(no subject)
Some Call Me the Poet
Come Summer
Album Reflections and Song Meanings
Pour One Out
This song was written at the end of senior year in high school. I guess it’s mostly a reflection on our typical weekends - drinking too heavily, fucking around, hooking up, etc. More specifically, it is a reference to the night I lost my virginity. It was something I had been over-thinking and romanticizing for a long time, but when the time came I realized that you really do just kind of do it. Not to say that it isn’t a big deal or that it doesn’t matter who you do it with. But rather, that perfect movie script moment might never come - so quit worrying and start fucking. In my stereotypical fashion, I lost it on the night of my senior prom, in an upstairs bedroom at the crack of dawn. It wasn’t a candlelit, “rose pedals on the bed kind of scene”, but that’s okay. I was drunk at the time, but I knew that I was crazy about her whether I was sober or not. And it just felt right. So this song is about a lot of the imagery that comes along with an experience like that. It’s an effort to immortalize that feeling, to not forget it, to “keep it around”. It’s also a really fun song to play live and to drink to. The hardest we rock ever is probably during the “breakdown” at the end.
Take Care, Take Me With You
Once upon a time, I hooked up with a fairly attractive girl with an obscenely attractive chest. I was pretty excited about it for a few days or a week afterwards and I kind of had a good feeling about where things might lead. I wrote this song during that time, keeping the same kind of lyrical pattern throughout the verses and pre-choruses but changing things up slightly. Needless to say, I got a little ahead of myself. Nothing ever panned out with the girl. I’m not really sure she ever knows this song exists, or if she remembers that I do. I called her during a visit to her college recently, but I was blackout drunk and I can’t remember what happened. Oh well, you live and learn.
Musically, we wrote this song with a different bridge at first. It was more straightforward pop-punk. But Pete kept blowing us away with these ridiculous solos, so we had to add in a little funk. Then it just kept growing and getting more and more ridiculous. We added the organ and the “Oh shit” in the studio. Then Pete started recording solos. He had four or five of them, and we were going to choose the best at the end to leave in. Then by accident, Sean played all of them at the same time. Our reaction: “Sweet!” So we left all of them.
Resolutions
This is the oldest Some Call Me the Poet song. It started out as a song I had written in my bedroom on New Year’s Day 2005. Then it saw life in a full band for the first time in a previous project that Dan and I had called The Sea, The Storm. I think we played it once or twice with them live and then that band kind of dissolved. When the four of us first started this lineup together, we started jamming on it and it took on a whole new shape. Without this song, Some Call Me the Poet might never have come about. But this gelled together quickly, into our longest (and possibly most annoying to play) tune to date.
The lyrics to this are pretty self-explanatory. Boy meets girl. Boy and girl date. Girl rejects boy. Boy makes it his New Year’s Resolution to get the hell over it and fails. But it’s all a part of this consistent process. We fall and then we stand up again. We hope that we’ll get better, and we eventually do heal. This song is about coming to accept that cycle a little bit. And I thought it was a comforting way to start off a new year. It’s something of a clean slate, I guess.
Come Summer
This was the last song we wrote for the album in full-band format. I think we wrote it when we were home from college over the holidays. The music is kind of exemplary of what we were going through. The first few minutes are pretty chaotic for our sound. There’s a lot of chaos and disorder as we entered into our first year away from home. I was going through a lot of shit. The lyrics are pretty angry. I was struggling to keep a long distance relationship going. It was plagued with infidelity and frustration. It left a kind of bad taste in my mouth and I felt like all the waiting around and days behind the wheel had entitled me to a little more than I was getting out of it. But I loved this girl, and the way I always got through the frustration was by thinking of this light at the end of the tunnel. Summer would come and we’d both be home. Things would settle down again and get back to normal. So at the end of the song, things sort of calm down - I start to relax a little bit and get over my anger. I start to just hope for summer to come quickly and make things better. After all that I had been through, I was going to come home and be happy. I think this is my favorite song to play live, except when Dan steps on my chord and mutes my guitar and the exact moment I am supposed to play by myself.
During the first listen to the vocal tracks for this part, we auto-tuned my high note at the end in the wrong key and it sounded terrible. Like… absolutely awful. It was hilarious. We got a lot of laughs. We don’t use a lot of auto tune, and when we do things sound worse, apparently. Also, until the final mix down of this song the sound of me peeing could be heard throughout the intro. Sean liked it too much to take out, but eventually we made him.
