Welcome to Music Matters Podcast with Daryl Craig Harris, talking about all things music with celebrities, artists, music business insiders, and more. Laura Pocadillo, how are you doing today? I'm doing awesome. How are you? I'm very well. So we were introduced by a mutual friend, Ben Vaughn. You guys actually have a podcast together, Straight from the Hat, which I think is kind of recent. You guys started that. We launched it in January. Awesome. So you actually have such a cool job. So you work with Sun Records, your director of marketing and strategy, I believe. Yes. So tell me about that. We all know Sun Records, I guess, from kind of Elvis, Carl Perkins, the olden days, but you guys actually have reinvented yourself. Tell me that story and how you got involved. Yeah, absolutely. So Sun Records, first of all, has been in Nashville since 1969. We're obviously associated with Memphis, but we've been in Nashville for a minute. And about five years ago, six years ago, Primary Wave purchased Sun Records and turned it back into a functioning label. So I came into the label about four or five years ago. I was initially working on streaming, and then it became just kind of everything. And now I'm overseeing marketing there. And what we've done is obviously, yes, we're the home of the amazing Sun Records catalog, which obviously the home of Johnny Cash, Jerry Lee Lewis, Roy Orbison, Carl Perkins, all of those folks, as well as some really cool, I mentioned the Nashville era of Sun, some really cool deep catalog stuff. So it's initially what I was interested in, but now I'm kind of in both worlds, not kind of am in both worlds, doing catalog as well as our frontline forward-facing artists for which we've now racked up two Grammy wins, which is very exciting. So we are doing a lot of really exciting things at Sun, both working with the old music and looking ahead with new music. And I think, you know, I've been, I mentioned to you, I've been kind of following along with your story because, and I've actually interviewed, it was Azizi Ward, your other artist, which, or one of your blues artists, which is great. She's awesome. She's tremendous, yeah. So it's interesting. It is an interesting story because you're kind of, in a way, you fight the legacy a little, but it's an awesome legacy to have. but you want people to know that obviously you're still signing new artists. You have people that are winning Grammys. So tell me about that, like how you approach that on a daily basis, navigating kind of the history, but also letting people know that, yeah, you're still out there and you're still signing new artists. Yeah, that's a great question because it's definitely a one-of-a-kind situation for Sun to be in. I mean, Sun is a one-of-a-kind label, which is how we approach what you're talking about with so much care, because Sun Records means so much to so many people, me included, and so much to the entire foundation of American music and rock music in general. It is where rock and roll was born. So that's not really something to take lightly. Yeah, it's a daunting legacy in a way, in a good way. Yeah, no, it is. And it is such a privilege to be involved with. And I think when you think back to the origins of Sun, it obviously has grown into something so much bigger than Sam Phillips' humble dream to record the artist that he wanted heard. and it developed into what we see as this behemoth brand and label, but it really is just about good music and having good music heard. So that's the thread we try to pull through with that level of, I mean, we can never touch Sam Phillips' level of innovation, obviously, but that spirit is something that we still bring to what we're trying to do today. And it's a really exciting thing to have such an iconic American label back and working and putting out new music and protecting the legacy of the music that's already under Sun because we do so many archival remasters and reissues and things like that too to that catalog as well. Sun Records, do they still own the catalog? Has that been maintained over the years or how has that worked? Yeah, so Sun owns all of the master tapes and catalogs that was part of the purchase of the record uh label so um yeah there's there's a deep deep archive of of really awesome stuff in in like i mentioned all of the memphis music and we put a ton of that out um for our 70th anniversary a few years back remastered and went back to a lot of both you know favorites like we're never going to get tired of i walk the line but right and everything else under that era as well. But we also have a bunch of Southern Soul and bluegrass and country pop, just all sorts of really cool stuff, which I love as a music freak, that there's like so much in that vault, which is great. Yeah. And it's amazing that they have been able to maintain that, that they kept that all together, because as you know, oftentimes people in similar situations have kind of sold off the catalog just to stay afloat or however that works. But that's an amazing story that they were able to do that is the actual studio. So that's still