On this episode of the BobbyCast, Bobby recently sat down with country music legend, Keith Urban at Keith's recording studio. Bobby asked Keith about his origin story and going back and forth from Nashville to Australia early on in his career. Keith also discussed signing his first record deal in Australia and his favorite part of being a musician. Plus, Bobby and Eddie give their thoughts on a list of the top 10 most hated bands of all time and if they deserved the negative feelings.
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Episode Transcript
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Speaker 1 (00:06):
I'm in this bar and I look over at the
table I see Toby. I'm like, oh wait, that's Toby Keith.
I think you've cut one of our songs. He goes,
huh oh, yeah, man, did you like the song? He goes,
we cut it, man, And then he just looked back
at his dream and I was like, okay.
Speaker 2 (00:22):
Moving on.
Speaker 1 (00:23):
Years later, I got to know him and I told
him that story. He's like, man, I'm so sorry.
Speaker 3 (00:29):
Welcome to episode five sixteen with Keith Urban. And this
was us at Keith Urban's new studio that he built,
that he owns, and we used a clip of this
for the ACM television special that is on Amazon Prime
Video if you get a chance and you want to
watch it. But we had like forty five minutes, thought
it was a really good interview, so we wanted to
play it all back here. A couple of things. Keith's
(00:50):
touring the High and the Live World tour going on
now wraps up in October and it wraps up in Nashville,
but there are so many stops. The Australian leg kicks
off and he's playing in a city called Wollongong.
Speaker 2 (01:02):
Wallingong Ever been there?
Speaker 3 (01:04):
Never heard of it. Actually, if it sounds like a
place I'd like to go, so you can check that out.
He's got Chase Matthew, Alana Springsteen, Carly Scott Collins on
tour Keith Urban dot com if you want to go
check out. His shows are so awesome. I think some
of the great stories we've learned about Keith in the
past that we don't get to here, because we did
an episode a long time ago with Keith Urban where
(01:25):
we talked about and we could even put that up
later this week, to the old Keith Urban episode. Yeah,
where we talked about his dad, and he talked about
his dad like super detail. I had never heard him
talk about his dad that much, so yeah, we should
put that up. But he talked about too, like playing
at the airport where he would stand on like the
conveyor belt thing in the middle, not the part that moved,
(01:45):
but the conveyor belt moved around it, and so he
would play music there and then people would come and get
their bags, and they'd get their bags and walk away,
then he'd start over the next time. So really interesting
his story. And here we talk about like when he
moved to Nashville and where he lived exactly and I
hope you enjoy this. And then after this forty five
to fifty minutes with Keith Urban, we're going to talk
(02:07):
about bands that get a lot of hate but don't
deserve the hate they get. So we had this already
recorded and we were just going to team it up
with something. So we're gonna put it at the back
end of this because I really liked it as well.
So Keith Urban, Episode five sixteen. If you want to
watch this, by the way, we've loaded it up the
whole thing Bobby Bone's channel over on YouTube. It's where
(02:29):
we put all the Bobby casts, Bobby Bone's channel on YouTube.
All right, here we go, Episode five sixteen with Keith Urban.
Speaker 4 (02:35):
Thanks for having me, Thanks for coming.
Speaker 2 (02:38):
Pretty cool space.
Speaker 4 (02:39):
Thank you.
Speaker 2 (02:39):
So, what's just like your dream studio? Did you build this?
Speaker 1 (02:43):
I didn't build it now, this got built in the
mid nineties, but I've did a lot of recording here.
Speaker 2 (02:49):
So before you bought it, you recorded here.
Speaker 1 (02:51):
Yeah, a lot of stuff on all the albums from
Golden Road all the way forward.
Speaker 2 (02:57):
So in that case, is that like you're waiting for
it to go for sale since I.
Speaker 1 (03:00):
Couldn't believe it was for saying I put it that way,
you know, and buying it was I felt like I
bought my school.
Speaker 4 (03:05):
That's what it felt like.
Speaker 3 (03:06):
That would be weird, yeah, but also awesome. Yeah then
you're the ruler. Yes, yeah, that's great. There's a lot
of stuff I want to talk about. I think for me,
your origin story is really interesting, especially when you come
to Nashville. Like when you moved to Nashville, Like where
do you live? What kind of place do you live,
like for a new artist moving here, like a small apartment.
Speaker 1 (03:26):
Well, weirdly enough, the first place that I stayed with
my manager when we came here the very first trip,
we stayed over the road at Shoney's Inn, which is
now comfort In, And the room that we stayed in
is literally right there. And it's crazy to walk out
the door of the studio and look over and see
that room that my manager and I stayed in on
the first trip, and to go from there to here
(03:48):
is mind boggling.
Speaker 3 (03:49):
So why do you say you and your manager, you
guys came together.
Speaker 1 (03:53):
What was that relationship we you know, we just I
made a little demo tape that we just got on
a plane and come over here.
Speaker 4 (04:01):
We really didn't know anybody.
Speaker 1 (04:03):
We just did the classic thing of walking up and
down sixteenth and seventeenth A and going in and seeing
if they'd let us play the my little cassette demo.
Speaker 3 (04:12):
So you record a cassette of songs? How many songs
do you think?
Speaker 4 (04:15):
Just guess?
Speaker 1 (04:16):
Maybe five or six songs that I'd written.
Speaker 3 (04:18):
And you felt strongly enough about it that we're going
to go to Nashville. He felt strongly enough about you. Yeah,
that's a lot of trusting to a person too, by
the way, like as a manager, going I trust this guy,
like this is my guy. You fly here, you're staying
at the show, and he's in for what do you
think of night?
Speaker 2 (04:31):
How much?
Speaker 1 (04:32):
Oh more than we could afford at the time. I mean,
we spend everything we had on the plane ticket.
Speaker 2 (04:36):
In a paying nightly rent.
Speaker 3 (04:41):
And then how do you do it again? You're knocking
on doors? But what doors do you knock on if
you don't know what doors are? Important?
Speaker 1 (04:48):
We did anybody that would listen, we would play it for.
And I was so proud of it, you know, and thought, oh,
I can't wait for everybody to hear this. It was
terrible hindsight it was just terrible, you know, what do
I know? You know, but played it for people that
would listen to it, and it was all very much
like thanks, but you know, so it was really heartbreaking,
(05:12):
you know. It was just soul sucking. But I went anyway,
I want to be here, I want to live here.
Let's go, let's go.
Speaker 3 (05:19):
When you say let's go, do you go back?
Speaker 4 (05:21):
Yeah? So I was only on.
Speaker 1 (05:22):
It was really hard to get visas back then, and
I couldn't legally stay longer than you know, a certain
period of time. I couldn't make any money here, not legally,
so I could come for a couple of weeks try
and get with people to write, and then I'd have
to go back to Australia. And I was doing little
shows at corner pubs or wherever I could on my
(05:43):
own solo to just stock money away so I could
then get another plane ticket come back and just keep
doing this back.
Speaker 4 (05:49):
And forward forever.
Speaker 2 (05:51):
How long did you go back and forth?
Speaker 1 (05:54):
I don't know, two three years, something like that. I
would come over for a couple of weeks and write
with some people and then go back and come back over.
But I was staying in a hotel probably down here
at the Shawnees, I think still. And this guy who
was an engineer at one of the publishing places I
went to, he said, listen, I live on my own.
I got a spare room at my house if you
(06:15):
want to stay there and stay at my hotel. So
I stayed at his house and when I left to
go back to Australia, I left a bunch of a
bunch of clothes in the drill and he called me
and he goes, hey, you left some stuff here, and
I said, yeah, I'll be back because I wanted to
feel like I was moving in. So I was in
Australia thinking I've got clothes in Nashville like I have.
Speaker 4 (06:37):
Like it was like saying I have a place there.
Speaker 3 (06:39):
You know, before you left a toothbrush at somebody your
dating's house, so now you know same kind of Yeah,
you got to go back exactly. So the more you
would come over, and it's a pretty intimidating place because
you're coming to I mean where you are, there's music,
where everybody is, there's music, and you're kind of king
dealing and then you get here and you're like, wow,
this is the giants are here? Did that motivate you
(07:00):
to get better or did it did it more inspire
you to get here so you could be around it,
to grow into it.
Speaker 4 (07:05):
All the above.
Speaker 1 (07:07):
I knew when I got here, I just wanted to
be here. All the best here, all the best guitar
players are here, all the best songwriters are here, the
best producers, the best everybody is here. So I just
wanted to get here and get going. I knew it
was going to take a while, and I just wanted
to get going.
Speaker 3 (07:23):
You know, when did you get your first piece of
positive feedback?
Speaker 4 (07:27):
Monday?
Speaker 1 (07:28):
Just last Monday?
Speaker 2 (07:28):
Good for you? Yeah, yeah, I'm glad it's happened.
Speaker 4 (07:31):
Thank you.
Speaker 2 (07:31):
That's pretty cool. Fine, I'm rooting for you. Yeah.
Speaker 1 (07:36):
It's all incremental, you know, it's I'm sure you got
a similar experience where it's just just one good enough
thing happens that you just hang in there. I mean
I didn't have option B anyway. I mean, I had
no other plan nothing. It never occurred to me to
go back to Australia. That was never part of the
thinking ever. It was just well, stay here until something happens.
Speaker 3 (07:58):
When you look back at that tape that you made
it and now you know anything that creators make a
long time ago, hopefully it makes us cringe because that
means we've grown, right, Like That's that's the goal and
thing I do. I want to like cringe is something
I did two or ten years ago. But when you
look back at that, what do you what can you
still identify as special about that?
Speaker 1 (08:21):
I think I had a good intrinsic sense of melodic
structure for songwriting, and I think people recognize that here.
So I was able to get in with really good
songwriters pretty early on. And I think even though my
voice needed a lot of work, there was some good
fundamentals in particularly commercial songwriting, you know, hook choruses and
(08:44):
catchy melodies and things like that.
Speaker 3 (08:46):
Songwritering is interesting because you're coming from a place where
my assumption is based on other conversations. There's not a
lot of co writs, like the co writers really learned
in Nashville.
Speaker 2 (08:56):
So were you're writing songs by.
Speaker 3 (08:58):
Yourself and then having to learn the Nashville co write
culture when you're here.
Speaker 5 (09:02):
Mm?
Speaker 4 (09:04):
Yeah it was.
Speaker 1 (09:05):
Then I signed a publishing deal. It was very small
income for me, which was perfect. It's all I needed.
I didn't need much to live on and I had
a really crappy rental car and I would drive down
to Music Row from this guy's house that I was
living at every day, five days a week and walk
into this you know, windowless room with two yellow legal
(09:26):
pads and a couple of acoustics and try and write
a song with a total stranger and it was. I
hated it, like hated it. It felt I hated going
to school, but this was even worse.
Speaker 4 (09:36):
I don't know why. It was just like I just
felt so.
Speaker 1 (09:39):
Insecure, so out of my depths. You know, I'm writing
with these professional writers and I don't know what I'm doing,
and it was and it was not inspiring. I was
used to having a drum machine, writing with a bit
of a groove, getting a vibe going, and that would
inspire the way I write songs. And nobody wrote like that.
It was literally legal pads and an acoustic and windowless room.
Speaker 4 (10:03):
And I'm like, how do you write in here?
Speaker 1 (10:05):
What?
Speaker 4 (10:06):
It's not vibe? You know?
Speaker 1 (10:09):
But from that experience, I think I learned a lot
about songs, even more about song structure and how to
write a song that isn't vibe based, but it actually
has the bones of a good song.
Speaker 3 (10:21):
Do you feel like those experiences writing in an environment
that you weren't completely comfortable, not because of the people,
but because of what you were used to and also
where you did your best work. Do you feel like
that also help you understand where you did write the
best and how you wrote the best because you're in
a room with no windows and you're like, okay, I'm
(10:41):
learning here.
Speaker 2 (10:41):
But it kind of reinforced the idea of you.
Speaker 3 (10:43):
Like to write with a vibe, you like to write
with a machine, and so therefore you knew where you'd
be the.
Speaker 4 (10:47):
Best spot on. That's exactly what it did.
Speaker 1 (10:49):
It mean, it reinforced how I don't want to write
or how I can't write. It's not don't want to
it's like it's not bringing out the.
Speaker 4 (10:57):
Best in me. You know, it's not inspiring me.
Speaker 1 (11:00):
I feel intimidated, I feel suffocated, and I can't write
like this. And I think a lot of it was
to do with you know, I think the foundation of
country songwriting is lyric. The melody seems to always come second.
Speaker 4 (11:17):
The lyric is key. The story is important, That's what's important.
Speaker 1 (11:21):
And I was coming from it the other way, where
the melody and the hooks and the riffs that those
were driving the story and everything else. So I just
had to find my environment and way of writing and
people that.
Speaker 4 (11:35):
Also love to write that way.
Speaker 3 (11:36):
Do you feel like now when you write with people
that you know are feeling a bit of the same
intimidation from writing with you, you can remember that version
of yourself, Oh yeah, and kind of help them through it.
Speaker 1 (11:45):
Totally, totally. I neutralize the situation immediately. I'm like, I
don't know what's going to happen to day. Maybe nothing,
but let's just jam a bit, let's have fun. If
you get any ideas, you know, zero no pressure, no expectation.
You know, maybe we write, maybe we don't, maybe just
go to lunch.
Speaker 4 (12:03):
Maybe we just hang.
Speaker 1 (12:03):
Today and that will end up creating a song the
next time we get together because we know each other better.
Speaker 3 (12:09):
You have a publishing deal, and you said, a Paige,
you a little enough to get by. Did you have
any success in your first publishing deal? When did you
start to have success as a writer?
Speaker 1 (12:21):
I really, I mean I had to record my own
songs to get them cut to the degree that because
I wasn't a professional writer, it wasn't what I came
here to do. I didn't come here to be a writer.
I was an artist, but I could write.
Speaker 3 (12:34):
And that was the first way to make money too, right, Like, yeah,
a steady check at least.
Speaker 1 (12:38):
Yeah, it was a steady check. And it was a
way for songs to maybe get cut by the people
and a few little cuts here and there, you know.
Like we wrote a song, My buddy and I wrote
a song, a Christmas song that Toby Keith ended up
recording on an album. I was completely unknown, So this
is the early nineties, and.
Speaker 4 (12:59):
I heard that he cut this.
Speaker 1 (13:00):
Song we wrote, and I was like, the song was
called Jesus Gets Jealous of Santa Claus, right, and it's
just it's a really beautiful songs. It's all about the
anti commercialism of it, right, And so.
Speaker 4 (13:12):
We wrote it. He loved it cut it.
Speaker 1 (13:14):
I was amazed, because, I mean, Toby is a great writer.
I'd never met him. I was down in Lower Broadway
one night at a bar. And this is long before
Lower Broadway is what it is now, and nobody went
down there. I'm in this bar and I look over
at the table and I see Toby. I'm like, no way,
that's Toby Keith Man, I'm gonna go up and say hi,
cause I got a way to introduce myself now. And
(13:36):
whenever I said, Toby, your name's Keith Urban. I think
you cut one of our songs, he goes, huh. I went,
you record it one of our songs?
Speaker 2 (13:45):
You know?
Speaker 4 (13:45):
Jesus gives ye. He goes, oh yeah man, and I.
Speaker 1 (13:48):
Went, well, thanks for recording it. You know, did did
you like the song? He goes, we cut it? And
I went yeah, yeah, no, thank you. That's but you're
a right right. I just wanted did you love the song?
Speaker 4 (14:01):
You guys? We cut it, man, And then he.
Speaker 1 (14:05):
Just looked back at his dream and I was like, okay.
Speaker 4 (14:08):
Moving on.
Speaker 1 (14:09):
Years later, I got to know him and I told
him that story.
Speaker 4 (14:11):
He's like, man, I'm so.
Speaker 1 (14:12):
Sorry he couldn't have been nice. And we became really,
really good friends.
Speaker 3 (14:17):
The first time I met Toby, I said, Toby, how's
it going? He said, the first time I met him,
and we again became friends. His Google me, how's it going?
Google me, Yes, love it?
