Neil Dudley: The Cowboy Perspective, well, it might be hard to define, but I guarantee if you’ll think about it, you’ve got one in mind. Whether you’re building a legacy, an empire, or a fan base, I bet when your friends look at you, they see some cowboy in your face. Y’all come along, let’s talk about this or that. Maybe when we’re done, you’ll go away with a different perspective, to put under your hat.
Hello, everybody. Welcome to the Cowboy Perspective. I’m really excited about my guests today, and really about the podcast in general. I seem to be getting some things put together that really take it to at least one step, one and one half step up the rung of professionalism. And the guest I’m speaking of is a guy named Byron Hill, and I’m not going to try to tell you a whole lot about him because he’s going to be with us, and he can tell you about himself. But he’s a pretty accomplished songwriter, accomplished enough to be inducted into the Nashville Songwriter’s Hall of Fame. And without further ado, hey Byron, welcome to the show.
Byron Hill: Hey, Neil. Thank you so much for having me on here. I’ve been looking forward to this.
Neil Dudley: Yeah, me too. And then just to catch everybody up a little bit, that intro you hear at the beginning of the podcast, the background music is a track from this man himself. Well, that’s part of the thing I’m talking about, taking it up a level, and getting somebody with a little bit of skill to help me along the way here. And I really appreciate that, Byron.
Byron Hill: I’m happy to help, man. That’s what I do.
Neil Dudley: Right. And speaking to that, so tell us all a little bit, just, I don’t know, cliff notes version of who you are, or where you came from, what it is you do.
Byron Hill: Well first, let me say I’ve always wanted to be a cowboy. So, this is great, being on the Cowboy Perspective, it’s the perspective of being a cowboy is about all I-, I guess as far as I’m going to get. I was raised over in North Carolina. We didn’t have too many cowboys over there, but we certainly had a cowboy perspective because we all wanted to be one growing up. I started writing songs when I was a kid, really. My parents gave me a guitar when I was ten. And my dad played a little bit of guitar, and I started learning some chords from him and some old country songs, some old Carter Family stuff. And when I found out that, or when I learned my fourth chord on the guitar, I realized my dad wasn’t that good – I think he only knew three chords, but that worked for him. And so, I just went beyond just learning songs and picking, and some bluegrass stuff, country stuff. I started wanting to write some things by the time I was a teenager. And I don’t know, it’s kind of a long story from there to here, but in a nutshell, basically I started setting my sights on Nashville after I got out of college and been through several years of guitar teaching myself. I’d worked in a music store, and I made a couple of exploratory trips to Nashville. And, so I moved, I made the move when I was 24 and just started getting my songs recorded. All the songs I’d written before I moved to Nashville, really only one of those really saw the light of day. I got a cut on one of those older songs by a guy named Doc Watson. Some of your listeners may know who Doc Watson was. So, I moved to Nashville and just started getting cuts with some of the country artists that were around at the time.
Neil Dudley: Well, yeah. Now how did you pull that off? Or just to jump in real quick, I’m curious, it sounds like you kind of experienced some success pretty quickly upon moving to Nashville. Had you already made some of those relationships prior to that?
Byron Hill: Before I moved to Nashville, I had made a couple of exploratory trips. So, I’d met publishers and I just spent the better part of a week here at a time. I would do it every few months. I’d drive over to Nashville and check it out and get around and meet people. Funny part of that story, my first time to Nashville, I checked into a motel, and I opened up the phone book to the music publishers’ page to find those kinds of contacts and the music publisher page was ripped out. So, I went down the hallway to the – they have these exterior sort of walkways – I went down there to the payphone and opened up to the yellow pages there, and the music publisher page was ripped out of that, too. So, it was kind of a real realization that I was kind of in a competitive place. No, I just started getting to know people. Then two years later, when I did make the move there in 1978, I got connected with a publishing company, and I got this low-end job at the publishing company, making tape copies is what we called it. I was the tape copy guy for a company. And you get to know a lot of people, get to meet a lot of other writers, and you get to hear what’s going on, what artists are looking for songs. And so, as I was getting better as a writer, I was also pitching some of my songs to people, Margo Smith, Conway Twitty, people like that, and Mel McDaniel. And that’s how I got some early, early cuts in that first year, just working the songs around town. And you kind of learn where the doors are, who to get the songs to. And back then, a lot of artists were looking for songs.
Neil Dudley: Right, that’s it. Well, that kind of makes me think about one of the pieces of the conversation I was hoping we could have, and that is what’s that climate like nowadays for a songwriter? It seems to me that really the evolution of the businesses is, well, I don’t know, let’s call it interesting.
