146: Adam Chaffins
Today's episode with Kentucky's Adam Chaffins. Chaffins released an excellent album called Some Things Won't Last last February. Chaffins' soulful vocals and bass-playing style (he's an accomplished bass player as well with plenty of work on some of your favorites in recent memory) are really the heart and soul of the album. There's a boldness to both--it's often a loose, simple sway that's organic and warm. Songs like "Further Away" and his take on the country classic "I'm Over You," are vibrant, yet gentle while "Doorway" and "I Might Be Wrong" lean further into infectious, crisp indie rock moods. All the while, there's an innate haunting nature to Chaffins' Some Things Won't Last.
On this one, we talk about recording Some Things Won't Last over a handful of years, creating those specific moods and bridging them over various sessions, his Kentucky homeland, recording on various albums with some of Nashville's finest, his latest single, the excellent "Now I Don't Know," and staying busy and creative during 2020.
This episode's presenting partner is Desert Door Texas Sotol. In addition, this episode is sponsored by The Blue Light Live and Hot Damn Coffee.
Interview Transcript
Note: Transcripts aren’t always accurate since they are computer automated and haven’t been edited for spelling, grammar, etc.
Thomas Mooney 0:02
everyone welcome back. And or Welcome to New slang. I'm music journalist Thomas Mooney. And this is Episode 146, where I'm joined by Kentucky singer songwriter. Adam Chaffins. Yeah, another excellent and great songwriter and musician from the great state of Kentucky. Not that it totally matters or anything, but we've had a handful of Kentucky ins on new slang this year. And right before I started recording this, I went ahead and just had to count them up. Right now. There's been four it's been Brett Taylor, Justin wells who, yeah, he's originally from Louisiana, but he gets to Kentucky cred, Kelsey Walden. And now, Adam Chaffins. I'm not sure if we'll be hitting, you know, number five before the end of the year, but maybe so I'm not really sure yet. I encourage you to go back and find those episodes. So they're all great conversations, of course. Before you do though, listen to this one right here with Adam. It's a great conversation, as well. Adam released a great solo album back in late February called some things won't last. I just really love the vibe and the feel the mood of that album. It's a lot of what I would consider like the dark tones and textures. Adams singing voice is so powerful by itself. It's really like this dark stain on some hearty oak. And there's just like this innate soulfulness to his voice. And so naturally, a lot of those guitar tones and those baselines, they lean towards that darkness as well. There's a lot of really cool things, though, that they do on this record to break the darkness. There's some Banjo and some guitar fuzz and some keys and it's all just sprinkled in there. You know, there's like a moodiness to, some things won't last. But it's in this like cool, effortless, suave kind of way. Not sure if you guys are familiar with Logan ledger, or any of john paul whites solo stuff. But they also have a lot of that moody fog atmosphere. Logan's is probably a little bit more of that cosmic California thing. And jumbo whites is a little bit more of the Southern Gothic route. But I think they're all kind of within the same sphere, Adams is a little bit more vibrant, I think there's a little bit less of that fog, there's more of a brightness to the album. Maybe what I'm trying to say is like there's a little bit more of the intensity to those hues in those tones. But really, like a great example of what I'm talking about is this latest single they released called now I don't know, it feels super simple, where like the elements are out in front, just a great mix and mastering. But also you realize it isn't just Adams vocals and those thick bass lines and some guitar. The more you listen, obviously, the more you realize that there's this swirl of things happening just below the surface. I don't know maybe that's a sign of a great song. You enjoy those swirls of like the keys and harmonies and these timely hand claps or finger snaps or whatever, whatever is happening on a song, but they don't like distract you from what's the core elements of that song we talked about. Some things won't last being an accomplished bass player, Kentucky and Texas and a lot of other great conversational points on this one. So we'll get to it here in a few seconds. But first, today's presenting partner is our pals over at Desert door Texas Soto if you're asking yourself, what exactly desert door or a SoTL is? Well, it's a premium, high quality spirit that is similar to a tequila or Moscow, but in my estimation, it's more refined, smooth and fragrant. It has a distinct and intriguing palette that picks up on hints of vanilla and citrus while maintaining a healthy earthiness that is quite enjoyable. One of my favorite features about desert door is just how versatile It really is. If you want to feel fancy and a little highbrow, it's perfect for a variety of cocktails that call for lime wedges and core salt, chopped ginger, a godly nectar sprigs of time and sticks of cinnamon, threw down to muddle some fresh fruit, all that kind of stuff. It's perfect. It's great for experimentation and fine tuning all of your mixologist skills. And then also if you're a little bit more downhome and casual, you got that denim jacket on. It's just perfect for those short and sweet simple go to favorites that hit the mark every time. I'm talking about ranch waters and Moscow mules and palomas and and Mexican Coca Cola with desert door.
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All right, let's
get on into the interview. Here is Adam chastens. Yeah, I guess let's just going to start off with talking about like the the record that you put out earlier this year. Um, yeah, I kind of assuming that, you know, you really sit back in February, some things won't last. And I'm assuming that like, you know, you didn't really have this for your plans for 2020. What I guess like early on, when you've released it, like, what were what were your initial plans set out for? For the year? Were you planning on just kind of being out on the road? Or was, was it just more, I guess, gonna be sticking closer to Nashville, back then?
Adam Chaffins 5:38
Well, for sure plans were to tour. And, you know, we were kind of as a newer artist, and, you know, all independently releasing music. still kind of, you know, putting all that together. So we're definitely in we were in the, in the process of booking tours, and, you know, opening support slots on other tours, which all were canceled, you know, pretty instantly. So it was basically, you know, it was frustrating, just for having months of planning for, for things to just be completely let go. Particularly just, you know, marketing an album in general, especially as an independent you know, and then how the year started to unfold. It definitely, you know, put things on hold. As far as that, you know, album release development went,
Thomas Mooney 6:37
yeah, do this is like one of those weird things where I'm assuming like, this can't necessarily be the case, and you can't really treat it like this. But is that was there like any part of you that just kind of has that regret of of releasing it back in February? Or is it one of those things? You just, that can't be part of the the mindset at all?
Adam Chaffins 7:01
Yeah, like, it can be part of the mindset at all. You know, the album, actually, it was a long time in the process, it took from the beginning of recording that some things won't last to putting it out. It was like a three year process. So in those three years, you know, it always felt like releases Now, Let's release now. And, you know, things just kept, I kept kind of growing, my team kept growing. And, you know, what I knew about putting out music kept growing. And yeah, it just it all, everything can indicated a putting out in February this year, and we couldn't have predicted anything, you know, to come out the way it did. So, as far as the creative process, I'm, I'm so glad that record is is out in the world. And I would do it again. Honestly, if it happened tomorrow. I would, you know, release that record when I did.
