Jimmy Robbins is a songwriter in Nashville with 10 No.1’s. He landed his first 7 no. 1’s in just his first 3 years of moving to Nashville. You may have heard him on the Bobby Bones Show where he came in with Maren Morris and performed “Circles Around This Down” which they wrote together. Bobby and Jimmy take a deep dive into all of his No. 1 songs and never before heard stories behind some of the biggest hits in country music! Bobby also talks to him about his career including Warped Tour, a solo album with Motown Records, and developing a relationship with some of the biggest artists in country music.
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Episode Transcript
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Speaker 1 (00:02):
I welcome to episode three thirty four with Jimmy Robbins, songwriter,
ten number ones, great guitar player. His story is wild
about his first year in Nashville. He's like, all right,
let's see how this goes. And then his first year
it's like bang bang bang. He's from Raleigh, North Carolina.
His career includes the Warp Tour, a solo album with
(00:22):
Motown Records, writing pop top lines for Disney. You know,
we get into the age he started touring, which is crazy,
and you know he had Blake Shelton. Should be cool
if you did, you don't have to. Also, Thomas Ready
goes like this, Keith and Mirando we were us. And
right now we'll play a clip of this. He's got
(00:44):
Marion Morris circles around this town, which he was a
writer on. And also he's a writer on Kelsey Ballerini
and Kenny chess Andy half of my hometown half. So
I think you'll enjoy this. I mean, he does talk
about later when he dropped out of high school. I mean,
(01:07):
so young, you'll hear it. It's a great interview. I
really enjoyed this. This is Jimmy Robbins here on the
body cast all right here with Jimmy Robbins, which I
guess I'm so inconsiderate as a human that I had
said to you recently we met on my show. I
was like, hey, first time to meet you, and you're like, oh, no,
we met. I don't even know where did we see
(01:28):
each other? You're with KELSI, Is that what you said?
I think so, I feel like we've been in the
same place but haven't. Like we don't hang out on
the weekends every weekend. Yeah, I mean I don't hang
with anybody that being said, uh, I felt like when
you came on the radio show and and Mike and
I were talking and that was a marine centric thing.
But I was like, dang, I really like Jimmy, like,
and you've you've accomplished so much and you mean, what
(01:50):
do you like, yeah, seventeen something like that. You've accomplished
so much in that time that I was that's that, Hey,
we should have them on for a little bit. So
I appreciate you coming over and coming over to the
house and saying what's up, even though you do live
super close, and I heard it was very easy. So
we like for it to be a little more of
a struggle. Well, I scoot it over here, which was fair,
and it is rush hour, So if you scoot it
(02:11):
and rush hour, we are good. Um. I have to think,
and I'll compare it to to a story of mine first,
to give you a bit of time to think about
the answer to this, that it's tough being a very
successful especially in the past five years, six years songwriter,
maybe even more than that, but we'll say, for the
sake of it, five years, you've been crushing it songwriter
(02:33):
in town because everybody wants to hang out with you
so they can work with you. Now, I'm gonna let
you think about that answer for a second because in
a way I understand that because I'm not cool. I'm
no barrel of monkeys to hang out with. But people
are always like, hey, man, we should hang out, we
should have dinner. And I always know there's a motivation,
not always, most times I assume there's a motivation behind
(02:57):
it that no, you wantaing out for something that will
help your career. You want to go to dinner, so
I'll put you on the radio show. I'll take you
to open for me, you know, when I'm playing theater
or something. So I have this trust issue with anyone
in their creative space in this town. Now, you are
killing it so much as a songwriter, it's almost like
(03:20):
you spin gold and you don't have to play humble,
but you've just done so much. Do you have that
fear with people when they someone out of the blues, like,
hey man, we should really get a beer hang out?
I think, yeah, I think there's a thing there where
you can feel when people have an ulterior motive. But
we a lot of the people I spend time with,
we were friends before any of us had success, which
(03:41):
is very safe. Yeah right, and you wind up having
success together most of that. Like I came up writing
with all the people that I write with now and
none of us had hits, So we wrote together because
the hit people wouldn't write with us. And that's still
a bulk of the people I spend time with are
those same same folks. Who are those people that you
against it her your group that you cut your teeth
(04:02):
together here in this town with. I mean the first
two names that come to town are John Knight and
Nicole Galleon Massive both massive now yeah yeah, they've done
so well and none of us had to cut together
and I didn't have a publishing deal. I don't know
why they wrote songs with me, but I've I've told
Nicole before that I feel like she taught me how
to write songs. And her version of that is she said,
(04:23):
she feels like I'm the first person that let her
be herself in the writing room. And we sort of
stumbled into writing songs together. And then John he's the
other guy that taught me everything. The first song we
ever wrote together was whatever She's Got for David Neil
and whatever She's Got? Yeah, and I did sing that again?
Sing that song? You sing that song? No, no, no,
because I'm I'm I'm getting too confused because I know
(04:45):
it's it's the mood ring like she's got the blue
Jeez paint it ont sight, she got the blue Jeez pain.
That's it? Did you did the high version? Which is better?
That's what I when I'm recording, I tend to go
up there and Okay, got it? So you and Call
wrote that, well, me and John wrote yeah. The first
time we ever met um but yeah, all those guys,
(05:05):
I mean Josh Osborne. I was riding with him the
day come over with went number one and that was
his first ever number one song. He's had nine thousand
sixty three since then. But it's you know, those are
all still my people. If you get the text, Hey Jimmy,
that's good. It's gonna beer, and you're like, I met
you twice? Do you and and you are a pleasant
guy to be around, And most likely they just want
(05:27):
to hang out with you because they like you. Do
you have that feeling that I have? Or I'm so
insecure with myself as a person, i just assumed they're
wanting to work with me, or or are you just
good and all healthy and therapiat up. I mean, I'm
not good nor my healthy, but I think, um I
have some of that. But a big thing that changed
for me was we had kids, and so now my
(05:50):
resting answer is no. If it's it's like I don't
see anybody because we're so busy with writing and stuff
that it takes a lot for me to say yes.
So generally I see the people that I've been friends
with forever. There's not a lot of like, I don't
know you, let's sing out, because it's more like I'm
gonna go see a kid. Sometimes I'll get those and
have there are a couple of artists that have hit
me up and been like, hey man, let's get a beer,
(06:11):
and we don't have a beer in forever and I
don't respond, but I'm like, I've never had a beer
in my life. Yeah, and forever literally forever because I
don't drink. And I know you just sent me this
to be like, um, so I don't know literally literally,
And I want to kind of bounce in and out
of your success as a songwriter here in town with
kind of your human story and I want to go
(06:32):
back to two. You know that I'm human. I don't.
We're gonna find out you have kids. I didn't say
human kids. God, you got me again. This guy, Blake
Shelton should be cool if you did. That's your first
(06:52):
number one? Yes? True or false? True? That was my
first cut? Are you kidding? That was your first and
it did you know? How long until you knew it
was going to be a cut, and then how long
until you knew that cut was gonna be a single? Well,
this is like an unfair story because we wrote it.
This is not the normal stories. I wrote a song
(07:13):
years ago and it just came out, but this one
we wrote it on a like Thursday and it got
cut the following Tuesday. Oh, it literally was cut like
five days later. Yeah. Yeah, because um, I wrote it
with Rodney Clawson and Chris Tompkins, who I had no
business writing with, and they just had such a report.
They sent it straight to Scott Hendricks because they knew
(07:33):
Blake was going into cut and they cut it. And
then that was in like November, and then he took
its radio after New Year's like January three. Yeah, that's
a wild story and that I have a friend who
played professional baseball, and I want to relate it to
you and see if you feel the same way. But
he was a really good college player. Are you sports
(07:54):
cat all? Uh, yeah, let's say I am okay, let's
go with that. Stories not I just wondered from my
own personals. Uh, he was a really good college baseball player.
He gets pulled, he gets called up to the pros. Uh,
plays minor league ball, gets taken to the major leagues,
and like his first two months and his first game
and the majors, he goes three for four. It gets
up four times hits. Uh what goes three for four
(08:16):
is like, oh my god, this is the easiest thing
ever who knew that being in the major leagues was
so easy. For like the next three weeks he barely
got a hit, But that first day up he was like,
I just crushed. I'm the greatest baseball player ever. Did
you feel that a little bit like this is pretty easy?
Who knew? Yeah? I would have? Yeah. No, the me
that I am right now versus the me and is
(08:39):
very different because I had like five number ones in
sixteen months or something, And the best thing that ever
happened to me was a bad year, a year where
stuff didn't get cut and then the things that we're
singles didn't work, and I had to ride that and
come out on the other side of it and remember that,
Like my favorite part of this is when the song
(08:59):
is finished, and writing songs is what I love, and
I I like, I tell people all the time, you
need a bad year, it's and then stay in it
and it's good for you. But I was definitely too
big for my bridges want me to. I relate to
that I got and I've had a pretty weird, wild
career of kind of coming from little to here now.
But when I got here, it was like, Okay, you've
(09:22):
now been annointed like you built this, but you're the guy.
And everybody was like, look at all you're doing. And
I'm like, wow, I'm the emperor has no clothes, like
this is the great And it took some try. I
gott find a million bucks. I got into some trouble
on the air, and I was like, Okay, now I'm
good with perspective. First I was just good and kind
of cocky. But now I'm good with perspective. Because I
(09:46):
had the good I thought that's what it was, and
then once I realized, oh, some I needed some crap
to make me a human again. It sounds like that's
about what happened to you too. Yeah, and I think
it makes you better at what you're doing. If you
can take those hits and then keep doing it, you're
gonna wind up better on the other side of it. Well,
let's talk about the good old days back. Here is
(10:07):
Thomas read. It goes like this your second number one.
This is TR's first number one, I believe right. So
now you've written Thomas rhett first number one song, he's
forever attached to you. Yeah, because his first number one
was the Jimmy song. Yeah, so you can call him
(10:27):
at any time, be like, dude, any remember that first
number one? I could probably leave a voicemail at any time.
And so you wrote that with Rhett his dad. Was
that the connection that got it to t r Yeah. Yeah.
At the time, Thomas, you know, he had had songs out,
but he wasn't a name you thought of necessarily. And
(10:48):
I remember being confused when Rhett was like, I'm gonna
send this to my son. I was like, cool man,
I'll send it to my dad too. That's great, let's
let's do that. But uh, it was. It was the
perfect storm of like the sound Thomas wanted to do,
because there were a couple of quirks with that demo
that stuck onto the record that people weren't really doing,
(11:11):
Like some of those drums sounds were a little left
of center at the time, and it sort of opened
the floodgates a little bit for that stuff. And it's
funny how left up center that becomes a hit is
now yeah, it's now center. Yeah, I want to do
one more up In this early section, this is Keith
and Miranda. We were us also from now. I put
(11:43):
those three together to start this because that was a
CMA triple play. Yeah, three. Explain what a CMA triple
play is. That's when you have three number one songs
in twelve calendar months, and it's a lot has to
go right for that, just with timing and everything. It
should be like c M a triple plate deluxe, because
you did in your first year as well. Yeah, my
(12:04):
first year of a pub deal too. The guys that
signed do they okay? Were you signed to a Hey,
this guy let a lot of potential, Let's pay him
some big bucks to be on the public pub deal?
Or were you like, oh this guy, we're gonna giveus
a guy, break them off a little something and let
them prove it. Man, they paid me so much twenty
three dollars, that's what I saw a year. You really
and how long was that deal for you? Three years? Well?
(12:26):
I bet you just but you know I was actually
signed to Keith Urban. I want to lose it. He's
the worst. He's the worst. Okay. So that being said,
we're gonna come back to your songs. I want to
play from two thousand six. This is seven letters. Oh god,
it's look after you, you shy easy for everybody. Seven
(13:00):
letters two thousand and six. That is you singing it's
me singing. There's there's a story there too that would
blow your mind. I'm ready. I was ready to be Okay,
I was. I was fifteen when I did that song,
and I met a guy in my space named Jordan
Schmidt who was sixteen, and I flew to Minnesota to
make an EP with him, and uh, we made this
(13:23):
EP that woind up being the thing that got me
a record deal. But now Jordan's is in Nashville writing
hit songs and we wrote his first hit song together
called Lights Come On And that was like ten years
after we had met in Minnesota. That EP two. Sorry
for apologies, Yes, one of my favorites. Yeah, I know
you you played that one a lot. I mean I
was at every show. Yeah remember that? And so you
(13:46):
were the one before but you just said it you
got a record deal? Yeah, yeah, I well I toured
a lot warp tour, Yeah, I did all. I did
all that stuff and lived in a van and did
that kind of touring, the kind where you're gone for
like four months at a time. And so when you
were a kid, you mentioned being fifteen sixteen, when you
were twelve, what artists did you the artist want to
(14:10):
want to be like, who did you see? And go up? Man,
I want to That's what I want to do. I
really was huge on the sort of emo I know
it's kind of a dirty word these days, but the
emo music like Dashboard Confessional and Something Corporate and um
that Whole World, Jimmy World. They had a great name, Jimmy,
but those were like my favorite bands. And I've actually
(14:30):
gotten to write with those guys now in this new life,
which has been pretty cool. I became buddies with Andrew,
the singer for Something Corporate, and it's it's wild to
circle back to all that now from a bird's eye view.
