0:00

All right, welcome to episode one with

0:04

Tricia Yearwood. What a treat, Thank

0:06

you very much. You brought me some

0:08

Jack Daniels Sinatra select

0:11

Now do you have

0:13

that the Frank Sinatra record? And so we'll

0:16

talk about that in a second. But it's orange. It's

0:19

it's orange on the packaging because that was Sinatra's

0:21

favorite color. And and you're pretty cool. I

0:23

guess if Jack Daniels gives an entire collection

0:26

of alcohol for you, I mean, I think it's

0:28

pretty cool. Anyway. I was gonna stretch scratch

0:30

out his name of mine, but I decided to just leave it

0:32

for you that way. I think you're pretty

0:34

cool if Tricia Wood does a record of all your songs,

0:36

more so than if Jack Daniels doesn't

0:38

waiting to be I'm waiting to do let's be Bobby,

0:41

but I'm don't want to do that one. That's

0:43

like a FCC fine, that

0:46

could be my next thing. That's the whole thing we were. So

0:49

you handed the alcohol and I said, hey, why don't I just drink this?

0:51

Um the first time I ever drinking, And I'll

0:53

just get hammered during the podcast, be so embarrassed

0:55

to be that person. For you, I don't want to be

0:57

that person, I think, and a lot of my friends want to be that

1:00

person. They want me to get drunk with them

1:02

because then they have like my

1:05

my alcohol flower right exactly.

1:07

Yeah, I mean, I mean, I love you, but I don't want

1:09

your alcohol flower. It's not my thing. I've never even heard

1:11

it called that. I haven't totally

1:14

creepy. I was out with a girl, Um,

1:17

speaking of alcohol flower. Well, this is a whole story about

1:20

me drinking, because when I drink, people act

1:22

weird around me. I don't drink, but people are drinking.

1:24

I'll oh, I shouldn't drink around you. So I don't tell anybody

1:26

that that I don't drink. So I I

1:28

fake drink. So I asked the bartender for something

1:30

virginy, and you know, put a little. So

1:33

I was with a girl and we went out and Ray

1:36

and Bay who um, we're

1:38

having dinner with them. And

1:40

I go to the bathroom and Ray tells the

1:42

girl that I took out, Oh, you know, he doesn't drink, right,

1:45

And then she starts she said, I didn't know he told

1:47

her that, And she's been active totally weird around me. And

1:50

that's what it is. It was something else. Yeah, I was like,

1:52

she must know about my rash. You must have

1:55

which is another reason this kind of be what

1:58

don't you deserve a metal Because it's really

2:00

hard I find to be the sober person

2:02

around a bunch of drunk people because no one who's

2:04

really drunk understands how drunk they are. Right,

2:07

So you're if you're the sober person,

2:10

if you're drunk with them, then you don't have to worry about

2:12

not having patience with anybody because you're drunk too. But if

2:14

you're sober and everyone else is drunk. But I don't

2:16

know the difference, right, Well, you just aren't hanging

2:18

around the right drunks. Maybe, So, I mean, I don't know the difference

2:20

in me, like I know the difference in the right.

2:23

I've never been drunk with the drunks. I only

2:25

know being with the stupid people. Like

2:27

I know, a Friday night, if I go out, I'm doing

2:29

with a bunch of stupid people. That's just par for that course, that's

2:32

what it's going to be. So I appreciate

2:34

that someone in this house will drink it. Well

2:36

that's what I thought. You could serve it. You could serve it to some one

2:38

of your guests. Yeah, or someone will steal it.

2:40

That's what happens. That might happen. I'll go into my bedroom and

2:42

I'll come back and Eddie stolen or somebody from the show selling

2:44

all the alcohol. I get really nice alcost

2:46

and to me sometimes because you keep alcohol in your bedroom.

2:49

I mean, is this something I'm going to my bedroom, like

2:51

to change clothes or something. I'd come out

2:53

all right, Okay, I feel better now. I feel better now.

2:55

I was concerned. Yeah, what have you been up to all day?

2:58

I've been doing I've been talking about this record. Uh

3:00

yeah, just kind of doing my thing. We're getting ready to go to

3:02

St. Louis to do a tailgate, so I've been talking about

3:05

that. And um, what is then

3:07

interview day for you? Like a press day? What does

3:09

that consist of? You wake up? What time today

3:11

I woke up at? So

3:14

some days it depends on what you're doing. You know, if you're doing one of those

3:16

big early morning shows where you're crackte

3:20

early morning show. See, I got into the music business to not

3:22

have to get up early, but then you end up getting up early

3:24

for stuff. You get up early three o'clock. Yeah,

3:26

that's not okay. That's not okay to me, I would

3:29

have to quit my job. What I used think that because

3:31

I'm not a morning person. I just I'm not. It takes

3:33

me three hours to get to where I'm

3:35

okay. But you

3:38

it's just a balance like do I love what I do?

3:41

Yeah? But do I hate waking up to do it? Yeah? And

3:43

then as it starts like now we've kind of I've kind of built

3:45

something cool. Yeah, So it's like, you know, if

3:48

my worst problem is not getting sleep, I

3:50

got that's true. And once you're up, it's okay.

3:52

It's the getting up for me. But getting

3:54

up in the dark, I mean, that's you. Really,

3:56

you really are a night person because you get up in the

3:59

middle of the night. That's I'm a night person anyway,

4:01

I'm too, But I mean, and I am that person. If I

4:03

have to get it really early, I'm not the person

4:05

that goes to bed early. I can't do it. I'm just a night

4:07

person. So I'm just not going to get sleep if I got to get

4:09

up early. If you're playing a show and you finish at

4:12

eleven thirty, what time? What time

4:14

is into the set? Usually the whole

4:16

thing usually midnight

4:18

something like that. What time do you finally

4:21

get down? Probably two

4:23

wish. Yeah,

4:25

that's my perfect schedule. If

4:27

I could go to bed, wake up at

4:30

one pm, like that would be so good, Like that's

4:32

my my natural life. I was reading a story about

4:34

that where a lot of jobs, not a lot

4:36

of just but a lot of science is saying

4:38

jobs they're like programming people wrong,

4:41

that everybody's body isn't built for nine

4:43

to five, That a lot of people's bodies are

4:45

built for noon to eight p m. And

4:47

at the productivity scale, whenever you

4:49

find what people do best, they actually work

4:51

better at the times of their bodies.

4:54

Makes so much it makes so much sense, so much

4:56

sense. I mean, I was a I had a nine to

4:58

five job when I first moved to town, and I was a receptionist

5:00

at the record label, and I had to

5:02

be at work at nine. And I worked at a label where

5:05

there was a guy at the desk, so if I got there at nine

5:07

oh one, he'd had to sit there an

5:09

extra hour, so he was really ticked at me if I

5:11

was ever late. So I was always on time because I didn't want h to be

5:13

mad at me. And you couldn't leave your desk,

5:15

to even use the restroom without somebody sitting in

5:17

your chair, because your dance on the phone, you're you're

5:19

the gateway, you know, the whole place. And

5:22

it was really depressing

5:24

for me. Not because first of all, I'm

5:26

watching people coming every day and do what I wanted to be doing,

5:28

so that was hard, but secondly, just

5:31

that structure of this

5:33

is when you clock in, this is when you clock out. I think people

5:35

some people are made for it, and I

5:37

think some people aren't. And I don't think I am. I

5:39

like people because oh it must be so

5:41

crazy. You just normal ever know what your schedule is gonna be. I'm like,

5:43

it's kind of different every day. But I kind of love

5:46

that for me, So it's consistently

5:48

different, like there's a consistency to

5:50

to it always being different exactly exactly,

5:52

and I like that. I think I thrive on that. I don't think

5:54

I would do well. I know I don't do well. Did not

5:56

do well in the nine to five. Marcus Humming

5:59

is a friend, a songwriter in town,

6:01

and he said that he would go in you mentioned your

6:03

your job at Mary Tyler Moore and

6:06

he would see you working behind

6:09

the desk early on. Yes, And actually Marcus

6:11

gave me work, um he I did some demos

6:13

for him, um back in the day. Back

6:15

in during that time period, I got to know, I knew a couple

6:17

of songwriters, and I started doing

6:19

demos after work. Um.

6:22

So I'd work nine to six, and then I would do demos

6:24

until you know, nine o'clock, and then I would go

6:26

home and go to bed and get back up the next day, and

6:29

and then for and then for a while, I got a job

6:31

playing at a bowling alley in Hendersonville,

6:34

north of town. So I would

6:36

go leave my job and I would play from seven

6:38

to two, and then I would get up and go to

6:40

work the next day. So you work a full normal

6:43

day at five pm, then you go to the bowling alley and

6:45

play for five hours? Yeah, what does that mean?

