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Phil
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& Chester
Thompson Turning It On Again
January - February 2008 | NO. 007
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Features ISSUE 007 n JANUARY - Fe 2008

018 Phil & Chester

Turning It On Again

036 Matt Flynn

More Taste, Less Fill

046 The New

Country
Mitch Marine and
Jim Riley

100 Face2Face
Simon Phillips Round 2

Cover Photo: Phil collins

and chester thompson
by Richard Pierce

004
 Departments

Count In
006 Editor’s Letter
008 Your Letters
Readers Rants and Raves

Chop Shop
054 CD Info Health
056 Transcription 070 Working It Out
“Full Count” - ABCD Roll T he Pain Away
By Kevin Po savetz
060 Advanced Technique
Longer Phrases With Stickings 072 Nutrition - Fuel For
By Gary Ch affee Thought
Pasteurization Part II
061 Extreme Drumming By Kevin Po savetz
Moving Systematically
By Mike M angini
Equipment
062 Urban Percussion
Djembe Rhythms
By Larry Fratangelo

064 Digital Domain 074 Industry Standard

Vater — Innovation
Amen, Brother
By Robert Boutin, J r.
By Wolf

012 Paul 066 Drum U 076 Gear

What’s New
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Double Paradiddle
By Art Be rnstein
Back Beat
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Editorial

May - June 2007

July - August 2007

Cindy Anton Editor-in-Chief Jonathan Mover
Blackman Fig
Dennis mover@drumheadmag.com

ROD
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Better Late
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Chambers
the Odds
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March - April 2007

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MO
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I am scanning the many magazines in the Barnes & Noble periodicals shelves, and I see the
word Drumhead on a magazine. I’ve been reading DrumHead since issue 2 and I buy each
Jonathan and Heather,
All right Jonathan, I’m starting to think
issue as they come out.
we were separated at birth or something
Have I read this issue?
weird?! (Only, you got ALL of the “playing”
I move the overlapping issues of Drum and Electronic Musician and what do I see... My
genes.) All of my favorite players have been
favorite drummer of all time...Billy Boy Bruford on the cover! I grab the issue immediately
in each issue so far?!?! How can that keep
and ...WHOA...HOLD ON NELLY....the rarest of rare drummers is being interviewed in the
happening? It’s like we have the same brain
magazine as well...Barrie Barlow from Jethro Tull.
or something.
I bought 2 copies! One issue is for reading and the other is for ‘exacto’ cutting the vintage
That was the BEST Bill Bruford article
photos of The Bruf and Barlow and framing them for hanging on my drum studio walls. All
I’ve ever read! 
Each issue just keeps getting
I can say is...Thank You...Thank You...Thank You. I can’t wait for Alan White to show up in
better – I know you’re tired of me writing
your magazine one day also.
after every issue – I can’t help it! Every
Keep up the great work!
article from Barlow to Bisquera to the Noble
Lou C.
and Cooley one, excellent!! You set yourself
apart by including pictures throughout the
Mr. Mover, Dear Team Drumhead, individual drummers careers (loved the old
  I’ve been a subscriber since I happened Many, many thanks for the excellent Barlow Ludwig ad!)
upon your publication’s second issue. I read Face2Face with Andy Newmark in issue 5. You said that we would be surprised  in the
just about every drum mag I can find and Andy’s a wonderful player, and it’s great to upcoming issues--let me see…. Copeland,
have been doing so for over 30-years. Your see him featured in such a lengthy interview. Bozzio???? Who can it be……..?
Face2face interviews are just fabulous in their (The opening groove on “Running Shoes” I am so glad that I subscribed for the
depth!!!!!!!!! I just love the Andy Newmark from The Pros and Cons of Hitchhiking was next 2-years – I can’t wait to read what lies
one and can’t wait for Bruford. So many one of the first parts I taught myself to play. ahead!
aspects of the magazine are innovative and Getting the right feel for it was tricky!) Bill F.
fresh. You’ve created a fabulous magazine These Face2Face interviews provide a PS – I loved the subtitle in the Bruford
here...(I think I may have already written fascinating “behind the scenes” look at the article – I am printing bumper stickers –
before to compliment you on it but it won’t creation of some incredible music, not to who’s with me????? “In Bruford We Trust.”
hurt to repeat if I have - drumming is my great mention an invaluable look into the life of
love, although I don’t have ‘professional- a professional musician. Andy’s thoughtful
level’ talent). Thanks. Your publication truly responses provide a refreshingly candid look
From Our Myspace Friends
I just finished reading the holiday 2007
is something I eagerly look forward to. Thanks at some of the most significant recording
issue and I think DRUMHEAD is simply the
for the inspiration!! artists of the last forty years. I can’t wait to
best drumming magazine out there today! I
Pete G.
 read part two!
loved the Bill Bruford interview - especially
Russ F.
the ‘pros and cons’ about his collaborations
BTW, I read Rhythm from England, and
Hi Heather, subscribe to Drum and Modern Drummer. 
throughout his career. I especially loved the
I have to say, with each issue, I become interview with Barriemore Barlow who I
Your publication stands head and shoulders
more and more impressed with Drumhead haven’t seen an interview with since around
above any of the above.
Magazine.  The articles are very in depth, they ‘79 or ‘80. He’s a huge influence on me and
always ask interesting and valid questions one of my favorite drummers ever - period.
(unlike a few other percussion prints who we Heather, Thanks so much. Keep up the fantastic
won’t name); and they give credit to some Thank you so very much. I already like this magazine for drummers.
drummers who seem to go unnoticed. publication better than the others and now mk
I gotta say, this is my new favorite drum I see why. Thank you for the great customer
mag. service. It just shows that everything there at Thanks for getting an interview with
Beau T. Drumhead is done professionally. Barriemore Barlow. Best drum magazine ever.
Stuart toadlunch