Thomas Mooney 8:01
Yeah, that's interesting. You say like, so it was like, you know, over the course of three years or so, because I think that like sonically, it really matches and blends together. So well.
Adam Chaffins 8:14
Thank you. Yeah, it was, it was a long process. And, you know, I think a lot of the blending, and sonically all coming together has a lot to do with Brandon Bell, who engineered and was a co producer on the album. And he wasn't actually when we started out making it, he wasn't even a part of the process. That all kind of happened when we ended up going to Southern ground Nashville to record the project. And that's when Brandon jumped on board. And yeah, just you know, down to mixing it. And pretty much all of it was recorded there. There were some things recorded from the overdubs here and there. And we tracked some other things that the first couple of songs we tracked at Petey sound, which is a studio ver in Berryhill, with john Nettie, who did some additional engineering on the early part of the album. And yeah, Brandon is just a genius. And, you know, we really match visions on how diverse I wanted an album to be, but also cohesive. And he's just he just so gifted at making kind of things come to life.
Thomas Mooney 9:24
Yeah, like, that's, I feel like there is such a, an interesting blend, I guess, on on the record, because like, at times, like I feel, or I feel like whenever I listened to it, at times, it feels really, really sparse and like delicate. And at other times, it feels really rich and thick. And like, I don't know, like it. Also at the same time, you know what I mean? Like it like it's sometimes where I'm like, listening to something and it feels really, really like you're not like there's not a whole lot happening, but then like, over time I'm talking like even just over the course of a song. I guess like how do you was that always just kind of like something that you had in your, that you envisioned from the onset? Or is that something that you kind of cultivate over? Over the course of those three years?
Adam Chaffins 10:21
Well, it definitely is something I've cultivated over just my life and music, which I've just been listening to music as long as I can remember, I've been a fan of music and all I've ever really wanted to do was, was making record, first opportunity to do that, you know, under my name with this album, and to really, you know, tell my sound give my sound to the world. And I yeah, I just love so much. So many different and diverse types and styles of music. You know, particularly, you know, even with with classical music and symphonic music, I love there's so much dynamic contrast and symphonic music that you don't necessarily get to hear on the radio. But I've always wanted to, you know, be able to make those dynamics kind of happen on a recording that you hear in your car that also has hooks and melodies and other things that I really love. You know, particularly with my upbringing and country music, and that being kind of, you know, probably closer to the core of who I am was in any other genre. Um, yeah, like having having a vibe that, you know, can, can put all those different elements together. And anyone I think I like music and Bree, and I think that speaks to what you said about, you know, things being delicate and then more full, it's just, you know, a song, you know, I like when they can breathe like conversations, you know, go in and out, and then have more dynamics. And that was definitely something in the mixing process, we really wanted to do with the with the record.
Thomas Mooney 12:06
Yeah, like there's there's definitely like those those moments where it is it feels like it like there's like these accents, these like, like the violins and stuff like that and then other times it's just like more of that soulful bass and that of course, like there's a lot of soul in your voice as well. And I don't know like I feel like like just like that blend those those dynamics are just so powerful on this album.
Adam Chaffins 12:35
Thank you that means a lot I really appreciate you hearing all that for sure. You like I said it was just you know each each song on the on the project we kind of looked at it as what best this song more than you know, it's got a sound like this compared to the other songs it was it was really like what is this song kind of feel like and trying to make that happen you know, and and that's I think what made the character the whole album come together I think it has a lot of character because of of that.
Thomas Mooney 13:17
Yeah, and you know, I think like one of the like one of the big I guess testaments to all that specifically is a song like the the Keith Whitley cover like obviously like up we're gonna cover I'm over you. You really can't just do it exactly the same way that Keith Whitley did it because there's already that version in like your, I don't care who you are, you're probably gonna fall short. So when you do something like that, you have to come at it from a completely different angle and, and try and reinvent it and making something totally your own. What I guess like first For starters, like what I'm sure like, there's obviously like that Kentucky connection there. But like, what, uh, what went into deciding that like, a you wanted to put this on the record, but then to like, okay, we have to do something completely different. That is, like, still identifiable in that song though.
Adam Chaffins 14:25
Yeah, what's interesting with that song like that, that's the song has been with me so long to want to record. And actually, the, you know, the album version is the second attempt at recording it actually started making, you know, record before this one, and it didn't wasn't really coming together how I wanted it and I did, I'm over you, but it was in a different time signature even it was like, it was like in three, four, like a six, eight feel and Yeah, it was just almost too contrived doing it like that. And when I started working with Ethan balandra produced the record, you know, it was like, well, let's, let's this, even this back out and, and not try to make it have a certain field just just be what it is. And that whole recording the studio version, you know, tracking the bare bones of it, it was very just pure and raw is what we really wanted to try to do with that. And we found a, you know, a program that we wanted, and the, the changes the progressions that my arrangement have, or just really kind of just came naturally. It wasn't even something I had before we got to the studio, that was just how I wanted to play that song. And was filling in on the melodies that have been in it, I kind of just hum to Ross Holmes who did all the string parts for the inversion. And, you know, adding that melody to it, I think also kind of put makes it a different song. Because that melody on the original version, and adding things like that I think really made that song kind of take life and and have a new meaning. And you know, hearing people connect with that song, hearing it for the first time and then going back and listening to keys version is is really cool. And definitely part of, of what you want to happen is for someone to hear about Keith Whitley cover, who's Keith Whitley, and then they go down the Keith Whitley rabbit hole like I did so many years ago. To where today that really is also a big part of of what you want it to happen. Or at least what I wanted to happen when I did that song.
Thomas Mooney 16:51
Yeah, like, I guess like the first time I heard your version of it, it takes like a second to, to click like, Oh, this is what's happening in the knee. Oh, yeah. You go to wherever you're listening on your phone or on your computer or your laptop or whatever. And you're like, trying to just like I guess, make sure that that's what's happening, you know? Because, like, you know, it does it's not, you know, it doesn't have like that same intro, you know, or anything like that. And, yeah, I mean, I guess like there has to be a part of you to also want to, like challenge yourself and challenge what y'all can do to make it your own?
