Edition 1.

0
Piano Arrangements

for





Transcribed by JMachine

1























2
Revisions

Sunday, September 25, 2011 - Edition 1.0
- 01. Call it What You Want v1.0
- 02. Waste v1.0
- 03. I Would Do Anything For You v1.0
- 04. Houdini v1.0
- 05. Life on the Nickel v1.0
- 06. Warrant v1.0
- 07. Broken Jaw v1.0
* Future Revisions
- Key Signatures
- Chords for all Songs
- Formatting
- Errors
- New Song by Foster the People, "Ruby"































3
Foster the People: Torches Piano
Arrangements


I. Introduction

II. History

III. Piano Arrangements

1. Call It What You Want
2. Waste
3. I Would Do Anything for You
4. Houdini
5. Life on the Nickel
6. Warrant
7. Broken Jaw

IV. Credits / Conclusion












4
Introduction

You asked for it, and here it is! A collection of 7 songs transcribed for piano from Foster the
People's debut album, "Torches." I'll keep this section really short. I started this project in mid-
August out of pure admiration for Foster the People's amazing music. I wanted to learn all their
songs, so I went straight to my piano and started practicing. Within two weeks I had figured out
most of the chords to their songs, and started using Logic Studio to transcribe them. On
September 1, 2011, I uploaded a rough demo cover of "Call it What You Want" to YouTube, and
followed with demo covers of the rest of their songs. I started to receive comments for the sheet
music to their songs, so I took another few weeks to properly transcribe them. I'm happy to
release this first edition of Piano Arrangements for Foster the People's Torches. I'm releasing it
absolutely FREE for you guys, so I hope you didn't pay for this. Also, please don't sell these
transcriptions. They were written completely for your educational enjoyment, not to profit off of
the band's image. Mark Foster earned his success through hard work and perseverance and
deserves every bit of respect for his work.

Please support Foster the People:

www.fosterthepeople.com
www.facebook.com/fosterthepeople
www.youtube.com/user/fosterthepeopleVEVO
twitter.com/fosterthepeople



Foster the People is:
Mark Foster (vocals, keyboards, piano, synthesizers, guitar, programming, percussion)
Mark Pontius (drums and extra percussion)
Cubbie Fink (bass and backing vocals)

with current 2011 tour members:
Sean Cimino (guitar, keyboard, synthesizer, and backing vocals)
Isom Innis (keyboard, piano, and backing vocals)



For reference, my youtube channels are:
youtube.com/user/starttheJmachine and youtube.com/user/JMachineMusic
Let's keep it about the music!
5
History