6:47

What do you do at a bowling on? When you play? Do you have like a you

6:49

play sets? So as you play at three like three sets?

6:51

You in a band. I was in a band, So I did all

6:53

the girls songs, you know, and

6:55

you did that for five hours? Yeah? For yeah?

6:57

And was it enough? Would you do

7:00

to get to like pay rent? Are you doing it to get in the

7:02

music scene a bit. I just wanted to sing.

7:04

Yeah, I mean, and I I honestly

7:06

made I think I'd make about two hundred

7:08

bucks in a weekend, which was what

7:11

I made in a paycheck, you know,

7:13

So it was and it was I was having more fun doing

7:15

that. So eventually quit the job

7:17

to do that. But also the demo work was

7:20

I couldn't get full time demo work having a full

7:23

time job, so I could only sing after work. So it

7:25

was kind of that moment of like, I'm not really

7:27

making enough money to to quit

7:29

the job, but if I don't quit the job, I'm not gonna be able

7:31

to do the other thing. And that was a little transition.

7:33

But then I then I did demo work and it was

7:36

great for me because I learned. I

7:38

learned so many things I didn't even know I was learning, you know.

7:40

I learned what a good song was for me. I learned what a

7:42

bad song was for me. I learned how

7:44

to make a song on my own because I'm kind of an imitator

7:46

and I had sung with the radio in my whole life. So then

7:49

you're hearing songs you've never heard before and you have to you

7:51

have to make them yours, and it was. It was a great

7:53

training ground for me in a way that I

7:55

didn't even realize when you're a demo singer.

7:57

And for example, UM,

8:00

if you're listening to this, Let's say you and

8:02

I write a song and we're like this really good song. We'll get

8:04

someone to sing the demo so it gets pitched to

8:06

artists. Um, are

8:08

you hearing like the work tape there recording like ascette player

8:10

and then learning it real quick? Are you hearing that? And and

8:12

looking at the lyrics sheet and then walking in and seeing it

8:15

pretty fresh? Yeah, I'm hearing. I'm hearing

8:17

it on like a jam box back in the day,

8:19

um, with a lyric sheet maybe

8:22

usually usually a lyric sheet. And

8:25

and this was the eighties, you know. So I would

8:27

have a ten o'clock at two o'clock at a six o'clock. So usually

8:29

there be three or four songs per sessions. So I would listen

8:32

to the cassette of the three songs I had

8:34

to sing at ten o'clock on the way to the session, because

8:36

I'd usually go by and pick up a copy of the day

8:38

before usually, and

8:40

I learned them on the way, and I was

8:42

I had a really good short term memory. So I

8:44

and I had this system of

8:47

because you know, in Nashville it's the number system,

8:49

and I was like, do you know the number system. I'm like, yeah, of course I didn't,

8:51

but I said I did because I wanted the work. And

8:54

my system was to listen and kind of just make

8:56

these little hieroglyphic

8:59

lines that no one can understand but me about

9:01

this one, this song, there's a little lick here,

9:03

that melody goes up upon an arrow. Whatever

9:05

I need to do to kind of learn it. And

9:08

then I would sing those songs and then I would um

9:10

usually do a harmony, and then I would

9:12

get in the car and I learned the next three or four songs

9:14

on the way at the two o'clock. Because you can't cramming to each

9:17

of your cramming for a test and to each one, and

9:19

then the next day you do it all over again. So

9:21

sometimes I wouldn't I couldn't tell you what I had

9:23

sung that morning, But if I eventually heard

9:25

that on the radio, I'd find myself singing along with

9:28

a song and be like, oh, I did the demo? Is that crazy?

9:30

So it's subconsciously, yeah, it's in here.

9:32

But you're just sitting. Yeah. So, did

9:34

you ever sing demos of a song they're turned

9:36

out to be a pretty big one? Um

9:39

I did. I did sing a demo for a Lori

9:41

Morgan song called I Guess You Had to Be There. Sang

9:43

the demo for that. Um

9:47

I sang, I'm trying to

9:49

think there was something else that I did that became a big

9:51

song. But oh, I did a demo for one of

9:53

my very first demos ever was a song that

9:55

became a hit for Sammy Kershaw called

9:57

dunt Go near the completely switch

10:00

up, totally dung under the water. There

10:02

a pride to demos singing when when

10:04

it does kind of make it because you're like, oh, I was

10:07

on the first level of this. It kind of is. And especially

10:09

before you have a record deal on your own and you're

10:12

you're not hearing yourself on the radio, then you

10:14

just kind of feel like, Okay, I'm in I am in this business

10:16

somehow because I'm you know, I'm I'm I'm

10:18

contributing. And then the first time I heard

10:20

myself on the radio was as a harmony

10:23

singer. I um Kathy

10:25

Mattea asked me to sing on a record of hers called

10:27

time passes by and I could hear my high

10:29

harmony and for me to hear myself singing on the radio,

10:32

that was the first time and it was like okay, so every

10:34

step was like a little step closer and closer to

10:36

where I wanted to be. We just did a whole

10:38

show about background singers and background singers

10:40

that you may not know we're singing background and some of

10:42

the ones that we talked about where recently

10:44

we're Stableton singing with Luke Brian and drink a beer.

10:47

We went back to your so vain from

10:49

um Carly um

10:52

Carli Simon with make Jagger who just happened to be

10:54

in the studio and was like I'll sing and you know he's

10:56

not credited or when the Beatles

10:58

did. Uh, But we did all this

11:00

whole this whole show about background singers

11:02

and you may not know who the famous background

11:04

singer was kind of crossing on the wallflowers things like

11:07

that. But like you mentioned, you know, you saying,

11:09

harmon, do you sing background records? That

11:11

was a step up from demo singing

11:13

when they had hired to come and sing the backgrounds of

11:15

the harmonies. Yeah, and I because

11:19

you were doing something that was for a record label that

11:21

was potentially going to get played on the radio. And I mean, I

11:23

saying, you know, I think Garth

11:25

Garth says, I don't know how many songs he's

11:27

got, but I mean I was singing on like a hundred songs of his

11:30

and sometimes you know, it's sometimes you don't

11:32

know it's me, but um. And he did the same for me. He's

11:34

singing on some of my records that you wouldn't know he's

11:36

singing on UM.

11:38

And then Leroy Pornella sang for as

11:41

I saying with Vince Gill, I sang um.

11:45

I just I mean pretty much because I loved singing

11:47

harmony and I was good at it, and I was inexpensive,

11:49

you know, so as a demo singer, you're like, I

11:52

come in, I know the song, I can sing home pitch,

11:55

and I can do my own harmonies, and

11:57

you know, twenty bucks, maybe forty

11:59

if there's harmony, if there's more than one harmony, and you're out the

12:01

door. You know, So it was a but you add those

12:03

up in a day and it was a pretty good living. So

12:06

you know, it was it was I made better money doing

12:08

demos than I did as a receptionist, and

12:10

then I got a record deal, and then I was broke, you know, because then you

12:12

stopped doing all of that, and then you you're then

12:15

you're in debt. And so what's funny

12:17

is, and this happens again to a lot of my

12:19

friends and people I know, is that you as your

12:21

profile goes up, you get poorer totally.

12:24

And it's a it's a weird juxtapossession

12:26

of here you go. Everybody's like, well, I

12:28

check this out, but you have no time to do

12:30

anything except kind of

12:32

start over, and you're not making any money. You know,

12:34

they don't give you an American idol. They don't give you a bunch

12:36

of money as soon you're not a record deal. You know, they don't. And if they,

12:38

whatever they give you is to make your record, which is by

12:41

the way alone, because it back and

12:43

then you pay it all back and then you still don't own your

12:45

record, you know. So it's kind of a weird. It

12:47

was totally weird situation. Um.

12:50

But yeah, and then when you do. I remember that the first

12:52

money that I actually made, which I never saw the check,

12:54

but the first money that came in was the

12:57

second album, Hearts and Armor, when

12:59

it went platinum. I remember that there was there

13:01

was gonna be some actual money coming in, and

13:04

um, it went right back into reinvesting

13:07

in what we were doing next because we were going on tour,

13:09

and we were you know, you're paying a band, you gotta you

13:11

gotta bus, you gotta pay for and it's

13:14

it's a lot, you know, so we never really

13:16

saw it. It's so much. I was looking, you

13:18

know, because I have a comedy band and we play

13:21

some do you know, we do a few thousand people and night.

13:23

It's just pretty good little shows and I do stand up and we

13:25

do some comedy songs in the full band plays. But

13:27

just to pay the band and

13:29

travel every show, it's thousands of

13:31

thousands of dollars. I was looking at my business manager,

13:33

and you know, because I'm paying my drummer. You

13:36

gotta pay your basis, you gotta pay your tour manager.

