Jukebox the Ghost: "Off to the Races" | Talks at Google
Since. Their inception a, decade ago jukebox, the ghosts have been finding new and creative ways to make exciting, and innovative piano, rock music as well as create a diverse an ever growing fanbase through, the use of social media they've. Played over a thousand live shows across the US and the world and have no intention of slowing down anytime soon with. Their spring 2018 tour being their largest yet so everyone please welcome to the stage Ben, Thorne will Tommy Siegel and Jessi christen of jukebox the ghost. Hey. Guys. Hi. Everybody. So. For anyone who doesn't know you guys all met in college, in Washington DC right, yeah so, do you remember the first time each of you met the, other people in the band what. That was like, I. Know there's a moment jet so so, Tommy is the new guy we. Met Tommy our sophomore, year but Jesse and I lived by each other freshman, year and so we both showed up and, jesse. Was like still skater kid and that was like five foot six still and wearing, like you know Izod polos and it was awful, really but somehow, we became friends and started playing together and then. Tommy. Put up a flyer in the music department our sophomore year yeah, I mean I remember. Yeah. I put up a flyer in the music department you guys called my. Landline, which is really dating myself here but that, was like the last like the. Last three months that I had a landline and. I just happened to be around when you guys called so lucky. Lucky. Pick up and. Yeah so you each came at it from sort of like a different, sense of styles Ben you're classically trained as a piano player right and Jesse you have more of a punk background, and Tommy, I've been told you wanted to be in a jam band sort. Of jam banda yeah maybe sort, of yeah, I liked guitar solos okay, coming. At it from all those different styles and genres why. Did you think in your heads that this would be like the musical, match that would make it happen I don't think we did I, think it was just like these. Are the guys that I guess we're gonna play with and we'll see what happens it wasn't like ah yes, I found a punk drummer and a jam band kid I got. The band. Nothing can Iraq yeah I remember, like the first practice we had like, thinking. Like this is strange, but. It could work maybe at, some point that, was like my feeling I was like their thought was like these, guys are good but like there's no basis that's weird I think. We should don't feel that way, this. Is strange, I guess, we keep doing it so when, you get in like a cab in the city with a guitar case or drums and the taxi driver says, oh you're in a band what type of music do you play how, do you describe, it to them what you do now. Yeah. We all look at each other um I, say, I'm in a rock band which. Is that's simple. Simple. And misleading. But. I think I just a piano rock because that's like an easy way to say, there's a piano in the band and there's. Also drums and other stuff but. There's, I don't know yeah piano rock so no they say indie piano rock because we were skinny jeans. Right. And so after DC you moved to Philadelphia, for a bit and now you're. Here based out of Brooklyn for. The past seven or eight years we figured out earlier and, at. What point in that process did you realize Oh being a touring, recording, band is like going to be our full-time lives. From now on, that. Sort of happened fairly quick. Out of college so when we were started playing in college you know we're playing. You. Know it shows two friends and it's just sort of anyone, we can get we're flyering that campus, and then right, towards ours and never senior year people that weren't our friends started showing up and that's we're like alright let's give this a go and then move, to Philly and had a like a four-bedroom house for like eleven, hundred dollars or something appallingly, cheap and, then, just started, touring and made just enough to survive because we were in the house that cost nothing and, then.
