009: Grady Spencer

Thomas Mooney: Hey guys, welcome to the new slang podcast. This is episode nine. I'm Thomas Mooney of new slang. And this week on the podcast, we have Grady Spencer joining us, so he's just released this new record called the line between and on this podcast. That's what we were talking about that we talked about a whole lot of, I guess influence on the record, and some more favorite songwriters and bands and stuff like that. I know we've, I guess, like missed a week, last week. We promise we'll make that up this coming week with something really special a bonus episode that we're doing this coming Monday at the blue light it's going to be just guy Clark songs recorded from various Lubbock musicians. So yeah, we be looking for that early next week as well. This episode of the blue or this episode of the new slang podcast, it's presented by the blue light tonight is going to be this really cool three band lineup of love it guys. It's gonna be Dallas Owens, slow relics and Aaron Smith. They're a little bit more on the indie rock side of Lubbock music but the the songwriting is still incredible. So go out tonight in listen to those guys. Friday is going to be something really cool it's going to be Randall kings album release show he's released releasing this new EP called another bullet which if you go on new slang right now you can go and stream the the record for the next few days. And then of course, it's going to be out on Friday where you can purchase it either at the show or you can order online I think we're in right now. They're just exclusively selling it through Lonestar music. So you can go over to Lonestar music.com and order their Callaghan divide is going to be opening that show. It should be a incredible time, you know, Saturday is going to be quicker city nighthawks I've been really excited about this band coming back to Lubbock, their Fort Worth Fort Worth kind of like blues, rock, psych rock kind of thing happening. They have this new record coming out. And it's one of the best records I've heard in a long long time. Yeah, so they're going to be playing Saturday and I highly suggest you go and you come out Saturday for that show because it's like I said they're one of the I guess like up and coming next level bands that they don't really come around like that often but so you kind of have to see him when you when you can. They've been open to opening up a whole lot of really cool cool shows with like Chris Stapleton and people like that. We're gonna try and get them on the podcast. And I guess like if you want to listen to their new record is coming out I think on Friday as well. But right now it's streaming on like Jimmy Fallon's Tumblr page. So we'll, I guess shoot a link out on on where that is. If you want to listen to it. It's like I said, it's a great record. And then on Sunday, there's going to be another Lubbock band playing on the patio. If I guess if it's not raining, they probably just moved inside, but it's gonna be Dick's hat ban on Sunday. So yeah, again. Tonight. Dallas owns ban. Slow relics and Aaron Smith. Friday. It's gonna be Randall King releasing his new album. Another bullet with Callahan divide opening and then Saturday. It's gonna be quicker city nighthawks. So anyways, yeah, we'll go ahead and get on to this really interesting cool conversation with Grady Spencer right now. Do intros on here? Yeah, let's just start talking. How's it going, man? Grady Spencer: It's going great, dude, we're just put out the new album yesterday and it just like this show tonight. Kinda was what made me like, Okay, I gotta get this album out. Like I gotta get things cooking. And so started getting the artwork going and you know, getting all the production stuff done, and we were all shooting for it tonight. And it just kind of all fell into place and worked out. And so the man we're excited for tonight. It's gonna be great. Thomas Mooney: Yeah, that's, uh, you know, like flatland gallery. When they release their record. They kind of just had it like Oh, you know, we're gonna release it at the end of the month, and we still have a few things to do. And then all of a sudden just was done. Yeah, it's just like, man. Yeah, working your asses off to? Grady Spencer: Well, it it's it's like, like we were just talking off mic about, you know all the details of, you know, getting it online. And there's so many ins and outs now in the kind of internet world that to get it out and ready digitally, is 10 times the trouble of like having an actual CD in your hands like, yeah, you would think to print, you know, 500 CDs and wrap them in plastic and put barcodes on them would be really hard. But that's actually the most easy part. It's like, the iTunes and making sure your digital files sound good. And yeah, that stuff. It's like, man, it'll drive you crazy. And yeah, it's cool, though. Thomas Mooney: I mean, like, you guys had a little problem with the Grady Spencer: Yeah, we had a big problem. Yeah, we had a huge problem. It was, it was a file issue. And I thought, I thought I had uploaded the right correct files. And that's what happens when you leave things to me. Like, I always tried to let somebody else do it, because they probably would have done it right the first time. But yeah, so iTunes already had the the music and, and, you know, they were already in process of putting it out. And then a week later, I go and listen to the proofs, and they're just complete crap. There's like crack holes, and it just sounded really bad. And so I panicked for about two days. And then we gathered ourselves and, and it all worked out. So but yeah, the pre sale stuff I was it was a little disappointing. But it ended up working out fine. And we got a week a week's worth and the app was It was great. Yeah. Thomas Mooney: I guess a couple weeks back, I was talking with Blake. Yeah, I said, you know, this, this record, you were trying to put it together more as a, a, I can't remember if he necessarily said like a concept, but making it where the songs felt more connected. They are Yeah, versus previous Yeah, pieces, Grady Spencer: I think for the first time. And this could have just been pure chance. But the songs kind of we're following a pattern of half of them are kind of written from the point of view of like, the person who kind of has their lives together and, you know, has a wife and a kid and pays their taxes. And then the other half of the songs are people who are struggling and may be kind of searching for, you know, what they're supposed to be doing with their lives. And, you know, having having trouble by, you know, society's standards or whatever, but maybe they're just as happy and you know, the common denominators that we're all people and we're all the same and what brings us together is all the same. So that's kind of where the line between between came together. And that's usually really highbrow for me. Like I listened to guys who like, like, I was listening, you're in Turnpike's podcasts, and yeah, to listen to those guys who can write on such a literary level is beyond like, the way that I write. And hopefully someday, like, as I get older, my brain kind of slows down a little bit, I can kind of piece things together a little bit better. But hopefully, this is step one, and then I can kind of grow grow as a writer from there. Thomas Mooney: Yeah, he mentioned that. And I started trying to listen to that record in that way. You're trying to, not necessarily the line between between these lives, but like, trying to figure out what your what that what that theme was. And I kind of felt like it, I guess I came to sort of the same conclusion that you just said there because I saw the the album or it was like black and white. Yeah, kind of like some of the songs, they just feel like the person in them is just not necessarily down and out. But you know, they're going through some trials of shirts or Yeah, even if it is just everyday life. Grady Spencer: Yeah, you know, it's 100%. And this is this is also the first album where a lot of those songs are not, most of the songs, the struggling part ones weren't, are not necessarily autobiographical, like some of them are about actual people. Some of them aren't about any, anyone, they're just kind of in general. And, you know, one song I wrote about a homeless, the homeless community basically. And