033: Ryan Beaver

On Episode 033, we’re joined by singer-songwriter Ryan Beaver. During this one, we talk about moving to Nashville four years ago, touring Texas, stretching his songwriting legs, and the depth, emotional beauty, and rich sonic palette of his latest album, Rx.

Interview Transcript

Note: Transcripts aren’t always accurate since they are computer automated and haven’t been edited for spelling, grammar, etc.

Thomas Mooney 0:09

Hey everyone, welcome to episode number 33 of the new slang podcast. I'm Thomas Mooney, your editor in chief of new slang here in Lubbock. And on episode number 33, we have singer songwriter Ryan beaver joining us. He was here in Lubbock last Friday, and he lives up in Nashville now. But he's been a Texas staple for the last, I guess, decade or so. Anyways, you know, we talk about on this podcast, this episode about his move up to Nashville, and how he's been able to make a whole lot of connections up there with a whole lot of different songwriters and how I really, I guess, like the adapting to that different kind of style of writing. It's not necessarily a different style, but we get into it on the podcast, I won't just bore you here with just, you know, redoing it here. Anyways, you know, he released this record called our x last year. And, you know, it ended up being one of my favorite records of the year. It was a really, really dark and the tones and textures were really lush and the the songwriting that he has on this record, I thought were was just just really incredible. He really became a songwriter who went from being, you know, a good above average to being a really great songwriter on this record. So, yeah, like it has all these little moments on here on that record that, that I feel like that are just incredible moments that really aren't happening on a lot of other records at this moment. In this time, and I think you're going to find a whole lot of people who cited as a an inspiration, one of their major influences. Because again, like I think, Ryan found a sound on this record that is easier said than done. But like it's really distinctive. And he's he's got as not as an incredible voice. But now I think he's found his song grettir voice. And anyways, in this, On this episode, we talk about a lot of the songwriting that that Ryan's done these last few years. Yeah, some of you may be thinking, why hasn't there been a new slang podcast in a while? And you know, there's a couple of reasons for that. One is just I've been busy doing other things that have been outside of New slang, and working on a few different projects that I really can't get into at this moment. But they're promising, I guess, like, maybe you'll be hearing about them soon enough. And I guess we've also been doing other podcasts on here. But I just don't think we're ever going to release them just because I don't think the quality of them wear that gray. I think the the conversations were amazing. But we did switch over to some new equipment. And I don't know, like I I just don't think I had a great grasp on the equipment. Because, you know, not to bore you with just a little details about this, but I don't think the quality came out as much as as good as I anticipated. It would. But yeah, anyways, we're going back on schedule here. With this interview with Brian, hopefully we can continue it in the next coming weeks. Maybe next Tuesday, we'll be able to grab someone during dawn Domino's trinko. He just announced it. This. I guess earlier today, he announced that his third annual drink go is going to be Tuesday, May 9, at the blue light. And I guess that they really kind of streamlined the the schedule, if you will, this time around. So of having I don't know how many people he had playing last year 30 bands, maybe 25 something like that. They're down to nine which I think is a probably a better thing going forward. This year. It's going to be Wade Bowen. Dalton Domino. No dry county and I just moved my list so I don't see it right now. But those Wade Bowen Dalton Domino, no dry County, Cody West. Bree Bagwell, Austin Mead, Jamie Lynn Wilson And Charlie stout and grant Gilbert going to start at 6pm.

Tickets are going to be $20. And it's 21. And up. So I don't know if they're if they are going to have any kind of presale tickets, but we'll try and let you know if they do. Maybe we'll have a, a some kind of giveaway on new slang. And where you can probably find all this information, as we release it is going to be on any of our social media. So if you don't follow us on Twitter, or Instagram or on Facebook, go ahead and do so now. You can find us our ad, you can find this ad underscore new slang, on Twitter and on Instagram, and on Facebook, you can just search for new slang and we'll be one of the first to pop up. Anyways. Yeah, we'll go ahead and just get on with the interview with Brian. Here in just I guess a few seconds. Thanks.

So yeah, you moved to Nashville just was that just a couple years back now?

Ryan Beaver 6:27

I moved there June the third of 2013. So this gene will make for years that?

Thomas Mooney 6:35

You? Okay, I think like you're one of these interesting cases of obviously, like a lot of people like to play up the whole national versus Texas thing. And you were in the Texas circuit for a long, long time. Right? Then you moved to Nashville, right? How was was there? Like, was there any kind of like, I guess, like integrating into the breaking into that system as well. Or were you

Ryan Beaver 7:00

comfortable are people to the I lived in Austin, seven years, absolutely loved it, made a couple of records and toured all around the Southwest. And we started to build a really great following. And if sorted, that's been the foundation of everything I've done. So I consider all the all that time, like, the most important time, you know, of touring, and me trying to figure it is out what it is I wanted to do, and also just continuing to write songs. So it's like, you know, it was like my school years, I guess, you know, the road, the the early years of the road, you know, you're trying new things and just trying to hone in on your craft. And for me, that was a really good time. It was also super tough and frustrating. And then one day, I sort of had a big moment where I felt compelled to get out of my comfort zone. Because I was very comfortable living in Austin and touring and making records, but I didn't feel the growth that I needed personally. So I decided to take my chances it spent some time in Nashville, and that turned into now just about four years. So it's been obviously a transition period there as well. But you know, music for me is always sort of been like, what's the next door going to lead to? And I've never had a big grand plan of how my career would be, or you know how it would go. So I've just sort of tried to take the opportunities that felt right and take one door at a time, one gig at a time, one song at a time, you know, so it's been good, though, I really have a really great story that I'm super proud of, you know?

Thomas Mooney 8:49

Yeah. I think like a lot of people think that if you stay in Texas too long, you can get it can just, yeah, it's such a good thing. Like when you're starting out, you have all these places to play. But after a certain point, then you get kind of typecast.

