Happy Birthday Trisha Yearwood! + #164 - Trisha Yearwood Made More Money Singing Backups + First Tour Ever was Opening for Garth Brooks

Trisha Yearwood turned 58 years old today! So in her honor, we wanted to share when she stopped by Bobby's house and talks about how she got her start singing demos in the 80's. Trisha has sung backups on more than 100 Garth Brooks songs and got her start opening up for him on his tour back in 91 when she only had 1 song on the radio. Trisha also talks about recording her Frank Sinatra tribute album "Let's Be Frank", her next country album and what she likes to watch on Netflix.

 

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Episode Transcript

Speaker 1 (00:00):
Today is Tricia Yearwood's birthday and she's just the best
and we spent an hour with her. This has been
a while back, but it's so much about her life
and how she made it and how she was a
receptionist and she didn't even tell people as she was
a receptionist that she was a singer until she got
a record deal. It's one of the really cool things
about this and again, I'm just such a big fan
of her professionally and personally, that I wanted to reload

(00:22):
this because it was literally years ago and I think
if you're new to the bobby cast you'll really enjoyed this.
So enjoy an episode that we did. I mean two
houses to go for me, that's how long ago was,
back when I used to have to sit awkwardly close
to them because that table was so small. The first
time we did it I was like, I'm I'm way
too close. Is Too close? I'm way too close, but

(00:45):
this is Tricia Yearwood and this is a body cast enjoy.
All right, welcome to episode one with Tricia Yearwood. What
a treat. Thank you very much. You brought me some
Jack Daniels Sinatra select now do you have that the
Frank Sinatra record, and so we'll talk about that in

(01:05):
a second. But it's orange. It's it's orange on the
packaging because that was Sinatra's favorite color. And and you're
pretty cool, I guess, if Jack Daniels gives an entire
collection of alcohol for you. I mean, I think it's
pretty cool anyway. I was gonna stretch scratch out his
name of mine, but I decided to just leave it
for you that way. I think you're pretty cool IFO
does a record of all your songs, more so than

(01:25):
if Jack Daniels doesn't. Waiting to be like. I'm waiting
to do let's be bobby, but I'm don't want to
do that one. That's like a FCC. Fine, that could
be my next thing. That's the whole thing. We were.
So you handed the alcohol and I said, hey, why
don't I just drink this, um the first time I
ever drinking, and I'll just get hammered during the podcast
be so embarrassed to be that person for you. I

(01:45):
don't want to be that person, I think, and a
lot of my friends want to be that person. They
want me to get drunk with them because then they
have like my my alcohol flower. Right, exactly. Yeah, I mean,
I mean, I love you, but I don't want your
alcohol flower. It's not my thing. I've never been heard
it called. That totally creepy. I was out with a girl. Um,

(02:06):
speaking of alcohol Fla. Well, this is a whole story
about me drinking, because when I drink, people act weird
around me. I don't drink, but people are drinking. I'll oh,
I shouldn't drink around you. So I don't tell anybody
that that I don't drink. So I I fake drink.
So I asked the bartender for something virginy and, you know,
put a little. So I was with a girl and
we went out and ray and bay, who, Um, we're

(02:26):
having dinner with them and I go to the bathroom
and ray tells the girl that I took out. Oh,
you know, he doesn't drink, right, and then she starts.
She said, I didn't know he told her that and
she's been acting totally weird around me. And that's what
it is. It was something else. Yeah, I was like
she must know about my rash. You must have, which
is another reason this kind of be what don't you

(02:47):
deserve a metal because it's really hard. I find to
be the sober person around a bunch of drunk people,
because no one who's really drunk understands how drunk they are. Right.
So you're if you're the sober person, if you're drunk
with them, then you don't have to worry about not
having patience with anybody, because you're drunk too. But if
you're sober and everyone else is drunk, but I don't
know the difference right. Well, you just aren't hanging around
the right drunks. Maybe so. I mean, I don't know

(03:08):
the difference in me, like I know the difference in
the right I've never been drunk with the drunks. I
only know being with the stupid people, like I know
a Friday night, if I go out, I'm with a
bunch of stupid people. That's just par for that course.
That's what it's going to be. So I appreciate that
someone in this house will drink it. Well, that's what
I thought. You could serve it. You could serve it
to some one of your guests. Yeah, or someone will
steal it. That's what happens. That might happen. I'll go

(03:30):
into my bedroom and I'll come back and Eddie stolen
or somebody from the show selling all the alcohol. I
get really nice alcost to me sometimes because you keep
alcohol in your bedroom. I mean, is this something? I'm
going to my bedroom, like to change clothes or something?
I'd come out all right, okay, I feel better now.
I feel better now. I was concerned. Yeah, what have
you been up to all day? I've been doing I've
been talking about this record and uh yeah, just kind
of doing my thing. We're getting ready to go to

(03:51):
St Louis to do a Tailgate, so I've been talking
about that. And, Um, what is the interview day for you,
like a press day? What does that consist of? You
wake up? What Time Today? I woke up at so
some days it depends on what you're doing, you know,
if you're doing with those big early morning shows where
you're crack early morning show. See, I got into the
music business to not have to get up early, but

(04:11):
then you end up getting up early for stuff. You
Get up early, three o'clock. Yeah, that's not okay. That's
not okay to me. I would have to quit my job.
What I used think that because I'm not a morning person.
I just I'm not. It takes me three hours to
get to where I'm okay, but you it's just a balance,
like do I love what I do? Yeah, but do
I hate waking up to do it? Yeah, and then

(04:31):
as it starts, like now we've kind of kind of
built something cool. Yeah, so it's like, you know, if
my worst problem is not getting sleep, I get that's true,
and once you're up it's okay. It's the getting up
for me, but getting up in the dark, I mean
that's you really. You really are a night person, because
you get up in the middle of a night. That's crazy.
I'm a night person anyway. I'm too, but I mean,
and I am that person, if I have to get

(04:51):
up really early, I'm not the person that goes to
bed early. I can't do it. I'm just a night person.
So I'm just not going to get sleep if I
got to get up early. If you're playing a show
and you finish at eleven thirty, what time? What time
is into the set? Usually the whole thing, usually even midnight,
something like that. What time do you finally get down?
Probably two wish. Yeah, that's my perfect schedule. If I

(05:16):
could go to wake up at one pm like that
would be so good. Like that's my my natural I
was reading a story about that where a lot of jobs,
not a lot of just but a lot of science,
is saying jobs they're like programming people wrong, that everybody's
body isn't built for nine to five, that a lot
of people's bodies are built for noon to eight P M.
and at the productivity scale, whenever you find what people

(05:38):
do best, they actually work better at the times of
their bodies. Make so much. It makes so much sense,
so much sense. I mean I was a I had
a nine to five job when I first moved to town.
I was a receptionist at the record label and I
had to be at work at nine and I worked
at a label where there was a guy at the desk,
so if I got there at nine Oh one, he'd
had to sit there an extra hour, so he was

(05:58):
really ticked at me if I was ever late. I
was always on time because I didn't want h to
be mad at me. And you couldn't leave your desk
to even use the restaurant without somebody sitting in your
chair because your dance on the phone, you're the cover,
you're the gateway, you know the whole place and it
was really depressing for me not because, first of all,
I'm watching people come in every day and do what
I wanted to be doing, so that was hard, but secondly,