same place and it just came from a guy, you know, saying, Hey, you know, I'm kind of down and out, I got laid off and, you know, can you help me buy a sandwich, you know, whether or not he was telling the truth, it made me think, hey, that could happen to any of us. You know, we're, we're one day away from being the exact same position and like, relying on other people. Yeah, as well. And, and so that was, you know, just saying, Hey, we're all the same living on this Am Earth and breathing the same air so yeah something to think about when I Thomas Mooney: when you release that little four song EP the first song on there is goats. Yeah. And I thought that was very much like a like a like an ad Springsteen yeah man tries the I guess level up you know and yeah no gets kicked back down Grady Spencer: that's actually a true story yeah it I don't think I would have ever been able to craft that story in my mind of my my wife's great grandfather maybe it's her grandfather but I think his great grandfather but her my father in law was telling me this story and it really happened to me it was his dad or his two I think it was grandpa so his grandpa was a goat farmer and he was going to use the the mohair to to buy it buy this really nice land on the river and all this stuff. And these dudes came and like had a gunfight and they stole it. Yeah, so I was like, wow, that's that I couldn't make that up. Thomas Mooney: Yeah, it was definitely felt real, you know? Yeah. But like a, like I said, kind of like a Springsteen or, like, kind of remind me. I know this is a even based on a just like a true a traditional song. But that uh, have you heard john fulbright's the high road? Yeah. Oh, dude, like, kind of heard that? I cried. Yeah, Grady Spencer: I did. Like I was just thinking about that guy getting smashed by the tractor. I was like, I was I was crying. And I think I actually called my wife and told her I think she made fun of me. But yeah, yeah, dude Springsteen on, like, having that raw, like working class. You know, pull yourself up by the bootstraps type stuff. Yeah. I love those themes, man. It just it makes me happy. Thomas Mooney: Yeah. See, like, everyone always kind of you know, says like Nebraska is Springsteen's dark songwriter album, Opus, right. And it very much is but like, if you listen to the river, yeah, right before it like you can see all those hints of, you know, like that song like stolen car and like, the river. Yeah, those songs are just as dark as anything on the browser. Yeah, yeah. I don't know. I the more the more time that goes by. I think like the rivers probably my favorite of Springsteen. Oh, it's great. It's great. You're good. Yeah, it's actually open. It's actually unlocked. But now we're sitting inside a Tom's blu ray right now so best place in the world? There may be a little bit of VR in there but yeah, little soundcheck. Suck it suck me anything too bad I guess. Yeah, so you guys just played middlin or Odessa? Yeah, we Grady Spencer: did midzone Last night we played Lone Star bar and when great there was only our second time to play middlin and we had a small contingent of people who knew who we were with the majority of this oil people who really don't know who like this weird guy with hipster glasses and mustache and like a flat rim cabin. I think they were a little at first put off but then they were all drunk in two step and by the end of the night yeah, it all worked out. Thomas Mooney: I think that they're no I'm from down there so yeah, I think it's just a little bit rougher character down there. Oh, it is you know like there appear I think like that is primarily farmers and right. Not saying that's like an easier job but like it's a I think it's a little bit more mellow Grady Spencer: it is people do it and you know, nothing against middlin button and I we were having a blast but I was telling the guys after soundcheck like, man, there's just weird vibes here. Like it's, they're friendly. But there's a hint, like, like, I will fight I will fight you at any moment. And I never really felt completely at ease last night, there was these two cowboys and they were dancing with their wives, drunkenly on the dance floor in front of us. And then next thing I know, like, the wives, I guess, decided they wanted to dance with each other. And so they're like, two seven. Well, then the two cowboys like the like, tough dudes are like dancing with each other. And it was so bizarre. Yeah, like, I could barely keep the song together. Like it was so strange. And so like, I had to bring it up afterwards. Right? And I'm just like, Harley made a joke. I was like, you know, not every day you know, you see two cowboys because like, you know, had beards and rough rough human beings like real dudes. Yeah. And you know, so as like, man. Yeah, yeah. Yeah. And oh, yeah, guarantee. And they have like, you know, not every day see guys dancing with each other. Like that threw me off. I kind of just giggle you know, kind of keep it light and he took his hat off. And he looked at me He goes, that's my Brother, and he shook my hand but he like looked at me so deep in my eyes that I was like, Oh, yeah. And then the rest of the show, he sat over in the corner with his arms crossed. I'm like, dude, I'm gonna I'm gonna get my ass whipped at any moment like this. So next time, I'm gonna know like, you don't joke around. Yeah, with dude's dance. He just let them dance and like, leave them be like, it's nothing to joke about because they will whip your ass. I'm not a big fighter so I would have been in trouble but yeah, it's crazy down there. But it yeah, it ended up being great. And you know, yeah, it was it's a different people, but I enjoy it. Thomas Mooney: Yeah, I don't know. It's It's so weird. Just like, you know, how far So does it just go our Yeah, not even two hours. Yeah, it's a completely I don't know if it's like Grady Spencer: I mean, you could get really sociological and like, the landscape and you know, the economy the oil life. But Thomas Mooney: once you get once you hit like, seminal, yeah, we're not. Not necessarily similar, but between Seminole and Andrews. Like just the terrain of land turn. Grady Spencer: Just hard and overfilled Yeah, rock hard. Yeah, it is a whole nother whole nother world. It's crazy. Thomas Mooney: There's a I'll let I'll let Danny solder tell you this. Yeah, but like he got a knife pulled on like one diamond nibblin. Which is just one of those like, Yeah, well, that's, uh, Grady Spencer: was he like, hitting on some nice lady or something? Okay, somebody? Yeah. And see, that's that's the dude to Danny. Like, I would go to war with that dude, like the sweetest guy ever. But before I knew, okay, before I knew him, Mike, there was a bit of an edge to him where I'm like, I couldn't really put a finger on like, What's up with this guy? Like, yeah, he's friendly. And he's had his country draw, but I felt like at any moment, he would snap and beat the hell out of me. But then, then I actually met him and like, he's like, the sweetest guy ever. And yeah, like, like, the best songwriter and like, by far the best voice. And but yeah, that would that would be a good showdown a knife wielding guy and Danny are gonna get fired. Well, Danny didn't even stab so yeah. The story, I guess that military background. I'm ready to go. Thomas Mooney: Okay, so you're from round here, right? I've been waiting for somebody who's around here to ask about this loving stuff right now. You know? Like for for forever, you know, love expand this underrated music scene. Yeah. And all of a sudden now like, there's all these pieces about? Yeah, loving being actual something and yeah, chatter about it. Yo, what are your thoughts? Grady Spencer: Dude, I think it's, I think it's definitely more than chatter, man, I think like, just the fact that people with Lubbock roots are making the biggest splashes. They are like, it's the results are there you know, and you know, people are really putting up great albums. You know, and like with with flatlands still, you know, going to number three or whatever, like, it doesn't get any more like, obvious than that. Yeah. That's that's a loving ban on a world scene, basically. Yeah, it's every country album in the world. And they were number three. So I think I think in general you know, not to talk, talk shit on Austin or