13:38

You're paying and by the time you look at the whole thing, it's

13:40

thousands of dollars for every show.

13:42

And if you're new and

13:45

some of my you know, people

13:47

have been opening acts and you're getting you know, five

13:49

to seven for opening spot one of

13:51

these tours, right, you're paying that

13:54

to just get there. Oh yeah, you're

13:56

you're not making any money. And I think it's harder,

13:59

even harder now because artists, you

14:01

know, they pretty much don't do a deal anymore. That's not a

14:03

three sixty deal, right, so you don't get so now

14:06

you're you're used to be that, you're

14:08

you know, your money is, you're paying everybody

14:11

you have, you have all the responsibility, you pay

14:13

all the expenses. You're the last person paid.

14:15

And now a percentage of everything you make

14:17

is going to your record label, including your live show,

14:20

including your merchandise, through

14:22

every single thing. So it sounds

14:24

like, oh for me, but I think people just assume,

14:26

oh, they're just all rolling in the dough, and it's really

14:29

it's really for ninety five of artists,

14:31

it's a really hard job

14:34

that has you in debt. I mean, it's

14:36

it's not it's not you have to you have to do it

14:38

because you love it, you know, it's the I would

14:40

say it's the one percent of the one percent who make

14:42

money, because it's the one percent to get to this town

14:45

and be able to just be so good

14:47

and good meaning you've done the work to also be

14:49

good, to be so good that you get a shot

14:52

and you get signed, and that's just a shot. And

14:54

then to be the one percent who gets signed and actually

14:56

can make money and make a longer of it, it's the one

14:59

it's the point one percent of people who can actually,

15:01

you know, make money. It's it's way more difficult

15:04

than I think some people think it is. Yeah,

15:06

and I think I think especially now with there's

15:09

so many ways if you don't have any

15:11

kind of connection into the music industry, there's so many

15:13

ways now to get your stuff out there with social media and

15:15

YouTube and all that that everybody

15:17

does think, oh, I'll just do this and I'll be famous or

15:19

whatever. And even if you become

15:22

a sensation on YouTube, it doesn't

15:24

guarantee, you know, the the goal

15:26

is longevity, and that's not easy to do

15:28

these online musicians. I was reading

15:31

about a rapper, young Dolf. I

15:33

don't know who he was either. Maybe you do,

15:36

maybe don't you see the

15:38

look in my eyes. I'm like, I didn't know he was.

15:40

He was eating at a cracker barrel. It's old Dolf's

15:42

kid. Yeah, of course, and do

15:44

senor the whole generation of Dolfs.

15:46

He had a golf video. I think he was eating

15:48

at a cracker barrel, and

15:52

he had five hundred thousand dollars of jewelry in his

15:54

car. There was they bust out his window.

15:56

It was all in his car. They stole it all out of there. And

15:58

I'm like, how did this dude make five hundred thousand dollars?

16:01

He's an online rapper. He's a rapper who made it online.

16:04

I don't know always get that money. But some of

16:06

these YouTubers can make a quick pop, but

16:09

you got to sustain that. But half

16:11

million dollars in a car? Are you kidding me?

16:13

And first of all, where's your business? Where someone telling

16:15

you to not? Nobody was half a million dogs with the toury

16:17

and nobody's te he was half a million doges with

16:19

the jewelry. Besides maybe like Liz Taylor, I don't

16:22

know jewel and in a car. Yeah,

16:24

so someone busted out the window. It was a camouflage wagon

16:27

busted at the crack. And I'm like, get

16:30

the cracker barrel. He's also gonna get

16:32

the cracker barrel. There's there's some irish, so many things wrong

16:34

with his story. I can't even when

16:36

did like the for you? When did they start

16:39

to be Hey, we gotta get this music online? What

16:41

part? What stage? Um, like a couple

16:43

of weeks ago, just Tricia,

16:46

I'm sort of in the last man standing. Um. Sorry,

16:52

I h it's

16:54

it's hard because I come from a different

16:57

kind of a different era, you know, of the

16:59

way music was made and sold,

17:02

and I am

17:05

also wanting to be current, so

17:07

I want to do things the way things are being done. I know people

17:09

consume music in such a different way. Um.

17:13

And this was really the album, This Let's be Frank

17:15

album was the one that I said, Okay, let's just put it

17:17

everywhere because we just what we want is for

17:20

as many people to discover it as possible. So

17:22

let's put it in every single possible

17:25

form we can, which is why if you buy the album

17:27

or you buy the vinyl, there's a

17:29

digital download inside. We're on all the streaming.

17:32

Um. We just want we just want to get it out

17:34

there. And you know, I it's

17:36

tough for me because I as a as

17:39

a listener and a consumer of music, I

17:42

consume that same way. So if I if I want

17:44

to hear a song and I and I go to YouTube

17:46

and watch the video, then

17:48

I might be less likely to buy the record. So

17:51

what's going to motivate me to buy it if I can just hear

17:53

it in all these places for free. But at the

17:55

same time, you have to get it out there for people to hear. So,

17:58

um, we just said, let's go for it. Why

18:00

do I play for the last time? This is from the

18:02

Let's Be Frank album. I have it here, I have it on vinyl

18:05

time I'm in love. The

18:08

last time my

18:11

love was luck with

18:14

no Melity. This is the next to

18:16

last track on the record. I just look at the track list. You

18:20

have a vinyl you gave me here. Do you listen to things on vinyl?

18:22

I do? You know? What's really cool is that it

18:24

makes me listen to albums again all

18:26

the way through, which is because it's hard to skip. I

18:29

agree with that. So and there's

18:31

reasons for the the way records

18:34

are made in a certain order. It was the first

18:36

time in a long time that I had to think about, what

18:39

do you want to start side B with? You know, It's

18:41

like I haven't thought about that in a long time. You know. Is

18:43

it a different order than if you were to stream the record

18:46

that you did the album the vinyl with? Yes,

18:49

because because of that, because you want and on

18:51

vinyl. One of the reasons that we moved away from vinyl

18:53

as a format is because it can only

18:56

handle a certain amount of time on the

18:59

on the vinyl before it starts to lose the quality

19:01

of the record. Well,

19:03

no, it's it's actually the minutes on the record, so

19:06

like something over twenty

19:08

two minutes aside, something about the grooves in the

19:10

vinyl makes the sound quality

19:12

go go the other way. So so

19:15

there's that, you know. So we actually had another song. We

19:17

dropped a song on this off of this to make it fit

19:19

on the vinyl, and then I decided not to add it back on

19:21

CD. You can put as many as you want. Um, I didn't

19:24

want to. I didn't do that because I didn't want there

19:27

to be something somewhere that went anywhere else. So

19:29

that's a consideration. And then you have to think about,

19:32

well, if somebody's gonna flip this record

19:34

over, how does it's almost

19:36

like a a six song playlist on

19:38

each side? Here is come

19:41

fly with Me, Come Fly with

19:43

Me. That's fly Let's fine.

19:47

Did you find that songs like this, the more legendary

19:49

songs, were a little harder to do

19:51

because everybody knows them because

19:53

I would be like, I just don't want to screw this up. Everybody

19:56

knows yes. And also interestingly,

19:59

the big, huge, lush symphony

20:03

ballads, we're not as hard

20:05

as the lighter like come Fly with Me,

20:08

kind of the jazzy,

20:11

more rhythmic things, because

20:14

you find yourself trying to think about

20:16

being cool when you're singing it, and you have to not

20:19

think about it. You have to just like you have to

20:21

go, look, you know what to sing, don't overthink it, don't

20:23

worry about it, just sing it. Um. But

20:26

yes, I mean come Fly with Me, one for

20:28

my Baby, one for the Road. Those are

20:30

such quintessential Frank songs,

20:33

right, so you just have to hope that people know that

20:35

you are just trying to show your respect.

20:38

And with Frank, it's such a weird thing because

20:41

you want to do it right because of

20:44

Frank's legend. However,

20:46

people love Frank and if you don't do it right. I just

20:48

I danced to Frank's Natra song I Dance with Stars, and people

20:51

were lighting me up because I wasn't great at the dancer. It's like, how would you

20:53

disrepect Frank Sinatra? And I was like, I'm

20:55

dancing. This isn't I didn't New York, New York,

20:57

and they were like, how would you just like? I dance a good

21:00

I could a lot of dancer. I just liked the song. But

21:02

I saw then a little bit how pissy people

21:04

would get when you wouldn't do everything

21:06

wonderfully. What you have to do is you

21:08

have to just understand that if you I

21:11

know that my respect level for him and his

21:13

music is high. I know that my intention

21:16

was to make a record that was mine but

21:19

also was a very uh

21:21

you know, specific tribute to him. And

21:24

there's got to be somebody out there that is like, really,

21:26

what does this country chicks thinking doing

21:28

a Sinatra record? But I really don't care.

