We have hit the JACKPOT! Monte and Brandi Warden part 2

Beautiful love story and great team! Let's continue our visit with Monte and Brandi Warden and talk about the new album "Jackpot"

Episode Transcript

(00:00):
Hey, it's Bob Thicket. Weare on our way to the legendary Broken
Spoken. Come on, let's getout of the truck and head inside,
and damn you're proud of it.Come on, let's go and side.

(00:21):
Get ready for another tale from theBroken Spoke. Hey, it's Bob Thicket.
If you listen to part one ofTales and Broken Spoke with Monty and
Brandy, what a great love story. How they bet? Now let's get
to more details about the release ofthe new album, Jackpot, which comes
out on May seventeenth. Back toour conversation. Back to our podcast,

(00:42):
Tales and Broken Spoke continues. Now, we got this album. Yes,
you're Jackpot, Jackpot by the Day, which okay, so I'm listening to
it, yes, and I'm going, wow. Side of Manti that we've
only seen one other time before.I mean, we know you play every
month downtown, right type of musicthat we're not going to hear it this
spoke, But it's something that I'mgoing, how the hell does he know

(01:04):
this stuff? Okay? So it'sI mean it's jazz, right, it's
different than country. Does it comefrom Brandy? Does it come from you?
Combination? How it comes from God. All songs are derived from Okay,
but I'm talking about I mean,where did you get there? This
is a different sign. You've beenhiding this side probably until about two thousand,
well for years, like when Iwas nineteen. That's a great question.

(01:30):
I mean, you're not listening tothis stuff on the radio. I
know, well no, but it'syou know it's a and we say jazz,
but it's like, but I okay, But I know your influences,
buddy, Holly Rockabilly, I knowwho your influences are. Yes, and
but I'm hearing a different side ofyou, and I'm going, well,
I'm just as influenced by Charlie Richand Frank Sinatra and Dean mar You and
I have talked about Charlie Rich before. Yeah, yeah, right, Burt

(01:53):
Bacharraq and Glenn Campbell, Lynn Campbell, be j Thomas Right, you know,
so that is that has as muchwith me as Elvis or Holly but
and Ray Charles Charles think you pickit well, I mean, this is
this is the kind that makes mewant to go out and buy the vinyl
when it comes. Well, ohGod, love you you and a million
of your closest friends. Thank you. When the Harry Mitt Sally soundtrack came

(02:17):
out in eighty seven, I'm nineteen, and I went, man, somebody
is going to write new songs inthat Great American Songbook style, the Sinatra
style, Dean Hart and Ray Charlesbeing Crosby. There's gonna be new ones,
because what was happening was conic.And then just a little bit later,
Boublay just continued to cover those samesongs, the same thirty songs that's

(02:42):
in the Great American Songbook, flyMe to the Moon, that type of
stuff. And I didn't yet.I was nineteen. I was good enough
to have a publishing deal, butI didn't have the chops, songwriter chops
to write those types of songs.But I always I always talked about somebody's
going to write new songs in thatgenre, and nobody ever did so.
Anyway, So you're nineteen, youhave to you wait until you're in your

(03:04):
fifties to do this. Well,I was, you had to wait to
your well seasoned Yes, well oneyou have to wat to you know,
you know what that f you're doing, which which takes me. I think,
you know, God granted me thetalent to be a writer when I
was born. But you know,it's like what we always say is talent
is God's gift to us, andwhat we do with the talent is our
gift back to him, you know. So it took him in it.

