Jim Shelley & Book Of Kills

Why Not?

 “We always tried to make a change. See we were from the sensibility that says every song is a single. We were very singles orientated. Every time you sat down to write a song, it was a potential single, which I think was good because it kind of focused us to that end.

 “So consequently if that was what you were doing—a song, end of story—new song, beginning of new story—when that was done, end of story, new song—we would do things like we'd say to Ringo, 'Hey, man, you used that snare drum on the last track and he'd say, 'Yeah' and we'd say, 'Well, we don't want it on this next track; we just made a record with that sound on it. Let's look around. Now why don't you bang a table top or something for a new noise?'

 “We wanted every single track we did, I think because of this monaural single focusing that we'd come out of, to be a completely new departure. There didn't seem to be any sense to us if you just put an album on and the drums sounded the same all the way through. It did mean then, as each little song unfolded, that you went, 'Oh, we're in a new place. Oh good, we're in a new point in time. And I do think it was more subliminal. I don't think we went, 'Wow, man, he's got a new kit!' It just meant, 'Oh we're somewhere else now.'

 "And again, you know, we'd try to change the instrumentation. There'd be like a harmonium on 'We Can Work It Out' but that harmonium would hardly ever be seen again on the rest of our records. We used it on 'We Can Work It Out'. We blew it! So we can't use it again, you know. Often we'd do that. The Lowery organ on the front of 'Lucy In The Sky With Diamonds' –I don't think that ever made another appearance on one of our records.

 “So this is the philosophy, which was that every single track should be different. Why not?” - from a Paul McCartney interview on “In The Studio With Redbeard”