Stereophonics interview with The Indie Shop  2.16.01

I must first thank Jennifer Jones at V2 records in New York. Without her kindness there would have been no interview. I must also thank Berny for coming along and helping in the transcription of this interview. Berny and I arrived at the El Rey theatre in Hollywood, CA several hours before their acoustic performance. After waiting a short time for Kelly to appear, we were escorted to the backstage dressing room where we were offered drinks and places on a couch. Kelly was patient throughout the interview, chewing slowly on the plastic ring top from his bottled water. We were able to ask Kelly many questions, several of which were submitted by fan sites such as LocalPhonics submitted, the answers to which you can find below. I've included the full transcript from the 30 minute interview. Your comments and suggestions are most welcome, as I'm always interested in improving my interviewing skills.....


Cast of Characters:
Kelly Jones - singer, guitarist
Charles - Indie Shop host, interviewer
Berny - show co-host, assistant interviewer

Charles: Welcome to LA
Kelly: Thank you
Charles: Could you introduce yourself?
Kelly: Hello, I'm Kelly from Stereophonics and I'm at LA
Charles: Its always strange to ask someone to do that…
Kelly: It is really weird, yeah.
Charles: So how was trip, this brief tour.
Kelly: It's really good. Were only here for a few weeks doing some acoustic shows. For a couple of reasons. We gotta few new musicians in the band so it gives us a chance to work things out with them. And our drummer just had a baby boy, so he's off having maternity leave.
Charles: Is that the reason?
Kelly: One of the reasons. It's just like a preview of the record before it comes out really. I did a few acoustic shows back home and it worked really well so, once the record company sees that something works really well they ask you to do it all over the world.
Kelly: It seems kind of funny that you guys are touring now when the album doesn't come out for another
two months.
Kelly: Yeah, we've never done that before. Not in America anyway. We're coming back in May to do it with a proper band, the five of us, electric. So, this is just a chance to fill a few holes and remind people that we're still there.
Charles: How has the response been?
Kelly: Great. Every gig's been sold out. We started in Atlanta. We did New York, Boston. One show in Toronto which was great in the opera house. We do San Francisco tomorrow then we go back to London and start a British tour up there.
Charles: Do you notice the difference between American fans and those back home?
Kelly: Not so much on the acoustic shows because everybody kind of sits down and listens. Its less of a different atmosphere because the acoustic show can only go one atmosphere anyway because it's very mellow, listening songwriting kinda thing, apart from Minneapolis where it was a very very small club and everyone just stood up anyway. But it's pretty much similar on this tour so far.
Charles: I have a host of questions from fans over here. There is someone named Tuulia in Finland and she's curious when you might be touring there.
Kelly: Finland? No idea. I've got no idea. We've never been to Finland. Not been to Iceland either. Scandanavia's as far as we go.
Charles: She seems kind of rabid in her desire to see you play.
Kelly: There are a lot of places we haven't played. We haven't been to India or anything like that either, but have done a lot of Asia and Australia and America and Europe.
Charles: Is there a place that you haven't toured that you would like to?
Kelly: I think we're going to China and Hong Kong for the first time. It's interesting to see what Hong Kong's like. We went gold in Hong Kong and never even been there, so that was a good sign. I don't know how much gold is in Hong Kong.
Berny: Ever thought about South America?
Kelly: Rio and stuff. A few Januaries ago we were supposed to do a few shows with Oasis in Rio but it fell through, because of album release dates and stuff. But we've never done any of that. Hopefully in a few years we can do the Rock in Rio thing. It should fall right for us in the next year if the albums gone well.
Charles: Do all the places seem familiar after a while? I can only imagine how busy you must be. You only arrive in the city and you have all these interview with people such as myself, people want to talk to you and everyone wants something. You have a chance to do the sound check and then there's a show afterwards.
Kelly: It's as much of a routine as any other job, but it's a routine that we like doing. If you keep coming back to the same town than hopefully the venues keep getting bigger. That's what happened in Britain. If you play Liverpool you start off at the Lomax which is a little club than you go to the (Lomax 2) which is a bigger club and than the Royal Court than before you know it you're playing the Manchester Apollo. So of you keep coming back and the venues keep getting bigger….that's kinda what we had over here with the acoustic tour. It all sold out really quick and it's just acoustic stuff and the records not out. So it's a good indication of how you can go with the support of radio and stuff hopefully.
