Nashville. Scratching the surface.
Emmy award winning songwriter Andrew Rollins and songwriter and broadcaster Alison Craig talk about the songs, the songwriters, the highs, lows, heartbreaks and beyond of Nashville.
Guests give their insight into the process, the town and the highs and lows within.
Andrew has 9 songs on Nashville The Show and a million stories to tell.
Find out where and how some of the best known songs in the world were written.
Meet some of the extraordinary people who are working and living there now.
40 years of songwriting experience and he lays it bare.
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Nashville. Scratching the surface.
Ep 3. Chuck Cannon Part 1. The legendary songwriter joins Andrew and Alison - solid gold!
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One of the most successful songwriters in the world. Chuck Cannon lives in Nashville and has written 1000s of songs, including massive hits and award winners like How Do You Like Me Now? and ' I love the way you love me' a massive hit for John Michael Montgomery and worldwide smash for Boyzone. his songs have ben covered by Tricia Yearwood, Willie Nelson, Dolly Parton and dozens more. In this episode Chuck tells us the moment he got the call asking if Boyzone could record one of his songs, he had no idea who they were and had to phone his friend Paul Carrack to talk it through. Very funny!
His honesty discussing his songwriting journey, his belief in luck and the streaming numbers is a real insight for any songwriter no matter what age or stage.
In Part 2 which is coming soon....Chuck picks up his guitar and tells us the 'magic tuning' the basis of so many HUGE song and talks about his background and thoughts on the 'rhyme'. Don't miss Part 2. 1st October 2025.
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You're tuned with Nashville Scratching the Surface with Alison Craig and Andrew Rollins. This episode we invite Chuck Cannon into the studio. Now Chuck is one of the best known songwriters in the world. He wrote I Love the Way You Love Me, which Boyzone covered. In fact, he tells a very funny story of how that happened. And also How Do You Like Me Now, which is a monster hit right across the States and right across the world. It was single of the year, song of the year. He has written so many songs and is such a very, very successful songwriter. This is is solid gold. He's also a very generous man. He talked to us for over two hours from his home in Nashville. So this is part one of Chuck Cannon chatting to Andrew Rollins and myself, Alison Craig. Enjoy.
UNKNOWN:Enjoy.
SPEAKER_00:First off, Chuck, thanks for joining us. Sure, no problem. Allison, as I told you, Chuck and I have heard of each other for years. A funny story, he was in LA. Who were you talking to, David Crosby? And David Crosby mentioned me for some reason. And then I had heard about Chuck. through mutual friends and had always wanted to write with him. But when we met a month or two ago, it was like we'd known each other forever. And we both have very similar guitar style in our playing. The first time we hung out, we went back to a friend's house and ended up playing guitar until 2.30 in the morning it was it was it was a great um first meeting but i've always been a fan of chuck's songwriting um i love the way you love me is one of my favorite songs um and by the way uh boys own uh 68 million
SPEAKER_01:Wow. Okay. So that's probably$10,000. Geez.
SPEAKER_02:You know, it's changed so much, hasn't it? A little bit
SPEAKER_00:more than that.
SPEAKER_01:No, I bet it's not. I actually just had one of my... BMI just, well, last quarter was in May. The next one's coming out here in a couple of weeks. 17,800,000 streams of American soldier and that paid like$400. A hundred million would be about$10,000. Yeah, that's about right. Over the period of what, since 1998? Yeah. So 27 years,$10,000, that's good living.
SPEAKER_02:It strikes me that some new songwriters doing it for the money, but if they are, they're insane. But
SPEAKER_00:it used to be, I mean, you know, 20 years ago. you know if you got a a song on an album of a million selling album you made
SPEAKER_01:you made ten thousand dollars
SPEAKER_00:yeah
SPEAKER_01:yeah a million selling album and a co-written song would make you five thousand dollars yeah
SPEAKER_00:yeah but if you had the a number one single on that record What are we talking?
SPEAKER_01:Oh, we're talking a lot of money. I mean, but that's a different thing.
SPEAKER_00:Yeah.
SPEAKER_01:If it was terrestrial radio, I mean, you get awards for getting just a million spins.
SPEAKER_00:Right.
SPEAKER_01:You know, a three-minute song played a million times, I think takes like 13 years to play it a million times back to back. Wow. There's some weird math. I don't know. I guess you could get a calculator. I'll figure it out.