Ryan Beaver 9:06

Yeah, I mean, I think that music fans who live in Texas don't necessarily want to hear this. But the truth is, there's only so many places you can play. And if you're hitting these venues and markets six, seven times a year, you're wearing it out. And I want for somebody to pay the 10 bucks to come to a show and feel like they saw something new improved and refreshed. You know, and not the same old thing. You know, at least for me as a music fan. That's what I would want. So I think that hitting the market, like, you know, like we are tonight in Lubbock. It's been forever since I've been here, but it feels I mean, I walk in the room and it's like flood of memories, you know, and if I can do it a couple times a year that I feel like I'll be really happy about that, you know? Yeah.

Thomas Mooney 9:53

And a lot of a lot of guys, I guess like in your your class, your generation of the Texas songwriter. Yeah, they're all getting up into Nashville, you know, and I don't like William Clark Greene and like Ross Cooper they moved Ross lives up there William always goes up there. There's a lot of Texas songwriters are going up there and riding with

Ryan Beaver 10:14

ya sort of accidentally feel like the Texas liaison between Texas and Tennessee. You know, because I have a background, I'm born and raised Texan and I have a background of playing here. I know what this scene is about, I know where it started and where it's gone. And then I also know the other side of the coin, what Nashville is like, and, man, just like anything else, you sort of come to there's always two sides to the, you know, the story. And sometimes maybe in three, but you know, the reality is, there's some really great stuff happening in Texas, there's some really great stuff happening in Nashville, there's really great stuff happening on the west coast and the East Coast. And in areas people wouldn't think you know, so it's just sort of about being open minded enough to go figure it out and and see what's for you and what's not. It's like, you know, you go to a buffet, you travel and stuff, and you find the five or six things you really love, right? And then you know, that's my new go to write. So that's for music, that's kind of how I've treated it, I think Nashville, I know, what I love about it, and what I hate about it, and the same thing goes for you know, when I spent time in Austin, I there were things I love about it, and things I hated about it. So, you know, it's all taste, but I do find myself, you know, getting a text or a call, you know, every single week almost from somebody you know, you know, friend coming through town, you know, whether it's asleep at the wheel, or William Clark green or car park or Randy Rogers, any of these guys that are I call friends, you know, it's like, Hey, we're coming through town, do you have some time to ride or hang or get a beer? Let's talk, you know, any of that. And that's the coolest thing is like, I feel like I have access to visit all these people, even though I've been primarily in Nashville

Thomas Mooney 11:59

for the last four years. What's the thing too is like, there's even if living in Nashville you there's enough people coming from Texas, right? Like, it's like living in Texas in a way. Right? Yeah,

Ryan Beaver 12:10

you know, it's, and there's so many people moving here from different areas that were I mean, I talked to people from California who are just obsessed with this scene and wanted to be a part of it. And you know, growing up here, it was like, man, there's this really cool scene where you can go make a record or not even make a record, go get a band to put some songs together and go play for people who are willing to listen and support live music. And they didn't hear you on the radio. Yeah, it's just simply about do I like this or not, which is what I love. I mean, that is the Texas attitude that will never die that I think is amazing, is it doesn't matter. You know, we have a very strong I love this. And I'm willing to support this attitude towards our musicians. And that's important. It's like any other scene, you know, anywhere else. So

Thomas Mooney 12:54

yeah, it is interesting. I think the Texas thing I think it goes all back to, you know, like our grandparents go into cotton clubs and big rivals. Absolutely. I mean that I guess like the just the big Western swing. Yeah. transformed into, you know, outlaw country.

Ryan Beaver 13:11

Yeah, and had to go somewhere. And you're right, you're absolutely right, Bob wills. You know, in the Texas playboys, were coming through and play in places where nobody even you know, you didn't leave your hometown, you were working all the time and supporting a family. So like, when somebody would come through town, you'd all go see him. Right. And that's how, you know, people got open to, you know, all these amazing musicians that have come out of Texas over the years. So whether it's Stevie Ray Vaughan or buddy, Holly Waylon Jennings, you know, it's it's really amazing. And then where it's gone from there as you know, amazing to me. And and, you know, the coolest thing about it. I know people probably gripe about it, but the the fact that things change and new waves come in and sort of what was his no more? Yeah, and what will be, you know, you can't imagine so, I really love that I love hearing about Hey, man, have you heard of this guy? Or you heard of this band? And yeah, you know, it's the coolest thing ever. Because you know that the scene is alive and well.

Thomas Mooney 14:12

Yeah, what? Like here in Lubbock, since it is a college town, it feels it feels like everything changes every four years. Absolutely. That's and I mean, I guess like the waves in, in music in general are a little bit bigger. But like, since this is a college town, it feels like every four years, like the audience is there looking for a different kind of sound? Yeah, cuz like, oh, we're tired of the old sound or tired of this band. But it's just like a we like this stuff. Right? It is a it is strange and seeing like all those little ways. Yeah, absolutely big movements.

Ryan Beaver 14:49

And you know, that to me is is is what's really cool and really tough as far as a musician goes because you know when you just stick to playing college markets, your turnover is always happening. So you might have some people that love you for a few years, but then they, they graduate, they go get their first jobs, they're raising families, you know, and they're not able to catch you on a Tuesday or Wednesday night at the blue light like they used to. Yeah. And so then you're forced to sort of grow and find a new audience of people who are going to come and see it, right. But the college crowd always has a new crop of bands, they love songwriters, they love and, and they support them. You know, but you're, as a musician, when you're talking about a career, you're always growing. I mean, you've got to go somewhere, right? You can't do the same thing over and over and over. And what's been amazing is to watch guys that I kind of watched that were older than me, you know, transition through that period, and figure out what their next move was going to be. I mean, man, Aaron Watson zone is what 1415 through something 1313 somewhere in there, and he is playing to audiences bigger than he ever has. I mean, Aaron and I just did a show in Los Angeles. And it was crazy to see this fan base, and the heart of Los Angeles coming out, and boots and hats and you know, throwing down to Aaron Watson songs.

