WEBVTT

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Hey, what's up, you guys? It's Drew Copeland

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from the band Sister Hazel, and you are listening

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to My Weekly Mixtape with Brian Colburn. Hey,

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it's going to be hazel -fied. Check it out. Welcome

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to My Weekly Mixtape, a podcast that takes the

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classic mixtape approach to building a modern

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playlist. I'm your host, Brian Colburn. Joining

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me as guest curator is Drew Copeland, guitarist

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for Sister Hazel. Drew, thank you so much for

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joining me on the show, man. Hey, Brian. Good

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to see you, man. Yeah, glad to be here. Well,

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I'd like to start by asking you the same question

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I ask all of my first -time guests, and that

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is, what does the word mixtape mean to you? You

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know, so mixtapes for me were not necessarily

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something that I made to give to someone else.

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Most of the time when I made a mixtape, It was

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for myself, whether it was going to be something

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that I was going to be working out to or a playlist

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to drive to the beach, or if we were going to

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have a party, it was something I thought that

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everybody would want to listen to at a party.

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So my idea of a mixtape is normally gearing towards

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an event that I'm going to be doing that I want

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to hear specific tunes. So that's mixtape for

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me. Well, we are going to be gearing up. For

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an event tonight, because you and I are going

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to co -curate the ultimate Sister Hazel playlist.

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Coming from a member of the band and a fan of

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the band, as in myself, I would love to know

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from the band's perspective, what angle are you

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coming at this mixtape with? Because you have

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memories of every single song this band has ever

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recorded deeper than any fan could ever have.

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Right. Well, and honestly, there are some songs

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that I have forgotten that we have. And in fact,

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a recent story, I was in a department store over

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the weekend and I heard a song over the speakers

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and I knew I recognized Ken's voice, but I could

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not tell what song it was. And it was in the

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bridge of the song. So that makes it even harder

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to pick out what the song was. But it ended up

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being a song of ours called Vacation Rain that

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I totally forgot about. And when it kicked into

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the chorus, I was like, oh, that is us. And that

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is Vacation Frame. We've been a band for 30 years,

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man. 30 years later, there are songs that we've

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recorded and put out on records that I just don't

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even remember unless I hear them. So, yeah. So

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what are you looking to bring to the mix this

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evening? Well, like I said before, it would depend

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on what we were gearing the mixtape for. But

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I will just try to just gear it from a band perspective

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and touch on. the important things and the emotional

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things and the things that have a good story

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behind them. And maybe songs that have a little

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bit of a, maybe they're a deeper cut, but they

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meant something more to the band. Well, let's

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get down to business. Tonight, as I mentioned

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at the top of the show, Drew and I will be curating

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the ultimate Sister Hazel mixtape, and we're

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going to use the old cassette deck approach.

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Drew, as my special guest, will begin side A

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with his first song choice, and then I'll add

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a song that I feel best follows up that choice.

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We'll then flip -flop choosing songs until we've

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mapped out 10 songs for side A. We'll then give

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our mixtape a proverbial flip, and we'll map

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out side B. Only this time, I'll kick things

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off. with Drew choosing second. Our overall goal

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for the episode is to craft the best Sister Hazel

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mixtape possible through only 20 songs. And at

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the end of the show, you can take our conversation

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to the next level by visiting the episode page

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at myweeklymixtape .com where you can give our

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final mixtape a listen via the embedded playlist.

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And if you like what you're hearing on the show,

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you can help me out by either telling a friend,

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leaving the show a five -star review wherever

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you're tuning in, or... becoming a Patreon mixtape

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or a patreon .com forward slash my weekly mixtape.

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Now, Drew, I'm officially going to press the

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record button on our mixtape and the floor is

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yours. What song are you going to kick off the

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ultimate Sister Hazel mixtape with? Well, look,

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man, I don't want to be like obvious, but at

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the same time, there's a song that if you're

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going to have a Sister Hazel playlist, it has

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to be on it. And. It's a song that opened so

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many doors for us that I know it's going to be

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there. And I don't know if the order that we're

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recording these on the mixtape, whether that

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matters or not, but you got to have all for you.

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All for you has to be in the mix. I mean, that

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song, Ken wrote that song way before the band

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was formed and before we had our first song on

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radio. Ken was, you know, he had written that

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song a long time ago. So the song was when he

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and I were a duo, we played it out acoustically

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before the band got involved. And then years

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later, that thing just started kicking doors

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down and the rest is kind of history. So any

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mixtape of Sister Hazel has to include All For

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You. So I'm going to follow up with the first,

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hey, this will at least prove I'm a hazelnut.

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I like it. With the question, are you going with

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the version from 1994's White Album or are you

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going to go with the... full band, somewhere

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more familiar 97 single? I would go with the

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97 single. I would go with the full band version.

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That's the one. Honestly, man, there were some

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really cool live versions that we did later on

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that if I could get my hands on those, I would

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include that. But yeah, the 97 version is the

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one I would go with. All right. Well, following

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that up, I think we're going to start this off

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being a little bit of a hit fest to kind of...

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wet people's appetite a little bit. All right.

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And for me, I saw you guys perform last year

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in New Jersey at the Skyland Performing Arts

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Center, otherwise known as the Newton Theater

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in Newton, New Jersey. And this was the song

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you ran with second in the band set. And the

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more I thought about it, when you kicked into

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the song, I said, this is literally the perfect

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slot for this track. And while it works so perfectly

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in the band's live set, I think it's going to

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work perfectly here because All For You ends

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and then you kind of build up this little guitar

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intro and kick into the lead track off of 2000's

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Fortress. And I'm going to go with Change Your

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Mind, one of my. Favorite songs from Sister Hazel.

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And also with that, I'm happy to say I'm not

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alone because Patreon mixtaper Cactus Pete also

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chimed in with Change Your Mind, citing the blending

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harmonies. Although he said there's plenty of

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great stuff to choose from from the band, and

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I couldn't agree more. But back to Change Your

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Mind, the song was also featured in the 2000

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movie, Wait For It. Bedazzled with Brandon Frazier

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and Elizabeth Hurley. This song simply means

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so, so much to me. One of my favorite things

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about Sister Hazel is the vocal harmonies, and

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they truly come to life in this song, making

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it one of the highlights on an otherwise amazing

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album. This is the song that, all for you, made

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me a fan of Sister Hazel. Change Your Mind made

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me a fan of the band for life because this is

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the kind of song that spoke to me from a musical

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and lyrical perspective. And I just don't think

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you can have a Sister Hazel playlist without

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it. I fully agree. And that song ends up in that

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slot quite often in the live show. It's just

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something that kind of sets people's minds in

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the right direction for the Sister Hazel set.

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Okay, that's a great pick. I'm going to follow

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that up with a relatively newer song. but it

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has become kind of a staple for us at live shows

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because our fan base just gravitated towards

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this song. It's another upbeat song, and it's

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a little bit different for us. It's funny because

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through our career, a lot of people have tried

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to not necessarily pigeonhole us, but they want

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to put us in a category, and we don't necessarily

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fit in a single category. We've been all over

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the map. But this song itself was on a record

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that that we put out and I think it charted on

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the country albums. But this is a song called

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That Kind of Beautiful. That's a song that people

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have gravitated towards and you see people singing

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that song with us. And it's also become one of

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those songs that if we don't do it on our live

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show that they're kind of disappointed. So I

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would go with That Kind of Beautiful. Now, Lighter

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in the Dark was... Kind of a foray that you guys

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had been touching on in the past. I know you

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said it was like a little bit of a foray in a

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country music, but I hear elements of country

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on Heartland Highway. Hell, I hear elements of

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country on Somewhere More Familiar. Absolutely.

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And the White Album. Yeah, when people were,

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I don't want to use the word shocked, but when

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people said, wow, Sister Hazel's putting out

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an album that sounds more country. I kind of

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wanted to reply with, have you been listening

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to Sister Hazel all these years? Because I feel

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like there's always been that element in the

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band. Is that the case? No, that's totally the

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case. I agree. In fact, when people were questioning,

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and not in a bad way, but when they were just

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questioning, are you going this direction? I

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was like, you know, if you go back and listen

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to someone more familiar in the White Album and

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albums like Release and Heartland Highway, and

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there's always been a touch of that. Yes. Was

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there a little more instrumentation that could

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have been considered leaning more country maybe

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a lot of the writing that i'd been doing during

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that time period was in nashville our management

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company is in nashville we've been recording

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the records in nashville so certainly there could

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be some influence there but honestly we did not

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deviate a whole lot from what the band sounds

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like you know all the time well following that

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up i'm gonna stay with a little bit of that quote

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unquote country -esque sound, but I'm going to

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pivot it in a little bit of a direction. I'm

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going to go off of 2010's Heartland Highway.

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We had just mentioned it earlier. All right.

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And this is a song that you wrote with Stan Lynch.

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Okay. Drummer for my favorite artist of all time,

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Tom Petty and the Heartbreakers for over 18 years.

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Yeah, man. You two have written a bunch of Sister

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Hazel songs together, including... In the Moment

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from Lyft, Hopeless from Chasing Daylight, Beautiful

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High and This Kind of Love from Absolutely, I

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Believe in You and One Life from Elise, Where

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You're Going, which was also from Heartland Highway.

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But I feel like coming out of that kind of beautiful,

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the song that immediately I'm gravitating to

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is Let the Fire Burn. Man, that is so funny that

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you're saying that. So I just listened to that

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song recently. And one of the reasons why I listened

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to it is because Ken, for some reason, was singing

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it at a soundcheck. And I was like, man, I forgot

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about that song. I want to go listen to it. And

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I really love that song. So yeah, that's an interesting

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pick, man. We played it live briefly, but it's

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another blessing and a curse of being a band

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for as long as we have. You have so many songs

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that fans want to hear at a show that you can't

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play for, well, I guess you could play for four

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hours, but I'm not really sure how many people

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can sit through a four -hour concert. But yeah,

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you have to make choices. So that's a great pick,

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man. Let the fire burn. I really, I dig that

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too. And I'd love to ask, because again, being

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such a Tom Petty fan for so long. Anybody who

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has some connection to that universe is something

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I'm always enthralled with. Can you talk about

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that working relationship with Stan Lynch and

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how it's kind of blossomed into this ongoing

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co -writing situation? Well, Stan reached out

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to us way early, like back when we were just

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getting a record deal. And I kept his number

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and he and I stayed in touch. And literally,

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we're like brothers. I mean, we are very close.