Speaker 4 (14:29):
And I said love it?
Speaker 3 (14:30):
Okay, what am I going to find? My health? And
how much money I have? Oh my god? And I
was like what is up with this dude? Later on,
same later on, I did a lot with Toby, like yeah,
and and but yeah, that was my experience too him.
He was very no nonsense how it felt. It's funny
talk about just going to a bar and seeing Toby
(14:50):
Keith sitting there. I mean, I think that's kind of
the magic of this town. And a lot of the
stories that I have are from people who just like
see you walking around them all like most of them,
Like I saw Keith Thurbman. I was at a Forever twenty.
He didn't go in, but I saw your wife in
a makeup store.
Speaker 4 (15:04):
I was in there, and what were you doing in that? Yeah?
Speaker 2 (15:07):
Just a lot, a lot.
Speaker 6 (15:08):
Hang ty, the Bobby Cast will be right back and
we're back on the Bobby Cast.
Speaker 3 (15:23):
What about this town is magical?
Speaker 1 (15:26):
Everything is if it's just uh, the people, it's a
it's a it's this this hub. It's the one thing
I missed a little bit about music right not being
what it was. You know, it got decentralized. It kind
of just went off into all these people's homes with
personal recording studios and various things, and.
Speaker 4 (15:44):
People didn't have to.
Speaker 1 (15:46):
Concentrate on the row as much anymore. And it's sort
of a bit sad because Nationalist such a community, and
I think that cross pollinating and enmeshing with artist, songwriters, publishers, managers,
everybody intersected all the time was really healthy.
Speaker 3 (16:04):
What guy, you're your first traction as the person you
came here to be an artist.
Speaker 1 (16:11):
Again, it was all little incremental things. The publishing company
I signed to was run by a gouck called Barry
Coburn and he was managing Alan Jackson at the time.
So in nineteen ninety four, Alan was shooting in music
video and they needed a longhaired guitar player, and so
they asked me to do it. And it's a similar
(16:34):
Toby story.
Speaker 2 (16:35):
In the video.
Speaker 4 (16:36):
But you didn't play on the song No, but I'm
in the video to Mercury Blues.
Speaker 3 (16:41):
One of my favorite Alan Jackson songs, Thank You Sorry videos.
Speaker 1 (16:48):
So it's a similarst thirty to the Toby thing. Like
I didn't know Alan. I was so excited. You know,
we're on a We're in a sound stage somewhere and
I'm on this platform and I've learned Brent May guitar
solo note for note the night before because they're going
to be zooming in on me, and they filmed me
for a little bit and then I see Alan come in.
Speaker 4 (17:07):
I'm like, oh, my god's Alan Jackson. This is so
freaking awesome. I mean, it's nineteen ninety four. He's king,
you know.
Speaker 1 (17:14):
And he comes over with his cousi and he kind
of just looks at me and he looks back at
the camera, and then they run the song and we
both shred together. We're literally two feet from each other,
and they take a little break to set some lights whatever,
and I'm waiting for him to say something.
Speaker 4 (17:30):
He said, looks around me, he.
Speaker 6 (17:31):
Goes it, looks back.
Speaker 1 (17:36):
Never said a word to me, like, not one word.
We finished the thing and he just walked off and
I was like oh. And I went home and my
buddies were like, what was Alan? Like, I go, I
adn't really meet him, and they go, I thought there
was a thing with the two video. I said, yeah,
never made him And again got to know Alan years
(17:56):
later and he's like, man, I'm so sorry.
Speaker 4 (17:59):
Because I hated that video.
Speaker 1 (18:01):
He said, you got to understand it's the first video
I'd done where they brought in some slick la producer director.
I didn't want to do it, but they wanted to
sort of change my image and make it look slick.
So they said, we can't use your band, and he goes,
I always use my band, what do you mean? And
they go, no, we have to use these other people
to pretend to be your band me right, you know.
(18:22):
So he hated it, obviously hated this longheaded dude who's
not his guitar player.
Speaker 4 (18:27):
So I totally.
Speaker 1 (18:28):
Got it, and we've become really really good friends.
Speaker 2 (18:31):
And it's so funny about Alan.
Speaker 3 (18:32):
The first time I met him, not a video, but
ACM Honors was doing a show and I was doing
like one funny song with the guitar.
Speaker 2 (18:38):
I was talking.
Speaker 3 (18:40):
It was after like Jaco when I was playing and
I was doing thing. Alan Jackson was behind me, but
it was raining, so moving everybody along and they paused
and I saw Alan Jackson, never seen him before, and
I was like, this is crazy, Alan Jackson. I said, hey,
missus Jackson bibyone, nice to meet you. He said nice
to meet you, and I looked at him and goes,
all right then, and that meant go away later awesome.
(19:00):
But he hit me with the ir THENT and away, I.
Speaker 1 (19:02):
Went, it's great, and this town same experiences at the least.
Speaker 3 (19:06):
GI, Yeah, it's great, and then again we find out
how freaking cool they are later.
Speaker 5 (19:10):
Yeah.
Speaker 3 (19:11):
I think that's and I think that's a bit of
my point too, is people are getting first impressions of
you today all the time in the same way, but
because you got to live the full experience.
Speaker 2 (19:20):
Same way.
Speaker 3 (19:20):
I asked you about songwriting, like, they're probably a lot
of new artists that you meet a lot of the
time and that ask you, Hey, what advice do you
have for somebody like moving to talent or a new artist, Like,
what is the standard Keith Urban advice for a new artist?
Speaker 1 (19:35):
Well, it's always different because the whole thing is changing constantly.
You know. It's like you don't have twenty years experience,
you have one years experience twenty times. That's very different
because it's constantly changing. So, you know what I had
to do when I got here, you don't have to
do that now. There's like so many other ways to
get fund an audience, to make music, to write songs,
(19:58):
to get them cut. There's just so many ways do
it now. So it makes it better on one hand,
but on the other there is way more competition. It's
just you sort of drowning in it. Now there's so
much new talent.
Speaker 2 (20:11):
Tell me about signing your first record deal.
Speaker 1 (20:15):
Well, my first one was signed in Australia. I signed
it because it I want a competition where I got
to record a single for EMI Records, and I did
that and they liked it, and so they.
Speaker 4 (20:29):
Said, let's do a whole album. So I did a
whole album.
Speaker 1 (20:31):
But I already wanted to come here, you know, so
recording it to me was just a way to have
an even better demo to bring over here. But I
had some success with it in Australia and got a
band and worked my way up to having a roague crew.
This is after eight nine years in the clubs already.
(20:51):
So now I've worked my way up to this five
piece band, three man road crew, merchandise.
Speaker 4 (20:58):
I'm like, this is great.
Speaker 1 (20:59):
I got an album, songs in the radio, like everything
I've ever wanted. But I really wanted to go to America.
And so after all that work, I come here and
you just start from the bottom again. Literally, nobody cares.
You can't bring your band. I have no money, so
I'm right back to ground zero and starting to pay
(21:20):
the dues all over again. It was another five six,
seven years here in Nashville.
Speaker 2 (21:26):
Until you got a deal.
Speaker 3 (21:27):
Yeah, and what was the first single they ever wanted
to put out on you?
Speaker 1 (21:32):
Well, well, technically it was with my band The Ranch,
and so we did a song called walk in the Country,
and we did a video. We had so little money
for the budget that we recorded two videos in one.
Speaker 2 (21:43):
Day, only so much time. So yeah, cram on both.
Speaker 1 (21:46):
I think it was like fifteen made them in ten
grand or something. We shot two videos. We went out
to a place called Adams, Tennessee. We went to this
abandoned kind of street where.
Speaker 4 (21:55):
The stores were all boarded up. We helped put the
camera in the street at the stores. We stood in
front of there and shot that video.
Speaker 1 (22:03):
They turned the camera around and we did our other
song on the other side in this where they'd torn
down a building and we played in the rubble.
Speaker 4 (22:10):
So you know, we shot it all in one day.
It's crazy.
Speaker 3 (22:12):
What was the success of the singles you put out
early with The Ranch.
Speaker 1 (22:19):
Well, the critics really liked it, but it didn't get
any real push.
Speaker 4 (22:25):
I mean, ready, I didn't know what to do with us, you.
Speaker 3 (22:27):
Know, because of the sound, because we hear.
Speaker 1 (22:29):
The sound and the look, and they're just like, what
is this three piece band? And who's this long haired guy?
And I look back at it now and I'm like,
oh my gosh, I mean, what will we think? And
we were never gonna fit in. We just weren't going
to fit in. And I was frustrated because I didn't
come here.
Speaker 4 (22:48):
To be in a band.
Speaker 2 (22:49):
You know.
Speaker 1 (22:51):
The three piece thing happened because I had a five
piece band in Australia. I couldn't afford to bring everybody, So, Okay,
what's the minimum I can bring? While as a tapla
I can bring bass and drums. Then I got a band, Okay,
three piece, great, I'll bring my bass plan drummer. They
were the two guys in the band that didn't sing.
My keyboard player and rhythm guitarist sing. So I'm here
(23:12):
in a three piece band, the singer.
Speaker 4 (23:14):
No harmonies. I'm like, man, this is not going to work.
Speaker 1 (23:17):
And then my bass player left, got a singing bass
player and we became this three piece band. Because of
economic reasons. It wasn't an artistic choice.
Speaker 3 (23:25):
When you're finally Keith Urban, what was the first piece
of material or song that you put out that actually
gains real traction or that sells tickets or got you
on a tour, right, Like, if it's something out that
somebody noticed you enough that it changed your life.
Speaker 2 (23:44):
What song was that? Well?
Speaker 1 (23:46):
I mean technically, the first one was a song called
It's a Love Thing, which was the first single off
the solo album that I did that did okay. And
then we put out a song cale where the Blacktop Ends,
and that did better. Sorry You're Everything. It was a
ballad called You're Everything that did better. And then the
(24:06):
third song was but for the Grace of God, which
became my first number one song. So it was this
very slow incremental.
Speaker 4 (24:15):
Movement. I'm like, okay, we finally get traction.
Speaker 1 (24:17):
And then we did Blacktop after that, and then I
got to make another record which became Golden Road, and
first single off that was Somebody Like You.
Speaker 3 (24:27):
Was that song transcendent in how it landed as opposed
to your past stuff?
Speaker 1 (24:33):
Yeah, Because I'm a live guy. I play live, That's
what I do. The early years in Nashville was so
hard for me because there was no I wasn't playing.
I wasn't playing anywhere. I found out very quick that
if you play down Lower Broadway, nobody wants to sign
you because they go, You're just one of those You're
just a cover band, You're not an original artist, you know.
(24:54):
So I'm like, ah, so I can't even play anywhere.
Speaker 4 (24:58):
So after the first solo Red.
Speaker 1 (25:00):
I got to put a band together and tour and
get back into my place where I feel so at home.
And I think by the time he made Golden Road,
I was feeling that sense of who I am musically,
you know, it had I like to say that record
had more stubble than the first one. It was a
bit looser, and it was more raw, and I took more.
(25:21):
I had more confidence in the studio of making the
music that I wanted to make, not what was on
the radio or anything like that, and it turned out
to be the music that was the right music.
Speaker 3 (25:34):
Did you ever have concerned of being pigeonholed as just
a guitar guy.
Speaker 1 (25:38):
No, I never had that, because I mean I always
see myself as a jewet. I mean, my guitar am
I singing? They go together the same way with Glenn
Campbell or something like that. It's just or Vin Skiel
or anybody.
Speaker 4 (25:50):
It's for me.
Speaker 1 (25:52):
The two go together, but even more than those guys
because they have these these voices, and I think me
and my guitar or one.
Speaker 3 (26:03):
I pay a lot of attention to your tone and
not your voice tone, like your guitar tone. And even
the slightest change changes the sound of a song. How
much time do you spend focused on tone?
Speaker 4 (26:15):
It depends, you know. Sometimes it's.
Speaker 1 (26:20):
Every song is different, Every song is different. I'm only
seeking inspiration, that's all. That's all I'm waiting for. I'm
just waiting for a sound or a tone or something
where I'm inspired to play something. And that could be
through a cheap amp and you could have dialed it
up immediately and you go, that sounds good. Let's go
plays soul and you get good. That was great, moving
on and then the next song you like to spend
a whole day noodling and doing this and whatever.
Speaker 4 (26:42):
So they're all different.
Speaker 3 (26:44):
What song that became a massive hit took the longest
to actually have fully done?
Speaker 4 (26:51):
Oh gosh.
Speaker 2 (26:54):
Ah, maybe maybe rewrites weirdly enough?
Speaker 1 (26:59):
Make Him of Us took a long time because I
grew up with Don Williams Records and they were so simple.
There was like nothing on them. They're so simple. And
when we cut Making Memories, it had a don vibe
in its structure in the recording, and I wanted to
get that minimalism. And we recorded it and it was
(27:20):
sort of like this, And then we spent a long
time stripping it down, stripping it down, stripping it down,
replaying the guitar, re singing it, re singing it, re
singing it, trying to make it more and more simple,
less slick, you know, just more singer songwriter.
Speaker 2 (27:34):
Is there a moment where you go this is it?
Speaker 3 (27:36):
Or is there never a moment where you go this
is it?
Speaker 4 (27:39):
Both?
Speaker 1 (27:42):
I mean, I've heard songs on the radio where I go.
Speaker 4 (27:45):
Oh, I'm very happy with that.
Speaker 1 (27:47):
You know, I hear somebody like you now I still
am really happy with that. Dave's go by things like that,
and then I'll hear other things like ah, I wish
we had, of wish we had, of whatever. But more
than anything, I'm happy with you. It's got to get
away from it for a while. I have some perspective.
Speaker 3 (28:07):
You're still so creatively driven today, as I guess the
first time I met you ten years ago, like, I
still feel like you're creatively chasing whatever it is it
inspires you. Do you still feel as creatively driven now
as you did ten twenty years ago.
Speaker 1 (28:22):
Exactly as when I lived over there at Showny's. I
feel pretty much the same. I've got a better group
of people I can write with and work with, and
I have more capacity and facility to create the things
that I hear in my head, you know, from years
and year of doing it. But the adrenaline rush in
(28:43):
the excitement of writing and creating something like straight Line,
which is the single we have at now, when that
comes to the studio, it's like it's an amazing feeling.
Speaker 3 (28:54):
The opposite of the question asked a minute ago, what
song fell out of you? And it was done the
quickest and you're like, wow, that it's great and it
took almost no time.
Speaker 1 (29:02):
Somebody like you was a bit like that because it
was a great band. It's the very first song I'd
done with Dan haff I think the bones of the
song just happened to be really good, and we recorded
it at the sound kitchen. Everybody on the floor, so
Chris mceu was here on drums. Jimuli SLOs is here
(29:23):
on bass, tom bergervack's and guitar tim akers there own keyboards.
I'm in the booth over there with banjo and a
vocal and Dan Huffer was sitting in the middle of
the floor with an electric guitar, and Justin ee Banker's
in there and he hits record and away we go.
I've got a recording somewhere. I used to set up
a video camera in the in the studio, in the
control booth and just capture a take, you know, And
(29:46):
I have the recording of us. You hear the song start,
you hear it finish, and you see Justin go whoa
like this in front of the console, and it's the
end of the It's the take.
Speaker 4 (29:57):
It's just it was crazy.
Speaker 3 (29:59):
There are a story about ACDC and Angus and he
would play so hard for so long, he'd sweat so
much that he would lose five seven pounds a night
right because he would go.
Speaker 2 (30:08):
Like my version of that that I tell.
Speaker 3 (30:09):
People, is you watching you perform because you go so
hard and you're so active on stage, singing, playing, running
into the crowd. Is there a ramp up period for
you getting in shape before you have to go on
the road. Because these are very active shows.
Speaker 1 (30:25):
Yeah, I just I mean, I think we're the same,
like being in decent shape anyway, just to do the
things we want to do, you know, move the way
we want to move, and do the things we want
to do.
Speaker 4 (30:37):
And I live to play, I really do.
Speaker 2 (30:40):
Is that's still your favorite part of all of it live?