(06:19):
just that structure of this is when you clock in,
this is when you clock out. I think some people
are made for it and I think some people aren't,
and I don't think I am. I like people because
it must be so crazy. You just normal ever know
what your schedule is going to be. I'm like, it's
kind of different every day, but I kind of love
that for me, so it's consistently different, like there's a
consistency to to it always being different exactly exactly, and

(06:40):
I like that. I think I thrive on that. I
don't think I would do well. I know I don't
do well. Did Not do well in the nine to five.
Marcus humming is a friend and a songwriter in town
and he said that he would go in. You mentioned
your your job at Mary Tyler Moore and he would
see you working behind the desk early on. Yes, and
actually Marcus gave me work. Um He I did some

(07:01):
demos for him. Um Back in the day, back in
during that time period, I got to know, I knew
a couple of songwriters and I started doing demos after work. Um,
so I'd work nine to six and then I would
do demos until, you know, nine o'clock and then I
would go home and go to bed and get back
up the next day. And and then, for and then
for a while, I got a job playing at a
bowling alley in Hendersonville, north of town. So I would

(07:24):
go leave my job and I would play from seven
to two and then I would get up and go
to work the next day. So you work a full
normal day at five PM, then you go to the
bowling alley and play for five hours. Yeah, what does
that mean? What do you do at a bowling on
when you play? Do you have like a you play sets,
so as you play at three, like three sets in
a band? I was in a band, so I did
all the girls songs, you know, and you did that
for five hours. Yeah, for yeah. And was it enough?

(07:47):
Were you doing it to like pay rent? Are you
doing it to get in the music scene a bit?
I just wanted to sing. Yeah, I mean, and I
I honestly made I think I'd make about two hundred
bucks in a weekend, which was what I made in
a paycheck, you know. So it was and it was
I was having more fun doing that. So eventually quit
the job to do that. But also the demo work

(08:08):
was I couldn't get full time demo work having a
full time job, so I could only sing after work.
So it was kind of that moment of like, I'm
not really making enough money to to quit the job,
but if I don't quit the job I'm not gonna
be able to do the other thing. And that was
a little transition. But then I then I did demo
work and it was great for me because I learned.
I learned so many things I didn't even know I
was learning. You know, I learned what a good song

(08:29):
was for me, I learned what a bad song was
for me. I learned how to make a song on
my own because I'm kind of an imitator and I
had sung with the radio in my whole life. So
then you're hearing songs you've never heard before and you
have to you have to make them yours and it
was it was a great training ground for me in
a way that I didn't even realize when you're a
demo singer and for example, Um, if you're listening to this,
let's say you and I write a song and we're

(08:51):
like this really good song, we'll get someone to sing
the demo. So it gets pitched too artists. Um, are
you hearing like the work tape, the recording, like accept player,
and then learning it real quick? Are youaring that and
and looking at the lyrics sheet and then walking in
and seeing it like pretty fresh? Yeah, I'm hearing I'm
hearing it on like a jam box back in the day, Um,
with a lyric sheet, maybe, usually, usually a lyric sheet.

(09:12):
And and this was the eighties, you know. So I
would I'd have a ten o'clock, at two o'clock, at
a six o'clock. So usually there be three or four
songs per sessions. So I would listen to the cassette
of the three songs I had to sing at ten
o'clock on the way to the session because I'd usually
go by and pick up a copy the day before, usually,
and I learned them on the way and I was
I had a really good short term memory, so I

(09:33):
and I had this system of because you know, in
Nashville it's the number system. And I was like, do
you know the number system? I'm like yeah, of course
I didn't, but I said I did because I wanted
the work and my system was to listen and kind
of just make these little hieroglyphic lines that no one
can understand but me about this one, this song. There's
a little lick here, that melody goes up upon an Arrow,

(09:53):
whatever I need to do to kind of learn it.
And then I would sing those songs and then I
would um usually do a harmony and then I would
get in the car and I learned the next three
or four songs on the way of the two o'clock
because you can't cramming to each of your cramming for
a test and to each one and then the next
day you do it all over again. So sometimes I wouldn't,
I couldn't tell you what I had sung that morning.
But if I eventually heard that on the radio, I'd

(10:15):
find myself singing along with a song and be like, Oh,
I did the demo. Isn't that crazy? So it's subconsciously, yeah,
it's in here, but you're just sitting. Yeah. So did
you ever Sing Demos of a song? They're turned out
to be a pretty big one. Um, I did. I
did sing a demo for a Lori Morgan Song called
I guess you had to be there singing the demo
for that. Um, I sang. I'm trying to think there

(10:37):
was something else that I did that became a big song,
but Oh, I did a demo for one of my
very first demos ever was a song that became a
hit for Sammy kershaw called dunt go near the completely
switch up, totally D don't go near the water. Pride
to demo singing. When when it does kind of make it,
because you're like, oh, I was on the first level
of this. It kind of is and especially before you

(10:58):
have a record deal on your own and you're you're
not hearing yourself on the radio, then you just kind
of feel like, okay, I'm in, I am in this
business somehow because I'm you know, I'm I'm I'm contributing.
And then the first time I heard myself on the
radio was as a harmony singer. I Um Kathy Mattea
asked me to sing on a record of hers called
time passes by and I could hear my high harmony

(11:18):
and for me to hear myself singing on the radio,
that was the first time and it was like okay.
So every step was like a little step closer and
closer to where I wanted to be. We just did
the whole show about background singers and background singers that
you may not know. We're singing background and some of
the ones that we talked about where recently we're stableton
singing with Luke Brian and drink a beer. We went
back to your so vain from Um Carly Um Carlie Simon,

(11:41):
with make Jagger who just happened to be in the
studio and was like I'll sing, and you know he's
not credited or when the Beatles did UH. But we
did all this whole this whole show about background singers
and you may not know who the famous background singer was,
kind of crossing on the wallflowers, things like that. But,
like you mentioned, you know you sing harmon you sing
background records. That was a step up from demo singing

(12:02):
when they would hire to come and sing the background
of the harmonies. Yeah, and I because you were doing
something that was for a record label that was potentially
going to get played on the radio. And I mean
I sang. You know, I think Garth Garth says I
don't know how many songs he's got, but I mean
I was singing on like a hundred songs of his
and sometimes we know it's sometimes you don't know it's me,
but um and he did the same for me. He's

(12:22):
singing on some of my records that you wouldn't know
he's singing on Um. And then Leroy Parnell, I sang
for as, I sang with Vince Gill, I sang Um.
I just I mean pretty much because I loved singing
harmony and I was good at it and I was inexpensive,
you know. So as a demo singer you're like, I
come in, I know the song, I can sing home
pitch and I can do my own harmonies and you know,

(12:46):
twenty bucks, maybe forty if there's harmony, if there's more
than one harmony, and you're out the door. You know.
So it was a but you add those up in
a day and it was a pretty good living. So,
you know, it was. It was I made better money
doing demo than I did as a receptionist. And then
I got a record deal in I was broke, you know,
because then you stopped doing all of that and then
you you're then you're in debt. And so what's funny is,
and this happens again to a lot of my friends

(13:08):
people I know, is that you as your profile goes up,
you get poorer totally and it's a it's a weird
juxtapossession of here you go, everybody's like, well, I check
this out, but you have no time to do anything
except kind of start over and you're not making any money.
You know, they don't give you an American idol. They
don't give you a bunch of money as soon as
you're not a record deal. You know they don't. And
if they, whatever they give you is to make your record,

(13:28):
which is, by the way, alone, because it's back, and
then you pay it all back and then you still
don't own your record, you know. So it's kind of
a weird it's totally weird situation. Um, but yeah, and
then when you do I remember that the first money
that I actually made, which I never saw the check,
but the first money that came in, was the second album,
hearts and armor, when it went platinum. I remember that

(13:49):
there was there was gonna be some actual money coming
in and Um, it went right back into reinvesting in
what we were doing next, because we were going on
tour and we were, you know, you're paying a band.
You got to you gotta Bust, you gotta pay for
and it's it's a lot, you know. So we never
really saw it. It's so much. I was looking, you know,
because I have a comedy band and we play some.

