WEBVTT 00:00:00.000 --> 00:00:01.620 Hey, this is Uncle Cracker, and you're listening 00:00:01.620 --> 00:00:04.559 to My Weekly Mixtape with Brian Colburn. Make 00:00:04.559 --> 00:00:06.459 sure you keep it out. I had a blast talking to 00:00:06.459 --> 00:00:20.379 you. Welcome to My Weekly Mixtape, a podcast 00:00:20.379 --> 00:00:23.559 that takes the classic mixtape approach to building 00:00:23.559 --> 00:00:26.300 a modern playlist. I'm your host, Brian Colburn. 00:00:26.699 --> 00:00:28.879 Tonight, I'm thankful to be joined by Matthew 00:00:28.879 --> 00:00:31.960 Schaefer, otherwise known the world over as Uncle 00:00:31.960 --> 00:00:34.399 Cracker. Thank you so much for joining me on 00:00:34.399 --> 00:00:36.780 My Weekly Mixtape. Thanks for having me, man. 00:00:36.799 --> 00:00:39.560 I appreciate it. Well, considering your tenure 00:00:39.560 --> 00:00:42.840 as a DJ in Kid Rock's Twisted Brown Trucker, 00:00:42.880 --> 00:00:46.100 I'm extremely interested to hear how you answer 00:00:46.100 --> 00:00:49.280 my first -time guest question, which is, what 00:00:49.280 --> 00:00:55.500 does the word mixtape mean to you? Oh, man. Mixtape, 00:00:55.600 --> 00:00:57.880 what does it mean to me? Probably different than 00:00:57.880 --> 00:00:59.780 what it means to other people, I guess, maybe. 00:01:00.079 --> 00:01:02.340 Well, when I was a kid, mixtapes were everything. 00:01:02.880 --> 00:01:05.099 That was what I was listening to. It was a mix 00:01:05.099 --> 00:01:08.480 of everything. It was what I put in my car. That's 00:01:08.480 --> 00:01:11.739 what a mixtape was for me. Well, as I mentioned, 00:01:11.819 --> 00:01:15.560 you started your career off as a DJ for Kid Rock's 00:01:15.560 --> 00:01:18.140 Twisted Brown Trucker. Can you talk about how 00:01:18.140 --> 00:01:20.760 that experience helped, for lack of a better 00:01:20.760 --> 00:01:24.109 word, prepare you for what you would eventually 00:01:24.109 --> 00:01:28.170 do as a solo artist? Well, yeah, I can talk on 00:01:28.170 --> 00:01:30.549 it. I just should have paid more attention to 00:01:30.549 --> 00:01:33.230 what was going on around me while I was DJing 00:01:33.230 --> 00:01:35.069 for Kid Rock. I guess I should have paid more 00:01:35.069 --> 00:01:37.230 attention to what he was doing so that I would 00:01:37.230 --> 00:01:41.290 have been better prepared for my solo record. 00:01:41.730 --> 00:01:44.530 But man, there was so much going on during that 00:01:44.530 --> 00:01:47.010 time. The early Kid Rock days were just complete 00:01:47.010 --> 00:01:50.409 mayhem. It was non -stop. It was cheap, and it 00:01:50.409 --> 00:01:52.629 was a lot of everything. There was a lot of nights 00:01:52.629 --> 00:01:54.409 I didn't know what the fuck we were doing out 00:01:54.409 --> 00:01:56.109 there, but there were a lot of nights where it 00:01:56.109 --> 00:01:58.209 finally made sense. You know, there was a lot 00:01:58.209 --> 00:02:01.290 of aha moments, but still a lot of WTS moments, 00:02:01.390 --> 00:02:04.549 you know? But I guess the one thing it did do, 00:02:04.569 --> 00:02:07.250 it did prepare me. It thickens your skin, you 00:02:07.250 --> 00:02:09.569 know? A lot of the business stuff, I watched 00:02:09.569 --> 00:02:11.930 a lot of things get thrown at him. It was nice 00:02:11.930 --> 00:02:14.270 to be able to, when you smelled it coming your 00:02:14.270 --> 00:02:16.889 way, you could duck a little quicker than if 00:02:16.889 --> 00:02:19.620 you hadn't seen it happen before, you know? But 00:02:19.620 --> 00:02:22.259 that, and then just on a nightly basis, you know, 00:02:22.280 --> 00:02:24.680 we were playing six and seven nights a week for 00:02:24.680 --> 00:02:26.580 a really, really long time. I don't know how 00:02:26.580 --> 00:02:28.879 Kid Rock kept his voice up, to be honest. Six 00:02:28.879 --> 00:02:30.939 and seven nights, I mean, we were all shit bars 00:02:30.939 --> 00:02:34.000 for no dough. That was a learning thing in itself, 00:02:34.180 --> 00:02:36.280 you know. I wouldn't trade it for the world, 00:02:36.319 --> 00:02:38.860 to be honest, but I learned a ton in a really 00:02:38.860 --> 00:02:41.740 short time. You know, we had basically just been 00:02:41.740 --> 00:02:44.219 touring like the Midwest, you know. We were a 00:02:44.219 --> 00:02:47.080 Detroit act and we would play, you know, we would 00:02:47.080 --> 00:02:49.699 hit Chicago. We would hit Cleveland. We would 00:02:49.699 --> 00:02:52.240 hit whatever we could get to cheaply because 00:02:52.240 --> 00:02:55.560 it still had to be cost effective. Nobody was 00:02:55.560 --> 00:02:57.620 trying to incur any expense at all back then. 00:02:57.680 --> 00:02:59.840 But, you know, while we would hit our pockets, 00:02:59.900 --> 00:03:02.479 our Midwest pockets, it wasn't until that Devil 00:03:02.479 --> 00:03:04.759 Without a Cause album draft that we went on tour 00:03:04.759 --> 00:03:08.180 and didn't come home for three years. It was 00:03:08.180 --> 00:03:11.830 a big step into a really unknown territory. And 00:03:11.830 --> 00:03:20.449 we were all so young. Now you co -wrote a majority 00:03:20.449 --> 00:03:23.050 of the songs on Devil Without a Cause, including 00:03:23.050 --> 00:03:26.110 the hit Only God Knows Why, which I want to focus 00:03:26.110 --> 00:03:27.969 on for a second because that song came out in 00:03:27.969 --> 00:03:32.189 1998, which was the same year as Cher's Believe. 