Making Music in a Music Town with Lee J Turner

[00:00:00] Hey guys, welcome back. How was your holiday break? It's January where I am at least. I hope it's January where you guys are. It is officially January now. Yeah, we are January. How was your holiday everybody? It was good. Thanks. Yeah, really good. It was great. Good time with family. Yeah, absolutely. I know Neil was away over Christmas to New Year sort of period, but for me it was really, really quiet. Where'd you go, Neil? I had to get away from the heat and the people.

[00:00:30] So me and my girlfriend, we do this thing every year where we go to a cabin in the middle of nowhere to celebrate the New Year's. So with this year we decided to go to Kentucky and a little cabin in the middle of nowhere. And it was cold. But it was amazing because like we got to go hiking and we did kayaking and inside like underground in the gorge.

[00:00:59] And it was beautiful. It was beautiful. It was a great time to get away from people and just relax and and ring in the New Year, although we fell asleep at 10 30 on New Year's Eve. No, that that's standard. I don't know anyone that can stay up. I mean, I think my wife and I we fell asleep on the couch. We'll go a few minutes before midnight. So Ben, what did you do?

[00:01:24] We had a fairly quiet sort of Christmas family, that kind of thing. We do this thing every year where we go to Blen and Palace. They basically it's a it is a palace here in England. And they illuminate all the grounds and you walk ground and that sort of thing.

[00:01:44] I mean, if I can make this work, I can show you watch this hold on. This is very professional on a podcast, isn't it? Look at this. Oh, wow. And then and then you walk round and it's all they do it and it's the grounds are amazing and he goes through tunnels and that sort of thing. So yeah, it's all it's really nice. And we did that Christmas Eve every year with my daughters and their boyfriends and friends and that sort of thing.

[00:02:12] So that was and then we just ate lots of Christmas day laid around the boxing day. And then we went to I've been a Chelsea football fan for my life. For my birthday, I was 50 last year. I don't know if I mentioned that to anyone probably mention that my wife bought me really good tickets to Chelsea crystal palace on the 27th of December.

[00:02:32] So when we had a box and dinner and drinks and yeah, so we had a lovely Christmas of just basically being pretty chilled out really.

[00:02:41] What we do know the Christmas night.

[00:02:43] We didn't do much. You know, we we just sit around with two small kids. It's kind of a pain to go anywhere.

[00:02:52] You know, so we did like a sort of like what you did. There's a park nearby us where they they you know do the whole light thing and you drive through.

[00:03:03] And the kids loved it. But that it only lasts like 20 minutes. You go you drive through it in 20 minutes and you're done. You're like, that's it. I paid 50 bucks for that.

[00:03:13] Wow. Come on. Yeah, it's crazy expense. Welcome to Christmas. Yeah, welcome to Christmas.

[00:03:19] But yeah, other than that, we didn't do much, which is fine with me. You know, I did a little bit of music.

[00:03:25] Did some sort of house cleaning in reorganization and watch movies. That's it. Watch movies and eat way too much food.

[00:03:33] So I don't know. And did Santa break you guys anything cool?

[00:03:39] Yeah, I mean lots of lots of nice nice stuff. Nothing specific. I can't get into you.

[00:03:45] Hang on a second guys. I'm getting a phone call. Sorry.

[00:03:48] Oh, I mean, I was going to tell about some of the the presents that I got. You know, yeah, maybe night go to the phone.

[00:03:57] Look at him. He's just in the middle of the podcast. It's so rude.

[00:04:01] Yeah, you're the boss. Who is he? Who do you think you're talking to?

[00:04:06] Uh, it was that. That was pre-recorded Neil. He's a good chap. He says it's time to start the show.

[00:04:14] Oh, gotcha. Neil, take it away.

[00:04:19] Hello and welcome to Sound Discussion. Each episode we discuss a music topic which we have all had firsthand experience with.

[00:04:27] These will be anything from getting started recording, playing live, mixing, mastering, and everything in between.

[00:04:35] Most episodes will have a special guest to bring their professional experience to the discussion. Let's get started.

[00:04:44] Today's guest is a 25 year veteran of the music industry. As a producer and professional musician in Nashville, Tennessee, he has collaborated and shared the stage alongside some of music's biggest names including Hank Williams Jr.,

[00:05:01] Winona Judd, Blake Shelton to name a few. He's also played the Rhyman and Opera stage as numerous times. You've no doubt heard his work or seen him in action, whether it be on tour or on TV, Nashville star of the CMAs,

[00:05:17] the today show, the tonight show, the late show, good morning America. I can go on.

[00:05:22] He plays keys and B3 in two bands for the same frontman, Darius Rucker and Hoody in the Blowfish. In fact you can catch him on tour this summer with Hoody and their show openers collect of soul.

[00:05:35] And on top of all of that he runs a full time production studio out of his home in Nashville called 222 Studio. There it is what a lovely looking place.

[00:05:46] And you can hire him to play keys on your song or to fully produce your song. And it should be said in 2020 he recorded and produced the vocal for the number one hit song of the summer beers and sunshine by Darius Rucker in his 222 studio.

[00:06:02] Ladies and gentlemen, it is my honor and pleasure to introduce to all of you super talented musician my friend and all around awesome person Lee J. Tardar!

[00:06:14] That was a nice intro. I was like, what's he talking about?

[00:06:19] I hope I got on that information right because that would be embarrassing.

[00:06:24] No, it's awesome. Wow! It's crazy to hear all that stuff.

[00:06:31] I mean, come on man. I know you're a humble person as you are but dude you have some frickin' clout there you've got a history.

[00:06:42] I've got a history alright. Yeah. Yeah and believe it or not I should probably update the bio. It's 27 years this year in Nashville which is just crazy to me.

[00:06:57] Wow. How did you find yourself in Nashville? Where'd you come from?

[00:07:01] Right, where did I come from? I grew up in a small town up in Wisconsin. Went to school at the University of Wisconsin Milwaukee. I studied music education. I was a trumpet player and I was going to make my living playing trumpet.

[00:07:18] And always on the weekends I played keyboards. I started playing keyboards when I was in seventh grade. My first song was Axel F. Theme.

[00:07:27] Remember from the Beverly Hills Cop TV show or movie?

[00:07:30] Yeah!

[00:07:33] And I played it and people went nuts.

[00:07:35] I remember playing that on the piano when I took lessons.

[00:07:38] Right. It's a fun little song to play.

[00:07:40] It's a fun song and I played it for a talent show. And people went nuts and I went I love this performing. Like I love this.