Charles: There are quite a few bands in England that would like to do well here and it seems like there's this big barrier between skill and the success they have in the UK as opposed to how they do over here. It must be real intimidating to come over here and not get the same treatment that you get there. You have to approach everything in a totally different manner.
Kelly: To a point there's only so much you can do yourself really. We play the same show and talk the same talk. We can only do the same thing. We release records and make records for ourselves. Sometimes being on a small label can be great in some countries and not so great in other countries. It's a brand new label, sometimes we're like a guinea pig and sometimes we're very much a priority. In America it's very dependent on radio and MTV and stuff like that as in Europe it's very dependent on press. You end up doing like 30 interviews a day and talking and getting through to a lot of people. Plus touring is much easier to do in Europe than it is in America because it's smaller. It's just different boundaries and not many American bands are breaking England either. It goes both ways really. I think a lot of it is that record companies take a long time to work it out, market a band in different
markets. Sometimes if a band in Britain is successful in Britain they get lazy and don't want to leave the country because they get complacent or aren't very successful in other countries. I think we've always wanted to try and do it over here, so you just keep on coming back. In a lot of ways we're probably a bit more international sounding than most British bands because we're not doing the Cockney accent thing and all that. A lot of the influences we've got were pretty much American bands and such. Very seventies influenced anyways.
Charles: Do you have a different mind frame when you come over here? While we were waiting for you to appear we see you get out of a cab and get your own bag out of the back. It's totally different from what I would expect.
Kelly: I get my own bag out of the car no matter where I'm playing. I've been onstage with The Who at Albert Hall and flagged a black cab, I'm not the kind to gets a limo everywhere, no matter how big the venue is. And the people who work for us never get the getaways right for us anyway.
Charles: It helps to keep you levelheaded.
Kelly: I like carrying my bag. I know it gets there. If I leave it to one of these to it always gets lost.
Charles: That would be a good song title.
Kelly: Hmmm, I always carry my own bag, hmmm. People are always surprised by that. I don't know why. You can't win though because if you see a kids in airports and stuff and they see you carrying your own bag they start laughing that you're carrying your own bags, but if you weren't carrying your own bags they call you a fuckin' dick. You can't really win so you just be yourself.
Charles: Another question that goes along with seeing people and being in public, when you become more famous do you find it more of a job to even go in public? As far as, you're probably on of the better looking men in the music business, do you find that you have to keep up appearances or can you just go out and not worry about cleaning up? Hair all messy.
Kelly: I wish my hair could get a lot more messy but it wouldn't go.
Charles: I'll trade with you.
Kelly: I don't take that side of it that seriously. I don't lose sleep about, no more than anyone else who wants to look ok. I don't just because people start to write about the way you look and we've never been that type of band. I'd much rather people write about what I write about or the way I sing of the way I play than the way that I look. You can't do anything about the way you look. No, I don't try to keep appearances no more than anybody else does. You look in the mirror in the morning and pull yourself right as you can and than you leave.
Charles: So it's a pretty big attempt to be yourself?
Kelly: No, not really. In England we get recognized in different places, more so now than ever before. There's been a lot of tv stuff lately with Christmas and stuff like that, I do quite a lot of tv shows. I never used to get recognized that much in London but it's a little more than it used to be now. Cardiff is a little more difficult in Wales and stuff. You know where to go and not to go. And if you're going shopping you get what you need and leave.
Charles: How did it feel the first time you started to get recognized?
Kelly: A bit weird, when you're in a shop cubicle and your trying on a shirt and there are people outside the cubicle waiting for you to sign their receipt. That's weird, because if you're on your own it can be quite intimidating because you don't know what to do. It's embarrassing more than intimidating. If you're with a gang of boys it can be really funny because you can take the piss and everybody has a laugh but if you're in a restaurant and you want to be on your own it gets a bit weird.
Charles: I read something in a Select Magazine interview that you really have to know what you're doing and what to get, rush in and rush out.
Kelly: It's not so much rushing, you can't window shop as much as you used to. London's alright, it's a big place. But Cardiff is just a fuckin' nightmare. Not in a bad way, just as a waste of time, you get nothing done.
Charles: I have a few more questions from fans. A girl named Chris asked what inspired you to be a musician?