21:31

I mean, it's kind of like, if you're gonna do it, you

21:33

know, you go out and you dance your heart out, Bobby Bones,

21:35

and you don't worry about what I worried about whatever. But it thought because

21:38

I wasn't for the last Um,

21:40

let's be Frank's out. Um. I should mention that first

21:42

song that we played, that's the one that you and Garth wrote,

21:45

right, is that that's what you told me. We talked about

21:47

it on the radio show. No Yeah, we um, yeah

21:50

that one. So I came home

21:52

with, um, this title in my head and I

21:54

think I told you when we talked before that you know Garcia

21:56

one and all the songwriter Hall of Fames, and so I'm like, I

21:59

don't. I'm not really a confident writer, and

22:01

I tend to do things that come easy to

22:03

me, but if they're a little bit of work, I give up pretty

22:06

quickly. I'm good at that. And uh,

22:08

writing is one of those things that I mean, I've written

22:10

all my cookbooks and their stories about my life and

22:12

my family, but they're not poems. They

22:14

don't rhyme, they're not you know, I'm not a poet like Garth

22:16

is, but he is. So it worked out really

22:18

well and we worked on this together, and

22:22

I really I would I would not have. I

22:25

didn't intend to write a song for the record. It

22:27

wasn't didn't happen at the same time. But

22:29

um, when the song was finished, it felt like a

22:31

throwback to another era. So when this album came

22:33

about, it felt like the place to put it. It fits with all

22:35

the other songs too, Like I if I would have just

22:37

played it and not known. Um, yeah,

22:41

sorry, I'm sorry. I'm just off

22:43

the end of a cold and it's like the cough won't

22:45

go away WHI you take a drink. We'll

22:47

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22:49

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dollar shape club dot com slash Bones

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dollar shape club dot Com slash Bones. You

23:49

know something interesting about you is um? You mentioned

23:52

that you like you sang on roughly

23:54

a hundred guard songs. Yeah, something like that. Do

23:58

you heard the first time that you ever went and sang with him? Or

24:02

was he just wanted the singers you were popping into way? No? I

24:04

mean, actually I met Garth Um. It's

24:06

kind of a famous story. Now. We were introduced by

24:09

a guy named Kent Blazie who wrote um if Tomorrow

24:11

Never Long? And I did

24:13

demos for Kent. So when during those demo

24:15

days, when I was driving around with the cassette in my car, UM,

24:18

Kent was one of the first guys I met in Nashville, long before

24:21

I met Garth. And so Kent

24:23

had a studio in his attic of his house and

24:26

I would go over to his house and I would sing, and Kent

24:28

kept saying, I'm working with this other guy, and

24:31

UM, you guys need to meet each

24:33

other. I feel like you guys would really get along. And he needed

24:35

he needs to call you to do some of his chick singer demos

24:37

and like cool, and Garth was, um,

24:40

didn't have a record do it yet. I think he had just signed with Capital,

24:42

didn't have an album out yet. And um,

24:45

so one day Kent hired us

24:48

uh for to do a demo a duet. So

24:50

we met at Kent's house in the attic for ten

24:52

bucks a song. And Garth says he didn't get paid anything

24:54

that day, but I think he got ten bucks that day. And

24:57

um, that was the day that we met. So we met before

24:59

he was you know, famous. And I remember

25:01

him saying, because that day he said he went to

25:04

Bob Dull, his manager, and said this

25:07

girl like you've got to hear this girl sing. I

25:10

UM remember him saying, you know, I

25:12

just got signed to Capital, I'm about to put up my first album,

25:14

and I hope some day, you know, we

25:17

can work together and uh if

25:19

I'm lucky enough to do well and whatever. And remember

25:21

when he left, I thought, that's

25:23

cool, Like I mean, I thought, this guy's got really big

25:25

dreams. I mean, I hope, you know, like he's

25:27

he's not even released his album yet and he's asking

25:30

me to, you know, be on his tour kind of thing. And then

25:32

of course he became Garth Brooks and after

25:34

that first album, UM, then

25:37

he called me to come and sing on the second album, and so

25:39

it was songs like um uh

25:42

Cole's Shoulder when that on the second album,

25:44

Cole Shoulder was on the second album. UM,

25:47

I missed the Friends in the Places day I

25:49

was out of town on Toury

25:52

literally missed that day, which really

25:54

bummed me out because there's like everybody's on that song

25:56

and I wanted to be on that record and it wasn't um.

25:59

But fast forward to when I got my

26:01

record deal a couple of years later, and

26:04

uh, by that time, Friends and the Places was

26:06

out and he was this phenomenon, you know, and so

26:08

he he said, let's go over to m c A and go

26:11

see Tony Brown and about seeing

26:13

if you want to come out on tour with me. And everybody

26:16

was wanting to be on that tour. I mean, it was like the tour to

26:18

be on. And so when we got to the front desk, the

26:20

receptionist, Willie she Um

26:22

called back to Tony and said Garth and Trisher here, and Garth

26:25

Fondis is my producer, so Tony thought it was

26:27

me and my producer. And so I walked in with

26:29

Garth Brooks and he's like, i'd like to want

26:31

I like to talk to you about maybe taking Trisha on this tour,

26:33

and of course I was like yes,

26:36

you know. So for me it was kind of a

26:38

blessing and a curse because I had grown up

26:41

doing demos. I had not grown up in the clubs.

26:43

I had not come up through learning my way in front

26:45

of a small crowd of drunks. So my

26:48

very first audiences were opening

26:50

for Garth and you know, doing a set in

26:52

front of fifteen thousand people who didn't know who I was.

26:54

That was my first and of course

26:57

Garth being Garth, you know, most of the time, if

26:59

you're on a big tour like at the artist

27:01

has all their stuff and then there's a big curtain

27:03

in front of it and you've got about three ft to stand in front

27:05

of them do your show, which would have been a dream coming true

27:07

for me because I was terrified. And of

27:09

course Garth's like, here, use my whole

27:11

stage, you know, and I'm like, oh, that's so great, So

27:14

that was it was terrifying, but I had to It was really

27:16

baptism by fire, you know. And I had Shees and Loved

27:18

the Boy out, which was doing well, but

27:21

that was the only song I had on the radio, so people

27:23

spent either the entire twenty minutes

27:25

I was out there getting popcorn or yelling

27:28

for Sheason Loved the Boy, you know, until that was my

27:30

last song. Is that the first song

27:32

of yours that you heard on the radio? Yeah, She's in Love

27:34

with the Boy? Yeah, and play that one a little bit. Did

27:39

you know it was coming when you heard it the first time? I

27:42

remember exactly where I was. I was just I was right

27:44

down the street here in Green Hills, driving down

27:46

the road in a had a four door Burgundy

27:49

Honda used and I was

27:51

driving down that road and I heard it come on, and

27:54

I rolled all the windows down, and I don't know why.

27:56

I guess I thought I wanted everybody on

27:58

the street to hear too. I don't. I mean, it was like

28:00

this, you know, just this whole your whole

28:02

body lights up, you know, and um, it was

28:04

the most exciting thing in the world because I

28:07

had literally wanted to be a singer since I

28:09

was five years old, and I remember listening to the radio

28:11

and my mom's and dad's kitchen in

28:13

our house, thinking I

28:16

was naive enough to think, well, they're on the radio, why can't

28:18

I be? And I think that's part of the reason that I became

28:20

one of those one percent, because I

28:22

didn't know the odds. I don't know what the

28:24

odds were, and I really just believable. If they can

28:26

do it, why can't I do it? Did

28:29

you feel when you were working at the front desk

28:31

and people would come into work in a profession

28:33

that you wanted to do, that you were as good

28:35

as they were already? Because I know it's

28:37

frustrating when people are doing what you want to do, But did you

28:40

feel like, oh, I'm I'm there

28:42

talent wise, it's just gotta put in my time.

28:44

My thing was I believed in

28:46

my voice. I believed

28:49

that I had a voice and that I could sing. But

28:51

I'm I'm basically an

28:53

introvert. I mean, I'm not like

28:56

I grew up watching Barbara Mandrell on television

28:58

and she played every instrument and she danced and

29:01

she did all this stuff, and I

29:03

was not. I'm not that kind of an entertainer,

29:05

and so I really thought, um,

29:08

you know, I'm I can sing, I'm a little

29:10

bit overweight. I don't play an instrument.

29:12

Really, I can play a little bit of guitar, but I don't.