00:03:32.389 --> 00:03:34.430 Now, obviously, we're talking two different genres 00:03:34.430 --> 00:03:37.210 here, but both of these songs were some of the 00:03:37.210 --> 00:03:40.889 first hit songs that I personally remember. using 00:03:40.889 --> 00:03:44.610 auto -tune as a vocal tool in the studio. Now, 00:03:44.610 --> 00:03:47.770 fast forward to 2023, I get surprised when I 00:03:47.770 --> 00:03:50.930 hear a song that doesn't adopt auto -tune in 00:03:50.930 --> 00:03:53.810 it. Were you in the studio sessions for the recording 00:03:53.810 --> 00:03:55.870 of that song? And if so, can you shed some light 00:03:55.870 --> 00:03:59.210 as to how that effect got introduced into the 00:03:59.210 --> 00:04:01.550 song? Because that was breaking new ground at 00:04:01.550 --> 00:04:04.569 the time. Yeah, I mean, the auto -tune thing 00:04:04.569 --> 00:04:08.560 was very new at the time. In fact, Bumpy was 00:04:08.560 --> 00:04:11.099 in the studio. He was the only cat we knew how 00:04:11.099 --> 00:04:14.180 to use that auto -tune thing. Like, shoot, I 00:04:14.180 --> 00:04:18.199 remember absolutely loving that song. And I remember 00:04:18.199 --> 00:04:20.300 Bob wasn't really that comfortable with the song. 00:04:20.339 --> 00:04:22.339 It just wasn't his key. And he was like, ah, 00:04:22.399 --> 00:04:24.639 we can't really mess with that one. Because it 00:04:24.639 --> 00:04:26.279 wasn't his key, it was just like he wasn't going 00:04:26.279 --> 00:04:28.600 to turn that song in either. The song wouldn't 00:04:28.600 --> 00:04:30.480 have been on the record. But I remember we were 00:04:30.480 --> 00:04:32.560 in a studio. We were mixing the album at the 00:04:32.560 --> 00:04:36.459 time. And I remember it was... Stephen Jenkins 00:04:36.459 --> 00:04:38.879 from Third Eye Blind was in the other room, and 00:04:38.879 --> 00:04:40.779 he had mentioned something about the autotune 00:04:40.779 --> 00:04:42.300 thing, and then Blumping was like, yeah, man, 00:04:42.319 --> 00:04:44.920 let's just try this thing. I just remember once 00:04:44.920 --> 00:04:47.339 Bob heard that you could make it sound like a 00:04:47.339 --> 00:04:50.360 vocoder, he was like, let's do that. Because 00:04:50.360 --> 00:04:52.579 it wasn't anything different than records we 00:04:52.579 --> 00:04:55.480 listened to, it was glorious. I just remember 00:04:55.480 --> 00:04:58.540 it was used, and he just slammed it even harder, 00:04:58.620 --> 00:05:00.300 and he was like, just do it. It'll sound like 00:05:00.300 --> 00:05:03.120 zap. It was fun sounding at that point to him 00:05:03.120 --> 00:05:05.160 at that point. It was about trying to make his 00:05:05.160 --> 00:05:08.600 voice in tune or in key, right? He knew he wasn't 00:05:08.600 --> 00:05:12.800 in tune or in key. But once you figure out what 00:05:12.800 --> 00:05:15.180 you could do with that, you just slam it. Like, 00:05:15.199 --> 00:05:17.899 let's make it sound cool. That's kind of how 00:05:17.899 --> 00:05:20.899 that thing happened. So now I want to fast forward 00:05:20.899 --> 00:05:27.100 to July 24th, 1999. 1 .15 in the afternoon. Kid 00:05:27.100 --> 00:05:29.779 Rock and Twisted Brown Trucker take to the stage 00:05:29.779 --> 00:05:34.160 at a still functioning Woodstock 99. And what 00:05:34.160 --> 00:05:37.040 I feel is one of the most memorable performances 00:05:37.040 --> 00:05:40.699 from that weekend, because that was a show for 00:05:40.699 --> 00:05:44.019 what I felt like was a defining moment for Kid 00:05:44.019 --> 00:05:46.279 Rock and Twisted Brown Trucker. 1 .15 in the 00:05:46.279 --> 00:05:48.560 afternoon, the day was just getting started. 00:05:48.560 --> 00:05:52.050 And to me. Between the opening with the bar with 00:05:52.050 --> 00:05:54.189 you hyping the crowd up and the pits are going 00:05:54.189 --> 00:05:57.069 insane and he's coming out wearing a full fur 00:05:57.069 --> 00:06:00.689 coat in 110 degree weather with no clouds and 00:06:00.689 --> 00:06:03.709 sunshine just battering down on the band. And 00:06:03.709 --> 00:06:05.709 then he had the water bottles being thrown up 00:06:05.709 --> 00:06:09.329 on stage. To me, this really helped propel the 00:06:09.329 --> 00:06:11.970 entire group into kind of the mainstream. And 00:06:11.970 --> 00:06:14.470 I would love to know what that experience was 00:06:14.470 --> 00:06:16.529 like for you and the rest of the band that day. 00:06:17.529 --> 00:06:20.529 That experience was, it was nuts. It was absolutely 00:06:20.529 --> 00:06:23.629 nuts. It was another one of those WTF moments. 00:06:23.850 --> 00:06:26.430 We had just come back from Europe before we got 00:06:26.430 --> 00:06:28.850 to that Woodstock show. And it was just nuts. 00:06:29.009 --> 00:06:31.509 I mean, we're just seeing people back, like Wyclef 00:06:31.509 --> 00:06:34.490 Johns in the back, P. Diddy's in the back. And 00:06:34.490 --> 00:06:36.689 like you said, it was 1 .15 in the afternoon. 00:06:36.810 --> 00:06:39.490 It was absolutely bonkers. It was just something 00:06:39.490 --> 00:06:43.029 in the air that afternoon too. It was very, it 00:06:43.029 --> 00:06:47.180 was nuts. And the water bottle thing you're talking 00:06:47.180 --> 00:06:48.699 about, I don't know when he told everybody to 00:06:48.699 --> 00:06:50.319 do that. I just remember in my head thinking, 00:06:50.500 --> 00:06:54.660 let's do that, man. It just seemed so dangerous 00:06:54.660 --> 00:06:57.120 at the time. People were throwing shit all over 00:06:57.120 --> 00:07:01.060 the place. It was bananas, though. It was bananas. 