Byron Hill: Yeah, it’s really changed. When I moved here, you had artists, and this is 40 years ago, you had some artists that wrote. Johnny Cash wrote a lot of his material, most of it. Waylon Jennings wrote some. Of course, Willie Nelson wrote. But most of the artists were looking for songs, they needed songs, they were a real song dependent. People like George Jones and Mel McDaniel and Tammy Wynette, they needed songs. So, they didn’t really write, and it was a different kind of mindset. And even later on, when George Strait came on the scene, as late as ‘80 and ‘81 and that era there, he didn’t write. He needed songs. Randy Travis needed songs, and wrote very few. Randy Travis wrote very few of his songs. And that was really great for songwriters because we wrote them, and the artist needed them and that was kind of the way the business worked. And it was real good for publishing companies and their staff, the songwriters and people like me, coming to town dreaming of being a songwriter. It just made a lot of sense. And that’s why Nashville made a lot of sense for me to move here because it wasn’t the artists really back then weren’t writing that much, not like they were in LA and New York and places like that. And certainly, the singer-songwriter scene was big in LA. I mean, you had a lot of great, great singer-songwriters that were based in LA, the early Southern California country stuff and all that, it was really cool. But Nashville was such a song town. Nowadays, almost every artist that comes to town wants to be a writer, or they are a writer, and they sort of get into the economics of that when it comes to their career. They sign a publishing deal based on what they write and what they’re going to record as an artist. And so, their slots on their projects for songs written by other writers, other than themselves, are limited. So, it’s really changed, really changed that way.
Neil Dudley: Yeah. It just begs the question, is that really related to a necessary thing that artists have to do to try to monetize their talent?
Byron Hill: Well, it has a lot to do with the drop in record sales and the physical product just doesn’t sell like it used to and the streaming rates and all of that. So, it’s kind of forced the artist to make money other ways or to, let’s say, the record companies’ interest in the artist has changed. The record companies are now participating in all areas of the artist’s career. So, they have to be involved some in the publishing stream, income stream, and the writing income stream and all of that. So, since sales are down and record companies aren’t selling records like they used to, it’s really kind of created a different business environment for an artist to get up and running. Publishing companies have started signing more artist-writers than songwriters. It used to be you didn’t really see many artists deals. When I first moved to town, most all the writers at a publishing company were strictly songwriter type people, like I was when I moved to town. But now, I would say the publishing companies’ staff of writers, 80% of their writers are artist deals. And so, they’re investing money in artists, artist writers. So, it’s really changed the whole landscape and the art. The writer who tries to come to town now to just be a songwriter, I mean, there are some exceptions and people who have managed to make a living doing it, just being a songwriter, you have to be closer to the artist component. If you’re not the artist yourself, you have to be closer to it than ever. You have to be part of the machinery behind that artist, part of the creative team behind that artist to ever make money these days as a songwriter, it’s really difficult. So really the songwriter that comes to town these days has to really have a good business head about the way they align themselves. And it’s really created a completely different kind of songwriter than when I moved here.
Neil Dudley: Right. I think it draws a parallel to really the meat business or what I do daily and trying to sell, let’s say, bacon, sausage, and ham. The economy – I don’t know if the economy is the right word – but the system by which people get their meat is so dynamic and changing rapidly these days. So, the grocery stores, etc., distributors all up and down the chain are not finding their revenues in the same place they always had before. So, guess what? They start squeezing some place they know they can. A lot of times, that’s me. Which I think is kind of what you’re experiencing even a little bit with the songwriting thing is the record companies are – I don’t even know exactly the right word for everybody – but the guys that used to make the money lost some of that because nobody’s buying CDs anymore. They’re just streaming this stuff or doing some other thing. So, guess what? There’s a way, and it’s just not always fun when you might be the lower guy on the totem pole with the least leverage.
Byron Hill: We often say that songwriters are at the bottom of the food chain in this business. The real money right now is in life performance – big shows, big concerts.
Neil Dudley: Well, let’s start- Yeah, but real quick, I don’t want to leave that songwriters lowest on the totem pole because I feel, just what- and for everybody out there listening, my wife plugged songs for a little bit Nashville. So, I got her perspective that drives me a little bit towards some of my feelings and thoughts on it and otherwise known Byron a little bit. The songwriters might not be the most vocally talented, but they’ve got a talent that probably some of the most vocally talented people don’t. I’m afraid we are weeding out some of that great talent with grabbing the money when we can.