SPEAKER_02:That's extraordinary, though. I mean, in the days gone by when the idea of selling that number of records, you would be in your own private island in the Caribbean, if you wanted to be. I'm sure you would still want to be in
SPEAKER_01:Nashville. Well, you know, there's still, you know, you have life and expenses and stuff, you know, so it's a good upper middle class living if you're a successful songwriter. But it's by no means, you know, going to make you rich.
SPEAKER_02:Yeah. And when did you know you were going to be a songwriter? When you were a wee boy, were you thinking, hmm?
SPEAKER_01:I always wrote... I was always a good writer. You know, I would write poems and stuff, but I really didn't... I really didn't want to... that's not what i wanted to do i wanted to play baseball i wanted to be a baseball player and i got in a really bad car wreck and messed up my shoulder and so that kind of ended that and um i was uh I had started, I started playing guitar when I was like 17. The summer I turned 18.
SPEAKER_02:All right. So you were, you didn't start as a kid then. I mean, 17 is a kid, but you know, not like a
SPEAKER_01:six year old. I know a lot of people who knew a long time before I did. I mean, you know, my, uh, actually both of my wives were, um, my first wife, she was, She had written her first number one when she was 17.
SPEAKER_02:My goodness me.
SPEAKER_01:But no, I didn't know that I wanted to be a songwriter. And even when I moved to Nashville when I was 24, 25, I didn't know I wanted to be a songwriter. I just thought songs were out there. I was so naive. I was so green. I didn't know. Honestly, I didn't know shit from Shinola. I got to town in 84. And shortly after I moved into my little apartment, a guy moved upstairs from me, and his name was Keith Whitley. And I heard Keith sing, and I knew immediately that by no stretch am I a country singer. That's not what I am. But I started learning a bit about the business, and I did learn that there was a cadre of professional songwriters. I just didn't know. So when I got in the car wreck, I realized baseball is not in the cards for me. And so what else do I love? And I'd always loved singing. I'd always loved music. And so I started leaning into guitar and learning how to play songs. Learning how to play all the Neil Young songs, all of the Crosby, Stills, Nash songs. I learned to play some Dylan, a few of the Beatles. Jim Croce was a big influence, James Taylor. And so I was learning how to play songs that were essentially singer songwriters, people who could sit down with their guitar, people who could sit down with their guitar and nothing else and entertain people. And so I was in Nashville kind of trying to find my way. Nothing was really happening for me as an artist because like I said, I'm not really a country singer and it's a country music town. But I started making songs up. I think when I moved to Nashville, I may have by that time maybe made up one or two songs. Then it wasn't long after I was here that I got married to wrong girl and um And she was a successful songwriter already. She was 20, I think, when we got married. She was already a successful songwriter. And we were married for about three years. And then after we divorced, I started really leaning into it in earnest.
SPEAKER_02:Is it the sadness? Was that the kind of catalyst to dig deep and start writing in a different way then at that point? No.
SPEAKER_01:Well, yeah, the sadness. Sadness obviously informed a lot of the early songs, but not all of them. After getting over the initial the initial bit of going through losing someone. I'm a bounce back kind of guy. I just started writing. We were divorced in 89, halfway through the year. By then, I had maybe written eight or 10 songs, but none of them were any good. But then in 89, after we were divorced until the end of the year, I wrote, I think, like 70, 80 songs from June until December. And one of those ended up going on Trisha Yearwood's first record.
SPEAKER_03:Right.
SPEAKER_01:And a song called The Whisper of Your Heart. And... but it was it was like really a lot of things kind of came together and confluence there um because within it was like it was like this little two-week period where it was like all of a sudden i got discovered or something because randy travis recorded a song uh willie nelson and roy rogers recorded a song as a duet um trisha um Oh, there was another one in there and I'm trying to remember. Oh, Dolly Parton. Yeah, she recorded one. It was all right there in like this little two week period. And all of a sudden I was the new hot guy.
SPEAKER_02:I'll see. Wow, that's incredible.
SPEAKER_01:I mean, hot in the sense of, you know, my song started getting a lot of scrutiny.
