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listening to Song Exploder, where musicians take

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apart their songs and, piece by piece,

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tell the story of how they were

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in all states or situations. Prices

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vary based on how you buy. This

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episode contains explicit language. Lizzo

0:40

is a Grammy and Emmy -winning

0:42

singer, rapper, songwriter, and actress. She's

0:45

been putting out music since 2013, and

0:47

her last two albums both went platinum.

0:50

Her fifth album, Love in Real Life,

0:52

comes out this summer. For this episode,

0:54

I talked to Lizzo, as well as

0:56

her longtime collaborator, Grammy -winning producer, Ricky Reed,

0:58

about the making of one of her

1:00

new songs, Still Bad. It

1:02

wasn't a straightforward process at all. And

1:04

coming up, you'll hear just a few of the

1:06

many, many demos they made on their way to

1:08

the final song. I'm

1:27

Melissa Lizzo in quotes

1:29

Vivian Jefferson, professionally

1:31

known as Lizzo. I

1:34

don't know why I'm so giggly, professionally

1:36

known as Lizzo. I

1:39

had started working on this

1:41

entire album, maybe October 2023. And

1:44

I had written a lot

1:46

of songs that no world will

1:48

never hear because it was like house music

1:50

or like a lot of rap and

1:52

a lot of like dark songs.

1:56

And I was like, I'm not here to

1:58

write songs that's like dark and depressed. And,

2:00

you know, I write the silver lining records. I

2:02

write songs that make people feel good. What were

2:04

the other songs like? What were they about? The

2:07

cycle of like tearing people down and

2:09

building them up and tearing them down again

2:11

and watching them get back up. It's

2:13

like fun to see where you're the person

2:16

being torn down. Absolutely. But it's like,

2:18

what was me like? Why I'm not going

2:20

to put that on my album, like

2:22

write the song. you know, get it off

2:24

your chest. But the world

2:26

don't need to hear those songs. My

2:28

like thesis question or whatever statement every

2:31

time I'm in the studio is like, what

2:33

song does the world need to hear

2:35

and that I need to sing? And

2:37

how do I honor that sound?

2:39

How do I create that band? What

2:42

does that album sound like? You know,

2:44

focus. So the time

2:46

leading up to writing Stillbad was very

2:48

much getting a lot of songs

2:50

off my chest. And I

2:52

don't think I would have been

2:54

able to write Still Bad if I

2:56

hadn't written all of those like

2:59

hurt body, pain body songs. So

3:01

did something happen? Like was there

3:03

a specific turning point? So I

3:05

wrote Love and Real Life, the

3:07

title track of the album, Early

3:10

Spring 2024. And

3:13

Love and Real Life was the first

3:16

Oh, things are going to be all

3:18

right song that I had written in

3:20

like months. And I was like, OK, this

3:22

is the sound. Shortly

3:25

after that, Still Bad happened.

3:27

I'm Ricky Reed. I'm a

3:29

co -writer and producer of Lizzo's

3:31

Still Bad. I did

3:34

this with Ricky Reed, Blake Slatkin, Cheche.

3:36

Yeah, Cheche Allara was also in

3:38

that room. And Sam Harris from the

3:40

X Ambassadors. So I walk

3:42

in the studio and it was just

3:44

like, It was so much

3:47

passion happening. It was like this country

3:49

song, like, I don't need him.

3:51

I need a drink. We definitely were

3:53

talking about country songs. The

3:55

sort of pocket we were

3:57

feeling that we were messing around

3:59

was a classic sort of

4:01

stomp, clap country. I don't need

4:03

him. I need a drink.

