Latest / Unsigned518 / Unsigned518 - Episode 155 - Chris Jordan

Transcript

Unsigned518 - Episode 155 - Chris Jordan · Unsigned518

• 0:01
  Speaker A: He was born on a Saturday in 73 he loves punk rock music fighting the 13 cabin house on the beat Guitar with the short wind radio bass his motherfucking envy scar, motherfucker. Cause here he comes Andy Sculling wearing.
• 0:25
  Speaker B: His orange welcome to Unsigned518. I'm here with Chris Jordan. How's it going, man?
• 0:31
  Speaker C: Doing all right, Andy. How are you?
• 0:33
  Speaker B: I'm fantastic. Although cold. You know, we were saying before we got rolling, it's. I think it's zero out now. It may be one degree, but. So, yeah, I've got some space heaters going in here. It's not. Not too bad in here.
• 0:46
  Speaker C: Yeah, it's. It's nice and toasty in here right now.
• 0:49
  Speaker B: I did have to prep the dazzle dead for about four hours before you got here, because when I walked in this morning, I was like, oh, my God, I'm dying. But anyway, we're not here to talk about the frigid cold. We're here to talk about you and your music. And you. You know, we're saying a little bit about how you've spent time in Nashville, you've spent time here, so, you know, you've got a. A story to tell, and I guess what we're gonna do is just kind of hand it over to you to. To kick off the story however you want.
• 1:19
  Speaker C: All right. Yeah, well, I'll kind of start from current and maybe go backwards, but, yeah. So, like, around last year, I moved down to Tennessee for college. I've been going to mtsu. I'm a songwriting major there. I've been spending a lot of time in Nashville, just trying to get in that scene as a writer and an artist, too. I grew up in the, you know, kind of. Not 518. I was an 845 area code, but close enough, right? Grew up in Kingston, New York, outside of there, actually, in, like, Marble Town. But, yeah. So got into music at a pretty young age. No one in my family really, like, were musicians, but, you know, we just always had, like, great music playing in the house, I think kind of how it started. My parents still always tell me, like, when. Like, when, like, my mom was pregnant with me, went, like, to Lynyrd Skynyrd 38, special concert, like, front row, just, like, speakers blaring. And then something seeped in there, I guess, and I've been doomed ever since.
• 2:30
  Speaker B: That's awesome.
• 2:31
  Speaker C: Rock and roll lifestyle. But, yeah.
• 2:34
  Speaker B: So was guitar your first instrument?
• 2:36
  Speaker C: Yeah, it was. I started playing when I was about, like, I want to say, 8 years old. Didn't really get good at it until, like, probably my teen years. You know, you can't get kids to sit down for anything. Practice, but that. You know, once I hit, like, middle school and stuff like Stirred, I really got into, like, well, like, the 80s hair metal at that time, believe it or not. So, you know, I wanted to be like, guys like Slash and Mick Mars and Richie Sambor. All them.
• 3:07
  Speaker B: Yeah, I mean, I'm. You know, I'm 51 years old. Like, when you're talking about 80s hair, like, that was when I was like. Like, all that. That came out when I was, like, 16 or 17. So, like, I love all that stuff.
• 3:19
  Speaker C: Like, you know, n. My dad, he put me on to all that. And. Yeah, you know, just be listening to, like, Hair Nation on a SiriusXM all the time. Yeah, I love all that.
• 3:33
  Speaker B: You know, so you said, you know, and we'll get into, you know, Nashville, because I do want to talk a little bit about the scene down there, not just as an artist, but as a songwriter. But, you know, you're going to school for songwriting and, you know, you said. And an. And an artist, like, is. Because a lot of people don't realize, you know, like, when you hear someone say singer, songwriter, a lot of people are like, yeah. You know, obviously. But, like, songwriters themselves are uniquely different than a performer. So to get someone who does both.
• 4:08
  Speaker C: Yeah.
• 4:08
  Speaker B: Is a specialty because, you know, songwriting is a different art that not every performer has, I guess, is what I'm trying to, you know, Like, I'm a performer, but I'm not. Wouldn't say much of a song. You know, I'm not a songwriter.