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He still has a place. just outside of gainesville

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and one over at crescent beach and him and uh

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and his significant other come over for dinner

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occasionally and and uh stan is um i'll just

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being straight up honest stan is one of the reasons

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why i managed to stay in the music business for

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33 years because he had been through a ton of

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stuff with the heartbreakers And then he went

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on to be a writer, a very successful writer and

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producer, produced a bunch of Don Henley stuff

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and worked with Eagles on a lot of stuff. So

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the guy, he had been around the block. And anytime

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that I had a problem, he was there with some

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common sense about the whole thing because it

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can get kind of crazy. And Stan is, I would definitely

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give him a lot of credit for being one of the

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reasons why I've managed to stay in the business

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for as long as I have. But working with him,

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that band was full of talent. I mean, Tom, obviously

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was exceptional in so many different ways. Stan

00:13:12.970 --> 00:13:16.629
is also exceptional. He's a super smart guy.

00:13:17.210 --> 00:13:19.769
His drumming, he's one of the few drummers. I

00:13:19.769 --> 00:13:21.129
mean, there are, there are drummers out there,

00:13:21.169 --> 00:13:22.909
but he's, he's one of the few drummers that when

00:13:22.909 --> 00:13:25.269
he's playing, you can tell it's Stan Lynch. You

00:13:25.269 --> 00:13:26.750
can, I mean, you can hear him on any, I don't

00:13:26.750 --> 00:13:28.789
care whose song he's playing. You can go, dude,

00:13:28.870 --> 00:13:30.649
that sounds like Stan Lynch because he has his

00:13:30.649 --> 00:13:33.860
own thing, which is rare and awesome. But he's

00:13:33.860 --> 00:13:36.820
just a soulful dude, super kind. And it's been

00:13:36.820 --> 00:13:39.379
a complete honor to get to work with him. And

00:13:39.379 --> 00:13:42.580
look, man, I'm from a band out of Gainesville.

00:13:43.139 --> 00:13:46.600
Hearing him tell stories from the old days is

00:13:46.600 --> 00:13:50.679
a blast. I mean, I love it. I love hearing the

00:13:50.679 --> 00:13:53.220
stories. It's fun. We don't do that a whole lot,

00:13:53.340 --> 00:13:55.460
but occasionally things will come up. Maybe it's

00:13:55.460 --> 00:13:57.799
to give me an example of some of the things that

00:13:57.799 --> 00:14:00.759
he went through. But yeah, I love that relationship

00:14:00.759 --> 00:14:04.419
with Stan. Amazing. I'm throwing it back to you

00:14:04.419 --> 00:14:06.820
now to follow up that kind of beautiful and let

00:14:06.820 --> 00:14:09.580
the fire burn for track five. What do you got?

00:14:09.779 --> 00:14:12.480
Okay. I would go, and I don't want the title

00:14:12.480 --> 00:14:15.539
to mess me up, but those are some upbeat songs.

00:14:15.820 --> 00:14:17.779
I would probably slow things down a little bit.

00:14:18.019 --> 00:14:21.659
And this is a song that I wrote. Man, it was

00:14:21.659 --> 00:14:24.559
years ago that I wrote this song. But when we

00:14:24.559 --> 00:14:27.659
put it out and people heard it, I did an acoustic

00:14:27.659 --> 00:14:31.179
version online one time. of just being a guitar

00:14:31.179 --> 00:14:33.419
playing this song. And it seemed to connect with

00:14:33.419 --> 00:14:35.620
people quite a bit, but I would slow it down

00:14:35.620 --> 00:14:38.700
and I'd put a song called fire after that. And

00:14:38.700 --> 00:14:40.899
I know that it's led the fire burn and putting

00:14:40.899 --> 00:14:42.879
fire right after it is going to mess up our,

00:14:42.879 --> 00:14:45.559
our song title list, but it's still, I think

00:14:45.559 --> 00:14:47.799
I would put that slow down a little bit and put

00:14:47.799 --> 00:14:49.960
that song in there. And that song live for us

00:14:49.960 --> 00:14:52.639
now. is a lot of fun when we do it. We don't

00:14:52.639 --> 00:14:54.980
do it very often, but when we do, it's a lot

00:14:54.980 --> 00:14:57.179
of fun because it takes us to this place where

00:14:57.179 --> 00:15:01.240
Ryan takes off on the guitar and it just ends

00:15:01.240 --> 00:15:06.200
with this super powerful guitar solo. So we have

00:15:06.200 --> 00:15:07.940
a lot of fun playing that live and it's connected

00:15:07.940 --> 00:15:10.820
with a lot of people. And that came from the,

00:15:10.899 --> 00:15:13.299
I'm going to call the album now Elements, but

00:15:13.299 --> 00:15:15.679
it was from the Fire EP that became part of the

00:15:15.679 --> 00:15:20.039
Elements single album release. That four EP into

00:15:20.039 --> 00:15:23.899
one album approach was definitely treading new

00:15:23.899 --> 00:15:26.759
ground for the band. Looking back, would you

00:15:26.759 --> 00:15:30.460
consider that release schedule to have been successful

00:15:30.460 --> 00:15:32.799
for the group? And is that something that may

00:15:32.799 --> 00:15:35.340
shape how the band decides to release new music

00:15:35.340 --> 00:15:40.879
moving forward? Yes. And yes to pretty much all

00:15:40.879 --> 00:15:44.000
of that. I do find that it was successful. It

00:15:44.000 --> 00:15:46.799
was very creative. Jet Barris, our bass player,

00:15:48.059 --> 00:15:50.519
is a behind the scenes he's kind of a creative

00:15:50.519 --> 00:15:53.059
genius he comes up with some great ideas and

00:15:53.059 --> 00:15:56.899
this was one of his babies and um we all collaborated

00:15:56.899 --> 00:16:00.179
on how it turned out but putting those those

00:16:00.179 --> 00:16:05.179
series of eps out was a lot of fun and it gave

00:16:05.179 --> 00:16:07.679
us a place to take these songs and kind of just

00:16:07.679 --> 00:16:10.740
find the right fit for just a few songs and see

00:16:10.740 --> 00:16:12.399
how that felt and then put them all together

00:16:12.399 --> 00:16:14.929
it was just a really cool thing And I love the

00:16:14.929 --> 00:16:17.289
artwork from those records and how it combined

00:16:17.289 --> 00:16:19.690
at the end. It was really cool, the whole thing.

00:16:19.809 --> 00:16:22.090
Not that anybody cares about artwork as much

00:16:22.090 --> 00:16:24.389
anymore because you download everything now.

00:16:24.490 --> 00:16:26.350
But the artwork from that album was really cool.

00:16:26.610 --> 00:16:28.610
I was going to say, not all of us are downloading.

00:16:28.809 --> 00:16:32.750
I still got the CDs. Well, you took things down

00:16:32.750 --> 00:16:35.590
with fire. So now I want to pick it up a little

00:16:35.590 --> 00:16:38.549
bit. And I'm also kind of looking at the list.

00:16:39.289 --> 00:16:41.470
Thinking, okay, we've touched on Somewhere More

00:16:41.470 --> 00:16:44.090
Familiar, Fortress, Lighter in the Dark, Heartland

00:16:44.090 --> 00:16:47.450
Highway, Fire and Elements. I want to keep kind

00:16:47.450 --> 00:16:49.350
of picking from some different albums here to

00:16:49.350 --> 00:16:51.690
kind of give a nice varied approach. So I'm going

00:16:51.690 --> 00:16:56.350
to go back to Lift from 2004. And I'm going to

00:16:56.350 --> 00:16:59.289
use a song that I think picks it up from Fire.

00:16:59.389 --> 00:17:02.690
And it shows the band flexing some, dare I use

00:17:02.690 --> 00:17:05.630
the word, alternative rock muscles. But this

00:17:05.630 --> 00:17:09.059
song has a massive chorus. And the guitar work

00:17:09.059 --> 00:17:12.079
that you and Ryan do combined on this track shines

00:17:12.079 --> 00:17:16.799
because the track is big and bold, but the harmonies

00:17:16.799 --> 00:17:19.279
never get overshadowed by the louder guitar.

00:17:19.900 --> 00:17:23.720
And I don't know if that's a testament to you

00:17:23.720 --> 00:17:27.839
guys as musicians, you guys as singers, the studio

00:17:27.839 --> 00:17:30.180
work that went into recording it, or the fact

00:17:30.180 --> 00:17:32.779
that the song is just extremely well written.

00:17:32.799 --> 00:17:35.119
It was written by Ken Block along with Richard

00:17:35.119 --> 00:17:39.440
Marks. paired together on songs, World Inside

00:17:39.440 --> 00:17:42.240
My Head, which was also from Lyft, Meet Me in

00:17:42.240 --> 00:17:45.799
the Memory from Absolutely, and Life Got in the

00:17:45.799 --> 00:17:48.079
Way from Chasing Daylight, among others. But

00:17:48.079 --> 00:17:50.119
I'm going to go with, I'm a sucker for album

00:17:50.119 --> 00:17:52.039
opening tracks. I'm going to go with Surrender,

00:17:52.180 --> 00:17:55.460
the opening track from Lyft. Over the years,

00:17:55.480 --> 00:17:58.819
the band has started to work with outside writers.