008
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Artist P.O.V.

Drummers

to
according

PA
UL
Rodgers
Words: Heather Smith

There are few artists who define

a genre of music: Paul Rodgers
is one of them. He is the voice
of rock ‘n’ roll. Since the start
of his career, rock’s burgeoning
‘60s, he’s fronted some of the
world’s most influential rock
bands, and written some of the
most popular rock songs ever.

Paul Rodgers | 2005 FRANK WHITE | Frank White Photo Agency

012
R
odgers and his British Cold Medina.”
blues-based band Free Free turned into Bad Company, which
stepped into the limelight Rodgers started with Mick Ralphs [Mott The
with their early hit “All Hoople] in 1973. Rodgers explains, “[When]
Right Now,” which by Mick and I formed Bad Company, Kirke
2000 had been played came along.” The band went on to achieve
over two million times resounding success with Kirke adding the
in England, and in 2006 backbeat to Rodgers’ powerhouse songwriting
passed three million plays in the U.S. Moving
on to form Bad Company in 1973, he went
on to write/co-write defining rock songs:
“Shooting Star,” “Feel Like Making Love,”
“Bad Company,” “Rock and Roll Fantasy” and
many, many more. The end was nowhere near
for the songwriter/vocalist/guitar player/
keyboardist working next with Jimmy Page
to form The Firm, and then The Law with
drummer Kenney Jones. Currently, besides
fronting his own band, he’s been the voice
of Queen, accepting the scepter after the
untimely passing of vocalist and icon Freddie
Mercury.
Jason Bonham Simon Kirke | BOB LEAFE | FWPA

“John’s
possibly
the best
rock ‘n’ roll
drummer
that ever
lived.”
Throughout his remarkable career, Paul John Bonham | LAURENS VAN HOUTEN | FWPA
Rodgers has worked with numerous great skills. During this time, the major British
drummers, Simon Kirke, Chris Slade, Kenney invasion bands were all touring, crisscrossing
Jones, Mitch Mitchell, Buddy Miles, Deen the world. One band they had the fortune of
Castronovo and Roger Taylor, to name a working alongside was Led Zeppelin. “John
handful. “I had a blues band called Brown Bonham was a really fantastic guy, I loved
Sugar, and I had a drummer in that band John,” says Rodgers. “In the very early days
called Andy Borenius, he was a great little of Bad Company and Led Zeppelin, we’d see
drummer actually,” reminisces Rodgers. them all the time. We didn’t actually tour
“When Koss [Paul Kossoff] and I formed together, but we’d sometimes cross paths
Free he brought Simon Kirke along. That’s while on tour in the States or in the U.K.
how I met Simon. They were already working We’d get up for a jam with each other and it
together in a band called Black Cat Bones. was always a momentous occasion. (Laughs.)
Paul Kossoff came along to the Fickle Pickle, John’s possibly the best rock ‘n’ roll drummer
we had a jam and I said to Paul right there, that ever lived. The way he could just nail a
‘We need to form a band.’” Forming Free with beat and hold it and leave all the room in the
Andy Fraser, the band launched into musical world, all the space in the world for everyone
history recording rock anthem “All Right else to shine. Then, when he got a break, he’d
Now.” The song has been used in advertising just unleash. WOW!”
(Gatorade and Monster.com), TV and film, His experience with the Bonham family
“The Sopranos” and American Beauty, and doesn’t end with John. On Rodgers’ recent
was even sampled by Tone Loc in “Funky Chris Slade | BOB LEAFE | FWPA tour supporting his DVD, John’s younger

