Jive Jones grew up with the storied musician’s dream of moving to the big city and making it big. So two years ago, this talented 26-year-old Miami native packed up and moved to The Big Apple. Since then, he’s gone from living on the streets to enjoying success as a top-selling songwriter and producer, working on Mandy Moore’s multi-platinum smash “Candy,” Euro-sensation Anastacia’s last two releases, and upcoming CDs from PM Dawn, Biohazard and Shooting Blanks. In addition, Jones now heads his own management and production companies, and has just finished his self-penned, self-produced debut solo album for Sony/ Columbia… Not too shabby for just two years in the City.
Jive Jones’ Cinderella story is really more the story of a self-made man, rooted in the tradition of realizing your dreams through hard work and determination. “When I came to New York two years ago I didn’t know anyone,” says Jones. “But I knew that if I really wanted to do this, I’d have to work harder than everybody else. I told myself I’d work as hard as I could for as long as I could until I made it.
“When you’re on the streets by yourself with no food and no money, you figure some stuff out,” he continues. “I didn’t have anything to go back to in Miami, so this was it. I signed with a production company and that’s how I learned stuff. When I started working, I noticed there was a lot of down-time in the studio at night. Everyone would leave by seven to go party or whatever, so the studio would be open. It was perfect: I’d go in at seven at night and work ‘til five in the morning. It was a great experience.”
But Jones’ quick rise to the top was more than just hard work; it can also be attributed to his refreshing approach to record production. Many producers are either afraid or simply unable to cross stylistic lines. Not Jones. His ability to draw from a wide range of influences separates him from producers whose sound invariably becomes passé after a few releases.
“When I was a kid I listened to everything from Madonna to Nirvana,” Jones explains. “I never got caught in that thing where I’m either a hip-hopper or a rocker. I always went with what I thought sounded good. The first four records I bought were Like A Virgin by Madonna, Master of Puppets by Metallica, Beastie Boys’ License To Ill and Run DMC’s Rock Box. All these styles were co-existing, and that had a big influence on me. The Mandy Moore record got real big I believe because of that. And I think people may feel that all my stuff is going to slot like that, but I’m careful to make sure that that doesn’t happen. If you look at the records I have coming out, you realize that that’s not all that I do. I’m working with Anastasia and that’s a soul thing. I did a cut on a Trace Adkins record and it’s country, and I’m working with Biohazard and that’s a rock thing. So I go from one style to another. I just love music—whatever genre it is.”
Jones is also fast becoming known as a hit maker—the guy the labels call in to fix their records. “I’m usually called in at the end of a record, when they have a record but no single,” explains Jones. “That’s why my records slot differently and why the sound will be different than the rest of the record.” Jones laughs, “I have the greatest job, because I get to listen to the whole record and see what they missed. I think, ‘Okay, they don’t have the uptempo, they didn’t bring the hook home, or the groove templates on the album aren’t happening, and I get to go in and fix all that stuff. It’s better than working from the beginning of the record, because no one knows what they’re doing at the beginning of a record.”
Whether using retro gear or new stuff right out of the box, Roland equipment is important to Jive Jones’ sound. “For me Roland has consistently been the leader when it comes to innovation. They’re an industry standard and I like their platform for sound design,” says Jones. “I use the JV-1080 and JV-2080 synth modules, DR-770 Dr. Rhythm, and the Groovebox.
I won’t walk into a studio if it doesn’t have at least a -1080. All the Rhodes [patches] like the ‘Psycho Rhodes,’ the ‘Film Strings,’ the piano sounds, it’s all stuff that I use. And with all the expansion cards, you can do anything inside one machine,” Jones continues. “I also love the -808 kit that’s in the DR-770.
I
t’s the best kit there is. I could go rent or buy a real -808, but there’s a certain ring in the -770 that I really like… it’s better than the original to me. I don’t even tweak the presets. I use the stock sounds and they’re the bomb.”
Even with Jive Jones’ growing string of successes, he has not achieved his ultimate goal: becoming a star performer. “I got into production by accident,” explains Jones. “My whole existence from the time I left my house at 17 was to be a superstar. I built everything around my artistry and it just so happened I got in through a back door because of the producer thing. I don’t think I could have made the record I made by just being an artist. Because I learned production and songwriting, I actually have a chance at becoming a recording artist and not just a singer. I want to be the next Prince or Madonna… that’s my dream.” With the release of his eagerly awaited debut solo record in early 2001, Jive Jones is already on his way. ®
