008: Troy Cartwright

Thomas Mooney: Hey everyone. Welcome to the new slang podcast. This is episode eight. I'm Thomas Mooney, the editor in chief of new slang here in Lubbock. And this week we have singer songwriter Troy, Troy Cartwright on the podcast. I guess it was a couple of weeks back. He was here in Lubbock, who's playing the Thursday show at blue light. So we set up the microphones and all this podcast crap up in the pool room. And we had this conversation about Ryan Adams and his new record, and what is of surgical since sturgill Simpson stuff and Jason Izzo kind of commentary. And yeah, I mean, there's a few people walking through because there was this, like lawyer meeting out in the back patio, which is one of those like, yeah, you would think that no one would be up at blue light or at Toms at, you know, seven o'clock, six o'clock in the afternoon. But of course, it was the third Thursday, and there was a lawyer meeting in the back. So there's a few people walking through who slightly inebriated attorneys. Anyways, this podcast episode is brought to you by the blue light. And this week, their shows are going to be for this weekend, at least. Thursday is going to be Rob Baird, who Rob as you'll listen in the podcast. He's, I guess, co-produced Troy's new upcoming record. And he'll be playing Thursday. Friday is going to be Paul coffin, which Paul is also going to be on the the podcast on Friday, we're going to record an episode with him. And then Saturday, it's gonna be Brandon Adams and the sad bastards. Which if you are remotely familiar with Lubbock music, you will know that Brandon is one of the underrated underrated artists of the last 10 years and really probably influenced more people in the in this last 15 year period than then you would then probably anyone else. So he'll be playing Saturday. And then on Sunday actually that they're going to be having the patio open and an upcoming loving songwriter by the name of grant Gilbert will be playing full band up there. Sundays are always free so you can go up there and play or not play but go and see live music, cheap drink specials and all that kind of stuff. Nice for a I don't know an enjoyable Sunday evening. It's not too cold or too hot outside. I should probably also mention that this coming Tuesday is going to be Dalton dominoes drink Oh, Music Festival thing. It's you know just a one day day festival with music going on. In the blue light and on the back patio. There's of frickin a laundry list of artists ranging from local guys like Randall King and no dry county to guys like Cody Canada playing and like Sam Riggs is playing and Shane Smith, john Bauman. Just Just to give you a preview of some people playing you'll want to get there early. I think like doors, open it to 2pm I think it's gonna be music from essentially from 2pm to close. And so yeah, you'll want to get there early because it's not like blue lights, the the biggest place capacity way wise, it's not like you're gonna let 1000 people win or something crazy like that. So you want to get there early, get your spot if you did not buy presale tickets that were available a few weeks back. Yeah, so be sure to go and see that on Tuesday. And also just the that the day before you you may not know but on Mondays at blue light is singer songwriter night, in which I mean, I don't have any confirmation or anything, but I'm sure that some of those people who are playing Tuesday will be there on Monday as well. Just doing the open mic night, so that's always free. And if you're a songwriter, or anyone who just like likes z i guess the beginning stages of of any kind of career go up on Monday. It's live music, it's free and it's a it's a good time to see. I don't know like a mix of people who are beginning their careers and every once in a while you'll get a somebody who, who was at that point, you know, three, five years ago show up and can play a few tunes. Anyways, I don't want to just ramble on like I'm doing Right now, too much longer. So yeah, we'll go on get on to the Troy Cartwright interview in my guess like a few seconds. Thanks. Okay, well, I really don't do intros here, but uh, how's it going, man? Troy Cartwright: I'm pretty good. How are you? Thomas Mooney: Not too bad. That's good. Just that was working at my grandmother's yard all day. So, I don't know. That was a what? Like mowen Yeah, and like, like raking leaves and all that kind of. I'm really indulging shit. Yeah, I'm not really into yard work at all. But yeah, I'm what's what's kind of funny though, is like she's, uh, she's looking for a radio and she couldn't find it. So she just put her iPhone out there and it was playing some recce hand. Hey, so there you go. I mean, that's some good music right there. Yeah, it's, uh, my grandma's kind of funny about that. Like she's got like four records on her iPod right now. Is that one of them to read che Han? The last Stapleton record to Turnpike records. Wow. And that you to record because she does not know how to the one Troy Cartwright: that they made you automatically download? Yeah, that's funny. That's almost like a desert island compilation. You know, if you got stuck on a on an island with five records. Those one wouldn't be some bad ones that she's probably not the one but yeah, maybe if you wanted to end your life, you know, on the island. That would be the right soundtracks. Yeah, that's the thing, though. Thomas Mooney: I do think that that one song miracle of Joey Ramone, which was the US and all those iTunes, or I guess iTunes, iPod commercials. Yeah. I don't think that song is that bad. Troy Cartwright: Like I? Well, I mean, they're you too. So it's not like they're horrible. Yeah, you know, I mean, at one point, they were pretty good. Just, yeah, sort of like, I read this interview with Billy Joel. And he was just making basically ripping out and Johnny was like, we, we've written enough good songs. Like, we're old. We don't need to keep doing this. We can just tour on our back catalogue. And I always thought that was. That was interesting. I kind of admired him more for that. Yeah, I don't know. Thomas Mooney: I get what he's saying and all that kind of stuff. Yeah. But I also think that, you know, if Dylan had quit in the late 80s, sure, like Springsteen or somewhat you know what I mean? Yeah. Then you wouldn't be you wouldn't get, you'd miss. That's great. 90s Records like time out of mind. Yeah, that's, you know, that's very true. But okay, we're just talking about the the, the Island Records. Yeah. What, what would be your five? Man? I feel like this is one of the things that you just have to do an impulse. Well, impulse pick. If Troy Cartwright: I'm gonna if I'm gonna reflect on the records that I still listen to that I've been listening to, for the last, you know, 10 years, that pretty much all Ryan Adams records. So Heartbreaker for sure. Easy Tiger demolition. There was in my top three. And then I don't know probably that that staples and records. That's pretty classic. And then there's this old Pete Yorn record. Used to be big on MTV, I think it was called for Nancy. Or maybe maybe that was a single I think the record was called music for the morning after something that might have been a sophomore record. I can't remember but the one was for Nancy and closet. That was a great record. And I still like it. Thomas Mooney: And say, you know, I never really listened to Pete. You weren't at all. I guess like my one Pete Yorn thing was like, Oh, he did that. Scarlett Johansson. Yeah, like collab record. Right. Right. Just a few years back. But Troy Cartwright: and yeah, he released a record like kind of recently, I didn't listen to it. He did. His first few records were pretty good. But this was like, in the time of like, were the only way I really listened to music was you know, it was like 12. So it was like, run home. Watch TRL on MTV. And