Jonathan Richman
Jonathan Richman’s fate could have been sealed the moment in 1972 when Lillian Roxon anointed the Modern Lovers the second coming of the Velvet Underground. But instead, Richman chose to ignore that mantle and left his bandmates to soldier on to bigger and better things. “Roadrunner” will always be “Sister Ray” but Jonathan simply chose to become Jonathan.
By the early ’80s, a quieter, yet no less wide-eyed Jonathan had already embarked on a career unlike any other in popular music of his era, and more than three decades later, listeners are still happy he forged his own path. Stripping down his sound until the songs reached that rare point of communication between performer and listener where they felt like a conversation, Richman radiates positivity and often references visual art and artists.
An appearance in the 1998 movie There’s Something About Mary raised his visibility, and he continues recording and touring as a duo with drummer Tommy Larkins. He has fearlessly sung in Spanish, French, Italian and Ojibwe. His most recent album, 2018’s SA, references Indian raga. It also reunited Richman with former Modern Lover, Talking Head and Shorewood native Jerry Harrison, who is featured on Mellotron, harmonium and clavinet.
Richman participated in an interview with the Shepherd through his preferred way of replying to questions submitted to his representative at Blue Arrow Records. Per his request, his answers are printed exactly as they were submitted.
If you could give any advice to the kid who hung out with the Velvet Underground, what would it be?
“Kid... make sure you don’t bore them to death. Try to listen more and talk less, especially about yourself, unless they specifically ask.”
“And... you could loosen up a little.”
What was it like collaborating with Jerry Harrison again? Did you play together or were parts overdubbed?
We played together. It’s really terrific because we discovered that we have even more in common in musical ideas now than we did then. There was a Mellotron in the studio so I called him up to play it. I figured he’d be real good, but it worked out even better. With me and Jerry it’s almost like... “Well, where have you been the last 45 years?” I wasn’t so ready before, but the music I’m making now calls out for the sounds Jerry plays. We didn’t used to keep in regular contact, but we do now. One of the exciting musical aspects for me is how his keyboards go with the tambura sound.
Is there a painting you never get tired of looking at? What makes it special?
Many paintings by Monet and Sisley are like this for me. Also, “View of Delft” by Vermeer.
What is your favorite book?
Lately, I’ve been recommending: “A General’s Son” by Miko Peled, “I Shall Not Hate” by Izzeldin Abuelaish, “In the Absence of the Sacred” by Jerry Mander, “Beyond the Messy Truth” by Van Jones and “Call Them by Their True Names” by Rebecca Solnit.
You have never been shy about incorporating music from other cultures in your songs. How does this make it a richer experience for you?
Singing in Spanish gives voice to feelings I can’t maybe express so well in English. This also happens with me in French and Italian, a lot. It works the other way, too. Sometimes I can say things in English that I can’t say in the Romance languages.
You and Tommy Larkins have developed a unique musical chemistry. What is it about Tommy’s playing that you think works so well with your music?
He’s a fabulous drummer! And, like you say, we got chemistry.
Do you have any recollections about previous trips to Milwaukee? (We have a great art museum which is walking distance from the club where you are playing.)
Many. I’ve always liked playing in Milwaukee. Hello to Paul Cebar over there at the radio station!
Jonathan Richman and Tommy Larkins return to Shank Hall on Friday, March 1, at 8 p.m. Tickets are $20.