One more song. This is hey you wait what why?
This is great stuff here and it also gives context. Yeah, no,
it's great. Let's listen to this and here's the song
(14:52):
and its entirety here. Yeah, you playing with my whole
always noxious? What do you say? Maybe it's better off
this way? Maybe with you? So what happened to the
artist's career? Honestly, getting a record deal introduced me to songwriting.
(15:17):
And I never wanted to be an artist, is what
I figured out. I just loved writing songs. Why you
mean ever? You just thought you wanted to be an artist, Yeah,
because I liked writing songs and I didn't know what
else to do with him and the bands that I
grew up listening to, if you looked at the liner notes,
they all wrote their own songs. And so when I
signed to Universal Motown, Uh, they started setting me up
on sessions and I'd never co written a song before,
(15:39):
and so I wound up asking out of my record
deal um to try to be a songwriter and quit
doing the artist thing as soon as I realized I
could try to write for people. But before you quit,
and this song I have, I mean, I have a lot.
I'm just gonna do one more. Yeah, No, it feels
right to me. Thank you. Whenever I see someone like
Grimacing and pay and I know I've I've hit the
(16:00):
right space. This is from two thousand nine. This is
going to get better. Yeah, yeah, and I saw you go. Okay,
I like this on a little better. Do you like better? No?
You don't, Okay, here you go when you go, I've
gotta elevated production. Yes, a couple of other instruments. Yes,
(16:32):
that's that's my opinion. That's the best one. Yeah, my favorite.
I do think listening to that, like you can hear.
Obviously I don't do the same thing anymore, but there's
that sounds like the same guy that would have written
whatever She's Got to me, Like, I didn't move to
Nashville and start doing something different. I just kind of
wound up here at a time when my natural instincts
(16:54):
were where country music was going. Same. Yeah, I didn't
move here and do a thing Deaf Front and we
were doing pop and hip hop and I was doing
a syndicated show there and nothing changed. What was weird
for me? And I think you've experienced this too, or
probably from like a fringe, because I have when I
was doing and probably not that specifically, but when I
was doing pop, I was too country to do pop,
(17:16):
and then when I came to country, I was too
pop to do country, and I was like, well, I
don't really have a place, so I'm just gonna be me.
It turns out that was the strongest thing I could
ever do. And who I am just somebody grew up
in a tiny town in Arkansas that was heavily influenced
by country music in the nineties, alternative music in the nineties,
hip hop in the nineties, and that ended up being
(17:37):
what has now hopefully bonded to meet a lot of
my listeners, like an honest person who really doesn't fit anywhere.
But heck, none of us do. None of us actually
fit anywhere. When we fit somewhere, it's because we force
ourselves to fit somewhere. And you coming from this background,
and you said it better than I could have said it.
You were just here at the time when you organically
(17:58):
made sense. Yeah, did you get from any of the
old school guys, Oh, here's the punk guy or or whatever.
I don't know if they would call you the here's
the EMAO guy. I had a big producer say to
my face because I early on I would get hired
on two sessions as a guitar player. Um, if they
were cutting a song I had written, just because the
(18:19):
way I played was sort of specific and not good
but stylistic. And he said, do my face, you're ruining
country music. Okay, go like that. That was a real moment.
And do you remember that person. I'm not telling you
to say who it is, but are they still here?
They still live here? Yeah? I've had those moments too, Yeah,
(18:40):
where it's hey, you're what's wrong with Yeah? Then those
are the people that don't. You gotta adapt and and
welcome new things. And you need and adapt and welcome
new things that even don't work, because sometimes you know
not to work to show that's not the direction that's going.
And so you moved to town two thous and thirteen.
You're just crushing it. You're king of the world, You're
(19:03):
king dingling of the new writers. I'm imagine everybody's like,
I got, all right, what did you feel? People like
I don't want to say begging, but we're people showing
up to go. I need to write with you. You've
done so much so quick. You've got to be like
the new um, the new methodology of country music, like
(19:23):
thinking wise. Yeah, I mean, I do think people wanted
to write with me. I was. I was one of
only a handful of guys doing something that's really common now,
which is like the quote unquote track guy thing, which
is a producer writer who's building a demo as they go,
and people weren't quite used to that here. The funny
thing is I didn't come here to do that. I
(19:44):
just came here broke and couldn't afford to do demo,
so I bought the pro tool starter kit and like
pretended that I knew what I was doing and I
had no idea. Is that still a thing that's used
against people? One of my friends, Ross Copperman, same like,
we's all he's the track guy. But then once either
(20:04):
you hit a level of success or enough track guys.
I'm just saying that because at the term you threw
out there, and that was a term that was used.
Enough track guys have proved you're not just a track guy,
you're actually a writer producer. Is always a track guy?
Is that still said or is that kind of gone
at this point? Well, I think it's become a sliding scale,
and there's writer producers and there's producer writers, and so
(20:27):
I think I think people now know who the guys
are that are making really good demos, and they know
the guys that are helping you write a song and
then have the ability to demo it. And so I
would like to think I fall into that, like Ross
falls into that. He's a songwriter who's good at production.
You know. So the track guy term is it used
as much just thrown out, like if you're gonna write
(20:51):
from what I know something like, well, he's a track guy,
So let's make sure to not get another track guy
in the room. Yeah, I mean they say it, yeah, yeah,
it's not as much of a dirt. It was like
kind of a negative yeah, And that's the point. That's
the point I was making that it was as some
of that negativity gone from the term track guy. Yeah. Yeah,
it's And I don't know why because they still kind
(21:11):
of mean it in a negative way. Here's David Neil
whatever She's got, and here is Jaco and Beach in
(21:36):
from the same year. He's gotta be cool with a
song like Jake's that kind of was his image. Did
you write it for him or did he find it
and go this is what I am? Like, how did
that come about? Because he that Jake's beaching. Yeah, that's
(21:57):
what that song is. Yeah, it's like the perfect song.
Um It, we weren't really shooting for him, but there's
I think you would know this. There's kind of moments
in time where writers and artists connect to each other
a lot and in that season and still true now,
but specifically then, Jaren Johnston was like a kindred spirit
(22:18):
to Jake, Like I think Jake thought Jarn was cool
and really loved what he was doing, and so that
I wrote that song with Jaren and John Knight and
it was really just kind of a singing stuff, and
Jared made it sound like he would do it, And
I think that's why I spoke to Jake. Did you
guys when you wrote it, did you think Jared would
would cut it with cattle like three? No? I don't,
(22:40):
but I don't think we thought of Jake for it,
which is wild because when I think of Jake, that's
one of the first songs I think of now and
Jack's a close friend, and that's still the image like
when it's like, what do you picture Jake singing? If
he's on stage one one, that's probably Beaching. Yeah, I
think most people would think Jake wrote that song because
it's so Jake. Yeah. Do you have any of those
(23:02):
other songs that you look at and go, Man, it
just fell on the right hands because it's the song
for the right person at the exact right time. Because
I feel that way about Beaching, Yeah, I mean I
kind of feel that way about all of them, because
what a copied answer is that because I feel like
I feel like, with the exception of like song of
(23:23):
the Year songs that a lot of songs could be
hits and couldn't be, and it's just got to be
the right person connecting with the message. And it feeling
sincere like I still think. I don't think the song
does everything. I think the right artist has to do it.
It's funny because you're coming at it from the songwriter perspective,
and I feel the same way from And I'm not
(23:44):
in the mix anymore in the radio world of I
don't pick songs. I just go on the air trying
to be compelling, try to be funny, bring up my
friend's interview them, get good ratings, go away right. That's
back in the day. I was more like, let's break
artists and do now. I'll let the music people do
the music things, and I'll so I can step away
and see it. And I feel the same way you say, well,
(24:05):
any song, I feel like you can almost make any
song a hit if the right team, the right label
gets behind it, puts enough effort into it, and spends
money and promotes it. I feel like they can make
almost any song it hit. The same way that you're
saying a well written almost any well written song with
the right person singing at the right time could be
a hit. Yeah, And I mean I do feel like
(24:26):
this is a gross word, but I'll say it anyway.
There's like hits and then there's like a smash, and
I don't think any song can do that. I will
agree with that too, that perfect storm of like this
is a moment, but that's a great that's a great comparison.
A moment is a great comparison. A moment. I drive
your truck a moment house to build me a moment
(24:49):
American kids. Right, I'm going through songs that that when
I just think that, But I think with the right
person in support, you can make any hit a legitimate
radio hit. Yeah, the same way you think from the
writer's side that any hit could make it with the
right person singing it. Yeah. Especially you do this long
(25:10):
enough and you see it's you know, not always the
best song is on the radio, and sometimes the best Yeah,
it's kind of I think the same thing. Let's just
list all the songs we hate you ready, let's go, Oh,
we'd be here all day. This would be a whole
different podcast. And I've done that in different places and
it usually gets me in that trouble I was talking
about earlier in this podcast, out Dean Lights come on
(25:35):
streaming everybody ever Before we get into the song specifically,
you had a two year gap. I don't I don't
see any number one. Yeah, yeah, no, that was my loaf,
that was my law and I was getting cuts. But
I had gotten really accustomed to the feeling of everything
working out and saying yes or not saying yes, being
(25:56):
told yes. Um, And I mean I got really low
about that. I was gonna ask in a serious way,
did you start to feel like maybe you lost whatever
you came to town with? Yeah. It's hard to not
take it personally, I mean, because it's you can't really
blame anybody but yourself, because you're making this thing that
didn't exist. Nobody's doing it for you. Um. So I
(26:18):
definitely took it personally and got really down and then
sort of started feeling like it would never happen again,
and then sort of fell back in love with just
writing songs, which got you the success to begin with. Right,
you kind of went, we weren't trying to write hits.
All the first hits I had were just writing songs
with my friends. And that's a that's totally right, that's
(26:38):
the whole thing. It's just write songs, and then the
hits happen. Were you and again, I think we're alike
in a lot of ways except for your superior talent
and looks. But were you embarrassed that the success wasn't
coming because you had already been elevated to that point
and people are like, hey, you got any songs out?
Now how they're doing? Did that happened to you at all? Yes?
(27:00):
Because I feel that way at times. Yes, And I
really felt that way. And then I learned partially, well
not partially a lot, because of my wife, who's a publisher,
started pointing out to me that we're all so busy
thinking about other people thinking about us, that nobody's thinking
about anybody else. And I started realizing. We started doing
(27:21):
other things in in that law, We started our own
company and started trying to support other people, and all
of a sudden, I realized people were congratulating me all
the time, And in my head, I was like, don't
they know I don't have a song on the radio.
I don't know what's happening. And then I kind of realized, like,
nobody's looking at me the way I'm looking at me,
and and I really got to a much healthier place
(27:42):
with all of it, where I don't feel so attached
to the success portion it. I mean, you're so right.
I compare it to on on a different level of
presentation at work, or somebody falling down somewhere and they're
so embarrassed because they didn't they either fell they didn't
do a good presentation, and they're like, you're you're humiliated
because you didn't do a good job and everybody saw
(28:03):
you not do a good job. And you're thinking, oh,
but the times I've seen a bad presentation or some
I don't I don't remember it ten minutes later, But
when it's you, you feel like everybody is focused and
remembering on what happened to me. I did it, Yeah,
you know what he is, And you have to kind
of turn it around and go, I don't remember when
people screw up. I may see it for a second
(28:23):
and be like ha ha, or that's unfortunate, but I
don't a day later even remember it. And it seems
a bit like that's what you're saying. They're like, there
was just an adjustment, perspective adjustments, yeah, yeah, and just
looking at everybody else and remembering like, am I thinking
about what songs they have on the radio? Am, I'm
just thinking that they're really good? And I was like, oh, yeah, no,
(28:43):
I just think they're good. Back to Audi and lights
come on. This is interesting for a couple of reasons.
I'm gonna say three reasons. The three reasons are one, uh,
it was written by seventy four people, Well, okay, but
really the best is that you mentioned Jordan earlier. Yes,
you guys wrote this song together, and you met when
(29:05):
you were fifteen and sixteen years old, and here you
are in two thousand sixteen writing and al Deane number one.