It Sets To The Left
Let’s set the record straight: This song has nothing to do with my penis. It’s about the sun setting in the west, you jackass. I think it came together faster than anything else we’ve written. It’s also one of the dreamiest kinds of thing we’ve done sonically. We like to change up the arrangement of it live, mostly the intro. Lyrically it started out with a girl (surprise, surprise) that I was seeing briefly back in October/November 2005. She was a beautiful girl and a lot of fun, but for whatever reason the time and place just weren’t right. I could feel it wasn’t going to work. This song is basically about daydreaming a bit about running away to a place where things might be possible with her. We’d take the long road out of town and drive west across the continent. California has always held a special place in my heart; maybe things would be different out there. Mainly, I think I included it in the song to make our buddy Justin happy. Things kind of fizzled out with this girl, and I started seeing someone else and it turned into something very serious. So there was always a little awkwardness about the timing. The pre-choruses are about feeling bad about how things ended. I was trying to balance things and keep everything afloat with no hard feelings. She lived right near the Long Island Sound, so I kept having this thought of her looking out the window and seeing me struggling out there. There’s a lot of imagery like that throughout the song.
A Crash Course In Compassion
This was the third song we wrote as a band. It’s been reworked a lot over the years. We liked the idea of starting things off with a lot of intensity and layers, then dropping it all down into something cleaner. I like this song a lot, despite it being very difficult to sing. There’s a ton going on musically. It drops and builds up over and over. Then Pete gets to melt some faces with his guitar solo. It’s a very dynamic song. I think this was the first time we realized as a band how schizophrenic our writing style would eventually become.
Lyrically, this song is about a terrible day that I had and a dream that I had the following night. I took my girlfriend out and spent a lot of money on her. Then she ditched me later on in the night. I found out it was to hang out with another guy she was seeing. I knew him. He’s an awesome dude. But he was totally wrong for her (“sleeping with the devil”). Anyway, we got into a huge breakup fight in a Starbucks parking lot in the pouring rain. I ended up speeding away, pissed as hell, and almost crashed my car on the Sikorski Bridge. Rookie of the Year enjoyed my line about this so much that they used it in their song “Poison Like Your Own” (kidding). Then, the part at the end is about a dream I had that night. I was basically flying through a city skyline while she was pulling down everything in her path in order to get me to come down. Finally, there was nothing left. It was the end. I remember waking up in the middle of the night and writing the whole end to this song down on an Olive Garden credit card receipt. Brendan really hated recording this song because of all the tom work during this part, but it ended up coming out really well - so he should suck it up.
Throw In The Towel
It was summer 2006, a few weeks before I started college. Brendan and I were in Sunland, California, with a few other friends. The house we stayed in belongs to our buddy Justin’s grandparents. It has a gazebo way on the top of a steep hill which is totally badass. At night we’d all sit around inside it and talk, chain smoke, and drink… a lot. During one of these particular sessions, the conversation began to focus on our fear of going to college and making new friends. Our friend Rich then uttered the infamous line from this song: “Everyone knows who you are, but only your friends know why”. It seemed perfect to capture that line, and all the emotions associated with it in a song. The whole song is pretty self-explanatory. We were moving away from the familiar and all the things that comforted us in our youth. We were finally leaving Monroe, Connecticut, behind. It was totally exciting but completely terrifying at the same time. We played this song at our last couple shows before the college years. I remember choking up big time trying to sing the layered vocals at the end. We don’t play this song live very often, but anytime the California crew is at a show, there is always a chance we’ll get peer pressured into it.
There used to be a second verse to this song, but it didn’t really fit the structure we were going for, it went like this:
We’re spending our days and our nights
Getting high and leaving our cares behind us
It’s just like us to sleep until noon
But we’ll be waking up soon
A Fall Into Autumn
This is the second song we wrote as a band. It was way back in summer 2005. We liked the idea of just a poppy, syncopated good time with lots of “Whoa-oh’s” and sing-a-long parts. I feel like our writing style has matured significantly but this song still represents a lot of what we stand for as a band: Having a good fucking time. However, the lyrics are a little less fun. I was going through a tough time. I was about to enter my senior year of high school. I could feel my time winding down before “real life” had to start. I watched two of my best friends go off to college and found out that the girl in “Crash Course” had gone on vacation and kissed everyone with lips. So I was scared of moving forward, but I also couldn’t wait for fall. Then, all the changes that were happening would finally be over with. I could start to recover and cope and move on. But when this was written, it seemed like I was just getting more and more anxious. I was waiting for things to be different. Expecting sadness before it even came my way. This song is all about changes. Nothing had been promised to me, but I was begging for consistency from someone. I wrote this song after I came home from saying goodbye to our friend Justin before he went off to college. Before he went, he gave me this tin that he had where we used to keep water bottles of stolen alcohol and this ridiculous homemade bong. It was like a right of passage, I guess. And it was way more symbolic and emotional to me than it should have been. I still have that tin. It’s in my garage in Connecticut and my dad keeps bottles of motor oil in it. The bong’s whereabouts are unknown to me.