That's Sort of been the case we just kept doing it and the. One thing that always made sense for us is we were trying. To make career - this is when we toured that's. How we made fans and got in front of people. It. Was how they could really ever been a conscious decision we've just always kept doing whatever worked, and what happened - work was playing. Shows and touring, mm-hmm. That's done right correct. Okay, good. Answer. And. So, you've been going now you're releasing your fifth studio album March, 30th. To the races. What, would you say about this album has been new. And an evolution, of the band and what parts of it would you say are sort of like the core consistent. Music that is jukebox, the ghosts. So. A little, background I think on this record that I that is more. Important, than I think we knew going into it is that we, for. The last few years on Halloween, we've been doing a show called Halla Queen where. We play a set of our own stuff and then we get into costume and come out and play a full set of. Queen, dressed up as Queen and, having, to do a deep dive into, Queens catalogue for three years in a row I think, had. A bigger influence, on us then I I think any of us would have really imagined, because, what. We what we realize is I you, we sort of hedge our bets sometimes. In terms of whether we're making something, that's weird or something that's poppy and sometimes we sort of split the difference and what. We ended up really enjoying about Queen is that. They're really catchy and they. Are so, weird, like everything. About them is bizarre like even even the hits you think are normal when you actually go back and listen to them that the harmonies, the guitar solos, the structures. So. I think for us it was the first time we'd had kind of a. Band. That, we could reference for creative, decisions, like you. Know should we do that I don't know that that, might be a little weird but Queen did it you know we could sort of reference them for everything so, if. We wanted a big harmony stack we went for it if we wanted to be a guitar solo we went for it if we thought this song should. Have 50 different parts all jumbled together. We. Did it and, it's. Not as if we were trying, to sound like Queen, exactly. It's more that I think they were like our they. Were like our spiritual, guide and letting. Us give. Less of a crap than we normally do about you know pop. Preconceptions. Mm-hmm. Yeah I can definitely hear in like I jump-started which was one of the singles you release that Queen influence or um everybody's. Lonely too and, so I guess starting from that point of this inspiration from Queen what does the process look like for a standard. Jukebox the ghost song we have an idea what's, the journey that takes before it ends up recorded, and on an album sort of every song, has its own path, I think Tommy and I both. Right and then sort of bring it to the band and sort of different states of development. Or conception. Like. Jump-started, which, is when we just released a, couple. Weeks ago depending on when you're listening to this. Has. It, was a demo that I sort of built out at home and added endless. Seemingly, endless vocals, and just, every day I'd sit down and try to add another part without sort of considering what happened before and never, really thought it'd be a jukebox tune but then there's a good example we brought into the band and we all started like arranging and thinking about it and they're like this, should be a jukebox tune and I'm like this is totally spastic. And completely unlistenable I don't. Think this is a great idea but it ended up working out and it's like filled with harmony stacks and guitar solos, but, every every song has its own path but in this record is, another. Thing that separates this record from our other records, is that in.
The Past like if we had a demo or something it would be some. Rough recording, from the practice space or an iPhone memo or something in this, record I think if you went through and listen to our demos from the record they're pretty. Much the same as what we ended up with in the recording, just with more life. And more bells and whistles but we've. All kind of become more, serious studio, engineers and producers on, our own time in the last you, know three or four years in a way that's starting. To really become meaningful, now mmm. And so one another so I am specifically, interested in I heard there's, a track on this album Ben where you recorded a hundred and seventy different, vocal, parts and put them all together yeah, what is what does that mean, and what's. The story that. Was so, sometimes, when I write I'll sit I'll sit either at the piano or in this case at the computer and it. Was that for that song of jump started and I would just I'd record. A part and I don't I don't think about it like I have a lead vocal line and then I just start stacking and adding and so, it'll just be for. Whatever reason I'll like instead of like a snare drum illegally, and, then, I'll do aa like. And I'll do it eighteen different times eighteen, different ways stacked, on top of it itself and so. The way that that song, ended up with like one hundred and seventy different vocal tracks is because I would do these like fifteen, part harmonies, vocal stacks all over, the song all with different effects, all with different levels, and. Some. And it worked and now we're having a lot of trouble figuring out how to do that live okay. But. It's funny we brought into the studio to like actually, record it and we. Uploaded. All these tracks to the the session that it immediately crashed, the producers are like you, can't do this. You. Know compress it but it's all it's all in there but. I like using the. Voice and the ability to record and layer. The voice on top itself as an instrument, all to itself like you have the lead vocal and then you have the.
