- 5 weeks ago
Billboard cover star Keith Richards talks, 'Foreign Tongues,' the Rolling Stones’ latest wave of creativity, the making of the band’s new music, and how the group has kept evolving after more than six decades. Richards reflects on the energy behind the new album, working with producer Andrew Watt, writing with Mick Jagger from different corners of the world, and the collaborative process that brings a Stones song to life. He also opens up about recording with this version of the band, honoring Charlie Watts’ legacy, Steve Jordan’s role in carrying the rhythm forward, and why capturing this era of the Rolling Stones on record mattered so much. Richards discusses what makes a producer invaluable, what it’s like working with longtime peers like Paul McCartney, and how songs develop from small ideas into finished tracks. He also teases the possibility of future touring or a residency, Richards’ perspective on the Stones’ enduring momentum, and why the creative process still fascinates him.
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00:00No, I don't have a phone.
00:01Oh, really? Not even a phone?
00:03I mean, no. Toy town eludes me.
00:06I've got your manager saying over here if Jane wants to get in touch with you, you don't have a
00:09phone, so how does that happen?
00:11Well, it doesn't.
00:26The Bigger Bang came out in 2005. Eleven years later, the covers album. Seven years till Hackney Diamonds, but now
00:33we've had two Stones albums in three years.
00:36What's kind of fueling this, I guess, productivity burst?
00:39The thing is that even though a lot of stuff didn't come out, we still recorded a lot in those
00:44years.
00:45It was just that we didn't feel that we had an album.
00:49Sometimes you cut a lot of tracks and they're very good, but you don't feel like they coalesce particularly together.
00:59And then there was a lot of reissuing going on, and a weird history with this band is kind of
01:05like that.
01:05It goes in sort of waves, and I just sort of take it as it comes, you know.
01:10One, two, three, and...
01:12So for foreign tongues, how do you decide when it's ready?
01:16In a way, it's a sort of collective feeling. The fact that we were working with Andrew Watt.
01:24Because in a way, I feel like foreign tongues is a continuation of Hackney Diamonds.
01:31We still had a lot of stuff going on, left over, and more, not so much songs.
01:38It was the energy and the feel of it.
01:41And we all felt that we should pick up on that, rather than just do album tour, album tour.
01:48So in a way, we went into a recording mode.
01:53How much of the material, I guess, was left over, as it were, from Hackney?
01:59A lot of it's just written.
02:00Mick had a lot of stuff. He was on a very prolific role in the last couple of years.
02:05And as happens with Mick and me occasionally, we don't see each other maybe for a while,
02:10and me writing our own little bits and pieces.
02:13And then, somehow, when we get together and say,
02:17well, what do you got?
02:19And I go, oh, that bit fits with this.
02:23I see, in a way, we're writing the same song, but without knowing it,
02:29on the other side of the globe.
02:36Just in terms of, like, this process of making foreign tongues,
02:40do you have a favorite part of it?
02:42Is it the, like, songwriting, the creation?
02:45Is it playing in the studio?
02:47Luckily for me, no, it's following the process as it goes along.
02:51It's from a little scrap of paper with an idea on it.
02:55And you pass it around and kick it around with the guys.
02:58And right in front of you, something's being born.
03:04Something's happening, you know.
03:06And just to watch the process is fascinating.
03:10It never stops being fascinating.
03:13I mean, it's like another song.
03:15It's like, well, let's see what happens to this one.
03:17Because sometimes you have a figure that a song is riding you.
03:20And it's, you know, and so you're just sort of being led.
03:25If you stick with it long enough,
03:27because something's going to come out of here.
03:29Yeah.
03:29That's the way I look upon it.
03:31You brought up Andrew.
03:32I did want to ask about him.
03:33What's his role been like on these?
03:35I mean, I know he's producer and he co-wrote a couple songs,
03:37but what's his role?
03:39Andrew producing is to provide the energy and the guidance.
03:44Thank you, Andrew.
03:46And to keep things on track and say, let's try this one.
03:50Let's throw a piano on here, see what happens.
03:56And basically he becomes part of the band.
03:58Right.
03:59I mean, a good producer is usually, you know,
04:02pretty much the other unseen member of the band.
04:06Right.
04:06And, you know, and you become good friends, you know, as you like.
04:10And you learn a lot about each other and also you still learn more about the job.
04:16Right.
