Interview: Jeff Kelly of The Green Pajamas
Interview: Jeff Kelly of The Green Pajamas
Emily Adair of Psychedelic Scene: What was your inspiration for Forever for a Little While? I know you mention Mark Satie, Akira Kurosawa, living during the pandemic and so forth, but thereās lots of themes on the album. Where did those come from?
Jeff Kelly of Green Pajamas: Iāve always loved conceptual stuff. Forever for a Little While doesnāt have a concept except its composition. The previous album (Sunlight Might Weigh Even More) was a lot more conceptual, in trying to go back to the stuff I was doing in the nineties, when we had more success. That one was conceptual in the sense that I wanted to do something very psychedelic again. Weād done all kinds of stuff, this āNorthwest Northern Gothicā. But, with Forever for a Little While, I wanted to go back and revisit the blatantly psychedelic aspect of the genre. I think the concept of this album was, if anything, a mix of influences. Thereās a lot of Japanese influence running through it, and I just wanted to make something thatās entertaining. I want to entertain people. One song segues into another, itās got sound effects. You mentioned Pink Floyd in your review. I donāt think I own a single Pink Floyd album, but I think I heard Dark Side of the Moon on the radio a billion times like anybody else. I guess that kind of stuff sinks into you subconsciously. Everythingās an influence.
Adair: What was the creative process for this album? Itās so sprawling and it has such a fantastical epic quality to it. Who are your biggest artists influences?
Kelly: Right now, as we speak, Iām listening to about three hours of different Japanese bands. Itās cool because theyāll all really young, and itās exciting because I remember what itās like to be in my twenties and in a rock band. Being my age, Iām stuck with earlier influences, the Beatles, music coming out of the 1960s and things like that. But everythingās an influence. I mean, if you go back to my earlier work, youād find Leonard Cohen, his earlier darker albums, the less ādisco-yā ones, where he played guitar. When I was a young, a teenager, I listened to David Bowie, Elvis Costello, the new wave stuff, and punk. But those things arenāt easy to hear in the music. By the time grunge came to Seattle, I was too old for it. I just wanted to listen to Leonard Cohen and play āAvalancheā. Classical music is a big influence, too, and literature and movies. Iāve been lazy because Iāve been reading less and watching more films. Influences are everywhere. Take the Rolling Stonesā¦Forever For a Little While was the first time I ever tuned my guitar to Keithās [Richard] tuning of an open G, and I knew that he did that thirty years ago. I did the tuning on āTouched Her That Wayā. Someone else said it sounds like a Rolling Stones song. My wife, who is, if anybody, the 5th or 6th Green Pajama, she said she loved this album but that I should leave off the pop songs, and then Iād have more of a conceptual album. In a way, I think sheās right. It wouldāve flowed as a more dreamy album without the jarring pop songs. Going back to the influences question, Iāve made some records with a single theme that Iāve made under my own name and not the Green Pajamas, but [Forever for a Little While] was purposefully going back to that influence of the old Beatles records, such as Revolver. Thatās what an album was: a ballad, a rock song, then a weird psychedelic song.
The funny thing with the Green Pajamas is thereās always been me recording the album and other Pajamas come with songs theyāve written and then Iād do all the recording, and then one plays guitar or sings, and Iād finish the song. But with the Green Pajamas live band, itās always been very different. Itās been very rock, itās always been about rock and roll at the live things. We always had to keep the crowd up tempo, so all the drunks donāt leave.
James Johnson
Adair: In everything you read about the Green Pajamas, it seems Seattle is always mentioned. Does this regionality influence your work?
Kelly: When we started, when Joe Ross and I started the group back in 1984, the whole Paisley Undergroundāthe resurgence of psychedeliaāwas coming back in California. But there wasnāt anything like that going on in Seattle. Even when Seattle got on the map with grunge, I wasnāt, to tell you the truth, very interested in it at all. My wife turned me on to Leonard Cohen; I missed out on the whole grunge scene, Nirvana and Soundgarden and things like that. Iām glad they were all successful, they kind of made a whole new era, but I kinda missed out on that. It wasnāt reactionary but a lack of interest that had us going our way the whole time. Iāve always been more interested in the stuff that other people arenāt listening to. I listen to Spotify and I got my [Spotify Wrapped] saying that Iām the adventurer, looking for the deeper cuts. I got bored with rock, Iāve been in clubs and theyād been showing films of John Coltrane. I decided Iām gonna learn about classical jazz. Like, who is this guy? To me, that was all new, the Blue Note stuff, that 1950s and 1960s jazz was new to me. Iām not interested in anything mainstream.