(03:27):
But I broke my leg in twentyfifteen and I was sitting there on the
couch, didn't know what I wasgonna do. And Brandy literally put a
battery operated cassio that had been ownedby the late Glen Sutton, who who
wrote almost persuaded yeah, exactly,producer. I never promised, your friend.
And when her dad gave gave Glenn'seulogy when he passed. Anyway,

(03:51):
Brandy said, now you're going towrite these jazz songs. And we sat
down and we just we started doingit. And man, and I'll say,
this picket is like, you know, we're so close. And when
the when the reviews come out forThe Dangerous View the first album, the
thing that's the reviews that are juststarting to trickle in for this record,
and particularly with the single wax aHatchie hoo Chi Coup, everybody's talking about

(04:14):
like like the writing on the firstalbum got compared to Cole Porter and Johnny
Mercer and Harold Arland, I mean, and those that don't know Harold Arland
he wrote Somewhere over the Rainbow.You know, these guys got you know,
Burt Backrack. Everybody talks about thegrowth of my writing. Warden has
really booked. You know, Ihad made that jump to a great writer.
Da da da da da. Allthis incredible press all over the world,

(04:35):
which is it's all true, bythe way, it's not bus it's
true, but but thank you.But the only difference is I'm writing with
Brandy. If I'd written all thesesongs with you or Bruce Robinson or or
Kelly Willis or you know, someother chick, it would be this songwriting
partnership is the reason why Warden's songshave risen to this level. But because

(04:56):
Brandy's my wife, nobody talks aboutthe fact that it's what you just said.
It's it's writing with her and herA and R sensibilities, her commercial
sensibilities that I think make the dangerousfew songs great. I think it's a
beautiful partnership. It's it's the partnershipone hundred percent. Yeah, it was.
And you know, I just Brandyknows to write from my voice.

(05:18):
Yes, with the phrasing ought tobe and and you know, and we
say jazz. If people haven't heardthis and you're thinking I don't like jazz,
you'll love this. People come upall the time and go, I
don't even like jazz, and Ilove this, And we love jazz,
but we love this. It's soaccessible, it's so hooky. It's so
musically hooky. Especially the first songyou listened to it, I thought,

(05:40):
okay, this is going to bean instrumental, because it's all before you
start singing, we're talking about jackpotNo, no, silhouette, silhouettes,
silhouette, slhouettes, one minute beforehe comes in. Yes, And I'm
going, hey, man, thisis is this an instru mental lady a
minute. I've never known money todo an instrumental now, man, man,
God love you for catching that.Study this. He studied this uh

(06:00):
on Frank Sinatra's recording of Fools Rushin the Johnny Mercer song his vocals don't
come in. It's a three minuterecord. His vocals don't come in for
a minute twenty five. Now.See h RCA had a rule with Presley
that you may not know the rule, but it's fixing to make perfect tends
to you. Elvis's vocals had tocome in mandated by the label within ten

(06:23):
seconds. Are you serious? Yeah? Why with it? Because it's Elvis
Presley. People are gonna recognize theyleft mekay Oh on Elvis record. Let
me be because most of those thingsin the fifties are at the top.
Like the longest intro of the earlyElvis records is Little Sister, and it's
nine seconds because they wanted everybody toknow shorter Ondowhite. But you are listening

(06:48):
to an Elvis Presley record, right, And so when we were writing stuff
for the follow up record, Ithink Brandy is one that said, let's
let this one breathe a little bit. And you know my egos, well,
I got to start singing. I'vegot stuff to say. Everybody's gonna

(07:09):
be wondering where's money? And uhsure enough? Uh you nailed it man.
It's like, is this an instrumental? My vocals don't come in for
fifty nine second? What a greatsong man? Thank you well. And
that funny story about that too.You know it's a tango. I don't
know if you picked up on that. And I was coming home with it
from lunch with the girls, andone of my friends said, Uh,

(07:30):
she had to leave early because shewas going to her tango lesson because she
and her husband were fixing to goto Argentina, and I just went.
I came home to money and went, we don't have a tango. We
got to write a tango. Andthat's how that one was born. From
two step to tango. There's anothersong. There's a song title right there
for you, so I'm saying,and you don't even put my name down

