Inside Sun Records with exec Laura Pochodylo

with celebrities, artists, music business insiders, and more. Laura Polkadillo, 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. Yeah. So, that made about that, like because we all know sun records, I guess, from kind of Elvis call Perkins the olden days, but you guys actually have re-invented yourself. Tell me that story and how you got involved.

Yeah, absolutely. So, sun records, first of all, has been a Nashville since 1969. We're obviously associated with Memphis, but we've been a Nashville for a minute and about five years ago, six years ago, primary wave, purchase sun records, and turned it back into a functioning label.

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 Lewis, Roy Orbison, Carl Perkins, all of those folks. As well as some really cool, I mentioned the Nashville era of suns and 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 front line forward

facing artists for which we've now wrapped 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, I mentioned to you, I've been kind of following along with your story because”

and I've actually interviewed as a ZZ award, your other artist, which one of your blue artists, which is great. She's awesome. She 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 as you mentioned, winning Grammys.

So tell me about that, like how how you approach that on a daily basis navigating kind of the history, but also letting people know that you're still out there, 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 is 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 her. And it developed into, you know, 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 re-assues and things like that too to

that catalog as well. There's some records that they still own. The catalog has it then has that been maintained over the years or how has that work? Yeah, so sun owns all of the the master tapes and catalogs that was part of the purchase of the record label.

So yeah, there's there's a deep, deep archive of really awesome stuff. And like I mentioned, all of the Memphis music and we put a ton of that out 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 if I walk the line.

Seoul 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've 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 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 on our you guys involved in the studio or? 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 tours 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 Zizi Ward was there. We brought her back. That was great. Lucy Foster has been there. Coil Garelli 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, you know, partner with Sun Studio a ton more. Yeah, that's not too exciting of course, because it's like, again, it's nice that they've kept that kind of all together. In a way,

like you mentioned they have a different order, but it's still under the same banner. If people have such a love for the record label, the history. So let's look about new artists development. So what, how do you guys approach that these days? Are you looking for certain kinds of artists? I know who actually who are your two Grammy winners? Will Robberrand, I'll just one. 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 excited. He is such an interesting artist. And he's a great example of the type of artist that, you know, we're interested in it, Sun, because he, 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 Sun'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 torch bearer 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, it's really such a unique lame. It's just, 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, 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, that's kind of the through thread.

And it's, 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, and there's a lot of

detail in that, in that particular category, there's a lot of great artists that we, that we all, yeah, that we all know with, lower. Yeah. Exactly. We all know would love. So they in Nashville, do you find that that's, 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 of 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's

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's such an organized town. Like we always have a goal. We have a system where it's a

machine. You know, and it's I like that about it because obviously in the business side, it makes it easy to get what's done. Everybody's right there. Found that they're down the street.

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, 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 audio file labels were doing a series with intervention records. They just did a really beautiful reissue of the first Karl 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 synchronizing

as well. So we have a person dedicated to that who's always finding both homes for the

lesser herd music that can be really good for sync. And then also he's the guy to call when you need a Johnny Cash think 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, do you? 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, the 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, are you guys have approval? How does that normally work with with legacy label? I mean, that's a great question. It's hardest by artist and even track by track sometimes, but luckily, a lot all of those states are friendly. And like we all have the same goal in mind, you know what I mean is to help that artist 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 certain things where, you know,

as a label, depending on the deal, we own a hundred percent of a master or something like that. And technically we could do whatever we want with it. But you'll 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 keep the artists alive. I mean, obviously Elvis and Carl and

those guys, Johnny Cash, they're like, yes, he's always going to be around. But you have other artists

too that, like you mentioned, they have great music that 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 the legacy. So it's a win-win-win.

“I think it's a really special thing when you do, you know, land a sink 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's right. 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.

It's like some of the states, you know, obviously some of the states have a lot of money, some don't. So it's nice to be nice to be able to help kind of spread the love and help out everybody, which is kind of, it makes it, 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. And I know you guys have gotten pretty heavily into vinyl and collectable vinyl. Let's talk about that because that's a subject that it seems to be, especially last couple of years has really come on strong again. Talk about that and talk about how you, about that out in the costs and all, all that.

“I know it's, it's a different process. People don't know that you have to remaster for vinyl.”

Well, you should. Not everyone died. We do. You're right. You're shit. That's true. Right.

don't, they have to kind of come up against that. It's 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 is 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 reassure, we're putting out a record.