• 4:22
  Speaker C: You know, there's, like, different. Like, I would say I'm, like, good enough at both where I, you know, I'm passable with either. I know, like, you know, people that just do, like, the songwriting side, they're like, you know, leagues, you know, and then they're like performers that can, like, play me out of any arena. But, yeah, you know, it's just kind of what you specialize on, you know, wherever you put your passion, I guess.
• 4:53
  Speaker B: And when you, you know, write. Say you were to write a song for somebody else or to write a song that you. Not necessarily anybody else in mind, but kind of like, you know, I'm just gonna write this without thinking of performing it. Are you thinking of every part? Like, you know, like, the rhythm and the. And the bass and the guitars and the vocals and the harmonies and, like.
• 5:15
  Speaker C: It'S really different every time because, like, I was Actually, just in the studio this week at up in Ant Hill out in Accord. Sean Boyd was producing for me up there, but down there, I guess, so. Suck at geography, but yeah. So I came in with two songs. One of them will play later, but so that one, I knew exactly every little detail I wanted with the production stuff, every little guitar thing, what I wanted the drums to do and stuff. And then another one I came in. It's like a total blank slate. I had the form and stuff. I had my guitar part written down, but kind of experimenting on some different shit. And, like, you know, I think we have something really cool, but it's kind of cool to just, like, build a song up from scratch like that.
• 6:08
  Speaker B: And when you say from scratch, you mean, like, kind of like go into the studio with some bare bones and build it, like, almost in real time. Like.
• 6:16
  Speaker C: Yeah, like, you know, the structures there. I've played it acoustically. I've even played it with bands before. But, you know, to really, like, focus on, like, the little details and stuff, like.
• 6:28
  Speaker B: Yeah, because I found, like, you know, a producer, you know, or when you take a song and bring it into the studio, you know, the engineer or the producer or, like, someone in there always has those additions to it that the musician may not think about. So, like, with you being in school to be a songwriter, is that something that, like, do you always just have all that shit in your head, like, before you go into the studio, or is it.
• 6:58
  Speaker C: Yeah, I mean, I always try to think about it a little bit, like, what I kind of want on different songs and stuff. Like, I play around with, like, audio production a little bit too. Like, I make my own demos and stuff. And so, you know, and also, like, I'm a huge guitar nerd, so I'll put like a thousand guitar layers that probably don't need to be there, but I want them there. And. Yeah, so. But then, like, you know, I get. I hang out with these producer guys and they'll, like, you know, come up with stuff I wasn't even thinking of, like, especially, like, because I'm not a drummer at all. Like. And a lot of times they'll come up, like, cool drum parts I wasn't really thinking of. And, like, it completely add something, like, super cool to the song.
• 7:42
  Speaker B: Yeah, and it's. It's always those subtle things that, you know, if you're not like, a multi instrumentalist, you know, if you're not like, oh, I can play, you know, the drums and the piano and the guitar and, like, and all like, super, like, Those nuances just aren't on your radar. But when someone who is familiar with those and, like, oh, no, put this, you know, drum part in there. You're right. It will just unlock whole new. Whole new things, which is the power of music, I guess.
• 8:11
  Speaker C: Yeah. And I guess it's, like, kind of interesting because I feel like a lot of bands and stuff, like, they're playing together, they're coming up with, like, all these, like, little ideas together and stuff. When you're, like, kind of a solo artist, maybe have, like, a backing band and stuff, or you just, like, bring in session players and stuff. Like, a lot of times, like, the session players, they'll be like, you know, amazing, like, players and stuff. But sometimes you lose, like, some of those little details. I really love how, like, you know, guys like Bruce Springsteen or, like, Tom Petty or Jason Isbel, they have, like, you know, they. They're solo artists, but they have, like, you know, the E Street Band, Heartbreakers. Yeah, all that. And, like, you know, they're kind of tight as a unit, too. So, like, you know, in Nashville right now, I'm working on getting, like, kind of regular backing band together. Just like, you know, Chris Jordan and the Somethings, you know, we're working on that. I had a great band up here over the summer. I did a bunch of gigs out here, and, you know, just in, like, a couple months, we were, like, super tight with each other.