We recorded the “party” scene after drinking far too much Jack Daniels, and really just rounded up strangers at Berklee to shout and scream. I’m not sure who Joe was, but somebody said “Hi” to him and it stood out. I think it’s funny. Brendan wasn’t at this session, and I remember trying to call him and explain what we were doing… he was pretty confused. And drunk most likely.
The Beast
As many people know, this song was originally titled “The Beast Dies On Prom Night” after we speculated taking our van to prom instead of a limousine. I don’t think any of our dates would have been very excited, but it would have been pretty funny nonetheless. Unfortunately, this song isn’t about the van, just named after it. I wrote this song about driving all over the place during our senior year of high school. We played a ton of shows in a small amount of time. During that period, I was involved in the most serious relationship that I’ve had to date. And I was absolutely crazy about this girl. So a lot of the song is about how I am going out and playing these shows and doing what I love, but then I’m hurrying the fuck back home to be with her. It was stressful, but I loved it. I loved knowing that road home was leading to something amazing. The line about “beaches on the TV screen” refers to that terrible MTV show called “Date My Mom”. I would watch it after school with my girlfriend (usually just an excuse to make out) and we’d always laugh at the interviews they had at the end because it was always some asshole standing in front of a sunset on the beach that was clearly Green Screened in.
This song took forever to write. We re-wrote verse after verse. Dan hated a lot of it initially. We fought. But it turned out to be an awesome song, so I’m glad he was picky about things. We all have kind of developed as filters for each other’s ideas, so only the best shit gets into the songs. This is the first songwriting process where that came through. It was frustrating at first, but we learned to appreciate it.
Highways
Okay, this is probably going to be a long one. “Highways” is the last song written and recorded for Come Summer. It was an acoustic song that I wrote in my dorm room at the end of freshman year in Philadelphia. I was exhausted. It had been such an incredibly long year - my first away from home. I was fighting to keep a long distance relationship alive, driving all over the fucking place. This song was about that experience. The bridges are about having to cram so much into a weekend visit that it becomes ridiculous. “You better kiss me hard, because I’ll be on the road again soon. We better not waste any time, because it’ll be weeks until we see each other again.” This was the kind of attitude that ran my life freshman year. It taught me a lot and helped me grow into a better person, but I sure went through hell to get there. But I was optimistic; there was one more highway to conquer - the road home for the summer. When I got there I knew there would be some things that could never change, even though my life had so drastically. There would be warmer feelings, warmer days, and all the people I loved would be back in one place. It seemed like a great theme to tie up the whole record. Come Summer was written during possibly the most emotionally dynamic period in adolescence. It was a transition from boyhood into manhood. And it encompassed a lot of what happens in between. This song was about tying it all together. Hard times and real life were waiting. This was only the end of chapter one. This song was about that transition from A to B, but more specifically about all of the things in between two points (the highway). “The 8:15 to the city” is the inbound train from Saint Joseph’s University to Center City Philadelphia. It was the train I’d always take when she would come to visit me in order to pick her up from her Amtrak. Though recently, I think they changed the train schedule and it now runs on the :05 and :35.
This was the only song on the record that was not written in my basement in Monroe, Connecticut. We put it together as a band in a practice room at Berklee in Boston. Then I tracked the framework for it and everyone kind of laid their own parts down separately, without hearing much of the cohesive product. The percussion was done with shakers, snapping our fingers, and stomping as hard as we could on the floor of Sean Killary’s (producer) dorm room. I fucking fell in love with this song when Chris Baum added his violin goodness all over it and Pete and I figured out the harmonies. This might be my favorite song on the record, but it changes all the time. I wish we played it live more often.