00:17:58.940 --> 00:18:00.880
In the beginning, it was Sister Hazel kind of

00:18:00.880 --> 00:18:03.079
writing as a collective. And over the years,

00:18:03.220 --> 00:18:05.500
outside writers have kind of... come into the

00:18:05.500 --> 00:18:09.779
fold i'm curious how sister hazel decides on

00:18:09.779 --> 00:18:13.880
what songs should be written internally versus

00:18:13.880 --> 00:18:16.180
hey let's bring somebody from the outside in

00:18:16.180 --> 00:18:18.400
for this one and kind of how it comes together

00:18:18.400 --> 00:18:20.599
and then along with all that just your thoughts

00:18:20.599 --> 00:18:23.319
on surrender because it is kind of a deeper cut

00:18:23.319 --> 00:18:25.700
it was not played very often but i absolutely

00:18:25.700 --> 00:18:30.240
adore the track yes it we did we did play it

00:18:30.240 --> 00:18:33.579
live occasionally but it was another one of those

00:18:33.579 --> 00:18:36.089
songs that kept getting pushed kind of to the

00:18:36.089 --> 00:18:38.769
bottom of the of the set list where where it

00:18:38.769 --> 00:18:41.650
just would fall off so but but that yeah that's

00:18:41.650 --> 00:18:43.890
another one and i've heard that one in stores

00:18:43.890 --> 00:18:46.829
before too and gone wait a minute i love that

00:18:46.829 --> 00:18:48.930
that's that's our song what song is that again

00:18:48.930 --> 00:18:53.549
but uh as far as songwriters go later in our

00:18:53.549 --> 00:18:55.930
career we began collaborating with more and more

00:18:55.930 --> 00:18:57.950
people and they were part of that was because

00:18:57.950 --> 00:19:01.970
of the band's success more doors were open for

00:19:01.970 --> 00:19:04.289
us to be able to write with writers, which was

00:19:04.289 --> 00:19:06.730
a lot of fun. I don't think there's ever been

00:19:06.730 --> 00:19:09.930
a specific target as far as, Hey, for this one,

00:19:09.990 --> 00:19:11.970
let's bring in this writer. I think what happens

00:19:11.970 --> 00:19:14.730
is all of us kind of branch out. Sometimes we

00:19:14.730 --> 00:19:16.170
write with each other. Sometimes we write with

00:19:16.170 --> 00:19:21.049
outside writers and we just serve the song. So

00:19:21.049 --> 00:19:24.089
if, you know, Ryan or Ken, or if anybody came

00:19:24.089 --> 00:19:27.750
in with a song from an outside writer, if most

00:19:27.750 --> 00:19:29.730
of us were attracted to the song, then we would

00:19:29.730 --> 00:19:31.269
just try to serve the song. It didn't really

00:19:31.269 --> 00:19:33.170
matter who co -wrote it. You know what I mean?

00:19:33.470 --> 00:19:35.569
And we're thankful for co -writers because it

00:19:35.569 --> 00:19:37.730
makes us spread our wings a little bit, you know,

00:19:37.730 --> 00:19:39.829
stretch our writing a little bit to try to be

00:19:39.829 --> 00:19:42.529
more creative. So that's always been a good thing

00:19:42.529 --> 00:19:45.329
for us. All right. We're throwing it back to

00:19:45.329 --> 00:19:48.549
you to follow up surrender. Okay. That's a tough

00:19:48.549 --> 00:19:52.750
one. I'm going to go off of an album that we

00:19:52.750 --> 00:19:56.410
recently. I recently saw a post on Facebook from

00:19:56.410 --> 00:19:58.589
a fan that kind of broke down what albums we

00:19:58.589 --> 00:20:02.190
play songs off of most of the nights at live

00:20:02.190 --> 00:20:05.589
shows. And sadly, we don't do a lot of songs

00:20:05.589 --> 00:20:09.430
off of this record, but I like the record a lot.

00:20:09.509 --> 00:20:10.710
In fact, as I'm looking through it, I'm like,

00:20:10.750 --> 00:20:13.009
man, I could pick eight of the songs off this

00:20:13.009 --> 00:20:15.910
record. But I'm going to go with the title track

00:20:15.910 --> 00:20:19.069
off of our album release, and I'm going to say

00:20:19.069 --> 00:20:23.089
the song release. Nice. I like that song, and

00:20:23.089 --> 00:20:25.289
it's one that we used to do live. We don't do

00:20:25.289 --> 00:20:29.890
it live as much anymore, but I feel like it kind

00:20:29.890 --> 00:20:33.210
of fits in. That's a good place to go after Surrender.

00:20:33.430 --> 00:20:36.349
So I'd go with Release. Hey, I'm a sucker for

00:20:36.349 --> 00:20:39.349
album opening tracks. Now, Pat McGee and Emerson

00:20:39.349 --> 00:20:42.970
Hart co -wrote that with Ryan. Yes. And I will

00:20:42.970 --> 00:20:46.069
just say that, spoiler alert, there might be

00:20:46.069 --> 00:20:48.230
another song from Release getting talked about

00:20:48.230 --> 00:20:51.150
later this evening. All right, good. I love this

00:20:51.150 --> 00:20:55.130
album. To me, this is a ridiculously underrated

00:20:55.130 --> 00:20:58.710
Sister Hazel album all the way through. I agree.

00:20:58.809 --> 00:21:01.509
I think all of us, after seeing that post, want

00:21:01.509 --> 00:21:05.410
to take a look back and see, well, like I said,

00:21:05.589 --> 00:21:07.670
Vacation Rain. I mentioned Vacation Rain earlier.

00:21:07.869 --> 00:21:11.029
That's on this record, too. And see what songs

00:21:11.029 --> 00:21:14.109
could fit back in the live show. Maybe it's time

00:21:14.109 --> 00:21:16.069
to give a few other songs a rest for a while

00:21:16.069 --> 00:21:18.809
and pick up some of these songs. Well, here's

00:21:18.809 --> 00:21:21.490
one that I'm going to follow it up with, and

00:21:21.490 --> 00:21:23.970
it is a cover song. I'm a sucker for cover songs.

00:21:24.089 --> 00:21:26.670
I love cover songs. And I love when the band

00:21:26.670 --> 00:21:30.470
brings something new to the cover song and makes

00:21:30.470 --> 00:21:34.430
it their own. And to me, the song I chose is

00:21:34.430 --> 00:21:37.769
one of the 90s defining cover songs, one of my

00:21:37.769 --> 00:21:40.730
favorites of the whole decade, because it lands

00:21:40.730 --> 00:21:43.710
on pretty much every single mark I can think

00:21:43.710 --> 00:21:47.019
of. In the 90s, they did a lot of compilation

00:21:47.019 --> 00:21:50.299
tribute albums. They were huge across the board.

00:21:50.460 --> 00:21:54.000
And one of my favorites was Legacy, a tribute

00:21:54.000 --> 00:21:57.660
to Fleetwood Mac's Rumors that came out in 1998.

00:21:58.500 --> 00:22:01.779
And I am running with Sister Hazel's contribution

00:22:01.779 --> 00:22:04.980
to that album, the closing track, your cover

00:22:04.980 --> 00:22:09.140
of Gold Dust Woman. Look, the band does amazing

00:22:09.140 --> 00:22:11.700
covers across the board. I mean, I'm just thinking

00:22:11.700 --> 00:22:14.519
about... we could talk about The Car Is Just

00:22:14.519 --> 00:22:16.500
What I Needed. The Car Is Self -Titled is my

00:22:16.500 --> 00:22:18.740
favorite album of all time. I could have easily

00:22:18.740 --> 00:22:21.960
chose that cover because I love that tune. However,

00:22:22.240 --> 00:22:26.700
the band's version, totally gender flipping the

00:22:26.700 --> 00:22:30.079
song, having the vocals come from a male perspective,

00:22:30.319 --> 00:22:32.819
which is normally a Stevie Nicks sang song, to

00:22:32.819 --> 00:22:37.200
me was a gamble that paid off so well. And the

00:22:37.200 --> 00:22:40.599
fact is, Rumors is one of those albums that is

00:22:40.599 --> 00:22:43.710
considered by a lot of people to be a quote unquote

00:22:43.710 --> 00:22:46.630
perfect album. There must have been a huge challenge

00:22:46.630 --> 00:22:49.769
stepping into this song and trying to bring something

00:22:49.769 --> 00:22:51.450
to the original that would leave something to

00:22:51.450 --> 00:22:53.650
be desired. And not only did you do that, the

00:22:53.650 --> 00:22:56.569
harmonies on it make the hair on my arm stand

00:22:56.569 --> 00:23:00.150
up. I just think it's an iconic cover and I feel

00:23:00.150 --> 00:23:02.089
like it belongs in this list. I know it's not

00:23:02.089 --> 00:23:05.710
an original, but you guys truly made Gold Dust

00:23:05.710 --> 00:23:08.960
Woman your own on that album. Thanks, man. We're

00:23:08.960 --> 00:23:10.960
very proud of how that turned out. And we actually

00:23:10.960 --> 00:23:12.839
did play that song live for a while as well,

00:23:12.839 --> 00:23:16.420
too. It was a real honor to be a part of that.

00:23:17.019 --> 00:23:20.480
And we all got handwritten letters from Mick

00:23:20.480 --> 00:23:24.019
Fleetwood. And that was really cool. I've got

00:23:24.019 --> 00:23:26.380
mine framed and hanging up in my room over there.

00:23:27.720 --> 00:23:30.740
But that was an honor to be a part of that. And

00:23:30.740 --> 00:23:33.619
Ken did such a great job singing that song, too.

00:23:33.700 --> 00:23:35.640
He really delivered the song. So that's a good

00:23:35.640 --> 00:23:37.440
one, man. That's a good one. I thought you might

00:23:37.440 --> 00:23:40.000
go with the Cars song. And I will tell you, the

00:23:40.000 --> 00:23:43.000
story behind the Cars song is this. We really

00:23:43.000 --> 00:23:44.660
felt like, hey, man, this is the time for us

00:23:44.660 --> 00:23:47.359
to do a cover. Maybe it'll be one of those that

00:23:47.359 --> 00:23:49.079
piques people's interest and all that kind of

00:23:49.079 --> 00:23:52.819
stuff. And we were so proud. We all agreed on

00:23:52.819 --> 00:23:57.019
that song, which I will tell you. Anytime we

00:23:57.019 --> 00:23:58.960
all agree on something, we should not do it.

00:23:59.019 --> 00:24:03.599
That's just the way it is. Because we very rarely

00:24:03.599 --> 00:24:06.740
all agree on something. And although I love the

00:24:06.740 --> 00:24:08.720
way that song turned out, it just totally missed

00:24:08.720 --> 00:24:10.819
the mark. Like, I don't think our label liked

00:24:10.819 --> 00:24:13.619
it. I'm not sure if anybody liked it. But we

00:24:13.619 --> 00:24:15.099
felt good about it when we got done doing it.