(14:09):
Do you know? We'll do a few thousand people and
I it's just pretty good little shows and I do
stand up and we do some comedy songs in the
full band plays, but just to pay the band and
travel every show, it's thousands of thousands of dollars. I
was looking at my business manager and you know, because
I'm paying my drummer. You gotta pay your basis, you
gotta Pay Your tour manager. You're paying and by the
time you look at the whole thing, it's thousands of
dollars for every show. And if you're new, and some

(14:33):
of my you know, people have been opening acts and
you're getting, you know, five to seven for opening spot
one of these tours. Right, you're paying that to just
get there. Oh Yeah, you're you're not making any money
and I think it's harder, even harder now, because artists,
you know, they pretty much don't do a deal anymore.
That's not a three sixty deal right. So you don't

(14:53):
get so now you're you're used to be that, you're
you know your money is. You're paying everybody, you have,
you have all the responsibility, you pay all the expenses.
You're the last person paid. And now a percentage of
everything you make is going to your record label, including
your live show, including your merchandise, through every single thing.
So it sounds like Oh, for me, but I think

(15:13):
people just assume Oh, they're just all rolling in the
dough and it's really. It's really for ninety five of artists.
It's a really hard job that has you in debt.
I mean it's it's not. It's not you have to.
You have to do it because you love it. You know.
It's the I would say it's the one percent of
the one percent who make money, because it's the one
percent to get to this town and be able to

(15:34):
just be so good and good, meaning you've done the
work to also be good, to be so good that
you get a shot and you get signed, and that's
just a shot, and then to be the one percent
who gets signed and actually can make money and make
a longer of it. It's the one it's the point
one percent of people who can actually, you know, make money.
It's it's way more difficult than I think some people
think it is. Yeah, and I think, I think especially

(15:56):
now with there's so many ways if you don't have
any kind of action into the music industry, there's so
many ways now to get your stuff out there, with
social media and Youtube and all that that everybody does think, Oh,
I'll just do this and I'll be famous or whatever,
and even if you become a sensation on Youtube, it
doesn't guarantee you know, the the goal is longevity and
that's not easy to do these online musicians. I was

(16:19):
reading about a rapper, young DOLF. I didn't know who
he was either. Maybe you do, maybe don't. You see
the look in my eyes. I'm like, I didn't know
he was. He was eating at a cracker barrel. It's
old DOLF's kid. Yeah, of course, and the door the
whole generation of dolfs. He had a golf video, I think.
He was eating at a cracker barrel and he had

(16:40):
five hundred thousand dollars of jewelry in his car. There
was they bust out his window. It was all in
his car. They stole it all out of there. And
I'm like how did this dude make five hundred thousand dollars?
He's an online rapper. He's a rapper who made it online.
I don't know where he's getting that money. But some
of these youtubers can make a quick pop, but you
got to sustain that. But half million dollars in a car?

(17:01):
Are you kidding me? And first of all, where's Your Business?
Where someone telling you to not? Nobody. With half a
million doges with the toury andody. Nobody was telling he
was half a million doges with the jewelry besides, maybe,
like Liz Taylor, I don't know. Jewel and in a car. Yeah,
so someone busted out the window. It was a camouflage wagon.
Busted it at the crack and I'm like get the
cracker barrel. He's also gonna get the cracker barrel. There's

(17:21):
there's some Irish. So many things wrong with his story.
I can't even when did like the for you? When
did they start to be hey, we gotta get this
music online. What part? What stage? Um, like a couple
of weeks ago, Tricia, I'm sort of in the last
man standing. Um, sorry, I it's it's hard because I

(17:44):
come from a different kind of a different era, you know,
of the way music was made and sold, and I
I am also wanting to be current, so I want
to do things the way things are being done. I
know people consume music in such a different way. Um,
and this was really the album, this, let's be frank, album,
was the one that I said, okay, let's just put

(18:05):
it everywhere, because we just what we want is for
as many people to discover it as possible. So let's
put it in every single possible form we can, which
is why, if you buy the album or you buy
the vinyl, there's a digital download inside. We're on all
the streaming. Um, we just want we just want to
get it out there. And you know, I it's tough
for me because I as a as a listener and

(18:27):
a consumer of music. I consume that same way. So
if I if I want to hear a song and
I and I go to youtube and watch the video,
then I might be less likely to buy the record.
So what's going to motivate me to buy it if
I can just hear it in all these places for free?
But at the same time, you have to get it
out there for people to hear so, Um, we just
said let's go for it. Why do I play? For

(18:49):
the last time? This is from the let's be frank album.
I have it here. I have it on vinyl. I'm
in love the last time, my love lock with no melity.
This is the next to last track on the record.
I just look at the track list. I have a
vinyl you gave me here. Do you listen to things

(19:10):
on vinyl? I do. You know what's really cool is
that it makes me listen to albums again all the
way through, which is because it's hard to skip. I
agree with that. So and there's reasons for the the
way records are made in a certain order. It was
the first time in a long time that I had
to think about what do you want to start side
B with? You know, it's like, I haven't thought about

(19:30):
that in a long time. You know, is it a
different order than if you were to stream the record
that you did the album the vinyl with? Yes, because,
because of that, because you want and on vinyl. One
of the reasons that we've moved away from vinyl as
a format is because it can only handle a certain
amount of time on the on the vinyl before it
starts to lose the quality of the record. Well, no,

(19:52):
it's it's actually the minutes on the record. So like
something over is over. Twenty two minutes aside. Something about
the grooves in the vinyl makes the sound quality go
go the other way. So so there's that, you know.
So we actually had another song. We dropped a song
on this off of this to make it fit on
the vinyl and then I decided not to add it
back on CD. You can put as many as you want. Um,
I didn't want to. I didn't do that because I

(20:13):
didn't want there to be something somewhere that went anywhere else.
So that's a consideration. And then you have to think about, well,
if somebody's gonna flip this record over, how does it's
almost like a a six song playlist on each side.
Here is come fly with me, come fly with me,
that's fly. Let's fine. Did you find that songs like this,

(20:36):
the more legendary songs, were a little harder to do
because everybody knows them? Because I would be like, I
just don't want to screw this up and everybody knows. Yes,
and also, interestingly, the big, huge lush symphony ballads were
not as hard as the lighter like come fly with me,

(20:57):
kind of the Jazzy, more rhythmic things, because you find
yourself trying to think about being cool when you're singing
it and you have to not think about it. You
have to just like you have to go look, you
know what to sing. Don't overthink it, don't worry about it,
just sing it Um. But yes, I mean come fly
with me, one from my baby, one for the road.

