Jamie Alimorad Two Wrongs – Rock With Raw Fire and No Fear

Jamie Alimorad Two Wrongs – Let’s Start Where It Burns

I didn’t expect to care this much about a single I hadn’t heard of two days ago. But here I am, writing this. There’s something satisfying about a song that doesn’t bother with subtlety. No whispery metaphors. No high-concept fluff. Just grit, guitars, and a voice that cuts through like a rusty blade through thick skin. Jamie Alimorad’s new single, Two Wrongs, kicks the door down in under four minutes. I’ve heard plenty of studio-polished tracks pretending to be raw. This one actually is. You can hear the sweat in it.

A Song Born Out of a Detour

This wasn’t even meant to be his song. That’s the kicker. Alimorad originally wrote Two Wrongs for another artist – one of those let-me-write-it-for-you kind of deals. The original plan fizzled. Good thing it did, because now we get to hear Alimorad do what he does best: take a track, tear it down to its bones, and twisted it into something that lands like a thrown bottle. He rewired the whole thing – flipped synths into crunchy guitars, replaced polished hooks with raw harmonies, and threw himself into the vocal booth like a man with something to prove. Spoiler: he proved it. There’s that kind of reckless energy here – like they knew they had one shot, and just went for it.

“Two Wrongs was the perfect song to cut loose in and bring energy” – JAMIE ALIMORAD

A Four-Hour Riot in the Studio

Don’t get yourself comfortable and forget the long, bloated production timelines. This song was tracked in four hours. Four. That’s how long it took Jamie and producer Jordan Sherman to set the damn thing on fire in a Los Angeles studio. No re-takes till it sounds like toothpaste. No studio magic to suck out the soul. Just two guys ripping it live. The whole thing, exactly how it was meant to be. Action required.

Sherman handled most of the instruments. Alimorad took care of the vocals and songwriting – and not just any vocals. We’re talking arena-sized pipes here, with a six-part harmony bridge that could wake the dead. That bridge, by the way, was inspired by The Beatles’ “Because.” Anyway, don’t go expecting flower crowns and tea parties. This is more fists-in-the-air than peace signs. And when Jamie sings, “When we turn off the light / I know – two wrongs can’t make it right” – he means it. You can hear the regret. The fight. The stubborn heartbeat of someone who’s been there.

From Rick Springfield to the Edge of Something Personal

Jamie Alimorad wears his influences on his sleeve. Rick Springfield’s hard rock punch, some Beatles-era vocal gymnastics – but it’s never about imitation. This is his sound, dialled to ten, dragged through the gravel, and dressed for a fight. He said it himself – he needed to “cut loose.” A nod to something his old recording professor once told him: that he missed the way Jamie used to sing during his Northeastern University gigs. Honestly, it reminded me of that feeling when you finally stop overthinking and just hit record. There’s so much freedom in that.

Jamie Alimorad Two Wrongs: Light Off, Volume Up

Two Wrongs walks straight through the wreckage and keeps going. Just what’s left when the dust settles and the room goes quiet. And that’s the difference. Alive like a spark in dry grass, and just as ready to burn. You don’t need to overthink it. Just turn it up, scream the chorus, and let it bleed into your favourite night. Go crank it on Spotify, stalk the man on Facebook, dig through the dust on Bandcamp, or catch the fire live on YouTube. If it moves you – share it, scream it, send it to someone who needs it.

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