00:07:01.399 --> 00:07:04.279 And you're right. There was something about that 00:07:04.279 --> 00:07:08.680 show that was just monstrous. It was huge. I 00:07:08.680 --> 00:07:11.199 don't think we've ever played one bigger or felt 00:07:11.199 --> 00:07:14.519 that big. Yeah, that, I mean, just the video 00:07:14.519 --> 00:07:18.459 alone was just insanity to watch. It was. Now, 00:07:18.459 --> 00:07:21.779 coming out of that, you transitioned from DJing 00:07:21.779 --> 00:07:24.720 and writing songs on Devil Without a Cause to 00:07:24.720 --> 00:07:27.680 being front and center on your own original music 00:07:27.680 --> 00:07:30.819 on 2000's Double Wide, which included the hit 00:07:30.819 --> 00:07:32.879 singles Yeah, Yeah, Yeah, which was the first 00:07:32.879 --> 00:07:35.819 solo song of yours that I ever heard, followed 00:07:35.819 --> 00:07:38.699 up by the massive hit Follow Me. Can you talk 00:07:38.699 --> 00:07:40.800 about what that transition was like for you, 00:07:40.839 --> 00:07:43.800 going from being in the DJ role to being front 00:07:43.800 --> 00:07:47.319 and center? It was bizarre because I was so comfortable 00:07:47.319 --> 00:07:50.540 DJing. I was so comfortable in the back. I loved 00:07:50.540 --> 00:07:53.959 the back. There was no pressure. There's no pressure 00:07:53.959 --> 00:07:57.000 in the back. You don't have to address anybody. 00:07:57.319 --> 00:07:58.879 You don't have to greet anybody. You don't have 00:07:58.879 --> 00:08:00.899 to talk. You don't have to do nothing back there. 00:08:01.160 --> 00:08:04.560 It's all on his shoulders. That's why I was saying 00:08:04.560 --> 00:08:07.579 earlier, I should have paid more attention. Just 00:08:07.579 --> 00:08:10.459 because the transition into a frontman, it didn't 00:08:10.459 --> 00:08:14.910 happen for me. I'm not a big talker. We've probably 00:08:14.910 --> 00:08:17.810 guessed that in about a minute now. It's not 00:08:17.810 --> 00:08:20.769 a big talker. So it wasn't an easy transition 00:08:20.769 --> 00:08:23.170 for me to go from the back to the front, but 00:08:23.170 --> 00:08:25.350 I didn't have any choice either. Yeah. I mean, 00:08:25.350 --> 00:08:28.209 look, the songs were hitting and in 2002, it 00:08:28.209 --> 00:08:30.509 got even bigger for you with your album. No stranger 00:08:30.509 --> 00:08:33.970 to shame. Your cover of Dobie Gray's drift away 00:08:33.970 --> 00:08:37.070 was a huge radio staple that year. Can you talk 00:08:37.070 --> 00:08:39.889 about whose idea was to cover that song and then 00:08:39.889 --> 00:08:43.190 how you got. the man himself, to come on the 00:08:43.190 --> 00:08:46.309 track with you. That's pretty incredible. So 00:08:46.309 --> 00:08:49.049 when I was promoting that album, I would go by 00:08:49.049 --> 00:08:51.830 these radio stations and do the morning drives, 00:08:52.029 --> 00:08:54.350 and you'd go in there and do acoustic songs. 00:08:54.509 --> 00:08:56.590 Well, the only song we were promoting, Follow 00:08:56.590 --> 00:09:00.570 Me, at the time, was an acoustic song, and there 00:09:00.570 --> 00:09:02.590 was nothing else really on the album that sounded 00:09:02.590 --> 00:09:05.230 like it. But we had to do three songs when we 00:09:05.230 --> 00:09:07.429 got to these radio stations. Kid Rock was the 00:09:07.429 --> 00:09:09.110 one who was like, why don't you drift away, man? 00:09:09.169 --> 00:09:11.129 And I would sit right in there. It's right in 00:09:11.129 --> 00:09:14.309 your vocal range. And we did that. And then I 00:09:14.309 --> 00:09:17.750 came to New York and did Scott Shannon's show. 00:09:17.909 --> 00:09:20.070 A New York radio legend. When I grew up, he was 00:09:20.070 --> 00:09:22.470 the Z Morning Zoo on Z100. But by that point, 00:09:22.509 --> 00:09:25.789 he was WPLJ all the way. Yep. When I got done 00:09:25.789 --> 00:09:27.870 with that, it was Scott Shannon that called the 00:09:27.870 --> 00:09:29.850 president of my label and was like, if you guys 00:09:29.850 --> 00:09:32.629 don't have Cracker to drift away for the next 00:09:32.629 --> 00:09:35.690 album, you're screwing up. So, uh, you know, 00:09:35.710 --> 00:09:37.110 and of course, you know, everybody regularly, 00:09:37.169 --> 00:09:39.110 well, Scott Shannon says, you got to do it. You 00:09:39.110 --> 00:09:41.710 got to do it. You know, and I did it. And, uh, 00:09:41.710 --> 00:09:44.850 thank God Scott Shannon is Scott Shannon. He 00:09:44.850 --> 00:09:47.110 was, uh, he was very instrumental in that song, 00:09:47.309 --> 00:09:49.769 making it to the record. And I just, you know, 00:09:49.769 --> 00:09:51.370 that was one of them things were about us. And 00:09:51.370 --> 00:09:52.950 I've been like, ah, you're done. You're not going 00:09:52.950 --> 00:09:56.809 to cover that song. But Scott Shannon said, you 00:09:56.809 --> 00:09:59.809 know, it was, uh, the Bible. Of course. Of course. 00:09:59.990 --> 00:10:03.120 Yeah. Legend, right? Always was the nicest cat 00:10:03.120 --> 00:10:05.340 coming through the vegetation. Always made sure, 00:10:05.440 --> 00:10:08.000 like, he was always very attentive. You know, 00:10:08.039 --> 00:10:10.519 he didn't just phone it in on you. He was always 00:10:10.519 --> 00:10:12.759 the cool one. Well, coming out of that, I want 00:10:12.759 --> 00:10:14.960 to talk about my favorite track from No Stranger 00:10:14.960 --> 00:10:16.679 to Shame. And it's something that you wrote with 00:10:16.679 --> 00:10:19.820 Michael Bradford and Martin Tino Gross, a song 00:10:19.820 --> 00:10:22.399 called Memphis Soul Song. It's a song that I've 00:10:22.399 --> 00:10:25.360 personally covered in my acoustic shows throughout 00:10:25.360 --> 00:10:28.179 the years. And it's one that my wife and I truly 00:10:28.179 --> 00:10:30.980 bonded on when we first started dating. So I'd 00:10:30.980 --> 00:10:33.320 love to hear the story about that tune from like 00:10:33.320 --> 00:10:37.279 a lyrical perspective. So a lot of that was Tino. 00:10:37.659 --> 00:10:41.690 Tino is the guy from Detroit. and uh known him 00:10:41.690 --> 00:10:44.110 forever