(21:18):
Those are such quintessential frank songs, right. So you just
have to hope that people know that you are just
trying to show your respect. And with frank it's such
a weird thing because you want to do it right
because of Frank's legend. However, people love frank and if
you don't do it right, I just I danced to
frank's Natra Song. I dance with stars and people were

(21:39):
lighting me up because I wasn't great at the dancer.
It's like how would you, could you disrepect Frank Sinatra?
And I was like, I'm dancing, this isn't I didn't
New York, New York, and they were like how would
you just? I was like, I dance as good as
I could. I'm not a dancer. I just liked the song,
but I saw then a little bit how pissy people
would get when you wouldn't do everything wonderfully. What you
have to do is you have to just understand that.
If you I know that my respect level for him

(22:01):
and his music is high. I know that my intention
was to make a record that was mine but also
was a very, uh, you know, specific tribute to him,
and there's got to be somebody out there that is
like really, what does this country chicks thinking doing a
Sinatra record? But I really don't care. I mean it's
kind of like, if you're gonna do it, you know,

(22:22):
you go out and you dance your heart out, bobby bones,
and you don't worry about what. I worried about whatever,
but it thought because I wasn't for the last Um,
let's be frank's out. Um, I should mention that first
song that we played. That's the one that you and
Garth wrote, right, that's what you told me. We talked
about it on the radio show. No, yeah, we UM, yeah,
that one. So I came home with, Um, this title
in my head and I think I told you when

(22:43):
we talked before that, you know, Garcia, one and all
the songwriter hall of Fames, and so I'm like, I
don't I'm not really a confident writer and I tend
to do things that come easy to me, but if
they're a little bit of work, I give up pretty quickly.
I'm good at that. And UH, writing is one of
those things that I mean, I've written all my cookbooks
and their story is about my life and my family,
but they're not poems, they don't rhyme, they're not you know,

(23:03):
I'm not a poet like garth is, but he is.
So it worked out really well and we worked on
this together and I really I would. I would not have.
I didn't intend to write a song for the record.
It wasn't it didn't happen at the same time. But Um,
when the song was finished it felt like a throwback
to another era. So when this album came about, it
felt like the place to put it. It fits with

(23:24):
all the other songs too, like I if I would
have just played it and not known. Um, yeah, sorry,
I'm sorry. I'm just off the end of a cold
and it's like the cough won't go away. Why you
take a drink, we'll take a quick break here. You
know something interesting about you is Um. You mentioned that

(23:46):
you that you sang on roughly a hundred garth songs. Yeah,
something like that. Do you remember the first time that
you ever went and sang with them, or was he
just one of the singers you were popping in word? No,
I mean actually I met Garth Um. It's kind of
a famous story now. We were introduced by a guy
named Kent Blazie, who wrote Um if tomorrow never came,
and I did Demos for Kent. So when during those

(24:09):
demo days, when I was driving around with the cassette
in my car, Um Kent was one of the first
guys I met in Nashville, long before I met Garth.
And so Kent had a studio in his attic of
his house and I would go over to his house
and I would sing and Kent kept saying I'm working
with this other guy and Um, you guys need to
meet each other. I feel like you guys would really
get along and he needed, he needs to call you

(24:30):
to do some of his chick singer Demos and like cool.
And garth was Um didn't have a record do it yet.
I think he had just signed with capital, didn't have
an album out yet. and Um, so one day Kent
hired us, uh, for to do a demo, a duet.
So we met at Kent's house in the Attic for
ten bucks a song. And garth says he didn't get
paid anything that day, but I think he got ten
bucks that day. and Um, that was the day that

(24:52):
we met. So we met before he was, you know, famous.
And I remember him saying because that day, he said
he went to Bob Dull, his manager, and said this girl,
like you've got to hear this girl sing. I um
remember him saying, you know, I just got signed a capital,
I'm about to put up my first album and I
hope some day, you know, we can work together and uh,

(25:13):
if I'm lucky enough to do well and whatever. And
remember when he left, I thought that's cool, like, I
mean I thought this guy's got really big dreams. I
mean I hope, you know, like he's he's not even
released his album yet and he's asking me to, you know,
be on his tour kind of thing. And then, of
course he became Garth Brooks. And after that first album, Um,
then he called me to come and sing on the
second album. And so it was songs like Um, uh,

(25:36):
Cole's shoulder when that on the second album. Cole shoulder
was on the second album. Um, I missed the friends
in the places day. I was out of town on touray.
Literally missed that day, which really bummed me out because
there's like everybody's on that song and I wanted to
be on that record and it wasn't. Um. But it's
fast forward to when I got my record deal a
couple of years later and uh, by that time friends

(25:59):
and will play this was out and he was this phenomenon,
you know. And so he he said, let's go over
to M C A and go see Tony Brown and
um about you've seeing if you want to come out
on tour with me. And everybody was wanting to be
on that tour. I mean it was like the tour
to be on. And so when we got to the
front desk, the receptionist, Willie she um, called back to
Tony and said Garth and Trisher here, and Garth Fundis
is my producer. So Tony Thought it was me and

(26:21):
my producer. And so I walked in with Garth Brooks
and he's like I'd like to I want to, I I
like talk to you about maybe taking Trisha on this
tour and of course I was like yes, you know.
So for me it was kind of a blessing and
a curse, because I had grown up doing demos. I
had not grown up in the clubs, I had not
come up through learning my way in front of a
small crowd of drunks. So my very first audiences were

(26:44):
opening for garth and, you know, doing a set in
front of fifteen thousand people who didn't know who I was.
That was my first and, of course, garth being Garth,
you know, most of the time, if you're on a
big tour like that, the artist has all their stuff
and then there's a big curtain in front of it
and you've got about three feet to stand in front
of and do your Oh, which would have been a
dream coming true for me, because I was terrified. And
of course garth's like here, use my whole stage, you know,

(27:06):
and I'm like Oh, that's so great. So that was
it was terrifying, but I had to. It was really
baptism by fire, you know, and I had sheese and
love the boy out, which was doing well, but that
was the only song I had on the radio. So
people spent either the entire twenty minutes I was out
there getting popcorn or yelling for she's in loved the boy,
you know, until that was my last song. Is that
the first song of yours that you heard on the radio? Yeah,

(27:28):
she's in love with the boy. Yeah, and play that
one a little bit. Did you know it was coming
when you heard it the first time? I remember exactly
where I was. I was just I was right down
the street here in Green Hills, driving down the road
in a had a four door Burgundy Honda used and
I was driving down that road and I heard it
come on and I rolled all the windows down and

(27:49):
I don't know why. I guess I thought I wanted
everybody on the street to hear too. I don't know.
I mean it was like this, you know, just this
whole your whole body lights up, you know. and Um,
it was the most exciting thing in world because I
had literally wanted to be a singer since I was
five years old and I remember listening to the radio
and my mom's and dad's kitchen in our house thinking

(28:09):
I was naive enough to think, well, they're on the radio,
why can't I be? And I think that's part of
the reason that I became one of those one percent
because I didn't know the odds. I don't know what
the odds were and I really just believable. If they
can do it, why can't I do it? Did you feel,
when you were working at the front desk and people
would come into work in a profession that you wanted
to do, that you were as good as they were already,

