#482 - The Greatest Music Panel Returns: Eddie and Chris Owen on Defining Real Country Music, Lip Syncing Controversies and L.A. vs Nashville Music - Bobbycast

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
It gets overshadowed because nineties country is this very prestidious
thin to a lot of people, even people that didn't
grow up in the nineties. You have that twenty to
twenty ten kind of era that's kind of lost in
the shuffle there. But still there's a lot of songs
that are played on the radio that were from that
time period.

Speaker 2 (00:25):
The panel returns with Chris Owen, who I think is
like the smartest guy. The guy has retained so much
information about music it's wild. So Chris Owen, Eddie and
myself we talk about Millie Vanilli, Nashville versus LA music scene,
nineties country versus two thousands country, and it's the panel
as it returns, and I think this is one of
my favorite things to do. And by the way, Chris,

(00:47):
you can follow him at Chris Owen Country. He is
the creative director at Cornman Music and you're going to
see he's like a genius. He looks like he's really young,
and I think I make a reference to like, dang,
you're like twelve. I think he's like, no, dude, I'm
like thirty, yeah, yeah, yeah. And I don't know if
he was like he thought it was awesome or he
was a little insulted, but either the way, I was like.

Speaker 3 (01:08):
It's like, you're like twelve, he looks very young.

Speaker 1 (01:10):
I think it was a little of both.

Speaker 2 (01:11):
Yeah, at the same time, I think it was like,
my feelings are hurt, but no, I think that's awesome.

Speaker 4 (01:15):
Yeah.

Speaker 2 (01:15):
I love this guy. His name is Chris Owen. He's
so smart. Me, Eddie and Chris, the Panel returns. Panel
of Greatness is back. They're somewhere, but we're here to
go today.

Speaker 3 (01:26):
It's me. Yeah, it's not us, We're not the panel.

Speaker 2 (01:31):
Chris, Chris Owen and Eddie. And there were a couple
of rules.

Speaker 3 (01:36):
Did you get the rules?

Speaker 1 (01:37):
No, rules, There are rules. I mean maybe it's something else.
I mean I'm sure I have them. I just didn't
know there were rules.

Speaker 2 (01:44):
But well, not the rules, but.

Speaker 3 (01:45):
Like what to bring what? Yes, take your shoes off
at the door?

Speaker 1 (01:48):
Yeah, well I missed that first rule.

Speaker 2 (01:50):
I yes, I did not. So this is not one
of the guidelines for what we're about to do. But
see if you can figure out this song because I
couldn't and I was doing it and like Eddie, I
know it's from something. And then he tried to guess
and then I finally got it way later. But just
by me doing this noise, Chris, this is what we

(02:11):
do for hours. We do it all the time, a
little bit more, and it's impossible to figure out by
just that.

Speaker 3 (02:15):
But I got there. But I all do it more time.
I think he's got it. No, you don't. You don't
have anything.

Speaker 1 (02:27):
No, I swear I don't, even with.

Speaker 3 (02:31):
A little extra.

Speaker 2 (02:31):
And I did put a little extra in there, because.

Speaker 3 (02:33):
When it first started, he just started with a But.

Speaker 2 (02:35):
I also couldn't figure it either, So it's not like
a game where I'm like, let's trick the idiot. It's
like I also was like, I don't know why the
song's in my head and not I didn't have the
full song.

Speaker 1 (02:45):
All I have is do you have an era it's from?

Speaker 2 (02:52):
I don't even want to tell you because eventually we
got there, but I did not know the era when
I was doing it. And you can also say, no,
what do you think the persone was?

Speaker 3 (02:59):
Build me a buttercup? So don't don't, don't don't That's
what I thought it was. Why don't you build me up?

Speaker 2 (03:07):
And I'm like no, But I'm also still confused because
I can't place what's in my head.

Speaker 1 (03:16):
Man, I'm not going to get it. It's gonna be
the onst boring podcast ever if you keep Oh, this is.

Speaker 2 (03:19):
The part of that we're reporting, but this isn't even
really part of it. Read do you know it? And
I don't know how I got in my head because
it's not like something that's played randomly, right, Mikey.

Speaker 1 (03:28):
No, I thought building me a buttercup too?

Speaker 2 (03:30):
Okay, you did, Yeah, so let me give you a
little more like.

Speaker 3 (03:35):
You're thinking, mam Oh, that's good, but no, that's not it.
Nothing there. I mean, that's not up country.

Speaker 2 (03:51):
It's it's it's older than all of us. But it's
a song. You can you do the melody, I'll do
the okay, Oh.

Speaker 1 (04:04):
I know the song. I don't know what it's called,
but I know the song.

Speaker 3 (04:07):
Yeah, I hear.

Speaker 2 (04:09):
If the daddy's rich, take her out for a meal,
if a daddy's pull, just do what you do, you gottom.

Speaker 3 (04:21):
We don't what's it called in the Summertime by Mungo Jerry?

Speaker 2 (04:25):
No idea? Why was in my head? But we were
together and I just started doing that and then this
is what we do in our life. One of us
would be like, go do what is that song? We're
like just three notes, man, And so it took me
a long time to figure out the song that was
even in my head. And that's the game we played,
and that was has nothing to do with this. I
just wondered if you would. I was like, because you didn't, Yes,

(04:45):
because you didn't and I didn't get it.

Speaker 3 (04:47):
No, we did not get it for a long time.

Speaker 1 (04:48):
How you been, Chris doing good? How about you?

Speaker 2 (04:50):
Are you building out on purpose after a Big Bill's
win or do you often wear Buffalo bills?

Speaker 1 (04:56):
I wear this literally every day winter.

Speaker 2 (04:58):
Loss, Massive Bills fan, massive big MARII Cooper get yeah,
excited about that, very excited for like one hundred thousand dollars,
that's all. Yeah, we got one for free, mostly because
the Browns had restructured and given them all the money.

Speaker 1 (05:10):
Anyway, there was a lot of friends I had there, like, man,
you got to go get DeVante Adams. I'm like, he
costs like thirteen million dollars. Probably not gonna happen, but
the Samari Cooper guy's cheap. And I was at lunch
with a coworker and we found out and I was
like hell yeah.

Speaker 2 (05:24):
It's like it's like when you go to the Clarence rack,
would you find something accidentally that's like really good, yeah
that for some reason it didn't sell.

Speaker 3 (05:30):
It's just the right size. And you're like, dang, I
think that. I think they might have messed up.

Speaker 2 (05:35):
They're like no, no, yeah, So here's kind of at
the rules of the guidelines we set for this because
I really respect Chris's music knowledge and I know Eddie,
so we're here.

Speaker 3 (05:48):
That's that's messed up. I have music knowledge.

Speaker 2 (05:51):
No I know, but I mean I said I respect
his music knowledge, and I know.

Speaker 3 (05:53):
You don't respect my Edie. Yeah, we can figure out
songs together.

Speaker 2 (05:56):
I had to figure out that song, okay, So yeah, yeah, no,
and Eddie is as a musician and love music, love
love me. You don't have to like fight for it now.
But I know we don't have to fight.

Speaker 3 (06:06):
Like a big part of my life.

Speaker 2 (06:07):
Obviously, everyone knows that.

Speaker 3 (06:08):
Do you know that I wake up with a song
in my head every day? Like that is bizarre. In
my head, there's a different song, not the same song,
a different song in my head. And every time I
jump in the shower, I'm singing the set that song.
I'm like, how is that even possible? That just got
in my head randomly? And why is that song in
my head?

Speaker 4 (06:24):
Is?

Speaker 3 (06:24):
Okay?

Speaker 2 (06:24):
The second part I get, But I feel like I
always have a song on my head?

Speaker 3 (06:27):
Do you? Yes? Me too?

Speaker 2 (06:29):
And he's like, can you believe this?

Speaker 3 (06:30):
I wake up and have to pee, but like, no,
everybody does? Does everyone wake up? Pete? Yeah? Yeah, but no,
it's just crazy that when I wake up, the first
thing in my head is a song. That's just always
always the case. I don't think it's that crazy though, Okay.
I think if your.

Speaker 2 (06:46):
Life is or is around music, I always have a
song in my head, I think, or a joke.

Speaker 3 (06:54):
I'm trying to write one of the two. Are you
always playing music?

Speaker 2 (06:56):
Like?

Speaker 3 (06:57):
Is there a music playing everywhere you go? Like in
your car as soon as you is there music? Like? Uh?
Like like in my head?

Speaker 2 (07:04):
Or no?

Speaker 3 (07:04):
No? Like do you play music?

Speaker 2 (07:05):
I almost never play music on my car. I'll talk interesting,
I got to hear music all the time. What about
what are you do in your car?

Speaker 1 (07:11):
In my car? Yeah, now that's music. But because I
listen to music all day, say at work, when I
get home, it's podcast I.

Speaker 3 (07:18):
Mean the same with me. Wow, it's all podcasts.

Speaker 2 (07:20):
If I'm having a really rough because we wake up early,
I'm having a really rough like I can't quite get up.
I do have my exact same playlist of three songs
that I play.

Speaker 3 (07:30):
It's music, but that's a rare that's what once a
weak type thing. You still do the sad songs that night.

Speaker 2 (07:35):
I don't do music at all unless I'm no music,
I don't do music.

Speaker 3 (07:39):
It's crazy too, because like we talk all morning long,
So I would think you wouldn't want to listen to
people talking in the car.

Speaker 2 (07:46):
No, but I talk all day a right, Like, no, no,
I have to So you want to listen to people, Yes,
I have to talk and I have to decide what
we're going to talk about or yeah yeah, so I
just and I also just want to listen to sports.
So I just listened to you listen to sports talk a lot?
Oh yeah, that's mostly all I listened to on podcasts.

Speaker 1 (08:02):
I listened to all kinds of YouTube videos from all
the shows I missed here in the day, podcast about sports?

Speaker 3 (08:07):
Is it sports?

Speaker 2 (08:08):
Mostly?

Speaker 1 (08:08):
Mostly sometimes they'll be like a music podcast, but like
mostly I have.

Speaker 3 (08:12):
One music podcast I listen to? Which one? Do you
listen to?