Adam Chaffins 17:35
Yeah, that's definitely part of it. I don't know if I'm like, trying to technically challenge myself maybe as much as I did in college anymore. Now, it's just like, how can I best deliver a song to people. And that really comes down to the performance, you know, and making sure that the vocal performance kind of stands on its own. And everything else, you know, is just porting that is another big part of it too. And especially that song, it's something you know, I think we all kind of thought about going in, and when we recorded it and the whole, you know, mixing and getting the final version of
Thomas Mooney 18:20
this episode of Newsline is brought to you by the blue light live here in Lubbock, Texas. Blue Light has undoubtably been my home away from home over the years and has played such a vital role not only for my development as a journalist, but obviously it's been one of the foundational pieces for a lot of your favorite songwriters and bands who have made it out of the Lubbock area over the years. And of course, as a music venue, they've played such a pivotal role for a lot of your favorite bands just in general. One of my favorite parts about blue light is just how versatile the place can truly be. I've seen it crowded and rowdy on a Saturday night for a rock and roll band. And I've seen it dead still on a Wednesday when a legendary singer songwriter rolls through town what you should do is go over to blue light Lubbock calm and check out all the new merch they've added adds t shirts both short and long sleeve they also have hoodies and koozies and just added some sweatshirts that are very much an homage to the college sweatshirt that john Belushi or an Animal House and then of course, maybe the crown jewel of their new merge is the varsity club style jacket and blue satin I got one the other day and yeah it's just one of my favorite things I own now and yeah I don't know I just love it anyway you can check out all their new merge over at blue light loving calm as always, I'll throw a link into the show notes for easy access. Okay, let's get back to the show. Yeah,
yeah, you know,
I already mentioned it but like you know, you have a real soulful voice and you have like these. I think so much of like the the baselines of this record, make the lean into that role or r&b kind of groove? What like, do you whenever you're like writing a song, I mean, I, I guess a lot of people if they are, quote unquote, like the singer songwriter in the traditional sense of, you know, having an acoustic guitar or like a piano or something, you kind of always just think of them writing it from that perspective. But since you also are like a bass player, how is that? Do you also does that come into, to effect of like, when you're writing a song? Do you also think of it with those baselines in, in mind, or,
like, I guess, take me through like that process? Since since?
Adam Chaffins 20:43
Yeah, it just depends on the song, man, I feel like I try to look at instruments like tools. So whether I'm playing the guitar, or the piano, or the upright bass, or the electric bass, I just try to look at them as a tool. And sometimes when I'm writing, I get inspiration from feeling the instrument in my hand, and how a sound resonates on it. And that can spark a melody idea or a lyric. And, you know, hopefully, those two come together, that's easily works best when that happens. And, yeah, don't really try to be specific about it at all, when, you know, I haven't, I've been fortunate that I've also had, you know, kind of a career as a session musician. In conjunction with everything else that I've done in music, been a session player, so I've made a lot of records. And I've always go into those processes completely blank. And then you come out with like, you know, fully painted picture. And I try to think the same way with when I write songs, it's like when you know, when it goes to the studio, you know, different things going to happen. And you can make anything kind of come to life in the studio. So sometimes, I'll have a song, I don't have a very specific picture, my, what I want it to look like and sound like and feel like and down to the melodies. Like the the melody that you hear on, I'm over you is definitely I had in my head. And the whole process of putting that arrangement together. So it really just happens like that, like things kind of, you know, come when they come and I'm, I'm, I'm really not particular about how things look out, you know, per instrument, or whatever I think. I think, however, the song comes out and the melody and the message of the song, however it comes out, it comes out most the time, I feel like that happens with me and a guitar or on the piano or something like that. And then the bass kind of makes its way into it with the exception of certain songs like I might be wrong and making it known, those were definitely baseline driven first. And take it all back. You know, that baseline had a lot to do with how the melody laid as well. From the record.
Thomas Mooney 23:03
Yeah, like, I didn't know if like, that was something that were I don't know, like maybe like, you can't think of like, you can't like paint entire photo at once, or like a painting at once. You know what I mean? Right, right. So like, I didn't know if that if it was one of those things where if you thought about multiple instruments at once, it was like too overwhelming and you kind of like gets in the way defeats the purpose of, of how you even started a song golf. Or if it was one of those things where you could kind of have like that general sense also at the same time in the back of your head.
Adam Chaffins 23:42
Yeah, I'm sure that's always kind of happening, but I feel like my best general rule of thumb is like if if a song a good song is a good song, however you hear it however it comes out it's like, like, I'm over you is just it's a great song. And no matter you know, if you do if you can, you know, be a good performer you can a good song will carry along way over the bad one for a poorly written song or do something that doesn't really resonate with anyone. So I think at the core of it, it's like making sure you know, when it's just you and whatever instrument or voice that wrote the song if that stands on its own, whatever else you do, do it can only add to those things. So yeah, that song on its bare as possible. I think is step one for me, I'm always thinking just the song itself and, and the message and the melody and the structure of it. Before I am all the other stuff and those things start to pop in and I think when you start hearing ideas to play with a band in the studio, it kind of sparks excitement for me like it makes a song come to life. I have so much more and it makes me want to finish writing it quicker. Because I have all those ideas. So, yeah, it starts out, you know, the super pure, and, and is as ground level as possible. And then slowly, things just kind of start happening together. And I think am I, I think the songs of mine that you know, have made it out and are ones that I, you know, had that, that others idea or sense for of what it could sound like on a recording before I'd probably finished the song. But one of them sure that, you know, the song itself is done. So it all kind of happens simultaneously sometimes, and sometimes it just happens. Very separate. So, I guess I'm kind of all over the place, but making sure the song is the song on its own is definitely step one.
Thomas Mooney 25:56
Yeah. Well, I mean, obviously, like kind of a testament to that is, you've been doing some of those acoustic versions of the songs from the record, and putting them out throughout the year. So yeah, I guess like in those versions, you know, like those acoustic versions that you've released is, I don't know, necessarily singles, but you know, those, I guess, the bare bones of those were always kind of at the forefront.