4:05

And we just thought that was

4:07

a blast. But it was

4:09

really interesting because we didn't really have music. we

4:12

just kind of had like a lyric and

4:14

a feeling. Can I ask

4:16

you, how did you even start with

4:18

this country idea because it feels

4:20

so different from what I think of

4:22

when I think of Lizzo's music? We're

4:26

having a lot of fun and

4:28

starting a lot of our days with

4:30

almost like, you know, what's the opposite

4:32

thing? What's the least expected thing? Because

4:34

the hardest thing ever is to sit

4:36

down and be like, let's write a Uptempo,

4:39

dance, pop, like that

4:42

is so hard. So

4:44

if you wanna have songs

4:46

that you feel like are great

4:48

and infectious and high energy, for

4:51

me sometimes the best way to get

4:53

there is to start with a good

4:55

feeling that's just not so on the

4:57

nose and then see where it leads

4:59

you. And then Lizzo came in and

5:02

what was her reaction to it? She

5:04

loved the feeling of it. We've been

5:06

experimenting with so many genres that she

5:08

was just down to go on the

5:10

ride. I walk in and I'm like,

5:12

okay, I'm like, what's going on here

5:14

is a vibe. This vibe all the

5:16

time. And they were like, we just

5:18

have this like country song on our

5:20

hearts. Sam Harris, he did, I

5:22

don't need him, I need a drink. And I

5:24

was just like, well, that doesn't resonate with me

5:26

right now. And he was like, well,

5:28

let's just write the country song. I said, cool.

5:31

But I had to reframe it.

5:33

in my brain to write

5:35

it by being like, actually, I'm

5:37

not talking about a man.

5:39

I'm talking about the world. A

5:41

breakup song with the world. So it's

5:44

really interesting. We like had a decent amount

5:46

of like a feel. And then

5:48

we sat down with instruments were like, is

5:50

this guitar or piano? Like we just had

5:52

a lyric and a feeling. And

5:54

that would end up setting

5:56

the stage for the creation of

5:58

this song. It was like

6:00

these like kind of minor chords.

6:04

I can actually play him for

6:06

you. Yeah, let's listen to the

6:08

voice memo one more time Ricky

6:10

for the Can

6:43

you believe that's how still

6:45

bad started? My

6:49

memory of it is kicking

6:51

around a bunch of different things that we

6:53

liked. I don't need him. I need a

6:55

drink. Oh my God, we have

6:57

so many lyrics. And I just, I need

6:59

it. I need to write everything. I

7:02

think that's how we work, especially me

7:04

and Ricky. We have to write every

7:06

lyric possible. That's where I'd

7:08

never leave my bed. God damn, I can't

7:10

believe it came to this. I should

7:12

go Britney shaped my head. Then write a

7:14

book about everything he said. And

7:17

then we're like, okay, let's whittle it

7:19

down. Were you still thinking about this in

7:21

the scope of what you said, breaking

7:23

up with the world as opposed to a

7:25

particular person? Yeah, I had to because

7:28

I can't write songs that don't resonate with

7:30

me on a personal level. Like

7:32

I had a whole period where I did

7:34

throw my phone away. I didn't have my

7:36

phone. I'm about to throw my phone away.

7:39

The phone being the conduit to

7:41

the world? Yes, because it's like

7:43

social media is on there, your

7:45

friends, your family. I

7:47

had so many relationships

7:49

go. I had been a

7:51

very like boundary -less person. And if

7:53

I continue to allow the world to

7:55

affect me and the press and social

7:57

media to like tell me who I

7:59

am or like cuss me out or

8:01

like talk shit about me or make

8:04

a joke about me or, you know,

8:06

at my expense. I'm going

8:08

to lose my mind. And

8:10

I'm so grateful that I

8:12

have music to kind of

8:14

be my therapist. But

8:16

I think in real time, during this

8:18

album, music saved my life. And I

8:20

would be like, oh, my gosh, like

8:23

I want to die today, but I

8:25

also have to go in the studio

8:27

at 12. So

8:30

it's like, you know, go in

8:32

and write about it. Did you explain this

8:34

to everyone that day? Like, this is a

8:36

metaphor for me? I did. And very annoyingly,

8:38

I tried to change the lyric. I was

8:40

like, I don't need this. I don't need

8:42

them. But we always found our way back

8:44

to him. I don't need

8:46

him. I need a drink. I

8:49

think it must be hard to be

8:51

going through that and then try to write

8:53

about it if you don't have the

8:55

right personalities around you. Yeah. So how did

8:57

you and Ricky Reed start working together? I

9:00

had put out a

9:02

tape, Big Girl Small World. And

9:05

Ricky DMs me. He

9:07

was like, come to LA, I'd

9:09

love to work with you. I was

9:11

like, I'm busy. I didn't have

9:13

any awareness of like the music industry

9:15

and how it worked and how

9:17

songwriters work and how I didn't, I'm

9:19

very from the rap world of

9:21

like, send me some beats and

9:23

I'll write to it and I'll give you

9:25

a credit when it drops. Like

9:27

very much that. I

9:29

didn't know what he wanted. I was like, why do

9:31

I have to come to LA? Just send me

9:33

some beats, you know? Yeah. But I get there and

9:36

he was like, you're so talented. Like, let's just

9:38

get in the studio and just like vibe. I

9:40

was like, cool, that I understand. He

9:43

was like, so what do you want

9:45

to say right now? What do you want to say?