so it was like, Pete Yorn was like the only guy on there who wasn't, you know, like a boy band. So yeah, I always kind of liked it. And then, you know, I also liked like, pod and stuff, because I was 12. So you never realized I guess at the time that what you're listening to then will you will still enjoy when you're quite a bit older. So Thomas Mooney: yeah. It The, the TRL age is kind of, uh, okay. Somebody had posted this video on YouTube. And it was like little five second clips of songs from mid 90s, early 2000s. Yeah. And my first thought was, oh, man, I wish like somebody had a list of all of these so I could just go check them out. And then I found that list and I screenshotted it and so I could look them up that next morning. I had it was just was a bad. There was a great it was good in a bad way. Yeah. You know, like there's some songs that you're just like, oh my god, what is this one of the things I thought about was so much of the pop music was based off of, like club dance kind of stuff. And now like pop music there for a while was like all like, based off of the the idea of being a folk band in the Mumford and Sons kind of way. Yeah. You know, and I don't know when that transition happened but then Troy Cartwright: yeah. And now it's like, I don't know. It's like EDM ish. Mom, you know, I it's interesting. I think about too all the time. Like, was john mayer, like very popular on the radio? Like in? I don't know, circa 2008. Thomas Mooney: I don't know about a I remember. The only thing I can really remember him being is the like, daughters area era. Yeah, your body is a wonderland, which I think is like for 2004 or five. Yeah, maybe. Yeah, that sounds about right. And then maybe he was already like, into the the blues trio kind of stuff. Troy Cartwright: Yeah. And that definitely didn't get any radio play. But no, not at all it continuum. I don't think there was much on there that was on the radio either. But it's so interesting how. I don't know. Like, just the fad changes. Like what works for pop radio, then and now and I don't know. It's a weird. It's a weird game for sure. Thomas Mooney: Yeah. Because if you if you don't get a record out in 18 months later, right, you could just be forgotten, you know? Oh, yeah. There's only so many people who can transcend that period where you're just going Oh, yeah. Well, Dr. Dre are still waiting on detox. You know? Yeah, that's very Chinese Democracy by Troy Cartwright: that's just the the music industry man is hard. Yeah, hard to make it hard to make it out here for sure. Thomas Mooney: Okay, so like, Ryan Adams. always loved Ryan Adams. Yes. Well, what what is your like, your tentative ranking of his records? I mean, I know there's a lot of them out there. But like what is your you know? Troy Cartwright: I there are some that I I'm not even that crazy about I really like like Heartbreaker was the first one. So it's always number one for me, because that was the one that was like, why I started playing this kind of music. Somebody my buddy left it in my car when I was 16. You know, like a burn CD. And, you know, he wanted to back after like a week and you know, so I was so into that and then and then I would say so that's one two probably easy tiger. But maybe demolition. I think that's an underrated record. Yeah. Thomas Mooney: demolitions, underrated. And, in my opinion, 29 is severely You think so? Yeah. What about I love that car analogy record to see I kind of like, you didn't like it. Round like, I guess right after easy tiger. Yeah, I was just kind of like, Oh, man. Yeah. Cuz he also did the whole I'm retiring after this. Troy Cartwright: Oh, really? See? I never I don't know anything about Yeah, like his actual, like, day to day career until like, maybe 2009. Yeah, so I missed this whole, Thomas Mooney: like, right after cardiology he was like, I'm done. I'm finished. I'm not gonna. I'm not playing anymore. I'm not gonna record it. And then of course, you know, 18 months later he has something else. Yeah, we're what it was, Troy Cartwright: like ashes in fire maybe or? That was the next one. Thomas Mooney: I think he had like a double record. That was kind of like just compilation ish. Oh, yeah. Well, there Troy Cartwright: was a EP that extra cheese. Yeah. EP that came out. I didn't I didn't even bother by that. Thomas Mooney: I think that was done by what record label was he on? He was on. Oh, man, while sciway Yeah, I think that was like a Lost Highway. Like, hey, Valentine's Days around here. Hey, man, you know, kind of thing. Troy Cartwright: Yeah, that I went really down like really deep down the like the internet rabbit hole. And I found this article. I don't know when this would have been early 2000s maybe but it was like there was a point where like old 90 sevens and Ryan Adams were like, considered on the same plane. And that just kind of blew my mind like discovering that later. Because I mean, I love the old 97 But yeah, Ryan Adams is like, yeah, you know, sit in front row at the Grammys. See, Thomas Mooney: I have this friend Jeff, who used to be in first for cowboys. And he's like, more old 97th and Ryan Adams but he's still loves right now. But he says that there was a an Austin City Limits episode that was oh 90 sevens and whiskeytown Okay, and that like, apparently Rhett Miller went over and knocked on their door and was like, Hey, you guys have any? I don't know. What do you asked for maybe some beer or like some cups or some something some ice and they just didn't say anything to him and he just did there. So that's what I heard or that's what Troy Cartwright: I did. Yeah Ryan Adams definitely seems like someone who, like you know, they always say don't meet your heroes like, I don't think I would like that. I would hate to be disappointed. I just love him so much so yeah, Thomas Mooney: yeah, I don't know he's there for a while like it was just you know, slept celebrity worship for Ryan Adams for me like I yeah, I don't know love absolutely and I still love his music you know? Yeah but I think he's one of those guys where he's definitely past his prime like that's not insane he's putting out okay music right good music but like from Heartbreaker to like gold roses just Troy Cartwright: now grad which which record is easy plateau on? That's called rose it's a second disc yeah yeah which is Thomas Mooney: gold Rose is I think it's pretty funny is that since it was split up into two discs, everyone was either like disc one disc two and I I've had this conversation with people gonna be like yeah, I just put disc two and I could and I could not take that discount. So I didn't know about disc one. What was on disc one for six months and vice versa. Troy Cartwright: There you go. See I didn't even I didn't care for disc one very much. Yeah, it's it's one one like Mockingbird? Thomas Mooney: Yeah, I don't know. Like, this one's like Mockingbird and what else is there? Magnolia mountain? Troy Cartwright: Yeah. I just like these. The plateau was like such a jam for me. Yeah, I know. Thomas Mooney: I I just got like hooked but I guess what hooked hooked me on to disc two was just let it ride. First off. Yes. It's just like a man's. Yeah, it's great. Yeah. And there's like a the that second verse in that second or third verse. was just so fucking amazing. Yeah, like, I can't even I can't say what it is right now. I can tell you but like, therefore, when I got the record, it was like, Man, this is Yeah, I could get like a tattoo of that. You know, like, something dumb? Probably. That's Yeah. Good. But, dude, that's a lot of waiting for you now. Yeah, so least favorite Bryan Adams record though. Troy Cartwright: I don't know. I didn't like gold very much. Did you not know. But that was like the peak of his fame to probably right. Thomas Mooney: It's very much like, I guess people could describe it as like, his tryhard