Adam Chaffins 26:25
Yeah, for sure. And that was another another, you know, reason to kind of do those was with further away the acoustic version a further way that came out. I it is that that version just felt so special and kind of precedes the album version from if I'm going to be completely honest. Not that I don't love the album version, it's just, it's just that when we started making the album to go on an engine about acoustic versions, the first song we recorded was actually further away. And then, you know, the rest of the pieces started coming together that song kind of didn't become the feature, or focal point that it that it was to really bring the whole album together. And you know, ended up last on on the record and kind of a closing thought. But this has so much more life and meaning when this year kind of started, you know, developing. And doing that version, the way we did it was never recorded anything like that. Especially at practice, it was just me and an acoustic guitar. with Matt Menifee, you played banjo, like we just, you know, the two of us did that together in a room. And then everything else, the bass and drums were laid on top of it together. So I never, I've never recorded a song, we just mean an acoustic guitar voice and I wasn't really thinking too much on, you know, it, like, what I was doing or why I was doing it. It just it just felt right. And that song kind of just had new meaning. And was just speaking a whole different way than it ever had really before. And that's kind of how the, the acoustic version of that one came together.
Thomas Mooney 28:22
Yeah, it's it's so interesting on the I don't know if it's what it what it is about the kind of like, I guess one of those chicken or egg kind of things where you find new meaning in a song because of the circumstances or? Or if like, those were kind of there all along. And like, you didn't know, that's what you're necessarily saying, you know what I mean?
Adam Chaffins 28:48
Yeah, for sure. It's like, Yeah,
Thomas Mooney 28:51
because like, obviously, like this year, it's just kind of given a lot of like, new perspective on old songs or like things that you've said, or I get, like, even just like, the, as trivial as something is like social media, like you've, you know, I'm sure like you get like the Facebook memories or Instagram memories, and like, it's something that you said, literally, like a year ago, and you're like, Oh, well, you know, yeah. Or like, Oh, this makes a lot more I can't believe how like, this applies to this year, more so than, you know, last year or whatever the case, you know, so
Adam Chaffins 29:30
Oh, that's so true. But further away, I mean, I wrote that song. It's been, you know, about 10 years ago now. And just, you know, in my early 20s, so just in a completely different place in life than I am now. And so starting a new career, and I didn't even know half like some of the lessons that song kind of frozen the lessons that that song I think is saying or is teaching I didn't learn or even know about until years after that song was written. And I think I wasn't even thinking about that when we recorded it because you just, you know, a song so long you're just doing it. And yeah, just reviewing the new version of it, all those lyrics and, and just the message of the song just just have come so completely full circle, and I've never had an experience like that. And music, especially the song of my own.
Thomas Mooney 30:31
Yeah, yeah. Like, that's, that's really crazy. How, uh, you know, almost like, at least like 10 years old now.
Adam Chaffins 30:39
Yeah,
Thomas Mooney 30:39
like, what do you do? Typically? Whenever? If that's the case, like, do you when when you hear like a song, or you're playing a song that's maybe not necessarily even that old? But like, you know, older? Do you typically just kind of like, where do you Where does your headspace usually go? Do you kind of think of like, that time that you wrote it? Or? Or what? what's what's usually that kind of thing?
Adam Chaffins 31:06
It's interesting. Um, sometimes it's the time I wrote it. You know, I guess sometimes it goes back to the studio, or it's like, how did I play this again? Oh, yeah. That kind of thing. So I'm always kind of thinking sometimes about what I did the last time I played it. Yeah, maybe, you know, sometimes playing the bass thing. And there's not much time for thinking of anything. singing and playing the bass at the same time. There's not a lot of time to think about anything else. Other than hoping you don't fall off the train you're conducting. So, yeah, I don't know if I get too deep on on reminiscing stuff. But you know, the older I get, the more the more reminiscing seems to happen. And be more prevalent in my life.
Thomas Mooney 31:56
Yeah, like, I, I don't know, I feel always like there's a part of me always thinks that maybe, like, the biggest part of music in general is just like the nostalgic factor. And I don't mean necessarily mean like, in a Oh, you know, I love this song as a kid kind of thing or, but it but it almost always kind of, I think like, the songs that stick with you. It's not necessarily like, Oh, I love this song. As a kid. It's more so I love this song as a kid. And it's because insert like, someone close to you. Like, Oh, I remember listening to this song in my grandpa's truck. Or, you know what I mean? Or I think like, that's maybe like one of the major keys of music and that we I don't know, that we don't talk about. We're not not eating enough? I don't know.
Adam Chaffins 32:49
Yeah, for sure. And I know that you're a big 90s music buff or 90s Country Music buff. And there's so much nostalgia and that music for me growing up in Eastern Kentucky, kind of, you know, around summer those birthplaces I mean, as people who are part of that era, there's so much nostalgia for me, remembering when those songs came out or doing crazy, you know, crazy things as a kid and hear a song from from back then there's, there's so much nostalgia that comes with it. Yeah, and that's the thing now, with with there's so much so much music is, is being made right now. And coming out. Everyone's dropping the songs all the time. It's hard to kind of, you know, really tell if people are digging in and listening. And it's, it's interesting that you say that, because I'm wondering what your feeling is gonna be like, from this era that we're in right now. 10 years from now?
Thomas Mooney 33:51
Yeah, because I think that like, it's, it's weird, because now like, it's so easy to and I mean, it's, it's one of those things where it's always hard to create, but it feels like it's so easy to release something if if you try, right, like I could not that I'm a songwriter or anything, but like Obviously, I'm doing this podcast out of my office. So like, it's probably something I couldn't have done 20 years ago.
Adam Chaffins 34:21
Yeah,
Thomas Mooney 34:22
but like so apply that to being a musician. You know, you can make a record in your bedroom and that means that like there's just so much out there and so yeah, I think that like going back to like the 90s things, or like just whenever you bought records on CD or something like that, like it was so much more effort to to get those. And so like, all those memories are tied to actual physical things.
Adam Chaffins 34:55
Yeah, man, like, going I just, that was such a big person. As a kid going to the mall and knowing that I could get away to a record store, and, you know, just looking at album covers, there was just so much cool factor of it, I still love going to record shops obviously haven't done much of that this year. But actually holding a physical record, and like seeing and feeling, when you hold something like you can see all the work that went into it, and the artwork and, and then seeing the font and all that stuff, it just creates so much more atmosphere, then, than just hearing a song on digitally and seeing a small square of the, of the artwork. So that was that's definitely, um, you know, maybe, in some of the last era of writers that grew up in that time can still remember going to a record store, buying CDs, or knowing that you actually had to go get a CD to hear the whole album. Or, you know, you're just waiting to hear it on the review over and over again. It came.