functioning in Memphis, right? What's the status of that? And are you guys involved in the studio? Yeah, so the studio is owned separately and is still very much working in Memphis. And we have a great relationship with them. I love the folks down there in Memphis, because what we like to do is, and some people don't know this, but the studio still operates as a functioning recording studio after tours. So a lot of people go and take the tour and the tour is awesome. And like the tour guides who give those tours are so into Memphis music and so into Sun. I love going. But what we like to do as the label is bring artists back and have them record there. So we brought ZZ Ward was there. We brought her back. That was great. Ruthie Foster has been there. Coyle Gorelli has been there. So it's been really fun to grow that partnership too. Now that Sun Records, the label is back in business, we can also, partner with Sun Studio at Ted Moore. Yeah, that's exciting, of course, because again, it's nice that they've kept that all together in a way. Like you mentioned, they have a different owner, but it's still under the same banner, and people have such a love for the record label, the history. So let's talk about new artist development. So how do you guys approach that these days? Are you looking for certain kinds of artists? I know actually, who were your two Grammy winners? Well, Robert Randolph just won. He just won Best Contemporary Blues Album, and Ruthie Foster won in the same category last year. Oh, awesome. Yeah. And he's great. I love what he does. It's so exciting. He is such an interesting artist, and he's a great example of the type of artist that, you know, we're interested in at Sun because it's a niche genre he works in. You know, it's not even really a genre. Like, he won a blues Grammy, absolutely, and there's so much blues influence in his music. But I find that a lot of the artists we work with aren't really tied to, you know, the guardrails of a genre. And that is definitely a challenge as a record label, but it's a fun one. And I think one that fits with the son's story, because he is such an innovator of what he does with the pedal steel and is such a unique artist. And so we really, you know, look for those artists that are bringing something new to the space that they're doing, that is very much aligned or unique to them, I guess. They're not trying to sound like anyone else. And Robert's a perfect example of that. And now is kind of, you know, the torchbearer of this modern blues rock movement, which is awesome. Yeah, and it's, I mean, as you mentioned, for him, it's hard to really categorize what he does because it's really such a unique lame. It is, yeah. And it's really exciting to see, too. Have you ever seen him live? I have not seen him live, but I've seen a lot of video. Yeah, it's kind of like rock and roll meets gospel meets blues. It's a lot going on. Yeah, no, it's a ton. It's really awesome. And I mean, that's all the roots of Sun too, right? That's all the roots of rock music. So that's kind of the through thread. And it's great to have him. I'm just so excited that he did win the Grammy. He was nominated seven times and finally won for his solo album. So it's great. Yeah. And there's a lot of deep talent in that. In that particular category, there a lot of great artists that we all know and love Exactly We all know and love So being in Nashville do you find that that because Memphis is known as a music city but it's not known as a record label publishing city so much, except for Sun Records. So tell me about working out of Nashville and the advantages that that brings for what you guys are doing. Well, we were just in the studio with another artist who had a guitar player in from Memphis. So I'll tell this story. And basically what I said was, I love Memphis. I'm from Detroit, and Memphis reminds me a ton of Detroit. It just has a really great energy, and it's just something special about it. I've been in Nashville for over 10 years, and so I obviously love it enough to be here, but Memphis has my heart as well. And I turned to him, and I was like, you know what? Memphis is where the music is made, and Nashville is where the business gets done. That's true. I was like, you came down the road to record, to make this record. Not that there's not great studios and amazing music made in Memphis, obviously, but Nashville is such an organized town. Like we always have a goal. We have a system where it's a machine, you know, and I like that about it because obviously the business side, it makes it easy to get work done. Everybody is right there. They're down the street. Yeah. And I was just with another artist today and we were talking about what it's like to go to a show here. And you look around the room and you think about the talent of the people who are watching the artists, like just the people standing there. It's really it's it's why I've been here so long. It's just an electric place to be. I love it here. Yeah, the energy in Nashville is just very unique. And I love it down there. It's a little hot and steamy