Harmonies, Or all the textures. Or other ways of working. With vocals and those harmonies on the record to that I. What's. A fun, coincidence like, usually been and I've been and I both sing, lead and kind of trade off on songs, and. On, this record in, Prior records you could really, tell the difference I, think more between, our songs and this record you can too if you know the band but. It. Just felt like a fun coincidence that we were both really, really into, thick, harmony, stacks on this record that's like a fun commonality. Throughout the whole thing, mm-hmm, I guess it also makes me think you know I've been seeing you perform live for probably bout eight years and as the, group's evolved, you, know we love technology here at Google and you've been incorporating, more and more technology. Drum. Pads and synths, and live looping and more guitar effects is that, something that you've made a conscious, choice that you're interested in to change your sound or just a natural evolution, of what you've been doing I think, whenever we add something. Technological. To, our otherwise, basic, live show it's just to, get. Across something that we did on the record that we have no other way of doing so, like, if I have a looper pedal well, I'll hit, it and in. A set amount of time it'll just loop and whenever I sing it'll add that on top of itself and so you, can use that as a way to sort. Of falsify, having an eight-part harmony and just build it live and it exists, there or. If. There's like a I don't, know Jessie what do you trigger on that des snap I can even snap myself so. Yeah. We're. Also considering just sucking - we haven't yeah we're what still working it out you know I'm interested to hear how that goes. So. We've, been talking a lot about live performing, you've done over a thousand shows which feels ridiculous, and and recently, released a live album of, your music what inspired. You to want to release, some of that as you, know and artifacts, I think. A lot of that was because we played so many shows and we're like and, for, so long people come to shows. Like I love your records but we like your live show better, which. Is tiresome but, understandable, and. You. Know every time they correct what you think oh maybe this one you know maybe this one but, we. Wanted to sort of document where. We were at that time and we had four records under our belt and that was a sort, of a lot, of a period of time and a lot of material to cover and we wanted to sort, of document and honor sort. Of the live arrangements, that we've been sort of honing, and developing over the years mm-hmm, what's that balance like for you guys do you prefer, being on the road being in the studio a little both. My. Answer what I tell people is I think jukebox, the ghost is a we're. Not a studio, band, in a, typical sense, like that I think there were bands that are born out of the studio environment and the. Three of us we learned how to play together just by playing for our friends and that, really just kept, snowballing. And, we. Were just tore, more and I, think that really created our sound and then when, it's time to, record music. We record it but. I'd say that we're primarily. A live band and that does, inform, our, records, but. They're also two totally different beasts, I mean when you're in a studio you can spend an entire day without, exaggeration, on ten seconds of music and even. That it still doesn't sound like anything the end of the day you've just done. 170. Vocal tracks, and. Then and but, live, is sort of the this whole other realm. Of existence where, it's. Not creative. In like the conventional. Like musical, sense you're there to put on a show and travel. And meet, people and do the thing yeah, I'm always confused by there's like a I've seen shows where the, the.
Band's Like people have been talking and they didn't I Shh, like, I'm. Expressing myself up here and, I I guess I kind of understand that but maybe we've performed our songs too many times but I'm like the, expressing, myself part, was like. Years ago like I now. We're putting on a vaudeville show and I don't really care if you talk or not you know. So. Yeah I find, that that kind of funny, another. Thing I have to ask about since we're talking about the live album is, hold. It in foot-and-mouth disease. Bonus. Release would you mind describing for, everyone who might not be familiar Debbie, why don't you Jesse. Made this album by the way this is entirely his creation had some time on my hands after that big tour we did to make the record and you, know so we recorded, every show from the record and we, can, only pick one song per show for. The record but there was there, was so much banter, for. An entire two-month. Tour it's, just so much banter so what I would do is I, would um I would have the track, open, and our look for the gap between the songs so here's, a waveform here's a waveform and then I would just turn, up the volume and listen to me whenever, these guys said the audience and I, just listened to every show and every gap and I just compiled, all the most ridiculous, moments I have, a long history of really, messing up from a conversational, standpoint