04:16Yeah.
04:16And he's a great guitarist too.
04:19Yeah.
04:19He knows what he's doing.
04:20He's an all-rounder.
04:21Absolutely.
04:22Yeah.
04:22Yeah.
04:23And he brought in a few collaborators for the album.
04:27Yeah, because he's been a producer, he's working with a lot of people.
04:31Yeah.
04:31So, I mean, on the Hackney Diamonds, he brought in, you know, Stevie Wonder.
04:36Right.
04:36Stevie Wynwood.
04:38Stevie Wynwood.
04:39Yeah, Stevie Wynwood.
04:40The S and Ws.
04:41And also Lady Gaga.
04:43Yeah.
04:44Paul McCartney drops in.
04:46I wanted to ask about that because, you know, he obviously, you know,
04:49him and John wrote the Stone's second single ever.
04:52I wanna be your lover, baby.
04:54I wanna be your man.
04:57Six decades later, he's playing on a Stone song.
05:01It's weird.
05:02The Beatles and the Stones.
05:03Yeah.
05:03But he's great fun to play with.
05:05I mean, we do go back a long way.
05:07Yeah.
05:07Yeah.
05:08So were you guys in the studio together or was that across the Atlantic?
05:12Okay.
05:12Yeah.
05:12You wouldn't miss that.
05:13That's the bit he likes.
05:14Right, right.
05:16When you're recording the stuff, you know, like some of the guitar work on, like,
05:21never want to lose you and hit me in the head.
05:24Like, it really has a bite to it.
05:31Where does that, like, come from for you?
05:34That's a tough one to answer.
05:36And at different times in my career, I could give you very different answers.
05:41Energy, I don't know what it is.
05:43It's a matter of enthusiasm, isn't it?
05:45And you go through waves of this.
05:49I think a lot of it also had to do with that we really wanted to get this rhythm section
05:55that, you know, Steve and Daryl recorded as the Stones, you know, because it's a hell
06:03of a thing to lose Charlie Watts, you know?
06:05Yeah.
06:06I mean, thank God that Charlie and Steve were like that.
06:10So it was never any hassle about who should, I mean, Charlie Watts, if I'm not there, put
06:16Steve in.
06:17And so we sort of under orders.
06:20Yeah.
06:20So drummers are the hardest core of the band to have to deal with and replace or something.
06:30But Charlie made that very easy, as I say, by recommending Steve in front of the game.
06:37So, you know, kept a band together.
06:39Thank you, Charlie.
06:40Yeah.
06:41And it was important, I think, just to get this version of the Stones, you know, down on
06:46record.
06:46And so that's really the main, at least from my point of view, is my main aim was to get
06:53this band, you know, fully.
06:56I mean, it had been on the road.
06:57So we knew what we were doing and let it take over, you know.
07:00So in a way it's just that.
07:02And then you just cross your fingers.
07:04Right.
07:05Yeah.
07:05I saw the last tour and it was fantastic.
07:08Do you think there's any, you know, possibility you're going to tour this one or maybe a residency
07:14somewhere?
07:15I know that this is all being kicked around.
07:17This year we just decided that let's get the record out and let's do it properly and
07:23don't let's rush things and stuff.
07:24I see no reason by next year.
07:27And as you say, maybe residency or something.
07:30It's just maybe you find a different way of taking the thing on the road and bring the
07:35road to us is my suggestion.
07:37I mean, yeah, touring is exhausting.
07:40Yeah.
07:40The early days though.
07:41I mean, there was a point where you guys were doing what, 350 days a year or something
07:45like that?
07:46Yeah.
07:47I mean, they'd have booked us for 390 days a year if they could.
07:52Yeah.
07:53Yeah.
07:53It was like that.
07:54I mean, I literally like maybe four or five days off a year.
07:59Wow.
08:00Yeah.
08:00But it was nuts.
08:01Yeah.
08:02Yeah.
08:02I want to ask about Some of Us.
08:03So, you know, your lead vocal on this album.
08:06Some of Us are on our knees.
08:13It's a great chorus and I love the lyrics.
08:16It kind of paints this scene immediately of this woman.
08:19Where does that come from for you?
08:21Are you experienced, personal experience?
08:23A little bit of that.
08:25And the fact is that the song has been around in the back and there's several other versions.
08:31It must be at least 20 years old in the making, you know, where they come from.