he's in a band called the hollow diablos 00:10:44.110 --> 00:10:47.549 he's always had like crazy cool songs and he 00:10:47.549 --> 00:10:50.470 had this memphis soul song idea and uh he gave 00:10:50.470 --> 00:10:53.210 it to me one day and me and rapper went in the 00:10:53.210 --> 00:10:55.830 studio and just kind of riffed on it and it was 00:10:55.830 --> 00:10:58.250 kind of made to be like an ode to memphis and 00:10:58.250 --> 00:11:01.309 uh more the old stack stuff but it took a big 00:11:01.309 --> 00:11:04.509 turn in the studio it got prettier studio obviously 00:11:04.509 --> 00:11:07.669 he does you know but without tino mike rapper 00:11:07.669 --> 00:11:10.419 the song wouldn't even happen but it was uh Paying 00:11:10.419 --> 00:11:12.940 homage to stacks and though even the video and 00:11:12.940 --> 00:11:17.320 went by the stacks. Mm -hmm Great song. I love 00:11:17.320 --> 00:11:21.559 there's one of my favorite didn't work And I'd 00:11:21.559 --> 00:11:23.700 love to send you this version. We have a natural 00:11:23.700 --> 00:11:26.059 Jordan airs to my hominid We had a version of 00:11:26.059 --> 00:11:29.120 it because we had no I wanted to do a remix of 00:11:29.120 --> 00:11:31.679 it a different thing just cuz and Then we got 00:11:31.679 --> 00:11:34.580 the actual Jordan airs doing harmonies on a remix. 00:11:34.759 --> 00:11:36.960 It's so dope Man, I'm just sitting here picturing 00:11:36.960 --> 00:11:39.240 what it must sound like, and it's now officially 00:11:39.240 --> 00:11:42.419 a mission of mine to hear that version. Oh, they 00:11:42.419 --> 00:11:45.360 just pop so nice. And I tried getting the Jordan 00:11:45.360 --> 00:11:47.860 Air in that video, but it was hard. You know, 00:11:47.899 --> 00:11:51.179 one guy had a haircut appointment that he couldn't 00:11:51.179 --> 00:11:54.519 get rid of, and we were filming some of it in 00:11:54.519 --> 00:11:57.740 a bar, and it was secular. One guy, he couldn't 00:11:57.740 --> 00:12:01.519 do it. I learned a lot from them not being able 00:12:01.519 --> 00:12:06.120 to do the video. I learned a lot. Wow. Everybody's 00:12:06.120 --> 00:12:09.960 got a lot of shit at 100%. Well, the last song 00:12:09.960 --> 00:12:12.259 from no stranger that I want to touch on is one 00:12:12.259 --> 00:12:15.240 that I enjoyed when I first heard the album, 00:12:15.299 --> 00:12:17.980 but became much more profound for me over the 00:12:17.980 --> 00:12:21.000 years because my wife and I are parents to two 00:12:21.000 --> 00:12:23.519 lovely young ladies. And that would be letter 00:12:23.519 --> 00:12:26.820 to my daughters. You co -wrote this song with 00:12:26.820 --> 00:12:30.500 outlaw country icon David Allen Co. And I've 00:12:30.500 --> 00:12:33.059 spent many years trying to find out kind of the 00:12:33.059 --> 00:12:35.320 story behind how this came together. And now 00:12:35.320 --> 00:12:37.940 I finally get to ask you in person, what was 00:12:37.940 --> 00:12:39.879 David's role in that song? And how did you guys 00:12:39.879 --> 00:12:41.799 come up with that? Because that one really hits. 00:12:41.879 --> 00:12:45.679 You feel that one. You know what? One of my favorite 00:12:45.679 --> 00:12:49.519 songs years ago in the earlier Kid Rock days, 00:12:49.639 --> 00:12:53.250 somehow. Kid Rock was in an interview. I don't 00:12:53.250 --> 00:12:55.070 know if it was Rolling Stone or something like 00:12:55.070 --> 00:12:56.350 that. It might have been Rolling Stone, but he 00:12:56.350 --> 00:12:58.490 was in an interview and he was talking about 00:12:58.490 --> 00:13:00.909 David Allen Coe. But he had dropped David Allen 00:13:00.909 --> 00:13:03.350 Coe's name. Well, when we were somewhere down 00:13:03.350 --> 00:13:07.429 in Texas on tour and David Allen Coe's people 00:13:07.429 --> 00:13:10.450 had reached out. And at the time, I think David's 00:13:10.450 --> 00:13:13.970 son and him were having problems. He had a teenage 00:13:13.970 --> 00:13:16.690 son, but I guess his son had came to him with 00:13:16.690 --> 00:13:18.789 this article. Like, look, Kid Rock is talking 00:13:18.789 --> 00:13:21.690 about his article. So it really was an excuse 00:13:21.690 --> 00:13:24.549 for them to talk and get along. It was a good 00:13:24.549 --> 00:13:27.549 spot for him to be in. So he reached out to the 00:13:27.549 --> 00:13:31.149 Kid Rock thing. And then we met him down in Texas. 00:13:31.230 --> 00:13:33.389 And David and I really, really hit it off and 00:13:33.389 --> 00:13:36.909 became good buddies. And I just happened to be 00:13:36.909 --> 00:13:40.929 finishing my album when I met him. So I didn't 00:13:40.929 --> 00:13:44.149 have any room to do anything with. But we decided 00:13:44.149 --> 00:13:46.429 we would try and figure something out. And I'd 00:13:46.429 --> 00:13:48.409 love to have something. The guy is one of the 00:13:48.409 --> 00:13:51.879 greatest writers. My time, I guess, you know, 00:13:51.879 --> 00:13:54.980 would be my time. I mean, this stuff was older 00:13:54.980 --> 00:13:58.240 and, you know, legendary. But of this time, I 00:13:58.240 --> 00:14:01.419 think he's just a great writer. Regardless of 00:14:01.419 --> 00:14:04.059 the songs, you know, he's got them so well. And 00:14:04.059 --> 00:14:07.000 he and I became good boys. He kind of mentored 00:14:07.000 --> 00:14:08.960 me a little bit, you know, when my first record 00:14:08.960 --> 00:14:12.360 came out. You know, I'd be like, man, motherfuckers, 00:14:12.379 --> 00:14:14.159 they just never write nothing good. And he's 00:14:14.159 --> 00:14:15.580 like, man, you can't read better than that shit. 00:14:15.960 --> 00:14:17.639 He's like, this is what's going to happen. You're 