00:24:15.460 --> 00:24:17.839
But yeah, Gold Dust Woman, that's a good one.

00:24:18.299 --> 00:24:20.799
I'm not going to lie. I do enjoy the cover. I

00:24:20.799 --> 00:24:23.069
will say that. I am too. The Cars self -titled

00:24:23.069 --> 00:24:25.390
album is my favorite album of all time. And I

00:24:25.390 --> 00:24:27.490
still give kudos for a job well done on your

00:24:27.490 --> 00:24:29.569
version. You know, man, and I'll tell you, dude,

00:24:29.690 --> 00:24:33.609
I don't know. Yes, there are bands that do this

00:24:33.609 --> 00:24:37.869
for me, but I'm not sure many do it as well as

00:24:37.869 --> 00:24:41.849
the Cars do. It takes me back to that time. It's

00:24:41.849 --> 00:24:44.170
almost like it. I don't know how to explain it,

00:24:44.210 --> 00:24:46.779
but it almost. transfers me back to that time

00:24:46.779 --> 00:24:49.140
period, like right then, like I'm back in that

00:24:49.140 --> 00:24:51.220
body in that time when you hear the car songs

00:24:51.220 --> 00:24:56.339
kick on. It's so powerful. I love that. I love

00:24:56.339 --> 00:24:58.799
the old car stuff. It's great. All right, where

00:24:58.799 --> 00:25:04.880
are we? Track nine. Last one for side A. Side

00:25:04.880 --> 00:25:11.220
A. All right. I'm going to go with, you know

00:25:11.220 --> 00:25:13.359
what? I'm going to save that for side B. All

00:25:13.359 --> 00:25:19.579
right. Give me a minute. I'm looking. Wow. So

00:25:19.579 --> 00:25:23.279
we just had, we just had gold dust woman. And

00:25:23.279 --> 00:25:25.359
this is the second to last song on the side.

00:25:25.920 --> 00:25:31.160
All right. Oh, I know what I would do. I would

00:25:31.160 --> 00:25:34.619
do. I believe in you. You know, that one, that

00:25:34.619 --> 00:25:37.640
one's off of, I got to look and see maybe heartland

00:25:37.640 --> 00:25:40.740
highway. That was off of release. It's off release

00:25:40.740 --> 00:25:44.630
as well. Yes, sir. Okay. That's the one I would

00:25:44.630 --> 00:25:47.329
do is I believe in you. That's another song I

00:25:47.329 --> 00:25:49.109
wrote with Stan and I'll never forget going up

00:25:49.109 --> 00:25:51.230
to, we went up to me and Stan went up to Ryan's

00:25:51.230 --> 00:25:55.049
house to do the acoustic guitars for that record.

00:25:55.130 --> 00:25:57.849
And it was so important for those to be right.

00:25:57.970 --> 00:26:00.490
And if you listen through to it and talk about,

00:26:00.490 --> 00:26:02.970
you know, some of the petty influence, if you

00:26:02.970 --> 00:26:05.430
listen to the guitar, the acoustic guitar specifically

00:26:05.430 --> 00:26:10.369
on that song, you'll recognize some of the petty

00:26:10.369 --> 00:26:15.519
slash, uh, I'm blanking on the name of the, when

00:26:15.519 --> 00:26:18.200
he went and did the stuff with Roy Orbison and

00:26:18.200 --> 00:26:20.759
traveling Wilburys. Yeah. The traveling Wilburys.

00:26:20.779 --> 00:26:23.599
You'll hear like some of that influence in the

00:26:23.599 --> 00:26:26.660
acoustic guitars when we did that song. So I

00:26:26.660 --> 00:26:29.319
enjoyed writing that song with Stan and I felt

00:26:29.319 --> 00:26:32.220
like that it was one of those songs. I think

00:26:32.220 --> 00:26:34.759
it's an underrated song as well. That's one of

00:26:34.759 --> 00:26:36.700
those songs we played a couple of times live,

00:26:36.799 --> 00:26:39.630
but it's hard to like. You hear it and you're

00:26:39.630 --> 00:26:42.049
like, oh, that's really simple. But it's hard

00:26:42.049 --> 00:26:44.630
to, all that stuff has to lock exactly. And so

00:26:44.630 --> 00:26:47.289
there was a lot of, it was a labor of love. But

00:26:47.289 --> 00:26:49.569
when it got done, it was like, man, that's it.

00:26:49.710 --> 00:26:51.589
That's how I wanted that to sound. So that's

00:26:51.589 --> 00:26:54.609
what I'd go with is I Believe in You. Well, I

00:26:54.609 --> 00:26:58.329
think the person that did the social post asking

00:26:58.329 --> 00:27:00.589
about some love for release is going to feel

00:27:00.589 --> 00:27:04.650
happy. Because closing out side A. All right.

00:27:05.099 --> 00:27:07.319
I am also going to go with that song. I told

00:27:07.319 --> 00:27:10.099
you about a few songs ago from release. Cause

00:27:10.099 --> 00:27:13.799
I feel like when you're closing out a side, this

00:27:13.799 --> 00:27:17.039
is the perfect side closer. Now, a few years

00:27:17.039 --> 00:27:19.839
ago, I interviewed Ryan Newell on my old podcast

00:27:19.839 --> 00:27:23.940
tune styles. And when we were talking, I really

00:27:23.940 --> 00:27:26.960
made an effort to try to get the band to slide

00:27:26.960 --> 00:27:30.200
this back into the set list rotation. It hasn't

00:27:30.200 --> 00:27:33.660
happened yet. So I'm going to use. This moment

00:27:33.660 --> 00:27:37.059
to throw it out a second time, because I truly

00:27:37.059 --> 00:27:40.680
think Take a Bow deserves a spot in the band's

00:27:40.680 --> 00:27:43.940
rotation. And to close out a side just lyrically,

00:27:44.099 --> 00:27:47.759
it's very fitting. And to me, this just fits

00:27:47.759 --> 00:27:54.400
under one of those songs that I would give anything

00:27:54.400 --> 00:27:56.640
to hear the band break back out again, because.

00:27:57.279 --> 00:27:59.799
To me, it's, again, one of my favorites. I don't

00:27:59.799 --> 00:28:01.720
know if it's the minor chord progression or what's

00:28:01.720 --> 00:28:04.200
going on in there, but this was written with

00:28:04.200 --> 00:28:07.200
Ryan, Pat McGee, and Mike Daly. There's something

00:28:07.200 --> 00:28:11.160
about the groove of this song that really resonates

00:28:11.160 --> 00:28:15.559
with me. Yeah, that song, there's a lot of personal

00:28:15.559 --> 00:28:19.099
meaning behind that too for Ryan. But I know

00:28:19.099 --> 00:28:21.599
that during that time period also, I don't know

00:28:21.599 --> 00:28:23.720
what it was about what we were doing right then,

00:28:23.839 --> 00:28:27.660
but Ken and I... on Harmony -wise, like what

00:28:27.660 --> 00:28:30.880
we were doing vocally together was locked. I

00:28:30.880 --> 00:28:32.980
mean, it was like locked in. And I remember it

00:28:32.980 --> 00:28:36.480
being honestly, and I'm not saying this to brag,

00:28:36.619 --> 00:28:39.460
but it was almost effortless during that time

00:28:39.460 --> 00:28:42.160
period. Like we got in and we were, I knew where

00:28:42.160 --> 00:28:44.720
he was going. He knew where I wanted him to go

00:28:44.720 --> 00:28:48.259
vocally so that the harmonies would just hit

00:28:48.259 --> 00:28:50.779
just the right way. And that was one of those

00:28:50.779 --> 00:28:53.279
songs that really benefited from that. Well,

00:28:53.339 --> 00:28:56.650
there you have it, Mixtapers. Side A of our ultimate

00:28:56.650 --> 00:29:00.029
Sister Hazel mixtape, which consists of All For

00:29:00.029 --> 00:29:02.529
You from Somewhere More Familiar, Change Your

00:29:02.529 --> 00:29:05.289
Mind from Fortress, That Kind of Beautiful from

00:29:05.289 --> 00:29:08.309
Lighter in the Dark, Let the Fire Burn from Heartland

