Jonathan Rado Unpacks the Wonders of His New Album, For Who the Bell Tolls For
The glam-pop modernist and Foxygen co-founder breaks down all seven songs.
Photo courtesy of the artist
If you came up on rock ‘n’ roll in the early-to-mid-2010s, then I’m sure a band called Foxygen was crucial in shaping your taste at the time, too. Glam rock revivalism has been alive and well for as long as I’ve been alive, but Foxygen co-founder Jonathan Rado remains one of the most important contemporary figures in the genre. It’s been 10 years since he last made a solo record (Law and Order), but For Who the Bell Tolls For, in all of its retro, charming glory, feels like a first impression through and through.
Here, Rado abandons the instrumental compartmentalization he was responsible for in Foxygen by singing, shredding and composing larger-than-life pop-rock hits that sound as good as any other revivalist record in the last 10+ years. A particularly great standout track,”Easier,” was written in service to the late Richard Swift, and it endures as one of the best-sounding singles of 2023 altogether. Then there’s “Blue Moon,” packed with a melody that conjures an amalgam of David Bowie’s “Sorrow” and Randy & The Rainbows’ “Denise.” It works on every level, as Rado weaves in and out of garage rock familiarities and doo-wop pop bliss.
Sure, this track and this album sounds like it could’ve come out in 1971. But, it also sounds deftly tethered to this moment in time. Whenever a record can achieve that sort of dichotomy, I’m always floored. For Who the Bell Tolls For is Jonathan Rado at his best, as he proves time and time again that so few folks in this business have as strong of a hold on the Great American Songbook as he does.
In the weeks leading up to the release of For Who the Bell Tolls For, Rado broke down all seven tracks from his sophomore record for us—so tune in, follow along and get hip to some infectious hooks, arrangements and musings.
“For Who The Bells Toll For”
Concept: Repeat Repeat Repeat
This song started as a 2018 jam with my friend Evan Laffer, who now hosts the Jokermen podcast. It was a long 13-minute jam with me on piano and Evan on drums. A few minutes into the jam, I stumbled onto these chords and, for weeks after, I would play them around the house—it felt like the beginning of something new for me, so I decided it would be the first song on my new record. The next year, in 2019, I recorded the song live with Brian and Michael D’Addario from the Lemon Twigs on a dueling double drum set. We got an amazing eight-minute backing track and the repeating “Oh you see I am running” part. I intended to cut it down but, over the next few months, I kept adding things and writing more parts. Felt cool to open the album with a seven-plus-minute hypnotic wave.
“Don’t Wait Too Long”
Concept: “A Single” “Pop Song”
I made a demo of this song really quickly in 2018. It had mumble lyrics, but the general structure and melody. I had been listening to Tom Waits’ “Downtown Train” and a lot of Springsteen. It ended up sounding a little more Hall & Oates—all good! I like albums to have a “catchy single” as track two, so I just decided to roll with that as a concept and try to keep the lyrics and structure very simple.
“Easier”
Concept: “What would Swift would do?”
A tribute in every single way to my dear departed friend Richard Swift, whose passing looms over this whole album. One late night, I was alone at the studio and I started playing this little ragtime riff that reminded me of swift. I then hit record on the voice memo and sketched out the entire song in one go. It was so rare and surprising—I remember when I got to the chorus, the “you made it easier” part, I started crying, which has never happened to me while writing a song before. Swift used to constantly say, whenever we were working, that it was “too easy” (or “2EZ” in text). I really took that to heart and adapted that ideology over the years. Making music really doesn’t need to be that complicated. When recording the song, I tried in every way to replicate his exact style and limited myself to using only instruments I knew were in his studio.