anything but everybody I talk to you. I mean, I've been petering out for a while when it comes to like authentic art being created. And and you know, really being a hub in Texas, like that's the spot and i think i think love is really making a making a run at it. And I think between Lubbock and Fort Worth both, man, I think there's a lot of people between those two towns that are really starting to give like Austin and Dallas, a run for their money. Yeah, and I love it, man. Like any anytime that you feel the big machine kind of starting to like there's water in the gas or something, you know, it you can tell like it's not running smooth, but in a really good way, type of way, because people can deny that there's people out of Lubbock that are heavy hitters, and it's a great, great time for this place. Yeah, Thomas Mooney: I think the thing about Austin, it's like this that line in that song by Well, they're turning Austin into LA. Yeah, like everything's just becoming a little bit more expensive. Yeah. Driving artists out because young artists don't make Grady Spencer: natural to man from what I can tell. I mean, everybody's talking about Nashville of like, they're trying to make that like la too. And you know, I don't know what it says about our society, but it's It's true. Like, when the money rolls in. It's nice. Like, who doesn't love a boutique burrito shop? Yeah, you know, or something like that, you know, like, and that's what happens when when people realize that money can be made. But the problem is, is that everybody loves a boutique burrito shop. And then you got yuppies with trust funds. Yeah, you know, driving rent prices, things and the artists can't can't, he can't exist and that Thomas Mooney: I guess probably about a decade back. There's a an article in Texas music magazine about Marfa and how, you know, there's all this music happening down there not like original music, but yeah, you know, all these different people would go down there and play and how, you know, I think like Mark, you know, marfo overall, art scene art galleries, right, a bunch of stuff on there. And all these, you know, trust fund babies Trust Fund gypsies. Yeah. Somebody said that some I wrote that. Oh, that's a good term. But uh, you know, they're all going down there and buying up land and just driving property taxes up and the people who, you know, lived, they have this arrange out there, whatever house and they've lived in Marfa for generations. Yeah. Just are driven out. Yeah, there was a little bit of a problem with that. I'm sure that it's still happening. Grady Spencer: It's, it's such a strange thing. And I read an article about New Orleans. And it was the same thing about you know, the city needs tourism, it needs people, they're spending money. But the more the downside of that is, the more people that come in and spend money, the more people will want to move there because it's cool, and hip, and then the people who are from there, and are genuinely New Orleans, or Marfa or whatever town. The byproduct is, is that gentrification just shoves them right out? Yeah, you know, so it's a fine line, you walk of like, okay, we need recognition, and we need people to come stimulate the economy. Look, it is getting real deep talking about economics and stuff, but but the people that the artists, the songwriters, the painters, you know, they're on the other side of that line, that once the gentrification happens, like, they can't, they can't function anymore. You know, and it's, it's sad, and, but for some people, it's good. You know, some people don't give a damn, if you have a good songwriter in your town or not. There's about that money. Yeah. So it's, it's strange, but, you know, to come back to Lubbock, Lubbock growing, you know, I'm driving around, I don't recognize some things anymore, because they're building so much was, you know, it's very exciting to be from here and to see that it's doing well, but it seems like the art is kind of growing with it like that. I think, you know, I read what you wrote about, you know, maybe you can't can't go back now you know, that the the pedal has been pushed and you're moving forward. And and I think you said maybe the beginning of the end, then you Thomas Mooney: say that was saying was that? You know, the it's been considered underrated. Yeah. And once you know, everyone starts saying, Oh, I love Xander read Deluxe underrated. I love it. And it's not necessarily even me saying that. Because I've been saying that for a long time. Right. Which are like any musician premier has been saying that for a long time. Yeah. But it's whenever outside voices start saying that. Yeah. Then it's like, oh, well, then that actually means more than, than what anything we say. shares were bias. Yeah. And so once once you hit into the, I guess, properly rated round realm. Yeah. Then then. I guess it's like a time bomb ticking down. Yeah. Which, that doesn't mean it's gonna be we're gonna be overrated in the year. Yeah. Nothing like that. Yeah, this, you know, it could be a decade. Look how long the Austin was properly, right? Yeah. Yeah. No, they're 20 years. 30 years. So then then at some point, though, it turns into just being overrated just because of all the outside. Yeah. shit that comes with with it, you know? Yeah. And I do think it's one of those things, though. It's like, you really can't go back from it. Yeah. And this is not a bad thing. Right. It's a phase. Yeah. You know, and what happens after you become overrated for a while you become underrated again. Yeah, absolutely. So it's I don't think it's a it's probably like overthinking everything. But Grady Spencer: I mean, I think it should be thought about I think it should be talked about and honestly, do you think it should be embraced like, you know, Fort Worth, made a decision, you know, this this past year to really promote The city is a place for artists, the place for creative people, you know, filmmakers, musicians, and, you know, that's where the South by Southwest showcase came. And, you know, they've been incredibly kind to me and promoting my stuff. And, you know, I don't have any idea what Lubbock government does, but I think if the city as a whole would embrace the fact that they have a lot of really great songwriters right here in their living room, and to you know, they don't have to spend a million dollars like just help push help kind of stimulate that growth. Yeah, talk about it, you know, kind of just plow the soil a little bit. I think that would help because then you're not having like, the Chamber of Commerce who wants huge growth really fast, versus the little songwriter who can barely pay $200 a month for rent, you know, like, if those two come together, even if it's only for a couple years until they have to split up like if they can help the artists and really push Lubbock as a place that songwriters are born and are made and can come from, I think, you know, it seems hypocritical because I did leave a move I went to Fort Worth but I feel like if that conversation we're having a lot less people would be so anxious to go move to Nashville or Yeah, go move to a bigger stage. Ya know? So that I think if it just wasn't so damn far from everywhere, that's Thomas Mooney: the thing. It's so hard the double edged sword. Yeah, because you know, it's so isolated. And that's what made all those like the Jovi Lee's and Terry Allen so damn good was, you know, yeah, nothing to do here except go to church and yeah. Play music. Yeah. Typically. We're at odds with each other. Yeah, that guy. But yeah, I do think right now. Lubbock is is slowly like the city of Lubbock, when I say Lubbock is slowly starting to turn. Get a little bit more with the times. Yeah, not necessarily be so. Hey, do you know Buddy Holly was from your Buddy Holly's remarriage? Did you see that? Buddy? Holly was here. Yeah. Because that's just one of those things. I'm like, Yes, buddy, Holly's here. We need to embrace that. Right. But there's also like, you don't want to be behind the times. Sure. 40 years from now going, Hey, do you know net and Wayne's was there? Yeah. You know, Natalie Maines was from here. Yeah. Hey, this is the Natalie means. statute. You know, like, yeah, you want to do that? You want to do it when she's alive? Or like, whoever the case is, you know, and when Natalie Of course, she was inducted into the West Access Hollywood Walk of Fame, I guess. Yeah. Just last year. So I think that's, you know, if you think about it, like 10 years ago, they're burning her CDs right in this room. It's Grady Spencer: a strange, such a strange thing, man. That was Yeah. I didn't really even have the mental capacity to understand like, why everyone got so angry about that, because I lived here then when that was going on. Yeah, you get? Yeah, that's pretty, pretty loud there. Thomas Mooney: Get help for sure. But yeah, it's it was. I don't know. Like I was. I guess it was more than 10 years ago. It was like, Yeah, 15 maybe something like that. Grady Spencer: Yeah. But so strange. And then they come around like, Oh, that was actually really great wish she was doing like, regardless of whether or not you disagreed with what she said. And I'm literally three seconds in Europe. 