(28:30):
because I know it's frustrating when people are doing what
you want to do, but did you feel like, Oh,
I'm I'm there talent. Wise it's just got a part
of my time? My thing was I believed in my voice.
I believed that I had a voice and that I
could sing, but I'm I'm basically an introvert. I mean
I'm not like I grew up watching Barbara Mandrell on

(28:51):
television and she played every instrument and she danced and
she did all this stuff and I was not. I'm
not that kind of an entertainer, and so I really thought, Um,
you know, I'm I can sing, I'm a little bit overweight,
I don't play an instrument really. I can play a
little bit of guitar, but I don't so I didn't
think I had enough. I thought I've got this one
skill that I believe in, but I don't have all

(29:13):
these other ones. So I think for me it was
I did have a strong belief in myself, and I
don't think if I didn't, I wouldn't be sitting here,
but at the same time I had all these doubts
about the things that I thought I needed to be
able to do before I could be be successful at it.
So you felt you had to develop. Even then you
felt like you need to develop a bit more. Yeah,

(29:33):
you weren't so strong. No, no, I mean and I
went to Belmont where there were so many music majors
and you couldn't you throw a stick without somebody telling
you what a great singer they were, you know, and
I was not that girl. And even actually at at
mtm records Um after I got my record deal, there
were people at that building who said we didn't even know,
we didn't know you sang really. Yeah, so you weren't.

(29:55):
You weren't one of the ones that were like hey,
I sing, I sing again. I was not. I was not.
How did you change that then? How did you start
telling people I sing, I sing? I think it was
because I was shy and I wasn't bold about telling
people I was a singer, but after working at that
label for about six months and answering the phones and
ordering liquid paper and not and watching people do what

(30:16):
I wanted to do, I realized, if I don't tell
somebody this is what I do, if I don't really
get off my butt and try to make this happen,
then I'm gonna get to do this for the rest
of my life. And I reconnected. I had, Um, I
had a couple of songwriters. One was camp lazy that
I had done demos for and I um, I just
found those guys again and said Hey, I'm trying to
find I'm trying to get some demo work, and demo

(30:37):
work was my way out on once I started to
get enough work that I could actually quit my job.
Who wasn't for you that took the big shot like you,
we went wow, this person really like put it out
there for me to believed in me when maybe they
didn't have to. I mean there was there were several,
there were a lot of people. The chain of events
were the two garths, honestly, because when I met Garth Brooks,

(30:59):
he was the person who introduced me to Alan Reynolds,
his producer, and Alan was really a great friend to
me because Alan gave me advice based on what he
thought was best for me, not what he thought I
could maybe do for him. And he was the guy
who said you should meet Garth Fundis. He's a guy who,
I feel like you guys really hit it off. And
fundus was the one who, when he heard me seeing settle,

(31:21):
let's do a showcase. He's the one who went to
bat for me at the record labels and to help
me get a record deal and he was the one
who helped me get the music that was in my
head on to tape. What I what I really wanted,
how I really wanted to sound and the music, kind
of music that I wanted to make. So it was
it was really all of those people together, because I

(31:42):
would never met Garth Fundus it wouldn't been for Garth
Brooks Um and. So I guess it really was, you know,
ended up being my husband, the one that really believed
in me. That that was like the sergeant telling everybody
about me, and he didn't even have a single in
the radio. So he was doing that before he was. Yeah,
freaking Garth Brooks, he was just a guy named garth.
He just was he was a less famous guard probably
the time, and he was and then it was like

(32:04):
I know two guards now. Eventually the guy. There's a
guy who's a tour manager's name is Garth, and he
came in and Um did an interview for a job
and I told him, I said, you're probably great at
what you do, but I can't know you, like I
just can't, like I I have two guards in my life.
It's already too weird, like I just can't do it.
That's a true story. That happened. That's a lot of gods,
I mean even two guards. I know obviously your husband

(32:25):
a bit. I don't know any other guards. I know.
It's so it's so odd and actually, if we're all
in the studio together, which happens, it's very strange, you know.
So actually I started calling Garth Fund as Tennessee, because
I'm like, I have to have like a nickname for you,
because I can't because I'd say guarth, they both with
their head around, you know, like because they never hear
anybody else called garth. So yeah, so it's a it's

(32:46):
a thing on on this new let's be frank, record.
You went and recorded? Did you say you recorded like
with the like the Mike that Frank Sinatra Eddie used?
Now does that Mike just chill there or like bring
it out for a special occasion? They use it? I
mean it's you know, capital is like a working museum,
you know. I mean you walk and you think this

(33:06):
stuff should be behind glass. But I guess it's cool
that you actually get to use this stuff. But at
the same time it's like it's Sinatra's microphone and Um
and the bar stools in there, the straight backed chairs,
they're they're like there's tons of photos of frank and
and Judy Garland and Dean Martin. All this stuff is
that is the capital gear and I guess that's part

(33:27):
of the VIBE. I mean you definitely feel the ghosts
in this room when you're in there, but I would
be afraid to use all that stuff. But I mean
some of the best microphones, like Nashville, where where I
make my country records, I use I used this annoyment
as Kell C twelve and it's a now it's a
microphone that I've used for years because I like how
it my voice can tend to if I get loud

(33:49):
at either the Michael Shut down or the Michael Sound
really I'll sound really tinny and high ending and I
don't I want it to still sound warm and that's
a challenge. And the other thing is if they put
a restaurant your voice, then you can handle the big loud,
but it just still shut your voice down. So it's
a thing. So there's this one microphone that I love
and I've been trying to buy this microphone forever because

(34:09):
there are you can put four the same exact side
by side, but there's one that's going to sound different
and I've been stalking this microphone for years and I
finally I bought it like last week. Yeah, finally, finally.
Based Um, not not terrible, but it's yeah, but hard
to get and it's an old microphone. So so this
microphone is probably years old. So it is a it's

(34:32):
that it's one of those things that doesn't that that
time is a friend too. It doesn't make it like old.
This is just old. There is something sweet about it,
and I will say that that that frank microphone was
warm and friendly and it just made your voice feel
like butter and you just felt like you could sing
anything one of the things that I would compare it
because I am very particular about the mics that I

(34:54):
use every day, right, because I talk every day. So
mikes are important to me, and also headphones. But I
would compare them to people who don't. If you don't
work in music or sound like the you can have
ten pair of jeans that are exactly the same, but
one of those pair of Jeanes is gonna fit you
so just right. You may have three pairs, you own
it the same, but that one pair you always go
back to because it just feels the best and you
can't really explain it so much like a little bit.