The other one is that the f g L guys
this this was always a story about this song, is
that the f GL guys were on it as writers
and they didn't cut it, but Aldine cut it. Yeah.
So I don't know if you're in the same room.
We were all in the same room, but it was
a double booking. We were not all supposed to be there,
(29:26):
and I was gonna not show up, and Tyler was
texting me and I was like, y'all just do it.
I'm not It's fine, don't worry about it. And he
was like, well, I'm gonna tell the Warren Brothers you
hate them. I was like, Okay, I'm gonna come. It's
like in wrestling sometimes they'll have tag team matches with
three different tag teams. It's rare, but here are the
three tag teams. You and Jordan's friends since kids. Yeah,
the Warren Brothers writting a ton of songs. Didn't write
(29:48):
with anybody else but themselves that you know, and they're
gonna write there writing together with other people, their literal
brothers and then Tyler and Brian from f g L.
It was like three tag teams and they're writing the
song and it can go one of two ways. Yeah,
can definitely go one of two ways. Amazing because there's
so much in that room talent songwrite, or there's just
too much in the room and you can't really control.
Everybody's talking over each other and you don't get anything.
(30:09):
How did what was the vibe? And this this right? Dude?
It this was like the second or third song. We
wrote three songs that day. God dang, you wrote three
songs on a day. Yeah, I think it was. The
Warm brothers were like, well, there's so many of us,
we should probably write a lot of songs to justify
our little splits um. But it was that one felt
awesome as soon as we got into it, and the
(30:30):
Warm Brothers came in with the vibe. But then we
got the Kiss of Death, which was when Brian said, man,
this would be great for al Deane. And you never
want to be writing with an artist and they tell
you this is great for another artist. So you were
writing in that room in your mind for f g L. Yeah,
they specifically needed a show opener, got it, and that
was they they wanted to show opener for the record,
and they were gearing up for tours. That was we
(30:50):
were there for with the job. So you you're writing
for them with them, and b K goes, man, this
is sound great for Aldine. Yeah, that's funny. And for
a second, tragic yes, in your head you're like, oh, cool,
we should stop because you obviously don't want it. Yeah,
and it's with the exception of those guys, it's tough
to get an artist cut with another artist and that
(31:11):
hasn't been true for them at all and obviously not
true for that song. But yeah, for a second, I
was like, cool, I'll just should I should I just
jump off this porch Michael Ray think a little less
from here you Go. Another first for an artist. Although
(31:32):
she had massive success, this was Maren's first number one
I could use a love song from so it takes
me back just like that. When so when you and
Maren first wrote together? Was it for this song or
did you right for right together for other songs? We
had written a handful of times before then, um, but
(31:54):
this was the first time she and I and Laura wrote,
which has kind of since become a thing. We written
a lot of songs, the three of us um and
at the time my wife was Marin's publisher at Big
Yellow Dog, so there was There's a lot I love
about this song. But it was the first thing my
wife had set up that I was a part of
that went on to do something, and that has always
(32:15):
made it special for me. Would you be considered in
the Marine Camp? I think so any other camps that
you because I would consider you in the Marine Camp? Yeah,
But I wonder what other camps do you consider yourself
part of? If anywhere there we're going to write, you know,
you're going to write with them for a new record. Yeah,
I like I feel like I write a lot with
(32:36):
Brett Young and I read a lot with Kelsey Ballerini. Um,
but it doesn't guarantee cuts or anything, but I know
I'll at least get to write some songs. And you know,
they feel comfortable enough with you that when they start
to position themselves and creatively look at the future, they're like, oh,
I gotta get Jimmy because he's part of the process.
Do you feel like that with all three of them? Yeah.
I think for artists, they get so busy that they
(32:59):
want to know if they're going to put time into
a song that they can. They want to raise their
odds of getting something that they feel good about. And
when you have a rapport with somebody, it's just you're
not starting from zero. You know, we can walk in
and we know each other's likes and dislikes, and it
just makes it a lot easier. How far do you
book out? I used to book out like three months,
(33:21):
and we now try to just book out like a
month or six weeks um, to leave a little more
flexibility because we found I was having to miss a
lot of opportunities because we're too rigid with it and
think it's been better and I don't have to look
at the calendar and think, well, that's that I've not
written yet and I don't have any ideas today. Are
(33:43):
you keeping a list of ideas in your phone and
then are you ranking them based on the artist that
you're going in with? Mhm. I'm not a big title guy,
like I don't some people have a fifty titles in
their phone all the time. I'll get some sometimes, but
(34:04):
I feel like my role in the room more often
is I'm pretty good at helping people figure out the
best way to do a title. So somebody will have
an idea and I might come up with three different
ways we could write it pretty fast. Like that's how
my brain connects the dots. And that's the best role.
If your role is to go and figure out what
they want by them telling you what they want, because
(34:24):
I ain't gonna do before you go in, except there's yeah,
there's less pressure. That's awesome, Yeah, and I did. I
used to do a lot of musical preparation, so since
I was the track guy in the room, I would
have I would try to have like four what I
called vibes, which would be a varying tempos and just
like eight bars of music, um and I kind of
stopped doing that too, because that I feel like music
(34:47):
has gotten a bit more musical again. And when you
have that, you get really boxed into writing over the
same chords the whole time. And I just feel like
we're allowed to play more chords than we were for
a minute, and so we're going from scratch a lot more.
Here's Aaron the Bones that this was a moment. Yeah,
(35:11):
this was a moment. You have a lot of hits,
you have are you defining songs with some artists? There
are so few moments I would say this is a moment.
Would you agree? Yeah, this one felt different. Did it
feel different immediately or did it feel different once people
started going, Wow, we need to really get on this
(35:32):
promote the crap out of it. I don't think I
knew that it was going to do what it was
gonna do. And mean, I think some of that said
it's I think a great song, but also I think
it was timing where the world wanted to hear that
message during that year, you know, they wanted to hear
some some positivity, and it was sort of a perfect
storm of all that. But now, I mean, the demo
(35:54):
of this song is the guitar vocal, which we always
we did that on purpose. We thought it was cool,
but I mean it was. It was my wife's favorite song.
But I just thought it was good. I didn't know
that it was going to be huge. This is your
tenth number one, but it is a pop number one.
It was This City a song that I have sang
back to you because it is I have a lovely voice.
(36:16):
If you haven't heard, Yes, thank you, this is Sam
Fish or this City, City's Gonna bring the City's gonna alone.
He's got me Chess. I feel like you could sing that,
that's your vibe. I would like. That's a song I
would do. I can't. I couldn't sing like Sam, but
as a song as an artist, that's like the kind
(36:37):
of music I would probably make. I feel that too. Yeah, yeah,
I feel like if my space existed. Now you put
that on you singing that, I think it does exist?
Does it? It? Does? It exists? But does it? Why
check it every day? My my Space? Nice Tom, Tom
and only two talking on m Let's see, I do
(37:04):
want to play circles around this town. This is on
Marion's new record Humble Quest that you guys came into
(37:26):
the show and played that when Marin said, hey, will
you come play with me? How did that conversation go
when she's like, hey, will you go to the show
with me? Yeah, she just asked me, like the night before, Um,
I guess her guitar player and backup guitar player had
COVID and she just texted me. Because we're really good
buddies like we are. Our kids are friends and friendly
and we get dinner with them a lot. Um. So
(37:47):
I was like, yeah, I'll play it. It's only three chords.
Do you get jealous at? Ryan is tall and ripped
and has like the perfect stubble, not that you have heard,
I really do. I really do. Yeah. Yeah, And I
don't feel like he tries very hard. I don't either.
That's what sucks. I mean, he for sure doesn't try
his height. He would no, yeah, he's not taking the
growth hormones for that, but no, he I remember he
(38:10):
he actually stayed with me for a few months back
in the day. We've been buddies for a long time,
and I remember he was like, I think I'm gonna
start doing pushups and then like four days later he
had a six pack. Because maybe that's what I need
to do my push push up. I was like, what
have you been doing? He's like doing like thirty push
ups in the morning. But like, okay, when you left
the show, you said you were gonna go to a
(38:30):
vocal with Brett Young. How did that go? It was great?
Yeh can he still sing? Yeah? He can still sing,
so that's good. So it was also tall and good looking. Yeah.
And I don't even like talking about him though he's
also to I can't talk about more than one. I
start to get really jealous. And he was like a
superior athlete. Yeah, he's good at everything, Like, shut up, right, Young,
we get it. I also don't think he tries that
hard to be awesome at every Right, you get it. Uh,
(38:53):
did you guys write that song that you have cut
the vocals on, like way before? Or it was the
one you've just written like the night a couple of
days before. We had just written it. Um, it's actually ah,
it's not out yet, so I don't know if I
can say I can say, don't say too much. I mean,
I'm just asking, like, was that a song you've written
way previous, you know, just a couple of days ago.
I think we actually know we had written it Sunday,
(39:14):
so I think I came in with you you're on
a Sunday. I did because he asked me to demand
over here weekend writing with stars. So you write it
and then you want to lay it down quickly so
it's still you can send it to the label or what. Yeah,
this one was an isolated event where we were writing
for an opportunity for him, like a like a placement
kind of song for a movie. And so it is.
(39:39):
It's top gun five. But that will never come out too.
It's taken three years to come out. That's not even done. Um,
So you've you've produced a lot as well, and some
of my some of my favorite people. If I'm correct,
you can you can correct me if I'm not correct.
Did you produce Maddie and tay Die from Broken Heart? Yeah? Yeah,
Me and Derek Wells co produced it. Do have a
(40:00):
clip of that, Mike, how does this love this other?
The production on that's so good. It's just the perfect
for them. This was it. Yeah, the riding, the vocal,
the production, Yeah, that's that's as good as it gets
for them to me, Like that's top level. Then you're
saying you made them top level. What I'm saying me personally,
(40:22):
I'm responsible when you go produce what is that? What
is that? Where do you go? Do you have your
own place? Do you do you hire a fancy studio?
What's what's the vibe when you produce a song? Well
kind of both things. I do have a place. I
have a studio in berry Hill, and it sort of
depends on the artist and on the record for how
they want to do it. Um So, like Maddie and Tay,
(40:42):
we track with the band and it's all live stuff,
and then there's there's other albums, like the way Kelsey
likes to do a lot of stuff. Historically it's me
playing everything at my place and that's just more the
process she likes. So it kind of depends I can
do what people need with the Kelsey stuff because I
pulled all the number ones I know you Kelsey have.
I've had some big singles. What were the what were
(41:04):
the Kelsey song we've done? I produced that Maybe that's
what it was, No, but I did. We had Homecoming
Queen that I wrote with her, and then we're at
like number two right now with half of my hometown.
I told you that's my favorite song, and it has
been for a long time. This song is like I
told her and her family listens to the show on
Knoxville and I was talking about it. She messaged me
and was like, I appreciate you. I wouldn't wake up play.
(41:26):
I was that I wouldn'ten to the show because, like
I heard from my parents, you were talking about the show.
I love this song, like you guys did a great job.
Thank you, And there's nineteen of us on that. Well,
I'm jaded. I'm glad. I'm jaded because I hear all
songs all the time, same with you, right, But occasionally
you hear something and you're like, like it's poking an Oregon. Yeah,
and this song maybe because I'm from a small town. Yeah,
(41:47):
this song did that. Who you can feel the honest ones,
you know what I mean, the ones that that's it's
to me. This song doesn't sound like we were like,
let's go check all the boxes and write a hit.
I think we just wrote something true to her. I'm
gonna put you on the spot in the writing part
of it because you mentioned it was written by a
lot of people. Do you remember who wrote it? Yeah,
well it was me. You mentioned Ross, Comperman, Kelsey, Shane
(42:07):
McNally and Nicole Galleon. I mean that's a powerful room.
It's a good If you don't come up with a
hit with all those people, somebody must die. Yeah that
like on paper, we should, this should happen. And so
do you write that as a duet? We well, yeah,
kind of well we wrote it in Florida. We all
went down to do a retreat with Kelsey and it
was meant to be her writing with two groups of
(42:30):
people and we were going to split up and kind
of change everybody. And we tried it for a minute,
and I think it was me who was like, we
should probably just all right together. This feels weird. Um
until we wrote that song in a swimming pool, did
the demo at the Airbnb, and then a little bit
of liquid courage at like three am. She sent it
to Kenny because we were like, this would be great
for Kitty. She was like, I'm gonna do it. That's
(42:51):
what you do. You get always drunk to send them
for them to send songs that you should make a
big make big decisions when you drunk, because people like
I don't want to bother them. But if you get
them drunk, they'll they'll do it absolutely. It's you told me.
I think you told me right. You're can sound effective beaching.