Speaker 1 (08:15):
The one by Troy cart Wright? What's it called? I
don't know what it's called, but he interviews a lot
of songwriters or he talks to songwriters and a lot
of publishers in town about you know, basically the music industry.
What's his name? Troy cart Wright used to be on
Warner as an artist, and I got he's at ten
year Town ten year Town pod.

Speaker 2 (08:34):
I just had asked to do that podcast. Oh cool,
So the question it was weird because I see the
clips on TikTok and it does.

Speaker 3 (08:40):
It does a really good job.

Speaker 2 (08:41):
Like I watch his clips and and a lot of
people that he has in because we've been doing this
for so long, we're how many episodes we had in
my five.

Speaker 3 (08:49):
Hundred five hundred?

Speaker 2 (08:49):
Yeah, yeah, So I feel like we've invested a lot
of time with a lot of people, and he talks
to some of the people that over the years we've
talked to, and I like to kind of see how
he approaches it.

Speaker 3 (08:59):
He's a.

Speaker 2 (09:01):
He's a lot more serious, yes, And I like that,
I guess because I'm not all that and I'm serious
about it, but my approach isn't always serious, and I
make it about me as well, because that's what I
feel I know the most about is me.

Speaker 3 (09:16):
This is what you are you, I know. I'm just like,
oh yeah, let me tell you this about me. It's good.

Speaker 2 (09:20):
And so I got a note and I hope it's
okay that I say this, but someone I can just
read it so I don't screw it up.

Speaker 3 (09:25):
But what do you like about that podcast? Because I'm
just like.

Speaker 1 (09:28):
Well, one thing I love about it is that he
gets writers that I know, or he gets publishers that
I know. I've seen their name through you know, people
talking and emails and I see them online. I've never
heard them actually talk. And then they're talking about their
experience and you know, uh, doing any kind of thing
in the music industry, and either I relate to it
or it's completely different than what I thought it would be,

(09:49):
you know. So maybe it's just a surprise that I
here from people and I like that.

Speaker 2 (09:52):
Okay, here we go, this is the message I got.
I hope you're doing well. I wanted to reach out
because I work with Troy Klart. Right. Here's what he
said on his ten year Town podcast, Troy and I
just left a meeting where he mentioned Bobby Bones being
one of his dream guests, so of course he needed
to make that happen. Do you think Bobby would ever
be interested in sitting down to discuss his career in
thoughts we've had?

Speaker 3 (10:10):
Yeah, yeah, I mean.

Speaker 2 (10:11):
It was easy, and I said immediately, sure, I watch
clips all the time. But they were like, we don't
know if it's possible. I'm like, are you kidding me?
What was I doing earlier playing Madden? Sir?

Speaker 3 (10:24):
How am I do a lot of podcasts?

Speaker 2 (10:25):
Like?

Speaker 3 (10:25):
Do you get asked to do a lot of podcasts?

Speaker 2 (10:27):
Asked? Yes, I have a bad fee, just through different
instances where because everything is clipped now, it's not as
bad as written interviews. Almost never do written interviews anymore
because they can make you sound however they want to
make you sound because there is no tone at all

(10:47):
in words.

Speaker 1 (10:48):
I mean, you talk about losing context, that is it all.
So I don't agree to any of those. I'm a
journalism major, so for you to do a written kind
of interview in twenty twenty four, you're out of your
mind in my opinion.

Speaker 2 (11:00):
And I stopped doing those probably two or three years
ago because I had a bad experience where somebody totally
no tone, no context.

Speaker 1 (11:07):
And that goes on Twitter ago and I was like,
this is just.

Speaker 3 (11:10):
Not fair or fun.

Speaker 2 (11:11):
So no, did that end. With podcasts, I'll do an
occasional one if I'm a fan of it mostly, but again,
if they clip it just right however they want to
make you look, they can make you look.

Speaker 3 (11:24):
Yeah.

Speaker 2 (11:24):
Now it's to the point too, where like when I
did I wasn't so much the case, but Dancing with
the Stars, they have mics on you all the time.
My camera's on you all the time, and after about
three days you just forget about it. And I did
four months of that show and you just forget there's
a camera there because it exists all the time. But
I was always aware that they can't put anything in
that I didn't do. So they could not put stuff

(11:47):
in that I did, or they could alter things that
I did, but they could not put something in that
I did not do. So anytime that we'd like fight
or I took my mic off, immediately turn it off,
have hers turn hers off?

Speaker 3 (11:58):
What are they gonna do? They can't.

Speaker 2 (12:00):
I mean I always feel like too, I have like
so many freaking shows that if there's something that I
want to say, I want to. I want to I
want to own the have the autonomy of saying what
I want to say, when I want to say it,
and how I want to say it, And so I
just say it on my stuff, especially if it's something big.
But I do occasional like I did. Craig Kilbourne's probably
the latest. Oh yeah, I remember you talking about I'm

(12:22):
a big fan of Creig Kilbourne. You're probably too young
for Craig Kilbourne. I know who that is and watches
show he's on sports Center, sports Center back in the day,
and then was like the guy who went from Sports
Center to do something that wasn't sports He did the
Daily Show before John Stewart and that was wild because
one of the sports and rankers was doing the Daily Show.

Speaker 3 (12:40):
It's funny. And then he did like Noight Talk Seawan CB.

Speaker 1 (12:43):
Yeah, that's the one I knew him, Yeah, and I thought.

Speaker 2 (12:45):
It was super cool, and so him and I have
become become friendly. But yes, I probably get a few
asks a week. But also it's not even like massive podcasts.
It's like some are like, hey, we're thinking about starting
a podcast, would you do it? And I'm like, you're
thinking about it, What I do it? How can I
do with you're thinking about? Does it depend on me
doing so? Some are some are cool, some aren't. But yeah,

(13:08):
I'll do it one a month, yea possibly. But anyway,
we're all here, and so I thought we would go
around and mostly do like a a discussion like a
round table, except only three of us. So it's like
half a round tables, like a moon it's the moon table.
We do not know what the people the other two
people have brought in. I've made a ton of notes,

(13:29):
a ton of notes. Well, yeah, because I don't know
what I was going to ask. I don't know what okay, okay,
I don't know if Chris is bringing in the hard
hitting stuff like okay, you guys, what's your thoughts on
racism and sexism? And and I'm like, we're like, wait
what and what do you also think about the who
you're voting for? What? Ye? Chris? So it's all that, okay, good,
We didn't know. So just in case I had my

(13:50):
questions similar Eddie, why don't you go first? Because I
have no idea where you're coming from.

Speaker 3 (13:55):
I don't either, Honestly, I mean when.

Speaker 2 (13:58):
By the way, my thoughts on racism, bad, sexism bad?
Who am I voting for? I'm going to early vote.

Speaker 3 (14:03):
Oh you are, good for you.

Speaker 2 (14:05):
I'm an undecided voter, so that was a topic. Nobody's
a undecided voter. Nobody's an decided voter.

Speaker 3 (14:09):
They're all liars. Okay, d I'm ready. Okay, I want
to ask Chris what do you know about millions? Because
I want to start with Chris because I was on
TikTok and Milli Vanilli is making a comeback, which is
awesome though they are I think once dead. Well, the
guy that's alive is like he's singing.

Speaker 2 (14:27):
Millie's making a comeback.

Speaker 3 (14:28):
I don't know if it's Milli or Vanilly asking a question.

Speaker 1 (14:31):
So that's too right.

Speaker 3 (14:32):
They were too dudes make But what do you know
about that?

Speaker 1 (14:35):
I mean, I think I'd made it pretty clear what
I know. I'm like, it's too right.

Speaker 3 (14:39):
It's like I'm about the Waifer right.

Speaker 1 (14:43):
I mean, I've heard of Millie Vanilli? Am I going
in depth on their music? You know?

Speaker 2 (14:47):
What do you know about this?

Speaker 1 (14:48):
There?

Speaker 2 (14:48):
We got a good question when we say that what
sticks out to you?

Speaker 1 (14:52):
Is it hip hop?

Speaker 3 (14:54):
Okay?

Speaker 2 (14:55):
Oh interested, way too young, way too young. And we
tell you this, you're gonna go, holy crap, that's crazy
because this is yours.

Speaker 3 (15:03):
Okay, I mean was. They were a pop duo, huge, huge,
They had huge number ones.

Speaker 2 (15:11):
Really good looking guys too, yeah, really to like muscular.
If I got to pick and they were like, you're
not a nerdy white guy anymore, I would look like
the guys from Milli Vanilli that were like black dudes
ripped up with like you bul dreads, that's what's I pick.

Speaker 3 (15:26):
Yeah, I got it. They were really good looking dudes.
Yeah yeah. And they would dance and they would sing
and it was it was the thing. They were awesome.
Then I sing the songs if he knows them? Yeah,
yeah yeah. I think the biggest one was name it
on the rain when the stars fall. Yeah, blame it
on the stars when they shine at night.

Speaker 2 (15:48):
But whatever you do, don't put the blame on you.

Speaker 3 (15:52):
Blame it on the rain. Yeah yeah I heard that.

Speaker 1 (15:57):
Yeah I have. I had no idea they were the
ones that did that.

Speaker 3 (15:59):
That similiar.

Speaker 2 (16:00):
The other one will be like, baby, don't don't forget
my number, number number, that one, and then girl, you
know it's true.

Speaker 3 (16:11):
Good, good girl, I love you that one.

Speaker 1 (16:17):
Yeah, I had no idea that million. But do you
have heard those movies.

Speaker 2 (16:23):
We're seeing them exactly how they sing, I'm perfect, pitch
everything all right.

Speaker 3 (16:26):
So they were at top of the world, leading the charts,
killing it. Then they do is it okay? We talked
about this is it an award show? What was it
or regular show?

Speaker 1 (16:35):
It was It was.

Speaker 2 (16:39):
Not an award show, but it was like a party
pre award show, Mike, you can fact check me.

Speaker 3 (16:43):
It was like pre pre like pre music or movie
or something like that. Yeah, it was not an award show.

Speaker 1 (16:49):
I think I know where this is.

Speaker 3 (16:50):
And they're performing. I think it's girl. You know it's true.
One of the two there there is. It's girl. You
know it's true. You know it's girl. You know it's girl.
You know it's And the CD started skipping. Oh and
they were told way before Ashley Simpson. But yeah, and
they're like uh uh oh, and they just run off
the stage and that was the thing.