[00:07:50] So I went to school at University of Wisconsin Milwaukee. Quickly realized that I wasn't the best trumpet player out there so I switched to music education.

[00:08:00] I taught briefly middle school and high school. I think kids are great. I think teaching is great. It just wasn't for me because I had a dream to move down to Nashville, Tennessee and play for a country music artist.

[00:08:13] And I moved down and I did a showcase with an artist moved down here within two and a half weeks had a gig rolling down the road with an artist. His name was Kevin Sharp.

[00:08:27] He was on a silent record and jumped on a tour bus and went. And that was 27 years ago.

[00:08:34] Darius actually makes my 25th artist that I've worked with over the years so there was many years of hustle.

[00:08:43] This is back before iPads and I would sketch out my charts on index cards and have them on my keyboards because there was no way I could remember everything that I was playing.

[00:08:58] It got crazy. I was playing with Hank Williams Jr. and Winona at the same time so there was two sets of keyboard gear on different trucks.

[00:09:07] And at actually one time I played with Blake Shelton and Randy Owen from Alabama on the same stage again two different sets of gear.

[00:09:17] An craziest thing Nashville that happened with performing wise was Nashville star was doing a tour.

[00:09:25] I jumped off we stopped at an exit jumped off the bus and another tour bus picked me up and I went on that one.

[00:09:33] Wow. It doesn't get more rock star than that man.

[00:09:36] That's pretty rock star. I was reminded of that story this week.

[00:09:40] But that's yeah, so I grew up in Wisconsin moved down with a dream to Nashville and hit it and hit it hard.

[00:09:49] And I've just been blessed that the phone keeps ringing and that I keep playing.

[00:09:55] Well, I think what we found is this is what an actual professional musician looks like.

[00:09:59] I forget us messing about whatever way to do.

[00:10:02] This is what professionalism looks like.

[00:10:05] He's got actually.

[00:10:07] Yeah, yeah.

[00:10:08] We'll go back to last week's episode about imposter syndrome because that has just us just gone through the roof now.

[00:10:13] So your first instrument was trumpet. So it was mine. I love that.

[00:10:17] And then I my second instrument was keys. I started playing the piano and then so but you had that dream and you went to Nashville.

[00:10:25] That's awesome.

[00:10:27] Yeah, I didn't want to be the angry music teacher.

[00:10:33] I should have done this.

[00:10:35] I wish I would have done that. You know, and I thought well, and I was crazy enough.

[00:10:39] I was young so why not go and do it?

[00:10:42] Did it feel I was lucky?

[00:10:44] Did it feel unattainable?

[00:10:45] Like was there that voice in the back your head that said, dude, what no way just go get a job at McDonald's and call it a day.

[00:10:53] No, never.

[00:10:55] That's amazing.

[00:10:57] I drew I got in the car. I remember it was a Ford Escort wagon. It was blue and it was awesome.

[00:11:03] And I think it was driving like this with all my crap in the back, you know?

[00:11:08] And I remember pulling out of Milwaukee in the song The River by Garth Brooks.

[00:11:14] The river. Yeah.

[00:11:16] Was playing and that was just like man, it hit me and then I was like, this is it.

[00:11:21] And it was so weird. You guys like I would.

[00:11:25] CMT was a big thing back then.

[00:11:28] I would turn on CMT and like there was this, um, this artist Wade Hayes who I played for who I thought I want to play for him.

[00:11:38] And every time I turn on the TV a Wade Hayes video would be on and I'm like, it's going to happen.

[00:11:44] I mean, weird stuff like that. So I don't want to use the word that the kids use and say I manifested it but it just always felt right.

[00:11:53] And they trust me. That all sounds good, but there was some tough times and there was sometimes I was like, you know, put in my application for Dell computers.

[00:12:02] And luckily it didn't happen.

[00:12:05] Um, you know, it's it's not this town. It's not easy and there's a ton of people that move here to play music.

[00:12:14] And that's what's great about Nashville, you know, is the pool of people I'm rambling.

[00:12:19] How does how does someone stand out in a town like that?

[00:12:22] I mean, you're literally in a town of musicians. Your bartender is a guitar player.

[00:12:27] You know, the guy parking your car can write songs like the best of them.

[00:12:33] How do you stand out? How do you how do you get traction and be noticed?

[00:12:38] Yeah, for me personally, it was being prepared ultra super prepared.

[00:12:45] I was the guy, I've always been an audio guy but you come into an audition and I came into the audition and my keyboard rig.

[00:12:56] You know, I had to double stack a keyboard and my my cables were all snaked and ready to go.

[00:13:03] And like I had my own DIs and stuff like that. And from a production standpoint, as a new artist, they were looking at me going, this guy's got his stuff together.

[00:13:13] You know, and learning the music, the way the artist has recorded it is key.

[00:13:21] I can't tell you how much, excuse me, how many times after I got in, I was musical director and I would do an audition.

[00:13:30] And you know within 10 seconds, five seconds if the guy or girl is going to work.

[00:13:37] Wow.

[00:13:38] If they're prepared, did they listen to the song? Did they know the song?

[00:13:42] You know, because a lot of people look we're all artists and we're all like, we all have interpretations of what we think the song but that's not the gig.

[00:13:50] This gig here in Nashville is to, and I'm going to use the word, do I use it?

[00:13:57] Regurgitate exactly what is on. That's a horrible word.

[00:14:02] Not but it's true.

[00:14:04] Reproduce.

[00:14:05] Reproduce.

[00:14:06] Yeah, okay.

[00:14:07] Regurgitate.

[00:14:08] Yeah, that's not what it's like.

[00:14:09] Regurgitate.

[00:14:10] Exactly what's on the CD and we don't get, we didn't get stems back then.

[00:14:17] So I would listen and I would go, you know, one of the famous keyboard players here in town his name was John Hobbs.

[00:14:24] And I learned every John Hobbs lick.

[00:14:27] And I would know it was him second first.

[00:14:29] I could just feel it and I would hear how we play it.

[00:14:32] But I would listen through the music and through try to pick out a B3 part.

[00:14:37] You know, and just learn everything like that.

[00:14:39] So being prepared is key and you got to be able to hang.

[00:14:44] You're getting on a bus with a bunch of dudes or a girl and you got to be able to, we're living on a 45 foot tube rolling down the road.

[00:14:55] I think that's really interesting.

[00:14:58] So something I've never thought about because I haven't had that where I've been hired to play on tour.

[00:15:07] Okay.

[00:15:08] I've tracked, so I'm a bit background you right now.

[00:15:11] So I'm a drummer and a mastering engineer.