00:29:08.309 --> 00:29:12.309
Highway, Fire from the Fire EP as well as Elements

00:29:12.309 --> 00:29:16.069
LP, Surrender from Lift, Release from the album

00:29:16.069 --> 00:29:19.069
of the same name, Gold Dust Woman from Legacy,

00:29:19.329 --> 00:29:22.049
a tribute to Fleetwood Mac's Rumors, I Believe

00:29:22.049 --> 00:29:25.619
in You from Release, and Take a Bow. from release

00:29:25.619 --> 00:29:28.680
head over to myweeklymixtape .com to hear all

00:29:28.680 --> 00:29:31.559
the songs we've discussed in this mix through

00:29:31.559 --> 00:29:35.539
the playlist embedded on the episode page now

00:29:35.539 --> 00:29:37.980
drew before we flip this mixtape over to side

00:29:37.980 --> 00:29:40.819
b i want to talk about the band's latest single

00:29:40.819 --> 00:30:19.170
love you more Now you wrote this song along with

00:30:19.170 --> 00:30:22.589
Ryan Newell and Jack Sizemore. And when I read

00:30:22.589 --> 00:30:25.670
the press release for this song. Some podcast

00:30:25.670 --> 00:30:29.470
host named Brian Colburn said, Sister Hazel is

00:30:29.470 --> 00:30:32.329
back with a breezy rock song that gives you warm

00:30:32.329 --> 00:30:36.690
summer vibes on a cold January morning. A funky

00:30:36.690 --> 00:30:40.230
riff leads to an infectious chorus that you find

00:30:40.230 --> 00:30:43.250
yourself instantly singing along with, a song

00:30:43.250 --> 00:30:45.849
that's sure to please Hazelnut fans both new

00:30:45.849 --> 00:30:49.369
and old. And in the many listens I've had since

00:30:49.369 --> 00:30:53.339
writing that statement, I still 100 % feel the

00:30:53.339 --> 00:30:56.039
same way. I'd love to hear more about how this

00:30:56.039 --> 00:30:58.339
track came together during the writing process

00:30:58.339 --> 00:31:02.660
and who brought what elements to the song. Because

00:31:02.660 --> 00:31:05.119
like I said, it's kind of this breezy island

00:31:05.119 --> 00:31:08.140
thing, but there's this funky riff over it. And

00:31:08.140 --> 00:31:10.900
on paper, it sounds like they would conflict,

00:31:11.000 --> 00:31:14.980
but they come together so, so well. Yeah. I will

00:31:14.980 --> 00:31:18.059
tell you that. So when we came out of the writing

00:31:18.059 --> 00:31:20.640
room, First of all, Jack is a, I mean, he's a

00:31:20.640 --> 00:31:23.880
longtime friend. Like I've known Jack. In fact,

00:31:23.980 --> 00:31:27.599
Jack and his, the guy that he used to sing with

00:31:27.599 --> 00:31:31.160
Britton Cameron, they were Jack and Britton back

00:31:31.160 --> 00:31:34.759
in the day before we were Ken and Andrew. So

00:31:34.759 --> 00:31:37.480
we started out as an acoustic duo. And honestly,

00:31:37.579 --> 00:31:39.680
we would go watch them and be like, wow, man,

00:31:39.759 --> 00:31:41.619
they are so good. You know, and then we would

00:31:41.619 --> 00:31:44.319
go do our thing or whatever. We used to go do

00:31:44.319 --> 00:31:46.660
four -part harmony stuff with those guys, Jack

00:31:46.660 --> 00:31:49.680
and Britton. And Jack is now a guitar player

00:31:49.680 --> 00:31:53.380
in Jason Aldean's band. And so we've known Jack

00:31:53.380 --> 00:31:56.299
forever, though. Great guy and an incredible

00:31:56.299 --> 00:31:59.460
songwriter himself. We sat in the room and we

00:31:59.460 --> 00:32:02.400
spent probably half the day just laughing and

00:32:02.400 --> 00:32:04.839
catching up on whatever. And then eventually

00:32:04.839 --> 00:32:07.319
we got around to writing a song. The song that

00:32:07.319 --> 00:32:11.380
came out of the writing room, although melodically,

00:32:12.239 --> 00:32:16.680
Chord structures, lyrically, is the same as what

00:32:16.680 --> 00:32:20.420
you're hearing. The feel was completely different.

00:32:20.980 --> 00:32:23.420
And we were all committed to recording the song

00:32:23.420 --> 00:32:26.859
in the studio the way that it was. We were like,

00:32:26.940 --> 00:32:28.519
yeah, man, I like it. It's got something to it.

00:32:28.559 --> 00:32:30.299
There's a good hook. The chorus is solid. Let's

00:32:30.299 --> 00:32:32.039
go do this song. But when we got in there, we

00:32:32.039 --> 00:32:35.339
kind of were working through it. And Barris goes,

00:32:35.559 --> 00:32:37.460
man, let's open our minds for a minute and throw

00:32:37.460 --> 00:32:41.069
all the rules out. And what would be the most

00:32:41.069 --> 00:32:43.789
interesting thing we could do with this to take

00:32:43.789 --> 00:32:45.470
it to the next level? Just not that it's not

00:32:45.470 --> 00:32:47.089
good where it is. Let's just try something different.

00:32:47.450 --> 00:32:51.950
And Ryan's initial thought was that thing at

00:32:51.950 --> 00:32:57.349
the mo, mo, mo, mo. That was his first thing

00:32:57.349 --> 00:32:59.630
was at the end of the chorus to tag that on it.

00:32:59.690 --> 00:33:01.569
So Ryan came up with that and we were like, oh,

00:33:01.690 --> 00:33:03.490
that's awesome. That's awesome. You know, we

00:33:03.490 --> 00:33:06.299
loved it. Now we're like, okay, well, it's got

00:33:06.299 --> 00:33:07.980
to take, you know, it's going to be a different

00:33:07.980 --> 00:33:12.339
groove. And to his credit, Ryan started doing

00:33:12.339 --> 00:33:18.259
that. So he came up with all that stuff in the

00:33:18.259 --> 00:33:21.119
studio. And then Mark and Barris got on, you

00:33:21.119 --> 00:33:23.839
know, the rhythm section and just completely

00:33:23.839 --> 00:33:27.539
changed the feel of the entire song. So the lyrics

00:33:27.539 --> 00:33:30.220
and the melodies were still kind of from where

00:33:30.220 --> 00:33:33.240
it came from. But now you're putting it on top

00:33:33.240 --> 00:33:36.109
of this. Totally different feel. And that's how

00:33:36.109 --> 00:33:38.569
we ended up with the song the way it is. And

00:33:38.569 --> 00:33:41.250
there's a lot of excitement about it. It's a

00:33:41.250 --> 00:33:43.569
fun song. Like you said, I think people are digging

00:33:43.569 --> 00:33:47.829
it already. 100%. Now, along with Love You More,

00:33:47.970 --> 00:33:52.190
in August of 2023, the band released, I'll say

00:33:52.190 --> 00:33:55.990
Jimmy Buffett Island inspired tune called Coconut

00:33:55.990 --> 00:34:29.079
Trees. Yes. You wrote this song with Kyle Jacobs

00:34:29.079 --> 00:34:31.400
several years back and then the band tracked

00:34:31.400 --> 00:34:34.710
it this past year. Can you talk about how that

00:34:34.710 --> 00:34:38.030
came together? And then to follow up, are these

00:34:38.030 --> 00:34:40.809
two songs, both Love You More and Coconut Trees,

00:34:40.809 --> 00:34:43.670
part of a larger project that the band is working

00:34:43.670 --> 00:34:46.489
on or is the current focus singles right now?

00:34:47.010 --> 00:34:49.789
So I'll answer the last question first. And the

00:34:49.789 --> 00:34:52.949
answer to that is yes. I don't know what it's

00:34:52.949 --> 00:34:54.869
going to look like or how it's going to end up

00:34:54.869 --> 00:34:56.949
all coming together. And to be really honest,

00:34:57.170 --> 00:34:59.849
there is talk about what you're talking about

00:34:59.849 --> 00:35:02.309
that I hear. I'm just not involved in the conversation.

00:35:02.429 --> 00:35:04.650
conversations pretty much to be honest with you

00:35:04.650 --> 00:35:07.429
so i think that is the ultimate goal is to put

00:35:07.429 --> 00:35:10.130
these songs together on a record once we get

00:35:10.130 --> 00:35:13.809
there we still have a we have a vault of songs

00:35:13.809 --> 00:35:17.110
that we sift through and go in and record when

00:35:17.110 --> 00:35:19.590
we're ready that song that i wrote with kyle

00:35:19.590 --> 00:35:22.969
who sadly passed away yeah we lost a great guy

00:35:22.969 --> 00:35:26.170
in kyle jacobs he was a heck of a human incredibly

00:35:26.170 --> 00:35:29.269
talented singer songwriter producer but just

00:35:29.269 --> 00:35:32.659
even a better human being So that was a tough

00:35:32.659 --> 00:35:37.019
one. Me and Kyle and Lee Bryce would write a

00:35:37.019 --> 00:35:39.059
lot together, along with a guy named Billy Montana,

00:35:39.360 --> 00:35:42.420
who I co -wrote a lot of songs with. But this

00:35:42.420 --> 00:35:45.460
was during Kyle and I got together. There's a

00:35:45.460 --> 00:35:49.920
time period between the end of October and the

00:35:49.920 --> 00:35:54.079
middle of March in Nashville, where it's just

00:35:54.079 --> 00:35:57.949
gray. It doesn't snow all the time, but it's

00:35:57.949 --> 00:36:01.530
wet and it's cold and it kind of stays that way

00:36:01.530 --> 00:36:04.489
for like a long time. It can be pretty depressing.

00:36:05.210 --> 00:36:07.929
And so we got together somewhere in the middle

00:36:07.929 --> 00:36:10.909
of that time period. And we were like, man, let's

00:36:10.909 --> 00:36:13.849
ride our way out of this. Like, you know, what

00:36:13.849 --> 00:36:15.550
would feel good right now? We were talking about

00:36:15.550 --> 00:36:17.730
white sand beaches and blue water and coconut

00:36:17.730 --> 00:36:20.250
trees. And, you know, we went for it with that

00:36:20.250 --> 00:36:23.070
song. And as we were sifting through the vault.

00:36:23.599 --> 00:36:25.980
We found that song and we were like, man, there's

00:36:25.980 --> 00:36:27.860
something to this that I think our fans would

00:36:27.860 --> 00:36:30.480
gravitate towards. Would it have been better

00:36:30.480 --> 00:36:32.159
to put it out at the beginning of the summer?

00:36:32.320 --> 00:36:35.199
Maybe, but things don't always work out that

00:36:35.199 --> 00:36:39.280
way. So we put the song out when we did and people

00:36:39.280 --> 00:36:41.940
have enjoyed it so far. And I think it will become

00:36:41.940 --> 00:36:44.219
one of those summer songs that people go back

00:36:44.219 --> 00:36:46.599
to once they start putting their baggies and

00:36:46.599 --> 00:36:49.519
their bikinis on and head to the beach. I like

00:36:49.519 --> 00:36:51.599
the song. It's a lot of fun. We're heading off

00:36:51.599 --> 00:36:53.440
on the rock boat here soon, and I'm sure we'll

00:36:53.440 --> 00:36:56.219
be playing that song somewhere. Well, to kick

00:36:56.219 --> 00:37:00.360
off side B, I'm going to do a 180. All right.