20 years ago, you can't deny that like they made a huge impact. Yeah, country Thomas Mooney: music scene and I don't think also like, they didn't see the like, okay, yeah, they're burning Dixie Chicks records out there. And then I guess they didn't really think like, Oh, you know what, that's probably going to offend Lloyd means and yeah, like Terry Allen and like that entire class of Lubbock musician, right. gonna piss them off. Because, you know, that's, that's their, you know, that's Lloyd's daughter. That's their, the next wave and it just like, come on, and so Grady Spencer: weird. Yeah, it was it was very, like, high school type vibe of like, you know, you did this, I'm gonna do this, but it was also petty. It's like, because now we all look back and like, did they really deserve to be boycotted for five years or whatever? on the radio? Yeah, playing on the radio for a long, long time. Yeah. And then I remember they came out with an album or something and they were getting Grammy buzz or something. All sudden everybody wanted to do like that last night, the last record. Thomas Mooney: I guess, like taking the long way. Yeah. You know, like that was after the whole comments and, you know, that made him like martyrs. Yeah, yeah, that record, you know, had so many songs that were based off of all the hay and of course it wasn't just loving it was sure a lot of Yeah, people What? Yeah, that really made their necks Right. Yeah. Did which they did with Rick Rubin. Yeah. Which is like it was like, Yeah, Grady Spencer: yeah, it's the path of the music careers. It's like a ultimate mystery to me of like, how how things fall and it's almost laughable of like, why are we even trying? Like, it's like, it's, it's things are gonna fall away. They're gonna fall but you know, as as a musician, you have to do your due diligence. Yeah. I don't know. I Thomas Mooney: think it's a it's kind of like what we talked about on other podcasts with the realizing that there that there is a middle ground. Yeah. You know, like, 100%. I just have to be Yeah. Alan Jackson or Yeah, you know, Grady Spencer: yeah. It and that's, and I think it's so funny that B will have this stigma about even even as small as the Texas, you know, Red Dirt scene. And they, they think because they come in watches the blue light that, you know, we're like, in a mansion or something, or, you know, like to tell people like, I gotta get back at I gotta go to work on Monday. And what do you mean work? Like, listen, this is great, but I don't think you understand like, this, none of us are really at a level to where, like, we're, you know, just flying around in helicopters or anything. Like we have stuff to pay the bills. Yeah. And I was, I was talking, I texted Walgreen the other day. And I talked to him in a really long time. And I was like, you know, man, dude, you're killing it. Like, you're everywhere. Everyone's talking about you and all this and he knows Yeah, you know, I'm still living in a trailer, though. You know, like, he even will green Who? Like, the, the best dude. And like, with Ringling road, like, exploded in my mind, like the scene. Like he's, he's financially he's not like, carefree. You know what I mean? Like, he's, he's not Pat green status or something like Yeah, and I don't even know what Pat green is find it. You know, it's, it's a strange thing. It's almost like a stigma of like, you know, we just kind of don't talk about it. Then the day like, Texas musicians have to keep the lights on to and yeah, it's, it's not free. But yeah, that the middle ground like, I love it. I love the middle road right now. And because, you know, I don't have any pressure from any company, any record company, any management deal. You know, because they're not, I don't have those things. So they're not wanting money for themselves. It's, it was the album I completely paid for by myself. And we're promoting it straight DIY that no one's you know, putting pressure on us to do this or do anything that we don't want to do. So. Right now. I'm, like, happy as can be. Because from here on out, like once the cost from the album are recouped. Like, everything else is butter. You know, I mean, for the next one, and if things you know, continue to grow, I don't necessarily know that the next album will be that way. You know, maybe I will have a suit breathing down my back saying, Hey, no, you got to do this. You got to do that. And even then, that that's, that'd be a good problem to have to Yeah, I'll be happy because then maybe the day job stuff will be slowed down as well. And, but even if it doesn't you in next year, I'm doing more day job stuff and less music like, yeah, financially, that's a better move. Anyway, honestly, but, you know, there's a lot less free loanstar in the construction industry, but Thomas Mooney: yeah, well, that's the artist. You're familiar with that? Gillian Welch song? Which one? There's one about? Like, everything is free, I think is what it's called. Yeah. And like the it's kind of the, like the piracy of music. Yeah, as far as you know, just illegal downloading kind of stuff. And sure, it's just kind of talking about, you know, they figured out like we're gonna do it anyway. Yeah. And like, so. Even if it doesn't pay anything. Yeah. And that's a lot of musicians are in that, you know, I would, I'm going to do it anyways. Sure, you know, Now obviously, there's probably not too much illegal downloading of a whole lot of the People here in Texas Grady Spencer: Ryan cuz you know, there's just probably not anything I've always wondered that like, what person like how many how many albums probably more likely an album passing? Yeah, that kind of thing. Yeah, Thomas Mooney: I bet. So we're like, you know, plug your phone in, yeah, put this record on Dropbox, Grady Spencer: but it's so true like, and I think probably the same would be for a guy like you like even if your Twitter following or like your web traffic went to 1% I feel like you would still be writing a blog or you know, still trying to express yourself. Hopefully they're through it Yeah, I'm the same way but in the same manner. Like if if I say something dumb on the mic one night, and people start burning Grady's buzzer in the work albums, and I never am able to get a show again. I'll continue to be a construction worker, but I'm always going to write and play music and yeah. I feel like people are Oh, want to come and check it out, you know, if they're interested. But yeah, I think when you when you start being motivated by whether or not the masses are going to like it is, you know, that's the age old. That's the that's the poison. Yeah. Because then the depth of the art just goes right out the window. Thomas Mooney: Yeah, it's crazy, you know, is one of the things I was talking about with after Merle Haggard died was, you know, okay. You know, he died when he was, he was like, 74, sometimes 23, or something like that. And it was just one of those. He had to cancel a string of shows since, I don't know, like, I can't remember exactly when I think like around Christmas or something like that. Yeah. And one of the things I was talking about with with a buddy of mine was I wonder how many of the those guys just like run themselves ragged, not necessarily just on like, you know, drinking and running up and bills and Lanza go gain all the extra curricular activities, but just be they get sick. And then I can't stop this tour. Because, yeah, not necessarily, because I need the money. But once you become a certain size, yeah, you like everyone, everyone beneath you, their livelihood is based on you being able to sing every night. 