on stage because, I get, over I get too comfortable and then my mind wanders, and when you're on like show 22 and you're, in Des Moines and it. Just all falls apart what's, amazing about Ben is that he gets nervous if you tell him to call a pizza place and he's like order a pepperoni pizza he can't do it but, if you put him in front of like 2,000, people with a microphone, he's like let me tell you about the most embarrassing, thing that's ever happened to me. And. I don't realize how bad it is until you know Jesse, went through and catalogued, 150. Moment was. I think it's a hundred forty track album, most. Songs are about 20 seconds iTunes wouldn't, load. It or something right because I figured, it out I you know I. Mean. As a fan it was quite a great treat and, you guys are such a really neat connection, with your fans directly. One. Way specifically, that I wanted to talk about Tommy, are your van doodles think we actually have some. Visuals, to show could you describe for people who might not be familiar what, the van doodles you do are so, yeah through our band social media. I'll take, drawing, requests, when we're on tour so. Like a fan will tweet, like you know. Is there something up there okay we got a dinosaur. Living out his dream of flying aka. A dinosaur, okay, so and then I'll draw, it and tweet it back at them but, it's something like everyone, can see it's, not like it's a totally, private exchange, to Nicolas Cage playing yeah Nicolas, Cage both. Romeo and Juliet. Jesse. Is Pennywise the clown. This. Is a good selection. Very. Nice. Hank. We have a bunch here of different, ways that you've drawn the band yeah different ways you drawn the band and so this is a funny a funny thing that I've noticed is that we used to get fan, art pretty regularly, like there were people who would do. Fan art of us as something. And then I started doing these and, that, totally, dried up and I, think it's because like all of, a sudden we insourced, fan art like it's it's it's totally in-house now so they don't have to do it anymore, which, makes me feel a little strange but yeah. There's us as a Charlie. Brown, or. The, Great Pumpkin Charlie Brown specifically. So. If someone is listening, in this video and they want to figure out what's the way that I can give a tweet that Tommy is gonna see and fulfill my request is there like a secret sauce of what, you look for when your point of what I look for yeah well, the, ones I don't do are the ones that are like draw, me mm-hmm. Because I'm like I don't know you. But. Otherwise. Like if it's if, they leave enough room for it to be funny then I would you know then I want to draw on if it's something that is just too, specific, for anybody to understand, like then.
I Typically, don't. But. I don't. Know I've done I've done so many I mean I've probably done you, know a couple. Thousand at this point or something I knew of a book of them right that you yeah, a few years ago I put out like a like a little zine. It's, not not really a super fancy book but just a compilation of the first couple years of of, doing. It but it's totally snow balled, since. Then it's been a I. Mean. As you guys probably have. Know. About social, media. It is, very. Photo, centric, and one. Of the weird things about being a musician in the social media era is. You. Know listening to a song takes time. And patience, and you're, gonna have to have somebody's. Total, focus to. Really get their attention. Which. Is like the opposite, of what social media was built for which is like the sort of instantaneous. Ephemera. Of scrolling, so. What we found is that stuff, like the, the, drawings, is a way to maintain. A connection with our fans on social media, in, a way that's not too forced, or. Narcissistic, or something, and. Hopefully. Still, draw people in to the music because I mean. If we're posting a song on Facebook, you know it's really tough for our song, even. If they're a big fan of the music it's tough for us to compete with like you know Kim. Kardashian, and Trump, and like all these things that are occupying the same space as. Music now you. Know whereas used-to-be music, was like you go to the record store and you look through records and you're competing with other music. But we are competing with kim kardashian so mm-hmm. We're trying to win and we're we're in it she's, a fierce competitor and. So, with this social media presence it's, you're, fairly active across all different channels and a lot of it feels very, spontaneous. And, so, as you know a band who's using this as a promotional, venue how much of your social media is strategies. That you think through how you're going to engage your fans cultivate, an audience and. How much of it is just what's on your mind and and just. Popping up in your heads. We. Outsource, most of it. No. It's it's. It's a mix we sort of developed this voice a, lot, of it came from the all-caps, guy of a couple years ago and we just write. Terrible. Ridiculous. Things. In all caps with terrible, syntax. And grammar it. Needs to be like an only late night at a bar kind of yeah kind of a posting, thing but now it's just sort of becoming all all hours of the day voice.