08:36I don't know.
08:37Whoever she is, she's lost in the mists of time.
08:41Well, she lives in this song now.
08:43She brought her back.
08:45So, you know, you mentioned this song might be about 20 years old.
08:48What's your writing process like?
08:50Do you have like notebooks or something?
08:51There's a lot of notebooks, you know, with like little cryptic phrases written down that
08:57you're supposed to remember what the hell it meant.
08:59Yeah.
09:00Yes.
09:01And then when you don't, you go through them as they make up a whole new meaning for them.
09:06Yeah.
09:06But, yeah, basically there's a lot of jotting things down.
09:10Songwriting is really observing and just being aware of things when they click, when they happen.
09:19You know, it could be just a phrase that somebody mentions across a bar, you know, and something clicks.
09:27And it's just a matter of realizing that something's there.
09:32And so you're constantly sort of like aware of catching up on other people's conversations.
09:40Eavesdropping.
09:41Yeah.
09:41Yeah.
09:41My new album.
09:43Yeah.
09:43Yeah.
09:43Exactly.
09:44You know, in terms of like guitar riffs, you know, I know the, the Satisfaction riff you
09:49would record in on a cassette, a Phillips cassette recorder.
09:52Yeah.
09:53I assume it's, it's a little easier these days, technology wise to kind of record ideas.
09:58Well, I found it very easy to just push play.
10:01Yeah.
10:02And yeah, it was the early days of, that was high tech in those days, you know.
10:07Yeah.
10:08And in actual fact, it was actually done in my sleep.
10:11Now you've got somebody that's working a new machine in his sleep for the first time.
10:16And they're like, well, this looks promising.
10:19Yeah.
10:19If every time I do that, I come out with a Satisfaction, I'll be very happy.
10:31You know, if your songs basically other than Blue and Lonesome, which was a covers record,
10:36there, there hasn't been a Stones album without you on lead vocals, I think, since it's only rock and roll.
10:41You tell me.
10:42Yeah.
10:43That's what I'm pretty sure about.
10:45Is it important for you with each Stones album to always have a song on there?
10:49Or does it just kind of work out?
10:50No, it's not a fetish.
10:51It's just that usually I've got one or two and Mick will say, oh, I can't get around that one.
10:59You better say that.
11:01And other times I say, this one I'm keeping, I'm going to do this one.
11:05You know, it just depends on the song and whether we need another song or not.
11:10You know, and Mick says, this one's yours.
11:13Yeah.
11:14And so, okay, you know, we do it.
11:16Is there a moment when you're working on like the songs on this album where you realize it's done?
11:21Or are you someone who wants to keep finicking with stuff?
11:24It's funny.
11:25There's half and half about that.
11:27Usually, I'd say in nearly all of them, you reach a point when you say, no, any more is too
11:35much.
11:36Right, right.
11:36And I mean, that's basically Mick and me or Andrew looking at each other and saying, are we going to
11:43gild this living?
11:45Yeah.
11:46Or sometimes you go back and you listen to earlier takes and say, you know, it was better before we
11:52loaded.
11:54But that's the way it's trial and error.
11:56You know, I mean, if you don't try it, you wouldn't know.
11:59But the songs are great.
12:01They're like footballs.
12:02They're great to kick around and see how much they take, you know.
12:05Until you get tired of kicking around.
12:07Yeah.
12:13I wanted to ask about a couple of the cover songs on the album.
12:16You guys did the Amy Winehouse song, You Know I'm No Good.
12:19You brought her out at, I think it was I Love White Festival.
12:22I Love White.
12:23Yeah, right.
12:24When you did Ain't Too Proud to Beg with her.
12:26Was that connection kind of what made you want to cover this song?
12:29Loved the song anyway.
12:33Always thought that Amy was, you know, a sad story in many ways.
12:38But she was one of the best to come out of England.
12:40Sure.
12:41You know, and probably had so much more potential.
12:44And I'm not sure who's kicked the idea off, whether it was Mick or Andrew.
12:50We said, well, you know, we used to, we started off, we were a cover band basically.
12:55If there's one that you wanted to cover now, what would it be?
12:58And Amy came out on top.
13:00You know, it's a great song to play.
13:05And I'm still sort of getting my chops around it.
13:09There's potential there.
13:10Yeah.
13:11I think you got your chops around it.