100% dude, and I saw that like, you know, we were we were lucky enough to get to do the Billy Bob's picnic and and Merle was there. And you see his, like camp of people. And that makes total sense, man. Like, Grady Spencer: there are a lot of people dependent on that guy. Yeah. And it's once it reaches the point where you're on the big tour bus and things like that. Like, it becomes something else. And even like I was, I was scrolling through Twitter on the way up or in the van and Adam hood canceled the show because he was sick. And he said, It's been years since he, you know, he was so sick that he couldn't play me I guarantee he's been sick. Yeah, the past several years. But even a guy like Adam hood, who in my mind in this scene, like his royalty, like, I don't understand why he's not on like, he's the best in my mind. Like, I love Adam. And, but even a guy like him, like still kind of the upper echelon of red dirt. You know, he obviously has been pushing through the pain for years sickness and all and all things like that. So I guarantee you it's taking a toll on his body. Yeah. But I'm glad that you know, he just had a little baby. So hopefully it's like, you know, I'm gonna take the time off, you know, because I want to see alamode play music till he's like, 100. Yeah, maybe even 150. I don't know. He's, he's, he's my favorite. The sweetest dude, I've ever met him. Yeah, he's the best man. Thomas Mooney: What I find really interesting about Adam playing is that I've seen him up here at Blue Light a few times. And he never puts his he never stands in the middle of the Yeah. He's my favorite, dude. I love it. I think it's like just one of those like, Oh, that's it. Grady Spencer: Somebody was forgot. It was a buddy of mine. And we were watching a guy named Joey green from Fort Worth. And it's a lot easier when you have a trio because it's three guys. If you have four, the symmetry of the stage looks all jacked up, because I would rather be over to the side too. Yeah, but I'm not a good enough guitar player to only have me bass and drums plus Trevor's pretty bad so I'll keep them but yeah, it's a lot easier with trio because you have to up front one in the back. But he very well could be if you wanted to. He could be in the center and the fact that he like because he always plays with like, top notch musicians he always has and the fact that he kind of splits it up evenly is always been awesome, man. Yeah, he's great. Thomas Mooney: Yeah, the Anytime I've seen him though, people will always ask me about it like I would know. Like, yeah, well, I Grady Spencer: think it's a lot of it like stage symmetry. In my mind if I was if I was in a tree of it was me and two other guys, I would always do it because you don't want to you have all this unused real estate over there. See, like, I Thomas Mooney: didn't really I thought like it through the symmetry off honestly, really like you think basis. Not necessarily like spaces them out. But like, as far as who you're watching. Yeah. Yeah, like the lead singer. Most people are watching. So that's that's it pulled it off to the side. Yeah, Grady Spencer: that's true, man. I never thought about that. I mean, it does kind of put him over there on his own. Yeah, I don't know, man. I mean, not to have to ask him next time I see him. Yeah. Like world buddies. He barely knows who I am. But I'm gonna be like, Hey, remember me. Now I want to ask you about your stage. Like the first question, but yeah, I think guys guys like him. And we opened for rad new foster a few weeks ago, and to watch those guys. You know, Adams, not that much older than me. But he's a little older than me. And like, it's kind of like, goals for being like, Okay, I need to try to be a better guitar player to reach like, when Trevor decides that he wants to go to Nashville and really make some serious money because he will someday. Maybe I could just get by with me and the drummer and a bass. But right now I got I got a lot of practice in the day. But you see guys like that. And it's just like, it's so easy and effortless that it's like, Yeah, he doesn't need a he doesn't need another guitar player. He's doing just fine. Yeah, it's great. Thomas Mooney: Okay, so I saw, I guess, like a little video that we'll had done that Larry Joe Taylor had asked him like, you could pick any co right? Yeah, I'm not gonna ask you that. I'm gonna ask. Like, if somebody had, like, all these unfinished songs. Yeah. No, like, there's a couple of compact compilations where, like, people finishing Dylan songs and Hank Williams, if there was just like, a stack of songs. And like, there's like 15 people, or just whatever. Yeah. What name would you want to like, finish out a song? Like if there was an artist, like they were just never gonna come back? And yes, into it or anything like that. Like, you had like 20 songs of whoever you wanted to finish? Grady Spencer: Yeah, I think. I don't know, man, probably by the wood brothers. Just got him all over what he's the lead singer and his style, and his voice. You know, he was a big shaper of my sound, but I really dig his style. And I think it'd be interesting. There's this indie band called Bahamas has a really sparse arrangement and like nothing at all like us and read their people would they would not know how to process music, but I think it's amazing. And he, he was the guitar player for Feist. And the way that he writes and composes and arranges his song, it's like, nothing I've ever heard. So probably, they're like Bahamas or wood brothers. Or something like that. Yeah, I guess. There's like a single person, like, Jason is cool. Yeah, like, you know, that that dude, in my mind, like, in our world, he's just like, he's King. You know, like, he's ardillon. And I just get pumped, like, every time I hear like, I wouldn't even I wouldn't even attempt to finish or cover any of his stuff. Because like, I'm not even I'm not even worthy to touch it. But his genius is just like, in writing and taste and tone is. It's like, like, our generations, like, top dog. You know, it's amazing. Thomas Mooney: Yeah, I think he his songwriting is, is like, you can process it the first time you listen to it, and then you can find something. Even if it's just like a line or a word or phrase that you go. Oh, I didn't know. That's what he's talking about. Yeah, you know, and that can be like three years later, right? Yeah. And like, even on like, southeastern. I've done that since then. And it's just like on a few songs, were just like, Oh, shit. Yeah, I realize he was, you know, talking about this or like, if it's a he's got this one song on that. Dave Cobb compilation record. Southern family. Yeah, it's called like God's got his work. Man. Yeah, and that song right there. I mean, I don't think he's really necessarily connected to South Eastern or anything before. But yeah, it is pretty cool to listen to that and go. Oh, like this kind of like just that Southern Pentecostal. Yeah. Oh, yeah. Make those songs richer? Sure. Yeah. I don't know. I think it's interesting to see how people's song catalogs stack up once you like put them all together and yeah, get the full vibe of a Grady Spencer: of an artist. I would kill to have like five questions for that guy. Like, when when I heard him heard the line, you know? You thought God was an architect. Now. You know, he's like a pipe, pipe bomb ready to blow? Yeah. I was like, Whoa, phonetically. Like, the way it flows is like, I've never heard it flow together so well. But then also, like, it was really like, I was like, What is he? What does he mean? You know, like, it's, it's just super interesting to me. Like, I don't know if he's an atheist, or like, maybe he believes in God. And he's kind of, Thomas Mooney: you know, like a doubting Christian. Yes. And Grady Spencer: yes, I'm like that. And so like, as as a Christian. I'm not of the camp that's like, you know, they're bad. You know, like, yeah, we can't have anything to do. Like, I'm all for I love talking with atheists. I love talking with people who believe in God who hate God. And because I'm trying to like, like, the album, like, we're all the same. And so like, you know, I want to love