00:14:17.639 --> 00:14:19.799 going to read something that's good. But if you're 00:14:19.799 --> 00:14:21.139 going to believe the good, you got to believe 00:14:21.139 --> 00:14:23.059 the bad. But don't fuck with none of that shit. 00:14:23.299 --> 00:14:27.539 Long time ago, about three beings and that type 00:14:27.539 --> 00:14:31.480 of stuff. Profound. Yeah. Don't believe none 00:14:31.480 --> 00:14:35.120 of that shit. Fast forward to 2004 from one country 00:14:35.120 --> 00:14:37.259 artist to another. You recorded a pair of songs 00:14:37.259 --> 00:14:40.399 with Kenny Chesney last night again from your 00:14:40.399 --> 00:14:43.720 72 Degrees and Sunny album and the hit When the 00:14:43.720 --> 00:14:46.710 Sun Goes Down, which appears on. kenny's album 00:14:46.710 --> 00:14:49.289 of the same name can you talk about the significance 00:14:49.289 --> 00:14:52.289 of those two collaborations for you as an artist 00:14:52.289 --> 00:14:54.570 because i feel like it really helped introduce 00:14:54.570 --> 00:14:57.669 you to a whole new audience in the country world 00:14:57.669 --> 00:15:00.870 that may not have heard your earlier albums because 00:15:00.870 --> 00:15:03.669 there wasn't at the time so much of a country 00:15:03.669 --> 00:15:07.970 rock pop crossover appeal as there is now totally 00:15:07.970 --> 00:15:10.830 the kenny collaboration came out of nowhere to 00:15:10.830 --> 00:15:14.039 be honest i think i was just coming off the road 00:15:14.039 --> 00:15:16.759 up there's no stranger record and uh kid rock 00:15:16.759 --> 00:15:19.220 called me he goes hey man kenny chesney called 00:15:19.220 --> 00:15:21.980 me and asked me if i thought uh you would go 00:15:21.980 --> 00:15:26.080 do uh he kenny was playing his first stadium 00:15:26.080 --> 00:15:29.639 show and it was in his hometown of oxford tennessee 00:15:29.639 --> 00:15:32.259 he was playing neyland stadium and it was you 00:15:32.259 --> 00:15:35.679 know obviously big for any artist and he he was 00:15:35.679 --> 00:15:38.159 trying to uh he was putting together just some 00:15:38.159 --> 00:15:40.740 special guests you know to add to the show or 00:15:40.740 --> 00:15:43.029 whatnot So Kid Lagos was like, I don't know, 00:15:43.110 --> 00:15:45.149 call him when I ask him. So he's like, I gave 00:15:45.149 --> 00:15:46.690 him your number. He's going to be calling about 00:15:46.690 --> 00:15:49.970 it. And I was like, I didn't know who it was, 00:15:49.970 --> 00:15:51.929 you know, at the time. I just wasn't listening 00:15:51.929 --> 00:15:54.509 to any radio, let alone, you know, country radio 00:15:54.509 --> 00:15:56.570 or anything like that. You know, we'd been on 00:15:56.570 --> 00:16:00.470 the road so long. I mean, what DRL was gospel, 00:16:00.649 --> 00:16:04.350 you know, at the time. I just wasn't in any other 00:16:04.350 --> 00:16:07.929 loop but our own bubble, right? But he called 00:16:07.929 --> 00:16:11.690 and he was really cool on the phone. And he sent 00:16:11.690 --> 00:16:15.009 a jet. So I was, of course, like, yeah, man. 00:16:15.610 --> 00:16:17.730 Why not? I do believe I can hang out with y 'all 00:16:17.730 --> 00:16:21.809 for a minute, right? I felt like Eddie Murphy 00:16:21.809 --> 00:16:26.149 in Trading Places. He sent the jet, right? Yeah. 00:16:26.450 --> 00:16:29.169 But very cool. And he and I hit it off, too. 00:16:29.330 --> 00:16:32.309 But I went and did a couple songs at New England 00:16:32.309 --> 00:16:34.649 Stadium. And then he was like, man, I got this 00:16:34.649 --> 00:16:37.350 track I think you'd be great on. And that was 00:16:37.350 --> 00:16:39.269 When the Sun Goes Down. He had to have that song. 00:16:39.950 --> 00:16:41.970 And it was funny. I was like, man, well, I'd 00:16:41.970 --> 00:16:44.549 be dope. I'm like, I'm in, you know? And then 00:16:44.549 --> 00:16:47.250 like, I remember some time went by and I hadn't 00:16:47.250 --> 00:16:49.669 heard nothing about it. Nothing from him. He 00:16:49.669 --> 00:16:52.549 had come through Detroit on tour and called me. 00:16:52.610 --> 00:16:54.850 That's when I come out and do it. But ended up 00:16:54.850 --> 00:16:57.149 doing when the sun goes down after I pestered 00:16:57.149 --> 00:16:59.450 him a little while, like, Hey man, we can do 00:16:59.450 --> 00:17:02.350 that. In my mind, I didn't have much time left 00:17:02.350 --> 00:17:04.750 before I was back on, on the road again. So I 00:17:04.750 --> 00:17:07.369 was like trying to knock out any piece I could, 00:17:07.470 --> 00:17:10.000 you know? Back then you could only do an album 00:17:10.000 --> 00:17:13.039 once every couple of years or so, you know, not 00:17:13.039 --> 00:17:15.660 like you can do today. So if any chance to get 00:17:15.660 --> 00:17:18.079 in the studio and do something new, I was all 00:17:18.079 --> 00:17:21.140 over it. Cause it didn't happen a lot. Right. 00:17:21.200 --> 00:17:22.960 Didn't have a lot. You didn't have to do a record 00:17:22.960 --> 00:17:26.539 label album cycles. So yeah, that was that. And 00:17:26.539 --> 00:17:29.299 then, uh, last night again, I was doing my third 00:17:29.299 --> 00:17:32.480 album and I was in Nashville cutting a couple 00:17:32.480 --> 00:17:34.900 of these tracks and it was funny because I didn't 00:17:34.900 --> 00:17:37.759 have that song written. And then, uh, Kenny was 00:17:37.759 --> 00:17:39.220 like, Hey man, I'm going to come by the studio. 