Speaker 4 (30:41):
Yeah?
Speaker 1 (30:42):
Yeah, But I mean I love being in the studio,
so I bought the studio. I could spend months in here,
never leave. You know, I don't have any other hobbies
or interests. I love making music. It's pretty much it.
I don't play any sport, not really. I love writing, recording,
I love touring.
Speaker 3 (31:00):
So recently you did a project and you recorded, and
then you decided we're going to start over after putting
significant time.
Speaker 2 (31:07):
Will you just kind of tell me that story.
Speaker 1 (31:10):
It's never happened before. So really, since the first record,
the way I make him is quite It's not chaotic,
but it's very spontaneous. You know, the studios booked, we've
got the players booked, got a song chosen to do.
I'll drive in that day and maybe as I'm driving in,
(31:31):
I'm like, I don't really feel this song. I have
this other song that I'm sitting on or it's half
written or something, and I'll play it for Dan and
I go, let's do this one.
Speaker 4 (31:39):
Let's forget that.
Speaker 1 (31:40):
So I've always made records that way, so the spirit
of it is always what I want to do, you
know what I mean.
Speaker 4 (31:46):
So it's good that it's now. It's fun. I'm passionate
about it. It's what I want to do.
Speaker 1 (31:52):
And I thought, sometimes my records sort of go off
in weird musical directions, and maybe I need more discipline
and make a focused records. So I went in with
this idea that I was going to make a much
more focused record, call it six one five, and it'll
be very focused, and it'll be only this and only
(32:12):
that and blah blah blah blah blah blah, you know.
And I ended up with this record that was pretty linear.
It just sort of did this. It didn't have all
the stuff, the spontaneities, just didn't have the spontaneity and
the spark and the spirit.
Speaker 4 (32:26):
So I scrapped it.
Speaker 1 (32:28):
And the first song we wrote was straight Line, which
bursts with all that rhythmic spirit and liberation because I
just come out of this attempt that didn't work at all,
And I'm like, that's to your point, Earli. About writing songs,
you learn what you don't want to do, and I
learned why I don't make records that way. It's just
(32:49):
much more fun for me to be spontaneous.
Speaker 3 (32:52):
In that process. And we'll call it the linear part
of this journey. Did you ever feel like, oh, this
isn't feeling right or are you done with it? And
you're like, man, this didn't capture really what I want
to capture. When did that happen where you had to evaluate, hey, we.
Speaker 2 (33:04):
May do this again.
Speaker 1 (33:06):
When I was sequencing it, and I get it, you know, sequencing,
what does it matter anymore? Who wo listens to albums
top to bottom, you know, but sometimes sequencing for me
is the way to decide what even makes it onto
an album. The sequencing kind of tells me, well, you
didn't need that one. This one over here that I
was leaving off would actually go good right there, So
that one does make sense. So when I started sequencing
(33:30):
these songs, that was when I realized, oh, there's a
lot of very similar sounding songs here, you know. Just
I was touring at the time, so I was sort
of recording sporadically, I'd come off the road, we'd cut
one song, We'd be like, ah, fantastic, sounds great. You know,
you go into it for a few weeks, come back,
cut another song that's great. Well, without thinking these together,
(33:55):
you're not going to want it.
Speaker 4 (33:56):
That's what happened.
Speaker 3 (33:58):
When we look at the ACMs, you're one of the
to do it, the triple crown, to hit one, two, three.
When you move here, the goals probably just to eat
and pay the bills. Yeah, But now that you look
back and you have, you know, one of the few
things that any country music artist has, the triple crown,
(34:18):
Like can you look back at old Keith and be
proud of them?
Speaker 4 (34:22):
Yeah?
Speaker 1 (34:23):
Yeah, and especially the perseverance in tinacity to just keep
going even when it seemed. I'm glad it didn't seem
as weird and crazy to me as it did to
everybody else. It seems so crystal clear why I should
be here. But I realized at the time people must
have and I know they were a sort of going,
(34:44):
the hell.
Speaker 4 (34:44):
Is this boar doing here? It's just crazy? He's crazy,
you know.
Speaker 1 (34:49):
I'm glad I didn't know that at the time, because
I felt really comfortable here and like I should be.
It just took years and years and years of chipping
away to finally figure out out how to fit in
and not lose myself. That was the balancing act that
took the longest to figure out.
Speaker 3 (35:09):
To walk through all three pretty quickly. The Best New Artist,
you're that guy? Does that change you? Does it change
how people treat you in town? After you get the
trophy of the award?
Speaker 4 (35:21):
A little?
Speaker 1 (35:21):
I mean, just more an awareness that's all in potential, like.
Speaker 4 (35:26):
Go a little potential.
Speaker 2 (35:28):
You know a male vocalist.
Speaker 4 (35:31):
Oh man, that was a shock. That was a shock.
Speaker 2 (35:34):
I believe you when you said that, Like why why?
Speaker 1 (35:37):
Because I've never seen myself. I guess I'm so singer
guitar oriented that to think of my vocal as being
an independent, singular thing I've never given. I just didn't
didn't see myself in that category.
Speaker 3 (35:54):
So when you're nominated, do you feel like you're just
not going to win? Like this is cool to be nominated?
Speaker 2 (35:58):
Yeah? And when they called your name it was and
you went shock.
Speaker 1 (36:00):
Yeah, And especially because you historically you get nominated and
then you get nominated the next year, and if you're
lucky the year after that, and then eventually eventually they
give it to you because you've been nominated so many times,
so to get nominated and win it is a big show.
Speaker 2 (36:17):
The Big Ones entertainer.
Speaker 3 (36:18):
Yeah, I think if all the voters saw you perform
every night, I don't know who else would have won
in the last twenty years, Like to watch it or
I guess your show or why I think I told
you the first time I saw you do a real show,
I was like, oh, I'm blown away because I heard
you play, and I've seen you play intimately, and I've
seen you play on my show. But to watch a
full like arena performance, I was blown away and I'm jaded.
(36:42):
And I remember telling you that I think this is
a compliment, but you're awesome. I had no idea like
how how enthralled I would be, the people around me
would be to watch you embrace the crowd, to get
very personal, to get within the crowd, all the energy.
So I feel like you'd be entertained of the year
every year if everybody had to go and watch you perform.
(37:04):
But to finally be acknowledged for that, the big One
tell me about that, I.
Speaker 1 (37:09):
Mean, that's you know it's it's off of the Mountain
an award recognition. Yeah, it's I mean, especially for me
because I love to do it more than anything in
the world. I love to play live and I love
to play with an audience. I love to entertain. You know,
I'm not a shoe gazer. I love to entertain.
Speaker 3 (37:31):
I'm a shoe gazer little bit in a different way.
I think we're both shoegazers, just in a different way
than you mean that, because you got it. I think
maybe one A one B becomes the shoes. I think
you and are kind of rock in the whole town.
I don't ever see it, not in great shoes. Well
thank you, yeah, thank you or a great car. Likewise, yeah,
I remember why.
Speaker 4 (37:47):
It's your fancy kicks.
Speaker 3 (37:48):
Look and we'll land on a very music based story.
One of my favorite Keith Urban stories is there's this
big truck behind me, big like right on my butt,
and I'm.
Speaker 2 (38:00):
About to get beat up. Whoever this is.
Speaker 3 (38:01):
I'm about to get beat up. And it was you
and we were going to the opera. It was during
COVID whatever, Yeah, and you were in this big truck.
I hadn't I don't know it was you don't think
you'd be in a truck like you're being like a
I don't know, helicopter or something.
Speaker 2 (38:12):
You know, you're Keith Thurban.
Speaker 4 (38:13):
I think it was an F three fifty.
Speaker 2 (38:14):
It was a monster.
Speaker 3 (38:16):
But I thought I'm about to get beat up by
whomever's behind me because we're going on that part of
the opera that's like nobody else canna drive?
Speaker 2 (38:20):
Yeah, yeah, yeah, And then and.
Speaker 3 (38:22):
You're like hey, I was like, oh man, thank god,
but didn't You're a car guy.
Speaker 1 (38:29):
My dad loved cars, so I grew up with my
whole life. We've had We're the odd ball couple, the
odd ball family in Australia that always had American cars
in this tiny little town we lived in Australia. We
had like Chevyes and Pontiacs and Buicks and you know, can.
Speaker 2 (38:43):
You fix a car like drink drink?
Speaker 3 (38:46):
Can you fix it?
Speaker 2 (38:46):
Like?
Speaker 1 (38:47):
No?
Speaker 4 (38:47):
I wish I could.
Speaker 1 (38:49):
It's just it's the driving aspect. I mean, my passion
next to music is driving. I drive all the time,
and when I'm touring, I'll rent a car if we're
going to if we're going to get from a hotel
to the venue, I'd rather rent to Carr and drive
it myself. I hate being driven.
Speaker 3 (39:06):
Final question, because I know how much you value the
people that come to your live shows, and you put
so much work into the live shows. Talk to me
about a set list and the art of your set
list and how you put together a night.
Speaker 1 (39:20):
I probably obsess over way too much a set list
because it's an experience. I mean, it's not a group
of songs. I'm shaping an experience that I want to
create for those two hours for the audience, and I'm
trying to guess will this have that effect? And if
we go from here and to here, will will that
(39:41):
do this? Will this be about the time that the
audience would want that that should be right, and then
we would be able to do this after that because that.
Speaker 4 (39:49):
Would make sense.
Speaker 1 (39:50):
And you trying to create this a playlist, you know,
trying to create a great playlist for a two hour party.
Speaker 3 (39:57):
You were closing your eyes as you were even talking
to me through it is that in every night thing
where you're changing it or changing it based on how
you felt the night before.
Speaker 1 (40:05):
I've learned that it's a delicate balance of don't take
too much data from that night because that was that
night in that venue in that town. And if you
go tinkering too much because of that feedback, this audience
could be completely different. So just do it enough where
at some point the set list becomes pretty solid. For me,
(40:29):
you know, I mean always going to make quarterback calls
because I can't do the exact same thing night.
Speaker 4 (40:33):
After night after night. I couldn't do it. But like
an episode of SEVENS or something, I just can't do it.
Speaker 2 (40:39):
Going back out on the road again.
Speaker 1 (40:41):
Yeah, High in a Live World tour is going to
kick off. Got a predominantly new band, new obviously, new
songs are put in there, and brand new production, working
with a production design I've never worked with before, and
just trying to create a whole brand new experience.
Speaker 3 (40:59):
What is a production designer do with you? I don't
know that process.
Speaker 1 (41:03):
Just the look of the stage, you know, and for me,
what the lighting is going to do with the video
aspects is going to do?
Speaker 4 (41:09):
What the physical.
Speaker 1 (41:12):
Environment of the stage is going to be, what's the
what's the material that we're going to be standing on
and the durability of it and the color of it
and all this stuff so that when you walk in
it has a very particular look about it.
Speaker 3 (41:26):
Other than the music rehearsal part is our timing rehearsal
part with the videos, the elements that you're putting into
the show.
Speaker 1 (41:31):
Yeah, it's tricky for me because I have a lot
of spontaneity. So even with tracks, if we've got backing
tracks on certain things that might be just percussion. There
may be percussion components that the band is playing along with,
but I may not want to do that exact arrangement tonight.
So you know, our track guy knows how to move
(41:52):
things in real time, and the video guys are getting
really good at knowing how to move things in real
time too, and swap songs around and be on the fly.
Speaker 3 (42:00):
By getting really good at it, that means being forced
to because you're like, I'm changing this, and so they
just have to roll with it, right.
Speaker 4 (42:06):
It's great.
Speaker 1 (42:06):
I love that kind of just that spontaneity keeps everybody
on edge, like nobody can get up. Nobody in the
band or in the crew can just be like, you
know if you're on because you don't know what's going
to happen next. And I love those kinds of shows.
You can feel that kind of energy in the audience.
That especially when you go into a like a spontaneous thing,
(42:28):
a guitar solo or some moment breakdown moment or something
musically and the band's like, I don't.
Speaker 4 (42:32):
Know what's happening, what's going on?
Speaker 1 (42:33):
And you're like, I don't know, we to here, we are,
but we're doing it. The audience feel that they don't
They don't have to be musical. They just go what
is going on? What is what's this energy that's happening
right now? And it's just unpredictability.
Speaker 3 (42:46):
So keep the band scared. That's the advice, is to
keep your band scared anytime. Yeah, I really appreciate you.
Speaker 2 (42:52):
Having me out. Thank you, thanks for showing me the place.
Speaker 3 (42:55):
And always inspired by how you're so inspired. That's a
weird thing, hey, but that's the truth, and I thank you. Yeah,
I'm inspired by how you stay so inspired. So yeah,
thanks for having us out any time.
Speaker 7 (43:05):
Bubby, the Bobby Cast will be right back. This is
the Bobby Cast.
Speaker 3 (43:20):
I was reading this article about fifteen rock bands that
supposedly don't deserve all the hate they get and ultimate
classic rock lists the fifteen and all we're going to
do is put it on a one to ten scale,
how much we hate the band love it. We're not
even going to say if they deserve the hate, we can,
but the main purpose is one to ten ten mean
(43:40):
most hate, one meaning love.
Speaker 5 (43:42):
And personal opinion. Yeah, all personal opinion, and that's art, right,
like you judge art differently based on who you are.
Speaker 3 (43:49):
A number fifteen limp Biscuit. I put Limbisku out of
a nine. I love limp Biscuit and love that time.
Was never much of a corn guy, but loved limp
Biscuit and limt Biscuit. It was a bit derivative of corn.
Speaker 5 (44:01):
Yeah they were.
Speaker 3 (44:02):
Yeah, so love limp Biscuit, love the white rock or
rap type thing. I still will watch limb Biscuit videos
now of them doing festivals now and still killing it,
still doing good. Yeah, so I put them in a nine.
Speaker 5 (44:15):
You I'm gonna go five. Don't care either way because
I respect what they did and what they're still doing.
Fred Durst, I mean, you know, it's whatever. The guitarists,
the guy that looked like, you know, he wore the contacts,
and the monkey guy like that's pretty cool. So I
didn't care much for their music. But I respect them,
so I go five.
Speaker 3 (44:34):
Rarely do people say they respect limb Biscuit.
Speaker 5 (44:36):
Yeah, I haven't heard that really. Yeah, because I understand
their success, I understand why people like them.
Speaker 3 (44:41):
Yeah, I really still like them. I wish they'd come
in here doing acoustic. That would be to break stuff.
Number fourteen Dave Matthews Band, I'm gonna put them at
a I'll go eight. Their live shows aren't for me
because they're jam banded and too long. But I really
like Dave Matthews Band when it comes to listening to
(45:02):
songs or albums.
Speaker 5 (45:04):
Solid, that's pretty solid. I want to put them at
an eight for a different reason. I like their early stuff.
I like Dave Matthews Band till about two thousand. Then
after two thousand they kind of lost me. After space
between some of the music kind of it didn't like
I don't know, it didn't click with me. So I'm
gonna go eight because I do love Dave Matthews Band,
but some of their early their their later stuff, for
(45:25):
their most recent stuff don't like so much.
Speaker 3 (45:27):
It's probably because you're on your formidable years anymore, and
that stuff that you grow up with in that time
of like fifteen to nineteen, thirteen to nineteen really becomes you.
And if they change it all from that, you don't
like that anymore because it's not in your formidable years.
More than their change is just so drastic.
Speaker 5 (45:42):
Could be right, You could be right about that. I mean, dude,
I love Dave Matthews so much that I would listen
to all their live albums. I mean their Red Rocks album.
I'd listen from start to finish.
Speaker 3 (45:53):
Dave and Toom.
Speaker 5 (45:55):
I would listen to a lot of those college albums.
Speaker 3 (45:57):
That's a good one.
Speaker 5 (45:57):
Loved it.
Speaker 3 (45:58):
That was like from Chicago theater, right. They did a
bunch of different ones the day in ten. There was
like one real big record though, uh Luther College. I
believe that what it was that was like in Chicago.
Oh possibly, don't.
Speaker 5 (46:08):
Let's let's google that.