Thomas Mooney 16:14

Yeah, I wonder if like they if like Watson or like a Cody Johnson's real easy for them to pick up since they they probably like fans of like the SAM outlaws like that kind of La country.

Ryan Beaver 16:27

I you know, it's so strange because I would talk to people when they would say, Well, I'm from New Braunfels. But I live in San Fran or I live in LA, or, you know, I've been in the military and I'm stationed down here, you know what I mean? So that makes it you have a lot of Texans, but you also have, you know, word of mouth people who are like, yeah, my cousin turned me on to Aaron or so. And so Cody Johnson. And, you know, it's it. That's what's so cool, too, about this scene is like, it's so much word of mouth, you know, and supporting, from, from all the musicians themselves. So yeah, and then, you know, the world is smaller than we think it is. Sometimes. I mean, it's, it's amazing who you can meet. You're always a few degrees away from somebody, you know? Yeah.

Thomas Mooney 17:08

Yeah. So your last record RX came out last year? Yeah. I really love that record, I think like, the, I guess, like the, the the palette in which you really made that record of the tones. All I just really love the tones and textures. Record, thank you a little, they're a little bit more dark and more. Just a little darker than, than a lot of stuff that comes out that you would,

Ryan Beaver 17:36

yeah, I mean, you know, this was a third record I've made and I'm, I tell people all the time, I'm still trying to figure this thing out. But, you know, the differences I'm older have, I've experienced a lot of different elements of life, that I can pull from some stories, some travel, you know, and I've written a ton of songs at this point. So, you know, it just gives me better perspective, I don't know that it makes me better. But it gives me a better perspective on what it is I'm trying to do. And I sort of got more of a vision. Whereas before I wrote a bunch of songs that I really loved. And, you know, I would put them on a record and then go out and promote it. Now I'm a little more calculated about how I do everything. And then, as far as the sonically sonically how that record sounds, I did a lot of experimenting. I spent a ton of time in the studio with two guys that I worked with, and, and we just, we just went in and, and we wanted to, you know, basically treat the studio like a lab and try a bunch of different sounds and different ideas and then go from there. But you know, there are a couple of records, I was always a big fan of growing up. And it was radney Foster, see what you want to see record. And it was very progressive at the time, I thought. And then jack Ingram put a record out called electric that I thought was amazing. It was a super progressive, and it sort of felt like it pushed the boundaries of what country Americana heartland could be. And I wanted to have that sort of vibe on this record, and then maintaining the quality of the song. Like for me, it had to be a great song, or else we weren't even going to discuss it. And so you know, you're you got to be hard on yourself. You're sifting through a ton of songs and going man, it's good, but isn't it isn't great, or it doesn't fit this project or something? Yes. So I had a tremendous amount of fun making it and I appreciate you saying that a lot because it's doing really well. And the grand scheme of things for me. I've been blown away. Yeah. And and the response and from people and we're having fun playing the tunes out.

Thomas Mooney 19:48

Yeah. Well, I think one of the this is just one of those little underrated aspects of a record is that it does feel like you trim the fat on it, you know, it's like what is it 910 songs. It feels like the There's nothing that's just like, okay, like, why why do we have 14 songs on here? You know, it's just a sonically just a, what is it? Like 35 minutes? Just Yeah, probably already under 40 I, you know, it just flows really well. And you know, so many great records end up having a song or two, were you just like, they put this on there because they had extra song, right? I think more people are getting, they're getting better at.

Ryan Beaver 20:26

I agree. I think, well, I'm guilty of that. I if I'm being completely honest and tough on myself, there are definitely songs that I think ended up on records in the past that were okay. But I think they were rounding out a record. And, you know, I don't know, at what point somebody said you need 12 or 11 or 10 songs. But you know, today's attention span is so short, I still am a fan of the record, I think it completely tells a story if one's willing to spend the time to listen from top to bottom. And I really love that way. But you know, I don't know what will happen. I mean, we're in such an age of singles and, and you know, all about being one or two songs that it's, you know, as a songwriter, I don't want to make records that don't feel complete. But I'm interested to see how the rest of the world treats it. I think we all grew up listening to albums where we bought it because of the one or two songs that we heard all over the radio, but they fell in love with the other seven. And you know, they totally saved you in some way. And, and I still want that feeling to come across. That's my hope that maybe you bought it because of this song or this song. But then you found these other songs. And these were your favorites, you know what I mean? So, you know, the goal going forward is to have songs that where there's, you know, no wasted line, no wasted song, for sure. I mean, you definitely have targets, with your, with your records. Like, I knew this was a relatively heavy record, subject wise, and there were some really sad moments about it. So I wanted to try to lighten it. And so there was some stuff that I thought was fun and lightened it a little bit, which I'm really glad at that, you know, looking back, I did that because it would have been super heavy. And you know, there's nothing wrong with that. So I've some of my favorite records are 10 or 12. Completely terrible, heartbreaking songs. But yeah, but, you know, as a listener, I definitely want to balance I mean, cuz to me, like life is a balance. Right? So I think the music should be that way as well. So that's my hope. Yeah.