9:47

And I was just like, what do you mean? What do

9:49

I want to say? Like, let me sit over here.

9:51

You play the beat and I'll write the words. But I

9:53

sat with him. And I was like,

9:55

wait, what the fuck is going on here? He

9:57

had me singing like, God damn, Aretha Franklin.

9:59

I don't want I could never sing like her.

10:02

But I was singing soul and singing in

10:04

a register that I had never sang in before.

10:06

And I was like, my voice sound like

10:08

it's not coming out my throat. Like what's happening?

10:11

And he had pushed me to

10:13

this limit that I was just

10:15

like, wow, I've never experienced anything

10:17

like that. Learning how to collaborate

10:19

and learning how to like. write

10:23

a song with a

10:25

producer from the first chords.

10:27

That was all very new to me and

10:29

Ricky introduced me to it. It's a

10:31

very special relationship. There's no one like Ricky

10:34

when it comes to like pushing me

10:36

to be like the best. And I used

10:38

to hate it and now I'm like,

10:40

oh my gosh, no one else does this

10:42

to me. I need more. I'm

10:45

a firm believer that

10:48

the best Lizzo songs always

10:50

have a lyric melody

10:52

perspective that sort of transcends

10:54

space and time. We

10:57

were really trying to get to

10:59

a core story and a core

11:01

lyric and melody before we got

11:03

heavy on the production. Now,

11:05

what I would learn is by

11:07

pushing off the production as much

11:10

as I did in the early

11:12

stages would lead to us getting

11:14

used to very, very unproduced demos,

11:16

which would make it more challenging

11:18

to actually finish production down the

11:20

line. This man will send you

11:23

a text at like seven in

11:25

the morning and he's like, yeah,

11:27

I just been, what do you

11:29

think about this version? I

12:00

said no. Oh

12:02

my soul. Don't

12:05

stop. Get it. Get it.

12:07

What's that? Can you feel

12:09

it? We back in the

12:11

building. Still back. Don't forget

12:13

it. Ah. Still

12:16

back. Don't forget it.

12:18

Ah. So the

12:20

country song turned into that first. That was

12:22

the first iteration of it. And how did

12:24

you feel about that direction? I was

12:26

like, because we were going for like, like, crazy. Yeah.

12:29

I'm gonna be And And

12:32

I was like, this is sick. This is

12:34

cool. I like it. I love everything when

12:36

I first make it because it's my baby.

12:39

And then you sleep on it and you're

12:41

like, mm -mm -mm. And what wasn't right about

12:43

it for you? It didn't feel fresh. And

12:45

a lot of times Ricky, because there are

12:47

times where I was like, this is sick.

12:49

And he's like, no, I don't think this

12:51

is it. We would

12:53

work on one a

12:55

week, two weeks and

12:57

then be like, this isn't really gettin'

12:59

there. Let's try different version. I'm

13:01

about to throw my phone away,

13:04

oh, can't let my

13:06

girls know, bro, been fuckin' with

13:08

my day. That day, we're like, let's

13:10

try a piano thing. But then

13:12

Chech is at the piano, maybe we

13:14

shouldn't do, And and we do

13:16

the pre -chorus, which we have now. He

13:19

knockin' down, thought

13:21

I'd never get my fine ass

13:23

off the ground, oh,

13:27

but I'm ready now, cause

13:30

it's demon season, baby, let's

13:32

go on. So

13:36

maybe we didn't keep anything from

13:38

that production, but it led us to

13:40

the and of the pre -chorus. And

13:42

And I was working on bass lines and I

13:44

was like, maybe this song needs a bass line.

13:46

I'm about to throw my phone away. This

13:49

is the demo that ends up being

13:51

the first time we say, oh, shit,

13:53

I think we have something here. He

13:55

act like he can't be replaced. I

13:58

went in. trying to

14:00

just get the feeling

14:02

out of it. I

14:05

wanted to tell the

14:07

story musically of we're

14:09

start the verse with

14:11

Lizzo knocked down, and

14:13

I wanted to get

14:15

to the chorus with

14:17

her winning. I don't

14:19

need him, I need a drink. Let's

14:23

turn this pain into some

14:25

champagne, baby. Like

14:27

cheers, bitch, it's been a day. Might

14:31

take the last flight out to

14:33

Vegas, what y 'all think? I

14:35

don't need him, I need a drink.

