A Quote by Jim James
Our first two records are a lot quieter and more studio-based. We kind of had this feeling like we wanted to make a more quote-unquote 'rock' record. Then Patrick joined and really brought a new Herculean power to the band.
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There were lots of songs that were on 'It Still Moves' that I had written, and we had played - rehearsed, but also played live a couple of times - that could've gone on 'At Dawn', but we always knew we wanted to make a record that was more quote-unquote 'rock n' roll.'
Blackheart Records being 25 years old represents staying power and the fact that we weren't able to get a record out through conventional means, so we had to create this record company to put out our records if we wanted to be a band that had records to give out to their fans.
For every Foo Fighters record, we've had two or three beautiful, acoustic-based songs, but they never usually make their way to the record, because we want to make rock records.
I was in a bluegrass band. I made two records with a band called the SteelDrivers. They were nominated for two Grammys. I then I was in a rock band called the Junction Brothers; we made kind of '70s hard rock music.
I joined Elton John's band in '75. He not only allowed me to play the electronic keyboard on his albums, he also let me do the orchestrations. Then I left the band and started producing records. I was not really a popular kind of hit music guy. I was attracted to more esoteric things.
I'd always wanted to make a record with Jim Dickinson, and I'd known about his boys for years, ... He reminded me that when they were 13 or 14 years old they had a punk rock band and I'd called him and wanted to make a record with them then.
There's a lot of discussion about whether you should be a good live band or a good studio band. I think you can use the studio to make a great "studio record" and not necessarily have to reproduce exactly that on stage, but still be a great "live band." Having said that, if what you're going for is just the raw capture of your live sound, then that's cool, too - go for it! I enjoy working in the studio, though, and while I try to get near to an approximation of what's going on onstage, it's not my first priority usually.
In a way, as much as we love to be a big, loud rock band, the acoustic album was a lot easier to make than the rock records. I think because it was brand new territory for the band.
I was a member of the band when it was just, like, a conversation at a bar. Then we constantly practiced, we played shows, we tooled around in the studio. And then, when I moved and kind of bailed on that, is when... So, yeah, for the first, 'Mass Romantic,' I was heavily involved. Then, for a couple records after that, I was not really involved at all.
I wanted to make the kind of records that I heard in the discos that I danced in at that time. Funky, electronic sounds, while the musicians in the band were more rock oriented. This I suppose created the sound we know as Frankie Goes To Hollywood.
With 'Elect the Dead,' I learned how to make a rock record without a rock band and make the rock record I've always wanted to make.
I had my first band. it was kind of a progressive metal band kind of thing. I just started writing songs that required more and more challenging vocals, and I just did them. Necessity is the mother of invention, right? So I just sort of did what I had to do to make the songs sound the way I wanted them to.
The two records are very different. I guess, on the second record, that's more where I was at. Its not that I'm more well-adjusted or anything, it's just that what I wanted to sing about maybe was more the way I wanted to feel.
When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.
There's a lot of people over time who have brought out all these funky records that everybody has started jumping on like a catch phrase... When Planet Rock came out, then you had all of the electro funk records.
I love the Bach Prelude No. 2 in C Minor and had that stuck in my head: why don't I put this on Imaginaryland? So I brought it to my friend Tom Grimley who recorded That Dog's first record. I played him all my a cappella pieces, and he said, "P, you should really make a record, it would be great! You can record it at my studio and I'll put it out!"
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