SPEAKER_02:Yeah. So did that give you confidence then? Because obviously until I suppose that's like an endorsement isn't it of of something you'd love doing
SPEAKER_01:well well i mean you know if you were to ask people who know me well they would probably tell you um that confidence was never my short
SPEAKER_02:right
SPEAKER_01:i didn't throw the short straw on confidence um but but yeah i mean you know just the um validation, I suppose, of the, you know, all of a sudden people were paying attention. And I don't know that it's necessarily that my songs were any better. I think that, you know, I call them the suits, you know, the people who are kind of the gatekeepers of all that deal. I don't think they really know what works. They're reactive people. largely has been my experience. Once you write a hit, then your catalog gets scrutiny. And it isn't that the songs, the songs have always been what those songs were. But you get a hit and the powers that be think you know a secret that you don't know. You're just writing your songs. But when Once a catalog of a decent songwriter gets scrutiny, you know, songs get cut out of that because if you're any good, you know, I mean, you really don't have to be that good. I'm not sure that you really have to be that good. If you don't believe me, listen to the radio.
SPEAKER_00:There you go. Chuck, what, what, What was your first major hit?
SPEAKER_01:I Love the Way You Love Me was my first major hit.
SPEAKER_00:And what year was that?
SPEAKER_01:It was the Academy Song of the Year in 94. And it was... In America, it was... I think three or four weeks at number one. And it was a big song. And then I had always heard the song as an R&B song. Go ahead. I'm sorry I interrupted.
SPEAKER_02:No, no, no, not at all. I just wondered during the writing process of that song, whether you had a sort of tingle in parts of you that you hadn't had before and you thought there's something very special.
SPEAKER_01:No.
SPEAKER_02:No.
SPEAKER_01:I don't know. It was just another song. And... I mean, I can still remember the first time that I... It wasn't even... I wouldn't even say that it was one of my most favorite songs, which goes to show you what I know. But the... I remember the first time I performed it live. It had been number one for a couple of weeks. And I couldn't remember the words. I was working as a waiter at this rib joint called Tony Roma's. And I wandered into a writer's night after I'd gotten off work. And someone asked me to get up and play it. I didn't remember the lyrics. But the crowd knew them, so you know, I got through it. But no, I didn't... I'm still amazed that that song has done what it has done. It's a bit sappy. I mean, it even has the word sappy in the original version.
SPEAKER_02:But sappy is ubiquitously a delight, isn't it? I mean, people love sappy.
SPEAKER_01:Well, people sing to, yeah, they absolutely do. I mean, you know, love songs are, I mean, you know, if you want to make money in this business, you write love songs and everybody always asks, why are there so many love songs? And it's always the same song, you know, the themes are always the same. And it's, I mean, it's really simple. There's a fresh crop of 14 year olds falling in love every week and they want their song, not their friend's song or not the one they fell in love to last week. They want their song. So a new love song is going to work. But you get older and you kind of get over that as far as writing it.
SPEAKER_00:When you wrote I Love the Way You Love Me, how long was it from the time you wrote it to when John Michael Montgomery grabbed it?
SPEAKER_01:I would say maybe three or four months. It wasn't long at all. A woman who was working for the producer Doug Johnson at that time, Debbie Zabitson, she was screening songs for him, and she heard the song. And what we wanted was Gary Morris. Victoria Shaw and I wrote the song, and she's such a wonderful writer. She and I wrote this, had written this song and we wanted Gary Morris to sing it. And actually Gary was her publisher. Gary's just a monster singer. I mean, he's a country music artist and was the lead in La Boheme. Yeah, he was the lead in La Boheme for years on Broadway. And I think he did Les Mis. but he was a truly gifted singer. And we wanted him to sing it, but he pooh-poohed the idea. We played it for him. And then- I
SPEAKER_02:bet he regrets that.
SPEAKER_01:Well, I don't know. Gary's all right. He would have had a hit on it, most likely, because he's- You know, I'm really happy that I had the John Michael, but John's not the singer that Gary is, you know. Well, maybe no one is.
SPEAKER_00:The emotion that he puts in that song is the thing that I remember. I remember when it came out and the first time I heard it. And another thing that happened, especially out here, is it was a country song and then it crossed over before Oh yeah.
SPEAKER_01:We had some, yeah, we did have some crossover success. It was, you know, we, we didn't have the crossover success. I think that we could have had, had it been 10 years later because, because some of the new producers who had come in by that time had figured out, Oh, we need to do a pop mix of this. Right. And, um, you know, a la, uh, the group Lone Star with Amazed, I think was one of theirs. But they were doing pop mixes. And Mutt Lang really started that off with Shania. And then Dan Huff kind of followed suit. And so you listen to Shania's versions of her songs that were country and then listen to the ones that crossed over, those are very different mixes. And we didn't have, it just wasn't, you know, it just wasn't considered. It wasn't one of the things that you did.