moment. Yeah. Like, Troy Cartwright: I think that's what it doesn't sound like Ryan Adams to me. Yeah, I don't know. I mean, it does. But yeah, it's I don't know. I don't know what he's going for. Thomas Mooney: I think he was just looking for commercial success. Yeah, yeah. I mean, like the. Okay, I've got a, this is my chance. Troy Cartwright: Well, yeah, you're sitting there in that in that canon. You know, with that, I think about that all the time. When I'm writing my own music. It's like, you know, I mean, it's a lot smaller stakes, but you're thinking all the time, like, oh, man, is this song gonna work on Texas Country radio, or, you know, are people gonna like this? And like, it sucks. It sucks to be you feel pressure? And you wonder, you know, for him if he's just, yeah, it was like, Okay, well, I mean, right, because to have a commercially successful record, like, unless it's really out of nowhere. Like, you got to have all this infrastructure. So if he was set up for that, and he was just thinking, alright, this is my chance. So maybe that's what he tried to do. I don't know. Yeah, it's not, you know, there's worse records out there for sure. Yeah. But I didn't I don't know. I didn't like that one that much. So, Thomas Mooney: yeah, a couple of songs on there that I go. Oh, yeah. I'm trying to think of off the top of my head. I mean, like, I guess like rescue blues. Yeah, he's on there. I don't know. That's also like the record that he called and all his buddies, you know, like, right. What's his face from Counting Crows? I think sing some. Oh, yeah. Many vocals and Troy Cartwright: guys got a ridiculous voice too. Yeah. But very big hands. I don't know if you knew that. No. large hands. Heard the the anti Trump Yeah, yes. Exactly. Yeah. Oh my god. Thomas Mooney: That's okay. You mentioned something earlier, just the like, what point does wondering how successful a song is not necessarily even like how successful but like, if it will mean something to somebody else. When does that even? Troy Cartwright: When is that internal? like yeah, your psyche? Ah. I think you're always I think, for me, I it never goes well. When I go into it. thinking oh, I need to write a song like this. So like for instance, I don't know year and a half ago we opened for American aquarium in in Dallas and those like those guys are awesome. I love them and I got home I got to write a song like this. When I wrote it, I thought it was awesome for like, a couple weeks. And then I went back to it. And I was like, this sucks. Yeah, it was I thinking, you know, I think you do that with, with a lot of songs. So I think it just depends on, on where you're at with the song. And I know for like this new record, that was like, you know, we were picking from my producer for probably, like 30 songs. And it was trying to figure out the right, the right songs that fit maybe like, as an album, and also, you know, trying to let that go, he was really pushing me to let that go. Because, you know, you get I mean, you know, I'm lucky enough to make a living, playing music, but like, you know, it's tight. So you want to go to that next level, you know, and it costs money to make a record. So you don't want to screw it. Yeah. And, you know, two years down the road, you're out of money, and you're two years older, and you know, your facts. So yeah, it's hard. Thomas Mooney: I do think it's, it's this. Even if you want to believe that everybody should be a, the songs come first, the I don't, I'm not thinking about what anyone thinks of the songs, right, I'm gonna do that thing. That's very, very, very difficult to do. Like, it's like a half of 1% does that and is able to make it you know, right. And I guess like, you have to think about it in the way that probably the people buying your records, also bought records that are I guess, like outliers for them, as far as sure, you know, these incredible songwriters or you know, like these one percenters, but then also, you're having a you're diving into the market? Have they bought every KC Donahue record? Or you know what I'm saying later? Sure. So, where's the balance of Troy Cartwright: that? You know, yeah, where's the balance? And also, like, Are you trying to think? Are you trying to think bigger, you know, it's like, everybody wants to be nationally successful? I mean, that's one thing. I mean, my favorite using air quotes, Texas country guy, if you want to call that as, but probably hates Carl. And, you know, and he had a lot of national success, and obviously sign a loss highway and, and all that, but I mean, I, I think as a songwriter, that's sort of the model, you look to someone who can kind of, I don't want to say it's pandering, it's just like, the style of music you create, does it work for this audience? And, you know, unfortunately, in this scene, a lot of it is, it's just bad. Yeah. Like, I don't know why anyone listens to it? Yeah, I don't, I'm not sure that people do that much. It's just, it's there, you know, it's on the radio, and there's a whole system in place, and which, which is great. You know, it's, we're very lucky here, in Texas, red or whatever to have, have the infrastructure in place to where you kind of can catch a little bit of momentum from from the radio side, or, you know, there's players and they're established, whereas I feel like, on the Americana side, it's a little bit less, there's not as much of a structure, I guess, right? Yeah, makes sense. Yeah, there's certainly big players in America as well. But you know, it's a bigger, it's a bigger stage. So it's harder to, to kind of get up that ladder. So I think that's one thing that's really unique about, you know, being in Texas and playing this circuit is, you know, you get this scene like rewards, bands, who, you know, you got to you got to be talented, but if you work hard and stay the course, like you can, at least for the most part kind of make it happen. You know, and I think the, the hard part is, is just trying not to plateau or, you know, get I don't get complacent and not, you know, not make new records or just start getting wasted every show or Thomas Mooney: whatever, what sucks is like, whenever an artist decides that, that they only want to do Texas, right, you know, and sometimes, I guess, like, you know, if you're playing in Texas, and like the last six months of shows, the last year shows have all been in Texas, that's fun and everything. But also, if you're not always trying to think like Well, let's try and get at least some dates going out west or like route east. And you have to have like a Troy Cartwright: state of mind bigger than Texas. You do. Yeah. And well, it's a long term mentality to write because eventually, you know, you're not going to you when you get bigger, you're going to have to stop playing taxes as much because you're going to ruin it. You know, you're gonna ruin your, your draw. Yeah, that is, you know, for a lot of guys what allows them to get the bus and make the badass record that that sounds you know, like $100,000 Record ever, you Thomas Mooney: know, and that's, you kind of have to think of Texas in the same way that of a, of a venue or a city. Yeah. Like you're not playing blue light, you know, once a month, right, like, nobody would come you play? Yeah, you Troy Cartwright: got to play every three or four months. And yeah, you know, it's like, you know, I've always thought of it as like an incubator. And trying to find, I mean, you know, I was, I grew up in Texas, but I was living in Boston for five years. And I was like a Wedding Singer. And it was like, What am I doing with my life, like, I don't want to, I want to play music. I don't want to do this. So he moved to Texas, and, you know, started playing and I would say, in the last, only six or eight months has finally gotten to the point where I feel like I can kind of keep my head above the water, I