Speaker 3 (46:08):
I don't know. Number thirteen. You too, I like you too, fine.
I find them to be overrated. I put them in
about a five. I don't hate you too. I would
bet either Chicago or North Carolina from where they're from.
Speaker 5 (46:27):
Where is it? Iowa?
Speaker 2 (46:29):
Danger?
Speaker 3 (46:29):
Mister mc du okay, Uh you too? I put them
a five. You're crazy, dude, you put you Tube where
you put on biscuit. You two is a ten for me.
Speaker 5 (46:38):
I still love what YouTube puts out like I love
you too.
Speaker 3 (46:41):
They take themselves way too seriously for me.
Speaker 5 (46:43):
They do. They're serious about their music, but.
Speaker 3 (46:46):
It's different than serious about their music than take themselves
way too serious. Two different things. Oh you think like
they Yeah, they have attached themselves like we have a
purpose bigger than everybody else, and you should listen to
everything we say always because we are rock stars and
people have accepted and loved ust on a level that
makes us superior. They have a superiority complex unfairly.
Speaker 5 (47:05):
I think that is Bono, that's I mean. And they've
chosen Bono as their leader as the leader of the band.
I get it, and part partly too, Like I mean,
he named himself Bono, and then the Edge has a name.
That doesn't help that they have these like weird first
names or whatever. But dude, you two is so good.
The whole world loves you too, and I think there's
a reason for.
Speaker 3 (47:24):
The whole world doesn't love you too. They had their moment.
They're a five for me. There are ten wow, ten
Genesis a little before us, though I've been unfair. So
the original singer of Genesis was Phil Collins.
Speaker 5 (47:41):
No go Peter Gabriel. Yes, it's fifty to fifty.
Speaker 3 (47:44):
And then Phil Collins was the drummer who ended up
being the singer. I don't have a feeling of love
or hate because I don't even know why people would
hate them, right, and I liked them. I give them
a six because I liked some of the early Peter
Gabriel stuff. And we've done this in podcasts, like try
to figure out what was what it's really present on
Genesis more than it is a score sure, and why
(48:07):
don't know why people don't like them though I don't know.
Speaker 5 (48:09):
Either, And we're definitely at the age where were we
didn't grow up with it, like you said. And I
think that hurts it for me because I wouldn't never
turn it off if it's on the radio or it's
on like, I mean, that's cool. I like that song,
but I'll never seek Genesis. I half the time, I
don't really even know if it's Genesis or not.
Speaker 3 (48:24):
So I go four Green Day.
Speaker 5 (48:28):
I'm wann to go love me some Green Day too,
if ever, like I'm just like at a Friday, you know,
six o'clock on a Friday evening and I want to
just go back to a certain time. I will just
grab a six pack of beer and listen to Green
Day and like just flash back to high school, to
college to getting out of college. I love it all.
(48:51):
So Green Day I'll give a nine because they're not
my favorite band, but I love Green Day.
Speaker 3 (48:54):
I'll give it a nine as well. I think maybe
people don't like them now because they're extremely political.
Speaker 5 (49:00):
Oh are they?
Speaker 3 (49:01):
Yeah?
Speaker 5 (49:02):
I didn't even realize. And I guess you two is
too right?
Speaker 3 (49:05):
Pretty political, but they're not American. Yeah, but they do
hit on a lot of American polic they're not Americans.
You just go, you guys aren't even American.
Speaker 5 (49:12):
A good point, Like, what are you talking about? Don't
claiming your country?
Speaker 3 (49:14):
I know Motley Crue at ten.
Speaker 5 (49:19):
Again, I think it's our age. Uh, I don't. I
don't hate Motley Crue. I don't see a lot of
substance to Motley Crue music. It's kind of just turning
on in the background. Uh, Home Sweet Home.
Speaker 3 (49:34):
Yeah, they got like two songs I like. I think
I have a bunch of songs. I am indifferent about that.
If it comes on the classic rock station, like I
don't chase down smoking in the boys room. I was
trying to think, but if it's on, I'm like smoking
in the balls room.
Speaker 5 (49:47):
Girls, girls, girls, girls, guess gurs.
Speaker 3 (49:50):
Right, yeah, four. I see why people don't like them
or didn't like them because they were cheesy and they
were massive in the glam era. And when you're the
biggest and part of an era that looks super cheesy.
Mm hmm, I'm gonna yeah, I'm gonna go four.
Speaker 5 (50:06):
I'll go four with you.
Speaker 3 (50:09):
Nickelback, go ahead, go ahead, man, ten to seven, you're crazy.
Speaker 5 (50:15):
Seven.
Speaker 3 (50:16):
I think they get a lot of hate because it's
the cool thing to do, and people that say they
hate Nickelback actually just want to be a part of
a group.
Speaker 5 (50:20):
I don't understand. Was it cool to ever say they're
not cool?
Speaker 2 (50:23):
Yes?
Speaker 3 (50:24):
Yes, why that was the cool thing to say? It
was Nickelback sucks. They got so big. It's the same
thing people do to Coldplay. It's Coldplay does not suck.
I know, but that's what happened to Coldplay. They got
so big people started to go o, it's corny.
Speaker 5 (50:38):
Mm hmm. You don't think Nickelback's music, is you don't.
Speaker 3 (50:41):
Think cole plays music is wow, dude, it's very I
love Coldplay, but there's definitely a corny element. It's deep
to their anthemic, fast disco type song.
Speaker 5 (50:51):
Is it a little emo?
Speaker 2 (50:53):
Yes?
Speaker 3 (50:53):
No, guys, you're talking about like the fast stuff that
they do now, Coldplate, Sky Full of Stars like that one.
Cool Play gets lame, but I love Coldplay, love Coldplay.
Nickelback can kind of get lame. But I think Nickelback's
great and they should not be hated up on like
they do because it became cool to hate on them.
Speaker 5 (51:09):
This is one of those things where, like, I think
you and I could really get into a fight over
because every time we talk about it, it's like you're
so serious about like no, they're so good, and I'm
so serious about like no, dude, they suck.
Speaker 3 (51:21):
You don't write that many massive songs without being a
really great writer. Even if you think the songs have
no texture or depth, they write bangers. The people have spoken,
and I'm not going to go to a Nickelback concert.
I got invited to one. I didn't want to go.
Oh yeah, but I'm not because I'm not a Nickelback fan.
(51:42):
So what do you give them, But I'm a fan
of not being a hater for no reason.
Speaker 5 (51:45):
No, no, no, no, no, just seven. Rate them the way
you rated Motley Kruz.
Speaker 3 (51:49):
I already did seven. They have enough good songs to
come on. I'm like, that's fun, I like the song,
or I definitely don't hate this song, or I'm singing
along with it. Don't even realize I'm sing along with it.
Never made it as a wise man. Or look at
this photograph.
Speaker 5 (52:04):
Remember I told you how like Green Day, I get
a six pack of beer and go back. Dude, if
I ever got a six pack of her and listen
to nickel Back, I would probably throw away that speaker.
Speaker 3 (52:12):
You're a hater for no reason.
Speaker 5 (52:13):
What's our scale?
Speaker 2 (52:15):
One to ten?
Speaker 5 (52:16):
No zeros?
Speaker 3 (52:16):
Nope, one liar.
Speaker 8 (52:19):
Let's take a quick pause for a message from our sponsor.
Welcome back to the Bobby cast created eight.
Speaker 5 (52:36):
How you do this on furmose Let them out?
Speaker 3 (52:38):
It's on the list nine to eight.
Speaker 5 (52:41):
Look, the reason Creed rubbed me the wrong way is
because I love Pearl Jam and I hated the fact
even MTV did what was remember the Celebrity death matches
even did any better versus Scott Creed because.
Speaker 3 (52:55):
Whatever his name is, respect him. He's played with us before.
Speaker 5 (52:59):
Because he tried to sound like Eddie Vedder. I hated that.
I hated that he would talking like, do you.
Speaker 3 (53:07):
Think anybody that sings like that is trying to sing
like Eddie Vedder?
Speaker 5 (53:10):
Yes, because Eddie Vedder didn't try to sing like that.
It was the first one to ever sing like that.
Name me someone else who sing like that before Eddie Vedder.
Speaker 3 (53:17):
Okay, everybody's derivative of something, including Eddie Vedder. Go ahead.
Speaker 5 (53:22):
I hated that about Creed so immediately I never like Creed,
so I give them a one as well. Eight You're
crazy with thems wide O. Did you ever buy their albums?
Speaker 4 (53:36):
Oh?
Speaker 3 (53:37):
Yeah, I went to concerts.
Speaker 5 (53:38):
How many?
Speaker 3 (53:40):
At least two? You're crazy sticks?
Speaker 2 (53:43):
Hmmm?
Speaker 3 (53:45):
Sail Away before me so much. I never saw the hate.
So it's just do I like him or not?
Speaker 2 (53:50):
Yeah?
Speaker 3 (53:50):
Like I'm okay. I watched them do the web series
at john.
Speaker 2 (54:00):
House.
Speaker 3 (54:00):
Yes, and then he was awesome to sing from six
It's Darryl's house whatever it is. One of the two
had a house and the artist would go over and
I was like, that didn't sound roight. What I didn't
sound right, but it's great.
Speaker 5 (54:14):
Hold on, we've done this before, man, where we like
go down the sticks songs and like they're all so good.
Speaker 3 (54:20):
Dix is great, except they're great as a classic rock
band that I never had any sort of relationship with
because they weren't alive while I was alive. Like Renegade Gone,
just stop a Renegade, that's a jam. Come sail Away,
Come sail away, Come sail away with mister Robotto.
Speaker 5 (54:40):
Mister rob is awesome.
Speaker 3 (54:41):
I got too much time on my hands that I'm
in Wait.
Speaker 5 (54:46):
Do they sing show me the Way like I want you? Okay?
Speaker 3 (54:49):
We played with that band, did Foreigner?
Speaker 5 (54:52):
Yeah? Oh that's cool.
Speaker 3 (54:53):
Yeah, I'm gonna give m a six.
Speaker 5 (54:55):
I like six six is strong because they I do
like their songs. Don't know anything about them other than
I did see that lead singer guy at home Depot
one time long crazy Yeah, blonde.
Speaker 3 (55:05):
Hair, it still sounds great. Saw him over John O's house, No,
Darryl's house, Pearl jam, go ahead?
Speaker 5 (55:14):
Five? Why do you do that? I swear you do
that just to piss me off? Five Because there's no
way that you grew up in the nineties loving.
Speaker 3 (55:23):
Don't tell me. There's no way I said what I said?
Speaker 5 (55:24):
Five, Explain yourself, my friend.
Speaker 3 (55:31):
It sounds like a cartoon character.
Speaker 5 (55:33):
What do you talk? No, one sounded like that. Do
you remember Hunger Strike?
Speaker 3 (55:37):
Yeah? Okay, remember saw them play that at a show recently.
They played it in the crowded the other part Chris
Cornell bar that's.
Speaker 5 (55:42):
Pretty cool when they do that. That wasn't the show
I went to when Hunger Strike came out. I remember
people being like, who is that? Like that voice is
so unique, so awesome. Who is that? That's the new
lead singer of Pearl Jam.
Speaker 2 (55:58):
Dude?
Speaker 5 (55:58):
They were just they were great from the beginning and
they continue to be great. They continue to didn't they
move to Seattle? If fake like the from Seattle to
be part of the grunch scenes Eddie did Eddie was No, no, no,
that's not fair at all. Because Stone and Jeff, the
two founding members of Pearl Jam, were in Mother Love Bone,
who were the roots of Seattle grunge.
Speaker 3 (56:19):
These are the people they say Eddie Vedder is derivative
of Jim Morrison. They stole a lot of his delivery
from Jim Morrison.
Speaker 5 (56:24):
I get that.
Speaker 3 (56:24):
Neil Young stole a lot of his delivery from No Young.
Speaker 5 (56:27):
You think Eddie Vedder sounds like Neil Young.
Speaker 3 (56:29):
They say Neil's voice is higher, but veterans credited Young
as a spiritual godfather of grunge, especially when he sings
and does acoustian material. Okay, Michael Stie because of his
mumble delivery, please mark Lanigan from streaming Screaming Trees, grunge guy. Yeah,
So anyway, I'm just saying you had to look at
that totally original voice that you claim everything's derivative of everybody.
Speaker 5 (56:52):
My final answer is a ten for Pearl Jam Guns
and Roses. Ooh, I like Guns n' Roses. I'll give
Guns and Roses a solid eight five.
Speaker 3 (57:02):
Really, Yeah, grunge kind of made them look worthless before me.
You're right, and grunge made them look weird to me
because I never listened to Guns and Roses in real time. Yeah,
and so I was kind of like, I like, welcome
to the Jungles in football movies. You're in a jungle baby,
And I was like, yeah, it's a five. Cold Play
unfair hated ten.
Speaker 5 (57:22):
You're gonna put them at ten?
Speaker 2 (57:23):
Yeah?
Speaker 5 (57:23):
Nice?
Speaker 3 (57:23):
I love cold Play. They have some really goofy, cheesy songs.
But I love Coldplay.
Speaker 5 (57:27):
It's funny you like you like this the sad Ones
more than.
Speaker 3 (57:29):
The only the sad Ones. I don't want the anthem
So you.
Speaker 5 (57:32):
Don't like Viva Levita?
Speaker 3 (57:34):
Who cling?
Speaker 5 (57:38):
I don't even know what you're saying.
Speaker 3 (57:40):
Viva Lvida. Journey at three ooh, Journey before me, before us,
But still like Journey, I mean, don't Stop Believing is
a Yeah. They have a lot of hits too.
Speaker 5 (57:53):
I'll put them at six. The Eagles O ten.
Speaker 4 (57:57):
Eight for sure.
Speaker 3 (57:59):
Number one most hated band. Kiss?
Speaker 5 (58:02):
Oh, why do you hate Kiss?
Speaker 3 (58:04):
I don't.
Speaker 5 (58:04):
I know it's in the list, Like why would you
hate on Kiss?
Speaker 3 (58:09):
I think because there wasn't a lot of substance and
it was mostly all on flash, which was the makeup.
Speaker 5 (58:13):
Yeah, and uh Gene Simmons tongue.
Speaker 3 (58:16):
Yeah, but part of that, that's part of the makeup
and part of that. We're going to be creatures on
stage more so than just knock out hit after hit
or like music with depth. But again I'm not a
Kiss fan.
Speaker 5 (58:26):
Forget the depth though? Do those were jams? Though? You
can roll all night?
Speaker 2 (58:29):
Go ahead?
Speaker 3 (58:30):
I know, like three songs you know that's the same
song you just said.
Speaker 5 (58:35):
No, I mean I couldn't. I couldn't tell you, like I.
Speaker 3 (58:37):
Know, they have Detroit Rock City, but I can't sing
that back right now. And they have the slow song
from the Paul Rudd movie where he's a mentor.
Speaker 8 (58:48):
Role Models.
Speaker 3 (58:48):
Yeah, role Models.
Speaker 5 (58:49):
I've never seen that movie.
Speaker 2 (58:50):
I think all their music was in that. It was
munch song.
Speaker 3 (58:52):
Yeah, yeah, let me see, because I do like that song,
and it's a slow song.
Speaker 5 (59:00):
I love it loud.
Speaker 3 (59:02):
That's what I'm saying. They don't have a lot of songs.
They have a lot of like we I was made
for Loving You, rocking around, dishors hapens, if I wud
lick it up, love gun Forever. Maybe Forever is a
slow No, Beth is what I'm talking about.
Speaker 5 (59:13):
Beth.
Speaker 3 (59:13):
Yeah, Beth's awesome. It sounds like a Beatles song, it does.
Speaker 5 (59:26):
Yeah.
Speaker 3 (59:27):
Okay, so there's that. I just want to see where
you fell on the hated scale.
Speaker 5 (59:30):
Yeah, you know, I didn't realize Kiss didn't have a
lot of jams.