(07:50):
for credit for that one. Okay, write a word, take a third.
That's a Brandy family sitting down listeningto the album yesterday. And I
got it for that one, Ithought. And I purposely listened to every
song before I saw the notes,before I saw the cuts, because I
wanted to to just dive into itand listen to it because it's something totally
different than what I'm used to.Yeah from you, and also it's honestly

(08:11):
quite different than what I'm used tolistening to. Anyway. I'll put on
a classic rock station or a ora you know, listening to country,
and I'm going, God on mighty, thank you, Baddy. This is
the same guy that I sit acrossfrom every week that bozo and I'm going,
Okay, how much of this influenceis Brandy and how much is is
MINDI because you and I've shard storiesabout rock, about Buddy Holly and about

(08:35):
Elvis stuff, So I know yourlove about the fifties music. But my
god, well, I think thethe thank you, I think the Presley
stuff is. The Presley influence isvery prevalent on this album. There's some
Elvis stuff like you know, waxahatche hoochikoo, and I declare very very
pressley outside looking in kind of aCharlie Rich Elvis thing. But you know,

(08:58):
remember Holly did those string sessions rightbefore he passed, so he was
dipping his toe into pop music,you know. So uh, It's just
one of those things man, whereit's like, for me, what is
that instrument I'm hearing in every songthat I never hear on the wagon ears?
So what is that trumpet? That'swhat I'm hearing, And that's what
I'm going, Wow, who isthat? And where did you find?

(09:20):
His? Name's Eric Tilford. He'san extraordinarily talented man. He's a great
arranger, and he's kind of tothe dangerous view what Brent Wilson is to
the wagoneers. He comes up withall those signature licks. His sensibilities are
very hooky, very commercial, andhe you know, the thing is,
man, if you're going to playthat type of music, but he's not

(09:43):
overplaying, it's the right, sotasteful and that's about it. That's the
thing about it. Well, andalso man, it's ah we record live
there there are no overdubs aside fromharmony, handclaps and some forcusiony yeah,
b three. That whole record wasrecorded in two days. Two days.

(10:05):
The entire album was too Monnie's vocalswe cut live with the band's the drums
are going down and Monni's singing.I mean, it's like here we go.
How many songs didn't make the album? No, we only we did
just those those songs. Oh yeah, yeah yeah, but but like we
we didn't we had other songs inthe running. No, but we when
we went in we were doing thosetwelve right right, twelve songs. But

(10:30):
from those twelve we called down fromtwenty yeah yeah, but not going into
this scoring in the studio studio,we knew exactly what we were doing.
What order. So when you gointo a studio you say, Okay,
I've got only so many minutes.It's gonna fit on a CD or a
vinyl. Do you look at thesongs differently by the length or by the
sound? What do you do?Oh? No, no, you can't.

(10:52):
You can't. Then you've got tosynqu with the correctly on the project,
which is another See. Something sointeresting that I had my disposal was
the I was currently sleeping with thewoman that used to sequence records for records.
You did that? Really, that'sone of her strengths is that's that's
what she did, and she's aDecca. She sequenced the record. We

(11:13):
knew it was going to close withthe Spiritual. We knew it was going
to close with Steadfast Love, which, by the way, another family members,
Yeah brooks our twenty year old sonBrooks sings based on that and we
recorded him live in the studio,no overdub. Uh. So we knew
it was going to close with thespiritual. But beyond that, uh,
you know the co producers Eric Telford, the horn player, Moss player,

(11:37):
mother drummer, Tim Palmer, theamazing legendary sound engineer, Pearl jam David
Bowie, the Cure, you know, just you two one, yeah,
you two, one credit after another. Everybody put in a sequence, but
really at the end we all deferredto Brandy Well except for the first song.
Tim was the one that came back. Said I had another record,

(12:01):
another song that was going to open, and he said, I'm not sure
about that, and I was like, that was the one thing I knew
was it was going to open withthis one that I wanted, and he
said, rethink that and then itcould only be Silhouette, And so that
was Tim's call. And now Igo, oh my gosh, he saved
me for myself because it's a greatopener. Which one were you considering an
opening? Champagne not the great song, But I think that Silhowett just grabs