[00:15:13] So drumming I've done for 39 years and I've recorded in studios.

[00:15:17] And the bit I find really interesting about that is you were hired or people,

[00:15:21] you're looking to hire people to play exactly what was played on the record.

[00:15:26] Not what they feel at that moment that that song wants.

[00:15:30] It's like no, no, no, your job on tour is to nail it every night exactly as it was on the record.

[00:15:36] Exactly.

[00:15:37] And be perfect at it every night.

[00:15:41] And there was, there was times where we would get done with the show and we'd critique the show and be like,

[00:15:47] there are some camps that get down to the specific note, note choice.

[00:15:54] I had one, I had Randy Owen from Alabama who expected certain inversions to be played because he would key off that F sharp.

[00:16:04] Or you know, and if I wasn't there, then I'm not supporting the singer.

[00:16:08] And I think that's a big deal.

[00:16:10] And I think that's really important for people to learn and to do and play simple.

[00:16:17] Do you know what?

[00:16:19] That comes up all the time.

[00:16:21] Play simple comes up or drummers, no where their pocket is.

[00:16:25] Don't overcomplicate it.

[00:16:27] Right.

[00:16:29] And I think there are two things that, you know, one of the things we wanted to do with this podcast is

[00:16:33] we've all got to where we are.

[00:16:35] And I'm sure you're the same right by we had no idea what we were doing.

[00:16:38] We made it up as we went along but we were as paired as we could be to look professional.

[00:16:42] Yeah.

[00:16:43] And I think there'll be a lot of people out there who think,

[00:16:45] I want to be a professional musician on tour.

[00:16:48] You probably don't realize that must your core.

[00:16:51] The core is you learn the songs exactly as they want you to play them.

[00:16:55] And you can play them like that every night for the entire tour.

[00:16:59] No embellishments, no alternate I'll play this instead of it's every day you play the bit you're supposed to play.

[00:17:06] And no more and no more because it's not it's not that it's not it's not needed.

[00:17:12] That's not your job.

[00:17:14] How are you able to pick out, let's just by ear the B3 part on some of these songs.

[00:17:20] And their end is inversion right?

[00:17:24] Yeah, because it's so very usually.

[00:17:27] I think it's just a texture thing in over the years I figured out.

[00:17:33] Let's break it down like country music there's a definite format you know there's a formula and versus.

[00:17:42] A I want to listen to the intro is there signature lick for me to learn there what's the keys doing first first I'm always going to go to.

[00:17:51] A piano or an electric piano whatever the song is chorus is where I bring in the B3 because that's going to fill it up and get it bigger for live second versus typically in country music was always the keyboard fills so that's going to be either piano or B3.

[00:18:10] And listen for those specific fills again second chorus build it up what a subrige do and outro and the siglic.

[00:18:17] So you know kind of do that and I've kind of come up with my own thing where I will play.

[00:18:25] You know the ham and part it sometimes keeping the piano but sometimes I'll just ditch the piano for the chorus just to again keep it more simple kind of depends on the song.

[00:18:39] Is there ever a time when when you do get that freedom to experiment whether it's on stage or in your studio as you're preparing for something like.

[00:18:51] You know the with Darious I'm sure that everybody is rock solid right and is there ever a moment where Darious is like hey guys just you know riff it come up with something.

[00:19:05] Like when he has to go to the bathroom.

[00:19:09] Yeah when he breaks a string and you guys got to carry it you know as the guitar comes out.

[00:19:16] There was one moment where this is early on and he goes play something and we're all like what we weren't trained to know your soul.

[00:19:28] That is not what you hide us today and you bust out the axle left and right.

[00:19:35] No it's but well I think with hoody I get a little more freedom hoodies more of a I know I dare I use the words words jam band but there it's a little bit looser in a good way that's what makes them hoody I mean it's pretty unreal.

[00:19:56] But for the most part I stick to it now every year when we change up the show for Darious we look at those hoody songs and we go.

[00:20:04] What can we do to hold my hand that has been played for how many years in the crowd knows exactly how it's going to go so we do like a bluegrass version of it and that's I get to come up with parts for that.

[00:20:16] But again once you come up with your part and we lock in and you're like you're going to do this I'm going to do this I'm going to do this and it's all puzzle pieces we do it that way every night.

[00:20:25] So we're pretty locked in.

[00:20:27] Okay yeah but the freedom to come up with a bluegrass variation of a song that everybody knows you know I'm sure there's an element of what if it doesn't go over well but you guys know what you're doing right so like you know what we're doing.

[00:20:41] Challenge.

[00:20:45] Because what you come up with in the rehearsal hall and might not translate out to the crowd and we know it right away yeah.

[00:20:57] So after that first night you're like okay back on the operating table let's reorganize this song.

[00:21:03] Yeah I'm sorry. I was going to say I'm in a cover band and we cover lots of songs and we do things as long as you got the member berry part you know the thing that people know

[00:21:13] and you can kind of change it however you want however what you were saying is like you know immediately when you start that song if it's not going to work we introduce new like covers all the time

[00:21:23] and okay okay this is not working let's sometimes we'll leave an end to early and just like okay let's move on to so that we know works like cumbersome or something but yeah right

[00:21:35] and I always say and the crowd goes miles.

[00:21:41] Hold on I want to circle back to something Neil just said you said the word member berry yes as in South Park yes yes I did okay I thought I caught that I'm like did I hear

[00:21:52] that right yes because I I messed I remember that yeah as long as you have like the the main licks like in like the things parts of the song that you know

[00:22:02] the the crowd is going to remember the crowd is going to like when you hear a song those parts are important all the all the stuff in between as long as you're playing the

[00:22:10] right cord and stuff like that the crowd will be the crowd will love it or those that know the song you know and if you play really well

[00:22:18] really well and so really well yeah so what's it like to to be on stage and and feel the crowd you know

[00:22:28] responding positively to a song whether it's you know variation of a song that everybody loves or the song that's been played for 30 years

[00:22:36] and is unchanged from the CD like being on the rhyme and stage or the opera stage or an arena and you feel the energy coming back

[00:22:44] and you was that like it's the best thing in the world for me that the noise of a crowd the sound after a song watching people move

[00:23:02] it's just it's magic and it's amazing how people respond to things and how much they love music live music it's just great

[00:23:14] there's elements I think I can talk about on stage that make it feel better as a musician and some that can really hinder it

[00:23:26] you gotta be able to hear your audience and like I pop these in today because they were just right here my inner monitors which I wear on stage

[00:23:38] but these cancel out 25 dB of sound so if I put these all the way in my ear it's just like silence yeah so our monitor engineer