Speaker 1 (17:09):
Ran off.

Speaker 3 (17:10):
Oh. They didn't know what to do.

Speaker 2 (17:12):
They got no one. There weren't even like backing tracks
that existed at this time, right, because there's not computers. Yeah,
so it was They were literally lip syncing.

Speaker 1 (17:20):
To a scene. I mean you are live and that.

Speaker 3 (17:22):
Yeah, And they were completely exposed. So it was just like, okay,
so these guys are lip syncing. Okay, so is this
a one time deal? They look into it. No, no, no.
They weren't even the guys recording the albums. They were
not the voices on the song.

Speaker 2 (17:34):
You didn't know this read gas from behind the camera.

Speaker 3 (17:36):
There was a hole that the writers did everything. They
wrote the songs, they recorded their voices. It was all them.
But Millie Vanilli were the faces want a Grammy.

Speaker 1 (17:46):
They're the ones that made the money and got the fame.

Speaker 2 (17:48):
Money, I don't know, fame and Grammy. Yes, so and
they and so big controversy. Had to give the Grammy back.
They did a press conference.

Speaker 3 (17:56):
They gave the Grammy back. They people were like Earn
in their albums.

Speaker 2 (18:01):
Oh, it was a massive scandal back then.

Speaker 3 (18:02):
Huge.

Speaker 2 (18:03):
They tried to prove they could still sing though, And
so even even at the press conferen they're sitting at
a table, like like when a coach does a press
conference and they're sitting there and they still have the
Grammy sitting in front of them.

Speaker 3 (18:14):
And they're like what did why.

Speaker 1 (18:16):
Did you do this?

Speaker 2 (18:17):
So like no, no, we just really can't sing, and
they would try to. They were saying like girl, you
know it's true.

Speaker 3 (18:23):
It just wasn't them.

Speaker 1 (18:24):
Yeah, oh my god.

Speaker 3 (18:26):
In any way whatsoever, it was career done like over
in that instance quickly, and then I think one of
them ended up committing suicide and then there's just one
one left. But I've seen him on TikTok playing shows
recently and people just using Milli Vanilli songs now for
like videos, so like, I think it's pretty awesome. They're
making it saying, well, the band as.

Speaker 1 (18:49):
Just he oh he still calls him it's.

Speaker 3 (18:54):
But there's no they, so what is he just just called? No,
I don't know who.

Speaker 2 (19:00):
Even if it's Melli Vanilli. It's a heat five for fighting.
That's a he okay, Oh I like this. He grabs
people around him and makes a band, but that's a
he okay, you know, a hybrid movie Panic at the
Disco because there are actual band members, but that's really
built around one.

Speaker 3 (19:16):
He's panic.

Speaker 2 (19:19):
That's a tough one though. Food fighters, no early food fighters,
is he? But then once he hired the other band
members dashboard good one dashboards.

Speaker 3 (19:30):
He yeah, I think it's I think Millivilla is not.
He Okay, all right, well, well the music's making a comeback.
But what was your point?

Speaker 2 (19:37):
My question was like, I'm entertained. I just wonder what
the point was.

Speaker 3 (19:40):
I guess my point is is that you know, people
are starting to play mill Vanilla now, you know the song,
probably not from back then, but from now.

Speaker 1 (19:47):
From secondary listening pretty much.

Speaker 3 (19:49):
Yeah. So, so I just wanted to know what Chris like,
if he knew the whole story that was kind of
my whole thing.

Speaker 1 (19:54):
I knew where it was going. Once he started saying
a word show, I was like, oh no.

Speaker 3 (19:58):
Because I bet people listening to millionn right now or
you know the songs listen to him right now, don't
know that story.

Speaker 1 (20:05):
Did that make him more famous? Though?

Speaker 2 (20:08):
I would say it was not one of the instances
where infamy made it more famous.

Speaker 1 (20:12):
Okay, they were already famous.

Speaker 2 (20:14):
They were massively famous, but then there were frauds and
there wasn't the culture of social media or reality shows
to capitalize off that. Yes, they just hid and then
one guy killed himself. Yeah, so it was if it
happened now, different story. Oh you would they find a
way to maybe an internet sensation. Yeah, but it is,
You're right, Ashley Simpson. It's it's that before that. Did

(20:37):
that kill her career as a singer artist? Yeah, I
think they, Yeah, they never took her seriously, No, because
she was always the girl she wanted like a hodown dance.

Speaker 1 (20:48):
I think she had what like he was sick, was
the story, and so they were just they convinced her
to do the lip syncing or something, and the drummer
just kept playing the same track. Or I mean, if
played the same track again and they just kept going,
I've heard that.

Speaker 3 (21:01):
I don't I don't don't believe anything.

Speaker 2 (21:02):
So that possibly could be the real answer, or it
could just be there was a mess up. But the
thing now, if that happened, so many artists now just
sing along with their singing.

Speaker 3 (21:12):
And they don't try to hide it. You can hear.

Speaker 2 (21:14):
Yeah, it's obvious, and it's they don't hide it at all.

Speaker 3 (21:19):
No, No, it's not even a thing.

Speaker 2 (21:21):
Yes, so they're not ashamed of it. It's just their
singing is up and then they're just also singing with it.

Speaker 1 (21:26):
Yeah, they're singing with it.

Speaker 2 (21:27):
Yeah, absolutely, with their own full vocal if Millie could
just do that.

Speaker 3 (21:33):
Back in the day, I know, man, but somebody had
to fall hard for people to realize it's okay. Even
the super Bowl, like super Bowl is all lip SYNCD.

Speaker 2 (21:41):
Yeah, but that's hard to pull off because of tech issues,
yea more than anything else.

Speaker 3 (21:45):
But was Ashley Simpson? Does she always lip sync?

Speaker 1 (21:48):
I have no idea.

Speaker 3 (21:49):
I don't think so. I do Mike, I don't think so.
I don't think so.

Speaker 2 (21:52):
I think she probably wasn't an A plus singer, and
they probably helped her in a lot of ways, and uh,
you know, studio tricks when you didn't have all the
digital studio tricks that we have now, obviously, but she
was Jessica's younger sister that helped.

Speaker 3 (22:06):
But I think she could sing.

Speaker 2 (22:07):
Yeah, I met her. We did like a radio show
with her. I don't remember thinking she couldn't sing.

Speaker 3 (22:12):
Was she nice? It?

Speaker 2 (22:15):
Pop is a different world, so I don't know the
answer to that. When I was in pop or just
I would just compare La to Nashville in these same ways,
and that when I go to California, or when I
first started going to California way back in the day,
I started to notice that it didn't matter what your
status was.

Speaker 3 (22:34):
And that place is so status based.

Speaker 2 (22:36):
Nashville is too in a way, but it's so status
based that if you didn't have status, you had to
fake like you had status. And you if you went
to a meeting, you showed up with four, five, six,
seven people, You had agents, and you had assistants like
you were to be there with all of your success
people you're ontoile included like. But that was how everyone

(23:00):
represented themselves. So even if they didn't, they faked it
until hopefully they can make it, or they just didn't.

Speaker 3 (23:07):
So I didn't know that.

Speaker 2 (23:08):
So when I first started going to California, I was
just flying back and forth, begging for like mercenary jobs,
you know, interviewing Maria Minunez's dog on the red carpet.
You know. It was like I was willing to do anything,
and so I'm And then once my career in television
started to actually have some real substance behind it, I
still didn't under because I didn't have LA people to

(23:30):
tell me how to act LA. So I would go
to these now it was bigger meetings. I would go
to meet with the president, the president of CBS. I'd
go meet with executives at ABC, but I would literally
uber and I would just show up with a backpack
and just walk in. And the first couple of times
I remember the mask and like, are you waiting on
the rest of your your your team?

Speaker 3 (23:50):
Nope, just.

Speaker 2 (23:54):
Like there's no But I wasn't doing it strategically and
going on, I'm them if there's zig and I'm gonna zag.
That was never the idea. It was just I was
going to a meeting, and so I just gotten an
uber and drove over and waited and went in. But
what I found out later was they found that so

(24:17):
different and refreshing that it actually helped, if not get jobs,
it helped make great relationships that later got me jobs.

Speaker 3 (24:25):
Interesting, I was gonna say, me and Mike and Reid
could have been your dudes, Like, oh god, dang, but
you're right, you're right. It's probably better off that way.

Speaker 2 (24:32):
And I remember somebody I ended up getting to know
in LA who ended up working as part of my
agency team.

Speaker 3 (24:41):
Later.

Speaker 2 (24:42):
He was like, Hey, we can go to this meeting
with you, he said, But you know the people we
talked to that they just say, you come in by yourself,
and they like that. And I'm like, is that not normal?

Speaker 3 (24:51):
And they're like, no, it's not normal.

Speaker 2 (24:52):
Like people like to show up, and I like they
have representation, like they matter, and like the little story
about you has been you just show up and I thought, oh,
I didn't even know it was on a purpose.

Speaker 1 (25:02):
So the more people that show up to a meeting
in LA, they're deemed more successful.

Speaker 2 (25:06):
Yes, because going agent, it's your manager, it's your published people.
Since you're so important, you need all this team to
make sure they everything. I'll do it yourself obviously, right, Yeah, yeah,
I mean I could.

Speaker 3 (25:18):
I just again, I showed up, So I would assume
that the artist or whoever or the star just sits
there and does nothing. All those people very little, Yeah,
very little. You're supposed to.

Speaker 2 (25:27):
But that's that. It's the opposite of Nashville culture. In Nashville,
if you do have nineteen people, and I will give
an example of somebody and he won't care because I
know him very well and I love him very well.
But like Luke Bryan has a massive team because he
has to. He's doing television, he's touring massively, he uh
has songs, and he's commer he has agents, manager, the

(25:49):
whole shebang on mini levels. He shows up by himself
to the studio. But that's the Nashville culture where even
if you have all these people, leave a lot of
them behind because they will think differently about you. If
you show up with eighteen people were in LA, they
would think differently about you.

Speaker 3 (26:05):
If you showed it by yourself, they think you're a loser.

Speaker 1 (26:07):
It's the opposite.

Speaker 3 (26:08):
It's exactly the opposite.

Speaker 2 (26:09):
And I was just doing there what I do here
and got very fortunate that people thought that was cool
and refreshing.