Thomas Mooney 22:33

Yeah. It is, like this strange time in music where you're seeing a lot more bands put out EP s, right. And, like, I guess like, business wise, that does make sense. Sure. You know, putting out we're just gonna put out five song GPS every six months. Yeah, but I don't know if that's gonna, like, in if that's gonna be, like, judged harshly by time. Yeah, to me. I

Ryan Beaver 23:03

don't know. I it's tough. Because honestly, that is what you just said is my favorite thing ever. When you're making music, when you're putting out records, time reveals so much. And that's the thing that I kind of am going okay, you know, hopefully, I'm making something that when I look back in 10 years, 15 years, I don't cringe, I'm very proud of, maybe it even made, you know, a difference in somebody's life, other than my own. And, and, you know, Tom is such a funny thing, because it, you know, you listen back on like late 80s, rock records, and they're just terrible. And you're going, man, and then you know, the 90s hit and Nirvana happened. And then it just completely made everything else look dumb, right? It just sort of washed it away. And I still go back to like, nevermind, record. I mean, it's amazing. It's an amazing record. And that's my hope is to make something that, you know, is for that moment in time, but still has the ability to stand the test of time. And as far as like, the EP thing goes, I don't know, because I've kicked it around. I'm thought well, you know, sometimes I'll have like a character and this song fits these, you know, this character fits these five songs. Yeah. And then I'm thinking that could be its own little chapter, right. And then you move to another EP and cut five or six that are something else. Yeah. And, you know, I think if it's themed, it's cool. But you're right. I don't know how.

Thomas Mooney 24:29

See, I think like, that can work. It's Yeah, just the, you know, these are our five best new songs kind of all together. Because in a way, like if you do if you just do like an EP about a character, and then like, move on to the next character or a different theme, right? in a way that's like doing like a double record, but in just two different Yeah, you know, I'm saying like,

Ryan Beaver 24:54

and then, like, I have this thing I'm always thinking about because urata ton of songs because I absolutely love it. Like one of my favorite things in the world and forever will be is sitting down on a piano or with a guitar and trying to write a song. And, you know, with that comes the sort of an honesty that you have to realize I wrote a song. And this may be a good song in my eyes. But is it really a great song that will really hold up that everybody can no question say, Man, that is 100% a great song. And maybe, maybe I shouldn't be so hard on myself. But I guess I say all this to say like, if we have more people write 100 songs, and then pick two out of those 100. There, and then you know, write another 100 and another 100 and pick one or two, they're really going to make a great album, they really are. Instead of just Hey, I wrote 20 songs, and we narrowed it down to 15. Yeah, I mean, you. That's, that's what's so interesting is like, you know, if somebody is really hard on themselves, it's like, the whole diamond concept with pressure and time comes, you know, we get a diamond, but I think so many people are unwilling to do the work and unwilling to write and unwilling to be looked themselves in the mirror and say, Man, is this really good? Or Is this okay? And you know, certain things served, serve different purposes. I mean, you can write Song of the Year, but I don't think anybody wants to album with like, 12 song of the years on and I think you need one or two, maybe but you know,

Thomas Mooney 26:33

yeah, well, I think also, we're in it, may it This may be something that's happened forever. But I think we're in an age where I was talking about this the other day on line about how so many fans are just by they have like, the binary rating system, it's complete shit, or the most amazing thing ever. Yeah. And I think like that, the, the overpraise of the songwriter or the of a band can be can, you know, it can make the growth of the band? Stop happening? You can, yeah, can stunt the growth?

Ryan Beaver 27:10

That's a good point. That's a really good point. I mean, it can be definitely detrimental. Because it gets in rider's head, as you know, that's what the bar is. And the truth is, is, you know, if you look at somebody like Tom Waits his career, you see that he's written great songs in his, you know, early days, and then he wrote great songs now and that, but they've gotten better and better over time. And he's really honed in on what it is he does well, what he offers, you know what I mean, and at the end of the day, we can be as serious as we want about music and songwriting, but we're just making, you know, these things that people will fill their brains with, and it's just, it's like, I read this thing, it was like Tom white said songs are like, jewelry for the inside of people's brains. I mean, you know, it's, it's complete art. And it's, and it's up to the person to decide, yeah, there there. There are plenty of people I meet that absolutely want in their life, you know, Florida, Georgia line cruise. And then there are people that, you know, they want Bob Dylan and Jason as well, you know, I mean, so who am I to judge what somebody wants, I just know what I like, and, and whenever I'm making music, I'm really just trying to make something I think that I would want to buy, and that I'm proud of, and then maybe somebody else would want to hear too.

Thomas Mooney 28:33

Yeah, I think that, you know, that so much of this goes to is that like people like us don't. They're few and far between? Are there people like us are buying music, you know, and mostly people are, you know, they're it's it's radio in the background music and that's right, man, you know, I mean, so I try not to like judge too hard on the the idea of a of like a band or a songwriter just taking off in that way, just because like he or she captures the the everyday working man, Ryan stop. It's kind of like the like a, like Lynyrd Skynyrd kind of thing. I don't think Lynyrd Skynyrd was the greatest band, but like they captured a, a certain type of person, for lack of a better term, like just working