14:39

My with Lizzo and Ricky Reed

14:41

continues after this. You

14:50

had all these different versions and demos

14:52

that you were trying, did you have a

14:54

sense of what it was you were

14:56

looking for? They all sound great, but When

14:59

we thought about the statement that she

15:01

was trying to make with this album, I

15:03

think one of the things that

15:05

would define a lot of these versions

15:07

that didn't work was that they

15:09

didn't have that grit and that urgency.

15:12

We listened to like Franz Ferdinand. that was the

15:14

turning point, listening to Franz Ferdinand. And so

15:16

then one of the versions of that where I

15:18

tried to put a harder edge on it, This

15:21

is my favorite one that didn't

15:24

make it. Oh

15:27

my God, I loved this version. I'm

15:41

playing drums to just like an asshole for

15:51

fun, I'm looking for fun. Oh,

15:54

but I'm ready now. I

15:57

think I'm back to different parts of

15:59

the album. We

16:09

were starting to get an idea of what

16:11

the album would sound like. It's

16:13

around that time. We're really

16:16

experimenting with... I don't want to

16:18

oversimplify it and just say

16:20

that it's rock. It's about urgency

16:22

and energy. I have been

16:24

studying the origin of rock and roll because I'm

16:26

going to be playing Sister Rose at a Tharp. And

16:29

rock and roll,

16:31

at its origin, was

16:33

this mixture of

16:35

gospel and guitar. and

16:37

distortion and audacity. That

16:40

leads us to, okay, what

16:43

if we took that demo, the one I

16:45

mentioned where I was like getting the feeling of

16:47

it? That

16:53

was like our main demo of

16:55

the song for a long time.

16:57

So what if we took that and we

16:59

just played it like a band? That's

17:04

what sets us on the path to the final version. We

17:07

set up to do this day. We

17:09

set up like a band. So we

17:11

brought in Victor Andrezzo, longtime Lizzo collaborator,

17:13

one of my favorite drummers of all

17:15

time. Ricky

17:18

plays bass. And

17:23

then I played three distinct

17:25

guitar performances as if it

17:27

was like an indie band

17:29

with three guitarists. Plot

17:49

twist I'm doing great was like the first lyric

17:51

that I was like, oh my God, I wait

17:53

to say this. Like I can't wait for people

17:55

to hear me say this and I can't wait

17:57

for people to say it themselves. Oh,

18:00

so satisfying. What

18:02

do you love about it? I

18:04

just loved the cheekiness of it, but

18:06

also it was so bold because

18:08

it was like real to me. I

18:11

was like, there are people who

18:13

want to see me miserable. And

18:15

so, to say plot twist,

18:17

I'm doing great. I was

18:19

proud of myself for being able to get

18:21

to a point where I can say that.

18:24

And I'm like, ha ha, it's Patty, it's

18:26

very ha ha. You thought that I was

18:28

going to be sad forever, but,

18:30

you know, I grew. And

18:32

that line is a deeply satisfying

18:34

line. The

18:37

palm muted thing

18:39

goes... Oh, it's

18:41

my favorite part of Still Bad. And

18:44

it was like... character in the version

18:46

I play for you. I

18:52

remember we played it

18:54

for the label. They

18:56

were like, this song is so good until

18:58

that fucking guitar line. And I was like,

19:01

no, my precious. And

19:03

so we had to get rid of it.