[00:23:50] spoiled enough that you know we have a monitor engineer and he has two microphones audience mics

[00:23:56] and usually once I get myself set and I know what the room feels like because even though we have our own monitor board every night it changes

[00:24:05] whether there's a stage the back of the stage is taller are we playing a theater is it you know is it brighter is it you know so once my brain figures out what I'm hearing

[00:24:15] I'll look at him and I just go like this I go like that and I go up and he knows that's my audience mics because I need to hear that

[00:24:24] and if I don't hear that I'm like what's wrong what's wrong with mode on mood you know what you know yeah that's awesome

[00:24:34] I want to see the kid come out that's my daughter she didn't know that she was waiting I can hear my wife my wife got up stairs I'm waiting for her to come down so that would be

[00:24:47] I was like oh no that's okay but yeah like that I just love the reaction of people you know I'm a people person I love people

[00:24:59] and yes we can all get our fill but I just I love it there's nothing like it

[00:25:07] and a pandemic was really tough because we one of the things the hardest show I've ever had to play was at the opera house right now

[00:25:19] not at the rhyming but at the opera the grand old opera we did it via covid so all the cameras were twenty thirty feet apart and back from us you know and it felt like a sound check

[00:25:33] but we had to remember to smile and you would finish a song and there was nothing and that's the worst feeling right there is like the you know you

[00:25:44] end the song and it's like yeah because we did that during the pandemic too we did live stream of of our opera band but yeah that was that was tough

[00:25:57] and going back to what you were saying with the in-ear monitors I use Westone they have like they allow in some of the crowd noise

[00:26:06] the blood it takes away from some of the the the baseness of the of the of the ear of the in-ears but like I love being able to hear like the crowd noise yeah

[00:26:18] yeah it's so important yeah my wife and I we did during the pandemic almost every night we would learn a song and play it down here we called it the basement sessions

[00:26:30] which was actually really cool yeah I remember seeing some of those yeah and it was so fun but we could we kind of had each other to feed off of and you would just get used to that silence after you were done and just know that

[00:26:45] you know there's somebody on the end other end of that camera I mean into an extent we're doing it right now you know we know that the people watching this are going to be appreciating it

[00:26:56] and you know remembering that we're looking at them and talking amongst ourselves but there's a bigger audience out there

[00:27:03] right I guess definitely yeah can I just as some because I think it's quite interesting for people because you see a tour we all go and see bands we all go and see stadium shows that

[00:27:13] kind of thing I think people don't realize what goes on behind that and I think that's quite an interesting so for me as somebody who's not taught how long do

[00:27:22] you get like rehearsing before you tour is it like I know we've hired you we leave on Monday learn the songs or is it no we've got six weeks of playing this studio or a pole

[00:27:33] yeah there's different camps do different things like there might be a Kenny Chess near Keith Urban they hire a not even a well it's a rehearsal space but down at bridge stone amphitheater

[00:27:48] bridge stone what's our arena arena thank you they actually have a room for rehearsing and they will rent it out for a month Thomas read same thing where those guys are just by the end of it

[00:28:04] they're they're not burned out but they know that show backwards and forwards our camps a little bit more fly by the seat of the pants we usually do a rehearsal space in North Carolina

[00:28:15] that's where all of our big equipment comes out of our speakers lights trucks and they have a stage where it's big enough to put up the backdrop

[00:28:28] and the full LEDs I mean y'all we have an LED panel that's 180 pieces to make this sucker up it's ridiculous

[00:28:39] awesome and so because not only the band practices but the light lighting crew practices are front of house guy practices our monitor guy practices

[00:28:51] and even before let's take let's take it back even before the band steps on stage our production managers way ahead of the game he's designing the show he's designing what the stage looks like now how many trucks do you need

[00:29:07] you know what how can you fit it is at a one truck tour that's what we call ninja mode that's our normal every day one trucks am I

[00:29:17] and then you know usually for two or worth three trucks for hoodie I believe it's going to be eight but we're going to be carrying staging racks and stacks and lights

[00:29:29] you know so then they start building the stage set carpenters do that then all our crew does all the cabling for that

[00:29:39] so they know my keyboards are going to go in a specific spot I'm so spoiled on this gig I've got a Hammond B3 a Nord stage three a

[00:29:49] Whirlitz or 200 a my acoustic guitar and sometimes an electric guitar a real Hammond B3 oh a real Hammond

[00:29:59] but you're taking on your 10 when I got this club you

[00:30:03] when I got this gig because that's if you all don't know what a Hammond B3 is that right there is a Hammond B3

[00:30:13] and that sucker right there I think it's 275 pounds that's it if I'm not mistaken yeah that's it it looks just that now the Leslie

[00:30:23] here's another 75 pounds you know yeah and when I got the gig they said do you mind it was it was like this hey do you

[00:30:33] mind using our Hammond B3 in Leslie and I was like to my mind you guys are going to have to set it up and tear it down

[00:30:43] right and he goes yeah that's what we do and I was like okay yeah so totally spoiled and at one point our

[00:30:53] production manager he says to me because I had the B3 and just a keyboard on top forever and he goes what can

[00:30:59] we do to make your rig bigger I was like who says that what kind of question is that so no drummers have been off stop on the

[00:31:09] way no it's never so they get together they put all the cabling together because their job is to roll it

[00:31:17] off the truck set it up and again just like the musicians there's no room for improvisation you know

[00:31:23] to be like okay roll the keyboard snake out jump jump jump jump jump it's plugged in you know time is money I

[00:31:29] guess but and then after a show it's the same way they actually rehearse like putting things in cases

[00:31:39] and loading the truck sure rehearse it I'm sure everything in the truck has a place right you can

[00:31:45] place you can't they have it on a different side of the truck tomorrow night it's got to go the same

[00:31:51] place every night I'm sure what happens if you get to Cleveland Ohio play the show and now you

[00:31:56] don't have room for right because the pack sucks yeah right absolutely so it's just interesting to me

[00:32:04] okay our rehearsals for the band are maybe a day now we used to practice like maybe five days

[00:32:13] when we were first starting um but we know each other so well now that it's okay what are we going to

[00:32:20] do with this arrangement let's figure it out and I don't know how but we are able to lock it in

[00:32:27] and then we make board tapes so that way we can go back and listen to what we did and the first

[00:32:33] show is usually that oh crap moment what how did we fix this what did we do because we do a lot of

[00:32:40] stuff to the songs we do a lot of arranging to make it different for the listener and one of the

[00:32:46] main challenges when we're rehearsing like that is how do we start wagon wheel and not let them