00:17:39.319 --> 00:17:41.380 Let's do a song or whatever. And I was like, 00:17:41.420 --> 00:17:43.500 Oh, he's coming by the studio. I don't even have 00:17:43.500 --> 00:17:46.500 a song like for him to kind of, but I know he's 00:17:46.500 --> 00:17:49.160 coming by. So me and Bradford wrote that song 00:17:49.160 --> 00:17:52.599 in like 20 minutes before he got there. Wow. 00:17:52.799 --> 00:17:55.299 Yeah. I love it. It's definitely not one that 00:17:55.299 --> 00:17:57.599 people hear or have heard, you know, it's definitely 00:17:57.599 --> 00:18:01.059 not one I play at the shows or live or like that, 00:18:01.099 --> 00:18:03.599 but it's one of my favorites ever. It's a great 00:18:03.599 --> 00:18:06.619 tune. Thank you. The next album I want to focus 00:18:06.619 --> 00:18:09.519 on is, 2009's Happy Hour, which was produced 00:18:09.519 --> 00:18:12.460 by Rob Cavallo. I'd like to talk about one of 00:18:12.460 --> 00:18:14.299 my personal favorites from the album, which is 00:18:14.299 --> 00:18:16.640 a mashup song you did called Live in the Dream, 00:18:16.880 --> 00:18:19.839 which I was always shocked that it wasn't chosen 00:18:19.839 --> 00:18:22.680 as a single because a few years earlier in 2007, 00:18:23.259 --> 00:18:27.079 Kid Rock's All Summer Long became this massive 00:18:27.079 --> 00:18:30.059 summer anthem for the year with mashing up Werewolves 00:18:30.059 --> 00:18:32.759 of London, All Summer Long, and Night Moves. 00:18:32.859 --> 00:18:37.000 Can you talk about how your original song and 00:18:37.000 --> 00:18:39.980 Whitesnake's Here I Go Again came together because 00:18:39.980 --> 00:18:42.319 when I first listened to the album, I had to 00:18:42.319 --> 00:18:44.180 stop it. I'm like, oh man, this has a Here I 00:18:44.180 --> 00:18:45.819 Go Again vibe. And then in the middle of the 00:18:45.819 --> 00:18:48.380 song, when you broke out into it, I was like, 00:18:48.420 --> 00:18:50.720 whoa, this is what I'm talking about. This is 00:18:50.720 --> 00:18:53.380 amazing. And it blew my mind. It's always been 00:18:53.380 --> 00:18:56.759 one of my favorites. Well, somebody sent me that 00:18:56.759 --> 00:19:00.000 mashup. I think it was through my manager, Josh 00:19:00.000 --> 00:19:03.059 Abraham. He had written it with a couple of cats. 00:19:03.559 --> 00:19:06.539 And then it got to me and I changed some things. 00:19:06.980 --> 00:19:09.579 Oh, I remember a caballo cut in the studio. He 00:19:09.579 --> 00:19:12.980 had a ball with it. It was just a, that was up 00:19:12.980 --> 00:19:16.059 his alley. And you know what? We did think that 00:19:16.059 --> 00:19:18.539 should have been a single. We wanted it to probably 00:19:18.539 --> 00:19:21.579 be the third single. But the only problem with 00:19:21.579 --> 00:19:24.119 that was, is we needed the second single to work 00:19:24.119 --> 00:19:27.559 to get to the third thing. Right. And the second 00:19:27.559 --> 00:19:31.599 single didn't work. It was, well, I had had kid 00:19:31.599 --> 00:19:34.150 rock. I'm not single. It was a song called Good 00:19:34.150 --> 00:19:36.329 to Be Me. Yeah, we have a second thing. Well, 00:19:36.410 --> 00:19:39.589 that's a smile. Well, it was too twangy for adult 00:19:39.589 --> 00:19:42.009 contemporary stations. So they asked us to give 00:19:42.009 --> 00:19:44.210 them a mix without all the, some of the twanginess. 00:19:44.349 --> 00:19:46.430 Well, he just went in there and we kind of did 00:19:46.430 --> 00:19:48.490 like a, you know, let's get rid of some of the 00:19:48.490 --> 00:19:51.029 twangy guitars. Let's kind of dig in a little 00:19:51.029 --> 00:19:52.829 bit. Let's make it more sound like the squeeze, 00:19:52.990 --> 00:19:55.210 you know, something like that. Who I love by 00:19:55.210 --> 00:19:57.470 the way, the squeeze. I thought it was fresh, 00:19:57.569 --> 00:20:00.569 but then the kid back didn't like the remix of 00:20:00.569 --> 00:20:03.740 it. So he didn't want them. But then at radio, 00:20:03.859 --> 00:20:05.740 you know, we're having them stop playing in three 00:20:05.740 --> 00:20:07.880 minutes. And then we just looked like the two 00:20:07.880 --> 00:20:10.700 -stone top. So it just kind of fell apart on 00:20:10.700 --> 00:20:14.079 the second single. And then we didn't even talk 00:20:14.079 --> 00:20:16.359 about a third single. It was just, it was all 00:20:16.359 --> 00:20:18.819 kinds of drama. I was going to say, that's a 00:20:18.819 --> 00:20:21.059 shame because the first single, we obviously 00:20:21.059 --> 00:20:22.900 can't talk about Happy Hour without bringing 00:20:22.900 --> 00:20:26.420 up Smile, which was a crossover pop and country 00:20:26.420 --> 00:20:29.480 hit that you wrote alongside of J .T. Harding, 00:20:29.599 --> 00:20:32.710 Blair Daly, and Jeremy Bowes. Can you talk about 00:20:32.710 --> 00:20:34.549 the longevity of this track? Because, I mean, 00:20:34.569 --> 00:20:37.130 to this day, it's still used in pop culture, 00:20:37.269 --> 00:20:40.049 TV shows, commercials. I've been to weddings 00:20:40.049 --> 00:20:42.190 where I've seen mothers and sons dance to this 00:20:42.190 --> 00:20:46.369 song. It's just all -encompassing, which is nearly 00:20:46.369 --> 00:20:49.569 impossible to do in three minutes, and you accomplished 00:20:49.569 --> 00:20:53.730 it. So that song, you know, it was big at adult 00:20:53.730 --> 00:20:57.029 contemporary, and it took 10 months to run that 00:20:57.029 --> 00:20:59.170 thing off the chart, that adult contemporary. 