Byron Hill: Oh, yeah. It’s definitely changed things in ways that affect the beginning songwriter and the person who could be discovered. And it was less, well, there’s less entrepreneurial money coming into the business, too. And I think that’s really kind hurt what we’re doing because the entrepreneurial money early on in my career, it was just flowing. A lot of people wanted to get in the business, wanted to build small companies, wanted to build writer staffs, and wanted to support riders, and there were ways that they could recoup that money, and it all made sense, and it all fit into a system of demos and studios and musicians who would record those songs. And all of that has really kind of taken a hit these days because there’s not enough money to go around and not enough people willing to spend money in this market right now. And I’m talking about the song writing market; it’s very tough.
Neil Dudley: Well, okay. That’s all good insight. And hopefully there’s some listeners out there that are taking note of really the parallel that you can find in all business, and all kind of jobs, I guess, is they’re always changing, and there’s a thing to figure out kind of all the time. And you need to be watching the clouds on the horizon, so you got at least a thought about what you want to do when the rain comes.
Byron Hill: Oh, definitely. And in my business, most songwriters when I started, they sat down with a guitar across from one another, come up with a song, go in and demo it, and it was out on the street very quickly to see if someone would be interested in recording it. It was that simple. Now it’s gotten to where a lot of songwriters have to be computer savvy. They have to understand digital audio workstations and understand how to make their recordings at home. And it’s just, no one is spending $5-600 for a song demo anymore because the money’s just not there to come back. So, a lot of songwriters have geared up at home with their own equipment and they’re doing the best they can that way. Publishing companies are expecting that kind of work, too, from songwriters these days. They’re wanting good home demos turned in and all that. So, it’s really affected everything about the way songwriters do business. But in a way, it runs hand-in-hand with the young songwriters of today – they grew up with computers since the time they were young. So, when I moved to town, here, we didn’t have the internet, we didn’t have cell phones, we didn’t have computers. So, these kids are born with all that stuff.
Neil Dudley: Well, that’s true. That’s right. My kids will never, they won’t have any real mental memory of no internet. So, it’s just a change; it’s so interesting. So, I want to get you to tell us a story about one of those songs you sat down with your guitar across from somebody else and wrote. I don’t know, you pick one. But tell us, everybody wants to hear something about, have you got a story that was just kind of like that was kind of cool now looking back on it, or even at the moment, did you know it?
Byron Hill: Well, a good story, the one that I like to tell, is the back in 1980, the company that I was with then had film connections. And down the street at MCA records, a young guy had signed his record deal down the street. They were looking to get him to the next level. And so back about then, the urban cowboy stuff had been out, and they thought, well, the logical thing to do would be to get this artist on MCA records into a movie, maybe a bar scene or something, and try to expose him more that way and get him the next level. Well, this artist had had a couple of singles out. They’d done okay. He was starting to get a name for himself and his young producer at the time contacted me about writing a song, and the plan was to have my company get it into the film, and his company, MCA records, put it out as a record. So, when we sat down to write, me and this producer, we sat down, and the mission was to come up with a song that would fit this young guy’s career, make it into the movie, it had to be a single, and it had to make the soundtrack album, and it had to make this artist’s album. So, we were under a little bit of pressure that day.
Neil Dudley: I was about to say how much more stuff could it be required to do?
Byron Hill: And it had to be a hit. And so, I knew if I didn’t write the song and it was produced with this producer, right then, if we didn’t come up with the right thing, right then, he was probably going to go write something with someone else. And so, we wrote this tune, and this one song is the reason that I still do what I do every day and still look at every song I write the same way. You just never know what’s going to happen. So little did I know that day that we were writing George Strait’s first number one song. And it would end up being my first number one as a songwriter. And that song was Fool Hearted Memory. And so, it means a lot more to me I guess than it does to George. But I love to tell that story because it’s a perfect little story about being in the right place at the right time and making the most of the moment.
Neil Dudley: Hey folks, I want to take a quick break in the action to tell you a little bit about one of the sponsors of the podcast. It’s thesimplegrocer.com. I highly recommend you go Google that. Check out all the scrumptious bacon, sausage, hams, and many other things they have to shop. And if you choose to place an order, be sure and use TCP in the discount code for a special The Cowboy Perspective discount. Love you guys! Now back to the action.
Is there a piece of it that, like, how do you get to what made you come up with Fool Hearted Memory or what got you on the thought process?