[00:32:53] know it's wagon wheel right off the back yeah those are always fun when you hear a song you're like

[00:32:59] what's this what's going on and then wagon wheels are like wow yeah that's cool that's really cool

[00:33:07] so yeah we rehearse the band is usually a day now which is crazy um but uh oh but Darrys is also

[00:33:17] the type he golfs every day uh right and on the golf course he'll think of a song and Jeff

[00:33:24] our musical director um golfs with him so we'll get a text hey learn this song by soundcheck

[00:33:32] and we just you know whether you're walking around the city or you're shopping at target for the

[00:33:37] you know whatever you need that day you learn it and we play it one time at soundcheck and we do

[00:33:42] also like when you're on tour you're like the first one the first show is obviously going to be

[00:33:47] the scary one right because you're doing the first yeah but then as you go along the tour you're

[00:33:52] like each show is a practice too in its sense um a lot of a lot of people ask uh my uh

[00:34:00] cover band like do you guys practice all the time i'm like yeah every show every weekend we've

[00:34:04] we've and we you know right before we set up everything and because so i got to practice

[00:34:10] the because i'm also the light guy i have a foot switch there where i where i where i press and

[00:34:15] and and all the lights will change colors and stuff like that i'm also the uh the sound guy so

[00:34:20] i'll turn around and you know we got we show up like two hours beforehand and then we go over

[00:34:25] songs too right before and that's our practice yeah yeah every day every yeah every show

[00:34:34] so Lee what what happens when you guys are out on the road and god forbid somebody falls ill that night

[00:34:41] right does the show go on is there a stand-in that comes in like what how does that that dynamic

[00:34:48] that you guys have of being so familiar with everybody how does that maintain if you have a stand-in

[00:34:53] coming in and you're unfamiliar with that person there are times where we've had subs subs come

[00:35:00] then substitutes come in uh Nashville is such a if you don't want to get a sub unless you have to

[00:35:08] because there are horror stories of that guy taking your job oh so never hire a sub that's

[00:35:16] better than you that's the other side of the coin right the guy's waiting in the wings waiting

[00:35:21] for the call oh they will oh that's their stories like i just i got the call one night and here

[00:35:27] i am 30 years later right like that's that so but our camp i mean look we've been together 16 years

[00:35:37] and it's the same people 16 years for one artist is unbelievable amazing um

[00:35:45] Darious it starts with Darious so our crew is all the same but you know we've all gotten sick

[00:35:51] covid was a bitch sure you know and it was unpredictable and still is unpredictable yeah

[00:35:58] i was supposed to fly to do a private show in Hawaii i know you guys all feel bad for me

[00:36:05] and uh oh i'm playing playing my tiny violin right now

[00:36:14] and i had the sinus thing going on and i typical i call my doctor i'm like hey i got to fly

[00:36:22] my ears are full he's like come on in get your steroid shot you know and it didn't take

[00:36:28] it didn't take in Tiffany my wife got sick and we tested and we were both hot

[00:36:34] and i was like i have to get on a plane monday and travel 19 hours to get to this gig

[00:36:43] and so i called my road manager and he freaked out i mean just like mother ever bow

[00:36:52] blah blah and i'm like it's not my fault and then he calmed down and he figured it out and he's

[00:36:58] like well we need to get a sub like it's eight o'clock at night where are you gonna get a sub

[00:37:04] you know um what ended up happening they had a professional tester come out

[00:37:10] covid tester come out i was at the tail end of it and it was really faint he's done this so long

[00:37:16] he goes you're gonna be hot for about 12 more hours he goes after that put a mask on get on the

[00:37:23] plane you're gonna be fine because you're not gonna be contagious anymore i was like super cool

[00:37:27] so i just flew in a day late there was some buffer time um but like we've had this is a horrible

[00:37:35] story lights go dark were taken to stage our guitar player falls off the side of the stage oh no

[00:37:42] there was no railing there was no tape unfortunately and he fell like six and a half feet

[00:37:49] that's a landed on his guitar his guitar neck breaks he broke ribs you know so he's in an ambulance

[00:37:58] going to the hospital meanwhile we've got 12,000 people waiting for a show

[00:38:04] so we cover and we just played it without him and then you know we all went to the hospital

[00:38:10] afterwards and or checked on him you know um

[00:38:16] we are lucky enough to have one two three four great singers in a band our drummer doesn't sing

[00:38:24] in our steel player doesn't sing so if any one of us gets a vocal thing we just cover parts

[00:38:30] which is pretty fun and even with darius there's nights where we support him on the choruses

[00:38:37] you know it might be show number three and he's feeling it and he'll look at me and he'll

[00:38:43] you know usually he'll turn around and go you know like help me because i'm i usually take a lot

[00:38:49] of the low harmonies and i'll just sing melody with him and i don't know what that does if it

[00:38:54] actually i don't know how much our front of house guy actually puts him in the mix or if that helps

[00:38:59] darius find his center pitch but it works so so yeah we cover there of sort of improvisation

[00:39:10] when darius looks back at you and you've got to jump in and just sort of pick up the

[00:39:15] you know help him with singing and you may not be prepared for that but you know what you have

[00:39:21] to do as soon as you see that or the bass player who's singing the high parts yeah right you know

[00:39:26] yeah yeah because you don't know yeah you're right that is because you don't know how your voice

[00:39:30] is going to be until the morning you know or or the time of the show because there'll be times

[00:39:38] there'll be times where the guys are like hey i'm not going to sing during sound check

[00:39:42] because it's feeling you know crusty from the night before or whatever and that night they're

[00:39:47] usually fine but yeah and that's a non-verbal thing that's looking at you with your eyes going

[00:39:52] like i don't think i can get that in there jump on it buddy yeah that is pretty fun i didn't

[00:39:59] think about that do you guys all okay so i'm sorry oh go ahead i was gonna ask do you guys

[00:40:06] it's all to a click right do you guys practice to a click and like is there

[00:40:11] a guide track with it and things like that yeah every song we do is with a click

[00:40:17] and i think a click track is so important for those listening um because you are human we're all human

[00:40:27] depending on how much coffee i drink or how i slept the night before i'm going to feel a song

[00:40:32] a different way and when you're on stage with a bunch of different bandmates the last thing you

[00:40:36] want to do is fight over tempo we evolved on it and it's the it's when you get excited right although

[00:40:44] it's going well all of a sudden every track gets a little bit quicker right and we've all done it

[00:40:49] do you all hear the click or is it just a drama no we all get to click and we all have control

[00:40:55] over how much we want to hear if honestly if i'm not starting or the main focus on a song