everyone the same. And so like, it's really interesting to me the way that Jason is will writes about God and yeah, yeah, I don't know, man. I don't I don't know where he's coming from. But it's super interesting. Thomas Mooney: Yeah, I think my take on on that song. Is that, where that those lines is that that like you think of? A lot of people think like, you know, their life is predestined. It's like, yeah, gonna be set up a certain way. Yeah. And that it's not it's, you know, it's all just happenstance, all by chance of like, anything can happen at any moment. And that it's not necessarily even about, about God. Yeah, like, just life about life. Yeah, like, the universe is just gonna do whatever it wants. And this is all by chance. And if you if, you know, the universe is God, or what, you know, it's a Yeah, that I guess maybe connects it for, it's an easier way to Oh, it's 100. That maybe, you know, like that. trying to think of a good way to put this. A lot of people think that, that God is like, super into their life as far as Yeah. And I'm talking like, you know, people praying about what cereal to eat in the morning, or I was gonna say, like, Oh, please let the Mavericks you know, that kind of thing. Yeah. Like, Does God really care? Yeah. And maybe being more that you know that God is apathetic to your situation? Yeah, I think so too. And the, Grady Spencer: the debate of predestination is actually super huge. I mean, I don't I don't know what your background is. But like, even in the circles of Christianity that I kind of dwell in is, people get really fired up almost to the point of like, turning their back on God, over the simple concept of, Okay, well, are we all predestined? Or we, you know, are we chosen? There's, there's scripture that says, you know, God chooses, or do we have free will to choose? And, you know, I'm not very hard fisted on it, because I, frankly, like, haven't read enough. And I've got my opinions, but they're simply that, but in the same realm, like, even if you took it out of the Bible, and just, like you said, in life, like, Is it all laid out already? The science of our bodies, you know, or, you know, I was learning about brain aneurysms the other day about how easy a blood clot can form in your brain, you know what I mean? And then you're dead. And it's literally a time bomb, you know, like, our, our blood veins and vascular system literally is a pipe bomb, and then it can blow at any moment, you know? Yeah. So even if you even if you wanted to take it out of a religious sense, and put it into science, like medically speaking, like, are we? Is it all chance or like, our body's already hardwired, like, you know, is the heart gonna stop at this time? You know, it's so and it's, it's one line of a song and look at where we're taking it. And I guarantee you, there's people who've taken it way deeper and way More passionately robably you know, on either side and and that's what makes him him. You know, I, I would kill the know exactly what he meant, but I probably will never know. But that's what makes great art, you know, and that's what makes me kind of really hungry to write something that would have that kind of depth. Yeah. Thomas Mooney: That's like even like the I know he was he was fielding questions on on Twitter the other day. Yeah, people were asking. Somebody asked them, but, uh, like the best line and on I can't remember if it was necessarily just elephant or if it was on southeastern. Yeah. And he said like a line from elephant. I can't I can't remember exactly what it was. It was either the line about like, you know, knowing that you're dying alone. Yeah, that that line? Yeah, no one dies with dignity, then I think I remember that. Yeah. And I said it was either I agreed with him without also like throughout another line. And that line was the I'm blanking on this like right now. I Grady Spencer: think it's Yeah, yeah. Something about you know, that no matter what we're all you know, you don't die with dignity but I can't remember what the explicitly what the words Yeah, we're butchering it right now. Thomas Mooney: It's really bad. Like, what sucks is like that the only line that's like, really bobbing in my head right now. Is the the line that's bitching about the weekend? crowd? Yeah, like, that. Really? Hasn't like that's a great line. But it's probably like the fifth best line in Yeah. It's a great line. Grady Spencer: Hit the image of that character sweeping up the hair after he's already put his friend of Brett and Brett to bed. Yeah, is like, that image that comes to mind is just like heart wrenching, you know? And that's that the fact that he would think okay, this guy's gonna sweep up her hair that fell off. I was carrying her to bed. Like, that's that's some heavy stuff, man. It's Thomas Mooney: like that song right there. I think he's talked a little bit about it. It wasn't necessarily about a specific person with him. Right kind of thing. But yeah, it just I don't care who you are. Like, that's one of the things like everyone knows somebody was Yeah. Either passed away. Yeah. to cancer or has gone through chemo. And yeah, you know, dealing with it. Yeah, it sucks. But that's why you have the he's the the great American songwriter. Grady Spencer: He's so good man. And I can't remember through like every now and then his name will pop up in places I don't expect in like an interview or something. Some Hollywood person. And you know, everybody knows. Yeah, everybody knows now that Jason is supposed is as good as it comes. songwriter. Thomas Mooney: I think like that's there for a while that was happening with Ryan Adams like Stephen King was even talking about Yeah, it's like, oh, Stephen King. He listens to Ryan Adams voice. Yeah, writing books. Yeah. Grady Spencer: I think man Yeah, that dude. He's great, too. And I remember reading about Jason is well, you know, opening for Ryan Adams in Europe or whatever it was acoustic tour and man, that's such a strange combination. Almost. But not really. Now, when you think about it in hindsight, like, yeah, they're both epic, like, songwriting arrangement. guitar tone. geniuses. Yeah. You know, they're they're basically cut from the same cloth. Like Ryan's a little a little, obviously harder and a little more centric. Yeah. This little wild. Yeah. He's a weird Twitter follow, man. He goes off on those cat rants or pinball rants? Yeah, kind of loses me. Thomas Mooney: I think the thing about one of the, I guess made the big difference between them is that at least feels that like, Jason. Those songs are take so long to write. Yeah. And like it fills up with Adams. Like, he's just always constantly creating food. He never stops this man. And so maybe like Jason is probably just because Jason's not released as many albums. Yeah. Or have the power to maybe I don't know, that. It feels that, you know, Jason puts his energy into 12 songs. Yeah. And like Ryan's able to put it into like 100 and in a year Sure. And he's gonna release all like, yeah, five of them or something like that. Grady Spencer: It's crazy. And you kind of see it with, you know, he created his own studio with paxum or whatever. And those guys who, you know, make their own studios, you can tell like, they got gas in the tank and like, they want Want to be able to create at any moment? Yeah, you know I see pictures of his studio and Dan Auerbach has a studio in Nashville Justin Vernon has his own studio. I can like one I would literally chop a limb off to record any of those places with those guys like top notch gear but then all three of those guys are just Thomas Mooney: jack white to jack white. Grady Spencer: The dude one of the guys from the National does built amazing studio in a barn Thomas Mooney: those dudes I think like the national is like pound for pound like the the best band Yeah, last 25 maybe. Grady Spencer: Outside Radiohead? Maybe. Yeah, but like, their song is incredible. And like their tones, the texture and the tones and like you said the lyrics. It's just Dude, it's it's crazy because probably 99% of people that are gonna listen to this probably don't know the national or like it. Thomas Mooney: Or there's they're listening like yeah, Grady Spencer: hopefully I'll do yeah, I mean is Lear is voice style is a little strange. And like the way you know, they're way left in the you