out to some writers' rounds, and i learned very quickly that i had to be a better player, i had to be a better singer, i had to be a better writer, and like, so you know, you work hard because you're surrounded by that. 'cause it's like, you're typically playing to like a whole room of, you know, pickers and writers, and -- tell us like, how many nashville musicians does it take to change a light bulb? one to do it and twenty to stand around and say, "i can do that." ♪ ♪ i put a hurtin' on the bottle baby now i'm blind enough to see ♪ ♪ been drinkin' whiskey like it's water ♪ ♪ that don't touch the pain you put on me ♪ >> anthony: there seems to be, i sense, like a lot of established bands have always come here for something metaphysical. i mean, they say, "i want to work with particular session musicians," or "i want to record at a particular studio." >> margo: yes. >> anthony: but that's really kind of a metaphysical decision. does that particular mixing board actually possess magical powers that will make your record better? >> man: i -- i kind of feel like, or something special about a room. you go into rca studio b, where all the elvis singles were cut, all the orbison singles were cut, everly brothers, there is something special about that room. yeah, i mean, you joke around about like the thing about, "oh there's something special in the board," sometimes there is.