13:13It's a great, great cover.
13:14And it definitely has the kind of feeling, I think, of that, like, kind of some of that 60s soul
13:18stuff.
13:19That you might have done.
13:20There's a sort of connection for us.
13:24Yeah.
13:24Absolutely.
13:25The other one on there, beautiful Delilah, so Chuck Berry.
13:28Chuck Berry.
13:29Yeah, Chuck Berry.
13:30What if this was Chuck Berry listening to it at that particular time?
13:35And how would it have sounded?
13:37It was just really a play around of Chuck Berry and the blues.
13:41And, you know, sort of a what if, you know.
13:44Yeah.
13:44And just finding that different rhythm for it.
13:48Chuck Berry, an incredible, incredible writer.
13:52Yeah.
13:52Probably the creme de la creme, as I say.
13:56If there was a, you know, kind of a Mount Rushmore of Rolling Stones influences, I'm guessing Chuck Berry's face
14:03is up there.
14:04Oh, I have to be Chuck Berry, Muddy Waters, Jimmy Reed, Through the Harp, Little Water, Jacobs, and then you
14:14go through the old litany of the 50s and 60s and the Chicago blues roster.
14:21You know, John Lee Hooker.
14:23John Lee Hooker.
14:24Yeah.
14:24The guys.
14:25The men.
14:27Yeah.
14:28An amazing period in time, the 50s, for recording as well, the ways of recording.
14:37I mean, we started off, it was two track.
14:40Yeah.
14:41And within a year, it was four.
14:44So you had these tech, you're always technologically leaping, you know, the 16 track.
14:50And so you always felt that you, and you actually were on the leading edge of what was technology in
14:58those days, you know, with the effects.
15:01And there was always something new on the plate to play around with.
15:05And you say, you know, not another push button.
15:11But, I mean, that's what it all was.
15:13It was experimentation, really, as well, you know.
15:16And I'm never really a big one for effects.
15:20Yeah.
15:21I do.
15:22I mean, I can't knock that little fuzz to them.
15:24Yes.
15:33Probably the biggest new technology out there is AI.
15:36Oh.
15:37You know, do you have thoughts about AI in music, about artists who use AI?
15:41My thoughts are very, I mean, I'd rather hear something original.
15:48I think we could do better, music could do a lot better than just trying to copy itself.
15:54After all, it's pretty simple stuff.
15:56This is not Beethoven or Bach, and I've no doubt AI can do that.
16:00But so what?
16:02Yeah.
16:02I mean, we want new input.
16:05We don't want more and more copying and synthesizing.
16:09At least that's my end of it from my, you know, point of view is, hey, music is to play
16:17around with.
16:18There's guys to be around me, the audience.
16:22It doesn't need to be quite so synthesized is probably the best word.
16:29But yeah, surely there's enough originality without having to copy, you know, nursery rhymes.
16:43I wanted to ask about, you know, the couple of first songs on the album, Rough and Twisted, you know,
16:48has a pretty kind of raw bluesy feel.
16:50Yeah.
16:50And In the Stars is a little more, you know, polished.
16:54Do you kind of go into a song and think, okay, this is the bluesy one, or does it kind
16:59of just evolve?
17:00Up to a point, usually, let's give it the Chicago works, you know, and state our case.
17:06Yeah.
17:07And then In the Stars and then others, this is one of those that Mick has it all laid out.
17:18But he goes, but I haven't got the bit, the other bit.
17:23There's all songs, you know.
17:25Yeah.
17:26Okay, where's the other bit?
17:28Right.
17:30And that's where I, that's how Mick and I work with it.
17:33I say, let me listen to you and go through my notebook.
17:37Yeah.
17:37You know, yeah.
17:39Oh, yes, let's, and try this.
17:42And I mean, that's, that's basically how we work.
17:47We find out what the sympathical between us and what works between songs and, and then,
17:55okay, go finish it off and I'll try and figure out the, how we get out of here.
18:02And so it's, it's like that.
18:04Yeah.
18:05And how does Ronnie fit into all that?
18:06Ron listens with an eagle ear and then suddenly come up, you know, and say, what if I do this?
18:17Perfect, Ron.
18:19Ronnie and I call it the ancient form of weaving.
18:22To me, that's the other fun part of it, because what I don't know is what Ronnie's going
18:27to come up with and what is going to be added.