For, Our this, is specifically, Twitter I should say yeah Facebook. We have a we, use capitalization. In. Proper capital proper capitalization punctuation. Instagram. Maybe a little sloppier, and then Twitter is just an. Emoji all caps. Glanville, the total free-for-all now so. We're gonna start taking audience questions in, just a minute if people want to start lining up while. They do the one more question I guess as a result of having the social media presence and you're very, engaged with your fans you know I see you at the merch table after pretty much every show due. Any particular, memories, of interactions, with the fan that have been meaningful. In some important way or maybe crazy. And, unfortunate. In any particular way that stand, out in your head. You. Get you get both I mean you you have the moments, where let. Me phrase it like this you forget, that or. As I often forget that music can have such an actual, legitimate. Life-changing. Impact you. Know we you, write this song and then you spend all this time recording. It and arranging, it and we're in a van and we're traveling and we're driving and all like that all the detail, all the mess sort of takes over and then you, meet somebody after a show who without. Sort of over exaggerating, you know found a song at a time in their life when they needed it you know and you get that feedback of for them it's like that like saved my life like it was there for a really important. Part in my life, and that's. A really beautiful thing that can happen and sort of sort. Of pull me, or any of us back in be like alright we're doing this for a reason that this is great and, then, you have people come up and be so. Touchy feely and grabby, and. Think they know you and, try. To get you to their house. And. So you just don't know who you're gonna talk to at the end of a show which is why we always go out yeah. Great. Well while waiting for questions we talked about Queen and how big an influence that was for you guys if you had to choose another, artist or musician that you feel like right now is being a big influence on the music you're creating, what. Other artists come to mind. So. This. Is sort of a cop-out answer but, I've, been thinking about this as this record, has been finally. Finished, is. That usually with the record I feel like we've explored a sound and I'm. Ready for the next thing and what, to me is fun about this record is I'm like well I could make another record like that hmm, tomorrow, so, honestly. I think. It. Really felt like we cracked something, new open with this record that gonna keep exploring, awesome. Um so we have a question over here. So. Kind. Of a two-part question since. You've done so many live shows I'm curious is there a song that you love, performing live the most and then, is there one that maybe, you don't hate performing it but it's most loved by crowds but you're like well we could stop playing that and I'd be happy about it. There. I think before I get into specifics each of us has a song that we never want to play. And. It's always a conversation. There's. A song called the popular, thing which, is from a second. Record and. And not to throw you Jesse. Hates it doesn't. Ever want to play it. Never. Wants to play and play and it's, such a, played, out conversation, that it's not worth the argument we never play it. I mean, it's become a running joke right before we go in stages is a popular. Thing popular, things we're about to get so many requests, for positive yeah. But. Then there's songs that sort of all for me good-day which is the first song from our first record I always loved playing it it feels special, it feels. Emblematic. Of everything we've done and it always it. Works for whatever reason so with. Me we always pull songs in and out of rotation to UM, or, try to anyway, like, hold it in I think we were all really, really, really, sick of and then we stopped we haven't played it for like two years and now we're playing it again and we're like oh this is great yeah, so easy those brakes on because, for, been like he'll he's played us on so many times he'll forget the lyrics somehow because, it's like that comfort, zone so, you gotta give hold it in a break yeah Victoria. The. One song I'm not sure is ever gonna get old for me is um playing. Live is Hollywood, which is like yeah right I mean, it's just like it. Was like the first time we played that song live it was just so obvious that we were never not gonna play it ever again those. You don't know Jesse comes out and and, kroons to the audience like a like a jazz, lounge singer, for that song I don't. Thank. You question. Over here. Hi. I've. Been listening to music for uh I guess a while and one, of the things that keeps me coming back to the albums and sharing them with my friends is not, only like the sound which I really like but I'm kind of like the narratives, and the stories behind songs, and albums like some of them are really, apocalyptic.