The time slot was an unforgiving one and the venue even worse. When Foster the People ambled onstage at noon on
the final full day of the nearly weeklong South by Southwest music festival in Austin, Texas, in March, it was
exhaustion rather than excitement that filled the convention center hall. The scant and weary crowd was hardly
befitting for a band that would soon have a top 10 album in "Torches" and become the hottest thing going in Los
Angeles.
"To a spectator who knew nothing about the back story, we are a band that came out of nowhere," said the trio's
leader, Mark Foster. Indeed, Neil Schield, owner of Echo Park's Origami Vinyl, said Foster the People "kinda
bypassed" the local scene. It's a point that's hard to argue when the band's slinky, digitally enhanced single "Pumped
Up Kicks" is infiltrating Top 40 radio less than a month after the album's release.
Also, Foster the People isn't exactly an act that comes out with guns ablazing. The band has a genre-hopping
musical finesse, characterized by Isaac Green, who signed it to his Sony-affiliated StarTime International, as
"endearing."
The charm worked on those in Austin who saw the band in the cavernous, nearly empty convention center ballroom.
Foster the People's mix of Euro-chic electronics, snappy choruses and soulful beats soon had attendees dancing in
the aisle. It was upbeat, multicultural left-of-center pop, and it served as aural caffeine, with the crowd responding to
each of Foster's slide steps and hand claps.
"My favorite band of the last 15 years is Blur," said Foster, referring to Damon Albarn's pre-Gorillaz Britpop outfit.
"I see us as a less rock, more electronic version of Blur."
Word of mouth and a merry melody have helped propel the band's "Torches" to No. 8 on the U.S. pop chart.
However, as with most music industry soap operas, this tale comes complete with missed opportunities and court
papers. For Foster, it's the rare second chance in a town where few get one, and perhaps that's why he speaks with a
confidence just short of cockiness. Not many, after all, would have the gall to walk away from the chance to work
with Dr. Dre's label, Aftermath Entertainment.
"I would have been miserable," Foster said in the back of a tour bus en route to Irvine from Santa Barbara. The 27-
year-old Foster sat for much of the interview as if he were on offense, gripping a reporter's recorder as he answered
questions and firmly planting his elbows on his knees. "Music is the great equalizer. I don't care if it's Dr. Dre or Dr.
Luke or Brian Eno. When you're in a studio and making music together, it becomes pretty apparent if you see eye to
eye.
"It's like showing up at a city basketball court with chain nets," added Foster, whose sleek frame is scruffed up with
a little rock 'n' roll stubble. "All of a sudden, a pro basketball player steps on the court, but if he gets dunked on, he
gets dunked on. Nobody gets treated any differently. It's about the game."
Tip-off for Foster was in Cleveland. The most likely post-high school option was the Air Force. Foster said he
"aced" his vocational aptitude test, but with the nation on the brink of invading Iraq, he hesitated. His father, a
veteran salesman, suggested Foster move West and give his music ambitions the ol' college try, so Foster left to live
with his uncle in Sylmar. "I worked odd jobs delivering pizza, folding chairs, telemarketing, selling kitchen cutlery
door to door," he said.
At night, Foster attempted to cozy up with young Hollywood; before too long, he found himself at parties with B-
level celebrities and the daughters of rock legends. "I felt like an 18-year-old Hunter S. Thompson," he said. "I was
just diving into this Hollywood Hills subculture and taking it all in. I wasn't shy about taking my guitar out at a
party. I wanted to be the center of attention."
6
Networking came naturally to Foster but being in a band didn't. Attempts at getting a project off the ground started
and stalled numerous times, but when Foster turned 22 he scored what appeared to be the opportunity of a lifetime.
Back then, Foster was writing heavily on the piano, and he said he received a call from the A&R team at Aftermath.
In Foster's telling, the label envisioned him as "a white crossover soul artist."
Before this goes further, it must be noted that attempts to confirm Foster's account with representatives of Dr. Dre
and his label hit a dead end. Dr. Dre's personal publicist, Lori Earl, said she was "unable to verify" with anyone that
Foster showcased for the label, and she requested that it be left out of the story.
Whatever Foster's interactions may or may not have been, the singer said they were short-lived. "I kept digging in
my heels the whole time," he said. "I didn't want to be a soul singer. It would have been a dream to work for
Aftermath, but I wanted to make what I was making, which was glitched-out electronic music. So I didn't follow up
on things."
What followed instead was a job at the Alcove Caf in Los Feliz, a room in a $450-per-month hotel in Hollywood
and a year or two of writer's block. A job at Mophonics in Venice scoring commercials ultimately kept Foster in
L.A.; it also gave him the confidence to start performing again.
"I did a residency at Molly Malone's with my electronic stuff," he recalled. "It was just me and a laptop. Really, it
was terrible. I knew I needed a band."
Enter Foster's burgeoning friendship with Mark Pontius. The latter had long been working with locals Malbec, a
band that merges scratchy hip-hop beats with orchestral indie pop. He jettisoned Malbec to take a chance on starting
a band with Foster in 2009.
"I remember when we first started playing, we sat in a room and Mark played me 30 songs," Pontius said. "Some
were on the guitar, and some were on the computer. But it was this really awesome singer-songwriter thing with a
tricked-out beat, and I felt we could go wherever we wanted with this."
Indeed, "Torches" is not short on versatility. The hard-luck tail of "Life on the Nickel" sounds as if it were recorded
in a futuristic pinball machine, while "Helena Beat" takes a more rock-driven approach and accessorizes it with
Parisian pop accents and a techno-meets-South Africa breakdown. The band also has a weirder, MGMT-influenced
side, as "Miss You" could be a modern R&B cut before its electronics get all schizophrenic.
The next piece was adding guitarist Cubbie Fink, a longtime friend of Foster's who until about two years ago was
working with budding pop songwriter BC Jean. Said Foster of his bandmates, "They're not pretentious, they're not
alcoholics, they're not crazy, they're not egomaniacs, and that's hard to find."
The three weren't working together long before Foster brought home "Pumped Up Kicks," a song that appears on the
album as it does in its demo format, with Foster playing all the instruments. It's all toy-like effects and handclaps,
but underneath it seethes, with the lonesome narrator warning that the hip-outfitted targets of the song's title better
"outrun" his gun.
"You look at a rock, and it's this beautiful rock," Foster said. "But if you flip it over, there's a bunch of cockroaches
that run into the ground. That's what life is like. That's what my songwriting is like."
Just how exactly "Pumped Up Kicks" went viral the single has sold more than 360,000 downloads is a matter
of contention, one that will be decided among lawyers. In May, Brandon Dorsky, who runs the website
Supergoodmusic.com and describes himself as "an attorney, filmmaker and talent buyer," filed a breach of contract
suit against Foster the People and its management, Monotone Inc.
Foster and Dorsky had become friends, and Dorsky, in court papers, takes credit for the name of the band as well as
7
licensing "Pumped Up Kicks" to a Nylon Magazine online video. Foster said that the band was not paid for the
placement, but that after blogs started writing about the song, he gave it away for free on the band's website.
Dorsky's lawsuit contends that he was promoting the band through social-networking sites and lining up gigs for
Foster the People at venues such as the Viper Room, essentially acting as the group's manager. No contract was ever
signed, but Dorsky's attorney, Nathaniel G. Kelly, said there was an oral agreement backed up by email exchanges.
Monotone's lawyer, Bert H. Deixler, has dismissed the suit as "meritless."
Foster addressed it like a wizened industry veteran. "When you're on the road to success, you can try to be the best
person you can be and treat everyone the right way, but there will always be casualties. That's the sad truth."
StarTime International's Green has known Foster only since early 2010 but is struck by his commitment to remain
positive. "There's a certain sense of joy to what Mark does," Green said. "I love joyful music. If you look at
everything I work with, it's not very dark. There are dark themes, of course, but I think Mark's music is very life-
affirming. It was also sort of fearless. He wasn't concerned about what other people thought."
And one should be careful to keep things in perspective, Green cautions. He's worked with hip acts before Peter
Bjorn & John and Passion Pit, among them and notes that buzz fades as quickly as it arrives. To avoid a burnout,
the label didn't rush the band to record "Torches" when "Pumped Up Kicks" first started getting notice last year.
"You can't control everything, but you can be meticulous about the music," Green said.
The band has embarked on a largely sold-out club tour of the U.S., with sold-out dates July 7-8 at the El Rey
Theatre, and then will head overseas before returning to America with a slot at Chicago's three-day Lollapalooza
festival in August. And after that, the band already has Oct. 15 booked for the Wiltern.
Such a schedule will keep Foster out of the studio for the foreseeable future, but the singer notes that he has a "deep
library" of material he's eager to record.
"I want to make music for everyone," he said. "I'm not trying to start a super exclusive group. I don't want a clique
of people where you have to wear a certain type of clothes to come to our shows, or you have to be the ages of this
and this. If there are 5-year-olds standing next to 90-year-olds, and they're both having fun, I love that. A lot of my
melodies tend to be hopeful. I think there's a melancholy there too, but always a glimmer of light at the end of the
tunnel."