• 9:18
  Speaker B: It is something, you know, because even as, you know, a solo artist, unless, like, your songs are just, you know, a voice and a guitar, like, you need to, like you said, be locked in with people. Like, you can't just. Even if they're amazing musicians, like, it may, you know, unless, like, they need to have that time with the songs to, like, feel the nuance and work with it. So, like. Yeah, you're right on that.
• 9:44
  Speaker C: You know, sometimes it's exciting when you're, like, you know, you're just, like, trying out a. You give them charts to. Kind of figuring out a song for first. It's like controlled chaos, you know, but it's cool. All the guys I played with the summer were, like, you know, insane musicians. We will just, like, pick up stuff on the spot. That's actually how I found out about the show. My buddy Sam Wall from. He used to be in Sons of Eden.
• 10:07
  Speaker B: Yeah, yeah.
• 10:08
  Speaker C: Uh, yeah, he was drunk.
• 10:09
  Speaker B: He's down in Nat, isn't he? He's, like, touring, but he's based in.
• 10:12
  Speaker C: Yeah, right now he's on the road with Wizards of Winter.
• 10:15
  Speaker B: Yeah.
• 10:16
  Speaker C: Shout out to Sam there. Love you, buddy.
• 10:19
  Speaker B: Yeah, I watch his. I live vicariously through his Instagram. I'm like, look at this dude go. Doing the coolest shit.
• 10:25
  Speaker C: Sweet guy. He's great. Yeah. But yeah, he played with me all through the summer. Also, shout out the other two guys, Rowan Boyd and Isaac Spencen. They've been up here recording with me this past week and it's been such an awesome experience. But yeah, we just had a ton of fun this summer. Like, you know, it was pretty like we had like a month before our first gig together to just like get tight with each other. We played like four hours outside this lake. One like it was Independence Day weekend. So we played like some festival out there and.
• 11:04
  Speaker B: Wait, you played a four hour gig?
• 11:06
  Speaker C: Yeah.
• 11:07
  Speaker B: Jesus Christ. Like I've done, you know, I've in like cover bands back in the day. I think I've done like a couple of three hour gigs and they killed me. I'm like, wow, four hour gig.
• 11:19
  Speaker C: You know, just like kind of the, you know, our originals then like, you know, the kind of classic rock covers everyone knows, like Mary Jane's Last Dance.
• 11:29
  Speaker B: Perfect.
• 11:30
  Speaker C: A minor, let's go.
• 11:31
  Speaker B: Yeah, now, you know, I, speaking of covers, just, you know, since you're here and I told you it's not an interview, but I'll open up other dialogues. But like covers versus originals. Excuse me? Like I'm, you know, cut my teeth in cover bands and now I'm in a band that's original music. But we still play covers and I still just love covers so much and doing sets with a bunch of covers, sometimes people will poo poo upon it. You know what I mean? To be like it's, you know, but I think it depends on the environment and I think a cover song is a great way to get people linked into your original music. If you choose them, right?
• 12:16
  Speaker C: Yeah, absolutely. I think when you do a cover, like especially if it's like something you're releasing and like you know, really putting out, maybe not just doing it a gig. Like I think it's cool like if you do something different with the COVID Like there's a lot of bands that like, you know, can just do like a cover like exactly like the original. I'm probably still gonna go listen to the original if they do that. But like I hadn't even thought of recording, but yeah, but you know, if you do like something like completely different with it, like for example, like my band over the summer we, we covered two songs, Traveling Alone by Jason Isbell and White House Road. Both are, like, acoustic, like, alt country songs, and we turned them into, like, punk rock. Like, and, you know, just do something with different with them. Like, you know, because I'm not gonna. I'm not gonna do Jason, Isbel or Tyler until Childer is better than Jason.