SPEAKER_00:How long after John Michael's version did Boyzone?
SPEAKER_01:Well, I had always, you know, I can't say that I grew grew up as, I mean, I listened to country music some, but it was mostly my dad and my uncles, you know, here's some, here's some real music for you. You know, I was, I was a Beatles nut and, um, and, and I, and I love the stuff that was coming out, coming out of, uh, Motown and, uh, Muscle Shoals and Memphis. I, you know, really love that music. And, uh, But I had always heard I Love the Way You Love Me as an R&B song, you know, where the bass is actually moving a bit, you know, instead of... Right. You know, the bass is actually, you know... And so I... In 98... I made a little bit of money and I found this kid who did, I can't even remember his name and I don't even know where the demo is, but I found this kid who was a really good singer and he was good at programming drums and he was a decent keyboard player. For$300, I said, can you do a boy band? Because I was thinking of one of the boy bands here in America. and getting a cut that way. And so we did that. And I just, I sent it, you know, I started with Atlantic Records because that's what John Michael was on. And I knew that they would be familiar with the song. And, oh, I can remember his first name, the A&R guy's first name was Benjamin. And I just cold called LA and said, hey, I've got, I've got a song that was a number one country song. And he said, sure, send it over. And a few days later, he called me back. And he goes, this is wonderful. We've got a band. And he said, out of the UK. And he said, it's called Boyzom. And they've just done a Greatest Hits. But they're going to stripe this song onto their Greatest Hits. And it's their next song.
SPEAKER_03:Great.
SPEAKER_01:The original Greatest Hits, that's where the song was. But the original Greatest Hits, it wasn't on there. I mean, and I had no idea who Boyzone was. One of my good friends is a guy, he's been in several bands. He was the lead singer for Squeeze. He was the lead singer for Ace and Mike Mechanics, a guy named Paul Kerr. And I had been over to the UK to write with Paul for an album that he had just released. And so I was getting phone calls from people I didn't know. Some guy named Sir Grenville Elliott called me up and offered me an inordinate amount of money to administer the catalog, administer, just, just administer the song. Didn't want any publishing, just, just administer. And, um, you know, it was, it was quite a lot of money. And, and so I'm, I'm like, yeah, I need to think about this. And, and so, um, I waited until like, oh, I don't know, two, three in the afternoon because I knew that Paul had to take his kids to school. So I called, I I tried to call Paul and Mary, and Mary answered the phone. She said, you know, gave me Paul's mobile number. And he was taking the kids to school, and I called Paul, and I said, hey, man, there's this guy calling me, offering me money. I got a song cut, and supposedly it's doing well. And he said, yeah, who's the band? And I said, it's a band called Boyzone. And I'll never forget, Paul goes, wait. Are you serious? And I said, yeah. He goes, is it this song? And he held his phone out in the car and it was playing.
SPEAKER_02:Oh my goodness.
SPEAKER_01:And he was taking his kids. He was either taking the kids to school or coming home from taking the kids to school. And he said, oh, this is huge. He said, you don't understand. And I didn't know who Boyzone was. How would I know?
SPEAKER_02:But they're the Beatles for a younger generation. They were just everyone. I mean, they're not clearly the Beatles. Beatles because they're not writing their own songs. But, you know, in terms of hysterical women chasing them down the streets, certainly they
SPEAKER_01:were. Well, yeah, and the Beatles didn't start out writing their own songs. Did they not? Oh,
SPEAKER_02:no,
SPEAKER_01:no, no, no. They were cutting covers. I
SPEAKER_02:didn't know that.
SPEAKER_01:Well, they
SPEAKER_02:certainly got the hang of it though, didn't they?
SPEAKER_01:Yeah, they took to it.
SPEAKER_02:Yes, they did. Like a duck to water.
SPEAKER_01:Absolutely. Yeah, they were... they were uh but but at any rate um the boyzone thing um I mean, it stayed for a very long time, like six months, either number one or number two. In America, you know, your songs worked their way from the bottom up.
SPEAKER_03:Yeah.