You, Know and, so I was wondering if you could talk a little bit about like, a, narrative, or a story behind an album either an old one or this new one, um. Well. I I know I'm, the. The narrative thing I think is particularly, evident on our first record for. Those who don't know it's it's called let live and let ghosts, and, that record was. We. Were away from each other in college for, the only like nine month period that we were away from each other in college at all and. When. Ben was gone you you wrote like you, wrote good day and Victoria, hold it in you wrote like I mean all those songs were from that's that, period of time and the, same thing happened for me but, I was maybe. Being a little OCD about, it and was writing a full, concept, album, about the apocalypse. Which. We then divided, up and trimmed down and, put. Parts, of it on living like us but um yeah, I was I was very much a concept, album guy at that point in time, and. You, can definitely hear that on the first two, records. Yeah. The. The new record by the way if anybody's curious is not a concept, record though which. I'm sorry to disappoint anybody who was who, was hoping for our Quadrophenia. All, the songs are about horses but. But. We did not a plot you know it's just they're all about horses horses. Yep. Question. Over here guys thanks, for coming. I was, wondering if you, said so this album is more sort, of freeform and. Experimental, maybe, did. You write anything in the past that maybe resurfaced, now that, didn't make sense at the time but is. That now that makes sense with this sort of more, freeform. Thing that you're doing yeah I mean it's funny I think. Rarely. We always whenever a song doesn't make it on an old record we always think that's. Gonna be on the next record and it's never happened, you know we all we're always like holding onto these songs I think you take or at least I take and finally times x2 like little pieces or ideas from old songs or, structural. Concepts. That are out there and sort of recycle. Them, because. A lot of it ends up when you're when you're writing a record and then picking the songs for the record there's there's two parts we you know we came into the record with 30 40 50 songs something like that and then. Picking the songs that we think are gonna work the best together. And. I. Think when you're writing you always think no matter what the last thing you wrote is the best thing you've ever get you've ever written and you're probably never gonna write another song again in your life like, that's sort of the balance and so I. Don't. Know if I've ever actually. Taken a song from the past and. Successfully. Brought it back I don't think so but but. I I was thinking about recently, there's like a there's a song that we used to play in college that was, kind of mentally coming back to youth for the first time in like 12 years and thinking, like. That. Kind of could. Work now, but, it didn't first, of all every z'n it wasn't working for us in 2008. But. That's, the first time I've had that thought and art I think our entire career. So. Maybe in the future, Thanks. Yeah thanks over. Here, since. You're here at Google and you mentioned social media I wanted, to kind, of flip the script and hear from you what's something that Google and YouTube, could do better to engage with, up-and-coming. Music, creators such as yourselves. Interesting. Um. I I. Think, something that would be interesting would be to see, if there's. A way to. Give. Music its own zone. I just. Think it's not. It's. A space that's designed for visuals, and in, video. And text and I. Think. That trying to compete in that space, with. Audio is just I, don't. Know I don't think there is a like. An algorithmic, solution, I think it kind of needs its own, space. Because people need a different mental space to explore music than they do pictures.
Of Food and, right, now we're competing with pictures of food. Protesting. And pictures. Of Kim Kardashian, eating food. So. I would be interested to see what it would look like if, you. Know if Google. And Facebook and others, maybe. Tried. To, respect. Art in its own space, that is not the same as, the. Space that. Pictures. And, you. Know advertising takes. Up because I guess, my feeling is as a as a musician is that, the. Online space sort of assumes that we have the capital and the resources, of like Walmart. For. Advertising, to our own fan, base and the. Return on music is just not the, same financial return, as it is for you know things, that are selling physical products. So. I'd be interested to see a space that kind of allows music to be in its own world I think. They would be fun great. Thank you. I lost to just totally unrelated, things. The. First one being are we gonna hear more of Jessi singing on this new album kind of now that he broke out with Hollywood. And has his own kind of solo, album and. Then the, second one being. About. The fan art as someone who's actually made some I'm, still trying to figure out it's just weird and creepy you're like endearing and I'm curious what your take is on that as well well. I guess, my question for you would be do you think it's creepy that we make our own fan art for our own there. You. Go sounds like myself. Is. It creepy when I sing. No. Um this. Well I don't I don't want to spoil it too much but on this record I will be singing, background. Vocal parts more than previous records but, there is not a Hollywood like moment on this one that. Isn't to say that the, next record won't be all you I feel all me I feel his Phil Collins moment just like swelling. And and, ready. To arrive that's that's I feel. But, as far as the fan art thing we still love it I think when Tommy was saying it dried up but that's not like something that we're happy. About you. Know it's like they stopped sending us stuff for making some we want we love that because we, - our egos, and, the. More we can see of us about, us is great. Awesome. I'll keep it up then yeah thanks awesome. Well thanks for the questions it's been so great talking but, what do you guys mind if we cleared the stage and we can hear a few songs think that'd be great yeah. Dragged. Into another. Heartbreak. Like. A moth, into, a flame. The. Broken. Roman. Everything. Just sounds the same. Why. Is every, song about love. Too. Much. On your radio, there's. Another, song, it goes. Everybody. Digging, through another. Playlist. Search. It for a piece, of art. The. Jackson. Some. Piece of gossip. Why. Can't we tell the bar. Every. Song about love. Oh, drinking. Too much, yeah, maybe, that's, because.