013
 “One of
sister Debbie Bonham, “Came up and jammed
on ‘Can’t Get Enough.’ When she picked
up the tambourine and started playing it, I

the things
thought it was Bonzo for a sec, shooka shooka
shooka, it was just this great solid beat, she’s

I find that
got the same touch.” The family connection
discussion then moves on to John’s son Jason
Bonham. “I remember meeting Jason when

will spoil
he was a little boy,” says Rodgers. “When
he was 13 or 14, I would play in Birmingham

a song is if
where John Bonham lived, and John would
come to the gig, ‘You guys gotta come back
to my house, won’t take no for an answer.’

it tends to
So we all go back, you know have a little
party and stuff, and then Jason comes down

speed up.”
in his pajamas, he’s about 12-years old and
there’s a jukebox blaring away. He says, ‘Dad,
can I set the kit up and play along to “All
Right Now?”’ John says, ‘Well you can just
do one song and then you’ve got to go to bed.’ Roger Taylor | FRANK WHITE | FWPA
[Jason] sets his little kit up and he was rock
solid, and he was 12-years old playing those
songs.” Rodgers worked with the adult Jason
Bonham on Muddy Waters Blues: A Tribute
To Muddy Waters. “By the time he came to
make an album with me he was a mature
drummer,” Rodgers explains, “very much of
a grown up guy. He actually used a different
technique than his father. He wasn’t exactly
the same as John. John was very much a rock
drummer. When I think of the way he came
in on ‘Stairway To Heaven,’ I know he had
lots of subtlety. I think he taught Jason much
more wrist movement. He could almost get
into a jazzy feel.” The comparative difference
from father and son will always be made, the
former a blues drummer turned Herculean
rock god, the later a rock drummer with a

A
staccato feel and a lot more
wrist movement.

fter leaving Bad Company, Mitch Mitchell | LAURENS VAN HOUTEN | FWPA
Rodgers then formed The
Firm with Jimmy Page. Out rock direction.” When asked why The Law
of sorts from not just the didn’t continue after the one album, Rodgers
demise of John Bonham, says, “It was during a period of time when
but of Led Zeppelin as well, Atlantic was going through some changes up
Page began coming around top. There were many, many power struggles
to Rodgers’ studio in Kingston, England, going on, and we never really toured that
where he was recording a solo album. “One band, so it didn’t really take off. But I thought
day [he] brought a tape along and asked me we did some interesting things, particularly
if I’d write some lyrics to it. That became ‘Laying Down The Law.’”
‘Midnight Moonlight.’ Then we started to Involved in several different tributes to
write songs, and that’s how The Firm came Jimi Hendrix, Rodgers has worked with both
to be.” Page brought Chris Slade into the of the guitarist’s drummers: Mitch Mitchell
band along with bassist Tony Franklin. Still (The Jimi Hendrix Experience) and Buddy
friends, Slade often joins Rodgers on stage Miles (Band Of Gypsys). With Mitchell he
when performing in LA. performed three Experience Hendrix shows
The Law, Rodgers’ band with Kenney in 2004, “I love Mitch, I always loved The
Jones, was the one band he formed around Experience,” explains Rodgers. “Although he
the singer and drummer. The idea was to was a beautiful jazz drummer, he was very
bring in musicians to fill in the remaining capable of some very intricate patterns. I
slots, depending on “If we wanted to go in the think it was Noel Redding [bass] that actually
soul direction or a blues direction or a flat out Kenney Jones | BOB LEAFE | FWPA kept time a lot of the time. He’d be dum