00:21:00.430 --> 00:21:02.789 which is almost a year, obviously, but that's 00:21:02.789 --> 00:21:06.609 a long time. And then the program director at 00:21:06.609 --> 00:21:11.450 WYCD in Detroit, Tim, great guy. I had never 00:21:11.450 --> 00:21:15.109 met him prior to this, but he took it upon himself 00:21:15.109 --> 00:21:18.250 to take the adult contemporary version of the 00:21:18.250 --> 00:21:21.910 song and play it on his country station, which 00:21:21.910 --> 00:21:24.049 is the eighth largest country station in the 00:21:24.049 --> 00:21:27.279 country at the time. Well, it ran so good for 00:21:27.279 --> 00:21:29.559 him, I think it started researching, and he called 00:21:29.559 --> 00:21:31.599 the president of my label and was like, listen, 00:21:31.819 --> 00:21:34.460 I just played this, you know, on my country station 00:21:34.460 --> 00:21:37.279 at work. This thing's a monster. You guys are 00:21:37.279 --> 00:21:39.420 dumb if you don't take this to country radio. 00:21:39.660 --> 00:21:42.400 And at the time, they had signed a thing with 00:21:42.400 --> 00:21:44.259 Zac Brown at the time, and there was this whole 00:21:44.259 --> 00:21:47.380 country team, bigger picture, out of Nashville 00:21:47.380 --> 00:21:50.500 that was working the Zac Brown radio. So there 00:21:50.500 --> 00:21:53.000 was an Atlantic Records thing and a bigger picture 00:21:53.000 --> 00:21:57.289 thing. So they didn't have the resources like 00:21:57.289 --> 00:22:00.109 they did then, so they utilized it. Otherwise, 00:22:00.250 --> 00:22:01.509 everybody would have just been sitting around 00:22:01.509 --> 00:22:04.170 not doing anything. Zach, I mean, was back in 00:22:04.170 --> 00:22:06.849 the studio at the time. So yeah, they took Smile, 00:22:07.009 --> 00:22:09.250 the Red Country video, and then we got lucky 00:22:09.250 --> 00:22:12.329 with that. And like you said, just twice, you 00:22:12.329 --> 00:22:16.089 know, one at pop, one at country. Kind of sweet. 00:22:16.809 --> 00:22:19.589 And that transitioned you into your first full 00:22:19.589 --> 00:22:22.130 -length country album, which was 2012's Midnight 00:22:22.130 --> 00:22:25.250 Special, released on Sugar Hill Records. You 00:22:25.250 --> 00:22:27.609 wrote the lion's share of the music along with 00:22:27.609 --> 00:22:30.529 Smile co -writer J .T. Harding, including songs 00:22:30.529 --> 00:22:33.009 like Nobody Sad on a Saturday Night and I'll 00:22:33.009 --> 00:22:34.630 Be There. Those are two of my favorites from 00:22:34.630 --> 00:22:37.049 the album. Can you talk about what the transition 00:22:37.049 --> 00:22:39.490 was like for you to release a full -length country 00:22:39.490 --> 00:22:44.240 album versus... the multi -genre mix that you 00:22:44.240 --> 00:22:46.980 had incorporated into all of your prior releases, 00:22:47.079 --> 00:22:49.440 even going as far back as to your time with Kid 00:22:49.440 --> 00:22:53.359 Rock. It was different, but, you know, I talked 00:22:53.359 --> 00:22:56.019 a little bit about the Smile thing and then the 00:22:56.019 --> 00:22:59.200 bigger picture radio team taking it to Country 00:22:59.200 --> 00:23:02.099 Radio Nashville. Well, this is a whole different 00:23:02.099 --> 00:23:05.900 ballgame. And when Atlantic decided they were 00:23:05.900 --> 00:23:08.019 going to let me go in and cut the Country album, 00:23:08.119 --> 00:23:10.779 you know, all these... pieces to this puzzle 00:23:10.779 --> 00:23:13.599 were in place. But by the time, you know, I had 00:23:13.599 --> 00:23:16.240 finished this record, all those pieces had fallen 00:23:16.240 --> 00:23:19.859 apart. And there was no more, Atlantic didn't 00:23:19.859 --> 00:23:22.400 have any, they didn't have the resources to take 00:23:22.400 --> 00:23:24.359 me to country radio again, you know, with this 00:23:24.359 --> 00:23:26.940 country album I had just made. So I think everybody 00:23:26.940 --> 00:23:28.920 was kind of just sitting there like, ah, now 00:23:28.920 --> 00:23:30.859 what do we do? And I was like, well, I know what 00:23:30.859 --> 00:23:33.240 we do. You guys let me go. You know, I've been 00:23:33.240 --> 00:23:36.140 here 14 years. I don't even know anybody at the 00:23:36.140 --> 00:23:38.700 label anymore. They just let me go and buy this 00:23:38.700 --> 00:23:41.680 record back and take it to Sugar Hill and let 00:23:41.680 --> 00:23:44.900 them put it out. Nice guy over there. Everything's 00:23:44.900 --> 00:23:47.440 nice and hot. It was different going from a major 00:23:47.440 --> 00:23:49.980 to an indie. It was not something I had done 00:23:49.980 --> 00:23:53.500 before, but there still wasn't any real pressure. 00:23:53.619 --> 00:23:55.759 I wasn't looking at it like I was trying to dip 00:23:55.759 --> 00:23:58.539 into the country game. I mean, we still pulled 00:23:58.539 --> 00:24:01.220 everybody on a muscle shoals to cut that record. 00:24:01.279 --> 00:24:05.460 I wasn't, you know, you know. it was uh one of 00:24:05.460 --> 00:24:08.539 my best sounding albums for sure my favorite 00:24:08.539 --> 00:24:11.660 record to date you know as a whole i loved it 00:24:11.660 --> 00:24:13.220 i couldn't be more proud of that record still 00:24:13.220 --> 00:24:15.599 but it was cool it was just it was the time in 00:24:15.599 --> 00:24:17.700 my life though when i had spent like i said 14 00:24:17.700 --> 00:24:20.339 years at atlantic lava records and this i was 00:24:20.339 --> 00:24:23.880 out of that deal and and i was into this sugar 00:24:23.880 --> 00:24:26.519 hill thing you know which really was a great 00:24:26.519 --> 00:24:29.700 time for me about wow i was going through the 00:24:29.700 --> 00:24:33.440 water it was great I'd say that like that, but 00:24:33.440 --> 00:24:36.380 it was a whole different time. It was all kinds 00:24:36.380 --> 00:24:39.279 of different, very liberating in all kinds of 00:24:39.279 --> 00:24:41.799 fronts. You know, I was released from a marriage, 00:24:41.940 --> 00:24:45.259 released from a record label, released. It was 00:24:45.259 --> 00:24:47.619 just one of the good times. I wish the album 00:24:47.619 --> 00:24:49.559 would have been better, you know, I guess commercially, 00:24:49.720 --> 00:24:52.539 but it was a great album. I completely agree. 