Speaker 3 (59:33):
I might know them because they got a bunch of
pain on their face. That's why when they came back
and did songs without paint, on their face. Nobody cared
they had no more hits. All right, that's it. Thank
you guys, we'll see you next week. Thanks for listening
to a Bobby Cast production
I'm in this bar and I look over at the
table I see Toby. I'm like, oh wait, that's Toby Keith.
I think you've cut one of our songs. He goes,
huh oh, yeah, man, did you like the song? He goes,
we cut it, man, And then he just looked back
at his dream and I was like, okay.
Speaker 2 (00:22):
Moving on.
Speaker 1 (00:23):
Years later, I got to know him and I told
him that story. He's like, man, I'm so sorry.
Speaker 3 (00:29):
Welcome to episode five sixteen with Keith Urban. And this
was us at Keith Urban's new studio that he built,
that he owns, and we used a clip of this
for the ACM television special that is on Amazon Prime
Video if you get a chance and you want to
watch it. But we had like forty five minutes, thought
it was a really good interview, so we wanted to
play it all back here. A couple of things. Keith's
(00:50):
touring the High and the Live World tour going on
now wraps up in October and it wraps up in Nashville,
but there are so many stops. The Australian leg kicks
off and he's playing in a city called Wollongong.
Speaker 2 (01:02):
Wallingong Ever been there?
Speaker 3 (01:04):
Never heard of it. Actually, if it sounds like a
place I'd like to go, so you can check that out.
He's got Chase Matthew, Alana Springsteen, Carly Scott Collins on
tour Keith Urban dot com if you want to go
check out. His shows are so awesome. I think some
of the great stories we've learned about Keith in the
past that we don't get to here, because we did
an episode a long time ago with Keith Urban where
(01:25):
we talked about and we could even put that up
later this week, to the old Keith Urban episode. Yeah,
where we talked about his dad, and he talked about
his dad like super detail. I had never heard him
talk about his dad that much, so yeah, we should
put that up. But he talked about too, like playing
at the airport where he would stand on like the
conveyor belt thing in the middle, not the part that moved,
(01:45):
but the conveyor belt moved around it, and so he
would play music there and then people would come and get
their bags, and they'd get their bags and walk away,
then he'd start over the next time. So really interesting
his story. And here we talk about like when he
moved to Nashville and where he lived exactly and I
hope you enjoy this. And then after this forty five
to fifty minutes with Keith Urban, we're going to talk
(02:07):
about bands that get a lot of hate but don't
deserve the hate they get. So we had this already
recorded and we were just going to team it up
with something. So we're gonna put it at the back
end of this because I really liked it as well.
So Keith Urban, Episode five sixteen. If you want to
watch this, by the way, we've loaded it up the
whole thing Bobby Bone's channel over on YouTube. It's where
(02:29):
we put all the Bobby casts, Bobby Bone's channel on YouTube.
All right, here we go, Episode five sixteen with Keith Urban.
Speaker 4 (02:35):
Thanks for having me, Thanks for coming.
Speaker 2 (02:38):
Pretty cool space.
Speaker 4 (02:39):
Thank you.
Speaker 2 (02:39):
So, what's just like your dream studio? Did you build this?
Speaker 1 (02:43):
I didn't build it now, this got built in the
mid nineties, but I've did a lot of recording here.
Speaker 2 (02:49):
So before you bought it, you recorded here.
Speaker 1 (02:51):
Yeah, a lot of stuff on all the albums from
Golden Road all the way forward.
Speaker 2 (02:57):
So in that case, is that like you're waiting for
it to go for sale since I.
Speaker 1 (03:00):
Couldn't believe it was for saying I put it that way,
you know, and buying it was I felt like I
bought my school.
Speaker 4 (03:05):
That's what it felt like.
Speaker 3 (03:06):
That would be weird, yeah, but also awesome. Yeah then
you're the ruler. Yes, yeah, that's great. There's a lot
of stuff I want to talk about. I think for me,
your origin story is really interesting, especially when you come
to Nashville. Like when you moved to Nashville, Like where
do you live? What kind of place do you live,
like for a new artist moving here, like a small apartment.
Speaker 1 (03:26):
Well, weirdly enough, the first place that I stayed with
my manager when we came here the very first trip,
we stayed over the road at Shoney's Inn, which is
now comfort In, And the room that we stayed in
is literally right there. And it's crazy to walk out
the door of the studio and look over and see
that room that my manager and I stayed in on
the first trip, and to go from there to here
(03:48):
is mind boggling.
Speaker 3 (03:49):
So why do you say you and your manager, you
guys came together.
Speaker 1 (03:53):
What was that relationship we you know, we just I
made a little demo tape that we just got on
a plane and come over here.
Speaker 4 (04:01):
We really didn't know anybody.
Speaker 1 (04:03):
We just did the classic thing of walking up and
down sixteenth and seventeenth A and going in and seeing
if they'd let us play the my little cassette demo.
Speaker 3 (04:12):
So you record a cassette of songs? How many songs
do you think?
Speaker 4 (04:15):
Just guess?
Speaker 1 (04:16):
Maybe five or six songs that I'd written.
Speaker 3 (04:18):
And you felt strongly enough about it that we're going
to go to Nashville. He felt strongly enough about you. Yeah,
that's a lot of trusting to a person too, by
the way, like as a manager, going I trust this guy,
like this is my guy. You fly here, you're staying
at the show, and he's in for what do you
think of night?
Speaker 2 (04:31):
How much?
Speaker 1 (04:32):
Oh more than we could afford at the time. I mean,
we spend everything we had on the plane ticket.
Speaker 2 (04:36):
In a paying nightly rent.
Speaker 3 (04:41):
And then how do you do it again? You're knocking
on doors? But what doors do you knock on if
you don't know what doors are? Important?
Speaker 1 (04:48):
We did anybody that would listen, we would play it for.
And I was so proud of it, you know, and thought, oh,
I can't wait for everybody to hear this. It was
terrible hindsight it was just terrible, you know, what do
I know? You know, but played it for people that
would listen to it, and it was all very much
like thanks, but you know, so it was really heartbreaking,
(05:12):
you know. It was just soul sucking. But I went anyway,
I want to be here, I want to live here.
Let's go, let's go.
Speaker 3 (05:19):
When you say let's go, do you go back?
Speaker 4 (05:21):
Yeah? So I was only on.
Speaker 1 (05:22):
It was really hard to get visas back then, and
I couldn't legally stay longer than you know, a certain
period of time. I couldn't make any money here, not legally,
so I could come for a couple of weeks try
and get with people to write, and then I'd have
to go back to Australia. And I was doing little
shows at corner pubs or wherever I could on my
(05:43):
own solo to just stock money away so I could
then get another plane ticket come back and just keep
doing this back.
Speaker 4 (05:49):
And forward forever.
Speaker 2 (05:51):
How long did you go back and forth?
Speaker 1 (05:54):
I don't know, two three years, something like that. I
would come over for a couple of weeks and write
with some people and then go back and come back over.
But I was staying in a hotel probably down here
at the Shawnees, I think still. And this guy who
was an engineer at one of the publishing places I
went to, he said, listen, I live on my own.
I got a spare room at my house if you
(06:15):
want to stay there and stay at my hotel. So
I stayed at his house and when I left to
go back to Australia, I left a bunch of a
bunch of clothes in the drill and he called me
and he goes, hey, you left some stuff here, and
I said, yeah, I'll be back because I wanted to
feel like I was moving in. So I was in
Australia thinking I've got clothes in Nashville like I have.
Speaker 4 (06:37):
Like it was like saying I have a place there.
Speaker 3 (06:39):
You know, before you left a toothbrush at somebody your
dating's house, so now you know same kind of Yeah,
you got to go back exactly. So the more you
would come over, and it's a pretty intimidating place because
you're coming to I mean where you are, there's music,
where everybody is, there's music, and you're kind of king
dealing and then you get here and you're like, wow,
this is the giants are here? Did that motivate you
(07:00):
to get better or did it did it more inspire
you to get here so you could be around it,
to grow into it.
Speaker 4 (07:05):
All the above.
Speaker 1 (07:07):
I knew when I got here, I just wanted to
be here. All the best here, all the best guitar
players are here, all the best songwriters are here, the
best producers, the best everybody is here. So I just
wanted to get here and get going. I knew it
was going to take a while, and I just wanted
to get going.
Speaker 3 (07:23):
You know, when did you get your first piece of
positive feedback?
Speaker 4 (07:27):
Monday?
Speaker 1 (07:28):
Just last Monday?
Speaker 2 (07:28):
Good for you? Yeah, yeah, I'm glad it's happened.
Speaker 4 (07:31):
Thank you.
Speaker 2 (07:31):
That's pretty cool. Fine, I'm rooting for you. Yeah.
Speaker 1 (07:36):
It's all incremental, you know, it's I'm sure you got
a similar experience where it's just just one good enough
thing happens that you just hang in there. I mean
I didn't have option B anyway. I mean, I had
no other plan nothing. It never occurred to me to
go back to Australia. That was never part of the
thinking ever. It was just well, stay here until something happens.
Speaker 3 (07:58):
When you look back at that tape that you made
it and now you know anything that creators make a
long time ago, hopefully it makes us cringe because that
means we've grown, right, Like That's that's the goal and
thing I do. I want to like cringe is something
I did two or ten years ago. But when you
look back at that, what do you what can you
still identify as special about that?
Speaker 1 (08:21):
I think I had a good intrinsic sense of melodic
structure for songwriting, and I think people recognize that here.
So I was able to get in with really good
songwriters pretty early on. And I think even though my
voice needed a lot of work, there was some good
fundamentals in particularly commercial songwriting, you know, hook choruses and
(08:44):
catchy melodies and things like that.
Speaker 3 (08:46):
Songwritering is interesting because you're coming from a place where
my assumption is based on other conversations. There's not a
lot of co writs, like the co writers really learned
in Nashville.
Speaker 2 (08:56):
So were you're writing songs by.
Speaker 3 (08:58):
Yourself and then having to learn the Nashville co write
culture when you're here.
Speaker 5 (09:02):
Mm?
Speaker 4 (09:04):
Yeah it was.
Speaker 1 (09:05):
Then I signed a publishing deal. It was very small
income for me, which was perfect. It's all I needed.
I didn't need much to live on and I had
a really crappy rental car and I would drive down
to Music Row from this guy's house that I was
living at every day, five days a week and walk
into this you know, windowless room with two yellow legal
(09:26):
pads and a couple of acoustics and try and write
a song with a total stranger and it was. I
hated it, like hated it. It felt I hated going
to school, but this was even worse.
Speaker 4 (09:36):
I don't know why. It was just like I just
felt so.
Speaker 1 (09:39):
Insecure, so out of my depths. You know, I'm writing
with these professional writers and I don't know what I'm doing,
and it was and it was not inspiring. I was
used to having a drum machine, writing with a bit
of a groove, getting a vibe going, and that would
inspire the way I write songs. And nobody wrote like that.
It was literally legal pads and an acoustic and windowless room.
Speaker 4 (10:03):
And I'm like, how do you write in here?
Speaker 1 (10:05):
What?
Speaker 4 (10:06):
It's not vibe? You know?
Speaker 1 (10:09):
But from that experience, I think I learned a lot
about songs, even more about song structure and how to
write a song that isn't vibe based, but it actually
has the bones of a good song.
Speaker 3 (10:21):
Do you feel like those experiences writing in an environment
that you weren't completely comfortable, not because of the people,
but because of what you were used to and also
where you did your best work. Do you feel like
that also help you understand where you did write the
best and how you wrote the best because you're in
a room with no windows and you're like, okay, I'm
(10:41):
learning here.
Speaker 2 (10:41):
But it kind of reinforced the idea of you.
Speaker 3 (10:43):
Like to write with a vibe, you like to write
with a machine, and so therefore you knew where you'd
be the.
Speaker 4 (10:47):
Best spot on. That's exactly what it did.
Speaker 1 (10:49):
It mean, it reinforced how I don't want to write
or how I can't write. It's not don't want to
it's like it's not bringing out the.
Speaker 4 (10:57):
Best in me. You know, it's not inspiring me.
Speaker 1 (11:00):
I feel intimidated, I feel suffocated, and I can't write
like this. And I think a lot of it was
to do with you know, I think the foundation of
country songwriting is lyric. The melody seems to always come second.
Speaker 4 (11:17):
The lyric is key. The story is important, That's what's important.
Speaker 1 (11:21):
And I was coming from it the other way, where
the melody and the hooks and the riffs that those
were driving the story and everything else. So I just
had to find my environment and way of writing and
people that.
Speaker 4 (11:35):
Also love to write that way.
Speaker 3 (11:36):
Do you feel like now when you write with people
that you know are feeling a bit of the same
intimidation from writing with you, you can remember that version
of yourself, Oh yeah, and kind of help them through it.
Speaker 1 (11:45):
Totally, totally. I neutralize the situation immediately. I'm like, I
don't know what's going to happen to day. Maybe nothing,
but let's just jam a bit, let's have fun. If
you get any ideas, you know, zero no pressure, no expectation.
You know, maybe we write, maybe we don't, maybe just
go to lunch.
Speaker 4 (12:03):
Maybe we just hang.
Speaker 1 (12:03):
Today and that will end up creating a song the
next time we get together because we know each other better.
Speaker 3 (12:09):
You have a publishing deal, and you said, a Paige,
you a little enough to get by. Did you have
any success in your first publishing deal? When did you
start to have success as a writer?
Speaker 1 (12:21):
I really, I mean I had to record my own
songs to get them cut to the degree that because
I wasn't a professional writer, it wasn't what I came
here to do. I didn't come here to be a writer.
I was an artist, but I could write.
Speaker 3 (12:34):
And that was the first way to make money too, right, Like, yeah,
a steady check at least.
Speaker 1 (12:38):
Yeah, it was a steady check. And it was a
way for songs to maybe get cut by the people
and a few little cuts here and there, you know.
Like we wrote a song, My buddy and I wrote
a song, a Christmas song that Toby Keith ended up
recording on an album. I was completely unknown, So this
is the early nineties, and.
Speaker 4 (12:59):
I heard that he cut this.
Speaker 1 (13:00):
Song we wrote, and I was like, the song was
called Jesus Gets Jealous of Santa Claus, right, and it's
just it's a really beautiful songs. It's all about the
anti commercialism of it, right, And so.
Speaker 4 (13:12):
We wrote it. He loved it cut it.
Speaker 1 (13:14):
I was amazed, because, I mean, Toby is a great writer.
I'd never met him. I was down in Lower Broadway
one night at a bar. And this is long before
Lower Broadway is what it is now, and nobody went
down there. I'm in this bar and I look over
at the table and I see Toby. I'm like, no way,
that's Toby Keith Man, I'm gonna go up and say hi,
cause I got a way to introduce myself now. And
(13:36):
whenever I said, Toby, your name's Keith Urban. I think
you cut one of our songs, he goes, huh. I went,
you record it one of our songs?
Speaker 2 (13:45):
You know?
Speaker 4 (13:45):
Jesus gives ye. He goes, oh yeah man, and I.
Speaker 1 (13:48):
Went, well, thanks for recording it. You know, did did
you like the song? He goes, we cut it? And
I went yeah, yeah, no, thank you. That's but you're
a right right. I just wanted did you love the song?
Speaker 4 (14:01):
You guys? We cut it, man, And then he.
Speaker 1 (14:05):
Just looked back at his dream and I was like, okay.
Speaker 4 (14:08):
Moving on.
Speaker 1 (14:09):
Years later, I got to know him and I told
him that story.
Speaker 4 (14:11):
He's like, man, I'm so.
Speaker 1 (14:12):
Sorry he couldn't have been nice. And we became really,
really good friends.
Speaker 3 (14:17):
The first time I met Toby, I said, Toby, how's
it going? He said, the first time I met him,
and we again became friends. His Google me, how's it going?
Google me, Yes, love it?
Speaker 4 (14:29):
And I said love it?
Speaker 3 (14:30):
Okay, what am I going to find? My health? And
how much money I have? Oh my god? And I
was like what is up with this dude? Later on,
same later on, I did a lot with Toby, like yeah,
and and but yeah, that was my experience too him.