014
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“I do like to let drummers express
themselves within the context of
the song and find their own groove.”
“crisp” sound. Available for the gig, Rodgers
describes Hoyle as, “Quick on the uptake. It’s
not brain science but you do have to be pretty
sharp whether it’s three or it’s four, and he’s a
lot of fun to work with. He was very creative
on the newer material too, which is always a
boost.”
When touring his solo album Rodgers
turns to his “gentle giant” Jeff Katham. a
man “with a huge heart” who has worked
with Rogers for 9-years, and came from a
California based Free tribute band.
So what is it that a man like Rodgers looks
for when he chooses a drummer? “I look for
that groove. I know that’s a little bit vague,
but I look for that...that someone [who] can
sit behind the kit and just nail it straight
away. One of the things I find that will spoil a
song is if it tends to speed up. If you can hold
back that time and come in after the chorus
Ryan Hoyle | FRANK WHITE | FWPA
without having sped it up; ‘cause I do find
that when you play a song too fast it makes it

Selected Discography frivolous. For me it loses it’s intensity and its

power. For example “Feel Like Makin’ Love,”
we actually discovered with Queen, that we
play it in two tempos, when Roger suggested
that to me I said, ‘Well can you do that? Can
you play the verse in one tempo, and then
actually play the chorus in another?’ And
it really worked amazingly. Instead of just
leaning back, you pull it way back. Those are
the things that a really good drummer will
automatically understand. It keeps everybody
else on their toes. When I wrote that song all
Jeff Kathan those years ago I never thought it could be
Roger’s an incredibly talented man. Working played differently and improved upon from
dum dum through it and they’d [Jimi and with Queen, Roger and Brian, they’re very its original version, but I think we actually
Mitch] do this amazing thing where they’d avant-garde and very forward thinking. did manage that.
go into an explosion and then come out on the They’ve got a wide scope of creative ideas, “I do like to let drummers express
beat. They had a feel going on between them and they are willing to try anything and go themselves within the context of the song
that put a twinkle in your eye. It was almost anywhere with different musical ideas. Some and find their own groove. I’m very open to
avant-garde the places they went. It was so of the things he’s [Taylor] played me that working with them on that. As a singer you
out there, it was beyond time somehow. Yet we’re in the studio right now with absolutely can play with the beat too. You can sing ahead
somehow they’d come back out of this blur blow my mind. He’s not really very technical of the beat, you can sing on the beat, you can
together. That’s his style of drumming and in my description of drummers, I just know sing behind the beat, you can push it, you
it’s a very cool technique that he has. It was what I like, he adds something that is just can pull it back, and it’s great to work with a
great, great to play with him. It was nice to very tasteful and at the same time, very drummer that’s understanding. I believe it’s
make eye contact with him, and have a little powerful.” a musical conversation that we’re having.
smile about what was going on.” Able to pick any drummer from any stage We’re talking to each other through our
Recently the mantle of Queen vocalist was in the world, has its advantages. When instruments.”
passed to Rodgers, allowing him to work with Rodgers was looking for a drummer to
Roger Taylor. Welcomed by fans worldwide, record his recent DVD and U.K. tour he made WEBFOOT
in his ‘new’ band, he found that Taylor is, inquiries to using Collective Soul drummer
“a fantastic drummer, a songwriter, he’s a Ryan Hoyle. Having seen him perform on the paulrodgers.com wikipedia.org
great singer, and he’s a very creative person. band’s DVD, Rodgers was impressed with his myspace.com/paulrodgersthevoice

016
 BROOKS WACKERMAN / BAD RELIGION / 9002 DOUBLE PEDAL

©2008 Drum Workshop, Inc. All Rights Reserved.

 Phil
&
Chester
Collins

Thompson
Turningit on
Again INTERVIEW: MOVER
PHOhotos: Richard pierce

018
© Armando Gallo / Retna, Ltd.

019
PhilC
020
ollins
T
here’s a long-held belief that superstardom comes with a
price. If so, the cost to Phil Collins may be that his profile as a world-class
drummer has been partially eclipsed by his role as a superstar solo artist
and singer of Genesis.
In 2007 Mike Rutherford, Tony Banks and Collins re-united after an eleven
year hiatus (with longtime live members guitarist Daryl Stuermer and
drummer Chester Thompson rounding out the lineup) for a stadium tour. When Phil and
Chester performed side-by-side for their nightly duets, the musical chemistry hypnotized
audiences and served as a reminder that Phil is a drummer, first and foremost. Legions of
fans adore Collins as a front man, but many of us want to see him playing more drums live.
Whenever Collins does jump on the kit, there’s no getting away from the fact that drums are,
in his words, his “Main tool of creative expression.”
Collins has always had the luxury of choice when it comes to his creative outlets. A former
child actor who starred on the London stage in Oliver! and appeared in a brief role in the
Beatles’ film A Hard Days Night, Collins seemed destined for a career in the dramatic arts.
However, he was simultaneously cultivating his burgeoning skills as a drummer from an early
age and was involved with several London-based rock bands throughout his teens.