(35:15):
You can, maybe it fits you a little better here,
but you're like, oh, this one just feels better, like
it fits me better. That's how I describe anology and
and the microphone too, and what you hear in your headphones.
It's so um subjective, right. So it's whatever feels good
to you and sometimes it's hard to describe. If, especially
if I'm in the studio and the engineer is Um

(35:37):
ask me what I need. Sometimes it's hard to say
exactly what it's doing. But if you're if you've worked
with somebody long enough, you can kind of say I
feel this way or that way and they're like, oh,
I got it, and they'll they'll figure it out. That's
the one thing I've really enjoyed about making records with
Garth Fondis, who we've made it most of our records
with and we just finished in a country record now,
is that we've worked together for so long that I

(35:58):
can tell him some thing's not right and I don't
know exactly what it is, but I but something in
here is bugging me and he'll usually go, oh, I
bet you don't like the Blah Blah Blah here. Let's
turn that down. He he knows me well enough to
kind of know. So we have a language that is
nice because I can't always articulate what I want, but
he seems to know. Then it's funny because the analogy
I used for that is like if you're getting like
a massage, it's hard to say exactly where it hurts,

(36:21):
but if they like confined it, you're like, oh, that's it,
that's it, that's right there, like that's that's how adjusting
something that you really can't explain is. Yeah, that's for sure. Oh,
you gotta come back a little bit there, right there,
right there, there it is. That's that's also the sound
I do. I get a massage when you do from this,
let's be frank, record. Will you do any of these
songs live? Yeah, Um, we we just did our first show,

(36:42):
um at the Rainbow Room in New York, Um, fitting
for the Frank Record, and it was the first time
I had done all of these songs and it's really funny.
You will find this funny. I think I had done
a few of the songs but I hadn't done the
whole show and I've been doing a lot of press
in New York that week and, Um, I'd had a
long day. It was one of those morning shows where
gotten up at four and then I had to show
that night and in about three o'clock that afternoon, before

(37:04):
sound check, it hit me. I haven't done these songs
like I don't know if I know all the words.
Did they all laughed and the ladies of tramp. There's
a lot of verses and there's a lot going on
here and I'm nervous and as the Rainbow Room and
its New York. And so I spent a couple of
hours while I was getting made hair makeup and everybody's
coming and asking me questions, listening and listening and listening.
So I was terrified that night because I thought I

(37:26):
can't go out of here and this. I've been waiting
to do this record for twenty years and I don't
remember all the words to the ladies of tramp like
I will be I will be carried out of here,
you know, record on their phone right exactly, um. And
but I did. I did find it was a good night.
It was a good night, but I was terrified, Um,
and I loved it, like I loved singing these songs.
We did a few of like we did she's loved
the boy, and we did um walk away Joe. But

(37:48):
I kind of couldn't wait to get to these songs
just because, um. And when we do, when we do
a tour, we'll do some of the songs that people
know me for, but we'll also do these. It's just
I don't know how we're going to do it, because
you kind of want you're it's kind of changing into
a different mode and when you're in that mode you
kind of want to stay there. So we'll see how
we do it. I've done some symphony shows before before

(38:09):
I made this record. Um, and I have some really
cool orchestra arrangements for some of those songs. But Um,
so we'll see expensive. Talking about expensive band orchestra. Yeah,
I mean, yes, I mean that's the thing. You know,
a lot of people don't use live orchestra anymore because
it's so expensive. L A was good and they get
a lot of work because they had a lot of
movie scores and stuff. But Um, fifty pieces. I mean,

(38:31):
you know, this album will have to do well for
me to do another one because it's really a lot
of money and you don't have to do that anymore.
But I can't imagine having done this another way. To
be in the room with everybody, it's almost like you're
all taking insane breath in and out and the conductors
across from you and he's looking at you for a
signal of how long do you want to pause here
and how and you're all working together and it feels

(38:52):
like you're just another instrument in the room and I
can't imagine doing it another way. It was. It's one
of the coolest things ever. Would you use a prompter?
Let's say the words, you just didn't have it. Would
you put a prompter up. I mean, I hope I've
never done that. I hope not, because here's what here's

(39:13):
what I find if I'm doing an award show or
something and they they'll have the prompter. I even if
I if I'm singing she's in love with the boy,
which I sugn a million times, and I know I'm gonna,
I'm gonna look at the prompter, you know. So I
feel like it's a thing that makes you look and
I've been to shows and seeing people use prompter and
I find them staring at the prompter and so I
don't want to be that girl. So as long as

(39:34):
I can remember the words, and if I forget words,
I just blame someone else, like I blame the microphone.
I pretend something's wrong, you know, like I have lots
of ways around it, or I just acknowledge I totally
totally forgot the words. Um, I'd rather do that, I think,
than Um and I have a pretty good memory for lyrics.
So as long as I do, I'm gonna, I'm gonna
keep doing that. You mentioned walk away Joe, and we'll

(39:55):
play that just for a bit here. A song like
that that you're saying tent that sometimes right. Do you
go into a mode of like when you drive, you
know you're driving, but you've driven this way so many
times that you probably are doing most of that driving subconsciously?
Do you do that with these massive songs where it's

(40:17):
just like you're so comfortable it's hard to not fall
back into the subconscious place of just singing the song?
I mean I would would be lying if I said
I'd never done that. But of the time I I'm
so dramatic and I love a story and I always
make myself a character in the story. So if in
that in walkaway Joe, I'm a character for those three

(40:37):
and a half minutes, you know. So I really get
lost in the lyric of a song and I enjoy that.
That's part of what I get out of live performing.
So I will say that I I'm sure I've done it,
but I also do really think about this. This is
something that that I learned on the Garth tour. There's
gonna be somebody in the audience who's never seen you

(40:58):
before and it's never going to see you again and
the only time they're ever going to hear walk away
Joe Live is this moment. And so I don't really
want to be making my mental grocery list while they're
in there for that moment, and I do think about
that before I go out. So, Um, I'm sure I've
done it, but I try not to do it. And
Mickey Mantle would say there's always somebody in in the
stands who has never seen Mickey Mantle before and will

(41:20):
never see Mickey Mantle again. So I gotta go out
and make it special for that person. But it's such
a hard thing to do because you think you do
it so often. Do you in Garthe like given to
the PEP talks, because I've never met either one of
you together separately, and you're not just awesome, and it's
almost annoying when it's like I would like to I'd
like to catch you on off day, because that just
means you're human. You know, you guys have never not
been awesome to me. Well, I'm more human than him,

(41:42):
I mean I think he I think one of the
reasons that I have um more of a grateful, positive
outlook in life in general is because of him, because
he he looks at everything in a positive way. I
mean he will, he will spend the positive no matter
what and I think that I want to be that,
but I'm not as much so as him, but I

(42:03):
am more so that way with him in my life,
and I think that there's just a I mean, honestly,
when you really think about it, what we'd get to
do for a living, if you really think about it,
is so such a great job. It's not even really
a job. It's like I'm getting paid to have every
day be different in my life and I get to

(42:23):
go sing and I get to basically set my own
schedule and I'm doing what I have always wanted to
do my whole life. So I really if I complain
about that, someone should really just punch me in the face.
Can I be devil's advocate for a second? Yes, you
sacrifice a lot. You have a lot of talent. It's
not that anybody can do it. And you not only
have a lot of talent, cause a lot of people

(42:44):
have talent, but people don't have talent and work ethic.
And again it's that perfect mixture of the both and
also catching a couple of breaks and giving a couple
of breaks. Like it is. I agree with you because
I feel the same way, but again, it's not like
it was handed to you and you go out and
go you know what, this this is given to me.
I actually appreciate what was given to me, like you
work so hard for it. Well, I think there is.

