knoweverything.
Or they're not open to advicefrom the people who have been
doing it for years.
They think because they'vethey've been a fan of music,
they think that they're veryfamiliar with what they want or
what they need or what'spossible and they don't want to
vary too much.

(01:16:21):
Even though they say they do,they don't.
To me, that's what it would be.
Just have an open mind.
Let the you know, studiomusicians do what they're there
for.
You know, let that stuffhappen.

In editing, there's a lady who was saying
that she goes to a lot ofconferences and she goes to the
conferences, even if she knowsthe topic, because she just
wants to find where the gapsare, where her knowledge gaps
are.
And so I think it would be thesame thing for the budding
artists, that they would just,you know, try to absorb as much
as they can, take what you like,discard the rest, but don't be

(01:16:55):
a no at all.

unknown (01:16:56):
Yeah.

I like the way you say that too, because that's
something that I do a lot is Ilisten to shows that if I read
the title and it's somethingthat I already feel like I know,
I still listen to it because Iwant to, you know, see if
there's gaps that could befilled in or that type of stuff.
I so I agree a hundred percent.
Yes, to me, don't be a no atall.
Just go in there with an openmind and you know, take the

(01:17:19):
advice of those who've beenthere before.
Okay.
Kendall.
Jay, has anyone told you thatyour voice sounds like dripped
bourbon in velvet?
Asking for a friend.

Speaker 3 (01:17:30):
Oh Kendall.

What do you wear?

Speaker 3 (01:17:35):
Oh God.
Do not curse this man.
He'll take you to hide in thecheat.

Let's see the smoke signals.
Or shall we make some smoke ofour own, if you know what I'm
saying?

Speaker 3 (01:17:46):
Oh snap.

Babe, if you're listening, it's just a joke.
Kendall doesn't mean it.
She's just playing along.
Hunter.
Hunter says, country collabsare getting out of control.
Not every song needs threeguests of DJ and a motivational
speaker.
Hunter, you win question of thenight or comment of the night.

Speaker 1 (01:18:12):
Yes.

Oh, that's awesome.
If there was a category, youwould win it for sure.
That's my favorite motivationalspeaker.
Rhonda, just wanted to saythank you.
This show feels warm, real, andhuman.
We're not AI yet.

Well, we've been toying with it, so maybe in a
couple weeks we'll sit one out.

We've asked Alex to chime in here or there, but
yeah.
Marcus.
Marcus says, Jay, love how youguide artists into telling you
stories they didn't plan toshare.
It's a gift.
Thank you.

I think when you interview somebody and you make
a genuine connection, it letsthem put their guard down and
they can like recall storiesthat normally they would be like
too uptight or too nervousabout.
But like you're able to getthem into like kind of the flow
or whatever.
And then like, oh yeah, thatmakes me think of this.
Oh yeah, you know, I want toshare that.

All right.
So because I'm a wise ass,they're willing if you're
gathered.
All right.
Jordan says, Tiffany, you keepthe conversation grounded.
Appreciate you.

Speaker 3 (01:19:19):
Oh, how do you know he has country accents?

Okay.
Wow, thank you very much,Jordan.

Jordan, no last name.

Speaker 3 (01:19:32):
Good for him.
He's a quick study.
He knows better.

Oh, you know, if nothing else, I love you guys.
Absolutely.
Honky Tonk Professor.
You've been here before, thankyou.
I appreciate it and I like thethe handle.
If Nashville puts out one moreflavor of the month, ignoring
real writers, I'm forming aunion.
Y'all are the only show thatgives true storytellers a voice.

(01:20:01):
Okay.

Speaker 5 (01:20:04):
Very sweet.

And last but not least, Shauna.
I didn't even ask.
Shauna.

Proud of you sounded it out without me.

Tried.
This show makes me feel likeI'm part of the crew.
Please never lose that mix ofheart, humor, In honesty.

It's you are part of the crew.

Is she though?
Did she pass the initiation?
Did she walk across glass?
I don't know.

Speaker 3 (01:20:38):
Next is the hazing.

Oh, mercy me.
What do we have going on thisweek, my friend?

Well, my mother-in-law has been here
since a couple days beforeThanksgiving, and she's sadly
leaving tomorrow.
It's been nice to have heraround.

That's not what you're saying earlier.
Earlier you were saying I can'twait for her to get out.

I would never say that about her.
I love her.
And my husband turned 50.
No, sorry, on Sunday.
He turns 50.
And we celebrated 25 years ofbeing married.