Ryan Beaver 29:29

demographic to me at a moment in time. And they really, I mean, that's all we're really trying to do is take, you know, little moments out of people's lives and, you know, put them with melody and rhyme and you want it to be relatable. I mean, I think there's probably a time and place if I wanted to write a song that only understand this just for me, but if you're doing it for a business now, it's got to be relatable, it needs to be able to hit a mass amount of people and you know, sometimes that's a select number of people sometimes it's a huge number. That's up for the listeners. I mean, the artist has to just do what the artist feels and, and put its best foot forward. But you're right. I mean, there's there's a lot of that in the same here in Texas where it's like, a lot of bands have captured that, you know, who knows, free spirited four years of college, beer drinking, you know, good time having and they've and they that's their entire that's their entire set. You know, that's what they do. And I think that's pretty special. I mean, I think that people who do that are, that's, that's amazing. I've always sort of been a fan of, of music that was able to be transcendent of all those things. Like maybe they taught, you know, grabbed this demographic, but they could also grab this demographic or this demographic, and, you know, sort of relate to a lot of different people than just one moment. Like, I'm having a great time. You know what I mean? I like the the riders who were able to catch, you know, how I'm feeling in a terrible time. Or maybe if I don't even know how I'm feeling until I hear a song and then I go, Man, that's exactly how I feel right now. Yeah. So that's what I sort of, you know, attract to. But as far as Yeah, I'm a music fan. First and foremost. I mean, I think you're right, a lot of people are just, you know, getting up and doing the best they can go into work. And then, you know, collect the check and take care of themselves. And maybe music for them is just what's on the radio that morning on the way to work, you know, and then that's a pretty cool thing too. Because that's, that's tough to like, write a song that's on morning, you know, Country radio, and it and everybody kind of digs it. I mean, that's that's, I think people think it's easy. It's really not. Yeah, I mean, there might be some dumb songs. Yeah, I'll give you that. But like, you know, to crank those out is it's it's, it's a chore, man. It's It's its own craft. I'll say that.

Thomas Mooney 32:07

Yeah. I think like it's one of those things like so many fans think that. All the just top 40. In general, all those songwriters are bad songwriters. And it's really not the case like those are good songwriters. But they're also writing what can be what's the markets dictating in a way, right. I had an example the other day of like Paul Overstreet. Daddy's coming around, and he also co wrote like, when you say nothing, you say nothing at all. And then like, he also wrote co wrote, she thinks my attractor sexy later, 15 years later, yeah, you know what I mean? And it's one of those, like, one of these is not like the other, but also like their top there were top 10 hits. So is it him changing? Or? Well, the audience?

Ryan Beaver 33:00

I think it's, I think it's, I think they're, you know, a lot of people may give me flack for this, but I think that, you know, I've always tried to approach songwriting is very serious. Whether it was a light song or a heavy song, that's just been me, because I care so much. But, you know, at the end of the day, if you can write a meaningful love song, like when you say nothing at all, and then you can all realize you can also like turn around and write she thinks on track or sexy, which is just supposed to be a fun. No thank and sing along. Yeah. Like, that's, that's kind of amazing. I mean, I don't know that I could do it. But the fact that he could is pretty cool, because both are super relatable to everyone. Right? I mean, like, one is probably your favorite song over the other, but they're both relatable to people out there. So what? Yeah, no, yeah, that's,

Thomas Mooney 33:58

I think it's tough. It I think it goes to it kind of goes back to the whole working man thing. Yeah, I had a conversation or it's really been like a long series of conversations about the same thing where it's like, like, the reason like all country never really took off was because, like, those guys are writing all country. We're trying to write about, like, poor people, right, hardworking people. And when it comes down to it, like poor people don't want to hear songs about poor people, right? You know what I mean? They want they're looking for some kind of escape from being poor. So they don't really give a shit about, you know, songs about farming. When they're forming. They already know it. They know it inside

Ryan Beaver 34:43

out. Yeah, you're right, man. I mean, I think at the end of the day, you know, radio is radio, and radio dictates a lot of why the songs sound the way they do. And, you know, they're just trying to sell ads and They want to keep you on their station. So they're playing what they think you want to hear, right? So radio dictates a lot of that. And there, there are a ton of writers that write amazing songs every day that are sitting on hard drives, and nobody will ever record or maybe even hear. And they're very, very, very, very amazing songs. And then, you know, you, you kind of see why artists cut certain songs, because they're trying to play the radio game, and radio needs this or radio needs that. And so radio dictates a lot of that business. You know, I think a lot of people think it's the artist or the writer. And I gotta say, it's a lot of just trying to hit the target of what radio wants and radios so particular because they're all about what's hot, and how to keep you on that station. And I completely understand it. And, you know, I'm grateful anytime somebody records my song or a song that I co wrote. Because that's what I love to do. You know, it's my hope, though, that whatever I put out, or someone else records is good. It's offering something that I think has quality. You know, I really want to try to try to keep quality at the forefront of everything I do, musically. But I've also learned over the years that there's a time and place for certain songs, like, you got to have a goofy song, man, I don't care what it is like john prine was the king of death. You know, Roger Miller, I mean, these guys realized, you could write husbands and wives, and then you could turn around and write, you know, can't rollerskating a buffalo rank? You know what I mean? So, I mean, because it's all, like I said, comes back to that balance. You know, I think that's one thing that I've tried to embrace over the years is they don't all have to solve quadratic equations. And, you know, I mean, the world problems. I mean, they're just songs. So, you know, I think if you're able to offer quality, then everyone will notice.

Thomas Mooney 36:54

Yeah, what what is your mindset when you go into, to co write a song, but it's not really a song that you know, that you're going to cut? Like, what kind of mic

Ryan Beaver 37:06

is kind of just what I said, my mindset is to, like, figure out a way to make this the best song possible to have lines in that song that I can be proud of that I can say, Yeah, man, that was my line, or that was my hook, or that was my melody. And, you know, to make it really good, and maybe the artist is really hell bent on writing this particular idea, and maybe I'm not a fan of it, but I'm gonna dig in to like, figure out a way, like a puzzle, figure out a way to make this idea work. But in a really cool way, and something that, you know, has quality and, you know, years and years of listening to music from all different genres, I have that in the back of my mind saying, like, Don't mess this up, you know, I wrote this same idea, but it was called this, you know, whatever, whatever it is, I mean, I have that background. So I'm always going, you know, that's been written, or that's been said, and that's been done. But I'm trying to give a unique perspective and something of quality within it idea that, say, an artist or another writer wants to write. And then there are times when, you know, I come in, and it's my idea, and it's my thing, and I'm kind of leading the charge on the song. And, you know, I definitely, you know, a lot of people said, what was your time in Nashville been like, and I have said, Man, it's great. You know, there are a lot of great players, writers and singers. And that town has a magnet for it because of the commerce the opportunity. And so I've been able to write, you know, and play some of the best songs I've ever written. I've been a part of, and then some of the worst. You know, I've, I've been a part of some of the worst too. So yeah. Yeah.