He was very no nonsense how it felt. It's funny
talk about just going to a bar and seeing Toby
(14:50):
Keith sitting there. I mean, I think that's kind of
the magic of this town. And a lot of the
stories that I have are from people who just like
see you walking around them all like most of them,
Like I saw Keith Thurbman. I was at a Forever twenty.
He didn't go in, but I saw your wife in
a makeup store.
Speaker 4 (15:04):
I was in there, and what were you doing in that? Yeah?
Speaker 2 (15:07):
Just a lot, a lot.
Speaker 6 (15:08):
Hang ty, the Bobby Cast will be right back and
we're back on the Bobby Cast.
Speaker 3 (15:23):
What about this town is magical?
Speaker 1 (15:26):
Everything is if it's just uh, the people, it's a
it's a it's this this hub. It's the one thing
I missed a little bit about music right not being
what it was. You know, it got decentralized. It kind
of just went off into all these people's homes with
personal recording studios and various things, and.
Speaker 4 (15:44):
People didn't have to.
Speaker 1 (15:46):
Concentrate on the row as much anymore. And it's sort
of a bit sad because Nationalist such a community, and
I think that cross pollinating and enmeshing with artist, songwriters, publishers, managers,
everybody intersected all the time was really healthy.
Speaker 3 (16:04):
What guy, you're your first traction as the person you
came here to be an artist.
Speaker 1 (16:11):
Again, it was all little incremental things. The publishing company
I signed to was run by a gouck called Barry
Coburn and he was managing Alan Jackson at the time.
So in nineteen ninety four, Alan was shooting in music
video and they needed a longhaired guitar player, and so
they asked me to do it. And it's a similar
(16:34):
Toby story.
Speaker 2 (16:35):
In the video.
Speaker 4 (16:36):
But you didn't play on the song No, but I'm
in the video to Mercury Blues.
Speaker 3 (16:41):
One of my favorite Alan Jackson songs, Thank You Sorry videos.
Speaker 1 (16:48):
So it's a similarst thirty to the Toby thing. Like
I didn't know Alan. I was so excited. You know,
we're on a We're in a sound stage somewhere and
I'm on this platform and I've learned Brent May guitar
solo note for note the night before because they're going
to be zooming in on me, and they filmed me
for a little bit and then I see Alan come in.
Speaker 4 (17:07):
I'm like, oh, my god's Alan Jackson. This is so
freaking awesome. I mean, it's nineteen ninety four. He's king,
you know.
Speaker 1 (17:14):
And he comes over with his cousi and he kind
of just looks at me and he looks back at
the camera, and then they run the song and we
both shred together. We're literally two feet from each other,
and they take a little break to set some lights whatever,
and I'm waiting for him to say something.
Speaker 4 (17:30):
He said, looks around me, he.
Speaker 6 (17:31):
Goes it, looks back.
Speaker 1 (17:36):
Never said a word to me, like, not one word.
We finished the thing and he just walked off and
I was like oh. And I went home and my
buddies were like, what was Alan? Like, I go, I
adn't really meet him, and they go, I thought there
was a thing with the two video. I said, yeah,
never made him And again got to know Alan years
(17:56):
later and he's like, man, I'm so sorry.
Speaker 4 (17:59):
Because I hated that video.
Speaker 1 (18:01):
He said, you got to understand it's the first video
I'd done where they brought in some slick la producer director.
I didn't want to do it, but they wanted to
sort of change my image and make it look slick.
So they said, we can't use your band, and he goes,
I always use my band, what do you mean? And
they go, no, we have to use these other people
to pretend to be your band me right, you know.
(18:22):
So he hated it, obviously hated this longheaded dude who's
not his guitar player.
Speaker 4 (18:27):
So I totally.
Speaker 1 (18:28):
Got it, and we've become really really good friends.
Speaker 2 (18:31):
And it's so funny about Alan.
Speaker 3 (18:32):
The first time I met him, not a video, but
ACM Honors was doing a show and I was doing
like one funny song with the guitar.
Speaker 2 (18:38):
I was talking.
Speaker 3 (18:40):
It was after like Jaco when I was playing and
I was doing thing. Alan Jackson was behind me, but
it was raining, so moving everybody along and they paused
and I saw Alan Jackson, never seen him before, and
I was like, this is crazy, Alan Jackson. I said, hey,
missus Jackson bibyone, nice to meet you. He said nice
to meet you, and I looked at him and goes,
all right then, and that meant go away later awesome.
(19:00):
But he hit me with the ir THENT and away, I.
Speaker 1 (19:02):
Went, it's great, and this town same experiences at the least.
Speaker 3 (19:06):
GI, Yeah, it's great, and then again we find out
how freaking cool they are later.
Speaker 5 (19:10):
Yeah.
Speaker 3 (19:11):
I think that's and I think that's a bit of
my point too, is people are getting first impressions of
you today all the time in the same way, but
because you got to live the full experience.
Speaker 2 (19:20):
Same way.
Speaker 3 (19:20):
I asked you about songwriting, like, they're probably a lot
of new artists that you meet a lot of the
time and that ask you, Hey, what advice do you
have for somebody like moving to talent or a new artist, Like,
what is the standard Keith Urban advice for a new artist?
Speaker 1 (19:35):
Well, it's always different because the whole thing is changing constantly.
You know. It's like you don't have twenty years experience,
you have one years experience twenty times. That's very different
because it's constantly changing. So, you know what I had
to do when I got here, you don't have to
do that now. There's like so many other ways to
get fund an audience, to make music, to write songs,
(19:58):
to get them cut. There's just so many ways do
it now. So it makes it better on one hand,
but on the other there is way more competition. It's
just you sort of drowning in it. Now there's so
much new talent.
Speaker 2 (20:11):
Tell me about signing your first record deal.
Speaker 1 (20:15):
Well, my first one was signed in Australia. I signed
it because it I want a competition where I got
to record a single for EMI Records, and I did
that and they liked it, and so they.
Speaker 4 (20:29):
Said, let's do a whole album. So I did a
whole album.
Speaker 1 (20:31):
But I already wanted to come here, you know, so
recording it to me was just a way to have
an even better demo to bring over here. But I
had some success with it in Australia and got a
band and worked my way up to having a roague crew.
This is after eight nine years in the clubs already.
(20:51):
So now I've worked my way up to this five
piece band, three man road crew, merchandise.
Speaker 4 (20:58):
I'm like, this is great.
Speaker 1 (20:59):
I got an album, songs in the radio, like everything
I've ever wanted. But I really wanted to go to America.
And so after all that work, I come here and
you just start from the bottom again. Literally, nobody cares.
You can't bring your band. I have no money, so
I'm right back to ground zero and starting to pay
(21:20):
the dues all over again. It was another five six,
seven years here in Nashville.
Speaker 2 (21:26):
Until you got a deal.
Speaker 3 (21:27):
Yeah, and what was the first single they ever wanted
to put out on you?
Speaker 1 (21:32):
Well, well, technically it was with my band The Ranch,
and so we did a song called walk in the Country,
and we did a video. We had so little money
for the budget that we recorded two videos in one.
Speaker 2 (21:43):
Day, only so much time. So yeah, cram on both.
Speaker 1 (21:46):
I think it was like fifteen made them in ten
grand or something. We shot two videos. We went out
to a place called Adams, Tennessee. We went to this
abandoned kind of street where.
Speaker 4 (21:55):
The stores were all boarded up. We helped put the
camera in the street at the stores. We stood in
front of there and shot that video.
Speaker 1 (22:03):
They turned the camera around and we did our other
song on the other side in this where they'd torn
down a building and we played in the rubble.
Speaker 4 (22:10):
So you know, we shot it all in one day.
It's crazy.
Speaker 3 (22:12):
What was the success of the singles you put out
early with The Ranch.
Speaker 1 (22:19):
Well, the critics really liked it, but it didn't get
any real push.
Speaker 4 (22:25):
I mean, ready, I didn't know what to do with us, you.
Speaker 3 (22:27):
Know, because of the sound, because we hear.
Speaker 1 (22:29):
The sound and the look, and they're just like, what
is this three piece band? And who's this long haired guy?
And I look back at it now and I'm like,
oh my gosh, I mean, what will we think? And
we were never gonna fit in. We just weren't going
to fit in. And I was frustrated because I didn't
come here.
Speaker 4 (22:48):
To be in a band.
Speaker 2 (22:49):
You know.
Speaker 1 (22:51):
The three piece thing happened because I had a five
piece band in Australia. I couldn't afford to bring everybody, So, Okay,
what's the minimum I can bring? While as a tapla
I can bring bass and drums. Then I got a band, Okay,
three piece, great, I'll bring my bass plan drummer. They
were the two guys in the band that didn't sing.
My keyboard player and rhythm guitarist sing. So I'm here
(23:12):
in a three piece band, the singer.
Speaker 4 (23:14):
No harmonies. I'm like, man, this is not going to work.
Speaker 1 (23:17):
And then my bass player left, got a singing bass
player and we became this three piece band. Because of
economic reasons. It wasn't an artistic choice.
Speaker 3 (23:25):
When you're finally Keith Urban, what was the first piece
of material or song that you put out that actually
gains real traction or that sells tickets or got you
on a tour, right, Like, if it's something out that
somebody noticed you enough that it changed your life.
Speaker 2 (23:44):
What song was that? Well?
Speaker 1 (23:46):
I mean technically, the first one was a song called
It's a Love Thing, which was the first single off
the solo album that I did that did okay. And
then we put out a song cale where the Blacktop Ends,
and that did better. Sorry You're Everything. It was a
ballad called You're Everything that did better. And then the
(24:06):
third song was but for the Grace of God, which
became my first number one song. So it was this
very slow incremental.
Speaker 4 (24:15):
Movement. I'm like, okay, we finally get traction.
Speaker 1 (24:17):
And then we did Blacktop after that, and then I
got to make another record which became Golden Road, and
first single off that was Somebody Like You.
Speaker 3 (24:27):
Was that song transcendent in how it landed as opposed
to your past stuff?
Speaker 1 (24:33):
Yeah, Because I'm a live guy. I play live, That's
what I do. The early years in Nashville was so
hard for me because there was no I wasn't playing.
I wasn't playing anywhere. I found out very quick that
if you play down Lower Broadway, nobody wants to sign
you because they go, You're just one of those You're
just a cover band, You're not an original artist, you know.
(24:54):
So I'm like, ah, so I can't even play anywhere.
Speaker 4 (24:58):
So after the first solo Red.
Speaker 1 (25:00):
I got to put a band together and tour and
get back into my place where I feel so at home.
And I think by the time he made Golden Road,
I was feeling that sense of who I am musically,
you know, it had I like to say that record
had more stubble than the first one. It was a
bit looser, and it was more raw, and I took more.
(25:21):
I had more confidence in the studio of making the
music that I wanted to make, not what was on
the radio or anything like that, and it turned out
to be the music that was the right music.
Speaker 3 (25:34):
Did you ever have concerned of being pigeonholed as just
a guitar guy.
Speaker 1 (25:38):
No, I never had that, because I mean I always
see myself as a jewet. I mean, my guitar am
I singing? They go together the same way with Glenn
Campbell or something like that. It's just or Vin Skiel
or anybody.
Speaker 4 (25:50):
It's for me.
Speaker 1 (25:52):
The two go together, but even more than those guys
because they have these these voices, and I think me
and my guitar or one.
Speaker 3 (26:03):
I pay a lot of attention to your tone and
not your voice tone, like your guitar tone. And even
the slightest change changes the sound of a song. How
much time do you spend focused on tone?
Speaker 4 (26:15):
It depends, you know. Sometimes it's.
Speaker 1 (26:20):
Every song is different, Every song is different. I'm only
seeking inspiration, that's all. That's all I'm waiting for. I'm
just waiting for a sound or a tone or something
where I'm inspired to play something. And that could be
through a cheap amp and you could have dialed it
up immediately and you go, that sounds good. Let's go
plays soul and you get good. That was great, moving
on and then the next song you like to spend
a whole day noodling and doing this and whatever.
Speaker 4 (26:42):
So they're all different.
Speaker 3 (26:44):
What song that became a massive hit took the longest
to actually have fully done?
Speaker 4 (26:51):
Oh gosh.
Speaker 2 (26:54):
Ah, maybe maybe rewrites weirdly enough?
Speaker 1 (26:59):
Make Him of Us took a long time because I
grew up with Don Williams Records and they were so simple.
There was like nothing on them. They're so simple. And
when we cut Making Memories, it had a don vibe
in its structure in the recording, and I wanted to
get that minimalism. And we recorded it and it was
(27:20):
sort of like this, And then we spent a long
time stripping it down, stripping it down, stripping it down,
replaying the guitar, re singing it, re singing it, re
singing it, trying to make it more and more simple,
less slick, you know, just more singer songwriter.
Speaker 2 (27:34):
Is there a moment where you go this is it?
Speaker 3 (27:36):
Or is there never a moment where you go this
is it?
Speaker 4 (27:39):
Both?
Speaker 1 (27:42):
I mean, I've heard songs on the radio where I go.
Speaker 4 (27:45):
Oh, I'm very happy with that.
Speaker 1 (27:47):
You know, I hear somebody like you now I still
am really happy with that. Dave's go by things like that,
and then I'll hear other things like ah, I wish
we had, of wish we had, of whatever. But more
than anything, I'm happy with you. It's got to get
away from it for a while. I have some perspective.
Speaker 3 (28:07):
You're still so creatively driven today, as I guess the
first time I met you ten years ago, like, I
still feel like you're creatively chasing whatever it is it
inspires you. Do you still feel as creatively driven now
as you did ten twenty years ago.
Speaker 1 (28:22):
Exactly as when I lived over there at Showny's. I
feel pretty much the same. I've got a better group
of people I can write with and work with, and
I have more capacity and facility to create the things
that I hear in my head, you know, from years
and year of doing it. But the adrenaline rush in
(28:43):
the excitement of writing and creating something like straight Line,
which is the single we have at now, when that
comes to the studio, it's like it's an amazing feeling.
Speaker 3 (28:54):
The opposite of the question asked a minute ago, what
song fell out of you? And it was done the
quickest and you're like, wow, that it's great and it
took almost no time.
Speaker 1 (29:02):
Somebody like you was a bit like that because it
was a great band. It's the very first song I'd
done with Dan haff I think the bones of the
song just happened to be really good, and we recorded
it at the sound kitchen. Everybody on the floor, so
Chris mceu was here on drums. Jimuli SLOs is here
(29:23):
on bass, tom bergervack's and guitar tim akers there own keyboards.
I'm in the booth over there with banjo and a
vocal and Dan Huffer was sitting in the middle of
the floor with an electric guitar, and Justin ee Banker's
in there and he hits record and away we go.
I've got a recording somewhere. I used to set up
a video camera in the in the studio, in the
control booth and just capture a take, you know, And
(29:46):
I have the recording of us. You hear the song start,
you hear it finish, and you see Justin go whoa
like this in front of the console, and it's the
end of the It's the take.
Speaker 4 (29:57):
It's just it was crazy.
Speaker 3 (29:59):
There are a story about ACDC and Angus and he
would play so hard for so long, he'd sweat so
much that he would lose five seven pounds a night
right because he would go.
Speaker 2 (30:08):
Like my version of that that I tell.
Speaker 3 (30:09):
People, is you watching you perform because you go so
hard and you're so active on stage, singing, playing, running
into the crowd. Is there a ramp up period for
you getting in shape before you have to go on
the road. Because these are very active shows.
Speaker 1 (30:25):
Yeah, I just I mean, I think we're the same,
like being in decent shape anyway, just to do the
things we want to do, you know, move the way
we want to move, and do the things we want
to do.
Speaker 4 (30:37):
And I live to play, I really do.
Speaker 2 (30:40):
Is that's still your favorite part of all of it live?
Speaker 4 (30:41):
Yeah?
Speaker 1 (30:42):
Yeah, But I mean I love being in the studio,
so I bought the studio. I could spend months in here,
never leave. You know, I don't have any other hobbies
or interests. I love making music. It's pretty much it.
I don't play any sport, not really. I love writing, recording,
I love touring.