SPEAKER_01:It appears that in the UK, they worked their way from the top down. Well. Because it started off at number one. And it was either number one or number two. Oh, and the interesting thing is, you know, do you remember the Cher song? song that was the first time anyone did the really
SPEAKER_02:yes it was and you believe in if you believe in love the Cher song was it yeah
SPEAKER_01:it was the first time anyone had cranked the sensitivity meter on the auto tune all the way over to the right and so it was like you know this novel thing And it was between those two songs, going back and forth between number one. Gosh. For a very long time. I mean, to give you an idea, I think John Michael paid out on around 3 million sales, which is a lot. That's a big deal. Boyzone paid out on 21 million. So there's no telling what they really sold. yeah
SPEAKER_02:you're in tune with Nashville scratching the surface Alison Craig and Andrew Rollins talking to Chuck Cannon if you love it follow us and share it back to Chuck
SPEAKER_00:Alison there's if Chuck doesn't mind I'll send you I think one of the greatest songs I've heard Chuck played it for me a couple months ago and moon will never tell is this a
SPEAKER_02:new song
SPEAKER_01:It's relatively new. I mean, you know, I don't write as much as I used to. You know, probably right. I just don't write as much as I used to. But this one is one that's going to be going on a new record. I hope I'm making. I can't tell yet. Well, you as the artist, you mean? Right. Yeah, I've done a few of those.
SPEAKER_02:Yeah, yeah. No, I realize that. So it's an interesting conversation I had with Andrew when I first met him, which was, he said, there's two doors. This is to quote Mr. Rollins there. One is the songwriter and one is the artist. And it's really hard to incorporate both. So your best to sort of go down one route, but not the other. But you do both.
SPEAKER_01:I mean, I mean, you know, I'm known as a songwriter far more than I'm known as an artist. But I do have some records that I like. Oh,
SPEAKER_00:yeah.
SPEAKER_01:Of yours,
SPEAKER_00:you
SPEAKER_01:mean?
SPEAKER_00:Oh, yeah. Yeah. The thing that I was saying about that, Allison, is, you know, and Randy and I always say this to young artists that want to be artists, writers. And, you know, I think that a great A great artist needs to recognize a great song and take their ego and put it on the shelf when it comes to picking a great song. Even Aerosmith, the smartest artists will go and look for outside material. It's real easy. They're very, I mean, there's people like Billy Joel and, and McCartney and, and Don Henley that, you know, always have a hand in writing their stuff. Sure. An artist. Well, no, he's got.
SPEAKER_01:Okay. Sorry to leave the discussion there for a minute. I have to get more coffee.
SPEAKER_02:That's okay. It's what time is it with you?
SPEAKER_01:It's about 11 now.
SPEAKER_02:Okay. Yeah. But
SPEAKER_01:I was up until four. Yeah. I overheard a bit of the discussion about, I think we're on the artist and the songwriter.
SPEAKER_00:Yeah. I said a great artist will know. A
SPEAKER_01:great artist will, yeah. I mean, think of, but I, I'm a little bit cagey about that because I think that once an artist ever has a hit, they are in the unbelievable position of getting all of the world's greatest songwriters, pitching them songs, they're in the enviable position of all of the world's greatest songwriters are pitching songs to them. They're going to hear the very best of the very best. They're going to hear the very best songs of the very best songwriters. I'm a little bit reticent to say that they actually have some you know outsized ability to pick great songs they they get to choose songs you know once john michael had a big hit John Michael didn't pick any of those songs. Those songs were picked for him. But once he had a big hit, then he gets to choose from a bevy of some of the greatest songwriters in the world. And I would even go so far as to say the same is true for Barbra Streisand. Once she had her first big hit, then she's got, you know, Alan and Marilyn Bergman and just the best songwriters in the world are throwing songs at them. And you can almost just take a dart and throw it at the wall when you've got the Bergman sending you songs. Yeah. Yeah.
SPEAKER_00:Yeah. The point I was making, Chuck, is that I think a smart artist will rely on great songwriters.
SPEAKER_01:Right. And you can even see in a lot of artists' careers where they decide that they want to become songwriters. And you'll see their careers, you know, going like this. And about the time they decide they want to be songwriters, they start doing this. Yeah. But then there are But then there are a lot of artists who are really at their heart songwriters. Toby Keith was that way. Right. He was at heart. He was a songwriter. One of the best. Yeah.
SPEAKER_02:And you did a lot of writing together, didn't you? You had a long writing relationship
SPEAKER_00:with Toby. Tell Alison the story of how you guys wrote How Do You Like Me Now.
