To rock critics, Jonathan Richman is best known as the man behind the Modern Lovers, whose 1976 self-titled debut ranks among the greatest rock 'n' roll albums of all time. To the masses, Jonathan Richman is best known as the guitar-playing narrator from the 1998 movie \There's Something about Mary."" To his devoted following of fans, however, Richman is best known for his vast and consistent catalogue as a solo artist.
Although the Velvet Underground influence has waned, Richman's songs are still as simple, awe-filled and childlike as ever. The Daily Cardinal had the chance to catch up with Jonathan Richman before he begins another in a series of unending tours.
The Daily Cardinal: Let's start by talking about your new album, ""Her Mystery not of High Heels and Eye Shadow.""
Jonathan Richman: Yeah, which I sort of half produced.
DC: Had you produced any recordings before?
JR: Not really. This is the album that I had the most control over. It's the album that sounds the most like the way I want it to sound. The atmosphere, in general, is something I had a lot of control over.
DC: What's the title track about?
JR: OK, let's say you look at someone and part of the mystery of the person is part of the make-up that they wear. This is about a straightforward person, someone who's not coy.
DC: You tour constantly. Do you try and take the opportunity to perfect your songs live before recording them?
JR: No, I don't try and perfect them ever. I don't even know how to perfect them. But I like to make up songs live, because that's when you can feel if the audience is feeling what you're feeling and what you're trying to get across. Some songs are made up right on the spot. Sometimes I just have two guys and I'll say 'Give me this chord, and let's just play and see what we come up with.' See, I intentionally didn't tell the instrument guys what I wanted in advance; I wanted them to be surprised. They said, 'What are we gonna do,' and I said, 'We'll see,' because I wanted it to be just what they came up with spontaneously.
DC: That's a pretty unique approach to recording. How did you come up with it? Did you see anyone else record this way?
JR: Jazz musicians! From what I understand, that's the only way they'll record, they only want to do it if it's going to be different each time. And blues guys do it, too. Early rock 'n' roll guys did it too, actually.
DC: You've worked with many influential producers, but is there anyone else you'd like to work with, producer or musician?
JR: Well, I admire Dave Freidmann, who gets a lot of the sounds of the Flaming Lips. I don't know whether we'd end up working together, but I can tell you he's fabulous. But also Belle and Sebastian. I think they're fabulous.
DC: Forgive me if this is an odd question, but obviously, over the years, you've influenced a lot of artists. But have you ever actually been listening to a piece of someone else's music and thought 'Man, this sounds a lot like something I've already done?'
JR: Yes! Actually, this happened a few times, but I can't think of the people right now. You know what? Actually, I had a song called ""Affection"" and Rod Stewart, a few years later, had a song called ""Passion"" and it was the same chord progression, and a different emotion, but when I heard that, I said, 'Hey Rod, where'd you get the idea for that?'
DC: You've been playing for a long time. Have you noticed any changes in audiences over the years?
JR: I love playing now at this time in history. I like it better than the '80s. This is the most fun I've had since the early '70s. I can't say why, but it's a good time to play.
DC: You've been playing with your drummer, Tommy Larkin, for awhile now...
JR: Yeah, the last thousand shows or so. When I was doing solo shows, just me and a guitar, I decided that I wanted a drummer. In Tucson, Arizona, I knew a musician there and I called him up and his wife answered. I asked if she knew of any drummers. She said 'Yeah, two guys, one guy is more feel, the other guy has more technical skills,' and I said, 'Just give me the name of the first.'
DC: When you play live you don't use a setlist, how does Tommy account for that?
JR: Well, the songs are all in 4-4 time, and also, some of these songs we've been playing for nine years together, so he usually just follows, but whatever he plays it doesn't matter'we just improvise.
DC: I'd imagine that you'd have to be pretty comfortable playing together in order to to make that work.
JR: Oh yeah, we're great pals. We'll do a month-long tour and be together 24 hours a day, and then six days later I'll already miss him. We love this. I mean, sometimes we have so much fun on stage, we laugh, it's just great.
DC: Good deal. I should probably let you get going, but anything else you want to add?
JR: Yes. I drive, and I like driving, but it's not what we have to do. I think we Americans drive too much and have to find another way to get around. I think we have to use trains and other things. I think that driving and using all this gasoline has got to go.
DC: Have you ever tried touring by way of mass transit?
JR: Yes, but this country doesn't have a large enough train system.
DC: Yeah, and I guess you couldn't really take the Greyhound or anything.
JR: No. And I know because I've tried it for past tours, but you can't do it as a duo.
DC: Well, congrats on the new album, and thanks for taking the time to speak with me.
JR: Say, have you seen Michael Moore's new movie?
DC: Actually, I haven't.
JR: Don't miss it, it's better than you think.
DC: I'll definitely have to see it.
JR: Check this. It's astonishing.