Speaker 3 (26:17):
And I'm like, cool and refreshing.

Speaker 2 (26:18):
I did not.

Speaker 3 (26:20):
Like I like to have people. I don't know anybody else.
Can you tell me where a friend is? Anybody?

Speaker 2 (26:26):
So, but the Ashley Simpson thing was a big scandal,
and I think she got a.

Speaker 3 (26:31):
Reality show after that.

Speaker 1 (26:32):
So it was it was getting to that is.

Speaker 2 (26:33):
Getting to that point where you could capitalize. But her
music is over.

Speaker 3 (26:37):
I liked her songs. Yeah.

Speaker 5 (26:39):
Pieces, Okay, let's take a quick pause for a message
from our sponsor, and we're back on the Bobby cast.

Speaker 2 (26:57):
Let me go to my first question. All right, man,
how serious do we want to go? I got a
lot of them, Yeah, that's up to you.

Speaker 1 (27:04):
I love the surprise.

Speaker 2 (27:06):
Okay, I'm gonna do it easy one, Chris, I'll go
to you first.

Speaker 1 (27:12):
Okay.

Speaker 2 (27:14):
It doesn't matter the song or the artists, so but
you're gonna have in your mind songs and artists that
people say this about a lot. But when someone says, man,
that's that's not country, what is your general thought about
that saying.

Speaker 1 (27:32):
That it's not country?

Speaker 2 (27:33):
You know, when someone just hears something, I'll give an example,
because again I'll use people I love and that won't
get mad at me, Dan and Shay. Somebody hears and go,
that's not country. I like a country. I used to
be real country. They'll say, that's saying that's not country.

Speaker 3 (27:50):
How does that resonate with you?

Speaker 1 (27:51):
I feel like it's so overused now. I don't know
what to believe anymore when somebody says that's not country.
You know what I mean? Like twenty years ago, you
would say that's not country to whoever, and you're thinking
about the whale and Jennings Era or the Willie Nelson
or whoever. Now I think everybody says that, especially with
social media, this isn't country. That's not country. Basically nothing

(28:12):
is country anymore in Nashville, So it just kind of
goes in one year out the other. For me, like
when anybody says that.

Speaker 2 (28:19):
I there are guys that represent traditional country of the
nine because traditional country is not even traditional country, right.
Traditional country is traditional to the age of the person,
yes that says that's not country. For example, like a
Zach Toop who we've had here, and I love Zach
although he's like twelve and he looks he acts like

(28:40):
he's like fifty, and he's so good that he plays
a guitar like he's be playing.

Speaker 3 (28:43):
One hundred years.

Speaker 2 (28:43):
Right, it's an odd because he grew up bluegrass. And
you'll see and all like Zach a lot, and he's
very much traditional my age, our age country, and he'll
be like, that's real country music. But that's not a
country thing to me. When when someone says that anything
is not country ever, I ought atomatically think less of
them as any sort of country music scholar or any

(29:11):
sort of person that claims they know country music at all,
because if they really knew country music, you can go back,
because the only thing that really would be country, if
you were to boil it all down, would be the
music coming over from the slave ships in Africa and
the music coming from Europe, the fiddles in Europe and

(29:31):
the banjos on the slave ships. The combination of that
and where the music landed is then what turned into
hillbilly music. Is then what turned like if you're going
to go, what's really country? If we got to keep
going back every generation like that's where country music started.

Speaker 1 (29:47):
Everything technically came from somewhere.

Speaker 3 (29:49):
Yeah, yeah, sure.

Speaker 2 (29:51):
And when people go, well, that ain't country, and they're
talking about a Dan and Shay, a jelly Roll, whomever,
and you go, well, what is well chestnut?

Speaker 3 (30:01):
Well, okay, I hear you. And if you.

Speaker 2 (30:04):
Had the patients or the understanding to listen to me,
explain to you that the chestnuts, the garths, the you
could go through any of the nineties country artists that
were told, wow, that's not country that now are the
standard for what is country, or if you were to

(30:24):
go even to like Bob Wills and the Texas Playboys,
the first time they amped up a still guitar, well,
flip their crap because that's not country. They flip their
crap the same way that they do when Jelly Roll
does this song. Obviously, there's on social media. But Johnny
Cash right, they were protesting him because he was he's
not country, He's rock and roll.

Speaker 1 (30:43):
People thought Deny in Garth weren't country.

Speaker 2 (30:45):
Every single generation there's that's not country. The only thing
that's consistent about country music is it's not country. And
so for when anybody is like, that's not even country,
I think to myself, Okay, what you're saying is that's
not traditional country to you based on the era that

(31:05):
either you grew up in or that you listened to
because your parents made you listen to it, And I
have automatically, And you're also a moron, not maybe on
life in well, not in life in every other space.
They could be an astrophysicist. But when someone declares that's
not country based on the criteria, they have no idea
what country is. Because the one thing about the country has

(31:26):
always been it's always been an evolution. And I was
talking about this recently somebody else. The last fifteen years
or so, A big reason there has been a shift
in country music too, is them deciding in maybe twenty
five years, is them deciding to market to a younger audience. Right,
Country music used to be music for adults about not
being able to pay the rent, the mortgage, the insert

(31:49):
adult problems. But there's only so much money if you're
just marketing to adults. If you market younger, older people
always buy their stuff, and the stuff a little younger
than them. Music started, country music started to be marketed
to younger audiences. Of course, a bit it's going to shift.
But anyone that ever says that's not country, I think
musically you're an idiot because you're probably you're right.

Speaker 3 (32:12):
That's not country based on what you think.

Speaker 2 (32:13):
But you could say that to every single massive country
artist that now is celebrated for being country.

Speaker 3 (32:19):
They were once told that.

Speaker 2 (32:20):
Now are there people that come in and try to
be and it's just it never actually catches on as
that because I do believe that the consumer inevitably picks
what is and what isn't. Like Machine Gun Kelly is
not country. He's not because I feel like he's not
even trying to really be. I feel like a guy

(32:40):
like that's like, oh that looks fun. It's the most
popular format. Now I'll just go record a couple songs,
hopefully make some money.

Speaker 1 (32:45):
Yeah, And there's been a lot of examples of that.

Speaker 2 (32:47):
Yeah, yeah, absolutely, and I think my my where I
And again I'm not right, and there is no right
and wrong in art, so I'm not right.

Speaker 3 (32:56):
But I always feel, especially if I'm gonna talk or
promote or even.

Speaker 2 (33:02):
Like, if an artist fails in their respective format and
they use this as a fallback, I never believe they
truly wanted to do this, So I'm really not gonna
believe in their I love country, yeah, So that to
me is one If an artist has a history of

(33:25):
playing in the playground a little bit like post Malone,
who for years and years and years would do freaking
Brad Paisley stuff would do he he and it was
always kind of weird because he was he was a rapper, right, Mike, Yeah,
I mean to me, he's changed who he's been a
few times, but it was always kind of cool to
Postmone the rapper like like country music a little bit.

Speaker 1 (33:42):
Yeah, his cover of Mud on the Tires was a
thing before, and he.

Speaker 2 (33:45):
Would say, I like country music, so when he came,
it wasn't that weird. But he also embraced like living
here and he really embraced it.

Speaker 1 (33:52):
That's a big thing too, is that absolutely people respect
Posts because he came here, he invested time in the
songwriters you're right here and all the musicians and just
the people on record.

Speaker 3 (34:01):
Like he played our charity show. He just showed up
and played it.

Speaker 2 (34:02):
He didn't have to do that, but he was like,
I'm establishing that I care about this.

Speaker 3 (34:06):
My point is he didn't have to come to country.
He wanted to.

Speaker 2 (34:09):
He wasn't like on a downhill and he's like, I'm
gonna just gonna grab a country for something, and all
respect to these people, but like that, like Cindy Lauper
tried to do a country album, like Brett Michaels tried
to do a country album. Whenever it's like a last straw,
that's when I'm kind of like, or if it's just
a money chase, which I feel like. I think Machine
On Kelly is super talented, and I probably liked his

(34:31):
rock stuff more than his hip off stuff. But maybe
because Eminem killed him, Mike, I just feel different about it.

Speaker 3 (34:36):
Yeah, I know, I know, I know, but like he's homeless.

Speaker 1 (34:41):
Come on, let somebody take me in.

Speaker 2 (34:43):
Yeah, but I do like a Machine On Kelly, But
that to me, regardless of what he ever does, it's
just never gonna be country, and if it is, it's
going to be so forced.

Speaker 3 (34:51):
But like who who decides what is country? Likes it's
just it's but but yeah, not even the consumer though,
it's just radio like if it's if it's not on radio,
then people don't even try to classify, Like Jason Isbell
as your country.

Speaker 2 (35:04):
No is rules true because they completely put things in
playlists and uh they genres.

Speaker 1 (35:11):
Okay, I guess you just label it country and the
level like what happened, you know with old Ton Road.
You know that was labeled country. Yeah, I mean debut
number one.

Speaker 3 (35:19):
Because really anything can be country. You listen to certain songs,
like I think it's more about the lyrics than it
is about the music. I think it's cool the evolution
of country music going from traditional steel fiddle all that
to like Sam Hunt, you know, adding a trap beat,
you know, to like, it's cool. The evolution is cool.

(35:39):
But what stays consistent is the simple songwriting. Like even
when you go into like a songwriting session, it's always like,
all right, here are the three chords we're working with,
let's write around it.

Speaker 2 (35:50):
You know, I've never been to one said we have
three chords?

Speaker 3 (35:53):
Well, because they're not. They're not like, hey, why don't
we start with like this cool sound and why don't
we do that cool sound? All the sounds in country
music comes so much les later than the creation, in
the creation of the song.

Speaker 1 (36:02):
That was the idea. I don't know.

Speaker 3 (36:04):
I just I've written with a bunch of track guys, though,
so I would push they start they start with the track,
I mean, but it's not the sound of the song.
I think once kind of the song is taken shape,
then it's like, how do we make this sound cool?
Or now?

Speaker 2 (36:17):
I would just push back on the track part though,
because but no one's wrong. I've written with ross, a
bunch of a bunch of time Dross comperment, and we'll
go in and be like, Okay, we're starting with this,
you like, let me try with this them do let
me put a middle mellet and.

