Jonathan Richman is older, wiser and infinitely better traveled than he was when he recorded his beloved debut album with The Modern Lovers in the 1970s, but his music is still as pure and joyful as ever. His latest collection of mostly acoustic rock ’n’ roll, Ishkode! Ishkode!, is, like the dozen or so that came before it, utterly charming—a celebration of life, love and the wonders of the world that as usual finds him singing in multiple languages, including for the first time Ojibwe.
Richman isn’t a fan of print interviews these days (he hates being misquoted) and isn’t the easiest guy to reach (he doesn’t own a cell phone or a computer), but through his publicist he agreed to provide written answers to some of our questions ahead of his return to Shank Hall, where he’ll perform with his longtime drummer Tommy Larkins. He even answered one of them with a call and response to himself, just like he does in his songs.
What were the recording sessions like for Ishkode! Ishkode!? Did you have a good idea of what you wanted the album to sound like going in?
I never make the record I think I’m going to make. They always change so much by the time they’re done that almost nothing is left of what I figured they would sound like. The song “Ishkode! Ishkode!” had Ojibwe words for fire (“ishkode”), for come over here (“omaa bi-izhaan”), for look at it (“ganaa wabandaan”) on a piece of paper and I asked the two women who came to sing back-up to go “ISHKODE, ISHKODE” and we made the song up from there pretty much. I might have already made up some phrases about bonfires before. Same is true for “Outside O’Duffys”; I asked them to sing “uh huh,” “instanlee” and we made up the song. “Wait, Wait”: I told the guys to say “wait, wait” and I’d answer them. With “O Sun,” same story. I like having singers in the studio so I can bounce off ’em!
Of course, in the studio you can add instruments later, so I’ll add something every once in a while.
One of the reasons the record sounds different is because frequently the songs that make it to the record have not mostly even been made up yet when we started. So I’m surprised too, how the album turns out. That’s part of the fun of it.
But Jonathan, how did you get those Ojibwe words? Ah! At the wonderful bookstore Birchbark Books not too far from Lynwood Avenue in Minneapolis. I found some basic beginner Ojibwe books in their Native Language section. And there was a CD of a lady pronouncing the words right, that I listen to as we drive around the U.S. sometimes.
You’ve been touring with Tommy for a long time now. How do you keep things fresh after so many years together on the road?
We don’t try to. We just come to play and playing is fun in and of itself (usually).
How has touring shaped your view of the world? And how has it shaped your songwriting?
Oh my goodness! Has it ever! All the places change the music. Tommy and I have played together in 22 countries and each one probably leaves its stamp on the music and in different ways, one to the other. Spain especially has taught us. I think we’d both agree: The musicians you see on the street, the musicians of genius you’re fortunate enough to meet or hear play... the color schemes of the buildings. Italy and the way it feels to play for those audiences, not only different from Spain, but very different one city to another. But then…also true for Germany, Iceland, Japan, whose audiences especially seem to grasp what sentiments I try to convey. Greece! London! Brighton! Newcastle! Dublin! Glasgow! Naples! Palermo!
Forget it! It’s too much to talk about. How do they each change the sound? Too much; sometimes way too subtle to describe; but even the shirts you end up buying in a place like Palermo or Kyoto or Savannah, Georgia or Oakland, California change things. How can they not?
Do you still seek out new music? How do you usually discover new music now?
Yes, I seek out new music! I go to record stores and buy chants from India; Pharoah Sanders and Albert Ayler records; old French stuff, Arabic stuff. I listen to the radio…old blues music shows…hip-hop stations—too much to recount to you!
I believe you’ve sung about all four seasons at this point. Do you have a favorite season? And which is your favorite season for touring?
It’s hard to say which is my favorite season for touring. Maybe summer, but I don’t like to leave home during summer because I love hot weather!
Jonathan Richman plays Shank Hall on Sunday, March 27 at 8 p.m.