Come Summer
Album Reflections and Song Meanings
Pour One Out
This song was written at the end of senior year in high school. I guess it’s mostly a reflection on our typical weekends - drinking too heavily, fucking around, hooking up, etc. More specifically, it is a reference to the night I lost my virginity. It was something I had been over-thinking and romanticizing for a long time, but when the time came I realized that you really do just kind of do it. Not to say that it isn’t a big deal or that it doesn’t matter who you do it with. But rather, that perfect movie script moment might never come - so quit worrying and start fucking. In my stereotypical fashion, I lost it on the night of my senior prom, in an upstairs bedroom at the crack of dawn. It wasn’t a candlelit, “rose pedals on the bed kind of scene”, but that’s okay. I was drunk at the time, but I knew that I was crazy about her whether I was sober or not. And it just felt right. So this song is about a lot of the imagery that comes along with an experience like that. It’s an effort to immortalize that feeling, to not forget it, to “keep it around”. It’s also a really fun song to play live and to drink to. The hardest we rock ever is probably during the “breakdown” at the end.
Take Care, Take Me With You
Once upon a time, I hooked up with a fairly attractive girl with an obscenely attractive chest. I was pretty excited about it for a few days or a week afterwards and I kind of had a good feeling about where things might lead. I wrote this song during that time, keeping the same kind of lyrical pattern throughout the verses and pre-choruses but changing things up slightly. Needless to say, I got a little ahead of myself. Nothing ever panned out with the girl. I’m not really sure she ever knows this song exists, or if she remembers that I do. I called her during a visit to her college recently, but I was blackout drunk and I can’t remember what happened. Oh well, you live and learn.
Musically, we wrote this song with a different bridge at first. It was more straightforward pop-punk. But Pete kept blowing us away with these ridiculous solos, so we had to add in a little funk. Then it just kept growing and getting more and more ridiculous. We added the organ and the “Oh shit” in the studio. Then Pete started recording solos. He had four or five of them, and we were going to choose the best at the end to leave in. Then by accident, Sean played all of them at the same time. Our reaction: “Sweet!” So we left all of them.
Resolutions
This is the oldest Some Call Me the Poet song. It started out as a song I had written in my bedroom on New Year’s Day 2005. Then it saw life in a full band for the first time in a previous project that Dan and I had called The Sea, The Storm. I think we played it once or twice with them live and then that band kind of dissolved. When the four of us first started this lineup together, we started jamming on it and it took on a whole new shape. Without this song, Some Call Me the Poet might never have come about. But this gelled together quickly, into our longest (and possibly most annoying to play) tune to date.
The lyrics to this are pretty self-explanatory. Boy meets girl. Boy and girl date. Girl rejects boy. Boy makes it his New Year’s Resolution to get the hell over it and fails. But it’s all a part of this consistent process. We fall and then we stand up again. We hope that we’ll get better, and we eventually do heal. This song is about coming to accept that cycle a little bit. And I thought it was a comforting way to start off a new year. It’s something of a clean slate, I guess.
Come Summer
This was the last song we wrote for the album in full-band format. I think we wrote it when we were home from college over the holidays. The music is kind of exemplary of what we were going through. The first few minutes are pretty chaotic for our sound. There’s a lot of chaos and disorder as we entered into our first year away from home. I was going through a lot of shit. The lyrics are pretty angry. I was struggling to keep a long distance relationship going. It was plagued with infidelity and frustration. It left a kind of bad taste in my mouth and I felt like all the waiting around and days behind the wheel had entitled me to a little more than I was getting out of it. But I loved this girl, and the way I always got through the frustration was by thinking of this light at the end of the tunnel. Summer would come and we’d both be home. Things would settle down again and get back to normal. So at the end of the song, things sort of calm down - I start to relax a little bit and get over my anger. I start to just hope for summer to come quickly and make things better. After all that I had been through, I was going to come home and be happy. I think this is my favorite song to play live, except when Dan steps on my chord and mutes my guitar and the exact moment I am supposed to play by myself.
During the first listen to the vocal tracks for this part, we auto-tuned my high note at the end in the wrong key and it sounded terrible. Like… absolutely awful. It was hilarious. We got a lot of laughs. We don’t use a lot of auto tune, and when we do things sound worse, apparently. Also, until the final mix down of this song the sound of me peeing could be heard throughout the intro. Sean liked it too much to take out, but eventually we made him.