00:24:52.640 --> 00:24:55.039 There's a lot of fantastic songs on it. And obviously, 00:24:55.099 --> 00:24:58.279 a lot has changed in the music industry since 00:24:58.279 --> 00:25:01.500 Midnight Special dropped in 2012, especially 00:25:01.500 --> 00:25:05.180 in terms of how fans consume music. Since then, 00:25:05.240 --> 00:25:07.740 you've released a number of singles over the 00:25:07.740 --> 00:25:09.700 years, but there hasn't been a full length album. 00:25:09.859 --> 00:25:13.779 However, in 2023, so far, you've released three 00:25:13.779 --> 00:25:17.319 new singles, Reason to Drink, Sweet 16, and most 00:25:17.319 --> 00:25:20.910 recently, Cruisin' Altitude. Has the tactical 00:25:20.910 --> 00:25:25.109 shift in the music industry changed your approach 00:25:25.109 --> 00:25:30.289 to releasing new music? I guess, yes. Just being 00:25:30.289 --> 00:25:33.349 able to release whatever, whenever. It took me 00:25:33.349 --> 00:25:37.210 a long time to decide, I guess, what we wanted 00:25:37.210 --> 00:25:40.690 to do or if we were going to do that way. But 00:25:40.690 --> 00:25:43.569 at the same time, I'm watching these kids peel 00:25:43.569 --> 00:25:47.759 off records like they're nothing. Songs. You 00:25:47.759 --> 00:25:49.240 know, they go, oh, got a new one. Let's just 00:25:49.240 --> 00:25:54.980 drop it next week. Which I used to beg my label 00:25:54.980 --> 00:25:57.700 to do years ago. Like, can I go in and do a new 00:25:57.700 --> 00:26:01.160 record now? When you wanted more content. Nope, 00:26:01.339 --> 00:26:05.119 nope, gotta wait. Album Cycle's gonna take two 00:26:05.119 --> 00:26:08.420 years. We need to plan seven months in advance 00:26:08.420 --> 00:26:11.079 for this and that. We gotta find a release date, 00:26:11.140 --> 00:26:13.000 and I don't know if we got one yet for next year. 00:26:13.400 --> 00:26:16.240 Just everything was different. But just to be 00:26:16.240 --> 00:26:19.000 able to drop one every 40 days, just goes with 00:26:19.000 --> 00:26:24.000 the release. Well, I have to put my news reporter 00:26:24.000 --> 00:26:26.440 cap on for just one question. Since you have 00:26:26.440 --> 00:26:30.740 released three singles in 2023 thus far, are 00:26:30.740 --> 00:26:33.920 those songs maybe part of an, I don't know, larger, 00:26:34.000 --> 00:26:36.720 forthcoming, full -length album that you maybe 00:26:36.720 --> 00:26:38.799 could shed some light on? Or are you going to 00:26:38.799 --> 00:26:41.599 continue to do the singles route moving forward? 00:26:42.140 --> 00:26:46.660 We're going to do a full album. 2024, I want 00:26:46.660 --> 00:26:49.380 to say it's going to be like April, maybe March, 00:26:49.539 --> 00:26:52.079 April or something like that. I forget what we'll 00:26:52.079 --> 00:26:55.220 talk about date -wise, but there's a full album 00:26:55.220 --> 00:26:58.259 we're going to drop then. I just kind of finished 00:26:58.259 --> 00:27:00.880 because I just reviewed 15, so I'll make sure 00:27:00.880 --> 00:27:03.140 there's a few more behind it, but that'll be 00:27:03.140 --> 00:27:06.359 fine. Well, out of all the songs we've discussed 00:27:06.359 --> 00:27:09.829 today, I'm embedding a playlist over at myweeklymixtape 00:27:09.829 --> 00:27:11.950 .com so that way listeners can check out all 00:27:11.950 --> 00:27:14.369 the songs we've been talking about. But in the 00:27:14.369 --> 00:27:17.990 true spirit of mixtape collaborations, I'd love 00:27:17.990 --> 00:27:21.009 for you to close out this playlist with three 00:27:21.009 --> 00:27:25.150 songs that you feel truly encapsulate Uncle Cracker 00:27:25.150 --> 00:27:27.430 as an artist. They don't have to be the hits. 00:27:27.509 --> 00:27:30.470 You can go as deep into your catalog as you like, 00:27:30.549 --> 00:27:33.309 but three songs to kind of close out our discussion 00:27:33.309 --> 00:27:35.990 today that you feel are important to your musical 00:27:35.990 --> 00:27:41.700 legacy. Saturdays, I would say. The first song 00:27:41.700 --> 00:27:46.539 off Double Wise. Who We Are off of Midnight Special. 00:27:46.839 --> 00:27:51.980 I hope it's the last track off there. And, man, 00:27:52.279 --> 00:27:56.339 further down the road off of W2 and Funny. Nice. 00:27:56.980 --> 00:27:59.160 Well, Matt, this has been an absolute pleasure 00:27:59.160 --> 00:28:01.460 talking music with you. Thank you so much for 00:28:01.460 --> 00:28:04.180 joining me on my weekly mixtape. Oh, man, thanks 00:28:04.180 --> 00:28:06.180 for having me. I appreciate it. Anything I can 00:28:06.180 --> 00:28:12.019 sit around and talk about myself. I do appreciate 00:28:12.019 --> 00:28:15.539 it, man. Thank you so much. And remember, mixtapers, 00:28:15.559 --> 00:28:18.259 you can head to myweeklymixtape .com to hear 00:28:18.259 --> 00:28:21.119 all the songs we've discussed in this mix through 00:28:21.119 --> 00:28:24.220 the playlist embedded on the episode page, as 00:28:24.220 --> 00:28:27.339 well as to check out the full catalog of my weekly 00:28:27.339 --> 00:28:29.559 mixtape episodes. And if you like what you're 00:28:29.559 --> 00:28:31.619 hearing on the show, you can help me out by either 00:28:31.619 --> 00:28:34.099 telling a friend. leaving the show a five -star 00:28:34.099 --> 00:28:36.559 review wherever you're tuning in, or becoming 00:28:36.559 --> 00:28:39.359 a Patreon mixtape or at patreon .com forward 00:28:39.359 --> 00:28:42.640 slash myweeklymixtape. That's all for this week. 00:28:42.680 --> 00:28:44.539 Thanks again for listening, and until next time, 00:28:44.640 --> 00:28:45.839 enjoy the tunes.