With Two Wrongs, Jamie Alimorad transforms a dark pop track into a high-energy rock anthem, marking a bold return to his roots with soaring vocals, driving guitars, and raw emotion.
1.
"Two Wrongs" started out as a song for another artist—what inspired
you to take it on yourself and reshape it into a hard-hitting rock track?
I really liked the song. I thought there was vibe that could lean a few
different ways arrangement wise, and that’s something I really like. It was
originally a dark pop song, so it was easy to make it more rock by swapping the
keys and guitar part.
2. You’ve cited Rick Springfield and The Beatles as key influences on this
release. How did their styles shape the final sound of the song?
The things I love most about Rick and The Beatles are their melodies and
harmonies. That’s where I start with every song I write. Once I knew “Two
Wrongs” was moving a rock direction, they were the two artists that stood out
as far as where I could draw inspiration from for tones and timbre. Rick’s
Shock/Denial/Anger/Acceptance and Songs For The End of The World albums, and
Abbey Road each have moments where they served as references.
3. The six-part harmony in the bridge is stunning and ambitious—can you walk
us through how you arranged and recorded that section?
I based it off “Because” by The Beatles. Before going into the studio, I like
to go down the rabbit hole of certain artists. As I mentioned earlier, Rick
Springfield and The Beatles were two prevalent artists for “Two Wrongs.” I
watched a documentary on the making of Abbey Road on YouTube, and in it they
played stems from the tracks. I’ve always been enamored by that harmony
specifically. The bridge is not very melodic and has this sort of drone
quality, with a repeating lyric. I felt the best way to make it more
interesting was with harmonies. I just kept stacking until I felt it had that
je ne sais quoi.
4. You and Jordan Sherman recorded "Two Wrongs" in just four
hours. How did that quick session impact the energy and feel of the final
track?
It was definitely a very kinetic session. We just got on a roll. Jordan is such a wiz! He
plays guitar, bass, and keys on it. I kept verbalizing what I wanted and he
took it and ran with it. We both got into the flow state and it recorded
itself.
5. You play most of the instruments on this track—what was the biggest
challenge or thrill in taking on so many roles during the session?
I’m actually just handling all the vocal duty on this track. I played
everything on the demo, but Jordan is everything else, but drums, which are
played by the incredible Triple D (David Daniel Diaz). I don’t want to speak
for Jordan, but once we get rolling on something, we just kinda go with it. He
was the hot hand, and you don’t mess it.
6. You’ve mentioned your old recording professor inspired you to “cut loose”
again—what does “cutting loose” look like for you as an artist today?
The last album, and series of singles I released had me much more laid back
from a vocal approach. The songs weren’t aggressive, so there wasn’t really a
place for me to whale on them. While I studied at Northeastern University, I
was a singer in the rock ensemble, and I always sang the big songs. You know
“Bohemian Rhapsody,” “More Than A Feeling,” “Carry On My Wayward Son,” “She’s A
Beauty,” the big vocal songs! That became a bit of my calling card on campus
and around Boston, and was very prevalent in my early recordings. He mentioned
with songs like “Give a Little Lovin’” and “Break the Fall” that he missed
hearing me hit those big notes. I more than made up for it in “Two Wrongs!”
7. "Two Wrongs" feels raw and arena-ready—did you envision this as
a live show centerpiece while writing or recording it?
Absolutely! All the songs I’m working on now are centered around making the
live show as fun, upbeat, and energetic as possible. “Two Wrongs” has all the
makings of extended solos, jams, and alternate endings for concerts. I can’t
wait to experiment with it!
8. There’s a noticeable shift from your pop-oriented work toward a harder
rock edge here. Is this a one-off detour or a new direction in your music?
No it’s a conscious choice to go back to rock. Even though it was a guitar
driven rock ballad (“Beautiful” from Alimorad’s debut album Words Left Unsaid)
that got me my first viral hit, the scene was changing and I needed to adapt.
That’s why I went more singer-songwriter and pop with This Is Tomorrow Calling
and the singles. But now it feels like we’re in this “post-genre” world. Yes of
course there are genres, but it feels like artists are being less pigeon holed
into things like they were before, and that’s very freeing. I’ve always been
known for fusing genres, but when you’re an independent artist trying to carve
out his niche, it can be hard for curators, promoters, and booking agents to
know exactly what to do with you. I’ve always been a pop/rock guy and it feels
great to get back to it.
9. You clearly thrive on collaboration. What made working with Jordan
Sherman special, and how did he elevate the track?
Jordan’s such a gifted musician. He understands the job. He does the most
important thing any producer needs to do - check your ego at the door. He is
all about the song. We speak a very similar musical language, and where we
differ, it’s a strong compliment. I love getting in the lab with him. “What are
we gonna invent today?” is something I ask myself with glee every time I’m
heading his way.
10. What lyric or moment in "Two Wrongs" are you most proud of,
and why?
I don’t know if I can just point to one thing. I wrote this song about a
situation I was in where I had known this girl for a long time. We had some
history together, but we were now both with other people. Our chemistry was
undeniable though, and the relationship I was in at the time ended, and her’s
felt as if it was tilting one way or another, so I just spoke from the heart,
and it felt good to be so honest.
11. You’ve had a diverse musical journey—how does this release reflect your
growth and where you’re headed next?
This is me at my core. First “Fade Into You,” and now “Two Wrongs,” and
everything that’s on the way really showcases who I am as an artist and a
writer. I want that energy for the live show! I want the guitars to be big,
bold, and in your face! I want you to feel the drums reverberating inside you!
I love big production, and a lot of today’s mainstream music shies away from
that. Not me! Music should be played loud, and I’m making sure of it!
12. Finally, what do you hope listeners take away from "Two
Wrongs" after their first listen?
My hope is that it surprises you in all the best ways. My pop stuff and more
balladeer work has gotten more attention in recent years, so I hope “Two
Wrongs” opens your ears to another side of me that is about to be explored much
more!
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