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Musician Bill Ricchini has recently returned to the Philadelphia fold. He graciously took time out from promoting his new album, Tonight I Burn Brightly, and from searching for a new muse to break his heart, in order to chat with this Phillyist via email:
According to your website, you're a native Philadelphian who relocated to NYC between your first and second albums. Do you consider yourself a Philadelphia or New York artist? Do you find much difference in their music scenes? And, what's more important to Phillyist - why did you move away? Don't you love us anymore?
Not to deflate the question but I actually just moved back to Philly. So to answer the question that begs well… I missed the pork roll and cheese sandwiches. I really had a great few years in New York and recorded a good record there but I wanted to get back to Philly. Love the people, the vibe and the huge apartment I have now. I’m also looking at getting my own recording space, which would have been cost prohibitive in NYC. Philly is a gem and sometimes it takes leaving to realize how great it is here.
Speaking of your albums, your debut album, Ordinary Time, was home-recorded, while your latest album, Tonight I Burn Brightly, was recorded in a studio. Do you find one style of recording superior to the other, or do you think your future albums might benefit from a synergy of both?
Recording at home has its benefits. A record can slowly reveal itself to you over time. It’s a less sterile environment than a studio and is often recorded in the same environment someone will eventually listen to it in, like a bedroom. It gives the songs a strength of atmosphere and a sort of built in intimacy, I think. The goal of making a studio record, something I at first had reservations about, was to capture the things I like about a home recording but also make the record more interesting sonically. I also wanted TIBB to be like Loaded by the Velvets. An album of singles but thematic too. I took a lot of time before I went in to record to really flesh out the arrangements yet also be open to new ideas in the studio— like the country arrangement of “When the Morning Comes” and making “It’s A Story” more of a dance song. I learned that the same things I knew from Ordinary Time transferred to a “real” recording studio. I recorded in Bryce Goggin’s studio in Brooklyn (he engineered the Pavement album, Crooked Rain, Crooked Rain). His studio in Brooklyn has all vintage gear, a huge keyboard arsenal and also he introduced me to Lee from Luna and Royston Langdon, who were a great rhythm section. It’s not that different than Ordinary though. It’s just been spit shined a bit.
Like an increasing number of musicians these days, you have both a website and a myspace page on which you share some of your MP3s. Have you found the internet to be an effective tool for marketing yourself and your music?
I think it’s a really interesting time in that people can share music instantly with one another. The word of mouth artist is a real thing. Just ask Arctic Monkeys. I feel lazy though, Capitol Years seems to post a new song daily. I have some work to do.
What contemporary artists do you listen to? Are they any you would like to collaborate with in the future?
I really don’t listen to a lot of new music. But since playing SXSW in Austin I did discover some new bands I like. This band Art Brut from England are great. And a Scottish band called Voxtrot just put out an EP I am really into. I like Dr. Dog’s record. But I mostly listen to older stuff. I’m really into Brenda and the Tabulations lately.
Your lyrics suggest your songs are confessional by nature. Are all of your songs autobiographical? If not, do you find people who know you assume they are? (Even worse, has anyone you know ever assumed a song you've written was about them, for better or for worse, when it wasn't?)
No, yes, yes. Well I think all artists pull from their own reality and emotional experiences. I know I do and of course I am not going to say everything is made up. That’s a cop out and I always hate it when I read that in interviews. I mean Springsteen may not have really fled town in the middle of night listening to Roy Orbison but I BELIEVE him on Thunder Road. Ya know? But I think a bit of craft and poetic license come into play too. My songs are largely narratives about characters on TIBB but I am invested in those emotions. I’ve felt those things so I guess my songs are emotionally autobiographical. I do have an ex that was a bit unhappy after hearing Ordinary Time. She thought it was a concept record about her. She was half right but I didn’t realize it until years later. The truth has a way of infecting everything.
Which song on your iPod (or MP3 player, etc) would you be most embarrassed to have people know you were listening to?
Let’s get this out of the way right now. I am a huge Hall and Oates fan. I went to see them play live a few months ago but was bummed that Oates had shaved his awesome mustache off! But I am unembarrassable when it comes to my records. When I DJ at the Khyber (plug for No Tan Lines every first Friday) I am happy to mix the Velvet Underground into something from Thriller and somehow it all works out. I think Toxic by Britney Spears is one of the best singles of the decade. I also like that Kelly Clarkson single from a while ago that sounds like The Strokes. In a surreal, related note, I was actually recently approached to write some songs for Lindsey Lohan for her next record.
Tell us a little about your song writing process - do you start with the lyrics first, or the melody, or does it all come to you in one mad rush of afflatus?
I usually build off of a melody and let that lead the lyrics. When I am lucky I get the whole thing at the same time including the arrangement. I carry a mini tape recorder to remember ideas throughout the day. But I have writer’s block right now. I think I need a new girlfriend to fall in love with and then quickly dump me so I can generate some new material.
I understand you used to do some freelance writing for the Inquirer before pursuing your musical career. If you become an internationally famous, multi-platinum album selling musician with gobs of money and private jets and things, would you consider purchasing the Inquirer and rescuing it from its current round of revolving door ownership? If not - what would you spend your millions on?
Mo money mo, mo problems, Star. I’d buy an island in the sun or maybe a large chunk of Passyunk Avenue. Special Ed summed it up well :
“I got the riches--to fulfill my needs
Got land in the sand of the west indies
Even got a little island of my very own--
I gotta frog--a dog with a solid gold bone
An accountant to account the amount I spent
Gotta treaty with Tahiti cuz I own a percent
Got gear out wear--to everyday
Boutiques from France to the USA
And I make all the money from the rhymes I invent
So it really doesn’t matter--how much I spent.”
You can see Bill Ricchini at the Tin Angel this Friday night (with BC Camplight). In the meantime, you're invited to check out a few of his songs:
She Don't Come Around Here No More
Ballad in 2d
Like an X-Ray
Cold Comfort
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