Thomas Mooney 38:48

Okay, on our x, like, I've not really ever gone. I'm not going over the, like the liner notes. But like, you're, we're all those co writes, were most of those just so I did.

Ryan Beaver 38:57

Yeah. So so the first record I ever made, I wrote everything. Second record, I wrote everything. But then there was about three or four songs that I wrote with a buddy. This record, I wanted to go in completely open minded, complete blank canvas, and no idea except for quality songs, quality songs, that I can sit down with any instrument and play. And it's going to be, it's going to translate, right? So behind production, anything like these songs have to count. I wrote everything with some friends of mine. So we co wrote a lot, I would come in with a chorus, or I'd come in with an idea, or maybe I wrote half of it, or maybe, maybe they had an idea, you know. And then we just sort of sifted through that what I thought were the better songs that fit this project. But then I got to the end, and I realized, you know, I'm so in love with other musicians and writers and what they do, and you know, it's sort of this heartbreaking thing to know how many great songwriters and songs are there. in Nashville not being heard, because an artist is too afraid to cut something or say something. So I found two songs that I didn't have a thing to do with on the writing. And I recorded them because I knew that if I didn't, probably nobody would. Yeah. And they fit this project so well. And they were also songs that I was pissed because I wanted I wanted to be like, yeah, wrote that, but I couldn't say that. And so I knew that that was the right attitude. Like, if I felt that strongly about it, I thought, you know, we have such a good competition. It's like, Man, I wish I wrote that song. You know what I mean? And if that's the feeling, and the mentality is probably a pretty good one. So there were two songs. I didn't write for the record that I'm super proud of. And I'm, you know, I hope that people who wrote it, dig what we did, on the record, which two songs still yours and rum and roses, okay. And both of them play a really important part on the record.

Thomas Mooney 40:58

Yeah. I really like I think, like, my favorite songs on the record are rum and roses, and I love Kristofferson. Yeah. And then, if I had a horse, thank you, I think that like that song, right? There is just like, I can't think of like, what it reminds me of, but like it, for some reason, like it, you know, it plays back into my child. Yeah, like, it is very nostalgic in a way. That's good. That was the hope.

Ryan Beaver 41:27

I mean, I had, you know, I sit down to write that song that day. And I didn't really know how it would all go down. But I knew that I had been I looked, you know, you'd look in the mirror one day, and you go, man, where did the last 10 years go. And for me, I'd grown up in Emory, Texas, which is in 70 miles east of Dallas Fort Worth out in the middle of nowhere. And, you know, I'm so proud of where I'm from, but it just like, somehow Tom disappeared. I mean, it just one day, I'm literally out in the yard run around on, you know, like a wooden brim, like acting like it's a horse. And then the next thing I know, I'm, you know, living in Nashville and dealing with real world, real my life, you know, at the moment, and, and it just seems so far fetched, like, if you told myself at 10 years old, how my life would turn out, you know, all the ups and downs and, and it's such a bittersweet feeling, you know, like, you're glad for the pain, you're happy. You made it that far. You love I love what I do. But, man, it's just such a ride, you know, and it happens so quick. So I wanted to figure out a way to sort of capture all of that. And we did it, we did it. You know, I think we did that. In what if I had a horse and, and I knew it would be the last song on the record. Yeah, it's very stark. It's a little, we cut it all live. We didn't touch anything. You know, it's just one take what you hear is what, what happened that day. I think we recorded it three times. And we took the second take, or something like that. So you know, it's got a it's got scars on there. But I mean, I feel like, that's as real as it gets. And, you know, also, I didn't need anybody to tell me that that was a song a good song. Or, or like, to me, that was a country song. You know, that was I didn't need I didn't feel like I needed anybody say, Hey, man, that's a really good country song. I just knew it. And so that was important that that that confidence, that sort of helped round out while I was making that record, you know? And yeah, I love it. I'm proud of that one. Yeah.

Thomas Mooney 43:40

What's, like I said, like, the record came out last year, like, Are you already thinking of what's up next,

Ryan Beaver 43:45

or I can't. Alright, so we recorded that record. And this is what's crazy. I recorded that record in 2014. It was done in January of 2015. I didn't put it out until May of 16. So I'm, we're out playing these songs. And it's doing well. But I've been past that record for a while now. And I'm kind of always the guy who's always a record or record and a half ahead. So I never one thing I did when I moved to Nashville is I've never stopped the recording process. So the demos, the the writing, it never ends. Monday morning. I'll be on Monday afternoon. I'll be working again, you know. And I love it that way that that schedule works for me. I think there are a lot of people who are like, man, I need to feel the inspiration. There just needs to be some things that happen. I get it. But I'm sort of a lunch pill router in the sense that I'm going to show up maybe I get something maybe I don't. But yeah, I've been stockpiling stuff. And I think that before this year is over algos, spend some time recording, what will be an ex record? I have no timeline or rush on it because, you know, I felt so good about this project and It was so well received, and we had such strong feedback and for the most part, all positive. But, you know, I definitely don't want to just do something to do it, it needs to be something that, okay, that chapters closed. And now it's time for this chapter. So that's always how I viewed the album's you know, it's like, man, there's a chapter in my life, some of them you look back, and it's like old photos of you, you're like, Oh, my God, look at me. You know, and that's kind of how I feel about some of the early recordings. But, you know, it takes it takes some balls to sort of put that out there and say, This is me and for better or for worse and mistakes. And, and I'm proud of that, you know, because growing up, I was really quiet shy, kind of, for the most part, and the thought of putting something out publicly for everyone to criticize, and, and make fun of it's, it's, it's terrifying, especially now in this day and age of social media. I mean, it can be brutal at times, you know, there's been some, some really tough things to hear. And I tried to like not see it or read it. But yeah, but, you know, it may, you know, it's fair. I mean, I'm the one putting myself out there. I accept the consequences of that. But yeah, I don't want to just record a new batch of songs, I want it to be something like, Hey, this is the next thing, you know. So in the meantime, it's been fun to collaborate with different other people. I mean, I'm writing actually back by myself more than I have in a few years, which is been important to me. And those songs always turn out completely different than you would write with a co writer. So we'll see.