Speaker 3 (31:00):
So recently you did a project and you recorded, and
then you decided we're going to start over after putting
significant time.
Speaker 2 (31:07):
Will you just kind of tell me that story.
Speaker 1 (31:10):
It's never happened before. So really, since the first record,
the way I make him is quite It's not chaotic,
but it's very spontaneous. You know, the studios booked, we've
got the players booked, got a song chosen to do.
I'll drive in that day and maybe as I'm driving in,
(31:31):
I'm like, I don't really feel this song. I have
this other song that I'm sitting on or it's half
written or something, and I'll play it for Dan and
I go, let's do this one.
Speaker 4 (31:39):
Let's forget that.
Speaker 1 (31:40):
So I've always made records that way, so the spirit
of it is always what I want to do, you
know what I mean.
Speaker 4 (31:46):
So it's good that it's now. It's fun. I'm passionate
about it. It's what I want to do.
Speaker 1 (31:52):
And I thought, sometimes my records sort of go off
in weird musical directions, and maybe I need more discipline
and make a focused records. So I went in with
this idea that I was going to make a much
more focused record, call it six one five, and it'll
be very focused, and it'll be only this and only
(32:12):
that and blah blah blah blah blah blah, you know.
And I ended up with this record that was pretty linear.
It just sort of did this. It didn't have all
the stuff, the spontaneities, just didn't have the spontaneity and
the spark and the spirit.
Speaker 4 (32:26):
So I scrapped it.
Speaker 1 (32:28):
And the first song we wrote was straight Line, which
bursts with all that rhythmic spirit and liberation because I
just come out of this attempt that didn't work at all,
And I'm like, that's to your point, Earli. About writing songs,
you learn what you don't want to do, and I
learned why I don't make records that way. It's just
(32:49):
much more fun for me to be spontaneous.
Speaker 3 (32:52):
In that process. And we'll call it the linear part
of this journey. Did you ever feel like, oh, this
isn't feeling right or are you done with it? And
you're like, man, this didn't capture really what I want
to capture. When did that happen where you had to evaluate, hey, we.
Speaker 2 (33:04):
May do this again.
Speaker 1 (33:06):
When I was sequencing it, and I get it, you know, sequencing,
what does it matter anymore? Who wo listens to albums
top to bottom, you know, but sometimes sequencing for me
is the way to decide what even makes it onto
an album. The sequencing kind of tells me, well, you
didn't need that one. This one over here that I
was leaving off would actually go good right there, So
that one does make sense. So when I started sequencing
(33:30):
these songs, that was when I realized, oh, there's a
lot of very similar sounding songs here, you know. Just
I was touring at the time, so I was sort
of recording sporadically, I'd come off the road, we'd cut
one song, We'd be like, ah, fantastic, sounds great. You know,
you go into it for a few weeks, come back,
cut another song that's great. Well, without thinking these together,
(33:55):
you're not going to want it.
Speaker 4 (33:56):
That's what happened.
Speaker 3 (33:58):
When we look at the ACMs, you're one of the
to do it, the triple crown, to hit one, two, three.
When you move here, the goals probably just to eat
and pay the bills. Yeah, But now that you look
back and you have, you know, one of the few
things that any country music artist has, the triple crown,
(34:18):
Like can you look back at old Keith and be
proud of them?
Speaker 4 (34:22):
Yeah?
Speaker 1 (34:23):
Yeah, and especially the perseverance in tinacity to just keep
going even when it seemed. I'm glad it didn't seem
as weird and crazy to me as it did to
everybody else. It seems so crystal clear why I should
be here. But I realized at the time people must
have and I know they were a sort of going,
(34:44):
the hell.
Speaker 4 (34:44):
Is this boar doing here? It's just crazy? He's crazy,
you know.
Speaker 1 (34:49):
I'm glad I didn't know that at the time, because
I felt really comfortable here and like I should be.
It just took years and years and years of chipping
away to finally figure out out how to fit in
and not lose myself. That was the balancing act that
took the longest to figure out.
Speaker 3 (35:09):
To walk through all three pretty quickly. The Best New Artist,
you're that guy? Does that change you? Does it change
how people treat you in town? After you get the
trophy of the award?
Speaker 4 (35:21):
A little?
Speaker 1 (35:21):
I mean, just more an awareness that's all in potential, like.
Speaker 4 (35:26):
Go a little potential.
Speaker 2 (35:28):
You know a male vocalist.
Speaker 4 (35:31):
Oh man, that was a shock. That was a shock.
Speaker 2 (35:34):
I believe you when you said that, Like why why?
Speaker 1 (35:37):
Because I've never seen myself. I guess I'm so singer
guitar oriented that to think of my vocal as being
an independent, singular thing I've never given. I just didn't
didn't see myself in that category.
Speaker 3 (35:54):
So when you're nominated, do you feel like you're just
not going to win? Like this is cool to be nominated?
Speaker 2 (35:58):
Yeah? And when they called your name it was and
you went shock.
Speaker 1 (36:00):
Yeah, And especially because you historically you get nominated and
then you get nominated the next year, and if you're
lucky the year after that, and then eventually eventually they
give it to you because you've been nominated so many times,
so to get nominated and win it is a big show.
Speaker 2 (36:17):
The Big Ones entertainer.
Speaker 3 (36:18):
Yeah, I think if all the voters saw you perform
every night, I don't know who else would have won
in the last twenty years, Like to watch it or
I guess your show or why I think I told
you the first time I saw you do a real show,
I was like, oh, I'm blown away because I heard
you play, and I've seen you play intimately, and I've
seen you play on my show. But to watch a
full like arena performance, I was blown away and I'm jaded.
(36:42):
And I remember telling you that I think this is
a compliment, but you're awesome. I had no idea like
how how enthralled I would be, the people around me
would be to watch you embrace the crowd, to get
very personal, to get within the crowd, all the energy.
So I feel like you'd be entertained of the year
every year if everybody had to go and watch you perform.
(37:04):
But to finally be acknowledged for that, the big One
tell me about that, I.
Speaker 1 (37:09):
Mean, that's you know it's it's off of the Mountain
an award recognition. Yeah, it's I mean, especially for me
because I love to do it more than anything in
the world. I love to play live and I love
to play with an audience. I love to entertain. You know,
I'm not a shoe gazer. I love to entertain.
Speaker 3 (37:31):
I'm a shoe gazer little bit in a different way.
I think we're both shoegazers, just in a different way
than you mean that, because you got it. I think
maybe one A one B becomes the shoes. I think
you and are kind of rock in the whole town.
I don't ever see it, not in great shoes. Well
thank you, yeah, thank you or a great car. Likewise, yeah,
I remember why.
Speaker 4 (37:47):
It's your fancy kicks.
Speaker 3 (37:48):
Look and we'll land on a very music based story.
One of my favorite Keith Urban stories is there's this
big truck behind me, big like right on my butt,
and I'm.
Speaker 2 (38:00):
About to get beat up. Whoever this is.
Speaker 3 (38:01):
I'm about to get beat up. And it was you
and we were going to the opera. It was during
COVID whatever, Yeah, and you were in this big truck.
I hadn't I don't know it was you don't think
you'd be in a truck like you're being like a
I don't know, helicopter or something.
Speaker 2 (38:12):
You know, you're Keith Thurban.
Speaker 4 (38:13):
I think it was an F three fifty.
Speaker 2 (38:14):
It was a monster.
Speaker 3 (38:16):
But I thought I'm about to get beat up by
whomever's behind me because we're going on that part of
the opera that's like nobody else canna drive?
Speaker 2 (38:20):
Yeah, yeah, yeah, And then and.
Speaker 3 (38:22):
You're like hey, I was like, oh man, thank god,
but didn't You're a car guy.
Speaker 1 (38:29):
My dad loved cars, so I grew up with my
whole life. We've had We're the odd ball couple, the
odd ball family in Australia that always had American cars
in this tiny little town we lived in Australia. We
had like Chevyes and Pontiacs and Buicks and you know, can.
Speaker 2 (38:43):
You fix a car like drink drink?
Speaker 3 (38:46):
Can you fix it?
Speaker 2 (38:46):
Like?
Speaker 1 (38:47):
No?
Speaker 4 (38:47):
I wish I could.
Speaker 1 (38:49):
It's just it's the driving aspect. I mean, my passion
next to music is driving. I drive all the time,
and when I'm touring, I'll rent a car if we're
going to if we're going to get from a hotel
to the venue, I'd rather rent to Carr and drive
it myself. I hate being driven.
Speaker 3 (39:06):
Final question, because I know how much you value the
people that come to your live shows, and you put
so much work into the live shows. Talk to me
about a set list and the art of your set
list and how you put together a night.
Speaker 1 (39:20):
I probably obsess over way too much a set list
because it's an experience. I mean, it's not a group
of songs. I'm shaping an experience that I want to
create for those two hours for the audience, and I'm
trying to guess will this have that effect? And if
we go from here and to here, will will that
(39:41):
do this? Will this be about the time that the
audience would want that that should be right, and then
we would be able to do this after that because that.
Speaker 4 (39:49):
Would make sense.
Speaker 1 (39:50):
And you trying to create this a playlist, you know,
trying to create a great playlist for a two hour party.
Speaker 3 (39:57):
You were closing your eyes as you were even talking
to me through it is that in every night thing
where you're changing it or changing it based on how
you felt the night before.
Speaker 1 (40:05):
I've learned that it's a delicate balance of don't take
too much data from that night because that was that
night in that venue in that town. And if you
go tinkering too much because of that feedback, this audience
could be completely different. So just do it enough where
at some point the set list becomes pretty solid. For me,
(40:29):
you know, I mean always going to make quarterback calls
because I can't do the exact same thing night.
Speaker 4 (40:33):
After night after night. I couldn't do it. But like
an episode of SEVENS or something, I just can't do it.
Speaker 2 (40:39):
Going back out on the road again.
Speaker 1 (40:41):
Yeah, High in a Live World tour is going to
kick off. Got a predominantly new band, new obviously, new
songs are put in there, and brand new production, working
with a production design I've never worked with before, and
just trying to create a whole brand new experience.
Speaker 3 (40:59):
What is a production designer do with you? I don't
know that process.
Speaker 1 (41:03):
Just the look of the stage, you know, and for me,
what the lighting is going to do with the video
aspects is going to do?
Speaker 4 (41:09):
What the physical.
Speaker 1 (41:12):
Environment of the stage is going to be, what's the
what's the material that we're going to be standing on
and the durability of it and the color of it
and all this stuff so that when you walk in
it has a very particular look about it.
Speaker 3 (41:26):
Other than the music rehearsal part is our timing rehearsal
part with the videos, the elements that you're putting into
the show.
Speaker 1 (41:31):
Yeah, it's tricky for me because I have a lot
of spontaneity. So even with tracks, if we've got backing
tracks on certain things that might be just percussion. There
may be percussion components that the band is playing along with,
but I may not want to do that exact arrangement tonight.
So you know, our track guy knows how to move
(41:52):
things in real time, and the video guys are getting
really good at knowing how to move things in real
time too, and swap songs around and be on the fly.
Speaker 3 (42:00):
By getting really good at it, that means being forced
to because you're like, I'm changing this, and so they
just have to roll with it, right.
Speaker 4 (42:06):
It's great.
Speaker 1 (42:06):
I love that kind of just that spontaneity keeps everybody
on edge, like nobody can get up. Nobody in the
band or in the crew can just be like, you
know if you're on because you don't know what's going
to happen next. And I love those kinds of shows.
You can feel that kind of energy in the audience.
That especially when you go into a like a spontaneous thing,
(42:28):
a guitar solo or some moment breakdown moment or something
musically and the band's like, I don't.
Speaker 4 (42:32):
Know what's happening, what's going on?
Speaker 1 (42:33):
And you're like, I don't know, we to here, we are,
but we're doing it. The audience feel that they don't
They don't have to be musical. They just go what
is going on? What is what's this energy that's happening
right now? And it's just unpredictability.
Speaker 3 (42:46):
So keep the band scared. That's the advice, is to
keep your band scared anytime. Yeah, I really appreciate you.
Speaker 2 (42:52):
Having me out. Thank you, thanks for showing me the place.
Speaker 3 (42:55):
And always inspired by how you're so inspired. That's a
weird thing, hey, but that's the truth, and I thank you. Yeah,
I'm inspired by how you stay so inspired. So yeah,
thanks for having us out any time.
Speaker 7 (43:05):
Bubby, the Bobby Cast will be right back. This is
the Bobby Cast.
Speaker 3 (43:20):
I was reading this article about fifteen rock bands that
supposedly don't deserve all the hate they get and ultimate
classic rock lists the fifteen and all we're going to
do is put it on a one to ten scale,
how much we hate the band love it. We're not
even going to say if they deserve the hate, we can,
but the main purpose is one to ten ten mean
(43:40):
most hate, one meaning love.
Speaker 5 (43:42):
And personal opinion. Yeah, all personal opinion, and that's art, right,
like you judge art differently based on who you are.
Speaker 3 (43:49):
A number fifteen limp Biscuit. I put Limbisku out of
a nine. I love limp Biscuit and love that time.
Was never much of a corn guy, but loved limp
Biscuit and limt Biscuit. It was a bit derivative of corn.
Speaker 5 (44:01):
Yeah they were.
Speaker 3 (44:02):
Yeah, so love limp Biscuit, love the white rock or
rap type thing. I still will watch limb Biscuit videos
now of them doing festivals now and still killing it,
still doing good. Yeah, so I put them in a nine.
Speaker 5 (44:15):
You I'm gonna go five. Don't care either way because
I respect what they did and what they're still doing.
Fred Durst, I mean, you know, it's whatever. The guitarists,
the guy that looked like, you know, he wore the contacts,
and the monkey guy like that's pretty cool. So I
didn't care much for their music. But I respect them,
so I go five.
Speaker 3 (44:34):
Rarely do people say they respect limb Biscuit.
Speaker 5 (44:36):
Yeah, I haven't heard that really. Yeah, because I understand
their success, I understand why people like them.
Speaker 3 (44:41):
Yeah, I really still like them. I wish they'd come
in here doing acoustic. That would be to break stuff.
Number fourteen Dave Matthews Band, I'm gonna put them at
a I'll go eight. Their live shows aren't for me
because they're jam banded and too long. But I really
like Dave Matthews Band when it comes to listening to
(45:02):
songs or albums.
Speaker 5 (45:04):
Solid, that's pretty solid. I want to put them at
an eight for a different reason. I like their early stuff.
I like Dave Matthews Band till about two thousand. Then
after two thousand they kind of lost me. After space
between some of the music kind of it didn't like
I don't know, it didn't click with me. So I'm
gonna go eight because I do love Dave Matthews Band,
but some of their early their their later stuff, for
(45:25):
their most recent stuff don't like so much.
Speaker 3 (45:27):
It's probably because you're on your formidable years anymore, and
that stuff that you grow up with in that time
of like fifteen to nineteen, thirteen to nineteen really becomes you.
And if they change it all from that, you don't
like that anymore because it's not in your formidable years.
More than their change is just so drastic.
Speaker 5 (45:42):
Could be right, You could be right about that. I mean, dude,
I love Dave Matthews so much that I would listen
to all their live albums. I mean their Red Rocks album.
I'd listen from start to finish.
Speaker 3 (45:53):
Dave and Toom.
Speaker 5 (45:55):
I would listen to a lot of those college albums.
Speaker 3 (45:57):
That's a good one.
Speaker 5 (45:57):
Loved it.
Speaker 3 (45:58):
That was like from Chicago theater, right. They did a
bunch of different ones the day in ten. There was
like one real big record though, uh Luther College. I
believe that what it was that was like in Chicago.
Oh possibly, don't.
Speaker 5 (46:08):
Let's let's google that.
Speaker 3 (46:08):
I don't know. Number thirteen. You too, I like you too, fine.
I find them to be overrated. I put them in
about a five. I don't hate you too. I would
bet either Chicago or North Carolina from where they're from.
Speaker 5 (46:27):
Where is it? Iowa?
Speaker 2 (46:29):
Danger?