19:05

And then like we were almost done with

19:07

the song. And I was like, can we

19:09

bring back? And like. It's like a different

19:11

tone that kind of matches the vibe of

19:13

this record. But we slid it

19:15

into the bridge because I fought for

19:17

it. One

19:30

of the things I love in the

19:32

song are these gang vocals. Can

19:35

you tell me about making those? So

19:37

Ricky has created this like tradition

19:39

of me calling my friends and

19:41

being like, Hey, you around? Come

19:43

hop on this record and just

19:46

be like, yeah, yeah. You know,

19:48

and we're just like laughing and

19:50

it like just brings life to

19:52

the record. And I think it

19:54

needed party because it's just like,

19:57

let's go to Vegas. Let's turn our pain

19:59

to champagne. We need a

20:01

drink. But this time I didn't

20:03

have any friends anymore because you'd

20:05

run your phone away. threw

20:07

my phone away and my only

20:10

friends don't live in LA. And

20:12

so I was just like, okay, we're

20:14

the party track. So that's me. That's

20:16

Blake Slatkin. That's Sam Harris and Ricky

20:18

Reed just in a room clapping and

20:20

hoedowning with each other. It

20:23

was really nice though. That's

20:25

like five friends having fun

20:27

and doing what felt right

20:29

in the moment. I

20:38

feel like I can hear multiple layers

20:40

of your voice in different registers. So

20:43

I'll sit and I'll be like, all right, this

20:45

time I'm gonna do the, let's turn

20:47

this pain into some champagne, baby.

20:50

Then it's like, okay, this time I'm gonna do

20:52

like a lower voice. Let's turn the pain into

20:54

some champagne, baby. Or like a,

20:56

let's turn this pain into some

20:58

champagne, baby. Or

21:01

give like a raspy one like, let's turn

21:03

this pain into some champagne, baby. You

21:05

gotta give it different characters so that it

21:07

feels like a shit ton of people.

21:09

And it's so fun. I'll be like, all

21:11

right, this is the bratty one. This

21:13

is the nasally one. This is the airy

21:16

one. This is the full bodied one.

21:18

This is the fast vibrato. This is the

21:20

slow vibrato. And what about Blake, Ricky,

21:22

and Sam? Are they also inhabiting other characters?

21:24

They're trying to. They're

21:28

trying to. I think anytime

21:30

you have a lyric like throw

21:32

ass, we gotta do a

21:34

gang vocal on throw ass. At

21:39

that point, we are listening

21:41

to the song and I'm like,

21:43

that needs a lift. And

21:45

Ricky is so fucking weird when

21:47

it comes to harmony. He's

21:50

like, he doesn't do just like

21:52

major triad shit. He'll be

21:54

like, what about a minute? And

21:57

I'm like, what? Boy, that's not gonna

21:59

work. And he's like, well, if sing

22:01

it softly, it'll work. I'm like, all

22:03

right. And I do it. And I'm

22:05

like, been a minute. Oh, that was

22:07

weird. And it, like, perks your ears

22:09

up. And you won't even really notice

22:11

it, but you feel it. I don't

22:13

need him. I need to throw ass.

22:15

Been a minute. Break fast with my

22:17

bitches. Real love. Real life. Damn, I've

22:20

been missing. For me,

22:22

it's the ad lib

22:24

going into chorus 2. Anytime

22:27

she does the belt and

22:29

she's like all out of

22:31

air. She's holding that long

22:33

loud high note for what

22:35

feels like 10 minutes and

22:37

then she still has enough

22:39

air to give you a

22:41

whoo It used to be

22:43

think I'm acting different watch

22:45

me double down You know

22:47

that was the old like

22:49

lead into the hook and

22:51

now it was like feeling

22:54

crazy lately, baby. Like the

22:56

A's, the vowel sound is

22:58

just so much more fun

23:00

to sing instead of acting

23:02

different. Watch me. You know,

23:04

we think about things like

23:06

that too, but also like

23:08

feeling crazy lately is just

23:10

more relatable. So I

23:12

really love doing it.