[00:41:02] i have it pretty low and their songs where if i'm doing the keyboard intro i need to hear it

[00:41:09] and it's like it's like my blinkers on high it's like in my head um

[00:41:17] but where was i going with this um no there's no guide track there's no pre-recorded music

[00:41:24] in our show whatsoever darius hates it and we have six musicians on stage we have guitar drums

[00:41:34] bass keys steel and fiddle fiddle player plays acoustic banjo mandolin and fiddle

[00:41:42] our steel player plays steel dobro banjo i play keyboards acoustic guitar electric guitar

[00:41:50] so we fill everything up there's a song called this um that was the number one for darius

[00:41:58] i started on acoustic uh acoustic players on mandolin steel players on dobro by first chorus

[00:42:08] i'm off with the acoustic and on the keys mandolin switches to something else and you know

[00:42:15] our dobro switches to steel all within the one song musical chairs man that's crazy yeah

[00:42:22] so we're covering all the spots all the big parts you know of the song that makes the member grace

[00:42:29] you the member yeah we had one intro on on the one of the songs that started the show

[00:42:39] on this the recording um was a drum loop sorry drummer put it on the the pad and triggered it

[00:42:48] you know like you i would do that's the sound that we're going for and darius was watching

[00:42:54] the in the opening of the show and he goes he goes who's playing something

[00:43:05] i mean i pay you to hit shit hit shit

[00:43:09] yeah pointing at our drummer you know sorry for cussing or whatever i don't know

[00:43:14] look at the rip man hit shit and it was just like okay and he goes people don't want to hear

[00:43:22] pre-recorded and also he will he will get off track he will stop and talk to somebody in the audience

[00:43:31] it's hilarious and we've got to be able to pick it up so anyways yes there's that's a long story for

[00:43:37] no we don't have any pre-recorded music i once used to um i used to play for a church

[00:43:44] and a big church and they had pre-recorded music uh and a guide track and a click

[00:43:49] and we had our own personal monitors and everything like that but i hated hearing the guide track

[00:43:55] it was like verse two three four

[00:43:59] that sounds like it would be really distracted is i would turn the guide track down a little bit but

[00:44:06] even and i feel like it would take you out of the moatest yeah absolutely a click is good but

[00:44:12] the click could be distracting to some degree um i'm honestly surprised to hear that you guys play

[00:44:18] with a click uh at your shows uh i it makes sense it makes complete sense but a band at that caliber

[00:44:26] i also would have figured well i bet like the click also helps the light guys too right is the show

[00:44:34] matched with the like what no no no it's he's all he's all analog also oh nice dude our lighting guy props

[00:44:43] to him i mean he's not only calling that calling the video but he's in charge of four spot ops

[00:44:49] up top for spot operators you know with the big old school you know beans on the

[00:44:56] games yeah which is always hilarious because he'll at the end of the night he's like go to fiddle

[00:45:02] no i said fiddle um but no it's i'm so ingrained to play with the click it just i don't even think

[00:45:16] about it anymore and i i'm am i scared to play without it no but it's just it helps so much

[00:45:25] there's another bit of advice people who want to get into being a touring musician learn to play

[00:45:30] to a click because it's not it's not easy when you first do it i mean as a drummer i'm quite used

[00:45:36] to being the one who hears the click and then the band you know wherever else it plays off of me but

[00:45:41] it took me quite a long time to get used to hearing that brutally metronomic thing in your ear

[00:45:48] because it's not natural in it's no no no you do get used to it yeah like i've done both i've

[00:45:55] done with a click with a guide track and a click and my my current gig we don't we just wing it

[00:46:01] it's fun yeah there's rock and roll we're just there's a gig that i play in town and you know my wife

[00:46:08] spanned um tiffin e-turner uh you can check her out tiffin e-turner music.com um we don't use a click

[00:46:16] for that and little t in disease i'm repiting a shirt nice uh we don't play with a click on that

[00:46:23] i think jack our drummer listens to a click but um you got to learn how to play with a click and

[00:46:30] you've got to learn how to make it feel good because if you're at 88 beats per minute right

[00:46:37] and you need to sit back on the click that's a whole nother talent yeah and what does that mean

[00:46:43] that means playing a little bit behind the beat or are you going to push it into the chorus and

[00:46:48] then pull it back like then you get that all the time because that's that's your gig but other

[00:46:53] musicians really need to know how to do that well that that's one of the reasons why i was saying

[00:46:58] people need to learn how to play to a click because exactly as you've just said the click doesn't move

[00:47:04] but the song does move and unless you're doing edm in which case fine just now let on to the beat

[00:47:12] um oh he's max oh can we just go around the thing yeah oh bang oh bang oh yeah there we are

[00:47:25] i don't know what happened now i just got unstable internet connection everything disappeared

[00:47:29] which is bizarre when you've got 500 made broadband but sure so we heard EDM yeah i was saying

[00:47:36] i was saying that the click doesn't move but the song does yeah right and so people if you

[00:47:43] if you have never played to a click you can get locked into that it's just on the click and the song

[00:47:50] isn't it doesn't do that as you say that the chorus might want to push slightly and the and as a

[00:47:54] drummer you tend to do it slightly instinctively but that's why you have to learn to play to a click

[00:48:01] because the first time you put the click on in your ears you'll lose all that feel yeah it would

[00:48:05] just be i've got this thing and it's not supposed to be when you hit the snare drum it's supposed

[00:48:10] to be where you are in the bar if that makes sense it's not the snare drum goes here exactly it's

[00:48:17] just this is where we are so we're all together right right yeah interesting that you all play to a

[00:48:24] click that's the bit i found most interesting because whenever i've done it the only the few times

[00:48:28] i've played live is i've heard the click but then everyone else plays off me right right and i think

[00:48:34] segwaying into just performing live like we don't we're old school we're one of the last bands in

[00:48:41] Nashville not to use tracks everybody uses tracks and the the kids you know it's the kids coming up

[00:48:49] everybody runs ableton um and there's sequenced everything to the end of time yeah

[00:48:56] and there will be even people a couple bands on stage they don't have a bass player

[00:49:05] because the tracks are playing it and it's it's a money saver i mean uh maybe the budget for touring

[00:49:12] isn't that big and they need to save money we're the thing maybe they just couldn't find a basis

[00:49:18] that could play in Nashville come on i can open my door and holler for one just go down to

[00:49:25] hadie b's you can pick up a handful of bass players man there you go yeah i bet but it's it's just

[00:49:32] it's a budget thing and also we've gotten so used to hearing vocals being pitch perfect and