Speaker 3 (36:32):
You really it's all just that that sound first. But
most then where do the lyrics come in?

Speaker 1 (36:39):
Like people sometimes you write around it people, Yeah, people
write different.

Speaker 2 (36:43):
People are different most And again I've been very like
I did it. I did a secret project once that
we ended up having to bail on, but it was
me Nicole Gallion and Ross Komperman, and we created this
fake group and we wrote and it still exists. It's
like four or five songs up. It's called Neon People,
and we were going to try to keep secret. Then
Nicole Guy got a job as president of the freaking
record label once you had to leave the group before

(37:03):
we got to officially launch it, So I was I
got super lucky to write with him a lot, and
we pulled another really good writers too, So I got
to watch, like, I mean, people one hundred number ones
not be written, but people who did that.

Speaker 1 (37:15):
So I got to watch people write.

Speaker 2 (37:18):
Concept based, which is super cool, which is kind of
how I would write comedy anyway. But I got to
watch you write melody based, which means all they do
is come in and they're like, okay, I got this, and.

Speaker 3 (37:32):
Then it's like hmm, I was walking down.

Speaker 2 (37:36):
We walked down together by the tree. Then you find
the words. And then I got to watch track. Yeah,
it's three different versions of writing the freaking song where
Roster come in and be like all right, let's listen
to these five tracks that came in with today, like
like you'd come in with a concept idea or you
come in with a melody. He'd be like, what about
this one?

Speaker 1 (37:55):
Well, there was one of us. So there was a
song that was written maybe two or three months ago
by two of our writers with a track, guy, explain
what you what you do? Okay? So I word Cornman Music,
which is a music publisher, and basically we have writers
and we booked their calendar. They write songs, sometimes with artists,
sometimes just with other writers, and we try to get
the songs cut and hopefully they become hits and we

(38:16):
make money and everybody's happy. It's like the very quick
and simple way to put how I do my job.

Speaker 2 (38:22):
But yeah, okay, so I just want everybody to know that,
so go ahead and keep going with that.

Speaker 1 (38:26):
So we had two writers write with a producer and
they were maybe an hour and a half into the song,
and this producer had this really cool track and they're
trying to basically force feed this idea, this melody to
this track, and it just wasn't working. So the producer
was like, look, I could just find a new one, guys,

(38:46):
and we can just keep this idea going. And they're like, no, no, no,
this track is great. We're just going to scrap what
we did and write around your track and come up
with a whole new idea.

Speaker 2 (38:54):
Like every lyric, every part of the concept is like
the track is so strong.

Speaker 1 (38:57):
YEP.

Speaker 2 (38:58):
I agreed with what you're saying generally, but I think
since it's been marketed to younger audiences and the people
have just been younger, right, there's technology, technology is you know.
I don't think tracks and there was a real bad
stigma about me called a track guy for a while.
I don't think that exists as much and nowe as
it used to, because yeah, and now you need a

(39:19):
really good Now it's like should we get a track guy?

Speaker 3 (39:21):
Now it's like we need a really good one?

Speaker 2 (39:23):
Like to yes, yeah, I think that a mess some
sort of message right in country music, But I don't.
I don't think every I don't think every song is country.
I don't think every song can be country.

Speaker 3 (39:36):
Music though, like every song in country music. No, I
don't think just any song can be No. No, I
just mean, like, you know, I remember we talked a
while back when John Mayer had his Paradise Vallet album,
like like you listen to that album, like this could
be a country album. You know, probably said that a
long time ago, and it's like it's.

Speaker 1 (39:53):
Right ed, Sharon, could it could have? I mean, you know,
you just go one way a little bit.

Speaker 2 (39:58):
Slightly so slightly so eighteen percent sonically different. Yeah, nobody
says a thing about it. Yep, for some So yeah,
the question I forget, I let to put my phone.

Speaker 3 (40:07):
That was my question. Well, how would you tell let
people to say that that's not country?

Speaker 1 (40:11):
I just don't take any stock into it, and I
never really have. Just I mean, if you grew up,
let's say you got into country twenty thirteen or whatever,
you know, when the bro movement started and you grew
up in Florida, George the Line and Luke Brian and
Thomas Rhett and all these artists, that to you is country.
That is country. And it's like, you know, you can't
tell that person they're wrong, you know that that's not country.

(40:32):
What's not country about Florida? George the Line? I mean,
it's twenty It talks about subjects that's very relatable to
the average country listener, whether it's streaming or radio. So
you know, I mean you can go about, well, it's
got to beat, you know, it's got this snap track
behind it, or whatever the case is. But that just
becomes normal to the point where it is country now

(40:52):
and it doesn't have to be put into this box anymore.
You know, do I think that Sabrina Carpenter is country? No,
she's not.

Speaker 2 (41:00):
And she has one song on it if you listen
to the record, yeah the uh I got that song
on my head.

Speaker 3 (41:07):
I know. I know every song on that record, sadly.

Speaker 2 (41:09):
Not sadly, not sadly because they're really good.

Speaker 3 (41:11):
Surprisingly, Yeah, it is a really it's a really great record.
A little too much cursing for me.

Speaker 2 (41:18):
Really, you wouldn't expect it like it just pops out
of It's not even those cursewordsuse. I don't mind cursing.
Cursewords in the middle of the chorus. They hit me
kind of weird.

Speaker 3 (41:27):
I'm just like, why whoa that for? You're right in
the middle of the chorus.

Speaker 2 (41:32):
Let me get the tracks up, because there's one song
that if you didn't say it was Sabrina Carpenter and
you just played it for somebody, they would be like, Oh,
that's a massive that is a massive country it it
is going to be It's slim Pickens, Its slim Pickens,
slim Pickens. Yeah. Inactively, Yeah, I'll play a little bit

(41:53):
a bit.

Speaker 3 (41:53):
From my phone.

Speaker 2 (41:54):
Yeah, and it's a freaking jam in that sonically already
it could be any.

Speaker 3 (42:18):
I mean could be country.

Speaker 1 (42:21):
Yeah.

Speaker 2 (42:21):
Is if that if you just took her name off
of it, same person and you're like, no, this is
uh bringing to Joe Carpenter, and you'd be like this,
but you didn't play the rest of the music around it,
people be like, oh, yeah, for sure. But then when
she has it, I mean like, please please please freaking jam.

Speaker 3 (42:36):
But yeah, uh okay.

Speaker 1 (42:39):
Chris, you know, going off the topic of what is
or what is in country? One thing I've noticed about
and I've been going through TikTok a lot lately, just
because it's eleven PM, I can't sleep, I can't help myself.
I grab it and I pull it out. A lot
of nineties country stuff comes up through the TikTok feed,
stuff that isn't technically nineties country, but asking around with

(43:01):
writers and family and friends, basically anything from like nineteen
eighty six to two thousand and seven is nineties country.

Speaker 3 (43:07):
That's funny. They would go up that high. Yeah.

Speaker 2 (43:09):
Yeah, the late eighties stuff for sure, Like a lot
of the Randy Travis stuff gets put into that and
some of the George straight from the late eighties.

Speaker 1 (43:15):
Most of the Shenandoah hits you know, are from the eighties.

Speaker 3 (43:18):
Wow, I didn't realize that.

Speaker 1 (43:19):
Yeah, that's eighty rate yea.

Speaker 2 (43:21):
Point, because that's definitely what it could said that nineties
where I guess it's the music that was wildly popular
in that era. Since most of it was the nineties,
it's just all considered nine.

Speaker 3 (43:33):
And you all think, like some of Tim McGraw's or
like some of his early two thousands feels like nineties,
but it does already two thousand Faith Hill like a
lot of two thousand songs.

Speaker 1 (43:42):
People think that Jessica Jessica Andrews and Who I Am
as a nineties country song. That's two thousand and one.
That's you know, I mean, it's close, it's not nineties.
The other some people that think two thousand and four
songs are a country or nineties country, you know, like
live Like You Were Dying. Somebody wants reference on TikTok
is a nineties country song. I'm like, you're five years off.
That's like not even close.

Speaker 2 (44:00):
So I guess it's just people that hear Old Good
semi contemporary country music.

Speaker 3 (44:05):
If it's good and semi contemporary, it must be nineties.

Speaker 1 (44:07):
It must be nineties country.

Speaker 2 (44:08):
It's funny that that is all classified that. But I
do feel like a lot of the eighties, even some
of the late eighties, like Garth Early, Garth.

Speaker 1 (44:16):
Stuff nine eighty nine.

Speaker 2 (44:19):
Yeah, like that, the Dance eighty nine nineties because it
was just really popular in that era when it popped,
which just so happened to be the nineties.

Speaker 1 (44:30):
Yes, most people too don't think of two thousands country
in the same way as nineties country.

Speaker 2 (44:36):
Well, I agree, except I'm married to someone that is
while we were younger than me, and.

Speaker 3 (44:42):
I felt the same way.

Speaker 2 (44:43):
I was like, I always had like two thousands sucked,
like like twenty fourteen. I was like, man, just not
a good era. And she's like, are you kidding? Eastern Corbin,
Are you kidding? And she starts listening off Joe and
Joe Choles. She's like, if I did a New Highwayman,
I'm not kidding. This what she said she had to

(45:04):
be Easton, Joe Nichols, Craig Morgan, and I Fegar. The
other one was yeah, but she that's that's Fred Neck
yacht Club. Her jam that that era is like her
that the guy that played your rehearsal dinner it was
Josh Grace. That would be her because she was a
twenty ten and that could have been two thousand and

(45:27):
eight to two thousand.

Speaker 1 (45:29):
I mean, that's the era I grew up on.

Speaker 2 (45:30):
She it's her that some of the Tim McGraw stuff
that I don't even know is her favorite Tim McGraw
stuff because it happened after the early and before he
kind of had this like reinvented. Yeah, yeah, because he
never retired but like hit hard again.

Speaker 3 (45:45):
But I agree.

Speaker 2 (45:46):
I always thought that I was like, that's the worst generation,
but because she was right in it and she's from Oklahoma,
she was like, no, no.

Speaker 3 (45:51):
This is my favorite.

Speaker 2 (45:52):
So I agree. The only person I've ever heard that
from my wife.