know, that's the songwriting craft. And, you know, the same with like Wilco and some other stuff. Like, it's just a little too weird. For this part of the world sometimes. But Dude, it's so good, Thomas Mooney: I think was one of the one of the things with the National is that it's a five piece band. Right. And it's like two sets of brothers and the lead singer. Yeah. And I get the sense that it's not the easiest band to be in. Sure bar is like, they're just being not necessarily egos. Yeah. But like, there are so creative, like making the record that it just feels like all five of them are trying to have their own voice in it. Yeah. And like there's probably some, like, heated battles. Sure. When they're making a right yeah, Grady Spencer: it's like five, seven foot dude trying to fit into like a Volkswagen. Yeah. And like they're all monsters. Yeah. Thomas Mooney: And they're, like, all like, there's not one person in that band. He's like, not talented. Yeah. Yeah. Like the the two desnoyers. Yeah, like, yes. Deeds on guitar, just like, yeah, you can see like, they. They're, they're searching for certain specific sounds. And I know there was, there was like a little documentary I watched. Maybe just a little mini documentary. About, like the making of, I guess, like, Hi, violet. Yeah. And go find that out. Yeah, I think it may have been like on Pitchfork or something. Just like a short thing. Yeah. And I think it was Aaron and Matt lead singer were like arguing about stuff because Matt is not classically trained. And he's the lyricist and everything like that. And he was just like, no, why can't you just do it this way? Yeah. And like, they're just like, no, cuz it's not going to sound fool whenever we Yeah, there's, there's way more to it. But it was just them arguing about Yeah, kind of thing. And like, how so many of the song battles in the making the record come down to like, three to three against to kind of Yeah, no, and again, you may not be agreeing with this person. On for other songs, we write green with them on this song. Yeah, fighting each other, to your whatever the cases, you know, Grady Spencer: Yo, dude, I feel that thing, man, cuz all of all of my band are way more classically trained. Yeah. And sometimes, you know, I, I get vetoed a lot of the times, nine times out of 10, I'll have a song completely done. And then they just kind of come in and beef it up. And Trevor will come on with some parts. And yeah, you know, we kind of just hash it out. And they The base is there. But every now and then we'll try and create something, and I'll come over them and stuff. I'm completely self taught, you know, I'm the internet guy, got some tabs off a website and taught myself and so like, Blake went to school for it. Trevor's really, really smart. Steve's pretty smart. way smarter than me, all of them. Yeah, musically. And so it's a weird conversation to have when I suggest something and then they're like, no, that that will never make sense. those notes don't go together. Stupid. Or I'll say, I'll try. I'll think I'll have a grasp on like music theory. And I'm like, yeah, I'm gonna add like a minor seven here. And they'll just laugh because that is completely wrong. Like, Thomas Mooney: I would not even know where to Dude, Grady Spencer: I don't even try anymore. I'm just like, I'm gonna put my fingers here and just play along and then it's good to go. Thomas Mooney: But how was a recording this record? You guys did it with a? Yeah, like darpan Grady Spencer: Yeah, we did with Tharp. Papa Jackson, and grant and grant Jackson. Papa, papa smooth Smith. Yeah, Jackson my head for some reason. Yeah. Paul ball, Matthew Smith. And yeah, it was the same guys that did reds and I remember read, I was going to watch him play at Magnolia in Fort Worth. And he, he's like, I want to show you something and we went to my truck. And he plugged his phone into my truck. And he played me the album, men and coyotes. And I was like, Whoa, yeah, I was like, fine, like, nothing against his earlier stuff. But in my opinion, like, it was finally production worthy of like, how great he is, and like his songwriting, and it blew my mind and the textures and and, and I was like, Man, that's really cool. But even at that point, I hadn't even begun to think about budget or whatever. And so it kind of, I kind of just forgot about it. And I started looking at studios, and red told me, like, just call these guys just just talk to him. And I'd had a couple of things fall through with some other studios and things weren't going very smooth. And I had a meeting with those guys. And we made a handshake. And then two months later, we went in the studio in Dallas for three days and, and tracked, I'd say about 90% of it. And then the rest of it, we just did it, they have like a little home studio type thing. And we did some guitar work and vocals. And it was it was amazing, man. I mean, they the grant Jackson, which is being ohms, Front of House guy, his head engineer. He's just super, super smart on on engineering in getting sounds, and then pop on Ryan's ear, both like, they just have really good taste. And they like the stuff they like the sounds that I like. And it was really refreshing to have someone say, Well, that was good. Or maybe we need to do something else. Because up to that point, I'd been completely paying for myself and basically just self producing it because I was just giving a studio, Ragen them a check and we go on there for how many hours and do it the way that we want to do it. And then they cash the check. And yeah, we put out the album, you know, with this one was much more organic, back and forth. And you know, they made suggestions, and they were always good. Yeah. And, but then they also were really open the whatever we wanted to do and and you know the tones that we wanted, and yeah, I'm like, by far the happiest I've ever been with it. Yeah. Yeah, Thomas Mooney: I really like I think like, you know, when you I don't know, necessarily, if you had posted on Facebook or something like that, like you were going to be doing over there. You had mentioned it. And I just thought man, like that's gonna be a great match. Because obviously like reds record just sounds so dynamic. Yeah, it just sounds like the sound sounds more like the desert then. Sure. So many other things. Last. I know a lot of people were comparing it to mescaline. Oh, by being them, which of course makes sense. But also like, you know, as far as being a kind of like a desert. Grady Spencer: Yeah, you know, yeah. So, and I, that record is amazing. And I love it. And, you know, in the same vein, like I wish I could write music, like read does, but like when I write, for some reason, my stuff comes out a little poppier. Yeah. So like, I was just trying to, like authenticate myself a little bit more when I was around Paul and grant and Tharp of like, okay, you know, I'm not just as bubblegum pop country guy compared to because compared to read, you know, like, he's like, he's, he's a he's a pretty heavy, pretty heavy writer and, and the style that he writes is like, Iron Fist. And so yeah, it definitely made me want to step up my game but the the stuff that they did on many coyotes like, man's it's great, and luckily, we were able to borrow just enough of the same techniques and kind of the same sounds. And I think that my writing is just different enough that it's not the same record at all. Like it's it's two very different things. Thomas Mooney: I know like, you mentioned just like where the red like red in the vitals that EP EP. Yeah, but I hadn't listened to it in forever, right and put it on. And it's like, man, Red's voice is like, changed so much. Yeah. Since since this was recorded, and that was only like 2012 Yeah, wasn't that long ago, man. His voice is just a little bit higher. Yeah, more boyish. Grady Spencer: Yeah, it was and I'm sure it was just you know, maybe some production things but yeah, like he's he's like his turn is like this manly like mysterious dude, but he's still like a big teddy bear. Yeah. Yeah, dude, he's the best and, and like, I'll be rooting for him until I die. Thomas Mooney: So I think like his his songwriting is. You know, it's one of the best here in Lubbock in the last 10 years, but I also think that as a as an artist or as like a voice, he's helped shape the next couple