[00:49:43] gang vocals and all the harmonies and all the instruments like and they don't do that and

[00:49:49] it's easier to rely on the backing tracks to make you sound full and fatter and yeah but you know

[00:49:56] there's a there's a downside i think is there a downside or did i just feel this i went to show it

[00:50:02] the rhyme and is dude that i love and i looked at my wife and i said what are we listening to

[00:50:10] and we lasted four songs because everything was pre-recorded no okay literally no literally

[00:50:16] everything almost all the sounds that i was hearing was the record sounds and i was like this

[00:50:21] isn't what i want you know but you know it was boring i mean at that point it's almost karaoke right

[00:50:27] yeah yeah i think people get drawn into that don't they they think it has to sound like the record

[00:50:34] no if i'm going to see the band perform it i want to see actual musicians playing the song live

[00:50:41] not necessarily the exact snap sample that they used on or whatever it was it doesn't matter

[00:50:47] that doesn't matter i don't know i agree playing this song as it appeared on the record is important

[00:50:54] but having the exact sounds is never that's gonna be harder to achieve and and why would you

[00:51:01] want to do that right that's the live element that people want to hear when they go to a show is

[00:51:07] is here the band in the room i have heard some bands that that do use guide tracks but they'll use

[00:51:13] like subtle stuff like the like just to you know maybe a b3 and like there's no b3 oh

[00:51:20] totally oh player but they use a b3 in the record or whatever and it kind of lifts up the chorus

[00:51:25] or whatnot live and but everything else is like all the instrumentation is still there

[00:51:30] that somebody's playing the guitar somebody's singing somebody's you know the background vocals

[00:51:34] everything else is the same but just you know little bits of just like maybe string patch or

[00:51:39] something like that in the background i feel that that's a good use of maybe background tracks if

[00:51:45] you're going to use background tracks to replace an entire like instrument for the entire show

[00:51:52] yeah see what you guys are saying yeah i think that was an extreme point um but i'm going to give

[00:51:57] a shout out to rickman row and the hitman um i record all the b3 stuff for them and they use my

[00:52:04] tracks every night in their show and i think that's killer it's awesome so um you know great rock

[00:52:12] group but they don't have a keyboard player so that's a great you know way to make their show a

[00:52:17] little bit better um and and do all that so keep that that that live element of the

[00:52:24] tone the main part yeah absolutely and i think it's cool like maybe there's a tambourine or shaker

[00:52:31] or something you know that you can add in that helps i just for me if you're going to play an

[00:52:37] acoustic guitar part i want to hear it you know i want to see it i want to see somebody playing it

[00:52:42] but that's me i'm old school now but i agree like like big instruments like like the acoustic

[00:52:48] guitars like if it's a tambourine i yeah yeah i so unless you want to hand a tambourine to the

[00:52:54] audience or something well there you go no it's participation create somebody up on stage they're

[00:53:00] bad no no no no of course deep guys audiences can't clap in time don't give them any kind of

[00:53:06] passive rhythm with making sure all right um so we are kind of coming to the end here and i

[00:53:16] want to sort of wrap this up but i don't want to put a yeah anyway let's put a bow on this so

[00:53:23] do you think Lee that you could do what you do if you didn't live in Nashville is it imperative

[00:53:29] that if somebody wants to be a touring musician or a studio producer or a studio musician

[00:53:35] do they have to come to Nashville do they have to live there could you do what you do elsewhere

[00:53:42] i could now but i couldn't yeah i have done it without moving here okay um there are

[00:53:50] i do believe for Nashville if you want to play for a national artist i mean you got to get

[00:53:55] if you're going to get a touring gig and get in a van or get on a bus they're going to have a

[00:54:01] you're going to go down drive down to the grocery store the crogre or the public's that's where

[00:54:05] you park your cars and it's a midnight bus call and that's when you leave and you've got to be here now

[00:54:13] i'm spoiled and to be with a group of people where they can afford to fly us places and we do have

[00:54:22] other people living other places but that's an expense so i do believe for networking

[00:54:30] oh wow here we go social media yeah is a big when i moved to town there was no social media so

[00:54:36] we had to go to bars and i had to play i had to sit in open mic nights uh blues jams you know

[00:54:42] and play and then people would go who's that keyboard player you know networking old school

[00:54:47] you had to put it in person face time you had to be here and i do believe if you want to get a gig

[00:54:52] playing you should be here um now producing uh and having a studio which uh i love i've got a

[00:55:03] plethora of players to pull from plethora of players to pull from that's a lot of piece um

[00:55:11] but like if i'm doing and also there's so many clients to record here but you can produce and do

[00:55:19] recording anywhere um but i think Nashville is a cool town because there are so many opportunities

[00:55:26] but you do need to be here because and also you never know when it's going to be last minute

[00:55:31] and i've already i've already held here's a classic example years ago i was holding fiddle auditions

[00:55:38] and this guy his name was Gary Murray um came in and i think he was from Arkansas

[00:55:45] and i didn't hire him because he was from Arkansas and i found it logistically a nightmare

[00:55:51] of getting on like no you need to be here guess who our fiddle player is in the darius rucker band

[00:55:59] Gary Murray nice did he move that he moved here then and then he got a gig with dolly parton

[00:56:08] um patty loveless you know but it was because he was here and he would have never done that if

[00:56:15] he would have stayed in Arkansas yeah so i do believe that you do need to be here and for uh

[00:56:22] singer songwriters there's so many open mic nights and um you know showcases and singer uh

[00:56:30] singer songwriter nights where you need to be playing in front of people all the time

[00:56:35] and i know that happens in other cities but i just think Nashville has something special still

[00:56:40] to this day where you can go out and do that i know countless musicians that have gotten a start

[00:56:46] in the city that they're in but then eventually it is uh uh

[00:56:52] and an eventuality that they end up moving to a music town whether it's Nashville or LA

[00:56:57] right right right or Memphis even you know like sure you can only i don't want to say that you

[00:57:04] can only get so far being in your town but it's kind of true you can only get so far and if you

[00:57:12] have aspirations to hop on that to us to be in that studio with that musician that you have a poster

[00:57:18] on the wall of you're not gonna get that in your town you've got to be where they are and that's

[00:57:24] a national or New York or LA yeah not Tampa not well you know i don't know man but you know i mean

[00:57:32] all our Tampa listeners hate us right thanks Neil

[00:57:39] man i love you Tampa no Tampa's great Tampa's great there's there's a lot of opportunity here

[00:57:45] and but like i play every weekend basically um and it's it's a it's a it's a good town for