Speaker 1 (45:55):
Though it gets overshadowed because nineties country is this very
prestigious thing into a lot of people, even people that
didn't grow up in the nineties, and then obviously anything
post Florida George the Line breaking Out is its own
entity as well. So you have that twenty to twenty
ten kind of era that's kind of lost in the
shuffle there. But still there's a lot of songs that
are played on the radio that were from that time period.

Speaker 2 (46:16):
I used to think too, it was just the age
of the people that got to make the decisions. I
mean that's funny, meaning the people that you know, us executives,
people that are playing, like putting songs in movies the
nineties because that was their thing. Yeah right, I don't
think that as much anymore. The nineties it was so

(46:37):
commercially massive.

Speaker 3 (46:39):
Like see I always wondered that like because we lived it.

Speaker 1 (46:42):
Or technology maybe took such advanced steps that might have
been a.

Speaker 2 (46:46):
Well no, but it popped so hard, like the concerts.
I mean it was huge they made.

Speaker 3 (46:50):
Yes, ninety's country was huge, but I lost.

Speaker 2 (46:53):
Over into mainstream so much that people that didn't know
country music started. It was like the seventies whenever like
disco or and then even like the disco cowboy type
stuff where people in New York City but start wearing
cowboy hats. Yeah, like I got that big or did
that again in the night.

Speaker 1 (47:09):
Remember that they did a halftime show at the super Bowl,
Like there was a nineties country Yeah.

Speaker 3 (47:13):
Yeah, there's a bunch of winch artists.

Speaker 1 (47:14):
Be pretty I mean, you would never think that would
happen nowadays, that they would pay.

Speaker 2 (47:18):
Maybe maybe right now I would for the first time,
but never up until right now.

Speaker 1 (47:22):
With Morgan and more.

Speaker 2 (47:24):
I think that we have three football stadium MacX right
now that aren't that are under forty Morgan, Luke, Zach Bryant,
who he says he's not country artist, but that just
makes it more of a country artist.

Speaker 1 (47:35):
They stream so much more than anybody else, and everybody mad.

Speaker 2 (47:37):
Yeah, so, but I agree there's no country artist. Okay,
Shania did it, but she also was.

Speaker 3 (47:42):
A pop artist.

Speaker 2 (47:43):
Yes, so yeah, that's but I stand by twenty tens
bad Era.

Speaker 3 (47:48):
I'm with you, bad Era. I don't know any of that.

Speaker 2 (47:50):
So Eddie, I do, and it's actually pretty good. With
my wife plays and she's like what about I'm like,
I'm like.

Speaker 3 (47:55):
Yeah, it's goal. Yeah, all right, go ahead, Eddie. So
when you listen to music, question for both of you guys,
are you a melody person or are you a lyric person?

Speaker 2 (48:04):
Like?

Speaker 3 (48:04):
What are you listening to? First?

Speaker 1 (48:05):
I think, I mean I'm a melody person. I just
think it's what grabs the average listener, you know, So
when our writers turn in songs. That's really the first
thing I'm looking for is a melody. Lyrics obviously have
to make some sort of sense, and I have to
like that as well. But I mean, if you've got
a great melody, and I mean a great melody like
Cruise is an all time melody. If you get that right,

(48:27):
you're I mean, you're to the five yard line. You
just got to take it into the end zone.

Speaker 2 (48:30):
Could you have made that song.

Speaker 3 (48:34):
Don't hit on the alarm, make me want.

Speaker 2 (48:37):
A snooze melody? Yeah, with any lyrics, and also because
it's a very strong melody, yes, as long as it's
it's not absurd as all.

Speaker 1 (48:44):
As it's not absurd yet, Yeah, like don't I mean,
if you got the great melody, you're driving the corvette,
just don't drive it off the road into the ditch,
you know, just you know. But yeah, I look for
melody first. I think ten years ago, maybe fifteen years ago,
I would have said lyric, But I think now it's melody.

Speaker 2 (49:00):
Know that you've grown up to the rifle age of
like what fifteen now thirty five? Youngest crap, youngest crap
he does. So you're thinking like Mama, I'm thinking like
I'm like a kid through the door to things with him.
Looks like he just like, you know, it's you got
that young face? What say you, Eddie?

Speaker 3 (49:17):
No, I was trying to think of like, yeah, you
could put anything in cruise.

Speaker 2 (49:21):
I mean, you do anything.

Speaker 3 (49:23):
But yeah, Mama, I really love her.

Speaker 2 (49:27):
But then I woke up and I was wrong.

Speaker 1 (49:29):
You're about mementos or something.

Speaker 2 (49:31):
Yeah, yeah, me guess I don't know lyrics. I love slow.
I think part of the reason I love slow songs
is because I can actually hear the lyrics and I
can learn them a little bit.

Speaker 3 (49:44):
But I can't.

Speaker 2 (49:44):
I don't know lyrics we were trying to sing.

Speaker 3 (49:49):
I don't know. I think every time you and I
try to sing any song, whether it's a song we
just heard or whatever, it's no, I don't know any lyrics.

Speaker 2 (49:58):
My wife has a weird brain where she knows relurked
every song. After one listen, she can spell words from
order backward in her head. She memorizes every but it's
not it's not like something that she desired to do.

Speaker 3 (50:07):
So she's not like, look at this.

Speaker 2 (50:08):
She actually kind of embarrassed about it because we'll get
someone I'll be like, hey, somebody, just say a word.
It don't matter what the word is, okay, peacock, and
I'll be like, do it, Kaylene trickle p.

Speaker 3 (50:19):
E A c O c k k c O c
e aby. She could do it all words.

Speaker 1 (50:23):
Crazy. That's amazing.

Speaker 2 (50:25):
It's annoying and awesome because if we get into a fight,
I know she remembers, and that sucks because most like, like,
you didn't say that, I didn't say that. I know
that she remembers. And so now though, my my argument
back to her is you know that I know that
you remember, and so you know you can say anything

(50:45):
even if you're wrong. So you're probably not telling the truth.
I got a double back.

Speaker 3 (50:50):
That's your technique.

Speaker 2 (50:51):
Yeah, God, or I just stopped talking and it's like,
you know what, I'm so mad. I'm not gonna talk
anymore with a silent yeah. But just because I know
she photographed memory, it's wild.

Speaker 3 (51:00):
It really is wild.

Speaker 2 (51:02):
It's like a special something that she was born with. Okay,
let's see it.

Speaker 3 (51:06):
I got here. Next up man again?

Speaker 1 (51:13):
So many man, I feel the pressure too to come
up with something good. Every time it comes back around
to me.

Speaker 3 (51:17):
I know I'm starting to as soon as I'm done.
I'm saying okay, I wrote like nine this kind of advice.

Speaker 2 (51:23):
That's your style to over overdo it too, Chris, without
saying any names, because I don't want you to say
names or to feel pressure to say names, nor am
I going to say names. Do you believe there are
any artists who are only having success because they are
being strategically pushed, and that if they were not being
pushed by powerful entities, they would not be successful at all?

Speaker 1 (51:47):
Yeah, I mean I think it goes for any format
of music.

Speaker 2 (51:51):
Yeah, you know, uh, pop especially, but there's usually a
reason with pop meaning they got Disney following, they're really
pretty to do or a really good look, there's something
about it in this format.

Speaker 3 (52:05):
Do you feel like there's anyone.

Speaker 2 (52:08):
In your mind that you go, they're actually not that
good And it's rare in this format because you have
to be good in this format, but everybody.

Speaker 1 (52:14):
Has talent to a degree in this format. I think
it's very hard to succeed in.

Speaker 2 (52:18):
This Are there any in very low degrees that you
can think of where you're like, this is much lower
degree and they're pretty, they're they've reached the level of
success or they probably wouldn't have without.

Speaker 3 (52:27):
I mean, Chris, can you think of one?

Speaker 1 (52:30):
Obviously not going to say names, but I mean I
can probably get there.

Speaker 3 (52:33):
Yeah, you know, I wouldn't want to.

Speaker 1 (52:36):
Well about it is that there are so many artists
now in music, not just country, any format because of
TikTok and social media and streaming. I mean, you grab
your guitar, you turn on your phone, you're an artist.

Speaker 3 (52:48):
Let me back it up. Okay, that's an absolutely great point.

Speaker 2 (52:50):
I want to make sure that that is not allowed
in this question because that is a perfect point. I
didn't think about anyone with multiple.

Speaker 1 (52:58):
Hits, multiple hits streaming radio does it well radio?

Speaker 2 (53:03):
Okay, his streaming is weird because he to make a
stream of town I don't know they are.

Speaker 1 (53:07):
I'm gonna actually say like a soft no. And the
reason being is that, you know, going back on country radio.
Country radio is a very whether it should be this
way or not, it's a very people oriented thing where
if certain programmers don't believe you're invested into the format,
and they don't personally believe you're good or you're not

(53:28):
a good person, you're gonna have a harder time getting
airplay at country radio. It's not that way for other formats,
but it is in country, or at least it was
when I was in radio.

Speaker 3 (53:37):
Yeah, yeah, you're a big diddy guy. Oh gosh, oh
my goodness, kidding, he's not.

Speaker 2 (53:44):
I'm kidding. It's just like the worst thing you can say,
red Yeah.

Speaker 1 (53:47):
Yeah. We added that.

Speaker 4 (53:51):
The Bobby cast will be right back. This is the
Bobby Cast.

Speaker 2 (54:05):
I can think of someone that is not good one
or one specifically that's not I would say there they
lived in Tulsa, because they're not from Tula they'd be locally,
they'd be like really good, but here.

Speaker 1 (54:24):
Just everybody's the best in their hometown.

Speaker 2 (54:27):
Yeah, but just even but here not that good. And
I had a big career. I think got I had
the right push and had it happened with anybody else,
it would not have happened. It's like the least talented
star people said about me too, and and it'd be
like thank god, like at.

Speaker 3 (54:44):
Least of the starr. And that's why we're not saying names, or.

Speaker 1 (54:49):
I think that's a good way to put it. The
least talented. Least talent is like zero talent.

Speaker 2 (54:55):
We've had some people that sing in the studio and
we're just like we have to like look down.

Speaker 3 (55:00):
Look. There's two versions of it.

Speaker 2 (55:01):
One is if I look down and keep my head
down because I'm just like, oh man, I feel bad
for them. Two as if I look down and you know,
like in church when some monsters laughing and you can't stop,
you look down and you're.

