[ laughter ] [ cheers ] i took a walk through this beautiful world felt the cool rain on my shoulder found something good in this beautiful world i felt the rain getting colder sha la la la la sha la la la la la sha la la la la sha la la la la la la chef: what if we just get dino s and go to edgefield, then go to robert s? chef 2: edgefield closes at midnight. chef: you gotta see have you been to robert s? chef 2: but dino s definitely anthony: i haven t been anywhere. chef 2: starter and that s it. anthony: i saw the hotel. the [ bleep ] do i know? [ laughter ] patrick martin: hold on, time out. stop, stop, stop. you ve never hung in nashville? anthony: no. martin: you re gonna have a fun time. anthony: i have no doubt. [ laughter ] anthony: nashville. if you haven t been there, you probably know it as what? a country music capital, grand ole opry, and it is music city. and there is indeed plenty of country music, bot
because you re surrounded by that. it s like, you re typically playing to, like, a whole room of, you know, pickers and writers. and so it s like, how many nashville musicians does it take to change a light bulb? one to do it, and 20 to stand around and say, i can do that. [laughter] i put a hurting on the bottle maybe now i m blind enough to see been drinking whiskey like it s water that don t touch the pain you put on me - there seems to be a sense, like, a lot of established bands have always come here for something metaphysical. i mean, they say, well, it s i want to work with particular session musicians, or i want to record at a particular studio. - yes. - but that s really a kind of a metaphysical decision. does that particular mixing board actually possess magical powers.
cause it s like, you re typically playing to like a whole room of, you know, pickers and writers, and tell us like, how many nashville musicians does it take to change a light bulb? one to do it and twenty to stand around and say, i can do that. [ margo price hurtin ] i put a hurtin on the bottle baby now i m blind enough to see been drinkin whiskey like it s water that don t touch the pain you put on me anthony: there seems to be, i sense, like a lot of established bands have always come here for something metaphysical. i mean, they say, i want to work with particular session musicians, or i want to record at a particular studio. margo: yes. anthony: but that s really kind of a metaphysical decision. does that particular mixing board actually possess magical
not to say like there s tons of bands that suck or something here, but when i came here, i wasn t good enough, and i went out to some writers rounds, and i learned very quickly that i had to be a better player, i had to be a better singer, i had to be a better writer, and like, so you know, you work hard because you re surrounded by that. cause it s like, you re typically playing to like a whole room of, you know, pickers and writers, and tell us like, how many nashville musicians does it take to change a lightbulb? one to do it and twenty to stand around and say, i can do that. i put a hurtin on the bottle baby now i m blind enough to see been drinkin whiskey like it s water that don t touch the pain you put on me anthony: there seems to be, i sense, like a lot of established bands have always come here for something metaphysical.