J oining Genesis in 1970 at the age of

19 after the release of their Trespass
album, Phil proved to be the perfect
timekeeper for their pioneering
progressive rock.
heavily on drums and sung with raw emotion
it was the first of several hugely well-received
solo albums (between 1984 and 1990, he had
a run of 13 consecutive U.S. top ten hits)
and made him one of the most recognizable
“Miami Vice”); drummed for Robert Plant,
Eric Clapton, Tina Turner, Frida [Abba]; and
became an in-demand producer for Phillip
Bailey [Earth Wind & Fire], Clapton, and
various other artists.
As a part-time member of the highly- voices of the decade. Singer, composer, producer: whatever
acclaimed English fusion outfit Brand X Collins was everywhere in the ‘80s: he his role, Collins has consistently played
during the ‘70s, Phil exposed a jazzier side dipped back into acting during that period drums on all the albums with which he is
to his playing while he also he built a sterling (appearing in the feature film Buster, and TV’s involved. “I find it odd that I don’t appear in
reputation as a studio musician, appearing drum polls these days,” he commented in an
on albums by artists such as Robert Fripp, earlier interview. “People seem to think I’m
Argent, Brian Eno, Adam Ant, John Martyn not a drummer any longer. Drums were the
and Thin Lizzy, to name a few. beginning of everything for me. Even if I’m
When original Genesis singer/co-founder out front singing with Genesis, I still consider
Peter Gabriel quit in ‘75, launching what myself the band’s drummer.”
would eventually become a brilliant solo This is sharply evident on the DVD for Phil’s
career, Phil stepped in as his replacement. 2004 solo tour [Finally. . . The First Farewell
With Phil singing and drumming on the Tour]. The show opens with Phil crafting a
albums, the band’s popularity soared to transcendental solo that which transfixes the
multi-platinum status in the ‘80s and into audience. Then Chester Thompson joins him
the ‘90s, although their sound took on a for their dazzling double act. Drumming of
decidedly pop flavor during that era. this caliber has got to be the most enviable
Gabriel wisely invited Phil to play drums job on the planet.
on his 1980 solo album (referred to as ‘three’ Mover had the pleasure of meeting Phil
or ‘melt,’ as his albums were then untitled). Collins backstage at a sold-out Genesis show
Dispensing with cymbals, Phil’s stripped- at Giants Stadium last September. Drummer
down drum sound became instantly to drummer, Mover got the exclusive story
recognizable. on Genesis’ original plans to tour last year
That haunting, primeval drum vibe (reputed to have been a reunion that was to
resonated on Collins’ very first solo include Peter Gabriel and original guitarist
album Face Value (’81). The album was a Steve Hackett), Collins’ hearing loss, and his
stratospheric success (the first single was the remembrances of things past and present.
massive hit “In The Air Tonight”), relying And trust us; it’s all about the drums.