Thomas Mooney 36:10
Yeah, you know, it's weird is the so like, I guess like this week, a lot of the kind of like the Spotify wrapped in like, I don't know what the iTunes version is, but like just where they kind of tell you hey, this is like the top five that you listen to this year. And these are all the songs you listen to. I was looking at mine, I was kind of just kind of thinking, I don't really remember, like, listening to all this stuff. I don't have like any kind of like specific memory other than maybe like listening to it because I was getting ready for, you know, an interview or something. But I could probably tell you, you know, 80% of what's in my vinyl catalog. Like offhand, just because those were all bought out, like, in a you know.
Yeah. So there's something definitely attached to that. I don't know, it's such a weird thing.
Adam Chaffins 37:10
Well, it's a commitment. It's also like you becoming a fan when you buy an album. I mean, there's people who are fans of artists now, I've been fans of them since the beginning. And they've probably never bought an actual physical piece of record from them. Because it's all available. were streaming all the time. So yeah, there is that whole thing is gone now. And maybe that's a void that is still trying to be filled, you know, as part as the listener fan experience goes with, with albums. And, you know, it never comes back. It's never, you know, music listening. And the 1800s you had to go to the theater and hear a band play. Like that was that was it. You know, and times before that, before, you know, the printing press, people couldn't even play the music at home. the printing press was like, such a big thing. So the music industry is always evolving. and creativity is always changing based on those things, how we get people out, to hear the stuff, how they can hear it. That's always a part of it. I'm not, I'm not scared of that, I think. I think it is one thing when you when you can. Coming from, you know, watching, you know, CMT as a kid and seeing like, if someone's on sci fi then their thing, you know, and that's not always the case anymore, not necessarily CMT. They're awesome. But you know, it's just it's different how artists discovery happens now is different. And I think that, that changes the creative process of how songs are made and put out into the world. Yeah, and I don't think there's, there's anything wrong with that. I don't think I think, you know, you know, you got to make music, how you make music, and you can't, if, if people still want to do the old, you know, the album format, you can still do it. And there's still people doing that. It's still happening. It's still very prevalent, but releasing songs individually, is, you know, kind of the new horizon it seems. And music.
Thomas Mooney 39:23
Yeah, it's it's one of those things where like, I don't think this is what what's going on now is not necessarily wrong. It's just different. Like you said, What's funny, though, is like, I guess like kids these days, like I have like a little brother who's 18. So what I don't think like he ever has really truly experienced like, buyer's remorse when it comes to like, getting a record. Because like, you know what I mean, like that, like, again, like you mentioned commitment. It's like once you buy it, you kind of have to, like you force yourself to listen to like it
Adam Chaffins 40:00
Yeah, there's nothing worse than dropping 20 bucks on something for a song on the radio and you're like, man, every other song on this thing? Danks. Yeah, remember, you mean that's when you go to the US CD store and you sell your used CD. And you try to develop new ones. There used to be a record store. I went to college for a semester at Bellarmine University in Louisville, Kentucky. And there used to be this amazing record store in Louisville called erects to see. And I can't even tell you how many hours I've spent in that place pretty much multiple days a week just buying used CD because I was a college kid. And it was also a way to discover stuff too. Because, you know, you look in the discount bins, like oh, who's this? Mr. Oliver that guy's name before I'm gonna buy this thing and check it out. That was just a more organic form of discovery. That had so much to do with you know, a lot of the artists who are heavily influenced by that's how I found out about it was from doing things like that.
Thomas Mooney 41:06
Yeah, yeah. It's it's also like, have you have you seen like, Scott Pilgrim against the world? No, I have not. Okay. So I think it's like Scott Pilgrim against the world. Yeah. Anyways, like it's like, it's based off of like, a comic. And Michael Cera plays Scott Pilgrim. And it's kind of like about indie rock. And it's based in Toronto. And like, long story short on the movie, or the story is like, Michael Cera, his character, Scott Pilgrim falls in love with this girl. And then he has to, like defeat her boyfriends to like, win her heart. And, but it has like a lot of references to video games and music and stuff. And there's this one character, I can't think of what his name is, but he's the guy like at the party, where he just knows everybody and he knows all the good songs and like all the good music. Almost always you knew that kind of guy. Like when you're going to school. And if you didn't know that guy, maybe like you were that guy who just kind of knew, like all the new bands that you're supposed to love.
Adam Chaffins 42:13
Yeah, I think I'll think about that, like the small talk. Or just with everything, not just with music, but with movies, too. I mean, yeah, I remember certain movies releases would come out and you were just quoting, I thought a Polian dawned on me like how often people were quoting that movie for like two years. Like he's don't. That doesn't happen anymore. I don't think maybe it doesn't. I kind of live out in the country now maybe until removed. But you know, I don't I don't. I don't. I don't feel that like a year.
Thomas Mooney 42:44
Yeah, like, I know, I'm still in this right here from Are you familiar with Bill Simmons by chance?
Adam Chaffins 42:51
like Bill Simmons now?
Thomas Mooney 42:53
Yeah, he okay. So he's like a sports writer. And I guess like more sports and pop culture now. But one of the things that he's talked about, he's probably I guess he's, he's like 50. So one of the things he talked about was, where he talks about now still is how people used to go watch movies, in a theater, and then go after, after seeing the movie, go to like a coffee shop, or like a cafe or something, and talk about the movie. And like, how we don't have that anymore. Like now, like, you don't necessarily go and watch, you know, whatever show that was released in Netflix, and then go and have a conversation about it with somebody. It's almost always just like on social media that you have that conversation. And,
Adam Chaffins 43:41
yeah,
Thomas Mooney 43:43
I think that you can apply that to music, though to like, talking about records or going and seeing the band and having a conversation afterwards about that show. There's less of that, I guess.
Adam Chaffins 44:00
Yeah, that whole process is different. Now. I will say the thing that I think is happening now, and it's it's clear in country music that more people are listening to music right now, actually listen to music. And you can see the forms of music that are real, you know, true art forms, or song based art forms are being discovered more now than they have been. And I'm hopeful that time apart that we've had will, will bring us together, to want to have those discussions more and to be more to talk about the things we like, and a more intimate conversation just Oh, have you watched this show? Yeah. Oh, yeah. You just got to go watch it. Like that seems to be the thing. Now. It's like it's kind of like this. It's kind of like that. But no one really remembers characters anymore. They're just watching, you know, the show all the time. So yeah, I'm hopeful that one this is all over. We have a more direct conversations about our likes and dislikes than than we have before.
Thomas Mooney 45:12
Yeah.