29:15

So I didn't think I had enough. I thought,

29:17

I've got this one skill that I believe in, but

29:19

I don't have all these other ones. So I think

29:21

for me it was I did have

29:23

a strong belief in myself, and I don't think if I

29:25

didn't, I wouldn't be sitting here. But at the same time,

29:28

I had all these doubts about the

29:30

things that I thought I needed to be able

29:32

to do before I could be be

29:35

successful at it. So you felt you had to develop.

29:37

Even then you felt like you need to develop a bit more. Yet

29:41

no, no, I mean. And I went to Belmont

29:44

where there were so many music majors,

29:46

and you couldn't you throw a stick

29:48

without somebody telling you what a great singer they were, you know, And I

29:50

was not that girl. And even actually at

29:53

at MTM Records, Um, after

29:56

I got my record deal, there were people at that building who

29:58

said, we didn't even know, we didn't know sang. Really,

30:01

yeah, so you weren't you aren't one of the ones that were

30:03

like, hey, I sing i sing I was not. I

30:05

was not. How did you change that? Then? How

30:07

did you start telling people I sing i sing? I think

30:10

it was because I was shy and

30:12

I wasn't bold about telling people I was a

30:14

singer. But after working at that label

30:16

for about six months and answering

30:19

the phones and ordering liquid paper and

30:22

not and watching people do what I wanted to do, I realized,

30:24

if I don't tell somebody

30:26

this is what I do, if I don't really get off my butt and

30:29

try to make this happen, then I'm going to get to do this for

30:31

the rest of my life. And I reconnected.

30:33

I had UM. I had a couple

30:35

of songwriters, one was camp Lazy that I had done demos

30:37

for, and I UM. I just

30:40

found those guys again and said, hey, I'm trying to find I'm

30:42

trying to get some demo work, and demo

30:44

work was my way out. Once I started to get enough

30:46

work that I could actually quit my job. Who

30:48

was it for you that took the big shot like

30:51

you? We went, Wow, this person really like

30:53

put it out there for me to believed in me,

30:55

when maybe they didn't have to. I

30:58

mean there was, there were several were a lot of people.

31:00

The chain of events were the two Garth's

31:03

honestly, because when I met Garth

31:05

Brooks, he was the person

31:07

who introduced me to Alan Reynolds, his producer,

31:10

and Alan was really a great

31:12

friend to me because Alan gave me advice

31:14

based on what he thought was best for me, not what he

31:17

thought I could maybe do for him. And he was the guy

31:19

who said you should meet Garth Fundis.

31:21

He's a guy who I feel like you guys really

31:24

hit it off. And Fundus was the one who,

31:26

when he heard me seeing said

31:28

let's do a showcase. He's the one who went

31:30

to bat for me at the record labels and to help

31:32

me get a record deal. And he

31:35

was the one who helped me get the

31:37

music that was in my head on

31:40

to tape what I what I really wanted, how I really

31:42

wanted to sound, and the music kind of music that I wanted

31:44

to make. So it was it was really

31:47

all of those people together, because I would

31:49

never met Garth Fundus if it wouldn't have been for Garth Brooks

31:51

um and so I guess

31:53

it really was, you know, ended up being my husband

31:56

the one that really believed in me. That that was like the Stargeant

31:58

telling everybody about me. And he

32:00

didn't even have a single on the radio, so he

32:02

was doing that before. He was, Yeah, freaking

32:04

Garth Brooks. He was just a guy named Garth. He just

32:07

he was a less famous guard probably the time. And he

32:09

was. And then it was like I knew two Guarths. Now. Eventually

32:12

the guy there's a guy who's a tour manager's name is

32:14

Garth and he came in and um did

32:16

an interview for a job, and I told him,

32:18

I said, you're probably great at what you do, but

32:20

I can't know you, like I just can't,

32:22

Like I I have two guards in my life. It's already too

32:24

weird, Like I just can't do it. That's a true

32:27

story that happened. That's a lot of guards. I mean, even two guards.

32:29

I know obviously

32:32

your husband a bit. I don't know any other

32:34

Garths I know. It's so it's so odd. And actually

32:37

if we're all in the studio together, which

32:39

happens, it's very strange, you know. So actually

32:41

I started calling Garth fund As Tennessee because

32:44

I'm like, I have to have like a nickname for you. Because I can't

32:46

because I'd say Guarth. They both with their head around, you know, like

32:48

because they never hear anybody else called Garth.

32:52

So yeah, so it's a it's a thing on on

32:54

this new Let's Be Frank record. You

32:57

went and recorded, did you say you recorded

32:59

like with the like the mic that Frank

33:01

Sinatra used. Does

33:05

that mic just chill there or they like bring it out

33:07

for special occasions they use it. I mean it's you know, Capital

33:10

is like a working museum, you

33:12

know. I mean you walk and you think this stuff should be behind

33:14

glass. But I guess it's cool that you

33:16

actually get to use this stuff. But at

33:18

the same time, it's like it's Sinatra's

33:21

microphone and um and

33:23

the bar stools in there, the straight

33:26

back chairs, they're they're like, there's tons

33:28

of photos of Frank and and Judy

33:30

Garland and Dean Martin. All this stuff is that

33:32

is the Capital gear, and I guess that's part of the vibe.

33:35

I mean, you definitely feel the ghosts in this room when

33:37

you're in there. But I would be afraid

33:39

to use all that stuff. But I mean some of the best

33:41

microphones, like Nashville, where where I

33:43

make my country records I

33:46

use. I used this annoyment. It's called C

33:48

twelve and it's a Now it's a microphone that I've used

33:50

for years because I like how it my

33:53

voice can tend to if I get

33:55

loud at either the Michael shut down

33:58

or the Michael sound really, I'll sound really

34:00

tinny and high ending, and I don't. I want it to still

34:02

sound warm, and that's a challenge. And the

34:05

other thing is if they put a compressor on

34:07

your voice, then you can handle the big lud,

34:09

but it just still shut your voice down. So it's

34:11

a thing. So there's this one microphone that I

34:13

love, and I've been trying to buy this microphone forever because

34:15

there are you can put four the same exact side

34:18

by side, but there's one that's gonna sound

34:21

different. And I've been stalking this microphone

34:23

for years, and I finally I bought it, like

34:25

last week. Yeah, finally finally they

34:27

sold Um. Not not

34:30

terrible, but it's it's yeah, but hard to get. And

34:32

it's an old microphone. So so

34:35

this microphone is probably years

34:37

old. So it is a it's

34:39

that it's one of those things that doesn't that

34:42

that time is a friend too. It doesn't make it like old.

34:44

This is just old. There is something sweet about

34:46

it. And I will say that that that Frank

34:48

microphone was warm

34:51

and friendly, and it just made

34:53

your voice feel like butter, and you just felt like you could sing

34:55

anything. One of the things that I would compare it because

34:57

I am very particular abou

35:00

the mics that I use every day, right, because I talk

35:02

every day, so mikes are important to me, and also headphones.

35:05

But I would compare them to people who don't. If you don't work

35:07

in music or sound like the you

35:09

can have ten pair of jeans that are exactly the same, but

35:12

one of those pair of jeanes is gonna fit you so just

35:14

right. You may have three pairs you own it the same, but

35:17

that one pair you always go back to because it just feels

35:19

the best. And you can't really explain

35:21

it so much like a little bit. You can maybe it fits you a little better

35:23

here, but you're like, oh, this one just feels

35:26

better, Like it fits me better. That's how I describe

35:29

abology, and and the microphone too, and what

35:32

you hear in your headphones, it's

35:34

so um subjective, right,

35:36

So it's whatever feels good to you. And sometimes

35:38

it's hard to describe if especially if I'm in

35:40

the studio and the engineer is

35:43

um ask me what I need. Sometimes

35:46

it's hard to say exactly

35:48

what it's doing. But if you're if you've worked

35:50

with somebody long enough, you can kind of say I

35:52

feel this way or that way and they're like, oh, I got it, and they'll

35:55

they'll figure it out. That's the one thing I've really enjoyed

35:57

about making records with Garth Fondis, who

35:59

we've made it most of our records with and we just

36:01

finished in a country record now, is that we've

36:03

worked together for so long that I can

36:05

tell him something's not right and I don't know

36:07

exactly what it is, but I but something in here

36:10

is bugging me. And he'll usually go, oh, I bet

36:12

you don't like the blah blah blah here, let's turn that down.

36:14

He he knows me well enough to kind of know. So

36:16

we have a language That is nice because

36:18

I can't always articulate what I want,

36:21

but he seems to know. Then. It's funny

36:23

because the analogy I used for that is like if you're getting

36:25

like a massage, it's hard to say exactly where

36:27

it hurts, but if they like confined it, you're

36:29

like, oh, that's it, that's it. That's right there, Like that's

36:31

that's how adjusting something that you really can't

36:34

explain is. Yeah, that's for sure. Oh you

36:36

gotta come back a little bit there, right there, right there there

36:38

it is. That's that's also the sound

36:40

I do. I get a massage when

36:42

you do from this Let's be Frank record. Will

36:44

you do any of these songs live? Yeah? Um

36:47

we we just did our first show

36:49

um at the Rainbow Room in New York, um,

36:52

fitting for the Frank Record. And it

36:54

was the first time I had done all of these songs.