00:37:00.559 --> 00:37:02.840
From the Island Vibes and go with a song that

00:37:02.840 --> 00:37:05.480
I think is very important to the band's history,

00:37:05.639 --> 00:37:09.420
but also one that I truly love. And the song

00:37:09.420 --> 00:37:12.320
was originally featured on the 1999 soundtrack

00:37:12.320 --> 00:37:15.019
to the movie 10 Things I Hate About You. Song

00:37:15.019 --> 00:37:18.590
was written by Ken Block. Back on episode 44,

00:37:18.949 --> 00:37:21.869
I had the pleasure of speaking with Kay Hanley

00:37:21.869 --> 00:37:24.849
from Letters to Cleo. And she talked about the

00:37:24.849 --> 00:37:27.829
impact that being on soundtracks had for their

00:37:27.829 --> 00:37:31.929
music. Now, Your Winter, the song that I'm choosing,

00:37:31.969 --> 00:37:35.429
was on the 10 Things soundtrack before it was

00:37:35.429 --> 00:37:39.530
released on Fortress. So Long was featured in

00:37:39.530 --> 00:37:43.090
the movie Major League Back to the Minors. We'll

00:37:43.090 --> 00:37:45.210
Find It was featured in The Wedding Planner.

00:37:45.630 --> 00:37:48.550
The earlier mention from Side A, Change Your

00:37:48.550 --> 00:37:50.610
Mind, we talked about it being in Bedazzled.

00:37:50.690 --> 00:37:53.349
And your cover of the Bellamy Brothers' Let Your

00:37:53.349 --> 00:37:57.389
Love Flow was featured in Clay Pigeons. So I'm

00:37:57.389 --> 00:38:00.230
kind of curious. First, I'd love to hear the

00:38:00.230 --> 00:38:02.690
story behind your winter. But on top of that,

00:38:02.969 --> 00:38:08.210
did soundtracks have an ROI for Sister Hazel

00:38:08.210 --> 00:38:13.179
the way that Kay said? Soundtracks truly helped

00:38:13.179 --> 00:38:16.599
Letters to Cleo make a name for themselves. A

00:38:16.599 --> 00:38:19.300
hundred percent. A hundred percent. And not only

00:38:19.300 --> 00:38:21.099
that, but there's a sense of pride when you look

00:38:21.099 --> 00:38:23.960
at the soundtracks that you're involved in and

00:38:23.960 --> 00:38:26.079
you see the other artists that are included.

00:38:26.739 --> 00:38:28.719
I know this is going to sound cheesy, but it

00:38:28.719 --> 00:38:31.599
makes you feel like, oh, I belong. Like, look

00:38:31.599 --> 00:38:34.420
who else is doing this. Like, man, and I'm right

00:38:34.420 --> 00:38:38.380
there. There's a sense of pride in seeing your

00:38:38.380 --> 00:38:41.159
name alongside. A lot of other really talented

00:38:41.159 --> 00:38:44.260
artists that are listed on soundtracks. So that's

00:38:44.260 --> 00:38:47.219
something, as well as there are people that went

00:38:47.219 --> 00:38:49.000
and got the soundtrack because of something else

00:38:49.000 --> 00:38:50.519
that maybe never heard of the band. And by the

00:38:50.519 --> 00:38:52.139
time they get to our song, they go, oh, man,

00:38:52.199 --> 00:38:53.940
I got to check them out. Next thing you know,

00:38:54.039 --> 00:38:57.099
they're hopefully a hazelnut. That song, Ken

00:38:57.099 --> 00:39:00.260
wrote that song at a, we were staying somewhere

00:39:00.260 --> 00:39:03.260
in Alabama. And he wrote that song sitting out

00:39:03.260 --> 00:39:05.980
by a pool. And we went back to Gainesville. I

00:39:05.980 --> 00:39:09.650
had a little house off of 23rd. I had a little

00:39:09.650 --> 00:39:12.210
recording rig with an ADAT machine and all that

00:39:12.210 --> 00:39:14.269
kind of stuff. I was the only guy that had the

00:39:14.269 --> 00:39:17.210
rig at the time. And we went there and recorded

00:39:17.210 --> 00:39:20.909
that song at my house. And the right people heard

00:39:20.909 --> 00:39:23.489
the right song at the right time and asked us

00:39:23.489 --> 00:39:25.489
to be a part of the soundtrack. So that was a

00:39:25.489 --> 00:39:27.750
lot of fun for us. And to get to see that on

00:39:27.750 --> 00:39:30.449
the big screen, even though the small amount

00:39:30.449 --> 00:39:33.670
of the song that is in the movie is just Canada

00:39:33.670 --> 00:39:39.269
Acoustic Guitar. I'm not bitter. but it's still

00:39:39.269 --> 00:39:41.969
a thrill. So that was a pretty special moment

00:39:41.969 --> 00:39:44.070
for us. And that also, that soundtrack went gold.

00:39:44.150 --> 00:39:45.909
So that was, that was kind of fun. I'm not sure

00:39:45.909 --> 00:39:47.969
where it is now, but I remember back when they

00:39:47.969 --> 00:39:49.630
sent us a gold record, I was like, Oh, look at

00:39:49.630 --> 00:39:52.829
that. That's cool. So, yeah. Well, following

00:39:52.829 --> 00:39:54.889
up your winter, what do you have for your first

00:39:54.889 --> 00:39:57.849
song on side B? All right. I'm going with the

00:39:57.849 --> 00:40:05.760
song off of bam, which is B sides and more. I'm

00:40:05.760 --> 00:40:10.579
going to go with the song that I wrote. The recording

00:40:10.579 --> 00:40:14.599
of the song that you hear on that record was

00:40:14.599 --> 00:40:19.179
in a rehearsal space that we went in and maybe

00:40:19.179 --> 00:40:22.119
touched up a little guitar here, something there,

00:40:22.239 --> 00:40:24.980
but not much. It's pretty much a raw track from

00:40:24.980 --> 00:40:27.860
a rehearsal space when I brought the song in

00:40:27.860 --> 00:40:30.059
and played it for the guys. We worked it up and

00:40:30.059 --> 00:40:33.400
played it. We recorded the rehearsal that we

00:40:33.400 --> 00:40:36.619
were doing at the time. And that recording is

00:40:36.619 --> 00:40:38.679
pretty much what you hear on the record. And

00:40:38.679 --> 00:40:41.400
that song is a song called Can't Get You Off

00:40:41.400 --> 00:40:45.840
My Mind. It's track 13 off of BAM. Nice. So that

00:40:45.840 --> 00:40:49.300
was actually a quote unquote live rehearsal version

00:40:49.300 --> 00:40:53.000
of this song? Pretty much. Yes, it really is.

00:40:53.159 --> 00:40:55.239
I did not know that. Well, I'm going to follow

00:40:55.239 --> 00:41:00.099
that up then with another song from BAM. because

00:41:00.099 --> 00:41:03.440
i actually i really love this album and it also

00:41:03.440 --> 00:41:06.199
comes with a little bit of a if i'm gonna say

00:41:06.199 --> 00:41:09.000
it's not an actual gripe but just a little one

00:41:09.000 --> 00:41:14.739
because i had bought this song in 2007 on itunes

00:41:14.739 --> 00:41:18.500
when it was the bonus track to the absolutely

00:41:18.500 --> 00:41:22.019
album and i'm gonna go with little black heart

00:41:22.019 --> 00:41:25.500
okay yeah I guess my question is, because people

00:41:25.500 --> 00:41:27.780
don't remember this iTunes bonus track thing.

00:41:27.840 --> 00:41:29.719
There was a point when everybody was trying to

00:41:29.719 --> 00:41:33.340
pump everything into iTunes. Bands would release

00:41:33.340 --> 00:41:36.699
bonus tracks to iTunes, but not put them on the

00:41:36.699 --> 00:41:39.599
CD. Right. And this was one of them. So I was

00:41:39.599 --> 00:41:42.400
so thankful when BAM came out that I could finally

00:41:42.400 --> 00:41:45.559
get my hands on this song on CD as opposed to

00:41:45.559 --> 00:41:50.039
just the MP3. But I'm curious. This is a. fantastic

00:41:50.039 --> 00:41:53.059
tune. And I was shocked it didn't make Absolutely

00:41:53.059 --> 00:41:56.260
initially. Did the band feel like it just musically

00:41:56.260 --> 00:41:58.380
was slightly a little different than the rest

00:41:58.380 --> 00:42:01.099
of the vibe on Absolutely? You know, it's not

00:42:01.099 --> 00:42:03.900
always that because a lot of times it could be

00:42:03.900 --> 00:42:05.800
that there was a song that already kind of filled

00:42:05.800 --> 00:42:09.460
that space. In fact, more times than not, the

00:42:09.460 --> 00:42:13.820
songs that you see surface later are songs that

00:42:13.820 --> 00:42:17.509
would have made albums all along the way. But

00:42:17.509 --> 00:42:19.650
there was a song or two that already kind of

00:42:19.650 --> 00:42:21.550
filled that space on the album. You don't want

00:42:21.550 --> 00:42:25.869
to have a record that's all changed your mind.

00:42:25.989 --> 00:42:28.130
You know what I mean? You got to have a flow.

00:42:28.329 --> 00:42:30.250
We still are old school. We're still the kind

00:42:30.250 --> 00:42:32.329
of people that when you put a record in, you

00:42:32.329 --> 00:42:34.170
want to kind of go on a journey. And that's kind

00:42:34.170 --> 00:42:36.869
of how we've always felt. Now, obviously, with

00:42:36.869 --> 00:42:38.949
the way that we're putting out songs now, it's

00:42:38.949 --> 00:42:41.389
not quite the same. But ultimately, if we do

00:42:41.389 --> 00:42:44.119
put together a record. Then we're going to sit

00:42:44.119 --> 00:42:46.739
down and make a set list. So if somebody does

00:42:46.739 --> 00:42:48.860
want to listen from top to bottom, it does take

00:42:48.860 --> 00:42:50.699
them. We don't want them to hear all the upbeat

00:42:50.699 --> 00:42:52.360
songs at the beginning of the record and then

00:42:52.360 --> 00:42:54.420
everything. So, you know, so we will do that.