guess. And now with the new record of them sort of like trying to survey the landscape and see where, you know, where the next move is, and obviously, like, we got a lot of still got a lot of work to do growing. growing it in Texas or whatever, you know, we're not a huge name or anything, but we're getting somewhere, I suppose. Yeah, I hope so. Thomas Mooney: You, you sent me the record just this afternoon. Yeah. afternoon, evening. Yeah, I saw somebody on Twitter the other day ask the breaking point between the afternoon and evening. And I said five o'clock. Troy Cartwright: I was gonna say 430. So 430. Thomas Mooney: Yeah, I say five just because of that's typically like the workday. Okay, I'm with you. But regardless, anyways, this this new record. Yeah. What do you do it? And like, how long did it take to? You said, you cut it down from my, I guess you were picking from 30 songs or so? Troy Cartwright: Yeah. So I did it in in Austin, with the called rattletrap Studios, but as produced by Rob Baird, and Brian Phillips. And Rob, you know, is kind of like, Oh, my, I don't know, he's my dude. Like, he was always been really cool to me. Like when I was first getting started when I you know, when I I still make trips up to Nashville. But at one point, he was up there. He's back in Austin now. But you know, we had, we had some beers or whatever. And this was like, two years ago, just got to talk and and kind of hit it off from like, a music that we liked standpoint, you know, and we're playing the mercury lounge in Tulsa. I don't know back in October, maybe. And he sent me a text. He's like, Hey, dude, I want to produce your record, because I've been looking around for producer and I've like been going up to Nashville and barking up that tree to see like, want to produce my record and like, none of it felt. It didn't feel good, you know, just felt like something. I don't know. It's like it's a struggle, right. And you're trying to grow. So you know, you want to like get a good producer. But But BDP the other producer had done a lot of a lot of other records that I that I liked. So I'm blanking. I'm blanking on the guy's name, David. new record fables. Oh, David Maris. Thank you. Yeah, yeah, he did. He did. Not fables, but the record before that. The rooster maybe? Or like the, the, the one with whatever the number I got a name. But anyway, yeah, it done some really great work forever phones right here. But we could look but I mean, I feel like this cheating, you know, Thomas Mooney: so I'm just not gonna look, I looked at my phone that Troy Cartwright: yeah, it's like, I gotta tighten. So see, yeah, we started working on that. And we started tracking it in December. But before that, end of October, November, I would just go to, I would just go to Rob's house in Austin, he's got a little back house. So you can just kind of crash there for a few days. And I just, we'd stay up till like five in the morning. And I just play play songs. You know, and like I said, we probably played over 30 songs, and we'd write them down and kind of got a list going and then, you know, pared it down and tried to make a record that sounded like a record, not just the record I did before I was proud of a lot of it, but it just felt rushed. And, you know, some of it, I listened back and I'm like, man, like, I didn't, it didn't feel like me, I guess you know what I mean? Like, talking about that struggle? Like are you trying to sound like this or that and yeah, you know, so I feel like with this record, it's, you know, we struck a really, it just, you know, it sounds like me, it's the songs I wanted to do and I wouldn't I think as much as we could we kind of blocked out the are you trying to, you know, who's gonna listen to this or whatever. It's like, well, let's just make the record that you want to make and, you know, hopefully people like it and if not, I guess you know, do something else. I don't Yeah, that's not gonna I can't do anything else. But just figure something out. Maybe. Maybe the next record. Just Just make Michael cheesy country tunes or something. If this doesn't work. Go easy, Thomas Mooney: cheesy country saying teams. Yeah, if there's a lot of background noise on this, it's just because there's people walking through. We're at blue light right now Troy Cartwright: we are but uh, the guy with the skateboard has gone, which more sad about? Yeah, Thomas Mooney: I don't think really there's gonna be too much background noise. I know that will be on there. Yeah, yeah, that's for sure. But that's okay. Troy Cartwright: Man. So so anyway. Yeah, so we did that. And then we went back and, I don't know, first week of February and did the rest. And I don't know. I think it's I think it's really special man. I think it's got some really nice moments. And I don't know, it's just it's not you know, you. You work on something for so long. And then you just now it's like, we're just waiting. You know, we got all the lineup all these ducks. And yeah, that was one thing. I was like, laughing at, like, a really good buddies with the guys from flatland. You know, and they like finish the record and like, put it right out. Yeah, man. Like, that's crazy. Obviously, it worked out very well for them. But like I'm, I'm much more like, I don't know, I get really into the minutiae of want everything to be like really specific way and like the release to be a certain way. Yeah. I don't know if it freakin matters at all. But yeah, Thomas Mooney: that the the flatline release. I remember talking with cleddau. Probably like a month before the release month and a half. And it was like, yeah, we're still I'm getting all nervous because I'm still working on doing this stuff. and blah, blah, blah. And then, you know, a month later, it's like, oh, we're gonna release the record. In two weeks. Yeah. And here it is. And I was like, shit, man, you guys. just did it. You guys got it finished up. Yeah, they busted it out. Yeah. That's awesome. I don't know. I think it's a it's interesting. The different ways you can make a record and I guess, like, think of what a record is. Right? You know, like, that's, I, for most people, it's just, you know, a collection of songs. Sure. It's like, and probably for a lot of buyers. It's a collection of songs in which I don't like half of them. Were not even necessarily I don't like half of them. But I don't listen to him because I didn't never listen to him. Right. You know, what? that's entirely different thing. But, you know? Well, I think if you're able to go ahead, Troy Cartwright: I'll just say, I think also, it gets a little bit harder as you go along. You know, like you, I don't know, overthink it, or, you know, you want it to be like, I'm just nervous about like, I'm, like, sometimes like so like, just basically sick to my stomach about this new record. I'm just like, yeah, are people gonna? Are people gonna like it? Is it any good? I don't know. I don't know. Yeah. So it's, but Yeah, it is. It is interesting. For sure. Everyone's got their own process. But that's, that's the beauty of it. You know, it's hard. So there's no Thomas Mooney: set way. You know, when I I interviewed Dave Cobb the other day. Oh, really? Yeah. And he's just talking about Yeah, just matter of fact, about how, yeah, we slyke whenever I cut that record with Sergio those four days, you know, and just like, oh, shit, man, you guys. But that's his whole that's his philosophy on record making. Let's make something quick and fast. And like capture a moment, you know, right. versus a fine guess like this? Yeah. He said, like, yeah, they cut it in four days. Oh, my God. And like the Stapleton record, he said, two weeks. And that was like in, I guess, like the, I think they did the surgical record at at Cobbs like back studio. And then the other one was in, like, RCA CDs, or something like that. Fancy studio. Yeah. Which He's