Kelly: My father probably. He was a singer and from a really young age I used to go into the clubs and watch him sing. I used to like the way that people in working class clubs didn't give a shit when he walked into a room, and they way he won over an audience by picking a really good set and the way that he paced it all and by the end of the night everyone is standing on a table. I thought to be able to do that is really an amazing thing. In a very casual way he started getting me interested in music by buying me a cheap guitar and if I wanted to learn I'd learn. He didn't force it on me. Plus there was always a lot of music being played around the house. A lot of soul music like Otis Redding and Stevie Wonder and stuff, whereas my brothers were playing Crosby Stills Nash and Young and Bob Dylan and Creedence and stuff like that. So. It was all songwriting soul kind of stuff.
Charles: It must be nice to speak to your father now and share stories.
Kelly: Yeah. At first he was worried because he knew how much bullshit was involved in the industry and had dealt with quite a lot of it. Being a solo artist there was a lot more to deal with as there wasn't a band around. The record label made him dump his band as they weren't good enough to play on records. It became a bit more weird for him so he just ended up knocking it on end as it wasn't fun anymore. He was surrounded by a lot of people in London that he didn't really know, so he kind of lost the plot with that.
Charles: Going back to the music itself, a lot of the new music has a different approach. Much like the music that's being played now during sound check, it's much more laid back, mellower. Do you see it as a maturation process?

[Richard Jones walks in for a second]

Kelly: I was just killing time 'till you got here! The album, right. It just became much more musical. We toured for five years as a three piece. Got a little bit jaded by it, bored. It became less about the music the last six weeks in of the American and Canadian tour became just about drinking. People were losing the plot of it as what we were doing on stage wasn't making us exciting any more. I had written over nine songs by that point so when I went back into the studio I wanted to make it more ambitious and creative musically rather than all the songs being filled with loud guitars and drums and stuff and quite a loud voice. I wanted to add pianos and harmonicas and gospel singers. Just make it a more a record that I would buy than make and not be afraid of how to reproduce it live. Now we've got the opportunity to take extra musicians whereas before we couldn't really do that because people wanted us to be seen as a three piece and we couldn't afford it.
Charles: Lyrically you've always had more about stories and what you've seen around you and it seems to come across better with the new songs.
Kelly: There's more space to hear the lyrics. I think a lot of lyrics that have been written in the past have been missed because the band is being too loud. Even the quiet songs were loud, the way Stuart was playing drums. We all just sat down and talked and decided to be less of a rock band and more of a proper band. We had been bluffing for five years. After you tour with people like the Red Hot Chili Peppers and Beck and The Black Crowes and people like that you just want to be a better band. We decided to try that.
Charles: Has this helped to reinvent your passion for the music?
Kelly: Yeah, and doing the acoustic thing back home was just doing it for the fun of it and it became the most fun I had on stage in probably a year and half. I'm ready to go electric again now mate. It's a nice way to mix and match really. It keeps you fresh and you can learn more about the dynamics on stage. These songs are less of three minute songs where they start here and finish there. There's a lot more freedom to try different ideas and different versions of things, they don't have to be identical to the album. It's a nice thing a you're not restricted in that way. If the people like it that's great obviously, but we don't know that yet.
Charles: How will you present these songs when you go electric? You've done venues that are quite large like Wembley….
Kelly: We're gonna start off small in places like Shephard's Bush Theatre and seated theatres, half seated half standing, of about 2000 people then work up to the bigger shows throughout the summer and than to the end of the year. The acoustic versions are quite different from the album versions and the album versions will be pretty much like they are. When we go home from this tour we'll have two weeks to ready ourselves with Stuart. I'm just looking forward to playing it. We haven't played it since we recorded it, and the album was finished in August. By the time it comes out it will have been nearly a year. We'll be ready to make another one by next August.
Charles: So you've already written some songs?
Kelly: Yeah, a little bit. You don't tend to write a great deal until about six months after a records released as you can't let it go. Once it's out there you know there's nothing more you can change about it so you just gotta realize that it's done and you make a new one.
Charles: With this new sound will you have to give up your award from Kerrrang?
Kelly: Nah, the first song was for Kerrang. We did the first song to keep in with Kerrang. They've given us a cover actually, so they still like us. Kerrang actually came to the acoustic tour and reviewed the acoustic tour. I've got no idea why we always were in Kerrang, but they seem to get on with us really well and give us awards every year. I think it's because we're always talking about AC/DC and found a soft spot for us.