“It's got a 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, like, okay, let's, you know, take a look at what we have. So, like, we will do really thoughtful reassures 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 to. And so, it's,

where, where you can, you know, dig up a track from the vault and take your time to remaster it and things like that. I'm thinking of a specific project that I wish I could talk about,

pull it out to tune. 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 moved down to packaging and audio quality and everyone, and sometimes the buyer just wants a cool looking record, like a slatter, you know what I mean? Yeah, that's the thing with vinyl because it's very artistic. It's, it's fun to really, but obviously, to cover the tactile experience of holding it in your hand,

which I grew up with, but that, as you mentioned, like the things you could do with the actual vinyl,

“it's, 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, it'll be around for a long time, and it should be made to last and be something special that lasts. So, um, it is, 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 MacDaddy's of the audio file world, they're the outcomes of all of that amazing hardware. We did pure Johnny Cash, is what we did with them last year, which was just no overdose, just straight up from Sun Studio, Johnny Cash and the Tennessee to, um, 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, um, I would assume you have tracks that have

ever 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 that the fans, they'd like to get all of it. But as a business, you don't really do it that way. So, talk a talk about them. Yeah, it's always an interesting consideration, um, 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. Um, and it is, I will say, for the key artist down to like, you know,

outtakes and different versions of songs as opposed to like, we're not sitting, we're not keeping, along lost Jerry Lewis on from you, you know what I mean? Right, but there's many, but they often did many different versions, or as you mentioned, like the SNC2, 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 as Carl, that amendment is actually at the P-Body. Yeah, we played with him. Yeah, we played with him, um, 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. Uh, he was the nicest man, the most humble, nicest man. I, it was, it was, I've actually

worked with Frankie Avon, I worked with a lot of the older acts on that to me, as a bass player.

And I want 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. You kind of go, like, there everything, he was everything you would hope you 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, my, it's just man, never. Yeah, Carl, yeah. So last year,

involved in this story. So, um, Ben gave me a call and said, hey, my friend Bill Lloyd of Lost Tracks with Lloyd, he's, uh, here in Nashville, he produced Carl Perkins back in 1990,

and the tracks have never been released. Uh, he should be back 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.”

Great. Well, what we'll go into that maybe at different time, but yeah, he's a great dude. That didn't really go. 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 poolhouse in Jackson, Tennessee. 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 love to him. Some of his later career work was questionable. So I heard 1990 and Carl Perkins, and I was a little like, 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 he, it's just sort of like unfiltered Carl Perkins rockabilly. And there's, um, we put, so all that's

say we put the record out. And it's called some things never change. Uh, and then it came out last

October. And it's a really, really beautiful record. I'm really, really proud of it. Um, wouldn't have happened without Ben and, uh, Bill's trust as well. Bill, being able to trust us with with these tracks from Carl because they come from his friendship with him. And, um, 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. And the thing with those artists that people forget today is that there was no out of tune. 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, they still, they could still pull it off generally as they got older because they, they were the real deal to begin with. Yeah. And you see like older recordings of like, uh, of, Billy Lee Riley and things like that. And it's like an unbelievable, um, example of their talent.

“I don't know. I think about that a lot with, uh, the technology of the time, too, when you were”

recording, you know, in Sun's studio in 1953, 1954, it's like, that's brand new technology. And like, there's no auto tune. This is literally just people's raw talent, which is what Sam Phillips was like moved to bring to people through his label. And it's, it's still shocking today to me, at least. Yeah. And you know what he obviously knew what he was doing. He had quite a good, quite a good, the bad guy ever took on this. Yeah, exactly. Talk about, um, a little bit about

Sun's merchandise, because I would assume you're involved in that, and how fun to do merchandising for that label, because you have so such a deep history, talk about how you approach that. Yeah. That's a great question, too, because, um, 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, yeah. And it's something to where it's like, people might be wearing it

and only know Johnny Cash. You know, these are not Barbara Pitt and fans out there as much as I wish they were. Um, 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. Um, 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 license out to other folks, and then we have an amazing

store with everything Sun records you could imagine. Um, and we're also always interested in finding

new partners for it, too, and finding new ways, you know, um, 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 yet the thing, too, is Sun records is global. It's not just United States. It's known around the world. You can go to Russia and if somebody sees that a music festival sees the logo that they're going to know exactly what it is, right? That that that sets a unique thing. I mean, that's that's Pepsi. That's Coke. That that level of branding brand recognition is is so valuable. That Sun yellow. Yeah. It's undeniable. And it's it is

