Brothers Osborne (I Don’t Remember Me (Before You) 1:05
“There was a bit of the song that was a little on the nose. I don’t – it started the first tag (sings) which was an idea Shane had. He showed up that day and goes ‘I don’t remember my life before I had my babies.’ He said, ‘I literally can’t think of who I was. I don’t remember who I was before [my] husband Michael.’ And we thought man, that is a really interesting thing. An incredible idea. I’m sure it’s been done to some extent, but I can’t really recall that subject being said that way. And so, we were all about it. We loved the idea and the concept, but when Jay [Joyce] heard it, he goes, ‘Man, I think it would be really cool to save the ‘before you’ till the end of the song and I instantly was like, ‘Man, I think that’s a killer idea.’ John and I were all about it. And so, it ends now (sings) it kind of goes in a turn around. You don’t know what the hell I’m talking about. ‘I don’t remember me,’ you keep hearing this, and then at the end is the reveal ‘I don’t remember me before you,’ which I think is great. It also made it problematic [for] the title of the song.”

Eric Church (Some of It coming of age) OC: …figure it out. :56
“That’s a song, a coming-of-age song, it’s an adult song. It’s adult music. If you listen to the thematics in that and what it’s about, it’s about being older and having some wisdom about you. I think that’s something that I appreciate in my fan base now that early on probably wasn’t there. We were young and drunk and fighting and stupid. But I think now to see them grow – to see the fan base grow – it’s just one of those songs that came along at the right time. And again, it was such a blessing that happened. It wasn’t going to be on the album. It was just one of those freak things that I put it on the album, the last song on the album. The album was done, and all of a sudden it becomes the pillar, one of the pillars on the album. I think again, you go back to it’s one of the great things about music, is you just never know what’s going to happen until it’s all said and done. You can try to plan all you want to, but you’ll probably not going to figure it out.”

Eric Church (creative process in the studio) OC: …the creativity. :57
“It was an interesting creative process. This record was made in the studio, from writing to completion, then any record we have ever made. It was really there, ‘cause I wrote songs there, we change things there. I played parts there, I never played, never thought of. I think maybe it was the first album in our career that there was more creative energy in the studio than any other, because it was written, made, conceived, it was all there. I mean, on ‘The Snake,’ for example, that background part was myself, Jeff Hyde and Joanna, and we tried to sound the old blues kind of sound. We were doing that creatively in the studio, and it made a really interesting thing. A lot of people will say, ‘Who sang that? who is that?’ Well it was us! We were feeling the creativity.”

Vince Gill (I Don’t Wanna Ride the Rails No More) OC: …down the road. (laughs) 1:15
“I don’t think that I intended it to be so verbatim about trains. I think it’s about – it could very well be the bus for me. I don’t want to ride the bus no more. I’ve been riding this bus for 40 something years. But it’s just a song of reflection. My brother struggled in his life and probably a good chance he hopped a few trains in his life. And it just has such a – such a great history of Grapes of Wrath and just old school people hopping freight trains and struggling and riding them out. Maybe Dust Bowl folks riding them out, copping a ride on a train somewhere. I just think that that whole image of riding a train has just this great beauty to it. So, it’s really just a song of reflection, of a life that at times is lonely but ‘I don’t want to ride the rails no more. I want to find a woman’s love worth dying for.’ That’s yearning. It’s hopeful. Even, once again, you can get an element of some sense of hope in something then you just don’t depress the crap out of somebody and send them on down the road. (laughs)”

LBT (Grammys 2020) OC: …speaking about. 1:28
“We put it out as a moment to kind of kick off the record Nightfall, and we just love the song so much and we’ve had so many opportunities to share it on television and lots of radio opportunities. For it to just get nominated for Country Song of the Year by a Duo or Group, that’s an incredible category to be in because that’s any collaboration that’s been done on any country record plus by any duo or group. It encompasses so many incredible performances, that it really, it’s an absolute honor for that song to have gone all the way to the Grammys. Just so cool. It speaks to the message too. It speaks to how important that message is. We’re still talking about it all the time – equal play, equal play. We’re talking about it in just the way women are treated, and we need the champions out there for the daughters and that’s the heart of the song. Luckily, we’re in a band with two guys that believe in that, but there’s a lot of people out there that need that reminder that it’s not an equal playing field. It still isn’t. It’s time for us to change it so that the next generation doesn’t know what we’re speaking about.”