like, in charge of now. Oh, really? Yeah. But anyways, it's like, regardless of, if you think to like, of course, four days is really short. But like two weeks is also very short. Troy Cartwright: Yeah. Yeah, it is. And it goes fast to like, you know, this record, we did it and basically to one weak stance, you know, and like, I think what a lot of people don't realize, too, is, you know, 1012 hour days, at the end of the third day, you've been sitting essentially, in a room with loud noises. Yeah, you know, with drums and, you know, you're just trying to get the arranger down and you've heard every song 15 times. Yeah. And you just sort of get, like, brain goop? I don't know. Thomas Mooney: Yeah. What's that? And then probably the the next the next part is the the whole, you know, mixing and mastering and then, you know, if you're really into that, you're listening to it. 1000 more times. Troy Cartwright: Yeah. Yeah. And you're, you're trying to figure out, you know, if this is right, or you know, If I tweak this, this is gonna sound better or and then suddenly tweaking you're like, Oh, wait, and then I go, can we go? Yeah. Can we go back to the other way? So? Yeah, it's interesting. This was a lot different than the record I made before this just in terms of the process. So what was what? How did you guys do it last time? Last time? I did it up at 115 recording studios in Norman with with Washington. He's done. Yeah, throwback records and john fullbright Records and you know, I, I was still pretty new. So I didn't really have a band yet, per se, I had a guitar player, Glen, who still with me, and kind of just hired some guys to play from Dallas and got in there and like, wasn't 100% sure, like, what songs we're gonna do? And you know, just kind of tried to make it No, no, it was poorly planned. I think the result was, in the end was, you know, was was good. It got me Got me somewhere got what got me where I needed to go. And I think, like, West did a really great job on the next flight home, which was our first single and that really kind of started us down the down the path or whatever. Yeah, we are now. But for this record, you know, it was just like I said, a lot more time planning songs. And then I ended up using studio guys and guys who had worked together a lot, which save us time in the studio in terms of, you know, I'm coming to the songs with to them with the songs like pretty much acoustic some of them, I had some arrangements in mind, but, you know, we bang it out one way, and then we say, Okay, let's listen to this reference track. And, you know, we, it's very nimble, there was no words, if I were to do with my band, that would be sort of this institutional knowledge of what we've always done it this way. So the producer says, we want to try it this way. But like, you know, yeah, it can create, like, maybe a weird. I don't know, attitude or vibe in the studio. So it was really cool. Like the vibe was, it was it was really awesome. Thomas Mooney: Yeah, I've time around. I've heard about like, maybe not necessarily, like the band being, like, the regular band being lazy about it, like, well, but like, in a while, this is going to be so much more work if we do it this way. Right. In a like, Well, we've been doing it this way for six months now. Troy Cartwright: Right? Should I let you know? Yeah, like I said, it's just the institutional, you know, it's just and then you hear it the other way, you're not going to like it, because they're used to the other way. I know, like, when we would switch stuff around. Even studio guys, it was uncomfortable for me. But you just kind of step back and say, you know, and that was the other thing that was a lot of trust. With between me and I trusted Robin and BDP kind of in their, their ears, I guess and, and kind of so it was it was just good man. It was a great experience. I learned so much. And you know, I'm hoping it'll open some doors or whatever. I don't know. I don't know how this works now. Yeah, like now's the hard part. Thomas Mooney: Yeah. What's, uh, what was the most difficult song to write? To write? Troy Cartwright: Well, so how could you, which is I think track seven or eight was a song I'd written a different way. It was about a different thing. And I was on a personal story, I suppose. Girl, my girlfriend was was we were both living in Dallas over the summer. And she's, she's in school. So she had to leave at the end of the, you know, at the end of summer and go back to school. You know, it was it was it was tough. So, I kind of came to it. For me, it was a love song. And it kind of got tweaked to being more of like, you know, how the, the, you know, the theory of the song is how could you leave basically, of course, wasn't actually the, necessarily the case, but it was that it was just capturing that feeling of, you know, and it was very, I don't know, very vulnerable feeling. And, you know, it was hard to write it, wrote it at a you know, it was a hard, hard couple weeks, I suppose in my life. And I don't know, I really think songwriting is important in that way. Just to my life, you know, it's songwriting is just kind of the only thing. I would say the only thing nobody told me to do, but I mean, I was writing songs I was 14 just because I was pissed at my parents or whatever and, and, you know, it helps me I'm a pretty oftentimes pretty like depressed guy or a dark guy and you know, gives me some, I don't know relief, if that makes sense or so I I don't know. I like that part of it. And and I like the I just like the process of, you know, we're talking about what that server record, it's like you're just trying to capture this little, this little feeling I guess. Thomas Mooney: It's in. It's interesting as far as like, like songs can be just a moment in time, right? where, like, last week, whenever we had BJ and will on, BJ is talking about, I hope he breaks your heart. And it's a great story. And he was like, you know, I went back and wrote wrote that song, and I didn't really think it was gonna be more than that. And somebody captured on YouTube. Oh, and then people started wanting that song, like requesting that song. And that's how, like the song I guess, got put on, eventually recorded and put on the record and all that kind of stuff. Yeah, you just say now. It's, uh, he doesn't feel that way. Now, it was like a moment of seeing his girlfriend walk into the bar where he was playing sure with the guy, right? And him going backstage and writing that song down, and then going back out there with an acoustic and pointing her out. Troy Cartwright: Yeah, calling her out on it. And it's awesome, though. It's such a great story. And I mean, it's, you know, sort of, like, anthem for them at this point. Yeah. Which is really cool. And I think, I think songs, every song has a different process to like, on my record, like the last track is a song called Arkansas. And that was a song that happened pretty much in 15 minutes, just kind of started playing and then it kind of came out, maybe tweaked it a little bit. But then then there are other songs on there. Like, what happened was the first tracker busted. I mean, what happened was I probably worked on maybe for over a year, off and on and, and busted was about something else. And then, you know, I like to write as I think of songwriting sort of is like polishing a really like, dirty bowl. So initially, you just kind of trying to get most of the big stuff off and like get it down to paper and on your phone. And then sometimes that's good enough, and other times you listen back and tweak it and then, you know, sometimes you can just fall down the rabbit hole of tweaking this and then oh, no, well, now this line doesn't make sense. So it definitely depends on the song. Yeah, but I like the I like working in I enjoy the it's kind of like a puzzle. Thomas Mooney: Yeah. The actual work of putting