23:15

It's so tedious, but

23:17

I always feel like it yields

23:19

the best results. So after

23:21

all of that, revising and rewriting

23:23

the music and the production

23:25

and the lyrics, when it

23:27

came time to record the song, did it

23:29

still feel like something you were enjoying? God, that's

23:32

such a great question. Lizzo

23:34

loved this song so much

23:36

from the beginning that every

23:38

time we looked at it,

23:40

she was excited to just

23:43

tap back in. Yes. So

23:45

by the time it was ready to record

23:47

the vocal, I

23:49

was like hell yeah let's

23:51

go because being able to write

23:53

a song like still bad

23:55

after coming out of the depression

23:57

that I was in is

23:59

remarkable and And I'm really proud

24:01

of myself for being able

24:03

to find myself again after all

24:05

of that. Like I lost

24:07

a lot from loss of relationships

24:09

to like of self, loss

24:11

of innocence to come back

24:14

from all of that and be

24:16

like, Shit, how do I turn

24:18

this into something that everybody knows

24:20

and loves because the last thing

24:22

I wanted was for people to

24:24

be like, oh, this is a

24:26

song about Lizzo for Lizzo. I

24:28

people to be Jesus,

24:30

like, did you read the news today? Oh

24:33

Like need a drink. We got

24:35

to get through this day somehow

24:37

together So yes,

24:40

when I was making it, it was very

24:42

deeply satisfying and selfish. And

24:44

I was like, oh, this is for me. And then

24:46

you get all of that shit out first. And

24:48

then the songwriter kicks in and you're like, how

24:50

do I make this for all of us? And

24:58

now here's still bad by

25:00

Lizzo in its entirety. girl's

25:13

no bro been fucking with

25:16

my day he act like he

25:18

can't be replaced okay well

25:20

he gonna hate to see me

25:22

leave but love to watch

25:24

me walk away ain't

25:26

knocked me down, but I'll

25:28

never get my fun ass off

25:31

the ground. But

25:33

I'm ready now, feeling

25:37

crazy lately, baby, let's

25:39

go out. I

25:41

don't need him. I need a drink.

25:45

Let's turn this pain into

25:47

some champagne, baby, like

25:50

cheers, bitches, been a date.

25:53

Might take that last night out

25:56

to Vegas, but y 'all think

25:58

I don't need him. But

26:06

after everything, I'm

26:09

still surviving and

26:11

I'm still bad,

26:13

baby So

26:15

bitch, I complain,

26:17

I'm still

26:19

bad, baby Plot

26:23

twist, I'm doing great,

26:25

I make that bento

26:28

shit look sexy anyway

26:31

I don't need him, I need

26:33

to grow ass, in a

26:35

minute, break fast with my bitches

26:37

Real love, real life, damn,

26:39

I been missing, he knocked me

26:41

down I thought I'd

26:43

never get my fun ass off

26:45

the ground But

26:48

I'm ready now,

26:51

feeling crazy lately, baby,

26:53

let's go out I

26:56

don't need him, I

26:58

need a drink, let's turn

27:00

this pain into some

27:02

champagne Baby, like cheers

27:04

bitches been a day, might

27:07

take that last flight

27:09

out to Vegas I

27:12

don't need him, I

27:14

need a drink, I don't

27:16

know why life is

27:18

so fucked up, baby But

27:21

after everything, I'm

27:24

still surviving and

27:26

I'm still bad, baby

27:28

So bitch, I

27:30

can't complain, I'm

27:32

still bad,

27:35

baby So

27:37

bitch, I'm still bad, baby Don't

27:39

stop, get it, get it, back

27:42

in the building Still bad,

27:44

don't forget it I'm still

27:46

bad, baby Don't stop, get

27:48

it, it, she back in

27:51

the building Still bad, don't

27:53

forget it I don't need

27:55

him, I need a drink,

27:57

let's turn this pain into

27:59

champagne Some champagne, baby Like

28:02

cheers, bitches, been a day Oh,

28:04

been a day I take that

28:06

last light out to Vegas Put

28:09

your hands up I don't need

28:11

him, I need to pray I

28:14

don't know why life feels

28:16

so fucked up, baby But

28:19

after everything I'm

28:23

still surviving and I'm

28:25

still bad, baby So

28:27

bitch, I can't complain Visit

28:31

songexploder .net slash Lizzo to

28:33

learn more. You'll find links

28:35

to buy or stream still bad, and you can

28:37

watch the music video. This

28:39

episode was produced by me, Mary

28:41

Dolan, Craig Ely, and Kathleen Smith,

28:44

with production assistants from Tiger Biscope. The

28:46

episode artwork is by Carlos Lerma, and I

28:48

made the show's theme music and logo. Song

28:51

Exploder is a proud member

28:53

of Radio Topia from PRX,

28:55

a network of independent, listener

28:57

-supported, artist -owned podcasts. You

28:59

can learn more about our shows at

29:01

radiotopia .fm. If you'd like to hear more

29:03

from me, you can sign up for

29:05

my newsletter. You can find it on

29:07

SongExploder website. You can also

29:09

follow me and SongExploder on And

29:12

you can get a SongExploder

29:14

t -shirt at songexploder .net. slash

29:16

shirt. I'm Rishikesh

29:18

Hirway. Thanks for listening. Radio

29:24

Topia

29:26

From PRX