in the summer, but so is Vegas without the steam. But let's talk about catalog licensing, because obviously that's a huge part of the Sun story. And you guys have, as you mentioned, you have such a deep catalog. Talk about how you manage that and how you do approvals and all that kind of stuff. Yeah, absolutely. So that is such a huge part of our business. And what's interesting is before Sun was acquired by Primary Wave, that was almost entirely their business was licensing and being the source of that licensing. So we still do quite a bit of that in a couple of ways. One of the ways we like to do it is to find other reissue labels that might have more specialty audiences, like audiophile labels. We're doing a series with intervention records. They just did a really beautiful reissue of the first Carl Perkins LP. Or we put out Jimmy Dale, Gilmore and the Flatlanders first album, which is from the Nashville era of Sun, with omnivore records. So we find those sorts of licensing partners for specialty products. And then obviously a huge part of our strategy with licensing is sync licensing as well. So we have a person, you know, dedicated to that who's always finding both, you know, homes for the lesser heard music that can be really good for sync. And then also he's the guy to call when you need a Johnny Cash sync as well. So that's a huge part of our licensing business. And then, yeah, it's continuing to be that source, which is something that we've been trying to help the music community understand now that we've kind of been back in business as a working label again is come to us. We've got it, you know? Yeah. So licensing, obviously, sometimes it can be very tricky getting approvals. And how does that work for you guys? Because you have, like, obviously the Johnny Cash Estate, Elvis Estate. They're very active. And again, I don't know how everything works with you guys in terms of rights, but how does that normally work? Do you have to go to somebody? Do you guys have approval? How does that normally work with a legacy label? I mean, that's a great question. It's artist by artist and even track by track sometimes. But luckily, all of those states are friendly. And we all have the same goal in mind, you know what I mean, is to help that artist's work be represented in the best way. And so we work together that way. And it depends on what the request is as well, because there's certain things where, you know, as a label, depending on the deal, we own 100 percent of a master or something like that. And technically we could do whatever we want with it. But you'd be respectful of the states. Yeah, exactly. And it's again, it's just about we're all working together for the same goal. So, yeah. And I mean, it's also to it keeps the artists alive. I mean, obviously Elvis and Carl and those guys, Johnny Cash, their legacy is always going to be around. But you have other artists, too, that, like you mentioned, they have great music that would be perfect for a lot of sync licensing projects. So it's nice to be able to kind of spread the love and get everybody. Everybody makes a little bit of money. Everybody keeps a legacy. So it's a win-win-win. It's a really special thing when you do, you know, land a sync for a lesser known artist or have some reason to reach out to an artist. because it's really important to remember, I think, for anyone who works in the legacy music space is like, for an artist, their work is their entire life. That's their entire life. And for a label, it's like, that's, you know, on a roster for us. And so when we do get to interact with good news and get people paid, it's always a thrill. Yeah. And it's like I said, it's a win-win for everybody. And it's nice to it's nice because some of the state, you know, obviously, some of the states have a lot of money, some don't. So it's nice to be able to help kind of spread the love and help out everybody, which is kind of, it makes it a great, it's a great phone call to make, right? I love it. And as a music fan myself, like, I'm such a hardcore music fan and collector. It's so great to have those moments, to see those things happen and be able to be part of it. I love that. Yeah, and that's exciting. I know you guys have gotten pretty heavily into vinyl and collectible vinyl. So let's talk about that because that's a subject that seems to be, especially the last couple of years, has really come on strong again. Talk about that and talk about how you put that out and the costs and all that. Because I know it's a different process. People don't know that you have to remaster for vinyl. Well, you should. Not everyone does. We do. Right. You should. That's true. Right. Because that actually, a lot of artists that don't have a lot of money, they have to kind of come up against that if they want to do vinyl. Yeah, absolutely. So I mean, what's been interesting during my time at Sun is the vinyl market has even changed just in the five years that I've worked there. So for example, I came on kind of at the end of the COVID vinyl boom, which I'm sure you're aware of where it was sort of