36:56

And it's really funny. You'll find this funny.

36:58

I think I had done a few of the songs,

37:00

but I hadn't done the whole show. And I've been doing a lot of

37:03

press in New York that week, and um, I had

37:05

a long day. It was one of those morning shows where I got up at

37:07

four and then I had to show that night. And in

37:09

about three o'clock that afternoon, before sound check, it hit

37:11

me, I haven't done these songs,

37:13

Like, I don't know if I know all the words. Did?

37:15

They all laughed and the ladies of Tramp. There's a lot of

37:18

verses, and there's a lot going on here, and

37:20

I'm nervous. And as the Rainbow Room innutes New York,

37:23

and so I spent a couple of hours

37:25

while I was getting made hair, makeup, and everybody's

37:27

coming and asking me questions, listening and

37:29

listening and listening. So I was terrified that night because

37:32

I thought, I can't go out of here and

37:34

this. I've been waiting to do this record for twenty years, and I don't

37:36

remember all the words to the ladies of Tramp, like I will

37:38

be I will be carried out of here, you know, record

37:41

on their phone right exactly. Um. And

37:44

but I did. I did find it was a good night. It was

37:46

a good night. But I was terrified. UM. And I

37:48

loved it, like I loved singing these songs. We did

37:51

a few of like we did She's Loved the Boy,

37:53

and we did um walk Away Joe. But

37:55

I kind of couldn't wait to get to these songs

37:57

just because UM. And when

38:00

we do, when we do a tour, we'll do some

38:02

of the songs that people know me for, but

38:04

we'll also do these. It's just I don't know how we're gonna

38:06

do it because you kind of want you're it's kind of changing

38:09

into a different mode, and when you're in that mode, you kind

38:11

of want to stay there. So we'll see how we do

38:13

it. I've done some symphony shows before before

38:16

I made this record, um, and I have some

38:18

really cool orchestra arrangements

38:20

for some of those songs. But um, so we'll see that

38:23

expensive talking about expensive band orchestra,

38:25

yeah, I mean yes, I mean that's the thing.

38:28

You know, a lot of people don't use

38:30

live orchestra anymore because it's so expensive. L

38:32

A was good and they get a lot of work because they had a lot of movie

38:35

scores and stuff. But um, fifty pieces.

38:37

I mean, you know, this album

38:39

will have to do well for me to do another one because it's

38:41

really a lot of money and you don't have to do that anymore.

38:43

But I can't imagine having done this another

38:45

way. To be in the room with everybody,

38:48

it's almost like you're all taking in same breath in

38:50

and out, and the conductors across from you and

38:53

he's looking at you for a signal of how long do you want

38:55

to pause here and how and you're all working

38:58

together and it feels like you're just another instrument in the

39:00

room. And I can't imagine doing it another

39:02

way. It was, It's one of the coolest things ever. Would

39:05

you use a prompter, let's say the words

39:07

you just didn't have it? Would you put a prompter up? I

39:09

mean, I hope I've never done that. I

39:12

hope not, because here's what. Here's what I find.

39:14

If I'm doing an award show or something and they they'll

39:16

have the prompter. I even if

39:19

I if I'm singing She's a Love of the Boy, which I sang

39:21

a million times, and I know I'm gonna I'm gonna look

39:23

at the prompter, you know. So I feel

39:25

like it's a thing that makes you look. And

39:28

I've been to shows and seeing people use prompter

39:30

and I find them staring at the prompter,

39:33

and so I don't want to be that girl. So as long as I

39:35

can remember the words, and if I forget

39:37

words, I just blame someone else, like I blame

39:39

the microphone. I pretend something's wrong, you know, like I have

39:42

lots of ways around it, or I just acknowledge

39:44

I totally totally forgot the words. Um.

39:46

I'd rather do that, I think than UM. And

39:49

I have a pretty good memory for lyrics. So as

39:51

long as I do, I'm gonna I'm gonna keep doing that. You

39:54

mentioned Walkaway Joe, and we'll play that

39:56

just for a bit here, A song like that that

39:58

you're saying to thousand times,

40:00

right, do

40:03

you go into a mode of like

40:05

when you drive, you know you're driving,

40:08

but you've driven this way so many times

40:10

that you probably are

40:12

doing most of that driving subconsciously? Do

40:15

you do that with these massive songs where it's

40:17

just like you're so comfortable

40:20

it's hard to not fall back into the subconscious

40:22

place of just singing the song. I mean, I would would

40:25

be lying if I said I'd never done that. But

40:28

the time, I I'm

40:30

so dramatic, and I love a story, and I always

40:33

make myself a character in the story. So if in that

40:35

in Walkaway Joe, I'm a character for those three and a half

40:37

minutes, you know. So I really get lost

40:40

in the lyric of a song, and I enjoy that.

40:42

That's part of what I get out of live performing.

40:45

So I will say that I I'm

40:47

sure I've done it, but I also do

40:50

really think about this. This is something that that

40:52

I learned on the garth tour, there's

40:55

gonna be somebody in the audience who's

40:57

never seen you before and it's never going to

41:00

see you again, and the only time they're ever going to hear

41:02

walk Away Joe Live is this moment, And

41:04

so I don't really want to be making my mental grocery

41:07

list while they're in there for that moment.

41:09

And I do think about that before I go out. So

41:12

um, I'm sure I've done it, but I try not to do it.

41:14

And Mickey Mantle would say, there's always

41:16

somebody in in the stands who

41:19

has never seen Mickey Mantle before and will never see

41:21

Mickey Mantle again, So I gotta go out

41:23

and make it special for that person. But it's

41:25

such a hard thing to do because you see you do it so often.

41:28

Do you in Carthey keep to the pep talks? Because I've never

41:30

met either one of you together separately, and you're not just

41:32

awesome, and it's almost annoying where

41:35

it's like I would like to I'd like to

41:37

catch you on off day because that just means you're human. You know,

41:39

you guys have never not been awesome to me.

41:41

Well, I'm more human than him. I mean I think he I

41:44

think one of the reasons that I have um

41:47

more of a grateful, positive

41:49

outlook in life in general is because of him,

41:51

because he he looks at everything

41:54

in a positive way. I mean, he will he

41:56

will spend the positive no matter what, And

41:59

I think that I I want

42:01

to be that, but I'm not as much so as him, but I

42:03

am more so that way with him in my life. And

42:05

I think that there's just a I mean,

42:07

honestly, when you really

42:10

think about it, what we get

42:12

to do for a living, if you really think about

42:14

it, is so such

42:16

a great job. It's not even really

42:18

a job. It's like I'm getting paid to

42:21

have every day be different in my life, and I get

42:24

to go sing and I get to basically

42:26

set my own schedule, and I'm

42:28

doing what I have always wanted to do my whole

42:31

life. So I really, if

42:33

I complain about that, someone should really just punch

42:35

me in the face. Can I be Devil's advocate

42:37

for a second? Yes, you sacrifice a

42:39

lot. You have a lot of talent.

42:41

It's not that anybody can do it. And you not only have a lot of talent

42:43

because a lot of people have talent, but people don't have talent and

42:46

work ethic, and again it's that perfect mixture

42:49

of the both and also catching

42:52

a couple of breaks and giving a couple of breaks. Like it is.

42:55

I agree with you because I feel the same way. But

42:57

again, it's not like it was handed to you

42:59

and you go out and go you know what this this

43:01

is given to me. I actually appreciate what was given to me, like you

43:04

work so hard for it. Well,

43:06

I think there is. I mean, I think it's a Will Rogers

43:08

quote that something about um luck

43:11

is disguised in overalls

43:13

and something. I felt like it's a bunch of work. But I mean, I

43:15

think it is a drive that makes

43:17

the work feel like not

43:20

work really, because it's you're so driven.

43:22

I don't. I always say, I don't feel like I chose

43:24

this, Like I never I didn't wake up one day and go, hey,

43:26

I think it'd be really cool to be a singer. I feel

43:29

like I was, and it felt like a calling

43:31

and it was almost It was hard

43:33

when I couldn't do it because as a young girl and as

43:35

a teenager in a small town where nobody

43:38

did what I wanted to do, I didn't know how to

43:40

go about it. And that was the most frustrating part.

43:42

Once I got to Nashville. Then I'm like, Okay,

43:44

I'm here now, and I'm just gonna be

43:47

here and I'm gonna I'm just gonna figure it out.

