“Over the years, I’ve lost interest in producing other artists as much as I used to. That’s not a big problem, but can I bring this to life?’ That’s what I’m more interested in. ![]() I’m actually more interested in the production and the direction of the stuff than I am of the actual performance part of it. it’s a lot more difficult because you have to understand that everybody wants something different from a producer Over the years, I’ve lost interest in producing other artists. Producers are good for people who don’t want to bother themselves with orchestration, arrangement, production, all that other stuff, and they just want to be a singer or a bass player or whatever. Do you ever think about using an outside producer to get another perspective? You’ve self-produced your records for quite some time. If it’s something I don’t get much out of when I listen to a mix, I get away from it and move on to something else.” “I don’t think I’m really that good at saying, ‘Oh, that’s a great song!’ But I am good at knowing if it’s something I won’t enjoy playing live. You just have to have it in you, and I don’t really think I’m that good at it.” Once you do all that, and you mix it and present it to people, are they going to get anything out of it? Who knows? The ability to quickly decipher whether something is interesting or not can’t be taught in school. I don’t think I’m really that good at saying, “Oh, that’s a great song!” But I am good at knowing if it’s something I won’t enjoy playing live Like riffs – every guy on the street can write a riff, but is it interesting to other people? It just comes down to taste, but along with that there’s how you execute it live or in the studio. Every artist is different, but for me, I know pretty fast whether there’s anything I can find some life in. ![]() “If it doesn’t sound interesting very quickly, I quickly abandon it. How much time do you spend on a song before you decide if it’s good enough or not? It’s funny because you don’t really know where they’re coming from, or why they’re coming, so when it’s happening it’s just best to get out of the way and let it happen.” ![]() You start to hit a streak where several tracks keep pouring out. “Songs were just coming out every day, and I was getting lucky. Let’s talk first about songwriting – and how you wrote enough for two albums. And he suggests that his playing on Fear Of The Dawn might just be the best he has ever laid down… He talks about the fun he’s had with guitars designed by Eddie Van Halen and St. In a wide-ranging conversation, Jack talks about the whole creative process that went into these albums, from writing to production. “It brings out different personalities in the songs.” “I like to play with other people to get someplace new,” he says. And so he waited until restrictions eased to call in an assortment of players for various tracks – chief among them drummers Daru Jones and Patrick Keeler, as well as bassists Dominic Davis and Jack Lawrence, all of whom he’s worked with in the past. “I just didn’t want to get into that concept,” he says. It brings out different personalities in the songsĮlsewhere on this album, What’s The Trick is a punishing hybrid of hip-hop and metal That Was Then (This Is Now) fuses way-out acid funk with good-time 70s pop crunch a version of Cab Calloway’s Hi-De-Ho – featuring guest vocalist Q-Tip and Black Belles guitarist Olivia Jean – has the jazz classic reimagined as unnerving psychedelia and on the epic Eosophobia (Reprise), Jack answers the musical question: what would Steve Howe on steroids sound like? I like to play with other people to get someplace new. It begins with three hellacious rock load-blowers – Taking Me Back, the title track and The White Raven, all of them brimming with bonkers solos. With his previous solo record, 2018’s Boarding House Reach, he struck a balance between blitzing riff monsters and mellower songs that blended rustic country, folk and blues, but with the new albums he draws distinct lines of demarcation.įear Of The Dawn, released in April, features plenty of boisterous guitar action. ![]() Instead, he divided the material into two thematic albums. Once he had recorded all this material, Jack briefly considered packaging everything on one grand double-album set – an idea he quickly rejected.
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