like, people couldn't book capacity. And so if you booked capacity, you wanted to press a ton and like everyone is buying physical media. That has since like changed a bit. And it's been interesting to reassess our process with that of saying like, hey, if we're putting out a reassurance, or we're putting out a record. It's got to really matter. This isn't just, you know, not that that's what we were doing before, but there was more of an urge to get a bunch of titles out there. And now it's a little bit like, okay, let's, you know, take a look at what we have. So like we will do really thoughtful reissues and try to add bonus tracks and make it something because the vinyl buyer is just getting a little bit more particular. Yeah, it's a boutique area in a way, obviously. It is. And like, it's also exciting and fun to be able to have something special to offer too. And so it's, it's, um, where, where you can, you know, dig up a track from the vault and take your time to remaster it and things like that. Um, I'm thinking of a specific project that I wish I could talk about. We'll announce it soon, but, um, we're, we're always working on archival stuff like that and making it worth it for a vinyl buyer. Because if you're going into a record store and you, there's a wealth of options and it's like, why do you pick this one? And it comes down to packaging and audio quality and everyone. And sometimes the buyer just wants a cool looking record, like a splatter. You know what I mean? Yeah, that's the thing with vinyl, because it's very artistic. It's fun to really, with obviously the cover, the tactile experience of holding it in your hand, which I grew up with. But then, as you mentioned, like the things you could do with the actual vinyl, it's really fun and exciting, I think. It is. And like, if you're like me, I have a whole room of records. Like I'm a huge record collector and some of those are, most of them are far, far older than me and have somehow traveled to me. And so it's like vinyl holds a story too. And so we don't take it lightly that when we were creating a product like this, it'll be around for a long time and it should be made to last and be something special that lasts. So it is an important process and something where we do audio fire releases like I mentioned with Intervention We also did a beautiful record with Macintosh Audio who are like you know the Mac daddies of the audiophile world They the icons of all of that amazing hardware We did Pure Johnny Cash is what we did with them last year which was just no overdubs just straight up from Sun Studio Johnny Cash in the Tennessee 2 in its highest quality And so it's a thrill to be able to work on those from almost like a historical standpoint, too, to be able to create that document of time in the best possible way. And with artists like Johnny Cash, Carl Perkins, all actually all of those guys, I would assume you have tracks that have never been released in the archive. Is that something that you guys are always kind of debating on how to approach that? It's got to be a kind of a hot, hot button topic because obviously the fans, they'd like to get all of it. But as a business, you don't really do it that way. So talk about that. Yeah, it's always an interesting consideration because when you do have projects like what we did with Macintosh come along, it's great to have new tracks to share and new versions. And it is, I will say, for the key artists down to like, you know, outtakes and different versions of songs as opposed to like, we're not sitting, we're not keeping a long lost Jerry Lee Lewis song from you. You know what I mean? Right. But there's many, they often did many different versions. Or as you mentioned, like that's NSE2, you could do like that kind of stuff for fans as gold. And it's fascinating to listen to the evolution of it all. You know, that's what I really like about those. But I will say you mentioned Carl Perkins and I will talk about this project whenever I can because this is one of my. And I worked with Carl down in Memphis at the Peabody. We played with him. I'm a bass player. So we play. I was doing a version of the Platters and we actually opened for Carl and he had his sons with him and everything. And he was the nicest man, the most humble, nicest man. I it was it was I've actually worked with Frankie Avalon. I worked with a lot of the older acts. Oh, that's amazing. As a bass player. And something that's always struck me with people like that that are so legendary is when you meet them and they're just the nicest people. And you kind of go, like, he was everything you would hope he would be. I am so glad to hear that. I have never heard anything other than that. But I do love that feeling where you're like, oh, they're actually like this. And it's real, you know. Nicest man ever. Yeah. Carl, yeah. So last year, speaking of Lost Tracks with Carl, and speaking of the podcast, because Ben Vaughn is involved in this story. So Ben gave me a call and said, Hey, my friend Bill Lloyd of Foster and Lloyd, he's here in Nashville. He produced Carl Perkins back