Yeah yeah, Like at the beginning of that song. How
(43:11):
do you not get an award for that? Dude? I
actually reached out. He was at Sony still at the
time on that record. I reached out like ten times
to try to get them to put me in the
liner notes for for beer Can, and it never happened.
Like that's what you played? Give me this on Base
Jimmy on beer Can the beat. The lyrics to beach
(43:31):
and are interesting and are sometimes misheard. We had a
whole segment on our show about it years ago because cocaine. Yeah,
my dad thoughts cooking too. It's safe, yeah, okay, And
I can hear and I want to do this trick
because green Needle, what's the other people here? It's it's
(43:52):
two things, like you can hear either hear the personal
green Needle or monster mash. I don't know. It's like
two words, but if you listen, you can hear it
different ways. You have one is Laurel and Yanny. That's
another one, right, you ever hear Laurel and Yanny you're
are you kidding? Oh, we gotta, we gotta lot him
see what he hears? Green Needle and brainstorm is one. Okay,
(44:13):
when you get those ready, I would like to do them. Um,
are you only writing songs and not watching the internet
at all? Pretty much? Have you? Have you missed everything?
Have you heard of Charlie but my Finger? Yeah? Okay, alright, alright,
we'll start there. We'll work our way up. But the
lyrics are and it's sunshine, blue eyes, tan lines, It's
(44:36):
low tide, rolling white sand, cold can. Now if you
listen to it, let's do this experiment. Can you do it, Mike, right,
and just think to yourself cold can read? Think to
yourself cold can. Okay, that's the actual lyric. Go ahead, okay,
now everybody at home, you're probably not at home, listen
(44:58):
to this, but walking or running or your car, think
to yourself, cocaine, Yeah, think cocaine. Be cocaine for a second,
play it again, like it's there now. My dad swore
that's what it was, and he didn't really care for
(45:19):
the song. Like my dad, he's never an alcohol or
anything like, certainly not cocaine. And I had we had
a hard time why don't you like this song? It's
like pretty simple and good. It's like, I just don't
like that drug stuff. What are you talking about? This
is like the cocaine line. Y'all lost me? You lost
(45:39):
me at cocaine. We uh, Mike, you can do that.
I'll keep talking. Let me have the Brainstorm and Green Needle. Jimmy,
tell me what you hear here. It's either gonna be
brainstorm or Green Needle. Okay, Wait, should my headphones have
been on this whole time? Yeah? They haven't been. Have
(46:01):
you been listening to nothing and you have the headphones?
I could hear it from these headphones over there. Are
you serious? Yeah? You haven't heard the clips of your
own songs? Well I've heard them through those headphones. Yeah,
trade with them. Yes, they should have been on. Jimmy
has been more in headphones that don't work. It's oh god,
okay are they too loud? We can't hear myself really quiet? Okay,
(46:23):
you're gonna hear them, then you're gonna hear it. Say
green needle or brainstorm. Definitely green needle. Okay. Now if
we think brainstorm, now, I want you to think brainstorm
on this one. Okay, it's still green needle. I don't
(46:55):
think he's all all there much. I think he's missing
a little something. It sounds like brainstorm. Yeah, well it
sounds like green needle first, but then you can hear brainstorm.
What is the actual thing? I don't know. I never
got that far. I just went and then turn it off.
I don't know. We'll find the other one find out.
It's like it's saying haill satan. Yeah backwards, it says
kill three people if you reverse it. We found let's
(47:15):
see here, oh here it is? What's that? I think
this is this? Laurel or Yanny? Okay, go ahead, Laurel,
Laurel's Laurel Laurel, Laurel Laurel on that one too? Do
you hear you hear Yanny? Is that a joking where
(47:37):
it's only Laurel. Here we go, Okay, here we go, Laurel, Laurel, Laurel, Laurel, Laurel, Laurel.
What are you kidding? All? I hears Janny. I don't
hear Laurel in any way? Whatsoever? Are you serious? Laurel Laurel?
I feel like you're missing I swear to God, what
(47:59):
do you a read? I hear Laurel. Every time I
hear Danny, Danny, Mike, what do you hear? I hear Laurel?
And what do you really? Yeah? I heard Yanny every time.
I sort of feel like there's something wrong with me.
Oh no, no, no, they're no, I do too. But
yeah for Devera, Yeah, okay, but I but when this
isn't like a wegi board where someone's screwing with you
(48:21):
and like someone's really controlling it. I hear you heard Laurel. Yeah,
I heard Yanny without a doubt, Danny, Yanny. I wish
there was a way to share that with you, but
there is no one. I was excited for the change. Um, okay,
what's hey? What's the meaning behind your name on Instagram?
The meaning is um. When I had a record deal,
(48:43):
somebody else had Jimmy Robbins, and we tried to get
them to give it to us, and they asked for
twenty dollars and so I just changed the letters of
my name. Yeah. I thought about flipping it. At the time,
it was popular, people were saying like busting Jeeber and stuff,
and I was like, oh, I'll do that with my name.
And when you flip mine it's not a name E one,
Remy Javins, Remy Jabins. Yeah. Yeah's interesting. Yeah, I wo
(49:07):
I wouldn't have gone with that either. Wasn't the one
for me. It's funny I couldn't get mine. I told
you that the guy twenty that's a lot. Yeah. Well,
and this was ten years ago. Instagram wasn't even like popping.
Does the number five six to six oh six oh
(49:28):
nine oh three mean anything to you? Is that my
old phone number? Yeah? Is it on my Space? The
location is Wesleyan College, North Carolina? Yeah, basically Rocky Mount.
How do you say that? Wesleyan Wesleyan? Yeah? Uh. And
you had eighty five thousand friends. Yeah, you were kind
(49:48):
of making it. That's a lot of friends for back
in there on my space. Yeah, that was I treated
like a job. I was on my Space. I dropped
out of ninth grade and just treated my space like
a job. I don't know if you're being serious. I
dropped out when I was fourteen. You dropped out of
high school? Yeah? What did your parents say about that? Um?
They weren't thrilled. How do you have that conversation? That's
a really young age to drop out. It was sort
(50:10):
of complicated. My my mom had just passed away, and
my dad was sort of whatever will make me okay.
He was there for that. I don't think it was ideal,
but he uh he, he was great. He let me
pursue what I wanted to do. What do you pursue it?
Fourteen or fifteen, I started doing the MySpace thing, and
(50:31):
I turned that into a living. Um. Wow, yeah, I
was making a living when I was like fifteen. You
were an influencer. Yeah. I mean I'm not even joking,
but I mean you made your money by a social
by social media before that was really a thing. Yeah. Yeah,
I was packaging CDs and shipping them all over the country,
Like I sold thousands and thousands of CDs back then. Yeah,
(50:54):
that was wild. So what was just unfortunate? They sounded
like what you played? That was the real downside. But
the third song was really that one I might have
put on my page. That's the one nobody bought. How
about that? Really? Yeah? Well because the album kind of
only sort of came out. M How long did you
stay home after you started to go independent making music? Fourteen?
(51:19):
Fifteen years old? I started touring when I was fourteen. Um,
So I was in a band with some guys that
were older than me. They were eighteen and nineteen, and
my dad signed a piece of paper giving the singer
permission to take me to the hospital if anything happened,
and then I was gone. Did you get any trouble?
(51:39):
I did not. Um. I was raised really like uh PG.
And so there were nights like I chose to sleep
in the van because the dudes were like doing some
stuff and at a house and I would just sleep
in the van, or we would sleep in parking lots
and stuff too. But wow, you had to grow up
pretty quick, huh in a few ways. Yeah, yeah, your
(52:02):
mom passing that early. Yeah, you have to grow up,
you know. And then also you decide I'm just gonna
go hit life at fourteen fifteen years old? What would
you say to that kid? Now? I mean, I sort
of would do that all the same. I would do
all of the same things because I think even more
so now because I believe now more more with perspective
(52:23):
that like school wasn't going to get me where I
wanted to go. And I mean I would like for
my kids to finish high school. Um, just because of
the age part of it. More than anything. But I
would do all the same stuff. But what if they say,
but dad, what if they say, remy javins? She does
call me that you did? Now, I know. I think
about that all the time. I would have a hard
(52:45):
time telling her no, but I would hope she was good.
But what were you know? Um? I want to play
the two openings to both this This City and the
Bones first this Mike, and I'm gonna play the Bones
and it because I'm gonna play the guitar licks right,
(53:05):
both of them. And if you consider this kind of
your trademark as a player, producer and a later audience.
Here at first, I haven't seen Lonely Baby. Okay, here's
the other. Like the tone feels pretty similar. Yeah, it's
(53:33):
like the same guy playing guitar. Do you is that you? Yeah?
That's like that's the way I play. It's it's a
thing called tense, which is like a guitar phrasing that
I fall into a lot. Just I always like the
wait it sounds tense. Yeah, it's like because the talk
talk to talk to dumb guy who plays like eight chords. Well,
(53:54):
it's like you're playing the one and then an octave
of the fifth, So it's the tenth. Stop talking to
a dumb guy who play the chord? The need rosetta
stone for that one. Uh. As a songwriter, do you
get approached for approval like when Maren does the bones
and then hose your drops on and they want to
be do they come to you? I think they would
only come to us if it was going to affect
(54:16):
like the copyright. But Josia didn't ask for a piece
of it or anything, at least on the writer's side.
I'm sure he did. On that. The master said, well
he came in killed the interview. It's probably gonna be
a number one. Yeah they do that, right, they rank
your interviews. OK, I do anyway, Yeah, yeah, it's probably
gonna be a number one for at least today. It's
(54:38):
the only what I'm doing today. You really can't lose
all so, but I mean, really, congratulations, man. I I
just always enjoy someone who comes knows who they are
and stays who they are, even though there's like an
outside ring that's like, that's not who we are in
this town. Because once you do you and it proves
(54:59):
to be successful, everybody else like, oh yeah, we know
the whold time yeah, we we will do that now.
I mean, it's crazy. It's crazy to see how and
it's gonna happen as you get older. There's gonna somebody
else coming this how different and you have to remind yourself,
Oh yeah, I was that person, not the same way,
but I was that Like I was different. I was
a different splash in the milk here. So but I
like that. I like that about you. I think that
it's good to have guys like you in town. They're
(55:22):
just kind of pushing to make it better and stretch
it a little bit. And now you've got wild success
and so much money, just the fancy watch, so I
can afford to be your neighbor. Yeah, I need to
see your mortgage paper. Uh, big fan? Really yeah, big fan.
I know we haven't spent much time together, um, but
(55:43):
just a big fan of your work and well, I
mean the stuff you and Maren do together just for
me is like next level. Just I mean, I feel
like when you and Maren started writing songs together, like
for me, that was the mirror and stuff that that
hit me the hardest. And so just to great job
and to wrap this up, read, I'm gonna give your
one question we let read our our camera guy ask
(56:05):
one question. Read go ahead, all right, how often would
you say you deal with the writer's blog? And if
you have any tips to overcome that. What he whispered
to you is how I know you. Also, we made
a lot of eye contact. I feel really really nervous
over here. Um, No, I every day I feel that way.
(56:25):
I think the deal with writer's block. One huge cure
in Nashville is collaboration. Um. I'm really lucky that I
write with other people and and just showing up because
there's a lot of days where I don't feel like
writing a song. I don't think I have anything to say,
and I show up and I talked to my friends
and we find something. Like every day we find something.
(56:46):
So I think I think show up and collaborate. All right,
taking notes now read good question, Thank you, sir. Um.
I think that's it. Well. I feel like I was
gonna ask you one other thing I got hind some
I don't believe that people are ever late because of
bad traffic. I just don't believe that's really a thing.
I think times that you used out of a hundred,
(57:07):
it's a lie. And I was caught up in bad
traffic coming home. So I called Mike and I was like,
I'm stuck behind. It wasn't about traffic an accident. So
traffic maybe an accident? No, I mean, let me refresh this.
Most people say I got by an accident. They're lying
I was behind an accident. I thought you were gonna
beat me here to my own house. Well I got
here yesterday. Mm hmm. You don't go into that one
(57:29):
bedroom very often. I don't. Yeah, well I don't actually
live here, I live over there, but still um. And
so I thought I thought that you were gonna beat
me here. And you're this big famous songwriter, and you
know you probably did you right before you got here,
I did. I wrote two songs today, So this is
you mentally exhausted kind of. I'm just always mentally exhausted.
(57:51):
And what no titles over the themes of the two
songs you wrote today? Uh, very different things. The first
song was sort of about the second song it was
like a like a country life song. I can't wait
for that country life one. I'm predicting a hit, are
you might? I'm waiting for the death one okay, and
some could be both. Yeah, alright, that's it. That's the
(58:15):
end of the show. At Jamie Rabbins on Instagram Jammie Rabbins.
