You refer to THIS as a comeback; where were you?
After feeling really bad about the world for a couple years (and one album) I’ve returned full throttle and I’m ready to do THIS.
What's your approach to recording and releasing a new album? Is it when you have a statement to make or when you have a collection of songs you want to get out?
It’s as if there’s a silent timer going off that dings when it’s time to make a new album...you just KNOW. A collection of songs just hovers around and announces that there are no more songs to be written, and it’s time to make that album. It’s a rather expensive announcement.
What statement are you making with THIS?
Oh, THIS is what it is.
Is the album still a viable means of making a musical/artistic statement or is that a thing of the past?
I believe it is a thing of the past. It seems things have gone full circle. In the 1950s it was a singles market and once again all these years later it’s a single market. In keeping my arty outcast leanings I’m still of the school that an album is an ALBUM. I believe the album is still a wonderful means of artistic statemnt. I also believe that a lot less people pay attention than they once may have.
The collapse of the recording industry as it existed for decades: ultimately good or bad for artists?
I think the oversaturation of grass-roots artists makes it super hard to stand out these days. Everyone has their generic professional bios and Myspace pages. I also think that labels don’t spend the time and money to cultivate long-term careers for the artists on their roster. The song was called “drop it like it’s hot” but in the industry, they drop ‘em when they’re not hot.
You recently made your old albums available for sale on a "pay-what-you-will" basis. How did that work out?
I made a few extra bucks and I made more room in my closet.
You've lived all over the place; does where you are geographically influence your songwriting? Are there songs you've written in Tampa that couldn't have possibly been written in New York, and vice-versa?
I do wonder what kind of songs I would have written if I ended up living in San Francisco. Tampa is inspiring in a strange way. Tampa is like the weird kid stuck in the back of the classroom. Tampa is the kid who doesn’t have the coolest clothes, the best grades, or the most impressive collection of books by trendy authors. But Tampa is one hell of an interesting kid if you sit down and talk to him.
|If Tampa was in The Breakfast Club...|
I certainly got bored with trying to make a difference around here. I have kick-ass friends and cheap rent. I throw some fun shows here and there. It would be easier to open a nun’s legs than to open the minds of some of the people in power around here. That said, there’s really super, super rad people creating and operating out of this area. And then there’s some really, really shameful buddy system, closed-minded bullshit too. Like anywhere, maybe. But probably a little bit worse.
I’m incredibly envious of the fact that you’ve met and hung out with one of my all-time favorite people and artists, Jill Jones. Tell me something that will make me even more envious, please.
I was a fan of Jill’s growing up but when we met it as if we were always kindred spirits. Last time I was in NY we wrote two wonderful songs together and shared a meal of chicken parm sandwiches. Jill’s daughter co-wrote “Back & Forth” with me on THIS. Jill is one of the easiest people I’ve ever written songs with. It’s as if our hearts beat in the same way.
|Hmm, she defies expectations and Gloffy's|
expectation is that she's not likely to visit.
I see what he did there.
Are you looking forward to saying "'THIS is my new album" and having Abbott & Costello-style "Who's On First?" hilarity ensue?
You can bet your life on THIS.
|"THIS is not your new album. THIS is Jeremy Gloff's new album."|