43:49

There's a drive there. And I

43:52

am a person who I like balance.

43:54

So like yesterday, I didn't have anything

43:56

on my schedule yesterday, and I say,

43:59

to my pajamas most of the day, I play with my

44:01

dogs, I read a book, I had coffee and

44:03

I loved it. But I couldn't. I

44:05

couldn't do that every day. I

44:08

need this. This has been a great

44:10

day. It's been a really busy day. I've had

44:12

the best day. So it's a it's

44:14

and it's because I'm doing what I enjoy. Yeah, I feel

44:16

the same way. And I work really hard but also love

44:19

what I do, which makes me work really hard, which is

44:21

because I love. It's just a it's a nice little

44:24

circle. Yeah, the

44:26

recycle arrows almost. It's like, you do have to figure

44:28

out the balance when you have I don't have that yet. Do you know anybody

44:31

I don't even life balance? Let me know. Um,

44:33

yeah, I don't know. If I can help, you don't

44:36

tell them. I don't drink though, because it runs the whole thing. I

44:38

want to talk abou need that though, Bobby, we have to find you.

44:40

We have to find you that balance. You need it because

44:42

you will just work all the time if you don't have a bad Well, that's what I

44:45

do. Here's my cycle is that I go, I'm

44:47

gonna work all the time because if I work

44:49

hard, I gets because called that somebody will like me. Right, And

44:51

then I work all the time and I don't build my my

44:54

ecosystem of friends and folks. And

44:56

so when I go, you know what, I'm not gonna work. I'm gonna take a second and

44:58

I take a break, and there's no go system a friend that folks on

45:01

me because I haven't built. It's like being a gardener. We're not playing

45:03

in the garden for my food. We didn't plan an

45:05

idiot. That's why it's like, that's what I'm saying to myself.

45:07

And then I'm like, you know, it's screwed this. I don't want to be I don't have system's

45:09

gonna keep working. So it never end. After you've been

45:12

through all the Netflix you can watch, then

45:14

it's time to go back to work. Yeah, I do want

45:16

you have watched Netflix. What do you what do you watch

45:18

recently? Um, well, I've been on this

45:20

whole kick of all these really disturbing

45:23

documentaries on everything that

45:25

you know from abducted in plain Site so

45:28

disturbing. I couldn't I couldn't help myself to Dirty

45:30

John too. Like it's just

45:33

like I really need to watch like a Disney movie, although usually

45:35

someone dies in the first five minutes, so that's not good when

45:37

need to find something else that abducted a plain sight so

45:40

disturbing, so incredibly disturbing.

45:42

I'm glad it was only one episode. I would've done in a

45:44

second one. Yeah. I get excited when

45:46

I find me too. I get excited when I find

45:48

out a show that I love has new

45:50

episodes that I didn't know so that I can bange watch.

45:53

So I just figured out the second half of

45:55

the last of this current season

45:57

of Shameless is out and I didn't know it. So yesterday

46:00

and I was in my pajamas, I got to watch like four episodes

46:02

in a row that I had not seen, and I was so excited because I love

46:04

that show. Um, you watched Ted Bundy tapes?

46:07

I did. That's that's

46:09

I can't wait to the movie. I can't wait to see the movie movies

46:12

and it's it's a Netflix movie too, is

46:14

it. Yeah, so it'll be right right into our even

46:16

the great isn't The great thing about Netflix movies is

46:18

that I didn't even tell you they're coming, so you don't sit there and go, I can't

46:21

wait. I can't wait. It's like boom, you got a movie

46:23

and I love it. It's ramy. I

46:25

was a kid. I was in high school when

46:27

um or Junior

46:29

High was. It was eighties, right, so I was in high

46:32

school. So when that story was

46:34

real and a thing, it was before

46:36

cell phones. It was also really before

46:38

like serial murders. It was

46:40

like that was kind of the beginning. So I

46:43

remember, and one of my best friends who lives here in Nashville

46:46

is from Seattle, and she she

46:48

there's that that park that one of the girls

46:51

was. She was in that park that day and

46:53

um, she and her girlfriend saw a BW

46:56

bug drive by and slow down and then they went and they ran, they

46:58

ran into the woods, and I'm like, maybe you, like if

47:00

think you might have seen Ted Bundy that day. Like so

47:02

it's it's terrifying when you realize that it's

47:05

kind of happened when it could have happened to you as

47:07

as a young girl. And also that

47:09

it was kind of the beginning of this

47:12

whole serial killer thing. So if

47:14

you if you were alive during that time, I mean, our kids

47:16

go, well, I don't, I don't even understand it. I'm like, yeah,

47:18

it was, it was a thing. It was a big deal. The craziest

47:20

thing about that to me was state to state

47:23

you could basically go do whatever you want in this state,

47:25

just jump over the state line, and they didn't share

47:27

records with each other. You're a brand new man,

47:30

all right. I mean, isn't he the reason that there became

47:32

like an FBI database because there wasn't

47:34

one, right that and also the fact

47:36

that he escaped jail twice blew

47:38

my mind. He would practice jumping

47:41

off his top cell to get his legs strong so we

47:43

can jump out of the building. Then when he lost all the weight, so we

47:45

could go through the little ceiling square in the ceiling

47:47

to get out of me and come on, Yeah, that

47:50

was crazy. And then I felt guilty when it was over

47:52

because I really enjoyed it, Like I

47:54

enjoyed the show of it, and I enjoyed

47:56

learning the history of it, and I'm like, oh, I shouldn't

47:59

feel that way. So then I watch like five episode of the Office to kind

48:01

of cleanse myself something

48:05

I do. Want to talk about this country record that you're gonna

48:07

put out, I'll just call it. I would even call it a country record. I would say,

48:09

your record another record, because

48:13

like it's time right, Just is me

48:15

talking like it's time right? Yes, I

48:17

mean thank you, I mean yes, I mean I think what

48:19

happened, honestly was I

48:22

didn't say I'm going to take several years

48:24

off of making records. It just the

48:26

tour with Garth plus the cooking show,

48:29

which I you know, I never dreamed I would

48:31

be doing all this other stuff. It's

48:33

sort of became, well,

48:36

I'll i'll make a record, I'll make a

48:38

record, and it just kind of kept getting put on the back

48:40

burner. And it is what feeds my

48:42

soul. It is what I do. It is what brings

48:44

me the most joy of all these things I do that I

48:47

love. And so last year

48:49

or two thousand eighteen, after the tour ended,

48:52

I just made it a priority and like I'm

48:54

making music this year. And that's how

48:56

the Sinatra record happened, and then I started

48:59

the country record, which I would call it a country record

49:01

in uh in May, and we're

49:03

mixing starting this week. So um,

49:06

it was so much fun. It reminded me that

49:09

that whole life is short and get get after it

49:11

thing. I don't want to wait. I want to just keep making

49:14

music. I'm not worried about at this point in my life.

49:16

I'm not worried about how

49:19

I'm going to get it out there. I'll figure that out. I

49:21

mean, I don't know about radio,

49:23

I don't know about any of those things. But I wasn't

49:25

thinking about any of that in the studio. I was just finding

49:27

songs that felt good. I laughed a lot, I

49:30

sang a lot, I feel like my voice

49:32

feel strong, I feel good, and

49:34

I just I did what I do. If you're going to call

49:36

yourself an artist, that's what you do. And then you figure

49:39

out someone else will help you figure out how

49:41

you get it out there. Do you guys record a song and

49:43

songs that you obviously really love and go,

49:45

oh, that could be the single? Like do you do you now?

49:48

Are you leaning towards one? You're going I think this is the one

49:50

that and whatever single means radio

49:52

highlighted on playlist. You know it first. It's funny

49:55

because at first I said, and I said,

49:57

um, I'm not making her. I'm not

49:59

even to send this record radio Like, I'm just gonna make an

50:01

album. I don't care. I don't care about having anything on

50:03

the radio. And then as I started making the record

50:06

and started listening to the songs and

50:08

started like I love these songs,

50:10

and I'm like, well, this could be a single, you

50:12

know, And so so we're I'm just about

50:14

at that place where I'm going to figure that out. But

50:16

I it's funny because I guess

50:18

it's ego or it's my own self

50:21

confidence. But when I hear it, I go, I

50:24

I can hear this on on the radio, So

50:26

I mean, that'll be for a group of people to weigh in on.