Speaker 3 (55:11):
Like you don't want to.

Speaker 1 (55:13):
It's such a cringe worthy moment you have to look
away from everybody or you're going to laugh.

Speaker 3 (55:17):
Well, what's cool about our studio? And kind of a
bad thing too. For artists. It's like it's it's stripped down.
It's just you and your guitar most of the time. Yeah,
there's no hiding, there's no hide in it. So we
get to see the true of everyone that comes in.

Speaker 2 (55:30):
Yeah, and we need to say it a couple of
times because sometimes you can just be sick, we're having
a bad day and not sing your best. Because there
are times where I do stuff and it's not my best.

Speaker 1 (55:39):
I mean we say that about you know people, or
I mean it could be writers or artists where we
ask our writer how it went and they're like that
was pretty bad, but they're like it could have just
been a bad day.

Speaker 2 (55:50):
Yeah, it could have been multiple instances. I like your answer.
You're a nice guy.

Speaker 3 (55:56):
You are a nice guy. You're a nice guy.

Speaker 1 (55:57):
No, you are like it literally, so zero zero talent
versus lead to yes. I like that is argue with
that they.

Speaker 2 (56:08):
Are not for other people in their category.

Speaker 3 (56:12):
They are not near.

Speaker 1 (56:13):
Yes, I agree on hundred percent it, which is.

Speaker 2 (56:16):
Rare for this format because the pop music that happens
all the time because they have different reasons to push
people for marketability purposes. But here you need to be
good first and then they figure how to market you.
I think I was talking.

Speaker 1 (56:27):
About this with another music publisher in talent a few
weeks ago, and we were talking about, you know what
it takes to succeed not only with a record deal,
but a publishing deal. We with talent was the only
reason you were successful, It is not. You got to
have the right people around you, the right timing, the
right work ethic, the right personality, all these other things
have to go into it. Some of the most talented

(56:48):
people lose their record deals or lose their publishing deals
and they're never famous and nobody knows who they are.

Speaker 2 (56:52):
So and the timing thing again, Yet It's such a
big part of it because there are people who are
freaking awesome, but they're like sonically, their style is not
perfect for what is commercially viable. What's cool is when
it catches up. Yes, I think we saw that a
little bit with Haley Witters, who was doing her own

(57:13):
thing for years and it was never gonna work because
she was just yeah, and then it kind of came
around to her and then gave her a role opportunity,
you know, to at least have an opportunity.

Speaker 1 (57:22):
There's a lot of examples like that in country where
they just could not have picked, not to their own fault,
they just couldn't pick the worse time to you know, debut,
whether it be a radio or just in general. I
can think of acts like Greg Bates. I think Greg
Bates is great. Just he decided to have his debut
single right when Florida Georgia line did, and like radio
completely shifted from that point. And sometimes it's not your

(57:44):
own fault, it's just timing.

Speaker 3 (57:45):
Yeah, that's that's when I sell out, though I don't
even know who that is. Greg Bates.

Speaker 2 (57:49):
Oh, he now goes by the name Machine On Kelly.

Speaker 3 (57:51):
Yeah, you go who is not country by the way.
I mean, don't you think though, like it takes so
much to be an artist, Like there are all these
elements to being an artist, where like sometimes your likability, yeah,
the personality, every part of it is can there.

Speaker 1 (58:11):
Yes, there's so much that goes into it that most
people don't realize.

Speaker 2 (58:14):
But you still in this format you can have all
of that. But if you're not good, you still don't
make it. Ninety nine point numbers in at the time, Like, you.

Speaker 3 (58:20):
Have to be good here at some point.

Speaker 1 (58:22):
It is like you are going to stumble, Like whether
it's now or whether it's down the road, at some
point you will stumble if you don't have the you know,
the talent.

Speaker 2 (58:28):
You have to be good here. Except if it's one
person I'm thinking of there's and there's two other ones
that I'm like, yeah, right right, this is one. I'm
just like, it's pretty amazing.

Speaker 3 (58:40):
Yeah, it's like what I need to like celebrate it
because it really is.

Speaker 2 (58:43):
Yeah, it's like they've managed to escape Alcatraz and then
you wonder.

Speaker 3 (58:47):
You're like, wow, yeah, use a boat.

Speaker 2 (58:49):
We thought you diedot sharks, Like were you even in jail?

Speaker 1 (58:52):
Just makeshift rauts that you're built and you made it
across the bay.

Speaker 3 (58:55):
Okay, uh, Christy beck Up, Yeah, I am so.

Speaker 1 (59:00):
This is actually a topic I was discussing two days
ago with the writer, me and him. You know, this
guy is in his thirties. I'm in my thirties. We
both grew up at a time where you would go
to Walmart and buy an album on a Tuesday, and
you would read the pamphlet and listen, you know, front
the back to the whole album. Maybe you go to
iTunes and you know, you have twenty dollars available on

(59:21):
the card and you have to make sure you pick
the right songs because you're spending your money or you're
using your mom's card or something to pick the right
songs to download, and you would listen over and over again.
Now with streaming, it has become so easy to access
any kind of music, as it may be kind of
devalued listening to music, and maybe that's affecting who succeeds

(59:41):
in music who doesn't, Because you can listen to anything
anytime you want to. So music isn't not to say
it's not as special anymore, but it's just different. And
now we're so far into streaming, there's people that growing
up with streaming, they don't know how it was back then,
and maybe they don't value records in music and artists
like maybe you and I did.

Speaker 3 (01:00:01):
It's funny because like I have four kids, and one
of them loves to listen to old music stuff I
grew up with, you know, because he like, I play
it all the time in the car and he's just like,
that's a jam, Dad, love it. And he's got his
own playlist and he listens to def Leppard, you know,
Van Halen Pearl jam. But he's done with it after

(01:00:22):
a week that song's off the playlist. He listened to
it a thousand times off the playlist, which is almost
like what you're saying, like the mind of a young
music consumer that's like, all right, we're on in the
next Yeah, I consumed everything I could out of that song.
Don't like it anymore. I'm good without without hearing it
ever again.

Speaker 1 (01:00:41):
You listen to it so much when it first comes
out that you just get burnt out on it on
your own doing, you know, And then maybe you have
ten thousand songs on your iPhone. Yeah, you're not going
to get to all of them. So after you listen
to something so many times, you're probably not gonna listen
to it again for the most part, maybe ever again,
or at least not for a very long time.

Speaker 3 (01:00:58):
And me, dude, I can listen to Power of Love
for the rest of my life. Amen, Like, for the
rest of my life. I could hear it every that
I know.

Speaker 2 (01:01:08):
I think it's one of those your strength is your weakness,
your bigges strength is your biggest weakness. I don't think
music is as precious anymore because we're not having to
spend money on a tangible even a downloading a song.
We could call that tangible because we now owned it
on our computer. It doesn't happen anymore, and we had
to use our own money to do that. So I
don't think music is as precious anymore individually. But I

(01:01:30):
think the so that that's.

Speaker 1 (01:01:32):
The weak part of it, and there's so much of
it too.

Speaker 2 (01:01:34):
I think the great part of it, though, is that
you can really find specifically what you like it extremely nuanced.
For we're called a format of what you like. I
think you could like the like say you like country music,
which is like man like Sierra Ferrell, say you say

(01:01:55):
her last name, like, you probably wouldn't find her because
a label probably wouldn't have signed her because there were
eight labels. It's like TV channels and there are only
so many artists are gonna sign. And you were treating
anything you bought precious and you liked it because of
all that was offered. But maybe you don't find her

(01:02:16):
because they label didn't invest money in signing her deal
developing her abcdf T right, So I think music isn't
as precious individually, but I think the fact that it
allows each person to find out and to find music
that excites them on an intimate level, I think that

(01:02:38):
is the real strength in having unlimited music. So the opposite,
like twenty years ago, music is much more precious and
you find the stuff that you really like, but there's
not as much of it, so maybe it's hard to
find stuff that you like really personally like, feel and understand.
So yeah, I think the bigges strength is your biggest

(01:02:59):
way and your biggest weakness. That's your biggest strength in
this case, and it's probably always going to be like that.
But yeah, you're right, I don't and I think albums
are done right. I understand why artists want to do them.
So you put in a bunch of songs.

Speaker 3 (01:03:11):
It's just it's a.

Speaker 2 (01:03:13):
It would be my my. The parallel I would put
in my career is I will get offered to do
a certain TV show and the TV show is garbage
or semi garbage, and I go, man, but it's TV,
and then I may my agent will go bro, you
get more eyes and ears on like eight other things

(01:03:36):
that you do more than doing this prestigious TV show.
Like so you can do it if it just makes
you feel good, so go ahead, go do your TV show.
Not usually gonna some people are gonna watch it.

Speaker 3 (01:03:48):
Something sounds cool to have a TV show exactly.

Speaker 2 (01:03:50):
It sounds going to put out an album.

Speaker 3 (01:03:53):
It does because it's a it's.

Speaker 1 (01:03:55):
You've made it if you put out on an album, absolutely.

Speaker 2 (01:03:57):
And you've made it if you've got a TV show.
But they're like, you have to like think about this
differently now, because eyes and ears are currency, right, you
got them.

Speaker 3 (01:04:05):
You can turn it.

Speaker 2 (01:04:05):
You can make way more money, you can get way
more people watching and listening by doing these albumove the
radio show from it, but doing this podcast, doing the
social content. Doing this, then you would do in the
TV show and so to me, I compare albums and
like how how I would relate to it? And so
an artists wanted to put out at eleven twelve track

(01:04:25):
album to be like I'm releasing an album to me
going I've got a TV show, when in reality I
would probably get way more traction doing a couple smaller
things here that pop so much harder when releasing a
single or two songs at once. Now there are the
outliers like the Morgans who put out forty songs, which
that was a crazy outlier, and everyone now everybody does

(01:04:46):
it because he did it and they saw like the
success of just a big dump. But that's not even
an album. That's like a quadruple yeah album of So not.

Speaker 1 (01:04:56):
Only certain artists can do that kind of thing. You've
got to make sure that you have the or base
where that would pay off and benefit you and the
label to do something like that. So only Morgan and
select other few like Zach Bryant can actually do that,
or at least in this format.