It Sets To The Left
Let’s set the record straight: This song has nothing to do with my penis. It’s about the sun setting in the west, you jackass. I think it came together faster than anything else we’ve written. It’s also one of the dreamiest kinds of thing we’ve done sonically. We like to change up the arrangement of it live, mostly the intro. Lyrically it started out with a girl (surprise, surprise) that I was seeing briefly back in October/November 2005. She was a beautiful girl and a lot of fun, but for whatever reason the time and place just weren’t right. I could feel it wasn’t going to work. This song is basically about daydreaming a bit about running away to a place where things might be possible with her. We’d take the long road out of town and drive west across the continent. California has always held a special place in my heart; maybe things would be different out there. Mainly, I think I included it in the song to make our buddy Justin happy. Things kind of fizzled out with this girl, and I started seeing someone else and it turned into something very serious. So there was always a little awkwardness about the timing. The pre-choruses are about feeling bad about how things ended. I was trying to balance things and keep everything afloat with no hard feelings. She lived right near the Long Island Sound, so I kept having this thought of her looking out the window and seeing me struggling out there. There’s a lot of imagery like that throughout the song.
A Crash Course In Compassion
This was the third song we wrote as a band. It’s been reworked a lot over the years. We liked the idea of starting things off with a lot of intensity and layers, then dropping it all down into something cleaner. I like this song a lot, despite it being very difficult to sing. There’s a ton going on musically. It drops and builds up over and over. Then Pete gets to melt some faces with his guitar solo. It’s a very dynamic song. I think this was the first time we realized as a band how schizophrenic our writing style would eventually become.
Lyrically, this song is about a terrible day that I had and a dream that I had the following night. I took my girlfriend out and spent a lot of money on her. Then she ditched me later on in the night. I found out it was to hang out with another guy she was seeing. I knew him. He’s an awesome dude. But he was totally wrong for her (“sleeping with the devil”). Anyway, we got into a huge breakup fight in a Starbucks parking lot in the pouring rain. I ended up speeding away, pissed as hell, and almost crashed my car on the Sikorski Bridge. Rookie of the Year enjoyed my line about this so much that they used it in their song “Poison Like Your Own” (kidding). Then, the part at the end is about a dream I had that night. I was basically flying through a city skyline while she was pulling down everything in her path in order to get me to come down. Finally, there was nothing left. It was the end. I remember waking up in the middle of the night and writing the whole end to this song down on an Olive Garden credit card receipt. Brendan really hated recording this song because of all the tom work during this part, but it ended up coming out really well - so he should suck it up.
Throw In The Towel
It was summer 2006, a few weeks before I started college. Brendan and I were in Sunland, California, with a few other friends. The house we stayed in belongs to our buddy Justin’s grandparents. It has a gazebo way on the top of a steep hill which is totally badass. At night we’d all sit around inside it and talk, chain smoke, and drink… a lot. During one of these particular sessions, the conversation began to focus on our fear of going to college and making new friends. Our friend Rich then uttered the infamous line from this song: “Everyone knows who you are, but only your friends know why”. It seemed perfect to capture that line, and all the emotions associated with it in a song. The whole song is pretty self-explanatory. We were moving away from the familiar and all the things that comforted us in our youth. We were finally leaving Monroe, Connecticut, behind. It was totally exciting but completely terrifying at the same time. We played this song at our last couple shows before the college years. I remember choking up big time trying to sing the layered vocals at the end. We don’t play this song live very often, but anytime the California crew is at a show, there is always a chance we’ll get peer pressured into it.
There used to be a second verse to this song, but it didn’t really fit the structure we were going for, it went like this:
We’re spending our days and our nights
Getting high and leaving our cares behind us
It’s just like us to sleep until noon
But we’ll be waking up soon
A Fall Into Autumn
This is the second song we wrote as a band. It was way back in summer 2005. We liked the idea of just a poppy, syncopated good time with lots of “Whoa-oh’s” and sing-a-long parts. I feel like our writing style has matured significantly but this song still represents a lot of what we stand for as a band: Having a good fucking time. However, the lyrics are a little less fun. I was going through a tough time. I was about to enter my senior year of high school. I could feel my time winding down before “real life” had to start. I watched two of my best friends go off to college and found out that the girl in “Crash Course” had gone on vacation and kissed everyone with lips. So I was scared of moving forward, but I also couldn’t wait for fall. Then, all the changes that were happening would finally be over with. I could start to recover and cope and move on. But when this was written, it seemed like I was just getting more and more anxious. I was waiting for things to be different. Expecting sadness before it even came my way. This song is all about changes. Nothing had been promised to me, but I was begging for consistency from someone. I wrote this song after I came home from saying goodbye to our friend Justin before he went off to college. Before he went, he gave me this tin that he had where we used to keep water bottles of stolen alcohol and this ridiculous homemade bong. It was like a right of passage, I guess. And it was way more symbolic and emotional to me than it should have been. I still have that tin. It’s in my garage in Connecticut and my dad keeps bottles of motor oil in it. The bong’s whereabouts are unknown to me.