the floor. Troy Cartwright: Yeah, well, and I just, I just love the, the craft of songwriting. And I think, you know, it's, it's kind of like, a calling in a way And oftentimes, you know, not rewarding and, you know, it's a struggle. It's a struggle, being a musician, and, you know, but that's, you know, I'm sure any job anyone has, they feel like it's a struggle. So, yeah, the, Thomas Mooney: on this record, one of the things I noticed was that, especially on this first, like three tracks, or some three or four tracks, yeah, like the opening lines are just really vivid images, likes very specific things. Yeah, you know, is that you'd like that. You'd like to try and get that in the the first line in the song like the, to, I guess, start the the image in the listeners head right off the bat, with something just straight into the point. Troy Cartwright: Yeah. You know, of course, it depends on the song, but I like the I call it like a towel. So if you tell someone in a song, like turn down, the sheets, turn off the light. When you hear that, in your mind, you're, you're staring at probably a bed in the bedspread is a certain color, and the light looks a certain way and a lampshade and it's arranged in a certain way in the room. And I love how you can say so little and maybe put someone in the song immediately. And it's their own world that they're imagining. So I think, you know, as much as I can I try and do it that way or like with with somebody else's problem, like the first line is, is like your little cry baby. So obviously, that's not really setting the scene as much as it is. It's just, you know, that was how I felt at the time. Yeah. But I think it's effective. I think, you know, it's it's a cold start, too. So I think it can be a little bit jarring. Thomas Mooney: Yeah. In a good way. Likely busted. You're starting to just in the in the car. Yeah. You know, that's I think like the the those first line images are. That's one of the first things I had noticed on. Yeah, just like though the one playthrough that I did. Yeah, yeah. Well, that's, that's great. Yeah. I think, I don't know. Busted is kind of my I like that. That's sort of like my ideal sound too. It's like I think it was like in a desert II sound. That's always what I'm trying to kind of capture. But yeah, it's hard. Desert II sound Yeah. barren and space and yeah, dusty. Dirty. I don't know what did you guys? You're talking about like talking just about music with Rob. Yeah, before even getting this record going becoming friends and like becoming better friends that kind of shit. Yeah Did you did like before going to the studio kind of thing did you go? Hey, can we make this record sound like I want to like, point you in a direction and I want it to sound this kind of way. Yeah, but specific ideas specific record your songs, Troy Cartwright: um, we had more stock ideas and styles and you know some of them stuck around and some of them didn't like obviously, at the time we were both really into the Stapleton record and that was kind of that it's maybe well peak for me. I think it peaked nationally, like maybe exactly two weeks later. But But so, you know, we spent a lot of time thinking about that record and thinking about you know, we really bonded over some of those Ryan Adams records and and I mean, there, there's a lot of one of my all time favorite records is that he's Carl trouble in mind, I think. Yeah, with bomont. And I think the trouble in mind record was was sort of the starting point. It was like, let's make something like this. And there are a few songs in there that the you can definitely feel the influence. Thomas Mooney: Yeah, man. It's never this busy. Ever. We're having a good time, man. Sorry. Yeah. I mean, I don't know. Yeah. I'm sure I've been that guy. Yeah, many a time. But anyways. Okay, speaking of like Harry's and Sergio, they both add new records out. Yeah. Have you Have you listened to him yet? Have you? You know, I have actually dived in. I have not listened. I listened to the the Hayes single. What is it lovers? Mike leavers. And yeah, something like that. Troy Cartwright: Yeah. And I maybe that's the record name. I don't know. Yeah. Um, so for the sake of the song, that was the thing. Okay. Yeah. I really liked that. The spiritual record. I have not gotten to yet now because I didn't want to, but I was sort of saving it. But I did listen to like this two and a half hour podcast with Joe Rogan. Yeah. That was like, surprisingly, like mind blowing. Yeah, awesome. Thomas Mooney: This is that's what this podcast is two and a half hour. Yeah, I can never do that. I feel like shit, man, like we've run out of. Yeah. But go ahead. Pause the podcast about like, did you go into the making of the record and all that, like, what Troy Cartwright: do you visit LinkedIn a little bit. But I think more they just talked about life. And I mean, what I admire so much about Jason Isbell, and sturgill is like, there's some guys who sort of kept the path. You know, they, they're in their later 30s, I think maybe early 40s. I'm not sure. You know, and they never, but they just kind of kept going, and kept growing. And I just I admire that. I love the, I mean, obviously, Jason has had some, a lot of success, like, but But um, you know, I, I think I, you just you get older, and you learn more, and you kind of think about life a certain way. And in that, that's one of the reasons I'm really excited. Listen to this. 30 Records. Yeah. Is it any good? Oh, Thomas Mooney: I think it's great. Yeah. What I find interesting about just both those records is that I think like critic, they've been critically acclaimed. Sure. But there has been some, I don't necessarily want to call it blowback. But like, This record is not because obviously, people don't like this record is not better. Modern sounds. I wonder matter. Modern, says 2.0. And same thing, like I wanted k mag Yo, yo, 2.0. Right. And it's like, the anti kickback. It's very slow and sad. And yeah, you know, they're all just singer songwriter songs. You know, they're not Ramblers, you know, they're not. barroom ballads are right. And I think it's just interesting to see. I think there is a difference between saying, I don't like this record and saying, I didn't want this record. You know, I felt like like, you can say you don't want those songs or like you don't like the songs. I think that's perfectly fine. Yeah, but you're kind of like Saying that whatever. Like creative bone, like in whoever's body like inserted was body like you're just saying like, no, don't turn that off. Yeah, you know, or. Troy Cartwright: Yeah, I know exactly what you're saying. And, you know, and I guess what that says, isn't that part of the reason? Like maybe why we like them so much is because they just don't care. Yeah, or maybe they don't I think everyone cares a little. But I mean, so cool for sturgill to have all that success, you know, he could kind of do. Honestly, whatever you wanted, and people were kind of by it. It doesn't mean to listen to it. But yeah, you know, I mean, I think that's very freeing. As an artist, I mean, that's one thing Ryan Adams has never been afraid of is like, Hey, I made this record. I'm gonna take a complete left turn now and make this record and you can like it or not, I don't really care. Thomas Mooney: I think that's a few weeks back, I was talking about, like, surgical is bull and Stapleton they're they're more or less the the the three leading the the new face of sure America and a country, whatever you want to call it. And they're really good at all three facets, if you will, of music as far as the voice songwriting in style, yeah. But what I was saying was that you could boil boil them down to being really elite at one certain thing, or like you know sturgeons voice or mean, Stapleton his voice, right? It's just incredible, right? He's able to, but just