Speaker 3 (01:05:09):
But I agree with your statementition your question.

Speaker 2 (01:05:14):
I think music is far less precious, but I think
it gives everybody an opportunity to find things that are
specifically precious to them. We want to spend money on it,
so it's like who cares? Yeah, we just And if
you put out an album I'm listened to, I'm not gonna
listen to the whole thing. I'm almost like five songs
and I'm gonna be like, like this one, I'll save
this one, maybe I save two.

Speaker 1 (01:05:33):
I can't imagine. I have a friend who's like twenty
five years old. I can't imagine him literally buying an
album of fifteen songs and start to finish it. Will
will not happen? Will never happen?

Speaker 3 (01:05:43):
Are Vinyls still thing? Like I know they're trying to?

Speaker 2 (01:05:46):
Yeah, Vinyls beat see these to the first time ever,
like two years.

Speaker 1 (01:05:50):
Ago, because it's cooler. It's the branding.

Speaker 2 (01:05:51):
It's like, what is this and there's new or that's tangible,
land of non te people collected.

Speaker 1 (01:05:56):
It's a collector's item for people, you know pictures.

Speaker 2 (01:05:59):
This's the only place you get to see album art anymore.

Speaker 3 (01:06:00):
That's right, Yes, yeah, in the sleeve of the record.

Speaker 2 (01:06:03):
Yeah, all right.

Speaker 3 (01:06:04):
Thirty second question or the final question. It's a quick hitterer,
go real quick. What's your favorite music documentary?

Speaker 1 (01:06:11):
Music documentary. That's a great one. Man. I love the
Tom Petty.

Speaker 3 (01:06:15):
One Running Out of Dream. Yeah, so good.

Speaker 1 (01:06:18):
It's so good, all the stories that I had no
idea how they made it that far without basically yeah good.

Speaker 3 (01:06:23):
But long it is is long. But it was one
of those where you watched and I didn't realize how
long it was until I finished it, Like, wow, that
was that took a long time.

Speaker 2 (01:06:30):
Yes, I remember I started watching it the day after
my birthday and then when I finished it was my
birthday again. Yeah, I was like wow, yeah, but right,
if so long?

Speaker 3 (01:06:41):
The right one it is?

Speaker 2 (01:06:42):
Yeah, yeah, it was really good. That's a good answer.
So I guess my answer is going to be because
I don't know if what best is and I would
sit and argue with myself and change my mind four times.
But the one that that I think about when someone goes, hey,
recommend me a music documentary is the Janish Shoplin one.

Speaker 3 (01:06:57):
Because I felt one so bad for her and you
learned so much.

Speaker 2 (01:07:00):
Learned a bunch about her, meaning I mean I felt
bad for her because they just treated her so bad
because she was quote ugly.

Speaker 3 (01:07:05):
Yes, have you ever said you've seen it? Her whole life?
They treated her like she was ugly. I had no
idea that her and Jerry Garcia were a thing like that.
That like hurt my heart for her.

Speaker 2 (01:07:15):
And then the fact that she never even got to
see success because she died before me and Bobby McGee
came out, you know, Christoph, and she died before that.
So I I still think about that and I felt so.

Speaker 3 (01:07:26):
Bad for her.

Speaker 2 (01:07:28):
So that one really touched me in a way that
I wasn't expecting because I was just like, let's go
watch Oh lord, won't you buy me Mercy? Then you
watch it and you're like, man, that is it is
a troubled, troubled life in person, and uh so not
my favorite, but I think about it. Yeah, last quite

(01:07:50):
give me a quick one.

Speaker 1 (01:07:51):
Oh man, quick, Well, I'm gonna do I'm gonna do
an audible here because it just saw to this okay
as we were talking. I just think it's funny now
that I've been living in Nashville for about seven months
now and I've been coming here for a few years.
Me growing up on nineties two thousands country, you know,
may being kind of weird and knowing every single song
that there is, you know, every artist that both takes

(01:08:14):
off and doesn't take off. And I don't know, there's
there seems to be some kind of stigma, maybe in
town or maybe just with the community, where like maybe
some people don't want to talk about their failures in
the music industry when it shouldn't be viewed that way,
and it happens to so many people, and it's okay
to talk about a song in a glowing way that

(01:08:35):
did not hit the top forty or something like that.
Or it's almost like now I have to be careful.
I don't want to, you know, make anybody mad when
I've remfered a song that I like that you know,
died in the fifties, but I love it. But I
still want people to know about this artist when it
came out. I just feel like, is there like, have
you ever come across any kind of artist that maybe

(01:08:55):
don't like talking about their past because it wasn't successful,
even though it'd have been good and cool, they just
don't like talking about it because they didn't, you know, succeed.

Speaker 2 (01:09:03):
I won't say her name. I had a conversation with
somebody about two weeks ago. She called and she was like, hey,
I'm off I got dropped. I know her personally because
I don't really have I just don't have artist conversations
with people, meaning not that I wouldn't, but it's just
not my job, right, like I'm just supposed to be
funny or whatever. And but she called, I'm known forever decade.
She just got droped from my label. And she asked, like,

(01:09:26):
what do I do? And I was like, first, you
gotta stop thinking that anybody cares.

Speaker 3 (01:09:31):
You got to drop from your label. Nobody cares.

Speaker 2 (01:09:33):
We don't know that, like like people know, people don't
even know the label does and people don't have a
label now for a good reason. She was like, yeah,
but they were. They were like, you know billboards. It said, hey,
what what name of billboard you saw last month? Is
what I said, Just name any billboard you saw last month.

Speaker 3 (01:09:50):
I don't know.

Speaker 2 (01:09:51):
Yeah, that's and I said, and in the best way,
because it can also seem like the worst way, nobody cares.
Nobody cares. And yeah, it might sound sad, Oh nobody
cares about me. That's not what I'm saying. Everybody cares
about themselves so much that they're not focusing on you
were remembering any failure that you had no so and
if you want to talk about it, great, that's strength,

(01:10:11):
and that's that's something for you to talk about. But
if you don't, you can't be worried other people are
thinking about you as that person.

Speaker 1 (01:10:17):
They're not at all at all.

Speaker 2 (01:10:19):
They're so hyper focused on themselves what they're trying to do,
that they're not I.

Speaker 1 (01:10:22):
Think we're in I think like going off with that.
We're all self conscious about what other people think. Yes,
where because we're all self conscious, we're actually just thinking
about ourselves. And you know, when we hear your name
as an artist, we're not thinking about what label you're on.
Most people don't even know what label you were on,
or they.

Speaker 2 (01:10:37):
I don't know what labels are going on, and I'm
just like part of my job.

Speaker 1 (01:10:40):
Most people that are Zach Bryan fans, the vast majority
of them probably have zero idea he's even on a label.

Speaker 2 (01:10:45):
Yeah, And that was a conversation I had with her.
It was like, a you really shouldn't be afraid to talk
about it. Actually give you something to talk about that.
People were like, oh, because everyone thinks the artists are
you know, perfect millionaires. And as soon as you stop
worrying about trying to impress people and you start thinking
about relating to people like that's where the success comes from.
So we're just reminding her that it doesn't matter nothing,

(01:11:06):
nobody cares, and there's real power nobody caring. And she's
she's she's awesome, she's she's the exact opposite of the
other artist I was talking about, where she is so talented,
she just has not had it go her way, but
in every way, just pure, pure, pure as an artist.

Speaker 3 (01:11:25):
And yeah, what you're talking about.

Speaker 2 (01:11:28):
There was that experience that I had with her where
it was hopefully welcoming her to talk about this stuff
that maybe she was embarrassed to talk about because I said,
don't be embarrassed, because don't take this wrong a way.

Speaker 3 (01:11:41):
Nobody cares. I bet to a lot of artists, though.
The pinnacle feels like getting that deal it is and
once you get there, you're like, Okay, we're going to
start rolling now, and then you get dropped and you're like, oh.

Speaker 2 (01:11:52):
You don't have to drop No, you can literally get
signed and nothing happens.

Speaker 1 (01:11:56):
You just sit there collecting dust.

Speaker 2 (01:11:58):
Even if you don't get chilled, nothing happens. If you
get a shelves the worse. But even if you don't
get Shelder times, what's that?

Speaker 3 (01:12:06):
What's up?

Speaker 1 (01:12:07):
I'm not rich.

Speaker 3 (01:12:07):
Actually I'm losing money doing radio tour.

Speaker 1 (01:12:09):
You're playing free shows everywhere.

Speaker 2 (01:12:11):
Yeah yeah, uh, gentlemen, there's a reason they call this
the greatest moon crescent crescent crescent conversation ever.

Speaker 1 (01:12:21):
If one of us was sitting over, there would be
more of a round table.

Speaker 2 (01:12:24):
So we should move the chairs around. It'd be a triangle. Actually, Chris,
you're awesome, dude.

Speaker 1 (01:12:30):
I like this. I like to very cool.

Speaker 3 (01:12:31):
I like the format.

Speaker 2 (01:12:32):
We should do this again a couple of months follow Chris.
We said all your stuff in the beginning too. But
doesn't Chris look so young and vibrant.

Speaker 1 (01:12:39):
Yes, it's like vibrants a great word to use that
for now. Yeah, crazy, tremendous word.

Speaker 2 (01:12:43):
And it's like that he was like, you know, just
came out of his mom's womb, come in here, talk
about like.

Speaker 3 (01:12:47):
I'm like this guy. So yet I do want to say, like, Chris,
you're a good kid man, You're a good I know.

Speaker 2 (01:12:52):
No, no, please please keep calling me, you know at
Chris owen Country on Instagram. Chris go to talk to
you buddy, and we'll talk to you soon. In the artists,
I'm talking about that.

Speaker 4 (01:13:03):
No, thanks for listening to a Bobby Cast production

All Episodes

#482 - The Greatest Music Panel Returns: Eddie and Chris Owen on Defining Real Country Music, Lip Syncing Controversies and L.A. vs Nashville Music

Episode Transcript

Host

Bobby Bones

Popular Podcasts

Las Culturistas with Matt Rogers and Bowen Yang

Dateline NBC

Crime Junkie

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}#482 - The Greatest Music Panel Returns: Eddie and Chris Owen on Defining Real Country Music, Lip Syncing Controversies and L.A. vs Nashville Music