Byron Hill: Well, like in any writing meeting, you sit down, and you toss around ideas between you, most writers that I know, including the guy that I wrote that with, a guy named Blake Mevis, we carry around titles and little snippets of song ideas, little pieces of things that we may have started that morning or maybe had been carrying it around for months, whatever it is. I’ve got a whole list of titles. I used to keep them on pieces of paper, notebooks all over my house, or used to keep titles in the car. Actually, I don’t recall which one of us brought that title into the meeting. It might’ve been Blake because he was closer to the project than I was and kind of had a better handle on what the project needed. And he was a little older than me, a little more experienced so I leaned on him heavy to steer the- drive the car. But we sat down together, and I think it was his idea, and we ended up just co-writing, and you end up taking a look at different angles from that point. How are we going to take this? Up tempo? Are we going to do it positive? Is it going to be a sad song? Is it going to be third-person or is it going to be first-person singing it? Or whatever. So, we decided to take it down the road where George could sing it about someone else. That worked good for a young singer like George. At the time, he would have been too young and too fresh to be that affected with things like a memory of a girl and sitting there drinking at a bar. So, we didn’t do it first person; we did it third person, so he could sing it about this other character, and it really worked well. He didn’t have to be that character. So, that’s all the kind of thought process that you go through anytime you write a song. And especially there’s the tempo side of it, the more up-tempo you can make something. In those early moments of sitting down and writing, you try very hard to make the song as appealing as possible. And of course, part of the problem is you got to get it through all of the people at the record company – they have to agree and think that it’s a hit, and you got to impress the radio promo people. And then most of all, you’ve got to impress radio with it. Radio has got to like it. And so, the more up-tempo it is, the better, for that. Radio loves up-tempo songs, and the listeners, for the most part, do too, unless it’s some sort of a slow ballad that really is powerful. So, all those thoughts go through your mind in the process. That was your original question about the process. That’s the stuff you start thinking about from the moment the idea gets laid out there and you’re writing it. You start coming up with little things and those choices kind of now go through my mind, subconsciously I just sort of, I don’t know – well, it’s consciously, but I don’t force myself to think about it. It’s just part of what I do now. Try to keep them, sometimes I’m afraid to use that word commercial, some people don’t like that word, but really, that’s the key – you want to make your song as commercial as possible. That one certainly was for George.
Neil Dudley: Well, so what movie did that end up going in?
Byron Hill: Well, that’s interesting. It ended up going in a movie called The Soldier. But I wouldn’t recommend even seeing it. The song ended up being bigger than the movie. So, the movie didn’t do very well at all. I remember telling my parents to go see that movie and hear my song, and I think they just, they got pretty tired of waiting for the song to come up. And then when it went by, it went by in a flash. And then I don’t even think they wanted to stick around and watch the rest of the movie. It was that bad. But that’s what it took to kind of get the deal going.
Neil Dudley: That’s right. It spawned a great song. And I certainly enjoy listening to it, a big fan of George. And I think a lot of people, or even me, I learned really from Stacy just how important or how cool the song writing side of the business is, and I think most of the at-large public has no clue what it is. They just think, wow, that’s a cool song.
Byron Hill: A lot of people think the artists write them, but that’s not always the case.
Neil Dudley: Is there any little snippet, piece of advice, you would like to give that you haven’t already? You’ve already kind of laid out quite a bit of good advice for any young songwriter, or songwriter in general listening, that you might’ve thought, man, I wish somebody would have told me that when I came to town?
Byron Hill: Well, I’ve been lucky to have a couple of really good mentors along the way, people that I could always rely on for help and advice, and kind of some of them older – some of them a lot older, some of them a little older than me – that I’ve been able to always lean on and depend on them to steer me right whenever I had a question about something. But I think if I had it to do over again, I would have a few more, because along the way, you meet people and that you know are really helpful to you, but you don’t think to go back to them for more help and for more advice. And I really think there’s a few people I really wish I’d gotten to know better along the way. And when you get older, it’s really too late to get mentors. You have to do all that when you’re young, because people are really willing to help you when you’re young. But I’ve been fortunate to have a few that I can depend on. But you can never have enough, you really should have all you can. If you meet someone, latch on and use them for advice, and people appreciate it too. I know that I have a few people that I’m proud to be, I think I’m a mentor to – they can call me anytime they want, and sometimes they do, I’ll meet with them and help them. And I love that, too. So, I just think the mentorship stuff is really a good thing to have.