• 13:10
  Speaker B: Yeah. And it's almost like if you try it, like, waters it down a little bit. Yeah, if you try. If you're like, oh, I'm gonna try to, like, be exactly like this. But like you said, if you change it. And I hadn't. I wasn't even thinking of recording. I was just thinking, like, at a gig, like, p. A cover.
• 13:27
  Speaker C: But, yeah, I mean, it's kind of different. Just, like, depending on what. Like, I do all sorts of different gigs and stuff. Like, you know, I'll play it, like some dive bars and stuff, and a lot of them just, like, want, like, country covers all night. I'll try to throw in a couple originals, just, like, promote that stuff. But, you know, you gotta play the classics there because it's what people want to hear. Especially if you're up on, like, Broadway and stuff in Nashville. And then, like, you know, there's a lot of house venues around my school and out in Nashville and stuff, and, like, for that, they want to hear, like, all originals and stuff. It's like, you know, a lot of college kids and they're, like, actively trying to discover new music, so. Huh. And, you know, then there's like, I have, like, a couple artist gigs going on right now. I play with this one artist based out in Nashville, Grava. She's like, kind of pop, punk, horror pop, whatever you want to call it. But, yeah, she does, like, all originals and stuff, and I play bass for her, so.
• 14:28
  Speaker B: So that's funny. So, like, a lot of the bars in Nashville will want covers, but, like, a lot of the college venues don't want covers at all.
• 14:40
  Speaker C: Yeah, exactly. I mean, I guess, like, for more, like, kind of ticketed events, like, people are expecting, like, more originals and stuff. And if you're just, like, going into a bar to, like, maybe that's like a.
• 14:50
  Speaker B: Almost like a touristy thing, you know, like a tourist thing. Because, like, you know, all the people coming to. To visit Nashville or to experience Nashville are probably wanting to hear familiar music.
• 15:00
  Speaker C: I guess, especially in, like, the past 10 years, Nashville's kind of turned into, like, Vegas with a Southern twang, you know, instead of, you know, your Elvis impersonators and stuff. Like, you'll just. And also, I think people expect Nashville be a lot more country than it is. But if you go up on like Broadway and stuff, like you own to any of like the big country stars, bars, like, you know, they're playing like the big country stuff but like most of their sets, like all like classic rock stuff. Like one time I remember, I think it was like kid rocks bar or something, I went up there. Like every floor I went up just happened. The same band, like different bands were playing Pour Some Sugar on Me. Like I hit every floor that night and they just. Every band hit that song. So, you know, classic.
• 15:51
  Speaker B: So I'd like to maybe check out Chris Jordan's song. So I know you brought your guitar, but we're gonna pull that out a little later. Yeah, what do you want to play for everybody first?
• 16:02
  Speaker C: Yes, I guess we'll play the first single that I released earlier this year around August. It's a song called Cherry Cigarettes. It was my debut release. I recorded it at mtsu. Had my buddy Alex Wans and Wesley Stewart, they both produced it for me. I played everything on it myself except for drums. And actually my buddy Gunner, they played bass in the chorus. And Damaskindel, he played drums. Yeah.
• 16:34
  Speaker B: Nice. All right, well, cool. Well, let's check out Cherry Cigarettes and then we'll be right back to talk some more with Chris Jordan.
• 16:40
  Speaker A: I don't care what I see you look so empty your energy's like ecstasy And I watch you in the night go up in smoke. You don't know me before you're still right next to me. How do you know I played and lost this game before now care what you mean. You'll start a friendly future on me eventually. So turn my back and turn you down for you make me happy. Go me higher than I'll ever be. Then hit the ground and still walk out the door. Well I don't need a savior cuz my heart's been through the ringer. I think I can sense the bringer.
• 17:46
  Speaker C: I have another six month sentence Locked.