Berny: I've got this one where there's this little blip from when Performance and Cocktails came out and there's a picture of the guy from Metallica on the front with Stereophonics in the corner. How did they get in there?
Kelly: They started reviewing us with the first album and they knew we were into a lot of old rock bands. They've been reviewing us ever since so they've always been very supportive to us. Given us a few front covers and lots of awards.
Berny: Maybe they brought some hard rock fans over.
Kelly: The weirdest thing with the band is that we can be in every magazine from Smash Hits to Loaded to NME to Melody Maker to Q to Mojo. We've never understood where our audience is whereas bands like Ash have only got a student audience and when they grow up they haven't got an audience anymore. We've been from 15 to 55 and we really know which songs they like. That's why the albums end up being so varied
Charles: Is there a few that with the new sound you might lose part of that audience?
Kelly: Not really. I'm not scared about that. I'm not gonna be playing More Life In A Tramps Vest or stuff like that anymore. It's like the Beatles playing Hard Days Night the rest of their life, you can't do it. You just fuckin' can't put on that cheeky little smile on anymore. You just get bored with it and it doesn't excite you to play that song. When you write is great, like a Kinks little punk pop kinda song, that's fine but you gotta kinda move on and keep yourself excited. If you look bored on stage they're gonna be bored. I'm sure we'll be playing a lot of songs they know anyways. 
Charles: So you hope that your passion translates.
Kelly: Hopefully the audience grows with us, that's the theory really. Same as all the bands and people we lookd up to like Madonna or U2 or REM. They're people that kinda change with the times and you've gotta try to be one step ahead of yourself all the time, cause if you start repeating the albums you do than people will see through that. Especially in Britain you can be a band like Supergrass who is a band we love that have gotten to the arena stage and they didn't do much to change, they didn't really put much work in and they ended up going backwards and playing the Forum and stuff again. It's not really something we wanted to do so. We've seen all that. We got signed on to the back of the Brit Pop stuff, and we've seen the fuck-ups that Oasis did and Blur did and we've seen how they got back out of those fuck-ups so we didn't fall into it hopefully. Well, we try not to anyway, the album
hasn't been released yet. You try to see forward a little.
Charles: I have another question from a listener, I think her e-mail address is Clairbear. Would you prefer to reduce someone to tears through a song or have a standing ovation?
Kelly: I'd like them to stand and cry.
Berny: Stand and cry with little lighters.
Kelly: Well they can leave the lighters, the lighters annoy me a bit but there you go.
Charles: This next question is from Berny. Did the success of your duet with Tom Jones surprise you?
Kelly: Yes and no really. It's one of those things that some people say you shouldn't do because it's not cool to be singing with Tom Jones and we thought, well fuck it, the guys a legend. He sang with Elvis and Sinatra and had dinner with Mohammed Ali and I couldn't care less what people think because I know I can get better stories off him than some spotty little fucker in London. I think Randy Newman writes great songs and people can see that. And to do a Randy Newman with Tom Jones and go on tour with him for two weeks and listen to his jokes and have the experience of playing with lots of black backing singers. It's just an experience and a bit of fun really. The album was finished we brought it out and it went to number four or something. And for our cred in Wales it was amazing.
Charles: The second part of the question, do you find a lot of older women attending you shows now and throwing their knickers on stage?
Kelly: Since Tom? I did a few Christmas shows with Tom. I had December off and joined him on stage at Wembley and stuff and took some knickers on for him as we sang Otis Redding songs. I haven't yet had a pair of big knickers thrown at me.

Charles and Berny: We'll tell all the fans that's what you want.
Kelly: I've had a bra thrown at me. They came up and at the end of the night asked for it back as well. But our road crew Swamps, he used to collect bras.
Berny: Just bras, no men's underwear?
Kelly: No.
Charles: What bands were your greatest influence?
Kelly: A lot of things like I said I bought the soul stuff. Otis Redding, Stevie Wonder, Creedence, Kinks, Beatles, Neil Young, Bob Dylan. When I was a kid, AC/DC. And stuff today as well. Everything influences, all the modern bands as well.
Charles: Do you find that you are a fan now just as much as you were before?