I don't know who has Remy Jabbins at Jamie Rabbins songwriter, producer, publisher,
Lillian Ridges, dad and Sarah's husband. Yeah, all those things
there it is, but most importantly those last things. All right,
(58:36):
thanks Jimmy, thank you, and I'm glad your headphones is
work for the last seven minutes. Liked the ending better
I welcome to episode three thirty four with Jimmy Robbins, songwriter,
ten number ones, great guitar player. His story is wild
about his first year in Nashville. He's like, all right,
let's see how this goes. And then his first year
it's like bang bang bang. He's from Raleigh, North Carolina.
His career includes the Warp Tour, a solo album with
(00:22):
Motown Records, writing pop top lines for Disney. You know,
we get into the age he started touring, which is crazy,
and you know he had Blake Shelton. Should be cool
if you did, you don't have to. Also, Thomas Ready
goes like this, Keith and Mirando we were us. And
right now we'll play a clip of this. He's got
(00:44):
Marion Morris circles around this town, which he was a
writer on. And also he's a writer on Kelsey Ballerini
and Kenny chess Andy half of my hometown half. So
I think you'll enjoy this. I mean, he does talk
about later when he dropped out of high school. I mean,
(01:07):
so young, you'll hear it. It's a great interview. I
really enjoyed this. This is Jimmy Robbins here on the
body cast all right here with Jimmy Robbins, which I
guess I'm so inconsiderate as a human that I had
said to you recently we met on my show. I
was like, hey, first time to meet you, and you're like, oh, no,
we met. I don't even know where did we see
(01:28):
each other? You're with KELSI, Is that what you said?
I think so, I feel like we've been in the
same place but haven't. Like we don't hang out on
the weekends every weekend. Yeah, I mean I don't hang
with anybody that being said, uh, I felt like when
you came on the radio show and and Mike and
I were talking and that was a marine centric thing.
But I was like, dang, I really like Jimmy, like,
and you've you've accomplished so much and you mean, what
(01:50):
do you like, yeah, seventeen something like that. You've accomplished
so much in that time that I was that's that, Hey,
we should have them on for a little bit. So
I appreciate you coming over and coming over to the
house and saying what's up, even though you do live
super close, and I heard it was very easy. So
we like for it to be a little more of
a struggle. Well, I scoot it over here, which was fair,
and it is rush hour, So if you scoot it
(02:11):
and rush hour, we are good. Um. I have to think,
and I'll compare it to to a story of mine first,
to give you a bit of time to think about
the answer to this, that it's tough being a very
successful especially in the past five years, six years songwriter,
maybe even more than that, but we'll say, for the
sake of it, five years, you've been crushing it songwriter
(02:33):
in town because everybody wants to hang out with you
so they can work with you. Now, I'm gonna let
you think about that answer for a second because in
a way I understand that because I'm not cool. I'm
no barrel of monkeys to hang out with. But people
are always like, hey, man, we should hang out, we
should have dinner. And I always know there's a motivation,
not always, most times I assume there's a motivation behind
(02:57):
it that no, you wantaing out for something that will
help your career. You want to go to dinner, so
I'll put you on the radio show. I'll take you
to open for me, you know, when I'm playing theater
or something. So I have this trust issue with anyone
in their creative space in this town. Now, you are
killing it so much as a songwriter, it's almost like
(03:20):
you spin gold and you don't have to play humble,
but you've just done so much. Do you have that
fear with people when they someone out of the blues, like,
hey man, we should really get a beer hang out?
I think, yeah, I think there's a thing there where
you can feel when people have an ulterior motive. But
we a lot of the people I spend time with,
we were friends before any of us had success, which
(03:41):
is very safe. Yeah right, and you wind up having
success together most of that. Like I came up writing
with all the people that I write with now and
none of us had hits, So we wrote together because
the hit people wouldn't write with us. And that's still
a bulk of the people I spend time with are
those same same folks. Who are those people that you
against it her your group that you cut your teeth
(04:02):
together here in this town with. I mean the first
two names that come to town are John Knight and
Nicole Galleon Massive both massive now yeah yeah, they've done
so well and none of us had to cut together
and I didn't have a publishing deal. I don't know
why they wrote songs with me, but I've I've told
Nicole before that I feel like she taught me how
to write songs. And her version of that is she said,
(04:23):
she feels like I'm the first person that let her
be herself in the writing room. And we sort of
stumbled into writing songs together. And then John he's the
other guy that taught me everything. The first song we
ever wrote together was whatever She's Got for David Neil
and whatever She's Got? Yeah, and I did sing that again?
Sing that song? You sing that song? No, no, no,
because I'm I'm I'm getting too confused because I know
(04:45):
it's it's the mood ring like she's got the blue
Jeez paint it ont sight, she got the blue Jeez pain.
That's it? Did you did the high version? Which is better?
That's what I when I'm recording, I tend to go
up there and Okay, got it? So you and Call
wrote that, well, me and John wrote yeah. The first
time we ever met um but yeah, all those guys,
(05:05):
I mean Josh Osborne. I was riding with him the
day come over with went number one and that was
his first ever number one song. He's had nine thousand
sixty three since then. But it's you know, those are
all still my people. If you get the text, Hey Jimmy,
that's good. It's gonna beer, and you're like, I met
you twice? Do you and and you are a pleasant
guy to be around, And most likely they just want
(05:27):
to hang out with you because they like you. Do
you have that feeling that I have? Or I'm so
insecure with myself as a person, i just assumed they're
wanting to work with me, or or are you just
good and all healthy and therapiat up. I mean, I'm
not good nor my healthy, but I think, um I
have some of that. But a big thing that changed
for me was we had kids, and so now my
(05:50):
resting answer is no. If it's it's like I don't
see anybody because we're so busy with writing and stuff
that it takes a lot for me to say yes.
So generally I see the people that I've been friends
with forever. There's not a lot of like, I don't
know you, let's sing out, because it's more like I'm
gonna go see a kid. Sometimes I'll get those and
have there are a couple of artists that have hit
me up and been like, hey man, let's get a beer,
(06:11):
and we don't have a beer in forever and I
don't respond, but I'm like, I've never had a beer
in my life. Yeah, and forever literally forever because I
don't drink. And I know you just sent me this
to be like, um, so I don't know literally literally,
And I want to kind of bounce in and out
of your success as a songwriter here in town with
kind of your human story and I want to go
(06:32):
back to two. You know that I'm human. I don't.
We're gonna find out you have kids. I didn't say
human kids. God, you got me again. This guy, Blake
Shelton should be cool if you did. That's your first
(06:52):
number one? Yes? True or false? True? That was my
first cut? Are you kidding? That was your first and
it did you know? How long until you knew it
was going to be a cut, and then how long
until you knew that cut was gonna be a single? Well,
this is like an unfair story because we wrote it.
This is not the normal stories. I wrote a song
(07:13):
years ago and it just came out, but this one
we wrote it on a like Thursday and it got
cut the following Tuesday. Oh, it literally was cut like
five days later. Yeah. Yeah, because um, I wrote it
with Rodney Clawson and Chris Tompkins, who I had no
business writing with, and they just had such a report.
They sent it straight to Scott Hendricks because they knew
(07:33):
Blake was going into cut and they cut it. And
then that was in like November, and then he took
its radio after New Year's like January three. Yeah, that's
a wild story and that I have a friend who
played professional baseball, and I want to relate it to
you and see if you feel the same way. But
he was a really good college player. Are you sports
(07:54):
cat all? Uh, yeah, let's say I am okay, let's
go with that. Stories not I just wondered from my
own personals. Uh, he was a really good college baseball player.
He gets pulled, he gets called up to the pros. Uh,
plays minor league ball, gets taken to the major leagues,
and like his first two months and his first game
and the majors, he goes three for four. It gets
up four times hits. Uh what goes three for four
(08:16):
is like, oh my god, this is the easiest thing
ever who knew that being in the major leagues was
so easy. For like the next three weeks he barely
got a hit, But that first day up he was like,
I just crushed. I'm the greatest baseball player ever. Did
you feel that a little bit like this is pretty easy?
Who knew? Yeah? I would have? Yeah. No, the me
that I am right now versus the me and is
(08:39):
very different because I had like five number ones in
sixteen months or something, And the best thing that ever
happened to me was a bad year, a year where
stuff didn't get cut and then the things that we're
singles didn't work, and I had to ride that and
come out on the other side of it and remember that,
Like my favorite part of this is when the song
(08:59):
is finished, and writing songs is what I love, and
I I like, I tell people all the time, you
need a bad year, it's and then stay in it
and it's good for you. But I was definitely too
big for my bridges want me to. I relate to
that I got and I've had a pretty weird, wild
career of kind of coming from little to here now.
But when I got here, it was like, Okay, you've
(09:22):
now been annointed like you built this, but you're the guy.
And everybody was like, look at all you're doing. And
I'm like, wow, I'm the emperor has no clothes, like
this is the great And it took some try. I
gott find a million bucks. I got into some trouble
on the air, and I was like, Okay, now I'm
good with perspective. First I was just good and kind
of cocky. But now I'm good with perspective. Because I
(09:46):
had the good I thought that's what it was, and
then once I realized, oh, some I needed some crap
to make me a human again. It sounds like that's
about what happened to you too. Yeah, and I think
it makes you better at what you're doing. If you
can take those hits and then keep doing it, you're
gonna wind up better on the other side of it. Well,
let's talk about the good old days back. Here is
(10:07):
Thomas read. It goes like this your second number one.
This is TR's first number one, I believe right. So
now you've written Thomas rhett first number one song, he's
forever attached to you. Yeah, because his first number one
was the Jimmy song. Yeah, so you can call him
(10:27):
at any time, be like, dude, any remember that first
number one? I could probably leave a voicemail at any time.
And so you wrote that with Rhett his dad. Was
that the connection that got it to t r Yeah. Yeah.
At the time, Thomas, you know, he had had songs out,
but he wasn't a name you thought of necessarily. And
(10:48):
I remember being confused when Rhett was like, I'm gonna
send this to my son. I was like, cool man,
I'll send it to my dad too. That's great, let's
let's do that. But uh, it was. It was the
perfect storm of like the sound Thomas wanted to do,
because there were a couple of quirks with that demo
that stuck onto the record that people weren't really doing,
(11:11):
Like some of those drums sounds were a little left
of center at the time, and it sort of opened
the floodgates a little bit for that stuff. And it's
funny how left up center that becomes a hit is
now yeah, it's now center. Yeah, I want to do
one more up In this early section, this is Keith
and Miranda. We were us also from now. I put
(11:43):
those three together to start this because that was a
CMA triple play. Yeah, three. Explain what a CMA triple
play is. That's when you have three number one songs
in twelve calendar months, and it's a lot has to
go right for that, just with timing and everything. It
should be like c M a triple plate deluxe, because
you did in your first year as well. Yeah, my
(12:04):
first year of a pub deal too. The guys that
signed do they okay? Were you signed to a Hey,
this guy let a lot of potential, Let's pay him
some big bucks to be on the public pub deal?
Or were you like, oh this guy, we're gonna giveus
a guy, break them off a little something and let
them prove it. Man, they paid me so much twenty
three dollars, that's what I saw a year. You really
and how long was that deal for you? Three years? Well?
(12:26):
I bet you just but you know I was actually
signed to Keith Urban. I want to lose it. He's
the worst. He's the worst. Okay. So that being said,
we're gonna come back to your songs. I want to
play from two thousand six. This is seven letters. Oh god,
it's look after you, you shy easy for everybody. Seven
(13:00):
letters two thousand and six. That is you singing it's
me singing. There's there's a story there too that would
blow your mind. I'm ready. I was ready to be Okay,
I was. I was fifteen when I did that song,
and I met a guy in my space named Jordan
Schmidt who was sixteen, and I flew to Minnesota to
make an EP with him, and uh, we made this
(13:23):
EP that woind up being the thing that got me
a record deal. But now Jordan's is in Nashville writing
hit songs and we wrote his first hit song together
called Lights Come On And that was like ten years
after we had met in Minnesota. That EP two. Sorry
for apologies, Yes, one of my favorites. Yeah, I know
you you played that one a lot. I mean I
was at every show. Yeah remember that? And so you
(13:46):
were the one before but you just said it you
got a record deal? Yeah, yeah, I well I toured
a lot warp tour, Yeah, I did all. I did
all that stuff and lived in a van and did
that kind of touring, the kind where you're gone for
like four months at a time. And so when you
were a kid, you mentioned being fifteen sixteen, when you
were twelve, what artists did you the artist want to
(14:10):
want to be like, who did you see? And go up? Man,
I want to That's what I want to do. I
really was huge on the sort of emo I know
it's kind of a dirty word these days, but the
emo music like Dashboard Confessional and Something Corporate and um
that Whole World, Jimmy World. They had a great name, Jimmy,
but those were like my favorite bands. And I've actually
(14:30):
gotten to write with those guys now in this new life,
which has been pretty cool. I became buddies with Andrew,
the singer for Something Corporate, and it's it's wild to
circle back to all that now from a bird's eye view.