18:30You know, just what are the other guys going to do?
18:33Where's that baseline going to come?
18:34And, you know, so you're kind of watching this thing, like, grow in front of your ears.
18:41You know?
18:41Yeah.
18:42Which is fascinating.
18:43It still amazes, amazes me, even though, I mean, you can talk about it all you want,
18:49but you can never actually put your finger and say, this is how I write a song,
18:55or this is how songs are written, because it's all very personal.
18:58And also, I mean, the fact that you've worked with people for so long, that you've got a kind of
19:05second click going on anyway, you know?
19:09And that's the fascinating thing, you know, from a little idea and a couple of chords,
19:14by the end of the evening you have a pretty good record happening, you know?
19:19And that's always a very warm feeling.
19:21Right.
19:22So the In The Stars music video, you know, you've got some actors kind of that look like you,
19:28and then...
19:29Oh, the AI.
19:30Yeah, yeah.
19:30That's our brushing with AI.
19:33I said, very nice.
19:34I wish I looked like that now.
19:38Was it weird at all to see that in the video?
19:40Like, you know, it's you, but it's not you.
19:42In a way, but then I said, in a way, I said, well, so what?
19:46Yeah.
19:48No, okay.
19:49Okay, the cartoon of me younger.
19:52Very nice.
19:53You know, what's for breakfast?
20:00The new album is awesome.
20:02It's really, really robust.
20:04It's got some amazing songs on it.
20:06Your playing sound is great.
20:08I feel like that stuff is going to sound good live, like a lot of the songs.
20:11That's the next step.
20:13Yeah, that's the next step.
20:14Yeah.
20:15You know, you mentioned the simpatico when you're writing songs together.
20:18Is it pretty easy at this point?
20:19Or do you ever, how do you resolve any disagreements?
20:22You know, if you want the song to be one way and...
20:24Oh, I say that's rubbish.
20:30If there's disagreements and it becomes to the point, you know,
20:34then it usually means the song's no good.
20:36Right.
20:37You know, because nothing should be that agonizing and that important.
20:41Right.
20:42And so you just try and keep things in focus.
20:46And other times you find that, you know, don't kill the dog yet,
20:51because a year or, you know, a few months or whatever,
20:55in the space of time that song has turned around in somebody's head
20:59and has resurfaced.
21:01Right.
21:01And now it suddenly makes sense.
21:04It clicks.
21:04I mean, nothing's like, you know, you don't just sort of say,
21:07oh, that's no good and chuck it.
21:09Yeah.
21:09They're part of it.
21:10And you just see if they come back to life.
21:13Some of them do, you know.
21:14Yeah.
21:15You need that time to breathe.
21:16Or, you know, sometimes you ever think, yeah, maybe this isn't a stone song.
21:20This is a solo thing.
21:21I'm going to keep this.
21:22There's always that.
21:23Yeah.
21:23There are some of you suddenly realize, oh, this would be great,
21:27but a chick needs to sing this song.
21:30Or, oh, this is for a different kind of band.
21:33Yeah.
21:34Yeah.
21:34You get led down all different kinds of paths, you know,
21:37and you don't know where you're going either.
21:40So, I mean, it's never boring anyway.
21:44Yeah.
21:45Some of the songs in foreign tongues kind of grew out of the Hackney Diamonds sessions.
21:50Do you have any stuff, you know, left over from this that might gestate into?
21:54Yeah, there's still loads.
21:56With every record, it seems to spawn more than you actually, you know, want.
22:02All in different states of readiness, you know, you say, well,
22:07this one's going to take a lot of work.
22:09You know, put it on the back burner, you know.
22:12And others that have just been lying around for ages as a basic idea
22:19and it's never quite clicked.
22:20And then, boom, you turn a corner and there you are.
22:25And suddenly that other piece that you've been looking for and you go, that's where you are.
22:31You know what I mean?
22:31That's why I waited.
22:33Yeah.
22:33Yeah.
22:34You wrote your memoir, Life, 16 years ago, probably one of the best rock autobiographies of all time.
22:42It's a good one.
22:44You know, some people like Stephen King kind of wrote his memoirs and then updates it every five, ten years.
22:49Would you ever consider, you know, giving an update to the book?
22:54If it was interesting.
22:55Sometimes, you know, you think, well, that was then.
22:59There might be a volume two.
23:01Yeah.