We recorded the “party” scene after drinking far too much Jack Daniels, and really just rounded up strangers at Berklee to shout and scream. I’m not sure who Joe was, but somebody said “Hi” to him and it stood out. I think it’s funny. Brendan wasn’t at this session, and I remember trying to call him and explain what we were doing… he was pretty confused. And drunk most likely.
The Beast
As many people know, this song was originally titled “The Beast Dies On Prom Night” after we speculated taking our van to prom instead of a limousine. I don’t think any of our dates would have been very excited, but it would have been pretty funny nonetheless. Unfortunately, this song isn’t about the van, just named after it. I wrote this song about driving all over the place during our senior year of high school. We played a ton of shows in a small amount of time. During that period, I was involved in the most serious relationship that I’ve had to date. And I was absolutely crazy about this girl. So a lot of the song is about how I am going out and playing these shows and doing what I love, but then I’m hurrying the fuck back home to be with her. It was stressful, but I loved it. I loved knowing that road home was leading to something amazing. The line about “beaches on the TV screen” refers to that terrible MTV show called “Date My Mom”. I would watch it after school with my girlfriend (usually just an excuse to make out) and we’d always laugh at the interviews they had at the end because it was always some asshole standing in front of a sunset on the beach that was clearly Green Screened in.
This song took forever to write. We re-wrote verse after verse. Dan hated a lot of it initially. We fought. But it turned out to be an awesome song, so I’m glad he was picky about things. We all have kind of developed as filters for each other’s ideas, so only the best shit gets into the songs. This is the first songwriting process where that came through. It was frustrating at first, but we learned to appreciate it.
Highways
Okay, this is probably going to be a long one. “Highways” is the last song written and recorded for Come Summer. It was an acoustic song that I wrote in my dorm room at the end of freshman year in Philadelphia. I was exhausted. It had been such an incredibly long year - my first away from home. I was fighting to keep a long distance relationship alive, driving all over the fucking place. This song was about that experience. The bridges are about having to cram so much into a weekend visit that it becomes ridiculous. “You better kiss me hard, because I’ll be on the road again soon. We better not waste any time, because it’ll be weeks until we see each other again.” This was the kind of attitude that ran my life freshman year. It taught me a lot and helped me grow into a better person, but I sure went through hell to get there. But I was optimistic; there was one more highway to conquer - the road home for the summer. When I got there I knew there would be some things that could never change, even though my life had so drastically. There would be warmer feelings, warmer days, and all the people I loved would be back in one place. It seemed like a great theme to tie up the whole record. Come Summer was written during possibly the most emotionally dynamic period in adolescence. It was a transition from boyhood into manhood. And it encompassed a lot of what happens in between. This song was about tying it all together. Hard times and real life were waiting. This was only the end of chapter one. This song was about that transition from A to B, but more specifically about all of the things in between two points (the highway). “The 8:15 to the city” is the inbound train from Saint Joseph’s University to Center City Philadelphia. It was the train I’d always take when she would come to visit me in order to pick her up from her Amtrak. Though recently, I think they changed the train schedule and it now runs on the :05 and :35.
This was the only song on the record that was not written in my basement in Monroe, Connecticut. We put it together as a band in a practice room at Berklee in Boston. Then I tracked the framework for it and everyone kind of laid their own parts down separately, without hearing much of the cohesive product. The percussion was done with shakers, snapping our fingers, and stomping as hard as we could on the floor of Sean Killary’s (producer) dorm room. I fucking fell in love with this song when Chris Baum added his violin goodness all over it and Pete and I figured out the harmonies. This might be my favorite song on the record, but it changes all the time. I wish we played it live more often.