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Adam Chaffins 47:05
Okay, cool.
Thomas Mooney 47:07
Well, like For starters, like it feels like, obviously, Kentucky has obviously always, you know, given so much to American music as far as just being like a fertile place where so much great music and great artistry has come from. But like recently, just like in these past, let's just say like, decade or so, there's been a lot of great artists who have come out. What What is it like right now? Do you think that kind of it feels like you guys are all kind of, for lack of a better term, like kind of banded together in a lot of ways. There's a lot of, I guess, like common ground as far as like, you know, talking about each other and stuff. What is it? Do you think right now that that's making? So many of y'all known and successful? and all that kind of stuff?
Adam Chaffins 48:05
Huh? Well, to answer that kind of in two parts. To answer the part about banding together, I think that's just the Kentucky thing, man. Like, there's no other. There's no other place. Like, I've never I've been all over I've been to pretty much every state except Hawaii, I think at this point. And I've been to, you know, lots of other countries. And there's nothing really like Kentucky in those regards. Everything is very family based. If you're from Kentucky, and you meet and you're in Texas, and you meet someone else's from Kentucky. I mean, it's a whole, it's just such a different connection. It's like there's so much more family and kinship involved. And it's not as you know, especially Eastern Kentucky, it's a very loosely populated region. And people from there, you know, it's like, if you're from there, it's like, and you meet someone, somewhere else, where you see someone from that region doing something grand, it's a big accomplishment. And then it's just, yeah, there's just so much there's so much kind of family atmosphere, that same kind of family feelings that come in being from Kentucky. And I think that whole, you know, part of it kind of lends into the success of so many artists coming from there right now. And it's also just how you look at all those artists too. And they're just genuine, pure people. And their music is genuine and pure and honest. And people want that right now people want to connect with something that they can relate with, honestly, and not feel like there's a filter over it or something. Artificial. I think the realness of it is what is really speaking to people right now. And Kentucky people are real. It's just it's a real thing. You get called out pretty fast if you're if you're phony from there. So and it's And it's similar to you know, I think Texas and Kentucky songwriters are very similar and that, that, I think that's why there's a lot of connection with Kentucky and Tennessee. Music and the music culture. It just has. And obviously, Texas is a much larger place and a much bigger music scene. But it's just how honest and pure the writing is. And it's keeping people on us to make the music and making sure that the honest music is what people hear. And that's what is promoted the most. And I think that has a lot to do with the success of it that's coming out of there right now.
Thomas Mooney 50:37
Yeah, I feel like you guys just have like this, you know, this earnest, very genuine. And, like, I'm, I'm really big on, I guess I'll put it this way, I'm not really huge on. Like, the, the authenticity has been like the most important part of a songwriter, like, a little bit goes a long way I feel, I feel like it's more, if you're being genuine about what what you're talking about, is like more important. But at the same time, I think like a lot of y'all have like that real, earthy connection to what y'all are talking about what y'all are singing about, if it comes from, you know, family, or like, relationship songs, or if we want to get further into more more songs about, you know, if coal mining or working the land or whatever the case, you know what I mean?
Adam Chaffins 51:41
Yeah, definitely, um, it's also interesting, like, I think, you know, people know, the Kentucky artists, there are people that are famous from Kentucky in the music industry that, you know, the marquee names, but there's tons of other amazing musicians from Kentucky playing with artists or writing on records, there's tons of incredible songwriters from Kentucky. And that's been happening since way before now, you know, there's just a long lineage of it. And I think the internet honestly has helped. It's crazy. It's like, it's like me and Brett Taylor, like we didn't, we didn't know each other, we grew up about an hour from each other, but we didn't know each other at all, until he moved to Nashville. And we were both playing music or, you know, the same age, and doing, you know, the same kind of things. But we didn't know each other, there wasn't Facebook or things like that, to connect events that are happening. And I feel like the internet is like, has helped connect people and in Kentucky now that are, you know, less than 50 miles apart that they weren't even connected with before, because there is so much isolation there. That hasn't existed before. And now you can see people from there in real time doing big things in the world. And I think that sparks inspiration for other people to get going and to support that, like I mentioned with the family aspect, and it's a big part of, of all that.
Thomas Mooney 53:12
Yeah, yeah, I was one like, I kind of figured it was also part of the win when when a place is very rural, you kind of just band together because like, for example, here in Texas, or maybe it's it may also just be because I'm you know, in Texas, and I see Texas, way closer up than than Kentucky from afar, but it feels like here in Texas, you can almost split Texas into these, like four or five, six different micro scenes. And they all they're all together. But you kind of know like these people are from the DFW area or in even saying that, like I'm sure like people are going No, no, I'm really Fort Worth and not Dallas at all, because those are two different places and two different kind of styles, but kind of like the the more Houston thing or like stevensville or Austin or Lubbock, or maybe I don't know, like am I am I far off on when it comes to that to Kentucky it just feels like it's more. Y'all are from Kentucky versus like, specific. Like there's, I guess, like not, like hard lines?
Adam Chaffins 54:33
Well, I mean, yeah, I would say that, that it's not as hard line at all. But those different regions. I mean, it's it's like Kelsey is from Western Kentucky and there's like, it seems like there's, there's, you know, kind of this, this like Eastern Kentucky to me has always been kind of the focal spot. I mean, my, you know, the county I grew up in like Ricky Skaggs, Larry chordal. And then just not far off from that as Keith Whitley and Don Rigsby and Tyler Childers are all from where I grew up. So, there's, you know, Eastern Kentucky I think has kind of been more, you know, synonymous with that. But there's tons of people all over the state doing it, you know, Kelsey is in the west side. And then sg goodmans, another one, from that region, really making strides and making incredible music. So yeah, I think, like I said, everything's kind of being more connected. And there's, you know, there's just as much pride for the west side of the state and music as there is that he said,
Thomas Mooney 55:41
Yeah, yeah. Um, I guess like, how, like, when you're growing up there? Now, I don't know, like, Did you come from like, a musical family
or
Adam Chaffins 55:53
music was highly encouraged. I mean, they love my family love music is the reason I, you know, you know, Phil, for it's so hard, especially country music, I grew up, you know, going, my dad used to set up and sell at flea markets. So I still love going with him. Because there would always be a music vendor, like my early music, you know, store experience was at flea markets, buying country music, cassette tapes, from, you know, you know, the 80s and 90s. So, that was really my influence with my parents. You know, I think they both could have been musicians had been something they wanted to do if they really wanted to pick up an instrument, or sing or do things their, their, you know, they know what's happening musically. Most of the time.