Neil Dudley: It makes me think of-, and probably the reason they got excited about mentoring you or the reason you’re excited about mentoring others is you see some passion in them, some desire to be involved and do this thing that you love. The cowboys I grew up with, I just loved it. I mean, I just did, in my heart, all about me. I just wanted to be on a horse, working cattle or around those cowboys, whatever they might be doing. And they saw that in me. So, then they just tried to help me along, and it wasn’t always what I wanted to hear, but it was always good advice.
Byron Hill: Oh yeah. I would think out there, working on a farm, working on whatever you’re doing, with cattle or whatever you’re out there doing, you’re probably run across really great mentors and people to help you along the way.
Neil Dudley: Yeah. I mean, they’ll let you get hurt a little bit, but next time, not enough to ever be a real big problem. Cause I think you got to learn a little bit from the bumps and bruises and failures. And you hear a lot in really society – I don’t know if that’s the right group – but I just am afraid or consider pretty often how much we protect young people, or really anybody, from failure and really what a disservice that is. Because those failures are such a great opportunity to learn and get better for somebody who wants to. And if they don’t want to, there’s not much you can do to help them.
Byron Hill: Yeah. I mean, that’s a good way to learn. And certainly, in my business, there’s so much rejection in this business that you just, you learn not to take it personal, and you learn to improve from it. Even all my career, songs have been- far more of them have been rejected than accepted. It’s just a fact. But that’s one of the things you really learn early on when you come to a place like Nashville as a songwriter is to get used to the rejection. And artists even have it tougher because it’s a personal thing. It’s them, it’s their look, it’s their sound, it’s their voice, it’s their personality that’s getting rejected. It’s not just three minutes of words and music. The sooner that people can get used to that kind of rejection and learn from it and use it as a tool, the better they’ll do here.
Neil Dudley: Well, and that’s another thing I’ve heard. Just I’ve got into podcasts and listening to others and thinking how do I want to shape mine and make mine better? One of the pieces I kind of learned or like about one of them is the guy will say, “I don’t hear anybody.” And what he means by that is I don’t hear the people that say I’m great. And I don’t hear the people that say I’m terrible. I try to go and be the best that I can be. Because if you are good and you start listening constantly to all the praise, there’s a problem in that. You have to be willing to say, you know what, I’m not going to hear good, bad, or otherwise, I believe in what it is I’m working towards, and I’m just going to do that the very best I can.
Byron Hill: Sure, sure. There’s something to that, too. Definitely, that head down, go for it thing. And that’s certainly important, too, to have enough of that.
Neil Dudley: Okay then, this kind of the question I like to end up with. Not necessarily saying this is the end of it, because I have thought while we’re standing here – I say while we’re standing here – while we’re on the phone together and on the podcast, I’ve thought of a great, I don’t know, what would you call the main part of a song? Just Fool Hearted Memory or what is it, the chorus?
Byron Hill: The chorus, right.
Neil Dudley: So, I’ve got a great chorus I’m going to just throw out there and a little bit. But first, tell me, tell the listeners, everybody gets to answer this question because I’m curious what everybody’s perspective is – what is the value of a dollar and/or a Bitcoin?
Byron Hill: Well, I guess the value of a dollar is a dollar, unless this is some sort of trick question.
Neil Dudley: It is partially trick, partially just a thing that I wonder where anybody’s mind might go. I think everybody values or puts a certain position in their life a dollar or money. And I’m just curious to see what that is with my guests.
Byron Hill: Well, let’s see, the dollar doesn’t buy you a cup of coffee anymore, that’s for sure. And I have no idea what a Bitcoin is worth. That’s a tough question, Neil. I mean, when I look at the question at just sort of face value, a dollar is worth a dollar. But a dollar was worth a lot more a long time ago. I sort of equate it to how much money it would take for somebody to move and get settled here in a town like Nashville. Now for me to save up and move to Nashville and make a pretty good run at it costs a lot less than it would now. So, I don’t know. The value of a dollar – I guess I’m going to stick with my first answer, it’s worth a dollar.
Neil Dudley: 100 pennies. Well, and I think all of that, that just lends to, hopefully, over time I get a really diverse group of people on my podcast, and I like to have that just kind of one baseline question. Because who knows, I might have the next Bitcoin billionaire on here one time. And I have no clue, really, what a Bitcoin is either, but that guy probably has a passionate position on Bitcoin. So anyways, it’ll all be fun. And that’s my one fun question. And then my chorus line is – for you to put in your pocket in case you ever have to pull it out in an emergency when you need to write a hit song that’s going to make the movie and be sung by the newest, upcoming star – and that is: Grab life by the bacon, not the bull by the horns.