See now.
I was just gonna say, how doesit feel to be a 25-year-old
married to a 50-year-old, butyou just ruined that?

Speaker 3 (01:21:20):
I know.
Yeah.

Married at birth.
I was born into it.

You know, those songs are.

Explain the three arms.
I don't know.
Do you know that they're tryingto make marrying your first
cousin legal?

It's so redunculous.

Have you met my cousin?

Well, it's no, I haven't, but it's stupid because
it can cause birth defects.

I have a lot of hot cousins.

Yeah, well, your chances your your pool may be
opening wider.

Nope.
Oh, my Joey is pretty cute.
All right.
All right.
Well, my friend.

Speaker 5 (01:22:05):
What do you have going on, Jay?

This past Monday, you blew me off, and I
interviewed a gentleman namedCorey Hooker.
I did this on my own.

Oh, you mean the night of my anniversary?
What did you do on youranniversary, Jay?

I went to see.
Who'd I go to see?
Um Jason Bottom.
Jason Bonham.
Like everybody does on theiranniversary.
I don't know what my wife did,but you know, that's what I did.
I'll never live it down, I'msure.
From you.
Anywho, I interviewed agentleman named Cory Hooker from

(01:22:43):
Corey Hooker and the CadillacPreachers.

Speaker 6 (01:22:45):
Yes, I'm excited to check the interview out.

It actually released today.
If you want to go check it out,you can.

Speaker 6 (01:22:50):
I just told you I want to.
I know.

I'm talking to everybody else.

Speaker 6 (01:22:53):
Well, nobody cares about you.
Okay.

But he was a great guy to talk to.
He's very interesting.
And the show went on for thethe full hour.

Speaker 5 (01:23:05):
Uh-huh.

And then afterwards we stayed on for about another
hour and a half.
I should have just kept itrecording the whole time because
the conversation was a littledeeper, a little bit funnier in
some cases.
But it was very cool.
He was a great guy to talk to.
And get this, he's gonna beplaying in my area on Saturday.

Speaker 5 (01:23:23):
Oh, nice.

Nice, huh?

Speaker 5 (01:23:25):
Yeah.

Think I could go?
No.
Uh-uh.
Oh.
My kids have dance recitalsthis weekend.

Okay.
Well, consider yourself luckyyou got to see him once.

That's true.
Now, to be fair, he's playingtwice on Saturday.
He's playing at 6 o'clock andagain at 9 o'clock.
My kids' dance recitals are at3 o'clock and 7 o'clock.

Seems like there's a time conflict there.

So I don't know.
Do you think I get in troublefor going before or leaving
early?

Which one do you think I get in trouble for?
I think you could leave early.

You think so?
See how well that goes.
No, I will not do that to mychildren.
I care about them.
Right?

Speaker 3 (01:24:13):
Yes.

Well, yeah, no, all three of them.

Speaker 3 (01:24:17):
Yeah.

Had to think about it for a minute.
You never know.

Any given day it could change.

Yeah, that's true.
All right.
Well, we shall crash.

Speaker 7 (01:24:29):
All right.
I'm ready to crash it.

Alright, folks.
We have done it.
We've reached top of the hour,top of hour number two, which
does mean we have reached theend of the show.
If you've enjoyed the show,please tell a friend.
We say it a lot.
Please tell a friend.
Tell two, tell three, tellfour.
Miss Tiffany.
Huh?
I kind of stole it a little bitthere.

I know.
But if you didn't like it, thenjust tell two or three.
Tell more.

Tell more of them.

Yeah.
Complain about us.
They say once you get hatersonline, that's how you know
you've made it.

I don't know if I want a hater.

I know.
I don't want to hate.

I like our crew.

I did too.

We hate on them.
I'd love not war.
They're nice to us.

It's true.

Sounds like an abusive relationship.
When you say it like that, itsounds all sorts of wrong.
All right.
If you've enjoyed tonight'sshow, please tell a friend, Miss
Tiffany.
If you have not, tell two.
Tell two.
You can reach out to both of usover at jfranzi.com.
We will be happy to keep thisor any other conversation going.
You can also find our socials.

(01:25:28):
You can find it all over atjfranzie.com.
J-A-Y-F-R-A-N-Z E dot com.
Miss Tiffany, do you have anyfinal words for us?

Yes, we're wrapping up.
But before we go, thank you,crew members.
Thank you for your time, yourenergy, and your ears.
Have a great week, and we'll beback with more next week.

On that note, folks, have a good night.
Thanks for listening to the JayFranzi Show.
Make sure you visit us atJFranzi.com.
Follow, connect, and stable.

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