(12:24):
you because you're wondering what else ison the record. If that's the first
song, where else is he goingfrom here? And it's it's a journey,
yes, And that's the way Iwish that it's thank you. It's
one thing I don't like about MPthree. We were kids. You got
the album. You started at thebeginning and it was a journey until the

(12:45):
end. You flipped it over that'swhat this, that's the way listening music.
Well journey, thank you, andlike for me, it's like Sinatra's
in the Wee Small Hours is sequencedperfectly, Willie's Redheaded Stranger sequence perfect perfectly,
will Stardust perfect ray, Charles modernsounds, and country Western music perfectly

(13:05):
sequenced. Oh yeah, well orit really any Beatles record is sequenced perfectly,
and so it is. You justwant to take people for a ride.
And it's like, you know,if you listen to this record,
because you know, of course wepress vinyl. The only fade on the
record is the end of side one, which was I finally recorded desperately,

(13:28):
Desperately is the end of side one. It's the only fade on the record
because we're envisioning not just m Pthree's but everybody listening to the record as
a whole, because we only thinkof this collection of songs as an album.
Desperately though, it's interesting because itis a different version that we've never
heard. Was that tough not onlyto sing but to arrange? Oh well,

(13:52):
I have no idea. I didn'tarrange it. So our hard player
Eric Telford range, okay, butEric shows you this, did you argue
with him and say no, wait, this should be here or anything.
Let me tell you. Uh oh. Implicitly, I said, oh wait,
there's a story, because Brandy's looking. That's a great story. Well
it was like we knew because youknow, I had never recorded Desperately.

(14:13):
Had Eric curred the country version ofthe Boy? Oh yeah, yeah yeah.
And I just want to say,real quick, I knew Desperately as
a Bruce Robinson cut in Nashville beforeI knew, I just knew it was
a Bruce Robinson song. So this, this song has just that's back when
he was the Blue Money Warden,blue boy Boy, before I even knew
him. So it was like,oh, you write with Bruce Robinson?

(14:35):
Oh yeah, I wrote and thentold me the things I was like,
interesting anyway, so here we arenot interesting. She said, you write
with Bruce Robinson. I don't thinkhe co writes. And I don't think
he co writes. I thought hewas trying to run something, she thought,
and I said, well he doeswith me. That was his best
songs. And since she looked onthe the what was the name of the
album, the Lucky Dog? Wasit wrapped? Yeah? Yeah, she

(15:00):
looked on the album credits and rapsaw that the only co writes were me.
But anyway, Uh, well,I think Lauderdale's got one now that
I think about it, I dreamtoo. But anyhow, so you go
back to the studio, you're gonnarecut this as it Well, it's like
like a couple three years ago.Uh you know, I told, I
told the band, I said,we should do desperately. You know,

(15:20):
it's sold a million copies. Uh, it has been licensed. This one
song that I wrote that Brandy publisheshas been licensed two hundred and thirty something
times. George Trait recorded, JoshTurner has recorded it, Josh Abbott has
recorded it. Blah blah blah,a bunch of people. So I was

(15:41):
kept trying to arrange it for thedangerous few. And I just I couldn't
get away from what what Bruce andI wrote. And I just, I
mean, I couldn't. It soundedlike I was trying to turn an into
something that wouldn't you know. AndBrandy just kept me going, baby,
I just don't think that works.It just sounds like you're trying to not
sing a country song. I said, Ma shoehorned some chords in that just

(16:03):
right, right. So she shesaid, why don't you just hand it
to Eric and see what he comesup with. So I handed it to
Telford. I sent him the Georgeversion, and I said, tear all
the wires out. I can't tearany of the wires out. I couldn't
tear one wire out because I wastoo close to it. I said,
you will not upset me with anythingyou come up with, and if I