SPEAKER_01:Oh, that was the first song we wrote. And... Toby had invited me out to go on the road with him and pick up the final three shows of the tour that he was on and us write songs. And I flew into Kansas City. And his runner picked me up and said, the boss likes to get started at about midnight, 1 o'clock in the morning, which was fine with me because I'm a late night guy. About midnight, he knocked on the door. And we got in a van and went somewhere in St. Louis trying to find some ribs. And we found some joint out on the interstate. I don't even remember. We came back to the room and started to write and I promptly broke a string and I handed him the headphones and my DAP player, which had most of my catalog on it. And so I thought, well, while I'm changing this string, I'll at least pitch some songs. But while he was listening and I was changing strings, on ESPN, they were showing... a series of American football greatest hits where, you know, people knocking people out. Yeah. And this free safety ended up knocking this guy's helmet off and standing straddle of him, points down, says, how do you like it? And Toby goes, you know what he's saying? And I was like, what? He goes, he's saying, how do you like me now? Do you think there's a song there? And I had just gotten the, I just, I'm watching the hummingbird birds outside. I had just gotten my guitar tuned, and incidentally, it's 11-11. Nope, 11-12. I said, yeah, probably there is something in that. And he said, I'm hearing it as something like in between listen to the music and an Eddie Money kind of vibe. And listen to the music was the Doobie Brothers. I
SPEAKER_02:saw them about three weeks ago in Scotland. They were playing here.
SPEAKER_01:Oh, they're awesome. Yeah. Was Michael with them? Yeah,
SPEAKER_02:yeah, he was. Yeah. And his voice still sounded sublime.
SPEAKER_01:Oh, gosh, he was ridiculous. I mean, you know, I was a fan of them long before Michael McDonald and ended up getting to write with Tommy a few years ago. And at any rate, yeah. you know, I just picked up the guitar and I started, I said, you mean listen to the music? And he was surprised that I knew how to play listen to the music, which, you know, if you're a beginning guitar player, usually it's one of them that you pick up. And so, you know, I played a, and then I just twisted that lick kind of backwards and, you know, and just sang off the top of my head. I was always a crazy one, broke into the stadium, wrote down your number on the 50-yard line. And it was from a true story from my past.
SPEAKER_02:Just off the top of your head.
SPEAKER_01:Well, I mean, you know, it sounds like it's essentially a parlor trick. Most good songwriters can do that. I don't belabor some things. I try to move fairly quickly. That was
SPEAKER_04:a good move.
SPEAKER_01:And then edit later. You can always
SPEAKER_04:edit.
SPEAKER_01:But yeah, and- So
SPEAKER_02:the two of you hit it off, obviously.
SPEAKER_01:Oh yeah, yeah, yeah, yeah. We actually, that was the first song we wrote and it was five albums later before it came out because everyone was scared of it. They were afraid that women wouldn't like it. And it turned out women were the ones who liked it the most.
SPEAKER_02:Wow. Yeah. It's funny, you just can't second guess what people are gonna do, can you?
SPEAKER_01:Well, it also has the sympathetic home too in that second verse about the woman who married into money and it's a cruel and funny world he took all your dreams and he tore them apart you know
SPEAKER_03:yeah
SPEAKER_01:so so you know we gave because there are a lot of girls who did that you know they They saw the better prospect. This guy will make money. This guy over here, well, I really love him, but he ain't ever going to make any money.
SPEAKER_02:Yeah, yeah,
SPEAKER_01:yeah,
SPEAKER_02:yeah. Utter misery really around the corner.
SPEAKER_00:My favorite line in that song is the wake up call.
SPEAKER_01:Oh, he never comes home and you're always alone and your kids hear you cry down the hall. The alarm clock is ringing. Who's that singing? It's me. And they should wake up call.
SPEAKER_00:Yeah. How great.
SPEAKER_01:Yeah.
SPEAKER_00:It's great. The thing about that song that is so great, it's very catchy melody, but it's got a great lyric, you know, and I always say this about great songs, that story that threads through from beginning to end, you know, and Chuck's a master at doing
SPEAKER_02:that. Well, that's the end of part one with Nashville Scratching the Surface. with Chuck Cannon. Chuck will be back next time. We go deep diving into lyric writing, rhyming, hard rhyming, some of the lessons that Chuck has learnt and he picks up a guitar and tells us about some of the tunings that he uses and has used when writing some of these extraordinary songs. It's a must listen and it will be coming up on the next episode of Nashville Scratching the Surface. So from myself and Andrew, until next time, bye.