50:29

But I feel like, um, I feel like there's

50:31

there's crea some things. And the cool thing

50:33

is the hard thing is I'm fifty four,

50:36

I'm a woman. There's so those are two big

50:38

strikes against me for radio. But the good

50:40

news is that there

50:43

is more opportunity,

50:45

I think, and openness to do

50:48

things however you do them now, So it doesn't it's

50:51

not as well. You've got to be on these three labels,

50:53

and you can only get there's there's just a million ways

50:56

to do it now, so I think there's While

50:58

some things are harder, some things are easy year. So

51:00

um, we'll see. I'm excited about

51:03

it. Well, thank you. Yeah, I am too, I

51:05

really am. I mean I when we

51:07

made the this Let's be frank in the summer,

51:10

I've been chomping at the bit to get it out, and now

51:12

that it's out, I'm chomping at the bit to get the country

51:14

record out. So um, I'm I'm

51:16

very excited to come in and talk

51:19

to you about it. Yeah, don't

51:21

send it to me early though, I will not listen to it. I

51:23

will not send it to early right, not that you were going

51:26

to, but don't send it to me early. What's

51:28

good to know because I want to. I want to send it to you and you'll listen

51:30

to it. Well, My thing is,

51:33

I think you can be of the industry other people,

51:35

right, one of the two. And I don't listen to

51:37

music early because I don't want to be cooler than my people,

51:40

and so some of my best friends

51:42

will go won't listen to it. I just I have a rule,

51:44

and it's also a slippery slope. But but it's

51:46

mostly about I don't want to be of the industry

51:49

and it gets me a trouble a lot. You know good

51:51

and bad, you know Yin yang. But

51:54

I just I won't because like

51:56

I like to wake up on the Friday

51:58

and I'll listen to it before I go to show sometimes

52:01

sometimes after Never can I hear a full record before

52:03

I go on the air. It takes an hour. Sometimes it's

52:05

a weeds A record takes nineteen minutes one of the two. Um,

52:08

and I like to experience it like

52:10

my people experience it. And so yeah,

52:13

like I'm excited if you come in early and

52:15

we do an interview. This is what this is my moral

52:18

dilemma. If you come in early, because

52:20

sometimes let's say you're gonna go to press in New York, you're not gonna

52:22

be able to talk to me on album day, and you

52:24

come in on a Wednesday and have to like play the

52:26

clips. I feel like I'm dirty to my

52:29

people because but I have to the interview. I feel

52:31

bad I shouldn't hear this. It's like a baby that covers

52:33

ear muffs from old school. Well, it's kind

52:35

of like I will, like I

52:37

want to go support the artists. So even for

52:40

myself, like I have a thing where I go and buy my album

52:42

on the first day. It's kind of like that. I mean, I um,

52:46

and if somebody gives me an advanced copy of something, I

52:48

still want to go buy it because I want all the artwork and I want

52:50

I want everything I want to I want to have the original

52:53

whatever. So I still do that since the

52:55

very first album. I go and buy my my

52:57

records every on the on release day. Let me mention

52:59

trip to tailgate real quick. Tell me about that. So

53:02

when we were doing the tour with Garth the last

53:04

one, I guess I just didn't notice it because

53:06

I mean, I'm a sports girl, so I know about tailgating,

53:09

and that's the thing in Georgia especially, but

53:11

um, everybody tailgates for these concerts

53:13

and they're there all day long and they're just waiting and waiting

53:16

for the show. So we thought we'd set up a big

53:18

tent, make it a very cool, very nice tailgate

53:20

if you want to come beforehand, seven

53:22

or eight tricia dishes and drinks

53:25

and games and we're gonna do food demos. It's

53:27

just gonna be. It's kind of like the ultimate tailgate for

53:29

about three hours before doors open to go in

53:31

and see the stadium show. Yus are

53:33

still giving to the fans. You know that

53:36

you probably hear it some but you

53:39

don't get here. People talk about you behind your back that often.

53:41

But the thing that's said about both

53:44

you and Garth and I said up to your face a minute ago, you guys

53:46

are always great, and so we wonder are

53:48

you real? Like you what's

53:50

under that skin? I have to get back in my pod later.

53:53

Yeah, do you walk into recharged like back in

53:55

like the iPhone? But yeah, I mean, you guys are

53:57

and I think that for a lot of artists it's something

53:59

to look at, is that you guys

54:01

really you

54:04

know where my grandmaways say, well your

54:06

bread is buttered and and I've

54:08

learned from you guys too, And but I also know that my people

54:10

got me here there. I want to be doing this, I want to be doing the

54:12

radio show. I want to be doing stand up on the road

54:15

if it weren't for the people. But you guys are superstars

54:17

and you still keep that as your number

54:19

one. That's awesome to me. Well, I think you definitely

54:21

have to keep in mind that you don't get to go out there and do those

54:24

shows if those people don't show up. You know that that

54:26

doesn't that doesn't fly, you know. I think there's

54:28

a real realization of that. And I I'm in

54:30

a relationship. I keep giving Garth credit, But I mean

54:33

when I my very first tour was opening

54:35

for him in and it was like it

54:37

was like the way to be one on

54:40

one with him because he was he

54:43

was He became a superstar, I

54:45

mean like no one has seen in country

54:48

music. And I watched him helping

54:51

roll up cords that load out and being kind

54:53

to every single person in his path,

54:56

and I remember thinking, well, he's

54:58

Garth Brooks, Like he doesn't have to be nigh and people

55:00

won't nobody's gonna say anything because

55:02

he's like he's the star of

55:04

the show. But the way

55:07

he treated people was a lesson for me.

55:10

And we both were raised by families who

55:12

would not have tolerated us not being nice to people.

55:14

But at the same time, you know, you gotta hit record

55:16

and people are opening the door for you and carrying your bags.

55:19

I might have gone down the path if somehow

55:22

in somewhere in my brain thinking I deserve that, but

55:24

living with him and being around him, it

55:27

was a great lesson to see to remember

55:29

who you are always and no matter

55:32

what happens to you. And I mean, I really do credit

55:34

him with that because he and it's genuine.

55:36

You know, I've known him such a long time now, and I thought

55:38

at some point the other shoe's got a drop,

55:41

like I think he's I think he's a He's a unicorn

55:43

for sure, Like I keep thinking,

55:46

I'm going to see the other side. And he's just a

55:48

good guy. He just is. Andah,

55:52

oh yeah, it's total baby, Yeah, total

55:54

baby. Yes, he's got a cold,

55:56

like, oh my god, he's not a good patience.

55:58

That's what I figured. I knew he's not. There's this weakness.

56:01

All right. Let's be frank Um

56:03

is out now, and that

56:06

the new country record, which we haven't said a name of anything yet.

56:08

I don't know a name of anything. You don't know the name yet. I've

56:11

got a couple ideas, but I'll probably have one by the next tilet

56:13

me toss one at you. Let's be Tricia,

56:16

Yeah, nice, we're

56:21

doing it. Let's I really enjoyed our talking, you know, I

56:23

really enjoy you. Um, you are a delight,

56:26

you really are. I love this. It's like this time

56:28

has gone really quickly. So we've been here seven

56:30

hours really already tomorrow.

56:33

Yeah, it's like when you start dating

56:35

someone you talk older than night. That's what he

56:38

yeah right, yeah, you wouldn't know anything about that, about

56:40

that so long. All right, let's

56:43

be frank really, thank you, and everybody

56:45

check out. Let's be frank and we'll just sit and wait, sit

56:48

on our hands until the country. And no, I won't

56:50

play it for you early, but I won't bring it to you the day

56:52

of if you have a party, I will not be there. And we're

56:54

going to have to do the release at Nashville just so I can come

56:56

play it for you that day. It's going to have to have. It's

56:58

so weird to have an artist play music for you, though,

57:00

because I have to do this thing where you just bob your

57:02

head and act like you're feeling it. This is not

57:05

what do you do if you're not like what if you don't say you

57:07

do? You go into it the same way every

57:10

time when this is me you ready, I'm act right

57:12

now? Right? M that's

57:15

it? Oh wow, it was good like

57:17

it's the same thing, Bust that I'm gonna watch you like a hawk.

57:20

Next time we get together and you're listening to my music, I

57:22

will know. I won't listen to ask

57:24

Leslie. I will listen to a song with somebody in front of me

57:27

out of your mind. So, as an artist, I

57:29

go and sit with a publisher and a songwriter

57:32

and they play me their song that they poured their heart

57:34

into, and I have to say face to face to

57:36

them, I mean,

57:38

that's just not for me. Should I say that to you record?

57:40

You know what? Just not for me? I mean

57:43

it's great, but it's just not for me. Like the old stuff,

57:45

you would kill me. It's really that hard. That's your job

57:47

to do that. It's hard to do. I hate. I hate

57:50

to make people sad. Yeah, me too, So

57:52

let me just say already I love every song you're

57:55

you've made and are gonna make. Thank you, alright,

57:57

what episode one sixty four. We'll see you guys next time.

58:01

Stay silver Bird,