(16:26):
dig it, we'll do it.And uh, like within just a few
days, he said, all right, I got a pretty out there arrangement.
It's in six' eight, whichis kind of a rhythm and blues
pattern. Uh. And he said, but I think it's great. And
I said, well, just sendit over. And I mean it was
just just on his phone, wasn'tit. I remember we were laying in

(16:48):
bed and listened to it on yourphone, right, and it was incredible,
I mean, and I just lookedat it. I said, Baby,
I think that's great. And shesaid. Brandy said, I think
that's the best rangement of this songI've ever heard. I think he nailed
it. Yes, yeah, andso and that had to be a tough
song. Yeah, it was justand immediately the audience loved it. Are

(17:11):
fans that know the song, they'restill singing along with the chorus. And
then there's thousands of you, onehundred thousand people that have never heard George's
version, only know it is adangerous few song. And what I tell
people, and I mean this,this is not all shucks. The best
singer you'll ever hear doing the songGeorge straight, but the best arrangement you'll
ever hear is Eric Telford's. Imean, he nailed this song and he

(17:32):
made it a completely different cat.Yeah. Right, so it's kind of
churchy too. Yeah, it's kindof like from the baby brother to the
big Brother now almost it's just yeah, the evolution of the song, it's
just a yeah. And I sentit to to Tom Foot hopefully he'll play
it for George. I love forGeorgia, and you know George's first love

(17:53):
is. George has talked about doinga jazz outea sometime like Frank Sinatra for
him. They're at that needle again, exactly, Jackpot really is. It's
such a great album again. Therelease date Friday, May seventeenth, available
on all digital platforms or physical copiesare available everywhere. I think that you

(18:15):
and Brandy need to do more stufftogether. We cannot do more things together.
Did you spend too much time togetherworking on this project or lead to
any anything going? Wow, Inever want to do this again. Let's
just get this thing out. Yeah, we work so well. Hell no,
it's all Thank you guys are perfectteam. Thank you well. And
I say this, you know,man, it's show business. We're having
a ball. The whole thing isjust playing with house money. The whole

(18:37):
thing all the time is can youbelieve they hadn't nailed us for fraud yet?
Do you think you'll bring the dangerousfew out here that spoke Yeah,
well you know they got to sayit here, keep it country. So
uh, I realized that. ButI think that mister James White looking down
would be very support. You know, mister White actually heard the first Dangers
to You album and he dug itand he was he was, he reluctantly

(19:00):
dug it. I sent it up. I said, reluctantly. Well,
you know his whole thing, Isaid, I said, I want to
send you my jazz project. Hesaid, oh, cousin money. We
got to keep it country. Isaid, we just I said, if
I open up my mouth and singit's going to sound a little bit country
anyway, but so he dug it. But I'll say too. You know,
the Wagoneers do Waxahatchie hoochie coo here. So both bands are doing that

(19:21):
song and it packs the dance floorhere. So that's something to say.
There is one song because I loveit. The press kit that you sent
me yesterday had the lyrics, andI can just tell me if I'm right
the way I'm just interpreting these lyrics. The song is called Extra Oodle.
Yeah, I wrote all those lyrics. Brandy wrote none of them there in

(19:42):
the kitchen writing this at the kitchentable writing this. Is that? Is
that accurate? No? No,come on now, man, I mean
okay, I love you Extra Oodlechicken Noodle. I'm thinking, God,
man, I wish I was justsitting there watching him write this song.
Thank you. Well. We justseen the The Sherman Brothers. Yeah,
yeah, yeah, the Sherman Brothersdocumentary documentary. Okay, and tell everybody

(20:06):
who the Sherman Brothers are. Iknow him from Disney, right, Yeah.
They wrote all the Disney stuff.They wrote all the Mary Popping songs,
super Cala, fragilistic exius. Andso I was just on my on
my run at McKinny Falls the nextday through the woman out in the woods
writing this, and Monni had takenthe car in to get the tags done,
so he wasn't with me that morning, and I was thinking about them
and thinking, why are we limitingourselves to language that exists or just words