Speaker 3 (46:29):
Mister mc du okay, Uh you too? I put them
a five. You're crazy, dude, you put you Tube where
you put on biscuit. You two is a ten for me.
Speaker 5 (46:38):
I still love what YouTube puts out like I love
you too.
Speaker 3 (46:41):
They take themselves way too seriously for me.
Speaker 5 (46:43):
They do. They're serious about their music, but.
Speaker 3 (46:46):
It's different than serious about their music than take themselves
way too serious. Two different things. Oh you think like
they Yeah, they have attached themselves like we have a
purpose bigger than everybody else, and you should listen to
everything we say always because we are rock stars and
people have accepted and loved ust on a level that
makes us superior. They have a superiority complex unfairly.
Speaker 5 (47:05):
I think that is Bono, that's I mean. And they've
chosen Bono as their leader as the leader of the band.
I get it, and part partly too, Like I mean,
he named himself Bono, and then the Edge has a name.
That doesn't help that they have these like weird first
names or whatever. But dude, you two is so good.
The whole world loves you too, and I think there's
a reason for.
Speaker 3 (47:24):
The whole world doesn't love you too. They had their moment.
They're a five for me. There are ten wow, ten
Genesis a little before us, though I've been unfair. So
the original singer of Genesis was Phil Collins.
Speaker 5 (47:41):
No go Peter Gabriel. Yes, it's fifty to fifty.
Speaker 3 (47:44):
And then Phil Collins was the drummer who ended up
being the singer. I don't have a feeling of love
or hate because I don't even know why people would
hate them, right, and I liked them. I give them
a six because I liked some of the early Peter
Gabriel stuff. And we've done this in podcasts, like try
to figure out what was what it's really present on
Genesis more than it is a score sure, and why
(48:07):
don't know why people don't like them though I don't know.
Speaker 5 (48:09):
Either, And we're definitely at the age where were we
didn't grow up with it, like you said. And I
think that hurts it for me because I wouldn't never
turn it off if it's on the radio or it's
on like, I mean, that's cool. I like that song,
but I'll never seek Genesis. I half the time, I
don't really even know if it's Genesis or not.
Speaker 3 (48:24):
So I go four Green Day.
Speaker 5 (48:28):
I'm wann to go love me some Green Day too,
if ever, like I'm just like at a Friday, you know,
six o'clock on a Friday evening and I want to
just go back to a certain time. I will just
grab a six pack of beer and listen to Green
Day and like just flash back to high school, to
college to getting out of college. I love it all.
(48:51):
So Green Day I'll give a nine because they're not
my favorite band, but I love Green Day.
Speaker 3 (48:54):
I'll give it a nine as well. I think maybe
people don't like them now because they're extremely political.
Speaker 5 (49:00):
Oh are they?
Speaker 3 (49:01):
Yeah?
Speaker 5 (49:02):
I didn't even realize. And I guess you two is
too right?
Speaker 3 (49:05):
Pretty political, but they're not American. Yeah, but they do
hit on a lot of American polic they're not Americans.
You just go, you guys aren't even American.
Speaker 5 (49:12):
A good point, Like, what are you talking about? Don't
claiming your country?
Speaker 3 (49:14):
I know Motley Crue at ten.
Speaker 5 (49:19):
Again, I think it's our age. Uh, I don't. I
don't hate Motley Crue. I don't see a lot of
substance to Motley Crue music. It's kind of just turning
on in the background. Uh, Home Sweet Home.
Speaker 3 (49:34):
Yeah, they got like two songs I like. I think
I have a bunch of songs. I am indifferent about that.
If it comes on the classic rock station, like I
don't chase down smoking in the boys room. I was
trying to think, but if it's on, I'm like smoking
in the balls room.
Speaker 5 (49:47):
Girls, girls, girls, girls, guess gurs.
Speaker 3 (49:50):
Right, yeah, four. I see why people don't like them
or didn't like them because they were cheesy and they
were massive in the glam era. And when you're the
biggest and part of an era that looks super cheesy.
Mm hmm, I'm gonna yeah, I'm gonna go four.
Speaker 5 (50:06):
I'll go four with you.
Speaker 3 (50:09):
Nickelback, go ahead, go ahead, man, ten to seven, you're crazy.
Speaker 5 (50:15):
Seven.
Speaker 3 (50:16):
I think they get a lot of hate because it's
the cool thing to do, and people that say they
hate Nickelback actually just want to be a part of
a group.
Speaker 5 (50:20):
I don't understand. Was it cool to ever say they're
not cool?
Speaker 2 (50:23):
Yes?
Speaker 3 (50:24):
Yes, why that was the cool thing to say? It
was Nickelback sucks. They got so big. It's the same
thing people do to Coldplay. It's Coldplay does not suck.
I know, but that's what happened to Coldplay. They got
so big people started to go o, it's corny.
Speaker 5 (50:38):
Mm hmm. You don't think Nickelback's music, is you don't.
Speaker 3 (50:41):
Think cole plays music is wow, dude, it's very I
love Coldplay, but there's definitely a corny element. It's deep
to their anthemic, fast disco type song.
Speaker 5 (50:51):
Is it a little emo?
Speaker 2 (50:53):
Yes?
Speaker 3 (50:53):
No, guys, you're talking about like the fast stuff that
they do now, Coldplate, Sky Full of Stars like that one.
Cool Play gets lame, but I love Coldplay, love Coldplay.
Nickelback can kind of get lame. But I think Nickelback's
great and they should not be hated up on like
they do because it became cool to hate on them.
Speaker 5 (51:09):
This is one of those things where, like, I think
you and I could really get into a fight over
because every time we talk about it, it's like you're
so serious about like no, they're so good, and I'm
so serious about like no, dude, they suck.
Speaker 3 (51:21):
You don't write that many massive songs without being a
really great writer. Even if you think the songs have
no texture or depth, they write bangers. The people have spoken,
and I'm not going to go to a Nickelback concert.
I got invited to one. I didn't want to go.
Oh yeah, but I'm not because I'm not a Nickelback fan.
(51:42):
So what do you give them, But I'm a fan
of not being a hater for no reason.
Speaker 5 (51:45):
No, no, no, no, no, just seven. Rate them the way
you rated Motley Kruz.
Speaker 3 (51:49):
I already did seven. They have enough good songs to
come on. I'm like, that's fun, I like the song,
or I definitely don't hate this song, or I'm singing
along with it. Don't even realize I'm sing along with it.
Never made it as a wise man. Or look at
this photograph.
Speaker 5 (52:04):
Remember I told you how like Green Day, I get
a six pack of beer and go back. Dude, if
I ever got a six pack of her and listen
to nickel Back, I would probably throw away that speaker.
Speaker 3 (52:12):
You're a hater for no reason.
Speaker 5 (52:13):
What's our scale?
Speaker 2 (52:15):
One to ten?
Speaker 5 (52:16):
No zeros?
Speaker 3 (52:16):
Nope, one liar.
Speaker 8 (52:19):
Let's take a quick pause for a message from our sponsor.
Welcome back to the Bobby cast created eight.
Speaker 5 (52:36):
How you do this on furmose Let them out?
Speaker 3 (52:38):
It's on the list nine to eight.
Speaker 5 (52:41):
Look, the reason Creed rubbed me the wrong way is
because I love Pearl Jam and I hated the fact
even MTV did what was remember the Celebrity death matches
even did any better versus Scott Creed because.
Speaker 3 (52:55):
Whatever his name is, respect him. He's played with us before.
Speaker 5 (52:59):
Because he tried to sound like Eddie Vedder. I hated that.
I hated that he would talking like, do you.
Speaker 3 (53:07):
Think anybody that sings like that is trying to sing
like Eddie Vedder?
Speaker 5 (53:10):
Yes, because Eddie Vedder didn't try to sing like that.
It was the first one to ever sing like that.
Name me someone else who sing like that before Eddie Vedder.
Speaker 3 (53:17):
Okay, everybody's derivative of something, including Eddie Vedder. Go ahead.
Speaker 5 (53:22):
I hated that about Creed so immediately I never like Creed,
so I give them a one as well. Eight You're
crazy with thems wide O. Did you ever buy their albums?
Speaker 4 (53:36):
Oh?
Speaker 3 (53:37):
Yeah, I went to concerts.
Speaker 5 (53:38):
How many?
Speaker 3 (53:40):
At least two? You're crazy sticks?
Speaker 2 (53:43):
Hmmm?
Speaker 3 (53:45):
Sail Away before me so much. I never saw the hate.
So it's just do I like him or not?
Speaker 2 (53:50):
Yeah?
Speaker 3 (53:50):
Like I'm okay. I watched them do the web series
at john.
Speaker 2 (54:00):
House.
Speaker 3 (54:00):
Yes, and then he was awesome to sing from six
It's Darryl's house whatever it is. One of the two
had a house and the artist would go over and
I was like, that didn't sound roight. What I didn't
sound right, but it's great.
Speaker 5 (54:14):
Hold on, we've done this before, man, where we like
go down the sticks songs and like they're all so good.
Speaker 3 (54:20):
Dix is great, except they're great as a classic rock
band that I never had any sort of relationship with
because they weren't alive while I was alive. Like Renegade Gone,
just stop a Renegade, that's a jam. Come sail Away,
Come sail away, Come sail away with mister Robotto.
Speaker 5 (54:40):
Mister rob is awesome.
Speaker 3 (54:41):
I got too much time on my hands that I'm
in Wait.
Speaker 5 (54:46):
Do they sing show me the Way like I want you? Okay?
Speaker 3 (54:49):
We played with that band, did Foreigner?
Speaker 5 (54:52):
Yeah? Oh that's cool.
Speaker 3 (54:53):
Yeah, I'm gonna give m a six.
Speaker 5 (54:55):
I like six six is strong because they I do
like their songs. Don't know anything about them other than
I did see that lead singer guy at home Depot
one time long crazy Yeah, blonde.
Speaker 3 (55:05):
Hair, it still sounds great. Saw him over John O's house, No,
Darryl's house, Pearl jam, go ahead?
Speaker 5 (55:14):
Five? Why do you do that? I swear you do
that just to piss me off? Five Because there's no
way that you grew up in the nineties loving.
Speaker 3 (55:23):
Don't tell me. There's no way I said what I said?
Speaker 5 (55:24):
Five, Explain yourself, my friend.
Speaker 3 (55:31):
It sounds like a cartoon character.
Speaker 5 (55:33):
What do you talk? No, one sounded like that. Do
you remember Hunger Strike?
Speaker 3 (55:37):
Yeah? Okay, remember saw them play that at a show recently.
They played it in the crowded the other part Chris
Cornell bar that's.
Speaker 5 (55:42):
Pretty cool when they do that. That wasn't the show
I went to when Hunger Strike came out. I remember
people being like, who is that? Like that voice is
so unique, so awesome. Who is that? That's the new
lead singer of Pearl Jam.
Speaker 2 (55:58):
Dude?
Speaker 5 (55:58):
They were just they were great from the beginning and
they continue to be great. They continue to didn't they
move to Seattle? If fake like the from Seattle to
be part of the grunch scenes Eddie did Eddie was No, no, no,
that's not fair at all. Because Stone and Jeff, the
two founding members of Pearl Jam, were in Mother Love Bone,
who were the roots of Seattle grunge.
Speaker 3 (56:19):
These are the people they say Eddie Vedder is derivative
of Jim Morrison. They stole a lot of his delivery
from Jim Morrison.
Speaker 5 (56:24):
I get that.
Speaker 3 (56:24):
Neil Young stole a lot of his delivery from No Young.
Speaker 5 (56:27):
You think Eddie Vedder sounds like Neil Young.
Speaker 3 (56:29):
They say Neil's voice is higher, but veterans credited Young
as a spiritual godfather of grunge, especially when he sings
and does acoustian material. Okay, Michael Stie because of his
mumble delivery, please mark Lanigan from streaming Screaming Trees, grunge guy. Yeah,
So anyway, I'm just saying you had to look at
that totally original voice that you claim everything's derivative of everybody.
Speaker 5 (56:52):
My final answer is a ten for Pearl Jam Guns
and Roses. Ooh, I like Guns n' Roses. I'll give
Guns and Roses a solid eight five.
Speaker 3 (57:02):
Really, Yeah, grunge kind of made them look worthless before me.
You're right, and grunge made them look weird to me
because I never listened to Guns and Roses in real time. Yeah,
and so I was kind of like, I like, welcome
to the Jungles in football movies. You're in a jungle baby,
And I was like, yeah, it's a five. Cold Play
unfair hated ten.
Speaker 5 (57:22):
You're gonna put them at ten?
Speaker 2 (57:23):
Yeah?
Speaker 5 (57:23):
Nice?
Speaker 3 (57:23):
I love cold Play. They have some really goofy, cheesy songs.
But I love Coldplay.
Speaker 5 (57:27):
It's funny you like you like this the sad Ones
more than.
Speaker 3 (57:29):
The only the sad Ones. I don't want the anthem
So you.
Speaker 5 (57:32):
Don't like Viva Levita?
Speaker 3 (57:34):
Who cling?
Speaker 5 (57:38):
I don't even know what you're saying.
Speaker 3 (57:40):
Viva Lvida. Journey at three ooh, Journey before me, before us,
But still like Journey, I mean, don't Stop Believing is
a Yeah. They have a lot of hits too.
Speaker 5 (57:53):
I'll put them at six. The Eagles O ten.
Speaker 4 (57:57):
Eight for sure.
Speaker 3 (57:59):
Number one most hated band. Kiss?
Speaker 5 (58:02):
Oh, why do you hate Kiss?
Speaker 3 (58:04):
I don't.
Speaker 5 (58:04):
I know it's in the list, Like why would you
hate on Kiss?
Speaker 3 (58:09):
I think because there wasn't a lot of substance and
it was mostly all on flash, which was the makeup.
Speaker 5 (58:13):
Yeah, and uh Gene Simmons tongue.
Speaker 3 (58:16):
Yeah, but part of that, that's part of the makeup
and part of that. We're going to be creatures on
stage more so than just knock out hit after hit
or like music with depth. But again I'm not a
Kiss fan.
Speaker 5 (58:26):
Forget the depth though? Do those were jams? Though? You
can roll all night?
Speaker 2 (58:29):
Go ahead?
Speaker 3 (58:30):
I know, like three songs you know that's the same
song you just said.
Speaker 5 (58:35):
No, I mean I couldn't. I couldn't tell you, like I.
Speaker 3 (58:37):
Know, they have Detroit Rock City, but I can't sing
that back right now. And they have the slow song
from the Paul Rudd movie where he's a mentor.
Speaker 8 (58:48):
Role Models.
Speaker 3 (58:48):
Yeah, role Models.
Speaker 5 (58:49):
I've never seen that movie.
Speaker 2 (58:50):
I think all their music was in that. It was
munch song.
Speaker 3 (58:52):
Yeah, yeah, let me see, because I do like that song,
and it's a slow song.
Speaker 5 (59:00):
I love it loud.
Speaker 3 (59:02):
That's what I'm saying. They don't have a lot of songs.
They have a lot of like we I was made
for Loving You, rocking around, dishors hapens, if I wud
lick it up, love gun Forever. Maybe Forever is a
slow No, Beth is what I'm talking about.
Speaker 5 (59:13):
Beth.
Speaker 3 (59:13):
Yeah, Beth's awesome. It sounds like a Beatles song, it does.
Speaker 5 (59:26):
Yeah.
Speaker 3 (59:27):
Okay, so there's that. I just want to see where
you fell on the hated scale.
Speaker 5 (59:30):
Yeah, you know, I didn't realize Kiss didn't have a
lot of jams.
Speaker 3 (59:33):
I might know them because they got a bunch of
pain on their face. That's why when they came back
and did songs without paint, on their face. Nobody cared
they had no more hits. All right, that's it. Thank
you guys, we'll see you next week. Thanks for listening
to a Bobby Cast production
Hosts And Creators
Bobby Bones
Amy Brown
Lunchbox
Eddie Garcia
Morgan Huelsman
Raymundo
Mike D
Abby Anderson
Scuba Steve
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