(43:06):
I mean I think it's a will rogers quote that
something about Um luck is disguised in overalls and something
like that, like it's a bunch of work. But I
mean I think it is a drive that makes the
work feel like not work really, because it's you're so driven.
I don't, I always say I don't feel like I
chose this, like I never I didn't wake up one
day and go hey, I think it'd be really cool

(43:27):
to be a singer. I feel like I was and
it felt like a calling and it was almost it
was hard when I couldn't do it because, as a
young girl and as a teenager in a small town
where nobody did what I wanted to do, I didn't
know how to go about it and that was the
most frustrating part. Once I got to Nashville, then I'm like, okay,
I'm here now and I'm just gonna be here and
I'm gonna I'm just gonna figure it out. There's a

(43:49):
drive there and I am a person who I like balance. So,
like yesterday, I didn't have anything on my schedule yesterday
and I say to my pajamas most of the day.
I play with my dogs, I read a book, I
had coffee and I loved it, but I couldn't. I
couldn't do that every day. I need this. This has
been a great day. It's been a really busy day.

(44:11):
I've had the best day. So it's a it's and
it's because I'm doing what I enjoy. Yeah, I feel
the same way and I work really hard, but I
also love what I do, which makes me work really hard,
which is because I love it's just a it's a
nice little circle. Yeah, the recycle arrows almost. It's like
you do have to figure out the balance when you
have I don't have that yet. Do you know anybody?
I don't even my balance. Let me know. Um, yeah, yeah,

(44:34):
I don't know if I can help you. Don't tell them.
I don't drink, though, because it runs the whole thing.
I want to talk about that, though, bobby. We have
to find you, we have to find you that balance.
You need it because you will just work all the
time if you don't have a bad well, that's what
I do here's my cycle, is that I go I'm
gonna work all the time because if I work hard,
I get because somebody will like me right, and then
I work all the time and I don't build my
my ecosystem of friends and folks, and so when I go,

(44:56):
you know what, I'm not gonna work, I'm gonna take
a second and I take a break and there's no
ecosis of my friends that folks are on me because
I haven't built it like being a gardener. We're not
playing in the garden for my food. We didn't plan.
An idiot. That's what it's like. That's what I'm saying
to myself. And then I'm like, you know, it's screwed this.
I don't want to be I don't have system's gonna
keep working. So it never end. After you've been through
all the netflicks you can watch, then it's time to
go back to work. Yeah, I do want you have
watched Netflix. What do you what do you watch recently? Um, well,

(45:19):
I've been on this whole kick of all these really
disturbing documentaries on everything that you know, from abducted in
plain site, so disturbing I couldn't I couldn't help myself
to dirty John Too. Like it's just like I really
need to watch like a Disney movie, although usually someone
dies in the first five minutes, so that's not good.
When need to find something else, that abducted a plain sight.
So disturbing, so incredibly disturbing. I'm glad it was only

(45:42):
one episode I got. Wouldn't have done in a second one. Yeah,
I get excited when I find me too, I get
excited when I find out a show that I love
has new episodes that I didn't know so that I
can bange watch. So I just figured out the second
half of the last of this current season of shameless
is out and I didn't know it. So yesterday when
I was in my pajamas, I got to watch like
four episodes in a row that I had not seen

(46:03):
and I was so excited because I love that show. Um,
you watched Ted Bundy tapes? I did. That's that's I
can't wait to the movie. I can't wait to see
the movie movies and it's it's a Netflix movie too,
is it? Yeah, so it'll be right right into our there.
Even the great isn't the thing about Netflix movies is
that they don't even tell you they're coming so you
don't still and go I can't wait, I can't wait.
It's like boom, you got a movie and I love it.

(46:23):
It's good. I was a kid. I was in high
school when Um or junior high was. It was eighties, right,
so I was in high school. So when that story
was real and a thing, it was before cell phones.
It was also really before like serial murders. It was
like that was kind of the beginning. So I remember
and one of my best friends who lives here in

(46:44):
Nashville is from Seattle and she she there's that that
park that one of the girls was she was in
that park that day and Um, she and her girlfriend
saw a VW bug drive by and slow down and
then they went and they ran. They ran into the
woods and I'm like maybe you saw that, like I
think you might have seen Ted Bundy that day. Like
so it's it's terrifying when you realize that it's kind

(47:05):
of happened, when it could have happened to you as
as a young girl, and also that it was kind
of the beginning of this whole serial killer thing. So
if you if you were alive during that time, I
mean our kids go? Well, I don't, I don't even
understand it. I'm like, yeah, it was, it was a thing,
it was a big deal. The craziest thing about that
to me was state to state you could basically go
do whatever you want in this state, just jump over

(47:26):
the state line and they didn't share records with each other.
You're a brand new man, right. I mean, isn't he
the reason that there became like an FBI database because
there wasn't one? Right? That, and also the fact that
he escaped jail twice blew my mind. He would practice
jumping off his top cell to get his legs strong
so we can jump out of the building. Then when
he lost all the weight, so we could go through
the little ceiling square in the ceiling to get out

(47:48):
of me. Come on, yeah, that was crazy. Then I
felt guilty when it was over because I really enjoyed it,
like I enjoyed the show of it and I enjoyed
learning the history of it, and I'm like, Oh, I
shouldn't feel that way. So then I watched like the
office to kind of cleanse myself something. I do want
to talk about this country record that you're gonna put out.
I just called it. I wouldn't call it a country record.

(48:08):
I would syre your record, another record because like it's
time right, like just is me talking, like it's time right. Yes,
I mean, thank you, I mean, yes, I mean I
think what happened, honestly, was I didn't say I'm going
to take several years off of making records. It just
the tour with Garth, plus the cooking show, which I

(48:29):
you know, I never dreamed I would be doing all
this other stuff. It's sort of became well, I'll, I'll
make a record, I'll make a record, and it just
kind of kept getting put on the back burner. And
it is what feeds my soul, it is what I do,
it is what brings me the most joy of all
these things I do that I love. And so last year,
or two thousand eighteen, after the tour ended, I just

(48:52):
made it a priority and like I'm making music this year,
and that's how the Sinatra record happened. And then I
started the country record, I would call it a country record,
in Uh in May, and we're mixing starting this week. So, Um,
it was so much fun. It reminded me that that
whole life is short and get get after it thing.
I don't want to wait. I want to just keep

(49:13):
making music. I'm not worried about at this point in
my life. I'm not worried about how I'm going to
get it out there. I'll figure that out. I mean,
I don't know about radio, I don't know about any
of those things, but I wasn't thinking about any of
that in the studio. I was just finding songs that
felt good. I laughed a lot, I sang a lot.
I feel like, my voice feel strong, I feel good

(49:34):
and I just I did what I do. If you're
going to call yourself an artist, that's what you do
and then you figure out. Someone else will help you
figure out how you get it out there. Do you
guys record a song and songs that you obviously really
love and go, oh, that could be the single, like,
do you do you now? Are you leaning towards one?