(20:30):
that Why aren't we making stuff upthat would be fun? And so kind
of just as an exercise, Uh, that chorus just kind of fell out
and uh, And so Monni calledfrom the what do you call it here
the DPS, I guess, andso I laid that on him and he
was like, well, let mefind a parking place here. He wasn't
paying any attention to me, soI thought, well, he didn't think

(20:51):
it's any good. In my defense, that was the most enthusiasm for anything
anyone has ever shown while they're atthe DPS. I know. But you're
sitting there, you listening to SawAnd then I get the lyrics and I'm
going, how the heck did theydo that? Because I'm looking at all
the words and I'm going, howdid you get that fit? Well in
the chorus and everything, well,we were talking. We wrote it with
Floyd Domino and both my grandparents,you know, on my dad's side,

(21:14):
we've talked about it several times.They came to America in seventeen oh four.
They fought in the American Revolution,fought in the Texas Revolution. That's
how I'm ken with mister White andthe White family is on my dad's side
during the Texas Revolution. On mymother's side, both my grandfather and my
grandmother were immigrant Jews. He cameover in nineteen twelve, she came over
in nineteen twenty nine, him fromLatvia, her from Poland. And I'd

(21:37):
never touched on the Eastern European Jewishpart of my heritage, and so I
wanted to write something. In thoseRussian folk songs, they speed up.
They start out very slow, andthen they get faster and faster and faster,
and just me and him, andI wanted something like that, but
I don't know how to do that. That's like describing a magic trick or
something, you know. And soBrandy came up with a chorus for extra

(22:00):
Oodle and I love you extra Oodle, Chicken Noodle, superdodle. Most multiplied
by what's inside The quotes it's grandiose. Don't confuse this truth is some excuse
for me to boast, I loveyou extra oodle, chicken noodle, superdoudal
most, which is brilliant. Shehad the whole course. And so I
came home from the DPS and Isaid, Baby, I gotta tell you,
I think what you wrote was prettyeff and great. She goes,

(22:22):
well, you showed no enthusiasm forit earlier you were so excited, and
you didn't think he was excited abouthim, because he gave me nothing on
the phone. So I want soanyway, well, now I know who
wrote the lyrics of this, andit's great. Well then he played catch
up real quick, and he startedspitting out all the verses, the verses,
and so what I was doing iswe we got on this. This

(22:44):
thing of just starting slow. Myattempt to be amusing is confusing what I
meant. But declaring something silly's reallyquite the compliment. There is no higher
price. So he get faster andfaster and faster. And we went over
to Floyd's house, and he knewall those passing those Eastern European Russian folk
passing chords like that thing's got fourteenchords with it, and a lot of

(23:06):
times when a song has that manychords, not to get in the weeds,
but some of the chords are superfluous. Every single chord in extra Oodle
is necessary because it lands on itsown word. So anyway, we wrote
this thing and then Brady said,She said, well, I love it,
but you can't take it into theband. They're gonna think we're crazy.
I said, baby, this isincredible. We don't have anything like

(23:26):
this, and she goes, youcannot play that live at it Noe.
People won't know how to dance,they won't know what to do. She
said, baby, this is justone of the songs for the living room.
So then I've been challenged. SoI said, well, damn it,
I'm taking this in and I tookit into the band, and I
mean, I gotta tell you pickit. First time we picked the thing,
the audience went. It turns anentire nightclub of urbane martini drinking grown

(23:53):
ups into little kids, and thereit's the equivalent of if everybody just stood
up and started twirling with their armsout there, you do expect a dance
number of yeah, but there theybuy in immediately and everybody's just clapping along
and they're so excited and it turnseverybody into a kid. It's a beautiful
thing to see. Can I sayit's one of the best songs on the