• 17:48
  Speaker A: In hell with all the rain jets and the suicidal drum steps. I can save myself the head stress and set a score long before we fall from grace. I stay away lonely is a question only answered when mentioned what you know you're gonna be. So I save myself the long run. Cause I know you'll only be another smoking on the now. Feel what you need, you're what I don't need. I think I know what's good for me. Opening my heart just made me wait. It happened last time. Stepped right on her landmine and she stole my way. Now Care of your sneeze, you taste like candy the tract is still bad for me. You say you'll turn my nightmares into dreams I bet you think so? But walking wear shoes, clothes and Kelvin's down on you Well I don't need a savior Cause my heart's been through.
• 19:45
  Speaker C: The wringer I think I can sense the bringer of another six month sentence.
• 19:50
  Speaker A: Laugh at hell with all the rain checks and the suicidal drum sets I.
• 19:55
  Speaker C: Can save myself the head stress and.
• 19:57
  Speaker A: Settle scores long before we fall from grace Me away lonely is a question only answered when a mansion what you know you're gon so save myself the long run Cuz I know you'll only be another. Smoking on the planet the scene Smoking on the planet the scene Smoking on that planet the scene.
• 20:44
  Speaker B: All right, that was Cherry Cigarettes, Chris Jordan. And you know, we were talking while the song was playing that. That's on an EP that you're currently working on that you're looking to Release sometime early 2025, right?
• 20:58
  Speaker C: Yes, sir. Yeah, so yeah, that was like the first song I ever had recorded. Got like, you know, a whole bunch of songs that need recording. But I'm probably gonna put out like a 5, 5, 6 song EP around the start of the new year. And yeah, just like I said, this whole week I've been up at an acord recording songs for that. I also recorded some songs back in Murfreesboro, Tennessee. And yeah, just getting really excited for that. They're songs that kind of been playing with for the last year with like different bands and stuff. But you know, it's nice to kind of see them like fully realized and like recorded versions and they're like you.
• 21:44
  Speaker B: Said like probably six songs. Is it six songs that you already know like, that are already. Already written and you're already working on?
• 21:50
  Speaker C: Yeah, these are all songs fully fleshed.
• 21:52
  Speaker B: Out songs that just need to be laid out.
• 21:54
  Speaker C: Yeah, 100%. Yeah. So cherry Cigarettes, that was kind of like the lead single. I released it in August. Most of the time there's not that big of a gap between release dates and whatever, but you know, all the chaos with a, you know, recording your first record, like recording like, you know, in a professional settings, like something pretty new to me. So big learning curve with that. I'm also kind of a perfectionist when it comes to like recording. All the producers hate me because they wanted to do like 100 takes of like the same guitar part. It's like, oh, I need to get like that bend like exactly right. And you know, well, you know, that's.
• 22:34
  Speaker B: That'S what makes a good album. And, and you know, I don't know if there's anything wrong with releasing something and then going like a, A large gap because it keeps people guessing.
• 22:44
  Speaker C: Yeah.
• 22:44
  Speaker B: You know, and they'll be there when it, when it releases, you know, they're not going anywhere.
• 22:49
  Speaker C: Yeah.
• 22:50
  Speaker B: So I think that's a, that's a good thing. And you know, do you have, like, this is, I, I guess, you know, off, you know, off. Not off topic. It's on topic, but like, when you're rolling out these songs, like, are you kind of taking care of the marketing yourself?
• 23:06
  Speaker C: Yeah, I'm fully DIY right now. You know, for better or worse. No media training here or anything. Just, you know, some dumb kid on Instagram trying to come up with a, you know, goofy for the tick tock and stuff. Like. But yeah, you know, I do all my own promotion stuff. Just try to play as many gigs as I can. You know, I still think like, you know, just going out, playing shows, like, sometimes that's the best way to.
• 23:37
  Speaker B: Right. Get your stuff out because you make that connection.
• 23:41
  Speaker C: Yeah. Like, you know, and even if it's just like, you know, three people in the bar that night, like, if you make like a genuine connection with them, if they really, like, sometimes that's better because, you know, they can really like focus on. And then you have like a dedicated fan there, you know, when you're kind of starting from scratch, like, you know, you need every fan you can get.
• 24:04
  Speaker B: Yeah, it's really wild, like, you know, to have somebody like approach you and tell you how like, your music affected them.