Byron Hill: I love that. I love that. Now, I’ve never written a song about bacon, but I have written a song about barbecue.
Neil Dudley: Well, there you go.
Byron Hill: But it had some barbecue in it anyway, by one of your Texas guys, Tracy Byrd. Yeah, Lifestyles Of The Not So Rich And Famous mentions barbeque in it.
Neil Dudley: See, that’s what’s crazy about talking to songwriters at least because you guys do and are involved in so many really successful things. And I mean, you just learn them over time, but just talking, I’m like, wow, okay, you wrote that. I remember listening to that in high school. I just loved it.
Byron Hill: Yeah. Tracy Byrd, he lives over there in the Beaumont area. We were really close friends for a while. I haven’t heard from him in a long time. I think, he just, like everybody in this business, everybody kind of goes off and does their thing for a while. And we will get in touch or I’ll run into him somewhere I’m sure soon, but I haven’t been to Beaumont in a while, but I used to go down there and see him some, and we spent some time on the road together. I didn’t co-write that song with him, but he loved it and ended up recording it, putting it out. He recorded a few of mine, but that was the one that was a hit for him.
Neil Dudley: Well, Mr. Byron Hill, I don’t want to take up any more of your time, and I just want to say thank you so much for coming on the podcast, helping me get a little intro music that could, I guess just help with the professionalism of what I’m trying to do here and give people a reason to think, maybe this guy’s not just an idiot. He knows some people that have done some things in their lives, and he’s going to let us get to know them a little bit too. And I think there’s a lot of good perspectives in there. And you had mentioned early on that, well, you always wanted to be a cowboy. I make the argument, and I will stand by it until the death, everybody’s got a little cowboy in them. And it’s that grit, it’s that thing that I say they just have. If you’re going to be born on the earth, God’s going to put a little bit of cowboy in you. Now, some people maybe live-
Byron Hill: Yeah, and it is kind of part of the American psyche too a little bit, it’s there, it’s just part, a big part of American history, I loved it. I just loved watching all those shows growing up on TV, all the cowboy heroes. I remember – this is a sideline story, probably running out of time here – but when I was going in school, in junior high school, I had to learn a foreign language. And I asked my dad, I said, “What do you think I should learn? French, German, Spanish – what do you think I should learn?” And he said, “Oh, learn Spanish for sure.” I said, “Why is that?” He said, “Well, all the cowboys know Spanish, they all know a little bit of Spanish. You’ve probably noticed that in the movies.. So, I think you’ll do good with Spanish.” So, I thought that was funny.
Neil Dudley: That is kind of funny. Well, and if I go to think about it pretty hard, it might be just true. I know a little Spanish, and I can remember as a kid, my dad was kind of trying to teach me Spanish, just so I might be able to communicate with some of the guys that were around. And they’re some of the best cowboys, those vaqueros, and some of the greatest horsemen ever are Spaniards.
Byron Hill: Well, kids these days around here probably don’t even know what adios is, that adios is a Spanish word. but we all know what adios means, right.
Neil Dudley: Well, sir, thank you again. And it just occurs to me that over the phone sometimes it creates a little bit of that talking over, but I live in the middle of nowhere. So, for everybody out there that’s listening, you get these other podcasters that live in LA or New York or Nashville even, or even Dallas Fort Worth, well, they get people that just kind of come by and they do a podcast in their studio. Nobody just comes by Hamilton, Texas, just in case you’re wondering. And so, we do a lot of this over the phone, and it does complicate it a bit, but I don’t think it’s enough for anybody to really worry about. And we just want to say thanks for listening. Thanks again to Byron Hill, especially for the background music he’s been so gracious to lend his talents for this podcast on. And you guys keep coming around. Cause this has been an episode of the Cowboy Perspective.
One other quick shout out I want to give is a big thank you, round of applause to Byron Hill Music who provides our background music. He’s a member of the Nashville Songwriter Hall of Fame, and I highly recommend you guys check out some of the stuff he’s done. Google it, Byron Hill. You’ll be pretty impressed.
Hey everybody. Well, I just want to say thank you so much for listening to The Cowboy Perspective. I really enjoy Mr. Byron Hill and his perspective on things and being in an industry that, really, I just kind of look up to. I think some of the talents they have and telling stories is just, well, beautiful. So, we’ll see you down the trail. Thank you again for listening and remember, think big, play in the dirt, and tell those you love how much you love them. Hasta luego!