(24:14):
album? Well? Oh my,thank you, thank you? And can
I say something else? I wantto say something about MONI. Don't tell
him I said this, but SIfour. You know, the other night
we were watching a biography on NormanRockwell and they were talking about how he

(24:37):
was in this you know, WorldWar two and the depression and all that,
but he painted all of these beautiful, hopeful, all all of his
illustrations were all just of the wayhe wanted the world to be. And
I just leaned, I just reachedover and squeezed his hand and I went,
that's how you that your music,and that that's what and that's even

(25:00):
with this song Moni's music. Hepresents what he wants it to be.
And that's why I think he's perfectfor this time that is uncertain and dark
and everybody's going, oh my gosh, and three minutes at a time,
he lifts people's spirits, he makesthem smile and just kind of is a
reprieve from all of that. AndI just it's just the optimism is real.

(25:23):
I mean, you can't. Can'the is that that's his gift is
to do that. Tell you whatI think that you're the best thing to
ever happened? Ship? Who youtelling that? I really do well these
songs? Man, thank you?Like one the songwriting is just so humbling.

(25:45):
It's like, I really can't believewe wrote any of Oh I can't
you think you can? You know, it's it's all. It's all just
you can't go back where we writewell, it it's just well, it's
just all from God. It's justand she and I both come from the
same spiritual belief system. You knowthat God is the one that blesses you
to be a vessel for these songs. And also something that I always thought

(26:11):
was just was really cool, butI realized it earlier in my career.
It didn't serve me as well.Is I sing almost one percent in tune
and for those listeners out there thatdon't know, most singers don't sing in
tune as as hard as that isto believe, but it enables us to

(26:37):
record records live. So when Ifirst started making records as a kid,
I'm twenty nineteen and twenty and thenlater on throughout my career, I always
sing in tune and in time,which I would think no one should ever
be allowed to make a record ifthey don't sing in tune or in time.
But in this era where you cantune things and edit things and fix

(26:59):
things. Uh, when I wouldsing, like when I did the vocals
for the first Wagoneers record for Stoutand High, I did my vocals for
the entire record in less than aday. Like they they cut the basic
tracks. We didn't cut live exceptfor one song. And then you come
back and you sing. And soI just put on headphones and sang the
song, you know, eleven songs, and sang it eleven times, you

(27:21):
know. And my producers, thoughthey did a wonderful job producing the records,
they they mistook me singing in tunefor takes. And the thing about
it take is it's not that aboutwhether or not it's in tune, it's
does it feel right? Is it? Is it there? Does it have
all the energy? Does it have? Does it sound like a damn record?

(27:42):
And uh? And Brandy knowing thatI come well her coming from a
major label background, and living withme knows that I sing in tune.
I can take no credit for that. That's not bragging. God gave me
that gift. And like taking creditfor singing in tune is like taking credit
for being tall. You know,you didn't have anything to do with it,
you ain't, you know. Andso Brandy is so good about producing

(28:07):
my vocals that knowing that, yeah, I'm gonna sing in tune, but
was that the take? Let's capturethe magical performance? And you know,
and and Brandy is so good whenit comes to my voice in deciding what
is the best key to sing asong, because when I was a kid,
I didn't know you could sing asong with a different key than you
wrote it. I thought she knowsbetter anybody else. Well, and she

(28:30):
knows hit records better than anybody withwhom I've ever worked. You know,
such a beautiful album, Jackpot,Waterloo Records. The date at the time,
Waterloo Records, May the seventeenth,at five pm. Admission is free
and there are some maybe one ortwo tables left for our record release party

(28:52):
at Parker Jazz Club May sixteen.We have not really talked about this in
the podcast. We know you playhere the last Friday every both at the
Broken Spoke. But you've got amonthly gig at Parker. Yeah, thank
you. I just I was raised, uh to not talk about other venues
when you're in a venue. Butit's because this is a podcast. It's
different. Uh. The Dangerous Fewpicked the third Thursday of every month at

(29:15):
Parker Jazz Club here in Austin's downtownFourth and Colorado. Yep. It's in
the basement of the old spaghetti warehouse. And every single show so far sells
out, has sold out, Soget you tickets early, get your tickets.
Oh and you have to get ticketsin advance. Yeah right, yeah,
yeah. It's a swanky affair.It is. It's fantastic. But
this has been I just uh,I'm so proud of Randy's songwriting with this.