in 1990. And the tracks have never been released. you should check it out and i was like okay ben we'll see you know um he's got a lot of ideas and i will say this one was a really good one so yeah and for people that don't know ben he's a he's a very uh important guy yeah well we'll go into that maybe a different time but yeah he's a great dude but anyway yeah i had to mention him because he made this connection um for carl and so i called up bill got the tracks and um there were two or three that were recorded in a studio in nashville with a full band really great they sounded awesome and then the rest of them were demos recorded in carl's pool house in jackson tennessee oh i love that and they're really really i was like obsessed and what's crazy is i i'll say this about carl we love him we just talked about how much we loved him some of his later career work was questionable so i heard 1990 and carl perkins and i was a little like, well, we'll see. It sounds incredible. It's like Bill caught him in this. He was playing with his sons and Bill had him in this really amazing groove where it's just sort of like unfiltered Carl Perkins rockabilly. And there's, um, we put, so all that to say, we put the record out and it's called some things never change. Um, and it came out last October and it's a really, really beautiful record. I'm really, really proud of it. Wouldn't have happened without Ben and Bill's trust as well. Bill being able to trust us with these tracks from Carl because they come from his friendship with him. And the title track alone is like one of the most beautiful Carl Perkins songs I've ever heard. So it was a thrill to be able, none of that would have happened if Sun hadn't been rebooted as a label. You know, if we weren't working as a label, now we have these lost Carl Perkins tracks that have been brought back to Sun, which is where Carl Perkins started. It was like a beautiful full circle moment. Yeah. And the thing with those artists that people forget today is that there was no autotune. There was no there was no digital editing. It was it was they could actually do it for real. And Carl, even though a lot of a lot of them, maybe they worked a little bit past their prime, but they still they could still pull it off generally as they got older because they were the real deal to begin with. Yeah. And you see like older recordings of like of. Billy Lee Riley and things like that, and it's like an unbelievable example of their talent. I don't know. I think about that a lot with the technology of the time, too, when you were recording, you know, in Sun Studio in 1953, 1954. It's like that's brand new technology. And like you said, there's no auto tune. This is literally just people's raw talent, which is what Sam Phillips was moved to bring to people through his label. And it's still shocking today, to me, at least. Yeah, and he obviously knew what he was doing. He sure did. He had quite a good batting average. He had it figured out. Yeah, exactly. Talk a little bit about Sun Merchandising, because I would assume you're involved in that. And how fun to do merchandising for that label, because you have such a deep history. Talk about how you approach that. Yeah, that's a great question, too, because it's funny when you see a Sun logo shirt just out there, you're like, how many other record labels do people want to wear the logo from? You know what I mean? Exactly. And it's something, too, where it's like people might be wearing it and only know Johnny Cash. You know, these are not Barbara Pittman fans out there as much as I wish they were. And so it's a lot of fun to be able to bring Sun to a new audience that way because Sun's cool. It's been cool forever. It's been cool for almost 75 years. And so, yes, we have a merch partner that we work with who makes these really awesome designs that, you know, can get licensed out to, speaking of licensing, licensed out to other folks. And then we have an amazing store with everything Sun Records you could imagine. And we're also always interested in finding new partners for it, too, and finding new ways, you know, could Sun Records get high fashion? I think maybe we could. You know, that's the sort of fun we get to have now that we've rebooted the label is exploring those different lanes for everything Sun. Right. And the other thing, too, is Sun Records is global. It's not just the United States. It's known around the world. You can go to Russia and if somebody sees that, a music fan sees the logo, they're going to know exactly what it is. Right. That is such a unique thing. I mean, that's that's Pepsi. That's Coke. That that level of branding, brand recognition is so valuable. That Sun Yellow. Yeah, it's undeniable. And it is great to be involved with. And global, too, like you mentioned. I mean, like, Rockabilly fans in, like, Norway? Yep. Bananas over there. Like, it's big business. And so it's really cool to, and the best part about it is, you know, it's something everyone loves, too. Yeah, yeah, it puts a smile on your face. It's an easy sell, which is good. Yeah, because I grew