Thomas Mooney 56:43
Yeah, the reason I asked is because, like, you know, I guess growing up how aware Are you have, like Kentucky kind of be in a, such a rich place for music, because obviously, as identifiable as like bluegrass, and like, it's just something that you obviously just kind of gravitate towards is knowing it's a Kentucky Yeah.
Adam Chaffins 57:06
Oh, it's very much a part of it. It's so very much part of it. I mean, when you have, you know, I had teachers in high school who talked about they went to school with Ricky Skaggs, you know, talked about his story. And it's like, when you're a kid, and you're aspiring to do the things I've been lucky to do. Now, when people are telling you these stories about, you know, someone from a small place like your from going out and doing it. It's a big encourage, or, you know, and I think that's a huge a huge part of it, there's a lot of a lot of people notice it from there, and it's an IT, we're very, very proud of it. So when you're when you're doing things and music from there, and you're, you're getting national attention. People from there, notice it and put it on display pretty, pretty quickly.
Thomas Mooney 57:56
Yeah, like, as I kind of what I told Kelsey was, I think that like, that's, I guess, like the success of people from the same place as you were around the same place as you. It's, I think, so vital to giving you some kind of allowance to telling yourself like, Oh, you know, I can do this too, you know, because I think so often, you can just kind of fall into thinking that the place you're from is like, just the end of the world, you know? Or like, yeah, it's not like, oh, people don't do things here. They go, they like they're from, you know, big cities, or like they're from, you know, the coast. That's where, like, all the important people are from not like where I'm from, but then like, then you do realize, Oh, this person is from down the street down the road, and kind of gives you some allowance.
Adam Chaffins 59:00
Yeah, also, I've often thought about that, especially in regards to back home, it's like, and I think that there needs to be there's other people doing great things, and science and education and stuff outside of music, and maybe that's not on display as much and I think those kind of things are pretty crucial to a community and to an impact of a community and its growth. And I think people having pride in something and and is a big, a big part of the Kentucky culture as well and you know, down to our sports teams and everything. So you know, when when an artist is is from there is doing great things like I said it's it's very much put on display and then recognized and, and celebrated to the highest degree.
Thomas Mooney 59:57
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Adam Chaffins 1:02:01
a city. Yeah, well,
Thomas Mooney 1:02:03
I think that like where I'm connecting this to is I think he saw a lot of like people talk or I'll put it this way, the reemergence of like the regional album, talking about regional things, I think was really came back into vogue whenever his bowl really southeastern, like, because it felt like it was very much about Alabama, and like his slice of Alabama. And I feel like after that, then you started seeing a lot more of these like, slices of where like it became like really cool to talk about this the specifics of where you're from. Now, I guess like I'm just connecting that to like the county thing. Do you think like there's some connection to that as far as like people kind of flocking to those ideas of like, Oh, he's talking about specifics, you're singing about a specific place you know, I'm saying does that make any sense?
Adam Chaffins 1:03:06
Yeah, I think that I think that just speaks to the realness of it like we were talking about what connects with people is how real things are and when you can you know, when you can identify a character by name or region by name and a song that definitely you know, can speak to people and it it it goes hand in hand with the realness factor of it and it makes things more real and helps you you know, hopefully get a picture of what it is that's being said in the song.
Thomas Mooney 1:03:40
Yeah, I think so too. I think there's something about about that where it sounds hypocritical but like the more specific you you can get the more universal he can be. So
Adam Chaffins 1:03:55
yeah, oh yeah. Yeah, like that.
Thomas Mooney 1:03:57
What I was going to ask about too because like you've like again like you played bass and like you've been part of these these records these past few years by different artists and have collaborated with a lot of people what what is that like different mindset I guess going in as like a bass player and like how is that also maybe like contributed to your own songwriting and your own I guess like broadening your horizons as a songwriter and solo artist.
Adam Chaffins 1:04:32
Yeah, I've ever said that's like, still very much developing for me. And I try to look at is just making music like, I think the business side of things is what really kind of mixes up with all those things when it when it comes to gigs and making stuff and timelines and when things happen and and what you're doing and how much you're doing of one thing at once. Almost Never does it happen where it's an equal balance of everything, it's easily, you know, just kind of scattered with what you're doing. But I mean, you know, what I've, you know, tried to play the role when I'm when I'm fronting a band, and I'm singing my songs like, you know, I've got to do that thing. And when I'm playing bass for someone else, or I'm in the studio setting, playing, it's like I'm playing what that person needs to sound like. And I think that's, that's something I've always wanted to be able to do is kind of split myself between things and, and try to challenge myself in that way, is that rather than just be stuck on one sound, and one thing forever, it's like, constantly growing, I think growth is a big part of his of artistry, and seeing where you come from, and how you grow and what your sound develops into. And that all happens together. So I'm always learning I'm learning, I'm still, you know, learning how to play, and I'm still learning how to sing and write, and how to connect with an audience and be a performer. That's something I never want to stop learning. So it all, it all happens together. I think, for me, you know, I'm, I do what I do. And I sound like what I sound like when I do it. And people, people know that about me. And that's when I get gotten the calls to do the things that I've done is because people know, what I do and what I sound like, and I try to live up to those expectations as best as I can when I when I'm playing with other people. But I mean, the focus for me now is, is doing what I'm doing, releasing music and doing things myself.
Thomas Mooney 1:06:43
Yeah, how is like this past few, like this year? How is it? Has it had any effect on like, the way you write music, as far as like, you know, just because everyone has just so much more free time? What kind of changes have happened? Just Yeah,
Adam Chaffins 1:07:01
I mean, it's different. I definitely felt like I didn't know what to write, or say in the beginning of all this. And I've been likely to be writing a lot now. I've been co writing a lot with some incredible writers. And, and that's been great. You can always learn when you do stuff like that. And yeah, I don't. I think the it's interesting, I'm still marinating on that the experience of putting out an album and the experience of this year. And, you know, we had the tornadoes that that came through Nashville to affected some people that I work with, and that all kind of happened, you know, scrambling to help them when, when the thing happened, so there's just so much stuff that is this kind of all layered on and it's definitely a part of the process. And, you know, definitely thinking about the next thing I'm putting out and, you know, we just put out a song recently and wanted to put out more. So gathering all that right now. So all that is still very much in the process of development, so to speak.