(49:54):
You're going, I think this is the one that and
whatever single means, radio highlighted on playlist. You know it first.
It's funny because at first I said and I said, Um,
I'm not making her don't I'm not even gonna send
this record radio, like I'm just gonna make an album.
I don't care. I don't care about have anything on
the radio. And then as I started making the record
and started listening to the songs and started like I

(50:14):
love these songs, and I'm like, well, this could be
a single, you know. And so so we're I'm just
about at that place where I'm going to figure that out.
But I it's funny because I guess it's ego or
it's my own self confidence, but when I hear it,
I go I I can hear this on on the radio. So,
I mean, that'll be for a group of people to
weigh in on. But I feel like, Um, I feel

(50:36):
like there's there's there's some things and the cool thing
is the hard thing is I'm fifty four, I'm a woman.
There's so those are two big strikes against me for radio.
But the good news is that there is more opportunity,
I think, and openness to do things however you do
them now. So it doesn't it's not as well you've

(50:57):
got to be on these three labels and you can
only to get there's there's just a million ways to
do it now. So I think there's while some things
are harder, some things are easier. So Um, we'll see
I'm excited about it. Well, thank you. Yeah, I am too,
I really am. I mean I when we made the this,
let's be frank, in the summer, I've been chomping at
the bit to get it out and now that it's out,

(51:18):
I'm chomping at the bit to get the country record out. So, Um,
I'm I'm very excited to come in and talk to
you about it. Yeah, don't send it to me early, though,
I will not listen to it. I will not send
it to early right, not that you were going to,
but don't send it to me early. What's good to know,
because I want to. I want to send it to
you and you'll listen to it. Well, my thing is

(51:38):
I think you can be of the industry, other people right,
one of the two. And I don't listen to music
early because I don't want to be cooler than my people,
and so some of my best friends will go won't
listen to it. I just I have a rule, and
it's also a slippery slope. But but it's mostly about
I don't want to be of the industry and it
gets me a trouble. A Lot. You know good and bad.
You Know Yin Yang, but I just I won't because,

(52:01):
like I like to wake up on the Friday and
I'll listen it before I go to show, sometimes sometimes after.
Never can I hear a full record before I go
on the air. It takes an hour. Sometimes it's a
weeds a record takes nineteen minutes. One of the two. Um,
and I like to experience it like my people experience it.
And so, yeah, like I'm excited if you come in
early and we do an interview. This is what this

(52:22):
is my moral dilemma. If you come in early, because sometimes,
let's say you're gonna go do to press in New York,
you're not gonna be able to talk to me on
album day and you come in on a Wednesday and
have to like play the clips, I feel like I'm
dirty to my people because but I have to the interview.
I feel bad. I shouldn't hear this. It's like a
baby that covers ear muffs from old school. Well, it's
kind of like I will, like I want to go

(52:44):
support the artist. So even for myself, like I have
a thing where I go and buy my album on
the first day. It's kind of like that. I mean
I um and if somebody gives me an advanced copy
of something, I still want to go buy it because
I want all the artwork and I want I want everything.
I want to I want to have the original whatever.
So I still do that. Since the very first album,
I go and buy my my records every on the
on release day. Let me mention TRICIA's tailgate real quick.

(53:06):
Tell me about that. So when we were doing the
tour with Garth, this last one, I guess I just
didn't notice it because, I mean, I'm a sports girl,
so I know about tailgating and that's the thing in
Georgia especially. But Um, everybody tailgates for these concerts and
they're there all day long and they're just waiting and
waiting for the show. So we thought we'd set up
a big tent make it a very cool, very nice tailgate.
If you want to come beforehand, seven or eight Tricia

(53:29):
dishes and drinks and games and we're gonna do food demos.
It's just gonna be it's kind of like the ultimate tailgate.
For about three hours before doors open to go in
and see the stadium show. Guys are still giving to
the fans. You know that. You probably hear it some,
but you don't get here. People talk about you behind
your back that often. But the thing that's said about

(53:49):
both you and Garth, and I said up to your
face a minute ago, you guys are always great, and
so we wonder, are you real? Like you, what's under
that skin? I have to get back in my pod later.
Do you walk into reach our just like back in,
like the IPHONE? But yeah, I mean you guts are
and I think that for a lot of artists that's
something to look at. Is that you guys really you

(54:09):
know where my grandmaways say, well, your bread is buttered
and and I've learned from you guys too, and but
I also know that my people got me here there.
I want to be doing this, I want to be
doing the radio show, I want to be doing stand
up on the road if it weren't for the people.
But you guys are superstars and you still keep that
as your number one that's awesome to me. Well, I
think you definitely have to keep in mind that you
don't get to go out there and do those shows

(54:29):
if those people don't show up. You know that that
doesn't that doesn't fly. You know, I think there's a
real realization of that and I I'm in a relationship.
I keep giving garth credit, but I mean when I
my very first tour was opening for him in nine
and it was like it was like the way to
be one on one with him, because he was he was.
He became a superstar, I mean like no one has

(54:52):
seen in country music, and I watched him helping roll
up cords that load out and being kind to every
single in his path and I remember thinking, well, he's
Garth Brooks, like he doesn't have to be nice and
people won't nobody's gonna say anything because he's the like
he's The star of the show. But the way he
treated people was a lesson for me. And we both

(55:16):
were raised by families who would not have tolerated us
not being nice to people. But at the same time,
you know you gotta hit record and people are opening
the door for you and carrying your bags. I might
have gone down the path if somehow in somewhere in
my brain thinking I deserve that. But living with him
and being around him, it was a great lesson to
see to remember who you are always and no matter

(55:37):
what happens to you. And I mean I really do
credit him with that because he and it's genuine. You know,
I've known him such a long time now and I
thought at some point the other shoe's gotta drop, like
I think he's I think he's a he's a Unicorn
for sure, like I keep thinking I'm going to see
the other side and he's just a good guy. He
just is. Andah, Oh, yeah, total baby. Yeah, total baby. Yes,

(56:01):
he's got a cold. He's like, Oh my God, he's
not a good patient. Just what I figured. I knew
he's not. All right, let's be frank. Um is out
now and that the new country record, which we haven't
said a name of anything yet. I don't know a
name of anything. You don't know the name yet. I've
got a couple ideas, but I'll probably have one by
the next let me toss one at you. Let's be TRICIA. Yeah, Nice, yes,

(56:26):
we're doing it. Let's I really enjoyed our talking. You know,
I really enjoy you. You are a delight, you really are.
I love this. It's like this time has gone really quickly.
So we've been here seven hours really already. Tomorrow. Wow. Yeah,
it's like when you start dating someone, you talk older
than night. That's what he yeah, right, yeah, you wouldn't
know anything about that, about that so long. All right,

(56:48):
let's be frank, really. Thank you and everybody check out.
Let's be frank, and we'll just sit and wait, sit
on our hands until the country. And No, I won't
play it for you early, but I won't bring it
to you the day of. If you have a party,
I will not be there. We're to have to do
the release a Nashville just so I can come and
play it for you that day. It's going to have
to happen. It's so weird to have an artist play
music for you, though, because I have to do this
thing where you just Bob your head and act like

(57:08):
you're feeling it. This is not. What do you do
if you're not like? What if you don't say you do?
You go into it the same way every time. When
this is me, you ready, I'm act right now. M
that's it. Oh Wow, it's good, like it's the same
bust that. I'm gonna Watch you like a hawk next
time we get together and you're listening to my music,
I will know. I won't listen to ask Leslie. I

(57:30):
will listen to a song with somebody in front of
me out of your mind. So, as an artist, I
go and sit with a publisher and a songwriter and
they play me their song that they poured their heart into,
and I have to say face to face to them,
I mean that's just not for me. Should I say
that to you record? You know what? Just not for me.
I mean it's great, but it's just not for me,
like the old stuff. You would kill me, it's really

(57:52):
that hard. That's your job to do that. It's hard
to do. I hate, I hate to make people sad. Yeah,
me too. So let me just say already I love
every song you you're you're made and are gonna make
thank you alright, Titt, to hear what episode one sixty
before we'll see you guys next time. m