up listening. My mother had a huge collection of 45s, and she had a lot of the Sun ones. And that was my first, like, I mean, I was 10 years old looking at the Sun logo going, wow, that's, it was a magical thing. And it still is. You guys have managed to keep that magic alive, I think. Well, I appreciate that. Yeah. I mean, it is very much like you see the yellow logo. You can trust it. You still can, too. That's our goal. And that's a valuable, a very valuable thing in many different ways. But if you could talk about young artists approaching you, artists that want to get signed. And what's some advice, like some of the big bullet points that you always look for when you're looking at new artists to possibly work with? Yeah, that's a great question. I think the biggest thing is have a point of view. That's what's most compelling to me, at least, is that you're not afraid to be who you are. And it might not be for everyone but that okay Lean into it I also think from a tactical standpoint not being afraid No one loves to be self but not being afraid to use the tools you have not being afraid to lean into social media, not being afraid to be using all of the different features on DSPs, things like that. Showing that you have an understanding of how it all works is really helpful to a label to say, okay, we're not starting from zero. We're not educating this person, we both have an understanding that we can move forward on, I think is really helpful for developing artists. Yeah, it's a partnership. And that's something that I think art is important for artists to know that young artists or even older artists. It is a partnership. Like I'm sure what happens with you is what happens with me, which is people contact me, they want to be on the podcast. First thing I do is I go look at their social media. And, you know, you may or may not like that aspect of it, but it is reality. Do you find that that's true for you as well? Like You kind of you want to see what they've got going on before you partner with them. Right. Yeah, absolutely. And I mean, we're privileged enough to also start with the music. I think that's it sounds cliche, but that is the most important. But then a close second is how you represent yourself and how you use those tools. And if you take that seriously and the audience that you build, I mean, from a label standpoint, we're in the same boat. we're trying to do the same thing, you know, where it's like we want, obviously, yes, we just talked about everyone wearing a Sun Records t-shirt, but they might not know about when the next Melissa Etheridge single is coming out. And so we're always still building our audience and raising that awareness too. So we have a familiarity there and it's really important to take that seriously because it is a partnership. Yeah. And Melissa is actually on your label, right? She is. Yes. We are putting out her new record in March. We've got, as of Friday, three singles out. I love her so much. Such a great artist. She's just an icon. And it's so amazing to work with someone at that superstar level who's still so real. It's great. And the record is great. It's very country rock. It was produced by Shooter Jennings, who also produced the Robert Randolph record as well. Awesome. Yeah, he's great. He's awesome, too. Yeah, I mean, the thing that kind of the sort of the storyline through all that is those are all very authentic people. They're authentic to who they are. And I think that that's something you guys have really, obviously, you've really held that, because that was the Elvis story. That was the Carl Perkins story. All those guys, they were very authentic and real. As you mentioned, maybe they worked for everybody, but they kind of did what they did. Do you find that that's a kind of a core truth with Behind Sun Records? Something we point to a lot is Sam Phillips' description of perfect imperfection, because he was so interested in capturing artists as they were and as they performed without, you know, a ton of, and to be fair, the technology wasn't always there for a ton of overdubs and editing and all of that. But perfect imperfection is such an interesting umbrella to kind of put over the whole thing. Because to me, it represents individualism. And like I was saying, almost with a developing artist, the point of view and people who aren't afraid to be who they are, I think that really is a compelling through line through the Sun Records story through today. And bravery and willing, be willing to take chances because he was doing something that rock and roll back then wasn't, it wasn't accepted. It wasn't, it wasn't wanted by many people. So he was brave enough to put it out and take the heat. We take it for granted now, but if you go back and listen to what was on the radio right before That's All Right hit, it's night and day. And it's unbelievable to think about that impacting at that time. Yeah, it was an earthquake. Absolutely. Yeah. Awesome. Tell people how they can find you and if they want to reach out and even send demo stuff. And I don't know if you guys accept demo stuff. Talk