so much raw emotion into a vocal take. And his bowl is like, you know, just an incredible songwriter. Yeah, lyrically, it's just and on the surgical, on the other hand is like, theme wise, like ideas. Yeah, is is is, is more or less his thing, probably more than the other two. And I was just thinking about, like, it's probably not necessarily harder for him to go, Oh, I'm gonna make a this next record is going to be about this. Right. You know, I don't think it's necessarily going to be hard for him to do that. But it's, it's probably harder. It's a it's a bigger jump for the listener to justify where listeners will will jump with vocals or softer. Troy Cartwright: Yeah, I mean, in sterols records, to me are very vibey Records, and they're great. Front to back at like this sort of certain way. Whereas, you know, Jason is Bill like, I find myself a lot more like jumping in between songs. I love listening to the record front to back, but, you know, maybe this week I'm really into speech or uptown or, yeah, you know, or, and then, you know, the next week, I'm jumping back to like, super eight motel, which is like, such an underrated song. Yeah, well, that song. But, yeah, I know exactly what you mean. And you know, stables in the same way. It's like, traveling. This is the song. Yeah. And again, they're all great front to back, but I think sturgill kind of has that. It's just so vibey you know, it's like, yeah, you know, Thomas Mooney: his his record is more of a not saying like, the other records are not records, but his is more of a what, you would not be mad if you had to just put like one track on. And it writes like one. Yeah, complete track. No. Individual songs. Yeah. I think it's an it's interesting to see what I guess like, where people want to stay with music. And I'm saying it's fine. Like, I know, like, a lot of people really don't have the time to invest in musical. It's like, Oh, you know, I'm doing, like, I have a life. You know, I've got like three kids and right, I really can't decide on like, exactly what the new surgical record is supposed to be about. You know, that kind of thing. I understand that. Yeah. You're not like a lot of people are not listening to music the way we're listening to music, right. But I do find it interesting to see like, we're like, what's the bridge? That bridges is too far? Right. I um, I've gone all this way. But that one right there. No, I'm not gonna cross Troy Cartwright: yet. I'm not doing that. And I'm really excited. For what john fullbright does next. Yeah. I I just think that guy is like, so insanely talented. I saw him last week in New York City. Yeah. Acoustic show room about this big. And like, just, you know, simultaneously, unbelievably inspired and also, like, just wanted to quit, cuz it was so it's just great. You know? Yeah. Great, great entertainer and great stories. Great. Great, you know, great lyrics, but also he's just great at playing the harmonica. And he's very talented musician overall. Yeah. Thomas Mooney: I want some one time and it was here. Yeah. He's opening for. For Todd Snyder. Okay, that was like I don't know how long ago that was, like three, four years back. Yeah. And I guess he was gonna play. He was opening for Patty Griffin. Okay. actus a couple for like a year ago. And then he had to cancel. So I was just like, mind, man, but I think Fulbright, like, those are records that you can just dive into and just get lost within Troy Cartwright: that record. Absolutely. I mean, songs is, you know, it's such a great record. And when I was up there, and in Norman working on my record, they just kind of finished the record more or less than, apparently, allegedly, there was a record that was made before. Oh, really, and john didn't just said, Man, this isn't what I want to do. I want to make a record that's hard to sell. Yeah. And it's like what I want to do. And he made songs and it was like, Thomas Mooney: Yeah, man, that's songs. It feels like it's a like the record is. There's so much talk about how to make a record. Yeah. Like how to write a song. Right? You know, like, what is. I guess like is, you start writing songs about the writing process of it. Yeah. But uh, but Troy Cartwright: you know, it's great. I mean, guys like him and Parker Millsap man, it's just Thomas Mooney: see his record. His new one is just, he had that one song on there. Evanson, you listen to that? I have not. Troy Cartwright: I think I saw you tweet about it, which is maybe what made me tune in. I think I listened to that. And it's one about the silver lining and the pining. Yeah, pining. So great. Thomas Mooney: Yeah, it's a I don't know if you listened to the podcast I did with Drew Kennedy. But he was talking about how he thinks the the perfect way to make a great American songwriter is to raise them up in a Pentecostal church until like, the age of like, 16. And then really, yeah, well, he had a very specific he was like, then at 16 you give him a stack of Playboy's and like a bottle of whiskey and a guitar. Troy Cartwright: Something like yeah, which I think that's more or less his story. So yeah. Wow. That's incredible. Thomas Mooney: All those guys though, there. Troy Cartwright: I know. It's it's just it's the it's this Oklahoma thing, man. It makes being from you know, I mean, he got turned by to Muslim. I mean, you got a million amazing bands. Yeah, dude. Yeah. Oh, my God. I saw I saw him in Nashville. acoustic guitar. No band Sunday night. Played. I don't know. 10 song said no words to anyone. You know, I think he said thank you one time, played his last song just hated his guitar and walked off. And it was like, it was incredible. You know? That a guy's a definitely a songwriter, to to admire. Thomas Mooney: I think so much of their sound. Is the, like, the southern Gothic overtones. Yeah, you know, the, the southern myth mythicism of just like that. There's so much history in the south. I feel like Texas, like we're, we're part of the South in a way, but it's more West. It is and Troy Cartwright: all and even in Texas is so big to right. Because, I mean, the Lubbock sound, if you will, is is a lot different than you know, the kind of stuff that they're making in Austin or, or wherever. And I guess those are the two maybe polls that you would choose from in Texas. Thomas Mooney: But even what what's the difference between like Fort Worth and Dallas? I bet there there's a little Troy Cartwright: Dallas even I mean, Fort Worth is I love Fort Worth, man. I mean, that's they got the great music scene over there mean Dallas, Dallas is tough, man. I mean, like sometimes it's hard to tell people you from you know, when people think of you certain way or whatever Fort Worth is kind of the I've always thought of is like the gateway to West Texas. That's kind of always been seen. Thomas Mooney: That's one of those things where I bought this book, and it was a probably a book came out in like 70 Yeah, somebody won or something like that. This is dude, he was going around Texas going around to all the like all the bars in Texas. Yeah. And like ranking them as well. I was like, kind of that kind of thing. And I thought it was weird that he he grouped like Fort Worth with West Texas and Mike Dallas would like Dallas or something. Yeah. But it was like, but I always thought that was weird. Or I thought that was weird. But then talking with people we were like, no, like, that's a real thing. Well, Troy Cartwright: yeah, it's just I mean, compared to Dallas. It's very slow. It's a slower pace and Longworth and, you know, I mean, I think people pride say that too, because of all that, you know, the stockyards and it feels very, yeah, I'm sure. But yeah, I mean, there's a great scene out there. Dallas has You know, the places kind of I started venues like Love and War theater saloon, you know, which is like, I started playing at a saloon Monday nights, because