00:42:54.460 --> 00:42:55.960
So a lot of times that's what happened. And that's

00:42:55.960 --> 00:42:58.380
what happened with that song is that most of

00:42:58.380 --> 00:42:59.880
the time it was because that space was already

00:42:59.880 --> 00:43:02.199
occupied. Well, I'm just going to throw this

00:43:02.199 --> 00:43:05.090
out into the universe. You're doing this exercise

00:43:05.090 --> 00:43:07.869
with me here tonight. Maybe we get the whole

00:43:07.869 --> 00:43:09.710
band to come on when you're about to release

00:43:09.710 --> 00:43:12.590
this album and we sit there and sequence it together

00:43:12.590 --> 00:43:15.349
because you've got all this experience now. Yeah,

00:43:16.769 --> 00:43:20.610
that's a thought. So what are you going to follow

00:43:20.610 --> 00:43:23.289
up Little Black Heart with? All right, Little

00:43:23.289 --> 00:43:28.170
Black Heart. I think I'm going to go to. Oh,

00:43:28.329 --> 00:43:31.420
I know what I'll put on there. And forgive me

00:43:31.420 --> 00:43:33.280
for putting my songs, but they're the ones, you

00:43:33.280 --> 00:43:34.860
know, you're talking about me making the playlist.

00:43:35.019 --> 00:43:37.320
So some of them are going to be my songs. This

00:43:37.320 --> 00:43:40.159
is a song that the guys, we played this every

00:43:40.159 --> 00:43:43.440
night for, I don't know how many years. And I

00:43:43.440 --> 00:43:44.719
finally got to the point where I was like, hey

00:43:44.719 --> 00:43:46.340
guys, I don't want to play that song tonight.

00:43:46.579 --> 00:43:48.920
And it got pushed off the set list. And now it

00:43:48.920 --> 00:43:51.380
fights its way back on every once in a while.

00:43:51.420 --> 00:43:53.960
But this is a song off of Fortress. And it's

00:43:53.960 --> 00:43:55.739
a song that I wrote called Strange Cup of Tea.

00:43:56.300 --> 00:43:58.539
Why did you not want to play it? It's a great

00:43:58.539 --> 00:44:02.340
tune. We did it literally every night. And granted,

00:44:02.440 --> 00:44:04.860
a lot of it was because I wanted to play it every

00:44:04.860 --> 00:44:07.000
night. But then it got to a thing where we just

00:44:07.000 --> 00:44:09.079
did it every night. And when we were touring

00:44:09.079 --> 00:44:12.099
a lot, I would literally find myself halfway

00:44:12.099 --> 00:44:13.900
through the song going, did I already sing this

00:44:13.900 --> 00:44:18.099
verse? I needed to freshen things up. I just

00:44:18.099 --> 00:44:20.519
needed to freshen things up. And I'm not kidding.

00:44:20.679 --> 00:44:22.639
I would be like, man, I think I just sang this.

00:44:22.679 --> 00:44:26.239
Am I singing the wrong verse? So yeah, so that's

00:44:26.239 --> 00:44:29.039
what happened with that. Has that mindset changed

00:44:29.039 --> 00:44:31.519
on the song? Yes, yes. We play it occasionally

00:44:31.519 --> 00:44:34.360
now. But again, we've got a catalog of so many

00:44:34.360 --> 00:44:37.099
songs. Sometimes it finds its way on, sometimes

00:44:37.099 --> 00:44:39.900
not. Well, following that up, I'm going to slow

00:44:39.900 --> 00:44:42.679
things down a lot here. And I am going to go

00:44:42.679 --> 00:44:45.420
back one more time to your co -writing with Stan

00:44:45.420 --> 00:44:50.079
Lynch. And in 2006, the band released arguably

00:44:50.079 --> 00:44:52.760
what I think is one of the band's most beautiful

00:44:52.760 --> 00:44:56.880
ballads, This Kind of Love. It's just an absolutely

00:44:56.880 --> 00:45:00.619
gorgeous song that makes the hairs on my arm

00:45:00.619 --> 00:45:03.139
stand up when I listen to it. Now, there's a

00:45:03.139 --> 00:45:05.760
full band version of the song that was released

00:45:05.760 --> 00:45:09.500
as a standalone single. And then you've got the

00:45:09.500 --> 00:45:13.679
quieter piano laid back stripped version on Absolutely.

00:45:14.380 --> 00:45:17.280
My question to you is, as the writer of that

00:45:17.280 --> 00:45:21.019
song with Stan Lynch, is there a version that

00:45:21.019 --> 00:45:23.800
you prefer? Because that's the version I will

00:45:23.800 --> 00:45:26.760
include. on this mixtape because I think they're

00:45:26.760 --> 00:45:30.460
both amazing. I can go with either one. So here's

00:45:30.460 --> 00:45:33.699
what I would tell you. If you can find a live

00:45:33.699 --> 00:45:38.260
version later, when Dave Legrand became a member

00:45:38.260 --> 00:45:40.719
of the band for, you know, I don't know if you

00:45:40.719 --> 00:45:43.199
know of Dave, but Dave was in the band for about,

00:45:43.280 --> 00:45:45.400
actually, you know what? He was never really

00:45:45.400 --> 00:45:48.340
in the band. Although he was, he just never really

00:45:48.340 --> 00:45:50.119
wanted to claim that. Not that he didn't want

00:45:50.119 --> 00:45:51.679
to. He just never claimed that he was, you know,

00:45:51.679 --> 00:45:54.320
he's always the side guy. But anyway, you find

00:45:54.320 --> 00:45:57.000
a live version of this kind of love with Dave

00:45:57.000 --> 00:45:59.920
LeGrand playing the saxophone. That's the version

00:45:59.920 --> 00:46:03.239
that I would put in the mixtape. I prefer the

00:46:03.239 --> 00:46:05.019
broken down version. Every time that we tried

00:46:05.019 --> 00:46:06.980
to go full band with it, we couldn't get out

00:46:06.980 --> 00:46:11.380
of the 80s rock ballad land. And so. The acoustic

00:46:11.380 --> 00:46:14.059
piano version is always my favorite, but the

00:46:14.059 --> 00:46:16.900
versions with Dave playing the saxophone are

00:46:16.900 --> 00:46:19.650
my favorite by far. Okay, so what I'll do is

00:46:19.650 --> 00:46:22.469
I'll put the piano version on the mixtape, and

00:46:22.469 --> 00:46:24.710
then I will find that live version somewhere

00:46:24.710 --> 00:46:27.690
on this internet and embed it on the episode

00:46:27.690 --> 00:46:29.789
page. I guarantee you that it is out there, because

00:46:29.789 --> 00:46:32.369
that was, when Dave would come out with the sax

00:46:32.369 --> 00:46:35.449
solo, it was, honestly, it was a moment of our

00:46:35.449 --> 00:46:37.949
live show. He would come out, and the crowd loved

00:46:37.949 --> 00:46:40.070
the sax. And I kind of was always like, wait

00:46:40.070 --> 00:46:42.489
a minute, it's my song. I wrote this just because

00:46:42.489 --> 00:46:45.070
he's playing a saxophone. No, it was cool. It

00:46:45.070 --> 00:46:47.010
was always good. All right, so I'll follow with

00:46:47.010 --> 00:46:50.559
this kind of love. Yeah. Okay. All right. So

00:46:50.559 --> 00:46:55.219
I'm going to go to, you know what? I'm going

00:46:55.219 --> 00:46:58.219
to put coconut trees on the mixtape. All right.

00:46:58.760 --> 00:47:02.159
Little lighthearted, feels good, steel drums,

00:47:02.320 --> 00:47:04.820
a little diversion from Sister Hazel's normal

00:47:04.820 --> 00:47:07.599
kind of stuff. I like that. Throw that in there.

00:47:07.739 --> 00:47:10.380
Yeah. And it comes out of the really slow moment

00:47:10.380 --> 00:47:12.599
of this kind of love. Then you get people up

00:47:12.599 --> 00:47:15.039
and you get that kind of groove going. Yeah.

00:47:15.559 --> 00:47:17.219
Well, I think I know what I'm going to follow

00:47:17.219 --> 00:47:19.719
that up with then. All right. And I'm going to

00:47:19.719 --> 00:47:24.239
go back to 2018's Water as well as 2020's Elements.

00:47:24.440 --> 00:47:26.619
And I'm going to go with a track that was written

00:47:26.619 --> 00:47:30.340
by you, Ken, and Michael Logan. And the track

00:47:30.340 --> 00:47:35.579
is Roll On By. When I first heard this song,

00:47:35.800 --> 00:47:38.820
the first thing I turned to my wife and said

00:47:38.820 --> 00:47:42.940
is, this is why I love this band. The vocal harmonies

00:47:42.940 --> 00:47:47.409
in this song. are absolutely frigging perfect.

00:47:47.769 --> 00:47:50.650
So much fun. Now, I'm going to ask a question

00:47:50.650 --> 00:47:54.190
here, and I hate being this guy, so I sincerely

00:47:54.190 --> 00:47:58.010
apologize for this. And please, tell me to take

00:47:58.010 --> 00:48:00.889
a long walk off a short pier if I mess this up.

00:48:01.030 --> 00:48:03.429
But look, the band has covered the Eagles in

00:48:03.429 --> 00:48:07.230
the past with peaceful, easy feeling. I've always

00:48:07.230 --> 00:48:11.269
felt like Roll On By was Sister Hazel's hat tip

00:48:11.269 --> 00:48:15.210
to the Eagles. Oh, absolutely. So I'm not wrong

00:48:15.210 --> 00:48:17.409
with this. No, you are not wrong with that. In

00:48:17.409 --> 00:48:21.429
fact, as we were playing the chorus to that song,

00:48:21.690 --> 00:48:25.969
and I was proud of the fact that it felt so Eagles

00:48:25.969 --> 00:48:28.550
-y. I was like, yes, that's exactly how I want

00:48:28.550 --> 00:48:33.309
this to sound. So yeah, 100%, huge influence.

00:48:34.300 --> 00:48:37.280
So yes, I'm proud to say, in fact, I wish it

00:48:37.280 --> 00:48:39.300
was even close. I wish they would even call me

00:48:39.300 --> 00:48:40.760
and go, Hey, we're going to sue you. Cause that

00:48:40.760 --> 00:48:44.539
sounds too much like us. I'm like, awesome. Wait,

00:48:45.440 --> 00:48:47.500
so we get to be in court together. So when you

00:48:47.500 --> 00:48:50.059
sign, when you sign these documents to get me,

00:48:50.079 --> 00:48:53.420
I could get a copy is like an autograph. That's

00:48:53.420 --> 00:48:56.480
awesome. All right. Well, we've got three songs

00:48:56.480 --> 00:49:00.000
left for side B two of which are yours. So what

00:49:00.000 --> 00:49:03.989
are you going to follow roll on by with? You

00:49:03.989 --> 00:49:10.389
know, man, I want to go with. I want to go with

00:49:10.389 --> 00:49:14.329
something a little harder. A little more rocking.