[00:57:52] for music yeah it's probably not as you know opportunity um rich i don't know the word rich

[00:58:01] there we go opportunity rich as Nashville and you know but i guess wherever you are you know make

[00:58:08] music well that's that that is the thing is is do everything that you can wherever you are you know

[00:58:14] don't let the location stop you from making music and certainly with the internet you can get yourself

[00:58:20] out there in front of people in other towns and be noticed right that's a whole other discussion

[00:58:25] that we could have so certainly don't let that stop you if you can't afford to move to Nashville

[00:58:30] or New York or whatever don't don't let that stop you by when you're ready to make that next step

[00:58:38] certainly that is that is the pro step to make yeah if that if that makes sense if you do want to

[00:58:45] play for an artist or you know well let me put it this way Neil there's probably many many more

[00:58:51] opportunities to play and make money um in Tampa then there are in Nashville like Broadway

[00:58:59] yeah Broadway is a whole thing like these guys are making great money down there they're playing off

[00:59:04] a cover list and in most cases and they're they're doing that thing that Broadway does i don't

[00:59:11] personally want to do that and um but if you are playing to make money in other uh in Nashville

[00:59:21] it's harder because there's so much of it know what i mean yeah i mean if you're i made more money

[00:59:29] making music in a cover band up in Wisconsin and then i moved here and i heard the talent and i'm

[00:59:35] like y'all are playing for free what yeah i'd be i'd be i'd be scared yeah i actually make decent

[00:59:42] money you do this and and it's it's it's fun i may never get to you know play with you know

[00:59:49] a soul silencer you do somebody like that or anything but i have gotten to play a show

[00:59:55] with soul asylum like like we we played the after party at um in a mockery florida at a casino

[01:00:03] and they were playing the art flow festival and we got to be on the same poster as them and i was

[01:00:08] like yeah you know it's an achievement awesome yeah and well even though we i may never get to play

[01:00:16] with like you know a big you know rock band or whatever i'm making music and it's fun and every weekend

[01:00:23] like i'm playing tonight and it's just a little little restaurant but it's in denieten and i love it

[01:00:30] and we have a huge audience that like usually packs right outside and we play outside and

[01:00:36] and people can't get tables it's fun i love that little cover band so in Nashville my wife plays

[01:00:44] at this place called sam buka i love playing with her and doing that we never know what the crowd

[01:00:51] is going to be it might be 30 people it might be but they're all they're eating dinner and then

[01:00:56] with little teen disease that's probably one of my most fun times on stage like sometimes i actually

[01:01:04] feel there are moments in my life where it feels like i'm in a movie and i'm a character and i don't

[01:01:11] know how i'm here that's awesome with little with little teen disease we play at this place called

[01:01:16] pukets or i'm sorry it's called foxin lock now leepers fork and it holds maybe 130 people

[01:01:24] and that is more fun sometimes for me because it's just so intimate and it's also

[01:01:31] here's a i know we're wrapping up but here's a weird brain thing for me i have an easier time

[01:01:38] playing in front of thousands of people in a harder time playing bends going like this

[01:01:43] in front of 30 people yeah why is that because you can see every single one of the 30 people you got

[01:01:50] when it's a sea of people you're just like yeah that people they're just people and my brain goes

[01:01:56] i don't even know if they can hear me which is what yeah i'm like do you even hear me

[01:02:04] you know but um yeah i yeah i could see that like i've played festivals and stuff like that and

[01:02:09] you know you you have the crowd and it's just okay you're up there and you're playing and you

[01:02:13] haven't fun you can kind of you can hear the crowd they're they're into it but then those those

[01:02:17] shows that are like the best are like when a little pub is just crowded with people and they're

[01:02:23] like singing along dancin yeah and i'm playing grunge music which is really weird for people to

[01:02:28] to dancin along too but it's fun yeah i think music's great i've been doing a long time and i just

[01:02:37] i love performing i love bringing that element into the studio also yeah and helping young artists

[01:02:44] because i think like we've been doing this a while and you playing all those cover songs

[01:02:52] leads you to learn the form of the song what works what doesn't work and how can i help you

[01:02:57] incorporate that into your song and make your songs better is just it's really exciting i still dig

[01:03:04] music so much you know that's awesome to have the passion after that long and and what you've

[01:03:10] you know done to achieve that and you still have that passion like that that isn't incredible yeah

[01:03:15] i love it where can people find you if they want to work with you uh to have you play keys on

[01:03:21] their song or they have some great ideas and they'd love a professional musician of your caliber to

[01:03:27] make that song even better how can they find you and i would love it if y'all would reach out

[01:03:32] at lejayturner.com so it's le middle initial j turner.com wonderful there you can read more about me

[01:03:41] you can hear some musical examples and then just click the link in it and reach out and it sends an

[01:03:48] email right here i do a lot of remote keyboards all the time um and i love doing it we can also zoom

[01:03:58] you in as i'm playing uh which is another great option that's great um but yeah lejayturner.com

[01:04:06] would be awesome i'd love to hear from you guys even if you just listen to this and you said hey

[01:04:11] a Doug what you said you know or questions hit me up yeah wonderful it'd be great we'll put the links

[01:04:18] in the the show description for anyone to click on wow leigh thank you so much for taking time

[01:04:24] today to talk with us about your experience making music in a music town absolutely thank you it

[01:04:31] was really great meeting you Ben and Neil and Nate thank you so much you guys for having me um the

[01:04:38] time flew by i wish we could talk more maybe we'll do uh something else we'll do we'll do a follow-up

[01:04:43] episode down the road uh and talk about your studio life because we don't get to that today and

[01:04:49] there's a top uh and the top side yeah absolutely well thank you so much Ben and Neil thanks for

[01:04:55] for being with us here today as well and leigh thank you thank you and we'll talk to you all soon

[01:05:02] yeah thanks everybody been amazing thanks

[01:05:19] thank you for listening to sound discussion your hosts are Ben Holmes Neil Merchant and me

[01:05:25] Nate Calms our theme song is composed and recorded by JoJo Temerman you can find us on the internet

[01:05:31] at sounddiscussionpodcast.com or you can drop us a line at sounddiscussionpodcast at gmail.com

[01:05:40] additional show notes for this episode can be found on our website or in the description area of

[01:05:45] your podcast player a big thank you to our guest for taking the time to chat with us today

[01:05:50] and to you the listener for taking time out of your busy schedule to be part of our discussion

[01:05:56] we look forward to having you join us again next month on another episode of sound discussion

[01:06:02] who's playing something i mean i pay you to hit shit hit shit