that's what jacking room did for like, three or four years. And yeah, I was like, dude, I want to, I want to do this. I think jack might be one of the only guys that come out of Dallas that I'm like thinking about the top my head. I think Granger Smith wants Dallas. So there's always that is from Dallas. But But, you know, it's just, it's a it's interesting, I guess the way the way that it all works. And I mean, I think you're in luck, you know, you get you get jealous of what the kind of community here. I know, I do. You know, I wish I wish. You know, we had something like that. And, and, you know, over in Dallas, it would have been a lot easier. I mean, part of like, getting started was just trying to find the right. People to listening room. Yeah, well, I mean, right. crownless the guys who write songs in Dallas are just like older guys doing it for a hobby. So you go to like a songwriter night or whatever. And you're the youngest one there, and it's not relatable. And that was really hard. You know, and, and I always kind of had this even when I was living in Boston, this sort of like, fascination with with Lubbock. And what it was like here and just kind of got lucky like getting into here because we played at Magnolia motor lodge in Fort Worth, and with the hog Molly's Yeah. And they were playing here like a week later. And they were like, hey, do y'all want to come open? For us? It was like, dude, yeah, we'd love to you know, we've been coming back ever since. But I mean, without those guys, I don't think I mean, how many? You know, there's a million fans who want to play blue light. Yeah, you know, so it's a, it's a cool thing. I don't know if you guys realize like, how, yeah, how big of a, I Thomas Mooney: think it's starting to get to a point where I've had conversations with various people about this, you know, like, well, and, you know, do some local guys. Yeah, like, the ultra sore cowboy guys like about what is the tipping point kind of thing? Like, what's the the point where? I guess like we've been called underrated forever. Sure. And at what point? Do we just become normally rated? Well, hopefully, hopefully, never. You want to Yeah, but underdog status? I guess within? You know, there's that article just a few weeks ago, about like, the 500 rated places or music scenes in Lubbock. And I was like, Yeah, well, there it is, you know, yeah. You might be right, my litmus test is gonna be like, once they start charging for parking around here, then it's then it's, it's over? You know, yeah. Within 10 years, Troy Cartwright: you know, I think that's the problem with like, Dallas or something else. It's just, there's no place to go. You know, there's no, like, besides eight areas, I mean, deep ellum is kind of coming back. And, and, you know, I mean, we're, obviously, fortunate I was level to be from there. So like, we don't have any problem drawing and, you know, our home market. But you know, it's cool to be, I think, last time I played vanilla, there was like, 160 people, you know, and like, we're just some band from Dallas, who hadn't been around that long and, you know, people requesting songs, and you're just like, Man, this is, I mean, that happens in Fort Worth. That happens in maybe Stephenville from time to time. And but you know, it's, it's just cool. It's a cool little, Thomas Mooney: yeah, little scene, I think what's going to happen is like, you know, in 30 years, when there's like a book about this, yeah, loving music. People are going to get in their head that, you know, like, oh, all like, like, all these people lived in Lubbock at one time, you know, that kind of right, because that's what I do with like, the 70s. Like 70 is love a guy think oh, yeah, all these guys lived here at one time. They're all hanging out. And like, that's just not the case. You know what I mean? Troy Cartwright: But, but I think it's like a rallying point anyway, and there are events that people come back. Thomas Mooney: Yeah. I mean, like, there was at one point where, you know, like, Josh, and like, Well, yeah, in Charlie shafter. And Brandon Adams, and they're sure cowboys and like, all those guys lived here. Campo Mira. They all lived here at one point, you know, Grady. Spencer. Yeah. Was that. Whoops. But, uh, they were, you know, they lived here all at one point, you know, yeah. I don't know. It's interesting. No, it is very interesting. It's a now that you weren't like who they were. Troy Cartwright: You know, and I mean, that's, that's the beauty of it. Right? Yeah. I mean, you're never gonna make, you know, friends with someone who's already made it. I mean, it's unlikely, you know, yeah. on that level, like the way like the friendships that you know, I have now With with, you know, with Robert clover, you know. So it's really neat. Yeah, I feel like we're all going somewhere. And it'll be cool, you know? Yeah, hopefully. Thomas Mooney: I think so. I think, you know, it's, uh, I think like what's happening in Texas music is there's been a shift. Yeah, as far as the, it's going back to more rootsy stuff more. Yeah, like, natural sounds. Right. And I think that it that lends itself to I don't want to necessarily sit necessarily say more honest writing, but it's a little bit more earthy. Yeah. more grounded and it's just better. You know, it's better to that's an opinion. But, Troy Cartwright: you know, I mean, I think I think just to top it all off that the best thing that Christy Stapleton and Isabel and Virgil have done is make, like the song good songwriting, like, important again, Thomas Mooney: the sake of the song. Troy Cartwright: Yeah, exactly. So I mean, I think that'll pay. I mean, I think for for songwriters, you know, are coming up, I think that they're paving the way in a very, you know, it's people are more Yeah, I mean, people are, you know, blood people don't like to think about it that way. But you know, in Nashville, or whatever, like they've got their machine and being, you know, if they'll start investing in that, it's good for everyone. So, yeah, I think it'll be good. We're coming up on like, a an hour here. Awesome. Let's get out of here. Thomas Mooney: Yeah. Hey, guys, one last note before getting on to Troy playing a new song off his new record. I would like to mention that today, which is Thursday. That we have Daniel marcomms. new record streaming online on Newsline. You can go to Newsline lubbock.com and find it there. We'll be streaming it until tomorrow when when the album officially comes out. You'll want to make sure to buy that record it's a it's pretty incredible, too. If you could go ahead and subscribe to the new slang podcast go ahead and give us a review and share it with all your friends that really helps us out and if you're looking for the are panhandle, new slang Lubbock music shirt. We do still have I guess copies of it. We still have T shirts available so we haven't set up a store yet will we promise I promise I'll get a store set up at some point. But if you want a shirt now you can always just email us which is at New slang dot [email protected] So anyways, yeah, here's Troy playing a new song off his upcoming record. Troy Cartwright: Oh this is a song on the upcoming record release date to be determined sometime late summer This is song called busted was run kind of funny Adam wins through down just chain make it to my buddies. Sam fool. Fool sound street wrong salads that's weird to say red and Shaq Randy is falling apart. brew can our booth again Sam things rusty big p van star it's bursty crowd trip only the things bad is worth assessing Potter's Gaddy Sivan sands began in ash tree. Very repair sheets and planes we made his brass have paid see your shadow Fall in part in our boot camp Sam things rusty did he then start just little spark no gas or heart ran through our boot camp against things risk be their star chain Thanks, man.