Thomas Mooney 46:39

Yeah, do you? Do you always kind of like keep those? I guess, those nuggets that are? Maybe a little bit closer to you? Yeah, for yourself? Absolutely.

Ryan Beaver 46:49

Just because I mean, no question. I know when something's going to be in my in the vein. And then, you know, I'll be honest, sometimes I've walked into a session. And I've walked out of there and went, man, I had no idea this was going to happen today. But that, that is me, that is my life right now, that is what I'm going through or what's happening. Dark is a good example of that. I didn't know we were going to write that song that day. But we got in there. And, you know, conversation was a little heavy. And I sort of opened up about some things going on, and it and I had not felt the need to address it. And like, in a year, you know, I'd gone through losing two people that were super important in my life that loved ones. And then I went through a terrible breakup at the same time, just because I didn't know how to deal with loss. I really didn't. And I was in the middle of trying to figure that out. And the last thing you want to do is, go write about it. I think some people may want to I don't, I didn't want to sort of ran away from it and tucked it. But then this, this hook was said and afraid of the dark. And it was like, it was honestly like a core my core shock. You know, it's like lightning bolt to the heart. It's like, Hey, buddy. This is because you don't know how to explain this feeling this, this, this loss, this grief, this whole entire thing I've been going through felt like it lasted forever. I had no way to sit here and tell you what that's like. But then when we sort of figured out it's like a storm, you know. And then there was this message of hope and the and the hook. And it was so childlike. I mean, I it sounded like something you say when you're four years old, you know, I have read the dark. And for me, that was it. I was like, this is it. I knew immediately what it was and what the song was going to be about. I heard it all and, and it was important. And that was an anchor piece anchor song for the record. But some days you walk in, you have no idea. And then other days, you're like, like you said, you have some stuff you've written recorded and I'm like, yeah, that's gonna be, that's gonna be cool. That's going to be something I'm going to use later. You don't know when or how. But yeah, I've got two things right now that I've been listened to. And because I'll kind of sit, you know, spend time on my own just trying to craft and write and craft and ride play. And I'll come across some ideas. And I have a concept for a song that I'm working on now that I know it's going to be good. I just don't want to fuck it up. If I'm being honest, you know, sometimes some ideas are so you know, they're so strong and they mean so much to you. You're so scared of it. You're like, I have no idea how I'm going to write this. But sure enough, those are the ones that they really yeah, they really reach people.

Thomas Mooney 49:39

Yeah. See from what I've heard a lot of people say during the CO writing thing is that you have to trust that person so much because you miss on that idea. You just wasted it in a way.

Ryan Beaver 49:54

Yeah, you could I mean that. I wish somebody had just like broken this down until me immediately when When it came to co writing, and I want to give you my tip, but the reality is, there are a lot of creatives out there that you're going to connect with on a level that you can't explain. The trick is finding them. And sometimes they're people you don't fit, you never would have thought, Man, maybe they don't even play an instrument. Maybe they're just an idea person, or maybe they know how to bounce things back. And you have no idea why it works. Maybe it shouldn't work, but it does work. And you'll get great stuff with these people. And I would bet it's going to be with about six, seven people, you know, you're going to have 567 riders that you really collaborate well with. And then the rest are going to be good. Good co rides are good people. You could be fans of these folks. But yeah, you just for whatever reason, don't have that magic. And that's the thing that like, I think people are so much missing out on when they sit when they're so anti co writing. I understand. I do. I would not like, I was just reading this article about john Moreland. And he's like, you know, I'm not interested in CO writing. And I completely understand that. I don't think he should be. He shouldn't change what's working for him? Yeah. But I do think he might miss out on some magic, if you ever find found two or three people that he really collaborated well with, you know, yeah, I mean, some of our biggest songs and music. were, you know, somebody walking in the room and sitting down and they bounced it off each other, and they offered something unique and new and fresh. And then we had we're thankful for these massive songs that we've been singing for years, you know, because because of collaborator. So, you know, I would say be open minded enough to approach that. But yeah, it's not all about like, slam in your calendar. And I've got it right today with this person. And yeah, I mean, that's the business.