June 26, 2011 - By Todd Martens, Los Angeles Times














8
Piano Arrangements
















Interviewer: If you could only play one instrument for the rest of your life, what would it be?
Mark Foster: One instrument for the rest of my life? Itd have to be piano.








9
01. Call if What You Want



"Everybody is a critic nowadays; everybody is on their blog, on their Twitter. Everybody likes to
put themselves on this high pedestal. And most people dont really know their ass from their
elbow.

Whats funny is when people get behind a pen or a typewriter they become way more witty or
articulate and powerful. And its cool on one hand, but on the other handwe live in a world
where for every artist there are 1000 critics. Call It What You Want for me is just about people
trying to put my music in a box. I like to write in different genres, and I like to make what I like
to make. Its the aggravation of people labeling it this or that, drilling me on my style. My
attitude is just like, you know, call it what you want. It is what is. Why do we need to put a label
on it?













10
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17
02. Waste



I think Waste has a pretty clear message. Its a pretty cultural song about unconditional love.
The lyrics to that song are really powerful, really empathetic, compassionate towards humanity.
You can apply it to a person that you love or a best friend or a parent.



























18
Piano
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Fo ste r th e P e o p le
Wo rd s & Ly ric s b y M a rk Fo ste r
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21
03. I Would Do Anything for You




























22
Piano
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23
Fo ste r th e P e o p le
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8
25
04. Houdini



"Its about the fear of what was happening to us because I wrote that two months before we went
in to record our record, and things were already happening with us. Just the thought of losing
anonymity and wanting to get away from everything, its a terrifying thought. Its happening
more and more and theres no stopping it but its OK."





















26
Piano
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31
05. Life on the Nickel



"The Nickel in downtown Los Angeles is skid row, its Fifth Street. Its where the homeless
people or anyone goes to score heroin. The song is written in character about a homeless guy
who is a junkie from his perspective, and its basically talking about that even though hes a
bum he believes he owns the city; hes the prince of the city."


























32
Piano
. =120
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33
Fo ste r th e P e o p le
Wo rd s & Ly ric s b y M a rk Fo ste r
Tra n sc rib e d b y J M a c h in e
Life o n th e N ic ke l
48
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3
36
06. Warrant


















37
Life o n th e N ic ke l
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Fo ste r th e P e o p le
Wo rd s & Ly ric s b y M a rk Fo ste r
Tra n sc rib e d b y J M a c h in e
Wa rra n t
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7
43
07. Broken Jaw



























44
Piano
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45
Fo ste r th e P e o p le
Wo rd s & Ly ric s b y M a rk Fo ste r
Tra n sc rib e d b y J M a c h in e
B ro ke n J a w
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47
47
Credits / Conclusion





"#$%& '()*+,-










48









"We definitely have a heart for charity and helping people. That was a big reason we named the
band Foster The People, because we want to do more with our lives than just music and make
money off making music. We want to be able to do something to help people and go a step
further, because we can." - Mark Foster
49