• 24:13
  Speaker C: Yeah. It means the world to me, you.
• 24:15
  Speaker B: Know, and it's cool to like be able to give that back, you know, like, yeah, I really like that dude's music. And then I talked to him and he was really awesome. And like, they'll tell people that, you know, and whereas a lot of the times, you know, just society in general, like, people don't talk about positive things. You know, like if you go to a restaurant and it's good, they tell one person. If they go to a restaurant, it's bad, they'll tell 20 people, you know.
• 24:39
  Speaker C: Yeah, it's negativity bias, you know.
• 24:41
  Speaker B: Yeah. But I think in music, like what we're talking about, you know, with those connections, I think it's the opposite. Like, yeah, you know, if they approach you and you were a dick, they probably would just wouldn't talk about you. But if you're super cool, they're gonna tell everybody. Oh, that guy was awesome.
• 24:55
  Speaker C: Yeah. You know, I think, like, especially in, like, modern day now, where there's, like, cameras everywhere and stuff. Like, you know, like back in, like, you know, these classic rock, like, you know, you'd hear stories about, like, all these rock stars, like, being dicks and stuff, like. Yeah, I just don't think that flies today. I think that's kind of a good thing.
• 25:16
  Speaker B: But, yeah, and I think that like, even, like, the, you know, the social media aspect of it and like, my day job is a social media manager. So, like, I'm, you know, I'm in the social media stuff. But, like, I think the cameras, like you said, and like, the fact that everything is everywhere does kind of keep people, like, you know, a little more behaved.
• 25:40
  Speaker C: Yeah. You know, just like, the. That kind of rock star attitude and like, the negative way, like, you know, still gotta have, like, a little bit of, like, self confidence and stuff, you know. But, you know, I think that's kind of going away. I think that's for the best, you.
• 25:55
  Speaker B: Know, like, not like back in the 80s, like, the hair metal stuff that you're talking about, like, where one band would be like you to the other band and, like, they, like, hated each other and, like, tried to sabotage each other's shows and.
• 26:06
  Speaker C: Yeah. Stories about that. But, Yeah, I think today, especially in, like, you know, the rock scene, which is kind of what I'm in, like, a lot of the bands, like, you know, are super friendly with each other. They're always hyping each other up. I think that's really awesome.
• 26:20
  Speaker B: The way it should be.
• 26:21
  Speaker C: Yeah. And I think, like, you're. I know you're from kind of the punk scene, right? Yeah, yeah. And, you know, I was like a thing there. Like, you know, if you want to. I know, like, hearing stories, like, if you want to meet the Clash back In, like, the 70s, you would go to a Sex Pistols show, right? Be hanging out. And, you know, I think that's. I've always kind of connected a lot to that, like, mentality. Just.
• 26:43
  Speaker B: Yeah, you got. I mean, it's a community, you know, definitely a community. I mean, that's the whole reason I'm doing this show is because I'm like, you know, I want to lift the whole community and not necessarily just, like, the genres of music that I'm into. But, like, everybody is doing it the same thing, so it doesn't matter. You know, we just gotta lift each other up. And that's why I'm. Why I'm doing this.
• 27:05
  Speaker C: Yeah, yeah, 100%. And I think it's an awesome program you got run.
• 27:09
  Speaker B: Thanks, man. Yeah, thanks. So I think we should. Since you brought along the guitar, I think we should hear a song live. So what were you gonna play for us?
• 27:19
  Speaker C: Yeah, I'm gonna play a song. This is gonna be a closing song off my new ep. It's called Hang. It's definitely one of my more personal songs. I wrote about, like, you know, some family drama. Actually wrote it from my grandfather's perspective. He was estranged from my mother for a long time, and I wrote a kind of with that in mind. He's passed now. He was an addict when he was around, but I wrote it from the perspective of when they were kind of, you know, apart from each other. They ended up reconnecting later at night, which I think later in life, I mean, which is, I think is kind of beautiful. But I did write the song. It's definitely one of the darker songs. That's why I wanted to put it at the end of the ep. It's just kind of. It's like a six minute rock epic, you know? But. Yeah. So the song is called Hang, and I'm gonna play it for y'all now.