(29:40):
I'm glad we've gotten to touch onthat you hadn't mentioned. What about
this? That's the best song,that's the best embarrassing. I'm so glad
that you enjoyed the record. No, really, it was. It was
again sequencing the first song is whyI'm going Wait a minute, he forgot
to sing Brandy. Honestly, Ichased the dog out of the room and

(30:00):
said, I'm going to sit downand listen to not be disturbed. Wow.
Wow, it's a great line.I chased the dog out the room.
I've given you two great lines today, so I can two step and
sing. That's right. But itwas cool and like we talked earlier,
like the uh, there's that oneballot outside looking in. That's very Charlie

(30:21):
Rich you know, and I well, you also said in the press release
Glenn Campbell Thomas J Well, there'sa there's a tune on the record called
love Song every Day. That's theone. It's very very Glenn Campbell and
BJ Thomas. When we started writingit, Uh, well, we started
writing at the park everything is it? But no but a love song?
How do you you came up withthat? You need more strings? And

(30:42):
I'm not talking about guitar strings.I mean your voice. I think could
fit anything. Thank you. Well, you know we were like love Song
every Day. Brandy hadn't written inabout a month, which is no time
at all. But you don't knowwhen you're gonna write your next song,
so you assume it's going to benever. Every writer thinks they're in the
middle of writer's block. Doesn't matterif you could be in the midst of

(31:03):
writing a song and you think you'llnever write again. And so she came
up with, why can't I writea love song every day? Anyway?
All the words appear upon the page. She was being funny. She didn't
she wasn't writing a song. She'sbeing a smart ass. And I said,
ooh, well, now wait aminute, that's a pretty good melody.
What if it was you make mewant to write a love song every
day? And then she called mean extremely horrible name, which told me

(31:26):
it was a great idea, rightbecause I went, oh, because he
took my joke and went, here'sa real song. And then we huh.
I got home and I found thatlittle guitar riff, and immediately once
I had the guitar riff, itsounded like Glenn Campbell to me. So
we just kind of wrote towards,you know, with char Lyman, gennle
on my Mind, or the BJThomas records of the sixties and seventies,

(31:48):
and that thing just really really turnedout great. And I hope if it
makes one person check out Glenn Campbell, then I know I've of my job,
because he deserves to be talked aboutas one of the great Glenn Campbell.
Also Jimmy Webb too, yeah,Jimmy will Yeah, that relationship or
you know, backar rack with hisrelationship with bj Thomas popping country kind of

(32:14):
mild and that's kind of what thedangerous view is. Beautiful album. Do
you enjoy doing this because you veryseldom get behind the mic and talk.
You need to come up here moreoften. Did I enjoy this? Miserable?
But did I enjoy making the record? That's my that's my would be.
This wasn't miserable. Yes, Iwill do what is required. Well,
let me tell you did a greatjob. I thought she did.

(32:37):
Are your natural? You're natural?That's how they announced money been fired from
Tales from the Broken Spoke with newco host Brandy Warden. Yees, who
do you want to have as ournext? Got a long list of people,
But that's a tale for another timeand then Tales the Broken Spoke Join
us next week. Tales from theBroken Spoke is recorded live at The Broken
Spoke in Austin, Texas, hostedby a Texas Hollow Fame broadcaster by Pickett,

(33:01):
recorded, produced and mixed down byMichael Rivera. Join us next time
on Tales from the broken spoke righthere,