One more song. This is hey you wait what why?
This is great stuff here and it also gives context. Yeah, no,
it's great. Let's listen to this and here's the song
(14:52):
and its entirety here. Yeah, you playing with my whole
always noxious? What do you say? Maybe it's better off
this way? Maybe with you? So what happened to the
artist's career? Honestly, getting a record deal introduced me to songwriting.
(15:17):
And I never wanted to be an artist, is what
I figured out. I just loved writing songs. Why you
mean ever? You just thought you wanted to be an artist, Yeah,
because I liked writing songs and I didn't know what
else to do with him and the bands that I
grew up listening to, if you looked at the liner notes,
they all wrote their own songs. And so when I
signed to Universal Motown, Uh, they started setting me up
on sessions and I'd never co written a song before,
(15:39):
and so I wound up asking out of my record
deal um to try to be a songwriter and quit
doing the artist thing as soon as I realized I
could try to write for people. But before you quit,
and this song I have, I mean, I have a lot.
I'm just gonna do one more. Yeah, No, it feels
right to me. Thank you. Whenever I see someone like
Grimacing and pay and I know I've I've hit the
(16:00):
right space. This is from two thousand nine. This is
going to get better. Yeah, yeah, and I saw you go. Okay,
I like this on a little better. Do you like better? No?
You don't, Okay, here you go when you go, I've
gotta elevated production. Yes, a couple of other instruments. Yes,
(16:32):
that's that's my opinion. That's the best one. Yeah, my favorite.
I do think listening to that, like you can hear.
Obviously I don't do the same thing anymore, but there's
that sounds like the same guy that would have written
whatever She's Got to me, Like, I didn't move to
Nashville and start doing something different. I just kind of
wound up here at a time when my natural instincts
(16:54):
were where country music was going. Same. Yeah, I didn't
move here and do a thing Deaf Front and we
were doing pop and hip hop and I was doing
a syndicated show there and nothing changed. What was weird
for me? And I think you've experienced this too, or
probably from like a fringe, because I have when I
was doing and probably not that specifically, but when I
was doing pop, I was too country to do pop,
(17:16):
and then when I came to country, I was too
pop to do country, and I was like, well, I
don't really have a place, so I'm just gonna be me.
It turns out that was the strongest thing I could
ever do. And who I am just somebody grew up
in a tiny town in Arkansas that was heavily influenced
by country music in the nineties, alternative music in the nineties,
hip hop in the nineties, and that ended up being
(17:37):
what has now hopefully bonded to meet a lot of
my listeners, like an honest person who really doesn't fit anywhere.
But heck, none of us do. None of us actually
fit anywhere. When we fit somewhere, it's because we force
ourselves to fit somewhere. And you coming from this background,
and you said it better than I could have said it.
You were just here at the time when you organically
(17:58):
made sense. Yeah, did you get from any of the
old school guys, Oh, here's the punk guy or or whatever.
I don't know if they would call you the here's
the EMAO guy. I had a big producer say to
my face because I early on I would get hired
on two sessions as a guitar player. Um, if they
were cutting a song I had written, just because the
(18:19):
way I played was sort of specific and not good
but stylistic. And he said, do my face, you're ruining
country music. Okay, go like that. That was a real moment.
And do you remember that person. I'm not telling you
to say who it is, but are they still here?
They still live here? Yeah? I've had those moments too, Yeah,
(18:40):
where it's hey, you're what's wrong with Yeah? Then those
are the people that don't. You gotta adapt and and
welcome new things. And you need and adapt and welcome
new things that even don't work, because sometimes you know
not to work to show that's not the direction that's going.
And so you moved to town two thous and thirteen.
You're just crushing it. You're king of the world, You're
(19:03):
king dingling of the new writers. I'm imagine everybody's like,
I got, all right, what did you feel? People like
I don't want to say begging, but we're people showing
up to go. I need to write with you. You've
done so much so quick. You've got to be like
the new um, the new methodology of country music, like
(19:23):
thinking wise. Yeah, I mean, I do think people wanted
to write with me. I was. I was one of
only a handful of guys doing something that's really common now,
which is like the quote unquote track guy thing, which
is a producer writer who's building a demo as they go,
and people weren't quite used to that here. The funny
thing is I didn't come here to do that. I
(19:44):
just came here broke and couldn't afford to do demo,
so I bought the pro tool starter kit and like
pretended that I knew what I was doing and I
had no idea. Is that still a thing that's used
against people? One of my friends, Ross Copperman, same like,
we's all he's the track guy. But then once either
(20:04):
you hit a level of success or enough track guys.
I'm just saying that because at the term you threw
out there, and that was a term that was used.
Enough track guys have proved you're not just a track guy,
you're actually a writer producer. Is always a track guy?
Is that still said or is that kind of gone
at this point? Well, I think it's become a sliding scale,
and there's writer producers and there's producer writers, and so
(20:27):
I think I think people now know who the guys
are that are making really good demos, and they know
the guys that are helping you write a song and
then have the ability to demo it. And so I
would like to think I fall into that, like Ross
falls into that. He's a songwriter who's good at production.
You know. So the track guy term is it used
as much just thrown out, like if you're gonna write
(20:51):
from what I know something like, well, he's a track guy,
So let's make sure to not get another track guy
in the room. Yeah, I mean they say it, yeah, yeah,
it's not as much of a dirt. It was like
kind of a negative yeah, And that's the point. That's
the point I was making that it was as some
of that negativity gone from the term track guy. Yeah. Yeah,
it's And I don't know why because they still kind
(21:11):
of mean it in a negative way. Here's David Neil
whatever She's got, and here is Jaco and Beach in
(21:36):
from the same year. He's gotta be cool with a
song like Jake's that kind of was his image. Did
you write it for him or did he find it
and go this is what I am? Like, how did
that come about? Because he that Jake's beaching. Yeah, that's
(21:57):
what that song is. Yeah, it's like the perfect song.
Um It, we weren't really shooting for him, but there's
I think you would know this. There's kind of moments
in time where writers and artists connect to each other
a lot and in that season and still true now,
but specifically then, Jaren Johnston was like a kindred spirit
(22:18):
to Jake, Like I think Jake thought Jarn was cool
and really loved what he was doing, and so that
I wrote that song with Jaren and John Knight and
it was really just kind of a singing stuff, and
Jared made it sound like he would do it, And
I think that's why I spoke to Jake. Did you
guys when you wrote it, did you think Jared would
would cut it with cattle like three? No? I don't,
(22:40):
but I don't think we thought of Jake for it,
which is wild because when I think of Jake, that's
one of the first songs I think of now and
Jack's a close friend, and that's still the image like
when it's like, what do you picture Jake singing? If
he's on stage one one, that's probably Beaching. Yeah, I
think most people would think Jake wrote that song because
it's so Jake. Yeah. Do you have any of those
(23:02):
other songs that you look at and go, Man, it
just fell on the right hands because it's the song
for the right person at the exact right time. Because
I feel that way about Beaching, Yeah, I mean I
kind of feel that way about all of them, because
what a copied answer is that because I feel like
I feel like, with the exception of like song of
(23:23):
the Year songs that a lot of songs could be
hits and couldn't be, and it's just got to be
the right person connecting with the message. And it feeling
sincere like I still think. I don't think the song
does everything. I think the right artist has to do it.
It's funny because you're coming at it from the songwriter perspective,
and I feel the same way from And I'm not
(23:44):
in the mix anymore in the radio world of I
don't pick songs. I just go on the air trying
to be compelling, try to be funny, bring up my
friend's interview them, get good ratings, go away right. That's
back in the day. I was more like, let's break
artists and do now. I'll let the music people do
the music things, and I'll so I can step away
and see it. And I feel the same way you say, well,
(24:05):
any song, I feel like you can almost make any
song a hit if the right team, the right label
gets behind it, puts enough effort into it, and spends
money and promotes it. I feel like they can make
almost any song it hit. The same way that you're
saying a well written almost any well written song with
the right person singing at the right time could be
a hit. Yeah, And I mean I do feel like
(24:26):
this is a gross word, but I'll say it anyway.
There's like hits and then there's like a smash, and
I don't think any song can do that. I will
agree with that too, that perfect storm of like this
is a moment, but that's a great that's a great comparison.
A moment is a great comparison. A moment. I drive
your truck a moment house to build me a moment
(24:49):
American kids. Right, I'm going through songs that that when
I just think that, But I think with the right
person in support, you can make any hit a legitimate
radio hit. Yeah, the same way you think from the
writer's side that any hit could make it with the
right person singing it. Yeah. Especially you do this long
(25:10):
enough and you see it's you know, not always the
best song is on the radio, and sometimes the best Yeah,
it's kind of I think the same thing. Let's just
list all the songs we hate you ready, let's go, Oh,
we'd be here all day. This would be a whole
different podcast. And I've done that in different places and
it usually gets me in that trouble I was talking
about earlier in this podcast, out Dean Lights come on
(25:35):
streaming everybody ever Before we get into the song specifically,
you had a two year gap. I don't I don't
see any number one. Yeah, yeah, no, that was my loaf,
that was my law and I was getting cuts. But
I had gotten really accustomed to the feeling of everything
working out and saying yes or not saying yes, being
(25:56):
told yes. Um, And I mean I got really low
about that. I was gonna ask in a serious way,
did you start to feel like maybe you lost whatever
you came to town with? Yeah. It's hard to not
take it personally, I mean, because it's you can't really
blame anybody but yourself, because you're making this thing that
didn't exist. Nobody's doing it for you. Um. So I
(26:18):
definitely took it personally and got really down and then
sort of started feeling like it would never happen again,
and then sort of fell back in love with just
writing songs, which got you the success to begin with. Right,
you kind of went, we weren't trying to write hits.
All the first hits I had were just writing songs
with my friends. And that's a that's totally right, that's
(26:38):
the whole thing. It's just write songs, and then the
hits happen. Were you and again, I think we're alike
in a lot of ways except for your superior talent
and looks. But were you embarrassed that the success wasn't
coming because you had already been elevated to that point
and people are like, hey, you got any songs out?
Now how they're doing? Did that happened to you at all? Yes?
(27:00):
Because I feel that way at times. Yes, And I
really felt that way. And then I learned partially, well
not partially a lot, because of my wife, who's a publisher,
started pointing out to me that we're all so busy
thinking about other people thinking about us, that nobody's thinking
about anybody else. And I started realizing. We started doing
(27:21):
other things in in that law, We started our own
company and started trying to support other people, and all
of a sudden, I realized people were congratulating me all
the time, And in my head, I was like, don't
they know I don't have a song on the radio.
I don't know what's happening. And then I kind of realized, like,
nobody's looking at me the way I'm looking at me,
and and I really got to a much healthier place
(27:42):
with all of it, where I don't feel so attached
to the success portion it. I mean, you're so right.
I compare it to on on a different level of
presentation at work, or somebody falling down somewhere and they're
so embarrassed because they didn't they either fell they didn't
do a good presentation, and they're like, you're you're humiliated
because you didn't do a good job and everybody saw
(28:03):
you not do a good job. And you're thinking, oh,
but the times I've seen a bad presentation or some
I don't I don't remember it ten minutes later, But
when it's you, you feel like everybody is focused and
remembering on what happened to me. I did it, Yeah,
you know what he is, And you have to kind
of turn it around and go, I don't remember when
people screw up. I may see it for a second
(28:23):
and be like ha ha, or that's unfortunate, but I
don't a day later even remember it. And it seems
a bit like that's what you're saying. They're like, there
was just an adjustment, perspective adjustments, yeah, yeah, and just
looking at everybody else and remembering like, am I thinking
about what songs they have on the radio? Am, I'm
just thinking that they're really good? And I was like, oh, yeah, no,
(28:43):
I just think they're good. Back to Audi and lights
come on. This is interesting for a couple of reasons.
I'm gonna say three reasons. The three reasons are one, uh,
it was written by seventy four people, Well, okay, but
really the best is that you mentioned Jordan earlier. Yes,
you guys wrote this song together, and you met when
(29:05):
you were fifteen and sixteen years old, and here you
are in two thousand sixteen writing and al Deane number one.
The other one is that the f g L guys
this this was always a story about this song, is
that the f GL guys were on it as writers
and they didn't cut it, but Aldine cut it. Yeah.
So I don't know if you're in the same room.
We were all in the same room, but it was
a double booking. We were not all supposed to be there,
(29:26):
and I was gonna not show up, and Tyler was
texting me and I was like, y'all just do it.