00:49:15.170 --> 00:49:19.630
I'm going to go with shame. Nice. Yeah, I'm going

00:49:19.630 --> 00:49:22.150
to go with shame. We have had a ton of fun playing

00:49:22.150 --> 00:49:26.250
that song live for a long time. And that's one

00:49:26.250 --> 00:49:28.250
of those rockers. And I just I love the groove

00:49:28.250 --> 00:49:32.429
to that song. And I think that as we're winding

00:49:32.429 --> 00:49:36.329
up. here on side b we'll hit that and then we

00:49:36.329 --> 00:49:38.489
got two more to close out so so where are you

00:49:38.489 --> 00:49:40.889
gonna hit we got shame which is a rocker and

00:49:40.889 --> 00:49:43.150
you're gonna come behind that with first i want

00:49:43.150 --> 00:49:45.510
to just say you totally scooped me on shame i

00:49:45.510 --> 00:49:48.050
had it in my bank of songs people that listen

00:49:48.050 --> 00:49:50.250
to this show often know i'm a sucker for album

00:49:50.250 --> 00:49:53.230
opening tracks and that one just hits the nail

00:49:53.230 --> 00:49:55.690
right on the head i love it absolutely i i totally

00:49:55.690 --> 00:49:58.389
agree but i think to follow it up i'm gonna go

00:49:58.389 --> 00:50:01.610
with a song that Well, we've talked about pretty

00:50:01.610 --> 00:50:04.110
much every single Sister Hazel album, except

00:50:04.110 --> 00:50:05.949
for one, if I'm looking at my notes correctly.

00:50:06.369 --> 00:50:11.269
And that is Chasing Daylight. Now, as much as

00:50:11.269 --> 00:50:13.289
I'm a sucker for album openers, we've used a

00:50:13.289 --> 00:50:16.530
few tonight. And I love the song Your Mistake,

00:50:16.530 --> 00:50:19.190
which Patreon mixtaper David Owens chimed in

00:50:19.190 --> 00:50:22.659
with saying that's the song he. immediately goes

00:50:22.659 --> 00:50:26.159
to because he spun that cd quite often on his

00:50:26.159 --> 00:50:28.980
bus trips home during college but we've used

00:50:28.980 --> 00:50:31.880
a couple of album openers tonight so while i

00:50:31.880 --> 00:50:33.559
love the pick david i think i'm going to go with

00:50:33.559 --> 00:50:35.519
something a little bit different and i think

00:50:35.519 --> 00:50:40.360
coming out of shame this is a song that the band

00:50:40.360 --> 00:50:44.000
has tend to lean towards in the latter half of

00:50:44.000 --> 00:50:46.880
the set list Although there's been a couple of

00:50:46.880 --> 00:50:49.219
times I've seen it pop up early, so I might be

00:50:49.219 --> 00:50:51.940
off here. But regardless of setlist placement,

00:50:52.300 --> 00:50:54.940
it's an infectious sing -along that gets people

00:50:54.940 --> 00:50:57.539
up and moving no matter when it's played. So

00:50:57.539 --> 00:51:01.219
I am going to go with Swan Dive to follow up

00:51:01.219 --> 00:51:04.840
Shame. And my only question for you is, how the

00:51:04.840 --> 00:51:07.460
hell was this not a single? This song is so amazing.

00:51:07.820 --> 00:51:10.619
And people, that's one of those songs, if we

00:51:10.619 --> 00:51:12.940
don't play that song, we hear about it. And that's

00:51:12.940 --> 00:51:15.900
what gets hard, man. I'm so thankful that we

00:51:15.900 --> 00:51:18.000
have such loyal fans, but you have people that

00:51:18.000 --> 00:51:20.579
are like, in fact, Ken and I just did an acoustic

00:51:20.579 --> 00:51:24.920
show last night and I didn't play This Kind of

00:51:24.920 --> 00:51:30.659
Love and we didn't play Champagne High. And literally

00:51:30.659 --> 00:51:33.699
some people were pretty upset enough so that

00:51:33.699 --> 00:51:36.179
they came up and we went, okay, wait, wait. And

00:51:36.179 --> 00:51:38.559
we made them turn the PA back on and we played

00:51:38.559 --> 00:51:40.980
both those songs because we were like, you're

00:51:40.980 --> 00:51:42.820
right. We can't leave here without playing those

00:51:42.820 --> 00:51:46.780
songs. Yeah, that's a good one. So I'm thankful

00:51:46.780 --> 00:51:48.380
for that song. It's a lot of fun. Okay, I'm going

00:51:48.380 --> 00:51:51.760
to throw you a total curveball for the last song

00:51:51.760 --> 00:51:55.159
on side B. All right, I'm all here for it. Because

00:51:55.159 --> 00:51:59.099
I think that a lot of people would want to stay

00:51:59.099 --> 00:52:02.340
up for the last song. I'm going to throw you

00:52:02.340 --> 00:52:04.519
a song that I wrote with, I remember I mentioned

00:52:04.519 --> 00:52:07.420
Jack Sizemore and Britton Cameron. I wrote this

00:52:07.420 --> 00:52:10.739
song with Britton Cameron. And this is a, another

00:52:10.739 --> 00:52:14.019
song off of, and this is funny that we don't

00:52:14.019 --> 00:52:15.760
play any songs off release, but this is another

00:52:15.760 --> 00:52:19.079
song off release, but I'm going to go with one

00:52:19.079 --> 00:52:24.320
life off of release. And if you, and for anybody

00:52:24.320 --> 00:52:26.480
that's familiar with that song, they know that

00:52:26.480 --> 00:52:29.059
the end of the song, it really kind of tails

00:52:29.059 --> 00:52:32.920
off. So to finish our playlist, our mixtape,

00:52:33.039 --> 00:52:35.199
it'll be something that just kind of takes you

00:52:35.199 --> 00:52:38.539
off into the sunset. Well, if you haven't figured

00:52:38.539 --> 00:52:40.659
it out, release is one of my favorite albums

00:52:40.659 --> 00:52:43.059
from the band. And like I said, I've been, I've

00:52:43.059 --> 00:52:45.820
been pushing for maybe this is the, the jumping

00:52:45.820 --> 00:52:48.199
off point that release starts seeing more love

00:52:48.199 --> 00:52:50.559
in the set list because we've made a good case

00:52:50.559 --> 00:52:53.480
for it. It could be. Cause as I'm looking through

00:52:53.480 --> 00:52:55.239
it, I'm going, why don't we play that? Like we

00:52:55.239 --> 00:52:57.119
need to play that again. Like we did. There's

00:52:57.119 --> 00:52:59.139
so many songs on here that we need to be playing.

00:52:59.199 --> 00:53:02.099
So yeah, that could definitely happen. Well,

00:53:02.119 --> 00:53:04.679
there you have it, folks. Side B of our ultimate

00:53:04.679 --> 00:53:07.099
Sister Hazel playlist, which kicked off with

00:53:07.099 --> 00:53:09.900
Your Winter from the 10 Things I Hate About You

00:53:09.900 --> 00:53:12.920
soundtrack, as well as Fortress. A back -to -back

00:53:12.920 --> 00:53:15.820
from BAM Volume 1 of Can't Get You Off My Mind

00:53:15.820 --> 00:53:18.780
and Little Black Heart. Strange Cup of Tea from

00:53:18.780 --> 00:53:21.539
Fortress. This Kind of Love from Absolutely.

00:53:22.219 --> 00:53:25.849
The new single Coconut Trees. Roll On By from

00:53:25.849 --> 00:53:29.130
Water as well as Elements, Shame from Absolutely,

00:53:29.630 --> 00:53:32.989
Swan Dive from Chasing Daylight, and One Life

00:53:32.989 --> 00:53:36.809
from Release. Head over to myweeklymixtape .com

00:53:36.809 --> 00:53:38.929
to hear all the songs we've discussed in this

00:53:38.929 --> 00:53:42.269
mix through the playlist embedded on the episode

00:53:42.269 --> 00:53:45.429
page. Now, Drew, what can the Hazelnuts look

00:53:45.429 --> 00:53:50.630
forward to throughout the rest of 2024 from the

00:53:50.630 --> 00:53:53.179
band? Well, we're going to continue to put out

00:53:53.179 --> 00:53:55.440
songs. We've already got Love You More. We're

00:53:55.440 --> 00:53:58.940
going to follow that up and continue to introduce

00:53:58.940 --> 00:54:01.099
that to our fans. And we already have another

00:54:01.099 --> 00:54:03.500
one loaded, locked and loaded, ready to go. So

00:54:03.500 --> 00:54:05.960
there'll be another song following that up and

00:54:05.960 --> 00:54:08.840
hopefully several more throughout the year as

00:54:08.840 --> 00:54:11.579
we continue to put these songs out. Well, Drew,

00:54:11.739 --> 00:54:15.000
this has been an absolute honor. Thank you so

00:54:15.000 --> 00:54:18.059
much for joining me on My Weekly Mixtape. Absolutely,

00:54:18.260 --> 00:54:19.960
man. Thank you so much. I appreciate your time.

00:54:20.429 --> 00:54:22.809
And remember, Mixtapers, you can find My Weekly

00:54:22.809 --> 00:54:25.110
Mixtape on almost all the social media haunts

00:54:25.110 --> 00:54:29.070
at My Weekly Mixtape. You can also head to MyWeeklyMixtape

00:54:29.070 --> 00:54:32.010
.com to check out the full catalog of My Weekly

00:54:32.010 --> 00:54:34.289
Mixtape episodes. And if you like what you're

00:54:34.289 --> 00:54:36.050
hearing on the show, you can help me out by either

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telling a friend, leaving the show a five -star

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00:54:44.210 --> 00:54:47.289
My Weekly Mixtape. That's all for this week.

00:54:47.329 --> 00:54:49.150
Thanks again for listening. And until next time.

00:54:49.550 --> 00:54:50.369
Enjoy the tunes.