great to be involved with and global, too. Like you mentioned. I mean, like rockabilly fans in like

part about it is, you know, it's something everyone loves, too. So yeah, yeah, I put it, it puts a smile on your face. And you know, 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 all looking at the Sun logo. Wow, that's a magical thing. And it still is. You guys have managed to keep that that magic alive, I think. Well, I think that yeah, I mean, it is it is very much

like you see the yellow logo. You can you can trust it. You still can, too. That's our goal. And that, you know, and that that's a that's a that's a valuable, a very valuable thing in many different ways. But, um, if you could talk about, um, young artists approaching you, artists that

want to get signed, what some of some of the advice, like some of the big bullet points that you always

look for when 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's okay, lean into it. I also think from a tactical standpoint, not being afraid. No one loves to be self-promotional, 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 the social media,

and you may or may not like that aspect of it, but it's is a reality. Do you find that that's

“true for you as well? You want to see what they've got going on before you partner with them, right?”

Yeah, absolutely. 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 it's 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, 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-record's t-shirt, but they might not know about when the next Melissa Ethridge 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's 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, like, and it's so amazing to work with someone at that like superstar level who's still so real. It's great. And the record is great. It's very

country rock is produced by shooter Jennings, who also produced the, the Rodder 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. There are authentic

“do 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 Perk as Perk and story. All those guys who 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 son records? Something we point to a lot is Sam Phillips's 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 end to be fair. The technology wasn't always there for a ton of

overdumps and editing and all of that, but perfect imperfection is such an interesting umbrella to kind of put over the whole thing because it to me 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 son records story, through today. And bravery and willing be willing to take chances because he was doing something

that Moroccan role 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 a program now, but if you go back and listen to what was on the radio right before that's all right hit it night and day and it's unbelievable to think about that impacting at that time. Yeah, it was an earthquake. Absolutely. Yeah,

I don't know if you guys accept that most stuff. So talk about that if you could. Yeah, that's a great question. I probably maybe should be you be here to reach. I don't know.

“You can find me on, if you're looking to connect professionally on LinkedIn, that's why I'm at.”

So, and son 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 you want people want to see new releases, you got your social media is really on point. And oh yeah, you're welcome. I'm a social media guy too. So that's I pay attention to that. But I like the fact that you keep it up the day because a lot of labels don't. And I know that

that's a very important for the people that follow you guys to be able to find out what's coming out and looking for new artists releases. Yes, that's obviously the best place to keep track of us.

And I love that you call that out because that is something that we're always focused on because we

think that's the best way for Sunday 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, car 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 car would have been like fascinated probably. Can you imagine? I love to. I love to think about

being like, hey, little junior Parker. Let me walk you through this. What an Instagram real is. Like, it's crazy to think about. But yeah, I posted there's there's a really funny video out. I don't know if you've seen this video, but it's Johnny Cash get showing how to get in and out of a Ferrari. Have you ever seen that video? Yeah. Yeah, it's so funny. And so I posted that on my Facebook page and one of his friends message me and he said, he told me the story that his buddy had just

gotten the new video camera. And Johnny, Johnny, they might have been drinking. Maybe maybe in the cops. Yeah, good to have. But anyway, it was so funny. But that there's just so much love for those

“guys in your label. And I think it's really awesome that you guys have pushed forward. You're not yet”

didn't let it get stagnant. You keep the legacy alive and the sample is 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 it. 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 70 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, you guys, basically, you kind of put a bunch of

names in the hat of people that he's familiar with and worked with. And then you guys pick one and just start talking about it. So I think 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 Pilis trucker hat. And I get to the controls and names. I pull the names out. He is no idea what's coming, which is the best part. It's fun for both of

them. 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. 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, you know, that's the fun thing about doing the podcasting thing. Or like what you do, where you, you're able to show case, maybe less or no an artist. But what, what's 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, 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 Tenega? Probably not a ton, but straight from the hat definitely is. Yeah. There's a lot of, a lot of undiscovered gems. And it's great that you guys have them, them in your catalog. So that they, they live on, which is, 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. So awesome. Well, thank you so much for taking”

the time. I know you're a busy lady and you're, you've got a lot of new plate with new releases and, and everything else to do 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 Son as much as I do. Yeah. I definitely do big, big, huge fans. So I'm going to please make sure you check out Son 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, YouTube. Thanks for joining us and please consider subscribing to our podcast and follow us on our social media pages for guest announcements.