• 28:15
  Speaker B: All right, cool. Well, let's listen to Hang. Chris Jordan live here in the dazzle den. And we'll be right back to wrap it up.
• 28:39
  Speaker A: With this little Adamant. Off the porch light up the driveway so you can see a shadow of who I used to be. I wish I could see you grown up after all these years. Guess you never really see much through all the tears. Always walking on broken glass you had to watch your step and home looks pretty different different from when you're young still naive like a native driving a town before the white man came with guns. I know this double white star but I'm always home. They cut out my lights but I still play my phone. So if you're ever around maybe we can hang. But on a call from me you'll just hang in on the fifth ring I'll hang too, you know I'm home, you can guess how I do. I'll just tell myself I must just miss you. Part of you already left me.
• 30:37
  Speaker B: When.
• 30:37
  Speaker A: Your mama left and hit the road and I'm still living on the shit that drove my home the two true loves to get. I know you had your reasons to go away. You were just too damn young to feel my age when she hung me out to try and you were left with what I became. So on a call from me you'll just hang in on the fifth ring I'll hang to you know I hope you can guess what I do I'll just tell myself I must have just missed you and as you drive see angels on the boulevard Flying sad for the winter Cause God don't want no more like the Maya used to fly Life will break your wakes drop you leave if you're dead still your voice to sing and as I grow old I'll sit and watch myself young in old black and white flashbacks Screaming blackout drum I never picked you up then now you won't pick a ho Please pick up in this little shed of mine on the back edge of the acre near the back wall on the workbench pine up rack cooler they're just sets a rope and like me, it's only good for a couple of things. One's holding it together one's pulling away and lately I'm feeling tied down I think it's my time too Serve your call on me it just hangs and if on the fifth ring you hang too if you find me at home if I finally go through Wherever God puts me Know that I do miss you Rever God puts me Know that I do love you.
• 34:05
  Speaker B: Foreign that was hang live here in the Dazzle Den from Chris, Jordan and Chris, I want to thank you so much for taking time out of your day for coming up and doing this. And before you go, I just want to give you a chance to say what I refer to as your gratitudes. So microphone is all yours.
• 34:34
  Speaker C: Thank you, Andy. I want to thank you again for having me. I think this is a really awesome program. I've discovered a lot of great, like, new artists just from listening to this show for past couple months. I think it's a really great thing you got going on. But, yeah, first of all, I want to thank my family for just being like, my undying support. It's actually my mom's birthday today.
• 34:55
  Speaker B: Happy birthday.
• 34:56
  Speaker C: Yeah, happy birthday, Mom. And, yeah, I want to, you know, thank all the musicians that I've been playing with, like in New York and in Tennessee. Just some really awesome guys. Yeah, I want to thank all the producers that have been working with me on this new, new project I got coming out in a little bit. You know, Alex Wands, Wesley Stewart, Sean Boyd. Yeah, just some great people. I know I'm forgetting some names, but. And yeah, if you want to keep up with what I'm doing right now, you can follow me at chrisjordanmusic on Instagram. That's where I post, like, all my show dates, all my upcoming music, a bunch of dumb TikTok shit, you know, probably, you know, yeah, if you don't get sick of seeing just like meme dumps on my story. But yeah, that's where you can keep up with what I'm doing. And yeah, thank you again Andy for having me today.
• 36:02
  Speaker B: Awesome. All right, so he is Chris Jordan. I am Andy scullin. This is unsigned 518. I'll see you on the road. Unsigned 518 is produced and hosted by me, Andy Scullin. New episodes are available every week wherever you stream podcasts. If you'd like to help support the show, please like and subscribe wherever you are listening. Or you could buy me a coffee@buymeacoffee.com unsigned 518 if you would like to advertise on the show, send me an email at unsigned518mail.com and to be a guest on the show, reach out to me through Instagram signed 518 take care of one another and I'll see you next week.