Adair: Has there even been an urge to move outside that Northwest Region?
Kelly: It wouldāve been nice to get more popular and make more money. I was always kind of governed by being less interested in touring and more interested in recording, especially when I got married and we had kids. I had to work a regular job, and touring wasnāt always a realistic option for me. We may have been more successful if Iād had that drive, but I wasnāt really interested in that. I wouldāve loved to have gotten more money and been more famous, not been so identified with a certain city. Certainly, I wouldāve loved more success, or if my songs were in a commercial for Ford or something. I think everyone wants success, I just didnāt decide to go that route, the rock and roll thing, and go and tour for ten years. Iāve just always made music in my spare time. Going on stage without ever having enough time to rehearseā¦sometimes itās great and you come off and you have another beer and all your friends are there, but there were times when you come off and thereās ten people there and eight are drunk. So, the live things, I never really craved that. Some of the members of the live band live for being on stage. Sure, itās fun on a good night, but itās not what I live for.
Adair: Whatās something on the album youāre particularly proud of? Is there something you really want listeners to pick up on?
Kelly: There are a couple things I particularly like about it. One is the song āThe Hidden Fortressā. It was one of those songs that instead of taking days and days, it came really fast. It was done in a day, everything clicked. I was real happy. Iām singling that one out because I was very happy, there was a woman I didnāt know who has a radio show in Rome, and put [the song] on her show. She contacted me and said, āWhat a beautiful songā. Itās one of my favorites.
I bought a Persian instrument called a Setar, not the Sitar. Itās a little three string thing, I used that one on āThe Hidden Fortressā. I like that it gave [the song] a sound, have a more exotic instrument. I like the little touches, the little segues. I like the fact that you, and other people, are saying how itās āa journeyā. Itās something like a soundtrack for a rainy day, it takes you somewhere. I like the Satie piano bit, which in fact, Iām remembering your review, my wife said it was āsampledā. It wasnāt sampled, I did that little bit. What I did was me imitating an old recording. Itās not an exact replica. I always loved that piece. I liked that little segue kind of thing into āPrincess Misaā. Also the other thing that was sampled is the fanfare thing at the beginning [of the album], from a North Korean news show. I found it on YouTube accidentally. Of course, the North Korean news show doesnāt know anyone sampled it, but who in North Korea was going to know. That perfect beginning, the little details, Iām proud of that, the backwards guitar, the setar. I think I like the quieter songs, āKimono Dreamā and things like that. As much as a I like the rock stuff, I think the quieter songs are probably my favorite.
Susanne Kelly
Who is Princess Misa?
Kelly: That song was also inspired by Kurosawa. āThe Hidden Fortressā was a movie he made in 1958. I wanted to look up the name of the actress playing a character, Princess Yuki. Her name was Misa Yuhara, and that song is about a daydream sort of. Itās about wandering onto the set of an old Kurosawa movies in the fifties. You can imagine: a guy comes on into this dream world of hills and things, and thereās this actress that plays Princess Yuki, and this guyās kinda crazy about her. I just pictured this guy, and thereās this princess. I threw in a line about āhired for my eyesā. It was this little thing I remembered reading about. I read that Kurosawa hired her for her eyes. So, itās just an imaginary, whimsical dream, and she turns this guy away out of the blue. Plus, it makes it interesting; it makes people wonder. With any art, painting or music, thatās the beauty of it, really. One of the reasons I liked your review was because you didnāt know all these things, and people didnāt know all these things. When I was listening to Bowie as a kid, how mysterious those records were! What does he mean? What is he talking about? With all these box sets, nowadays, the mystery starts to be taken away. The mystery of the songs, you know, thatās one thing, but in general itās almost better not to know. It always lets one imagine. You donāt know what is, so you have your own vision. Oh, and āThe Hidden Fortressā is the inspiration for Star Wars. Years later, George Lucas rewrote it.
Related: Forever for a Little While by the Green Pajamas–Album Review
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