Thomas Mooney 51:53

I think, like a lot of people think that I think like the outside view of the CO writing. Yeah, process is. I think the average fan thinks either you're walking into like a, an office, someone else is walking into an office, you pull out your briefcases that somehow pull out your guitar. And then like, you start writing the song, or that like four guys walk into your room, you're all wearing lab coats, and you start doing a formula. And like, totally gets out of song. Well,

Ryan Beaver 52:23

I mean, there's probably an element of that. Yeah. And it can feel sterile like that. And it can very be it can be very business. I think all these things exist. I mean, I just know, speaking from my experience, that there are times when I mean, it'd be like, if I make really great green beans, and then I find you and you're like really good at making steak. And we go in together, and we were we're gonna have a good meal, because we both brought something really cool to the dinner. Right. But if I just make good green beans, that's going to be a lamer dinner, you know? Yeah. I don't know how to put it any other way. I mean, I think you have to, you have to find your people. And understand. I mean, you know, the last, some of my favorite rights lately have been I've just been showing up with, with a guitar and, you know, maybe like a six pack of beer with two friends. And we'll just talk for an hour or two. And just saying, and maybe we write, maybe we don't. And I may say, Well, I've got a couple titles. And they may say, Well, I've got this thing I was working on and and if there's a connection of like, I love that, then we'll go after it. But if not, we're all at the point where we've done this enough where it's like, we're not just going to write a song to write a song. Yeah, we're gonna do it if we think it's worth chasing. And before when I was on my own, I would just write everything because everything could be a song and that and that's true, too. But, but it gives you kind of hit this point of like, well, what idea merits a song in the first place? Is it worth to write about this character that I met the other night, you know, is this song You know? So it's all about sitting there and kind of going? Is this idea worth writing? would anybody want to hear it besides me, you know, and then sometimes songs are just, you need to hear it. Like, I definitely feel like we wrote dark. And I had no idea if anybody would ever liked that song. But I needed that song. That was important for me. Because I think I needed to hear those words more than anybody. And so me singing, singing it is more or less cathartic is like, therapy, you know? Yeah. And I knew I needed it. And then I kind of got to think, well, if I need this, maybe somebody else does.

Thomas Mooney 54:35

Yeah, I was going to actually say something about I think like you said, it's, it kind of goes back to a childlike aspect of I'm not afraid of the dark, but in a lot of ways, it just goes back to a very primal human element. You know, like, that's why people started having fires back in the caveman, you know, to me like it in a way goes all the way down to like, just the the core Being a human.

Ryan Beaver 55:01

Yeah, and I think that when you really break down music as complex as it can be, it's got its has to be primal. Like a groove needs to be felt, you know, a lyric needs to be important means something a melody needs to be so good you can't get it out of your head. I mean, these are things we strive for we don't always hit but you're right. It's it should be based on his simple of element is that you know, and that's why I love you know, writers like Hank Williams senior, you know, or Tom Petty because they have an ability to, to do something so very simple. But yet it's so effective. Yeah, it's so effective, you know. I mean, that's so that's tough. Johnny Cash was great at it, I mean, and then he had more complexity, like Kris Kristofferson would be more complex writer that took a little more intelligence a little more thought provoking. And I don't know, you know, I think there's room for all of it for sure. But some of my favorite writers tend to be just mean potatoes, you know, yeah,

Thomas Mooney 56:13

there's a like Johnny Cash was such a like, yeah, just like, kind of like a simple writer in so many ways. And I can't remember I can't think of the name of the song. He did it. He wrote it. He did. They did it with like, highway men, but like the first version I heard was like a porter Wagner version of okay. I know. I'll look it up in my phone right after this. Yeah, but such a cataloger ArcView is out there. Like inside Park view or something like that. You know, song I'm talking about? I don't know, I'll play. But we'll play it here in a second. Like you'll I'll play it for you and like, it is such a Johnny Cash song. Yeah. Even though like Porter wag Like I said, I think the porter Wagner version so much better. Because that sad as shit. Right. But like, it just that's just kind of how Johnny Cash was as a songwriter. Just very, yeah. Simple. Like you just said, but

Ryan Beaver 57:17

yeah, I mean, I think if there's ever a time to try to be simple and effective, it's now I mean, you know, we have such taste out there. But if you really want to hit the masses, you've got to be somehow figure out a way to say it in the most simple way.

Thomas Mooney 57:33

Yeah. Yeah. Well, you want to go out and call this and we'll I'll play this song. Yeah, go do soundcheck. Yeah. Well, it was great. Great talking with you. Yeah, thank you. So some of you probably thought I was gonna just leave you guys hanging out to dry without the name of the song. The song is called committed to Parkview. And yeah, I went ahead and played it right after we hit the stop recording button. And like I said during the podcast you know, it's such a heartbreaking song. Johnny Cash wrote it. The the version that I love the most is why Porter Wagner and I highly suggest everyone go out and buy it. And they may make me take this down, but I think this is such a goddamn good song that I'm just gonna play it for you guys to in this podcast episode. So yeah, here it is. Porter Wagner's committed to bark view. And yeah, we'll see you next week.

Porter Wagoner 58:44

You know, I've been a guest in a lot of great places in my lifetime. New York City, Carnegie Hall, Grand Ole Opry in Nashville, Tennessee, West Plains, Missouri, hometown. And I was committed to Parkview hope I never have to go there again. But there's a man across the hall who sits there and that the flow and he thinks he's Hank, when you hear him singing through the doom. There's a girl in 202 who stops by to visit me and she talks about her songs and the star that she shouldn't be. There's a lot of real time talent, staying in our passion through and for one thing or another. They're committee to barg bu there's a girl in 207 coming down on the Rosie and the superstars ex drummer trying to kick bins a dream. There's a real fine country singer who has tried and tried and tried and they just brought him in this morning and attempted suicide. There are those who never made it. Those who did and now or through some came of their own good choose some community committed to par view there's a girl who cries above me loud enough to we the day. They don't know what she has taken. That is scrambled her head there's a boy just down below me. Who's the son of some Well no. He was brought in by his mother. Was his daddy's always gone. There is a bomb from down on Broadway and the to quiet well to do those who have withdrawn from the rat race and committed to park they wake me up about 630 just before the morning me reload taken my blood pressure. They asked me how I feel. And I always say Fantastic. Well, there ain't nothing wrong with me. Then they give me my injection and go right back to sleep. And my days are kind of foggy. And my nights are dreamy, too. Other taken good care of me. Welcome to Part B you

Transcribed by https://otter.ai