Everybody's. On your radio, there's. Another, song, it goes. Everybody. Everybody. Lonely. Was. Every, song about love. Or, drinking. Too much, yeah, maybe, that's, because. Everybody. Is. On. Your radio, there's. Another, song, because. Everybody's. Everybody's. Lonely. Thank. You. So. This is a another. Song from our new record. And. It's about growing, up getting, older and it's. Called boring. The. Seasons. Are changing, but. My world, always stays. The same children. Laugh, behind. My back they're, younger, every. Time. All. My friends, are having kids but. Nobody's. Sure why I. Guess. They'll procreate. Until. They die. Everything. Buddy thinks. They're not the same. So, out of. Let's, get all. Here. The house a kids and, ginger, day. I. Torn. On the inside. A, little Shan, Shan. But. The house out in the suburbs calls. My name. I'm. Not a saint maybe, I should. Be it, would explain, some things I, WebMD. Myself. But somehow, nothing's. Ever wrong. Everything. Is slave. And. Thinks they're not the same. So, why don't we. Let's get old. We, scared. To change. It's really bringing me down. The. King else with picket. Fences, calling. Out. I'd. Rather rot in hell. And. Watch you become. Someone lame. Someone. That. Really bring me down. Really, bring me down. So. Let's go. Because. I'll send kids to change your name. So, why don't we give, the. Let's, get all. He's, scared. Let's get all the. Become, late. We could be so bored. He's. Gonna. Changing. Thank. You. Leave. One more song left thank. You all so much for being, here and listening. And asking, questions and. Giving. Us tricky water bottles all sorts of stuff. Last. One's called Fred Astaire. She's, like I can, do no wrong. Your, eyes sing. There are lines to my own song, you. Don't mind make, it up as we go. All. The words, we don't know. You. Don't care still. Like me better than the rest I. Don't. Understand. How. You like. Me when. I'm dancing, that. Those. Eyes damn, those eyes they get me every time. Those. Eyes and, those eyes I, can do no crime. Well, it's like okay. You. Call me Fred Astaire those, eyes and those eyes they get me every time. Those. Eyes. As I can do no crime. Well, that's like I don't care. You call me Fred Astaire. All. My idiosyncrasies. You. Like. Little. Things I, know. I, can. Be, frustrating. You. Still like me when. Dancing. Those. Eyes and, those eyes get, me every time. Those. Eyes and, those eyes I, can do no crime, we're. Gonna suck I don't care. You, call me Fred Astaire those, I their molds I forget me every, time. Those. Eyes and, those eyes I, can do no crime. When, it's a girl care. You, come his brother step. With, I lose myself. There. Is no one, else who. Ever sees through me. Those. Eyes damn, those eyes to get me every time. Those. Eyes and, those eyes I can. Do no crime. Well. It's a girl care. You, call me better stay. Those eyes get me every, time, those.
Eye. Do, no crime. You. Call me first. You. Call me back. Thank. You all so much. You.