I'm not It's fine, don't worry about it. And he
was like, well, I'm gonna tell the Warren Brothers you
hate them. I was like, Okay, I'm gonna come. It's
like in wrestling sometimes they'll have tag team matches with
three different tag teams. It's rare, but here are the
three tag teams. You and Jordan's friends since kids. Yeah,
the Warren Brothers writting a ton of songs. Didn't write
(29:48):
with anybody else but themselves that you know, and they're
gonna write there writing together with other people, their literal
brothers and then Tyler and Brian from f g L.
It was like three tag teams and they're writing the
song and it can go one of two ways. Yeah,
can definitely go one of two ways. Amazing because there's
so much in that room talent songwrite, or there's just
too much in the room and you can't really control.
Everybody's talking over each other and you don't get anything.
(30:09):
How did what was the vibe? And this this right? Dude?
It this was like the second or third song. We
wrote three songs that day. God dang, you wrote three
songs on a day. Yeah, I think it was. The
Warm brothers were like, well, there's so many of us,
we should probably write a lot of songs to justify
our little splits um. But it was that one felt
awesome as soon as we got into it, and the
(30:30):
Warm Brothers came in with the vibe. But then we
got the Kiss of Death, which was when Brian said, man,
this would be great for al Deane. And you never
want to be writing with an artist and they tell
you this is great for another artist. So you were
writing in that room in your mind for f g L. Yeah,
they specifically needed a show opener, got it, and that
was they they wanted to show opener for the record,
and they were gearing up for tours. That was we
(30:50):
were there for with the job. So you you're writing
for them with them, and b K goes, man, this
is sound great for Aldine. Yeah, that's funny. And for
a second, tragic yes, in your head you're like, oh, cool,
we should stop because you obviously don't want it. Yeah,
and it's with the exception of those guys, it's tough
to get an artist cut with another artist and that
(31:11):
hasn't been true for them at all and obviously not
true for that song. But yeah, for a second, I
was like, cool, I'll just should I should I just
jump off this porch Michael Ray think a little less
from here you Go. Another first for an artist. Although
(31:32):
she had massive success, this was Maren's first number one
I could use a love song from so it takes
me back just like that. When so when you and
Maren first wrote together? Was it for this song or
did you right for right together for other songs? We
had written a handful of times before then, um, but
(31:54):
this was the first time she and I and Laura wrote,
which has kind of since become a thing. We written
a lot of songs, the three of us um and
at the time my wife was Marin's publisher at Big
Yellow Dog, so there was There's a lot I love
about this song. But it was the first thing my
wife had set up that I was a part of
that went on to do something, and that has always
(32:15):
made it special for me. Would you be considered in
the Marine Camp? I think so any other camps that
you because I would consider you in the Marine Camp? Yeah,
But I wonder what other camps do you consider yourself
part of? If anywhere there we're going to write, you know,
you're going to write with them for a new record. Yeah,
I like I feel like I write a lot with
(32:36):
Brett Young and I read a lot with Kelsey Ballerini. Um,
but it doesn't guarantee cuts or anything, but I know
I'll at least get to write some songs. And you know,
they feel comfortable enough with you that when they start
to position themselves and creatively look at the future, they're like, oh,
I gotta get Jimmy because he's part of the process.
Do you feel like that with all three of them? Yeah.
I think for artists, they get so busy that they
(32:59):
want to know if they're going to put time into
a song that they can. They want to raise their
odds of getting something that they feel good about. And
when you have a rapport with somebody, it's just you're
not starting from zero. You know, we can walk in
and we know each other's likes and dislikes, and it
just makes it a lot easier. How far do you
book out? I used to book out like three months,
(33:21):
and we now try to just book out like a
month or six weeks um, to leave a little more
flexibility because we found I was having to miss a
lot of opportunities because we're too rigid with it and
think it's been better and I don't have to look
at the calendar and think, well, that's that I've not
written yet and I don't have any ideas today. Are
(33:43):
you keeping a list of ideas in your phone and
then are you ranking them based on the artist that
you're going in with? Mhm. I'm not a big title guy,
like I don't some people have a fifty titles in
their phone all the time. I'll get some sometimes, but
(34:04):
I feel like my role in the room more often
is I'm pretty good at helping people figure out the
best way to do a title. So somebody will have
an idea and I might come up with three different
ways we could write it pretty fast. Like that's how
my brain connects the dots. And that's the best role.
If your role is to go and figure out what
they want by them telling you what they want, because
(34:24):
I ain't gonna do before you go in, except there's yeah,
there's less pressure. That's awesome, Yeah, and I did. I
used to do a lot of musical preparation, so since
I was the track guy in the room, I would
have I would try to have like four what I
called vibes, which would be a varying tempos and just
like eight bars of music, um and I kind of
stopped doing that too, because that I feel like music
(34:47):
has gotten a bit more musical again. And when you
have that, you get really boxed into writing over the
same chords the whole time. And I just feel like
we're allowed to play more chords than we were for
a minute, and so we're going from scratch a lot more.
Here's Aaron the Bones that this was a moment. Yeah,
(35:11):
this was a moment. You have a lot of hits,
you have are you defining songs with some artists? There
are so few moments I would say this is a moment.
Would you agree? Yeah, this one felt different. Did it
feel different immediately or did it feel different once people
started going, Wow, we need to really get on this
(35:32):
promote the crap out of it. I don't think I
knew that it was going to do what it was
gonna do. And mean, I think some of that said
it's I think a great song, but also I think
it was timing where the world wanted to hear that
message during that year, you know, they wanted to hear
some some positivity, and it was sort of a perfect
storm of all that. But now, I mean, the demo
(35:54):
of this song is the guitar vocal, which we always
we did that on purpose. We thought it was cool,
but I mean it was. It was my wife's favorite song.
But I just thought it was good. I didn't know
that it was going to be huge. This is your
tenth number one, but it is a pop number one.
It was This City a song that I have sang
back to you because it is I have a lovely voice.
(36:16):
If you haven't heard, Yes, thank you, this is Sam
Fish or this City, City's Gonna bring the City's gonna alone.
He's got me Chess. I feel like you could sing that,
that's your vibe. I would like. That's a song I
would do. I can't. I couldn't sing like Sam, but
as a song as an artist, that's like the kind
(36:37):
of music I would probably make. I feel that too. Yeah, yeah,
I feel like if my space existed. Now you put
that on you singing that, I think it does exist?
Does it? It? Does? It exists? But does it? Why
check it every day? My my Space? Nice Tom, Tom
and only two talking on m Let's see, I do
(37:04):
want to play circles around this town. This is on
Marion's new record Humble Quest that you guys came into
(37:26):
the show and played that when Marin said, hey, will
you come play with me? How did that conversation go
when she's like, hey, will you go to the show
with me? Yeah, she just asked me, like the night before, Um,
I guess her guitar player and backup guitar player had
COVID and she just texted me. Because we're really good
buddies like we are. Our kids are friends and friendly
and we get dinner with them a lot. Um. So
(37:47):
I was like, yeah, I'll play it. It's only three chords.
Do you get jealous at? Ryan is tall and ripped
and has like the perfect stubble, not that you have heard,
I really do. I really do. Yeah. Yeah, And I
don't feel like he tries very hard. I don't either.
That's what sucks. I mean, he for sure doesn't try
his height. He would no, yeah, he's not taking the
growth hormones for that, but no, he I remember he
(38:10):
he actually stayed with me for a few months back
in the day. We've been buddies for a long time,
and I remember he was like, I think I'm gonna
start doing pushups and then like four days later he
had a six pack. Because maybe that's what I need
to do my push push up. I was like, what
have you been doing? He's like doing like thirty push
ups in the morning. But like, okay, when you left
the show, you said you were gonna go to a
(38:30):
vocal with Brett Young. How did that go? It was great?
Yeh can he still sing? Yeah? He can still sing,
so that's good. So it was also tall and good looking. Yeah.
And I don't even like talking about him though he's
also to I can't talk about more than one. I
start to get really jealous. And he was like a
superior athlete. Yeah, he's good at everything, Like, shut up, right, Young,
we get it. I also don't think he tries that
hard to be awesome at every Right, you get it. Uh,
(38:53):
did you guys write that song that you have cut
the vocals on, like way before? Or it was the
one you've just written like the night a couple of
days before. We had just written it. Um, it's actually ah,
it's not out yet, so I don't know if I
can say I can say, don't say too much. I mean,
I'm just asking, like, was that a song you've written
way previous, you know, just a couple of days ago.
I think we actually know we had written it Sunday,
(39:14):
so I think I came in with you you're on
a Sunday. I did because he asked me to demand
over here weekend writing with stars. So you write it
and then you want to lay it down quickly so
it's still you can send it to the label or what. Yeah,
this one was an isolated event where we were writing
for an opportunity for him, like a like a placement
kind of song for a movie. And so it is.
(39:39):
It's top gun five. But that will never come out too.
It's taken three years to come out. That's not even done. Um,
So you've you've produced a lot as well, and some
of my some of my favorite people. If I'm correct,
you can you can correct me if I'm not correct.
Did you produce Maddie and tay Die from Broken Heart? Yeah? Yeah,
Me and Derek Wells co produced it. Do have a
(40:00):
clip of that, Mike, how does this love this other?
The production on that's so good. It's just the perfect
for them. This was it. Yeah, the riding, the vocal,
the production, Yeah, that's that's as good as it gets
for them to me, Like that's top level. Then you're
saying you made them top level. What I'm saying me personally,
(40:22):
I'm responsible when you go produce what is that? What
is that? Where do you go? Do you have your
own place? Do you do you hire a fancy studio?
What's what's the vibe when you produce a song? Well
kind of both things. I do have a place. I
have a studio in berry Hill, and it sort of
depends on the artist and on the record for how
they want to do it. Um So, like Maddie and Tay,
(40:42):
we track with the band and it's all live stuff,
and then there's there's other albums, like the way Kelsey
likes to do a lot of stuff. Historically it's me
playing everything at my place and that's just more the
process she likes. So it kind of depends I can
do what people need with the Kelsey stuff because I
pulled all the number ones I know you Kelsey have.
I've had some big singles. What were the what were
(41:04):
the Kelsey song we've done? I produced that Maybe that's
what it was, No, but I did. We had Homecoming
Queen that I wrote with her, and then we're at
like number two right now with half of my hometown.
I told you that's my favorite song, and it has
been for a long time. This song is like I
told her and her family listens to the show on
Knoxville and I was talking about it. She messaged me
and was like, I appreciate you. I wouldn't wake up play.
(41:26):
I was that I wouldn'ten to the show because, like
I heard from my parents, you were talking about the show.
I love this song, like you guys did a great job.
Thank you, And there's nineteen of us on that. Well,
I'm jaded. I'm glad. I'm jaded because I hear all
songs all the time, same with you, right, But occasionally
you hear something and you're like, like it's poking an Oregon. Yeah,
and this song maybe because I'm from a small town. Yeah,
(41:47):
this song did that. Who you can feel the honest ones,
you know what I mean, the ones that that's it's
to me. This song doesn't sound like we were like,
let's go check all the boxes and write a hit.
I think we just wrote something true to her. I'm
gonna put you on the spot in the writing part
of it because you mentioned it was written by a
lot of people. Do you remember who wrote it? Yeah,
well it was me. You mentioned Ross, Comperman, Kelsey, Shane
(42:07):
McNally and Nicole Galleon. I mean that's a powerful room.
It's a good If you don't come up with a
hit with all those people, somebody must die. Yeah that
like on paper, we should, this should happen. And so
do you write that as a duet? We well, yeah,
kind of well we wrote it in Florida. We all
went down to do a retreat with Kelsey and it
was meant to be her writing with two groups of
(42:30):
people and we were going to split up and kind
of change everybody. And we tried it for a minute,
and I think it was me who was like, we
should probably just all right together. This feels weird. Um
until we wrote that song in a swimming pool, did
the demo at the Airbnb, and then a little bit
of liquid courage at like three am. She sent it
to Kenny because we were like, this would be great
for Kitty. She was like, I'm gonna do it. That's
(42:51):
what you do. You get always drunk to send them
for them to send songs that you should make a
big make big decisions when you drunk, because people like
I don't want to bother them. But if you get
them drunk, they'll they'll do it absolutely. It's you told me.
I think you told me right. You're can sound effective beaching.
Yeah yeah, Like at the beginning of that song. How
(43:11):
do you not get an award for that? Dude? I
actually reached out. He was at Sony still at the
time on that record. I reached out like ten times
to try to get them to put me in the
liner notes for for beer Can, and it never happened.