about that if you could. Yeah, that's a great question. I probably maybe should be easier to reach. I don't know. You can find me on if you're looking to connect professionally on LinkedIn. That's where I'm at. So, and Sun Records in general, we have our website, which you can reach out to. And if you email the contact form, got questions, we got answers. Yeah, and your Instagram is great, too. And also, if people want to see new releases, your social media is really on point. Thank you. Oh, yeah, you're welcome. I'm a social media guy, too, so I pay attention to that. But I like the fact that you keep it up to date because a lot of labels don't. and I know that that's very important for the people that follow you guys to be able to find out what's coming out and looking for new artist releases. Yes, that's obviously the best place to keep track of us and I love that you called that out because that is something that we're always focused on because we think that's the best way for Sun to reach new audiences is to stay current on social media and it is, we have a lot of fun with it, you know, it's really fun to be like, how does this social media trend, how can this apply to, you know, Carl Perkins or something like that, as well as representing our new artists. And so I'm glad you like it. Yeah. And I have to think too, Carl would have been like fascinated probably. Can you imagine? I love to think about being like, hey, little junior Parker, let me walk you through this. What an Instagram reel is like, it's crazy to think about. But yeah, I posted there's a really funny video out there. I don't know if you've seen this video, but it's Johnny Cash showing how to get in and out of a Ferrari. Have you ever seen that video? Yeah, it's so funny. So I posted that on my Facebook page, and one of his friends messaged me, and he said he told me the story that his buddy had just gotten the new video camera, and Johnny, they might have been drinking. Maybe, maybe in the cup. It could have happened, yeah. But anyway, it was so funny. But there's just so much love for those guys and your label, and I think it's really awesome that you guys have pushed forward. You didn't let it get stagnant. You keep the legacy alive and the Sam Phillips legacy. And Sam was a character, too, but he was such an innovator and a brave guy to kind of do what he did. So what a great legacy. Yeah, it's amazing to be a part of and be able to take care of it. And I do not take it lightly, and none of us do at Sun. So I'm so glad that you are all about all the new Sun Records stuff that's coming out. Absolutely. And also, everybody make sure to check out Straight from the Hat, your podcast with Ben Vaughn. So Ben was a gentleman who is a music, I guess, coordinator, composer for That 70s Show and Third Rock from the Sun. And such an interesting guy. I just interviewed him. And so many great stories. I know you guys basically kind of put a bunch of names in the hat of people that he's familiar with and work with. And then you guys pick one and just start talking about it. So I think it's… I have a literal hat like I could go get it now I have a I have a it's actually a Mel Pillis trucker hat and I get to control the names I pull the names out um he has no idea what's coming which is the best part it's fun for both of us so I just he's on his back foot and he tells his he tells these amazing stories as I'm sure you've heard in his interview um and it's it's been a lot of fun to work on him with that yeah and such a nice a nice guy and super talented so it's fun you know That's the fun thing about doing the podcasting thing or like what you do where you're able to showcase maybe lesser known artists, but with really quality music. It's nice to introduce people to that, right? I love doing that. And, you know, I do a radio show as well with the same sort of goal and Ben does as well. And it's really fun to share a song that you really love from an artist you may not know. Like how many other podcasts are out there talking about Bob Lind or Norma Tanega? Probably not a ton, but Straight From the Hat definitely is. Yeah, and there's a lot of undiscovered gems. And it's great that you guys have them in your catalog so that they live on, which is an amazing thing for the families as well, right? Oh, yeah. No, I love that. And being able to represent such amazing music, both from Memphis and Nashville, is really important. Awesome. Well, thank you so much for taking the time. I know you're a busy lady and you've got a lot on your plate with new releases and everything else, too, with the legacy artists. I really appreciate your time, Laura. Thank you so much for having me. This was such a thoughtful interview. I really appreciate your questions. And thanks for loving Sun as much as I do. Yeah, I definitely do. Big, huge fan. So everyone, please make sure you check out Sun Records on their social media pages. Again, on Instagram, it's really fun and it's up to date. So check that out and have a great day in Nashville. Thank you. You too. 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