Thomas Mooney 1:08:06
Yeah, yeah. It's, it's one of those weird things where I think like, early on, we were all kind of just saying, Oh, you know, like, Oh, well, there's all this free time. And of course, like, you see a lot of people on social media going, Oh, man, there's gonna be so many great records to come out of this. And, you know, like, what, what do you need more than anything else? As an artist, or just some free time? And it's like, well, not necessarily like this, like there's, yeah, it's like one huge chunk. It's maybe a little overwhelming to
Adam Chaffins 1:08:36
Yeah, I mean, you got all this time off is because you can't go work, and travel and do the things and share what it is that you do. So there's that on top of me, I think that just comes down. everyone reacts to things differently. Some people kind of Thrive With that than others. Well, yeah, as far as, as far from me, as I go on that I'm still very much in the, the processing stage of all of it with this year, and then writing a lot of had a lot of time to write songs and, and come up with new ideas and new sounds for me. And that's been great. And that's been, you know, putting out. Now, I don't know, the single that just came out, and even the acoustic version of further away. It's not anything that I had planned on doing this year. So this year has definitely shaped my creative process now differently than it would have had the pandemic not benefiting.
Thomas Mooney 1:09:35
Yeah, yeah.
Let's talk about like, No, I don't know. Let's end it on that. Like what you just mentioned, like you didn't necessarily have that in your 2020 plans to release like, How old was that song and like, how did it I guess, did you decide let's go ahead and get it out.
Adam Chaffins 1:09:56
Well, I recorded that song, wrote that song. with Adam Wright and 2019 so something that, you know, I had and I didn't have necessarily any plans, it's the song, kind of in my, you know, stack of songs. But it was one that was sticking out for sure. And after, I wasn't sure how further away acoustic was going to be accepted. When it came out, I didn't know if it were it was just, it was so tough, you know, it was recording at a new studio called the cabin it was, you know, just bill it was the first song ever recorded in there and some great things are happening there now with my friends, Brandon bill and Maddie Alger who operate that space and own it there's just so much you know, uncertainty going into it but once we got in there and started recording it just after so many weeks of just being stalled. It just was such a relief to make happen and and then the reception of it was so well it was just a lot of encouragement honestly to want to record and get back in the studio and keep doing what it is I want to do and that's that's really what sparked going back into the studio and recording some more songs and releasing now. I don't know.
Thomas Mooney 1:11:21
Yeah, yeah, I just again, like that song. There's so much of that like soulful kind of r&b feel, I feel and I just love just kind of how it is like really, I keep on going back to like these words about like being rich, but like also sparse. And I just I just love like just the kind of like the groove of that.
Adam Chaffins 1:11:47
Yeah, man. Well, I think you know, the space between things is just as important as the things that it's between. And yeah, always like space is just a big part of music and yeah, I feel you on that I live in when tracks can can come out that way and not just be like some big thick heap of sound or something. But the things are all you know out there and kind of kind of 3d I think of the mix of that song and it's so it's like wearing 3d glasses when you when you hear it everything. Brandon bell next Citrix genius job and Eric. Eric Conn independent mastering did that. And those guys, you know, just, I can explain what it is I'm thinking and they just can do such a great job of making it happen. And that is definitely the case with now. I don't know.
Thomas Mooney 1:12:42
Yeah, like, it's, it's very bright on how, you know, it's so easy to just keep on adding stuff on to a song. And bike. Now obviously, like, I'm not a musician, and I've never, you know, done anything, like, recording wise or anything, but I feel like I've been fortunate enough to, to kind of be from West Texas, where so many of the artists out here, one of my favorites, Terry Allen, just super just embraced the space now like part of it probably is just because of like, there's a lot of space out here. And like, there's a lot of like, probably, he probably also use space just out of necessity. Because of, you know, recording back in the day, and just not having a huge budget or anything. But I think going forward, like it's taught me to appreciate space and like see it in a lot of songs.
Adam Chaffins 1:13:44
Yeah, man, there's definitely not enough of that. I mean, I feel like a lot of the mainstream national thing is just, you know, putting as much stuff as possible to pick up your ear and you kind of lose that song when that happens. Like, I want to hear all those things and in music and all the instruments and parts of being play but also need to hear the song and the song message. And, and, and all that stuff. And every song is different, every record is different. Every every emphasis is different, you know, and, and if you do a good job, whatever you you went into do will be evident. And the end result if you know you did it, right.
Thomas Mooney 1:14:23
Yeah, no, I totally agree. And yeah, like I guess like one of my biggest things is, I just almost always all my favorite music I listened to was just like a decent pair of headphones. I find like that like listening that way. You're able to pick up on so much more stuff. And it's like that's literally literally like one of my favorite things to do is just like listen, hear the difference between wearing a good pair of headphones and like just having get on this plane without headphones. You're able to just pick up so much more of like the intentional things that were put on a song,
Adam Chaffins 1:15:02
for sure. And it gets down to the mixing and mastering to it's like as a bass player, you know, I want people to be like, so many people listen to music through cell phones, speakers, right, which are not designed properly for the bass. So you know that finding that gland also creates this challenge of, you know, making sure everything can be heard. And that's just so far out of just the performance of of, of the part. I mean, the, the do the dealing with all that is a whole nother level of stuff that I never would have conceptualized getting into music, or, you know, starting a career as a bass player, singer. If there's things you don't think about, and that's, you know, it's definitely, it's definitely a forefront thought and topic when I'm recording is making sure that you know, everyone will be able to hear this on whatever device it is that they listen to music properly. And I think that's, you know, a big part of the space you hear in song as a sacred, we're thinking of that the whole way through.
Thomas Mooney 1:16:11
Yeah, no, I totally agree.
Yeah, you know,
I've really been enjoying all the music that you've been putting out this year and been enjoying this conversation. Thanks so much for for taking some time.
Adam Chaffins 1:16:27
And I appreciate it. It's great to connect with you. I know. I probably have some of the old same Texas buddies. It's been a while since I've got to spend the big, you know, chunk of time in the state of Texas and I cannot wait to get down and do that. Yeah, it's so much you got
Thomas Mooney 1:16:45
to stop my loved ones.
Right. That is it for this one. Be sure to check out some things won't last by Adam shavings. Be sure to stop on over at the Patreon and the merch store. Go visit our presenting partners over at Desert door. Hot damn coffee and the blue light live. Okay, I will see y'all later this week for more episodes of new slant
Transcribed by https://otter.ai