Like that's what you played? Give me this on Base
Jimmy on beer Can the beat. The lyrics to beach
(43:31):
and are interesting and are sometimes misheard. We had a
whole segment on our show about it years ago because cocaine. Yeah,
my dad thoughts cooking too. It's safe, yeah, okay, And
I can hear and I want to do this trick
because green Needle, what's the other people here? It's it's
(43:52):
two things, like you can hear either hear the personal
green Needle or monster mash. I don't know. It's like
two words, but if you listen, you can hear it
different ways. You have one is Laurel and Yanny. That's
another one, right, you ever hear Laurel and Yanny you're
are you kidding? Oh, we gotta, we gotta lot him
see what he hears? Green Needle and brainstorm is one. Okay,
(44:13):
when you get those ready, I would like to do them. Um,
are you only writing songs and not watching the internet
at all? Pretty much? Have you? Have you missed everything?
Have you heard of Charlie but my Finger? Yeah? Okay, alright, alright,
we'll start there. We'll work our way up. But the
lyrics are and it's sunshine, blue eyes, tan lines, It's
(44:36):
low tide, rolling white sand, cold can. Now if you
listen to it, let's do this experiment. Can you do it, Mike, right,
and just think to yourself cold can read? Think to
yourself cold can. Okay, that's the actual lyric. Go ahead, okay,
now everybody at home, you're probably not at home, listen
(44:58):
to this, but walking or running or your car, think
to yourself, cocaine, Yeah, think cocaine. Be cocaine for a second,
play it again, like it's there now. My dad swore
that's what it was, and he didn't really care for
(45:19):
the song. Like my dad, he's never an alcohol or
anything like, certainly not cocaine. And I had we had
a hard time why don't you like this song? It's
like pretty simple and good. It's like, I just don't
like that drug stuff. What are you talking about? This
is like the cocaine line. Y'all lost me? You lost
(45:39):
me at cocaine. We uh, Mike, you can do that.
I'll keep talking. Let me have the Brainstorm and Green Needle. Jimmy,
tell me what you hear here. It's either gonna be
brainstorm or Green Needle. Okay, Wait, should my headphones have
been on this whole time? Yeah? They haven't been. Have
(46:01):
you been listening to nothing and you have the headphones?
I could hear it from these headphones over there. Are
you serious? Yeah? You haven't heard the clips of your
own songs? Well I've heard them through those headphones. Yeah,
trade with them. Yes, they should have been on. Jimmy
has been more in headphones that don't work. It's oh god,
okay are they too loud? We can't hear myself really quiet? Okay,
(46:23):
you're gonna hear them, then you're gonna hear it. Say
green needle or brainstorm. Definitely green needle. Okay. Now if
we think brainstorm, now, I want you to think brainstorm
on this one. Okay, it's still green needle. I don't
(46:55):
think he's all all there much. I think he's missing
a little something. It sounds like brainstorm. Yeah, well it
sounds like green needle first, but then you can hear brainstorm.
What is the actual thing? I don't know. I never
got that far. I just went and then turn it off.
I don't know. We'll find the other one find out.
It's like it's saying haill satan. Yeah backwards, it says
kill three people if you reverse it. We found let's
(47:15):
see here, oh here it is? What's that? I think
this is this? Laurel or Yanny? Okay, go ahead, Laurel,
Laurel's Laurel Laurel, Laurel Laurel on that one too? Do
you hear you hear Yanny? Is that a joking where
(47:37):
it's only Laurel. Here we go, Okay, here we go, Laurel, Laurel, Laurel, Laurel, Laurel, Laurel.
What are you kidding? All? I hears Janny. I don't
hear Laurel in any way? Whatsoever? Are you serious? Laurel Laurel?
I feel like you're missing I swear to God, what
(47:59):
do you a read? I hear Laurel. Every time I
hear Danny, Danny, Mike, what do you hear? I hear Laurel?
And what do you really? Yeah? I heard Yanny every time.
I sort of feel like there's something wrong with me.
Oh no, no, no, they're no, I do too. But
yeah for Devera, Yeah, okay, but I but when this
isn't like a wegi board where someone's screwing with you
(48:21):
and like someone's really controlling it. I hear you heard Laurel. Yeah,
I heard Yanny without a doubt, Danny, Yanny. I wish
there was a way to share that with you, but
there is no one. I was excited for the change. Um, okay,
what's hey? What's the meaning behind your name on Instagram?
The meaning is um. When I had a record deal,
(48:43):
somebody else had Jimmy Robbins, and we tried to get
them to give it to us, and they asked for
twenty dollars and so I just changed the letters of
my name. Yeah. I thought about flipping it. At the time,
it was popular, people were saying like busting Jeeber and stuff,
and I was like, oh, I'll do that with my name.
And when you flip mine it's not a name E one,
Remy Javins, Remy Jabins. Yeah. Yeah's interesting. Yeah, I wo
(49:07):
I wouldn't have gone with that either. Wasn't the one
for me. It's funny I couldn't get mine. I told
you that the guy twenty that's a lot. Yeah. Well,
and this was ten years ago. Instagram wasn't even like popping.
Does the number five six to six oh six oh
(49:28):
nine oh three mean anything to you? Is that my
old phone number? Yeah? Is it on my Space? The
location is Wesleyan College, North Carolina? Yeah, basically Rocky Mount.
How do you say that? Wesleyan Wesleyan? Yeah? Uh. And
you had eighty five thousand friends. Yeah, you were kind
(49:48):
of making it. That's a lot of friends for back
in there on my space. Yeah, that was I treated
like a job. I was on my Space. I dropped
out of ninth grade and just treated my space like
a job. I don't know if you're being serious. I
dropped out when I was fourteen. You dropped out of
high school? Yeah? What did your parents say about that? Um?
They weren't thrilled. How do you have that conversation? That's
a really young age to drop out. It was sort
(50:10):
of complicated. My my mom had just passed away, and
my dad was sort of whatever will make me okay.
He was there for that. I don't think it was ideal,
but he uh he, he was great. He let me
pursue what I wanted to do. What do you pursue it?
Fourteen or fifteen, I started doing the MySpace thing, and
(50:31):
I turned that into a living. Um. Wow, yeah, I
was making a living when I was like fifteen. You
were an influencer. Yeah. I mean I'm not even joking,
but I mean you made your money by a social
by social media before that was really a thing. Yeah. Yeah,
I was packaging CDs and shipping them all over the country,
Like I sold thousands and thousands of CDs back then. Yeah,
(50:54):
that was wild. So what was just unfortunate? They sounded
like what you played? That was the real downside. But
the third song was really that one I might have
put on my page. That's the one nobody bought. How
about that? Really? Yeah? Well because the album kind of
only sort of came out. M How long did you
stay home after you started to go independent making music? Fourteen?
(51:19):
Fifteen years old? I started touring when I was fourteen. Um,
So I was in a band with some guys that
were older than me. They were eighteen and nineteen, and
my dad signed a piece of paper giving the singer
permission to take me to the hospital if anything happened,
and then I was gone. Did you get any trouble?
(51:39):
I did not. Um. I was raised really like uh PG.
And so there were nights like I chose to sleep
in the van because the dudes were like doing some
stuff and at a house and I would just sleep
in the van, or we would sleep in parking lots
and stuff too. But wow, you had to grow up
pretty quick, huh in a few ways. Yeah, yeah, your
(52:02):
mom passing that early. Yeah, you have to grow up,
you know. And then also you decide I'm just gonna
go hit life at fourteen fifteen years old? What would
you say to that kid? Now? I mean, I sort
of would do that all the same. I would do
all of the same things because I think even more
so now because I believe now more more with perspective
(52:23):
that like school wasn't going to get me where I
wanted to go. And I mean I would like for
my kids to finish high school. Um, just because of
the age part of it. More than anything. But I
would do all the same stuff. But what if they say,
but dad, what if they say, remy javins? She does
call me that you did? Now, I know. I think
about that all the time. I would have a hard
(52:45):
time telling her no, but I would hope she was good.
But what were you know? Um? I want to play
the two openings to both this This City and the
Bones first this Mike, and I'm gonna play the Bones
and it because I'm gonna play the guitar licks right,
(53:05):
both of them. And if you consider this kind of
your trademark as a player, producer and a later audience.
Here at first, I haven't seen Lonely Baby. Okay, here's
the other. Like the tone feels pretty similar. Yeah, it's
(53:33):
like the same guy playing guitar. Do you is that you? Yeah?
That's like that's the way I play. It's it's a
thing called tense, which is like a guitar phrasing that
I fall into a lot. Just I always like the
wait it sounds tense. Yeah, it's like because the talk
talk to talk to dumb guy who plays like eight chords. Well,
(53:54):
it's like you're playing the one and then an octave
of the fifth, So it's the tenth. Stop talking to
a dumb guy who play the chord? The need rosetta
stone for that one. Uh. As a songwriter, do you
get approached for approval like when Maren does the bones
and then hose your drops on and they want to
be do they come to you? I think they would
only come to us if it was going to affect
(54:16):
like the copyright. But Josia didn't ask for a piece
of it or anything, at least on the writer's side.
I'm sure he did. On that. The master said, well
he came in killed the interview. It's probably gonna be
a number one. Yeah they do that, right, they rank
your interviews. OK, I do anyway, Yeah, yeah, it's probably
gonna be a number one for at least today. It's
(54:38):
the only what I'm doing today. You really can't lose
all so, but I mean, really, congratulations, man. I I
just always enjoy someone who comes knows who they are
and stays who they are, even though there's like an
outside ring that's like, that's not who we are in
this town. Because once you do you and it proves
(54:59):
to be successful, everybody else like, oh yeah, we know
the whold time yeah, we we will do that now.
I mean, it's crazy. It's crazy to see how and
it's gonna happen as you get older. There's gonna somebody
else coming this how different and you have to remind yourself,
Oh yeah, I was that person, not the same way,
but I was that Like I was different. I was
a different splash in the milk here. So but I
like that. I like that about you. I think that
it's good to have guys like you in town. They're
(55:22):
just kind of pushing to make it better and stretch
it a little bit. And now you've got wild success
and so much money, just the fancy watch, so I
can afford to be your neighbor. Yeah, I need to
see your mortgage paper. Uh, big fan? Really yeah, big fan.
I know we haven't spent much time together, um, but
(55:43):
just a big fan of your work and well, I
mean the stuff you and Maren do together just for
me is like next level. Just I mean, I feel
like when you and Maren started writing songs together, like
for me, that was the mirror and stuff that that
hit me the hardest. And so just to great job
and to wrap this up, read, I'm gonna give your
one question we let read our our camera guy ask
(56:05):
one question. Read go ahead, all right, how often would
you say you deal with the writer's blog? And if
you have any tips to overcome that. What he whispered
to you is how I know you. Also, we made
a lot of eye contact. I feel really really nervous
over here. Um, No, I every day I feel that way.
(56:25):
I think the deal with writer's block. One huge cure
in Nashville is collaboration. Um. I'm really lucky that I
write with other people and and just showing up because
there's a lot of days where I don't feel like
writing a song. I don't think I have anything to say,
and I show up and I talked to my friends
and we find something. Like every day we find something.
(56:46):
So I think I think show up and collaborate. All right,
taking notes now read good question, Thank you, sir. Um.
I think that's it. Well. I feel like I was
gonna ask you one other thing I got hind some
I don't believe that people are ever late because of
bad traffic. I just don't believe that's really a thing.
I think times that you used out of a hundred,
(57:07):
it's a lie. And I was caught up in bad
traffic coming home. So I called Mike and I was like,
I'm stuck behind. It wasn't about traffic an accident. So
traffic maybe an accident? No, I mean, let me refresh this.
Most people say I got by an accident. They're lying
I was behind an accident. I thought you were gonna
beat me here to my own house. Well I got
here yesterday. Mm hmm. You don't go into that one
(57:29):
bedroom very often. I don't. Yeah, well I don't actually
live here, I live over there, but still um. And
so I thought I thought that you were gonna beat
me here. And you're this big famous songwriter, and you
know you probably did you right before you got here,
I did. I wrote two songs today, So this is
you mentally exhausted kind of. I'm just always mentally exhausted.
(57:51):
And what no titles over the themes of the two
songs you wrote today? Uh, very different things. The first
song was sort of about the second song it was
like a like a country life song. I can't wait
for that country life one. I'm predicting a hit, are
you might? I'm waiting for the death one okay, and
some could be both. Yeah, alright, that's it. That's the
(58:15):
end of the show. At Jamie Rabbins on Instagram Jammie Rabbins.
I don't know who has Remy Jabbins at Jamie Rabbins songwriter, producer, publisher,
Lillian Ridges, dad and Sarah's husband. Yeah, all those things
there it is, but most importantly those last things. All right,
(58:36):
thanks Jimmy, thank you, and I'm glad your headphones is
work for the last seven minutes. Liked the ending better
Host
Bobby Bones
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