Kelly: More so for early Stevie Wonder cause I think the guy was so ahead of his time. Like '68 to '74 Stevie Wonder records are unbelievable. To get that atmosphere on record now, you probably can't even get it. You have all this technology today and it just doesn't sound like that anymore, they played so well and had such a vibe about them. I suppose when you make records they become more of an influence.
Charles: Do you find it hard to be a fan of your contemporaries?
Kelly: You tend to be a bit critical of everybody, about yourself as well. Videos or radio. If someone is getting more radio play than you ask why are they getting more radio play than you? But you do respect artists for being good. I think that Fran's a really good writer, Coldplay is good and I think what Noel Gallagher has done, and Damon Albarn and Graham Coxon and all those types of people. I think they're all really good musicians and really good at what they do. You respect that. Respect Oasis mostly for opening a lot of doors for British bands even though people don't really rate them much now. They changed a lot for the British music scene just by being arrogant. It was needed again.

Charles: Any bands that are coming up now that you see as promising?
Kelly: We took a guy called Davy Crockett on tour with us, and he's in a bands called the Crocketts, obviously. He's a really good writer, and he writes books and stuff as well. He's a really clever guy. There's a band called Turin Brakes who are gonna open up for us on the British tour as well. They've got sort of a Crosby Stills Nash & Young vibe. Really good vocal stuff. I've never met any of Turin Brakes. We just heard the cd and it sounded good.
Charles: What do you see as the future of music in ten years?
Kelly: Everyone keeps saying that rock music or guitar music is gonna die and it's all gonna be dance music or whatever. I think there's room for all of it. Dance music needs rock music and rock music needs dance music. It's all kinda combining anyway. Than you can choose which way you wanna deliver it or produce it. We've made a quite authentic sounding recording using old Wurlitzers and pianos and stuff. In a way that stands out just as much as anything else does. Not many people are doing that as well at the particular time. We just wanted to that this time. Not to say that the next record won't be very modern sounding next time. We're only on our third record. You don't get much chance to develop much these days. If you don't make a great record every record you get dropped. David Bowie and Neil Young made many shit records but they still had the time to develop.
Unfortunately peoples attention spans are much smaller now.
Charles: A lot of people who have heard this new album said that there's a strong Neil Young influence. Any chance of working with him?
Kelly: There is actually. Not personally, but we're on a lot of the same festival bills in Europe which we found out this week. I think we do a festival in Italy and Germany the same day as him. It would be great to meet him. Harvest moon and stuff like that, records my brothers were always playing around the house. He's a big influence lyrically. He's the type of voice you either hate or love. Most girls can't stand him but most blokes like him because he sounds so sincere. He sounds so fuckin' bad that he sounds good because he's all over the place really. 

Charles: That must be one of the strangest things about getting to your level, suddenly you're the contemporary with all the people you grew up with
Kelly: Yeah, it's strange meeting people on the way up like Paul McCartney or Neil Young is always weird. And there's not many bands that kinda scare you (???). Watching Aerosmith on the side of the stage scared me, and watching Black Crowes and Macy Grey and people like that. Mostly American people because they put on much more of a show. You watch Macy Grey and she's kinda like the old Ready Steady Go footage or Otis Redding and stuff. It's a proper show. You watch a British band and it's kinda like going through the motions and it's fuckin' really boring. It's good if you're good at it but if you're a boring front man and you don't have the best voice in the world it's a bit shit really. I think Liam Gallagher is one of the few people that can stand on the stage and people look at him and he doesn't do fuck-all. He's got that thing about him. That's an art as well I think.
Charles: Do you find it odd that your new album is already all over the internet?
Kelly: No, not really. I think everyone's album gets all over the internet. It's on Napster now, innit? It took a while to get on it really as it was finished in September. Kids are gonna download it and they like it they're going to buy it anyway. It's the same as when we used to tape cassette copies. I don't have a really big argument for it, I just think that the art work and proper quality of it is part and parcel of it. I like to get the whole package 'cause I think, you kinda see colors when you get albums, I do when I listen to my old records. The album cover kinda gives you a color. I think all that's part of it. I don't think you can get all that from an internet copy. The qualities not good enough and I don't think you get all the atmosphere of it.
Charles: Do you think that it damages the album at all, the fact that's it's already all over the net and it doesn't come out for another two months?