songwriters coming up. Even though he I know a lot of people, I've talked with him go, Oh, you know, first time I met and I'm talking about like, even songwriters. Really. First time I met read. I didn't think he liked me. Yeah, well, he probably did. Yeah. But it's you know, it's a he's a different guy. You got to like, earn it. Yeah, you know, 100% earn his year. Yeah. Well, same thing with like, Brandon and yeah, he these Oh, any of the other guys like you can't just go in there and Grady Spencer: yeah, I think I think if you come in from square one thinking that you're some hardship guy. They're gonna they're gonna show you one they're gonna step up there on the stage and show you what it really looks like. So you see and then two, they're gonna probably make you feel kind of small. Yeah. But yeah, dude once like if you're genuine with those guys, you know, read after I did the songwriter night. He was the one he made a phone call right there that night. The first night he was there. I think as a second time I replayed and got us an opening spot like to like a month later or something. And it like who knows if he ever made that phone call? I you know, I don't know. I don't know what would have happened. I might not be here right now dead but I would have I would probably be home right now. You know? I don't know. Yeah. So I can say personally like if it wasn't for red. I probably wouldn't be where I'm at. Thomas Mooney: Yeah, I think like so much of the you know, there's been a whole lot of talk about like just the the blue light as a like the money night songwriter has been a place to hone your craft. Yeah. And so much of that too is just like connections. Sure. And you know, it's not even Oh, come over and party every damn Monday right go get shit faced or something like that. No, it's like, you come up here and you play and you watch who's playing and actually like watch you know yeah, that's what gets you some respect. It's not coming up here and playing it and leaving. Oh, yeah. Like you know, coming every couple months and thinking that oh shit. I kind of Well yeah, Grady Spencer: yeah. And I I'm so glad that you know Parker and six in the in the guys like the way that they once they guard the gates of the blue light, but like the way that they kind of harvest talent, I guess it's very organic, because you know, you can come on a Monday night and see genuinely good songwriters. But then you can also see like, good people you know what I mean? Like the guys who come early, listen to everyone stay late listen to everyone. They're not out to get their name out and then leave and just throw their middle finger to everybody else you know and the people that you see now that are getting getting a shot you know they're being grown organically because they can they see it you know, Barker season six, you know, these these lands these guys see it and I think it's, it's, like super corny to say but it's like a very, like, organic beautiful thing. You know what I mean? Like it's literally like filled in, in in the best sense of the way and because on a Monday night like all the the hoopla and you know, the big bar tabs and the drunk masses and no craziness is all gone is stripped away and it's Thomas Mooney: just it goes back to the that is bull on the weekend grab Grady Spencer: exactly man like it's, it's, it's so funny now that that I've gotten been lucky enough to reach the point to where I'm playing Fridays and Saturdays at the blue light noun. And it's also a little sad, because what I was playing Wednesdays and Thursdays it was different. You know what I mean? Like the opening guys, I could sit at the back table and it was not that crowded and yeah, people were listening and it was it was a great time and people are listening and hopefully they listen tonight. With with Tom Gilliam. He's great, but it's just You know, I probably won't come that early tonight because I can't be we're gonna be shoving Apple burns on my face. You know what I mean? I'll be too hammered to saving and stuff and I'm super thankful because you know, they're they're going to buy the gas that gets us home, but part of me kind of misses, like, what makes blue light great that a lot of people don't see on the Monday Tuesday, Wednesdays of like, that's where the real raw like songwriting stuff. Thomas Mooney: Yeah happens and the work. Grady Spencer: Exactly, dude, it's so true man. And I'm super thankful. Like I think a lot of that shaped the way that I approached music and the way I approach shows and the way I approach songwriters like Pedro's sellin merge first tonight, he's a Monday night guy, and he's buying an app from me tonight. And it's guys like that who are just they just want to be around the music. They want to eventually be there like it's refreshing and it's he doesn't give a damn about money or you know, all the flashy stuff that some songwriters are the fame he's truly interested in songwriting in the craft. Yeah. And creating and I think a lot of those people on Monday nights are and I think that's, that's why it's such a fertile. Yeah, like, Thomas Mooney: I think it's like to type all backup about the whole Lubbock underrated thing is that I think what's going to make it loving me, properly rated for a long time is just because of the that infrastructure that's on the small level here. Yeah, yeah. I think that's what's going to, and also, just because I was gonna say this earlier, is that so many people here in Lubbock also still think that love is a shithole. Yeah. And yeah, they don't realize that, you know, all these great songwriters are coming up here. until they're, you know, they're Josh Abbott. sighs and going back, that's the only time they actually care. You know, that's, I'm not saying that. That is not a knock on Josh Abbott. Sure. Yeah. Everyone understands that. Yeah. Yeah. Grady Spencer: But like, you know, that's when it takes people to reach that level for them to appreciate. Yeah, yeah. I get it. I get it completely. And it is funny. And the way that you know, the john sprats of Lubbock. That dude, you know, he's, I've never met him, actually, I've drunk. I've been in 100 bars, and probably drank way too much. 100 times to his music. Yeah. When I lived here. And every single time it was amazing. Like, he never had a bad show. And like I said, I've never met him. But he, that he, he's, he's dwelling in a world that's not this world. Yeah. And it's kind of weird. And hopefully, you know, hopefully, he enjoys it. And hopefully he's doing well financially. But there's a whole nother side of that circle. Thomas Mooney: Yeah, I've talked with Brandon about this whole lot. Maybe so much a Lubbock. Music is no Buddy Holly. That's a touching point. Yeah. And he died in 59. The next like, people that we really talk about is like alien. The flatlanders means brothers. And that's, like, 78 through like, 85 maybe? Sure, but then from my 8182 to, like, even 2099 Yeah, it's kind of like the last era. Like it's very hard to find any of those guys CDs like and then I guess, you know, around that time, Pat green Wade Bowen Corey Morrow, like all those kind of guys. Yeah, you're able to like at least touch base again with luck. Sure. But there's like this last era. Yeah. So it's weird. It's not even just weird. It's very difficult to go down that rabbit hole and Yeah, fine shit. Because it is a very, Grady Spencer: it's very Yeah, like you said, it's very complicated. Just so many levels of of art in circles in Yeah. You know, genres and just all kinds of stuff. And that's the fact that it's out here on an island geographically, I think it's just what makes love a great and it's just a really interesting onion. ya know what I mean? Like, it's in my mind, like, there's a lot of things that make it really beautiful and white, perfectly round and then you start digging and tasty and sometimes it's things and sometimes, you know, like, it's, there's all kinds of stuff. It's I love this place. And yeah, I mean, it's awesome. Yeah. Well, good stuff. How long we've been talking talk, Thomas Mooney: man. Right about an hour now. Yeah. I'm gonna say like, Are you ready to see Yeah, Grady Spencer: I'm good. I think the drunks are gonna be coming in here. Yeah. And I think doors just happened. So that's cool. Well, yeah, Thomas Mooney: let's go ahead and stop. This sounds good man.