23:01And, you know, sometimes you kick the idea around, you know.
23:04But I found it so exhausting, you know, to relive your life and in some kind of order this time,
23:10not just real life where it just hits you willy nilly and a bang bang.
23:14But, oh, it was quite an interesting exercise.
23:18But at the same time, if you don't need to do it, you found yourself dwelling in the past, you
23:23know.
23:23And sometimes that's not so good, you know.
23:27Right.
23:27Not permanently.
23:29Yeah.
23:30And that keeps you from doing music, too.
23:32Yeah.
23:32Yeah.
23:34It's quite possible if I felt that there was a way of doing it or there was more to say.
23:40Right.
23:41But, you know, I hadn't been said already, you know.
23:43I mean, I would think there's more.
23:45You know, you've made three, you know, albums with the Stones, a solo album.
23:49You've got tours.
23:50Yeah.
23:50Oh, yeah.
23:51There's stories.
23:52Right?
23:52Something that's happened.
23:53Whether I want to write it down is another.
23:56Fair enough.
24:08So, Nora Jones, you know, you guys, you have a podcast kind of about the foreign tongues making of and
24:14she narrates it and you've sung with her before.
24:17Yeah.
24:17A few times.
24:19A few times.
24:20Yeah.
24:20Enjoyed working with her very, very much.
24:22Do you listen to podcasts at all?
24:25Do you ever, or do you listen to radio or?
24:26I don't pod.
24:28I don't eye.
24:31Toy Town eludes me.
24:34My new album.
24:35Yeah.
24:36Toy Town eludes me would be a great one.
24:38And I don't have a phone.
24:40Oh, really?
24:41Not even a phone?
24:42I mean, no.
24:42Yeah.
24:42I grew up without a phone.
24:44So, the phone to me as a kid was a red box about a quarter of a mile down the
24:51road.
24:51Yeah.
24:53I've seen them.
24:54Yeah.
24:55And I never felt that necessity to, yep, yep, yep, yep, yep, yep, yeah.
25:01And probably better off for everybody else because I'm sure if I got into it, I'd bite everybody's heads off.
25:23You know, the Stones have been ahead of so many things.
25:26You know, not just musically, but the Steel Wheels tour kind of changed modern touring.
25:32You know, you guys were doing commercial syncs before anyone else was.
25:36You know, you had Start Me Up in the Windows 95 ad back in the, in 95.
25:42I know at the time people kind of gave you some shit for that, but now it's like totally industry,
25:48like standard practice.
25:49Yeah.
25:50To do that, to have a song in a commercial.
25:52Did it bother you guys back then?
25:53If you're going to sell out, it depends how you sell out.
25:56Yeah.
25:56And I mean, it can be done for a bit of a tongue in cheek.
26:01Right.
26:01And I've never thought about it as sort of, oh, making extra money or something.
26:08But it's not something you really think about that much.
26:11It's just sometimes crops up and you say, yeah, that doesn't bother me doing it that way.
26:16Yeah.
26:16And after all, it is a commercial world.
26:26So if you're not making an album or on a tour, what's your day to day like?
26:31You know, like you wake up.
26:32What's one?
26:33What are some of the first things that you do?
26:34Yeah.
26:35Wake up is important.
26:36That is an important part of it.
26:39And after that depends on the weather.
26:42There's no fixed plans for the day.
26:45I mean, I'll just, okay, let's see where the day takes me.
26:50Yeah.
26:50And I'm spoiled in that way that I can basically, you know, turn the day on or turn the day
26:57off if I wish.
26:59Who's arrived?
27:00The grandkids.
27:01Right.
27:02We'll get into that area of life.
27:05Yeah.
27:06What is that like?
27:08You know, grandkids.
27:08You get beaten up a lot.
27:12You take a few blows.
27:13Yeah.
27:13Yeah.
27:14But it's a whole new thing.
27:18Well, for me anyway.
27:20It creeps up on you.
27:21And then there's these little creatures roaming around that sort of vaguely remind you of somebody.
27:30And then you try and get to know them.
27:32But it's a fascinating thing.
27:33I've been enjoying it very much.
27:35I want to see you painted.
27:49Painted.
27:51Painted.
27:52Painted black.
27:52Yeah.
27:54Jay.
27:54Yeah.
27:55Yeah.
28:00Anyway.
28:02Once again.
28:03Yeah.
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