Kelly: In a way it kinda creates a vibe. If they like what they listen to than they tell other people and there's still people hearing your music. Money wise you lose a lot of money, but you do so anyway. I think you get about one pound thirty a record and the record company gets the rest. That's why they're so worried about it. The record companies and Napster should get together and work it our really and they'd be much better off for everybody. It's like a listening post in a record shop. It's a complicated thing and I'm sure it will get really fucked up before it gets right. I think record companies should get involved and try to sort it out.
Charles: Did you ever consider releasing a fake album, hiding the real one in a vault until you release it.
Kelly: No, I never considered that. I think Radiohead did that. I didn't buy all that Radiohead stuff because make a record all fucked up. They know that conflict is gonna work but they keep another one ready in case it doesn't work. In that sense I don't really believe that. It's so hard to market a record as it is, to market two would be a nightmare. So many people are doing it and it takes two years to get around the world because there are so many magazines to talk to, tv stations. Whereas years ago there would be one magazine and one radio station in the country and you could tour the world and people would release a record a year, maybe two a year. Now you can't do that because you have to talk to everybody and you end up talking about music more than you make it, so it's a bit weird.
Charles: If it all ended today, what would you do to keep yourself happy?
Kelly: The world?
Charles: Your music career.
Kelly: I'd do something else. I'd probably write something. I'm always writing ideas down. I'd like to end up writing a script. I'm always doing stuff like that, so. When I get bored of doing what I'm doing on stage, or get too fat and bloated and don't look so good on stage than I'll do something else. There's nothing worse than a fat ugly old rock star. So I'll do something else than. There are plenty of things to do. I've got my fingers in a lot of pies and I'm not scared of this being taken away from me because at the moment I'm on top of our game particularly and I know where were going and I hope it stays that way for as long as…..I think we're in control of it to a point and if you don't get lazy you'll always be able to do it.
Charles: Is it liberating to feel that way, to feel you have something else if this all ends?
Kelly: Yeah. If you've got ideas it's fine. I get involved with the art work and videos and stuff. I probably get involved too much really as I don't have much time. In a way bands can get dropped or the record label can go bust. Our labels got shares everywhere and they can fall through. If you're good at what you do or are determined to achieve something than another label will sign you. But you're only as good as your last record, your last song, or your last gig, so if you don't keep moving forward or keep criticizing what you've done than…that's where most people fall. They get all their money and fuckin' spend it all and forget they have to write a song for the next record and it all falls through. You've got to split yourself up a little bit.
Berny: I was just expecting and answer like I'm gonna start a sheep farm in Wales. I was right outside of Newport and there were sheep everywhere.
Kelly: Nah, fuck sheep. Well, I don't fuck sheep. My family does that. Just gotta get lots of Wellies. 

Charles: In this country we have the South, North East and West Coast. Lots of people don't realize that there are strong divisions in the UK as well. Most people don't realize that being from Wales is quite different from England proper or Scotland.
Kelly: Yeah, England, Ireland, Scotland and Wales are four countries and they make up Great Britain. And you got Northern Ireland as well. It isn't that complete of a different culture to be honest. North England, Scotland and Wales are kinda all an island. Dublin and Southern Ireland are kinda similar in enthusiasm at gigs. Than South England like London is a bit more, there are lots of different types of people there. Not like New York, but there are a lot of different cultures there. You don't get that much in Wales really. There's no black kids in my school or stuff like that. It's very much all of your own kind until you go a city like Cardiff where there's a lot more of that stuff. It's not like New York and LA where it's quite different.
Charles: Do you feel an affinity with any of the other Welsh bands?
Kelly: Pride that we've done something for the people of Wales because for many years they didn't have anything to talk about. Apart from Tom Jones or Shirley Bassey or Anthony Hopkins or Richard Burton, which are four or five people. I seen Anthony Hopkins eat somebody's brain last night which was great. Catatonia, Manics, ourselves. I think we all got really successful albums at the same time. It was really funny actually to see all of us on the covers of the NME, the Melody Maker, Select magazine, Q, it was all Welsh bands. Kids never had that before in Wales, so for them they had a sense of fuck off, you've been laughing at us for years and now we got that. As a band I don't want to make it a national thing because it gets really boring and everyone says you're from Wales, you're from Wales. If your songs are good it doesn't matter where you come from. You could come from
fuckin' Germany, it doesn't matter. The Scorpions. 
Charles: I want to thank you for taking a few minutes out.
Kelly: No problem.

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