021
Mover: You have an incredibly distinct
playing style. Who did you grow up
listening to and how did your sound and
style develop into what it is today?
Phil Collins: I think probably it was
due to the fact that I was listening to a lot of
different types of music. It’s like the saying ‘It
goes in here and comes out there’ (pointing
into one ear, then the other).
It was in the ‘60s, I started playing when
I was five years old. I got a drum when I was
three, I started playing a little drum kit when
I was five, and that’s all I ever wanted to do
from that moment, although not seriously
until I was 12 or 13 which is when the Beatles
started. Prior to the Beatles of course there
was early rock ‘n’ roll which my brother and
sister, who were older than me, were listening
to. So music was always around.
Certainly from ‘62, ‘63, ‘64, I was listening
to old soul records from Atlantic, all of
Motown and all of the pop that was around,
whether it was the Beatles or the Hollies. I
was also listening to A Love Supreme, by John
Coltrane. I also heard the “West Side Story”
medley and Buddy Rich, and that blew me
away. I was actually going to see all of the
bands at The Marquee (London music club). I
used to sweep the floor of the Marquee Club,
the manager used to let me in because I was
always there. “I could put on my John
So I think the long-winded answer is
basically I was just listening to everything, Bonham hat, I could put on my
Keith Moon hat or my Ringo hat and
and so you couldn’t really pin one particular
person or one particular genre on me. Keith
Moon, Ginger Baker, Robert Henrit with
Argent, and Bobby Elliot with The Hollies,
they all influenced me. I could put on my John
I wasn’t shy about doing it.”
Bonham hat, I could put on my Keith Moon
hat or my Ringo hat and I wasn’t shy about JM: Did you get a concert tom kit or just to teach me at school. He was a good friend
doing it. Because I listened to all of it, it just take the bottom heads off? of mine. I haven’t seen him for years. He sold
seemed very natural to me. PC: No, I didn’t take the bottom heads off. me his Gretsch kit around the time they did
The sound, I’m not sure. I know that I have Woodstock, and then he left. I still have that.
it, the ‘sound’ thing, that’s obviously been JM: Real concert toms, like the old It’s been changed a few times, but I think
caricatured by “In The Air Tonight”. Octoplus. they’re distinctive.
PC: Oh those things, yeah, I remember that. For the single-head toms, it started with
JM: Your style as well, they’re both very Cobham used to play those. No I didn’t go for that ‘barking’ sort of sound and then that went
distinctive. those, although I was wild about Cobham in to the nth degree on the Gabriel stuff and the
PC: I’d like to think so. I’ve played with those fantastic Mahavishnu days. early solo albums. We always used to break the
Clapton in his band for many years and for I’ve got quite a few drum kits that sound down, me and Hugh Padgham (Genesis
me, he had that. You’d know when it was him, accumulated over the years, and I’m quite producer/engineer), who I worked with on
and his personality comes out in the music. happy to play a double-headed kit. I’ve got a so much of the stuff. Everybody thinks you
As for the sound, I am one of the few that uses lovely Premier kit, a double-headed kit from just lift it up, and do the same thing everyday.
concert toms. way back, and I’ve still got my first Gretsch kit But we always changed something because
which is double-headed. we didn’t want to be the same either. People
JM: Sonically, there was a big difference say that there is THAT thing. But actually
between Wind & Wuthering and And Then JM: When I saw you at Carnegie Hall with if you listen closely, there’s lots of different
There Were Three with the transition to the big band, you played a double-headed variations of live-ness and all that stuff.
concert toms. kit, a more traditional approach for jazz.
PC: Wind & Wuthering... I think that was PC: That was a new kit, but I still have the JM: On a lot of the Genesis music that
probably the Premier double shells that they one I bought from Bruce Roland when he you have writing credits on, especially
had out for awhile. I can’t actually remember, was with Joe Cocker. He actually played it in that middle-era of Trick Of The Tail,
certainly probably around that tour was when at Woodstock when he was in the Grease Wind & Wuthering and And Then There
I made the switch. Band (Cocker’s backing band), and he used Were Three, it’s extremely rhythmic stuff,

022
 brought you to do that, and how did
you do it in terms of recording the two
individual performances?
PC: On Duke I double tracked myself. The
whole album was a big step forward for us
because when we recorded it, it was before
I’d done Peter’s [Gabriel] third album, it was
before I’d done my solo album, but we were
already leaning towards a very ‘live’ sound
We recorded it in Polar Studios in Sweden
and they had a fantastic glass drum room.
“Duchess” and all the drums sound pretty
good on that record, “Duke’s Travels” too. We
just kind of suddenly went stereoic and I just
overdubbed to myself.

JM: So you laid out the kit in a regular

stereo fashion and then went back in and
double tracked it?
PC: Yeah. And this was before automation.
GEARBOX
Drums Hardware JM: You mentioned Peter [Gabriel] earlier.
Gretsch USA Custom - Nitron Black Finish Old Ludwig Speed King Pedal Lots of rumors have been circulating
8” X 5 1/2” Rack Old Slingerland Hi-Hat surrounding the fact that he didn’t do this
10” X 6 1/2” Rack Old Premier & New Yamaha cymbal stands
12” X 8” Rack Sonor snare stand
latest Genesis tour. Many people heard it
15” X 12” Rack Heads was going to be a reunion tour with the
18” X 16” Floor Remo early/mid-70s lineup. What happened?
18” X 18” Floor Kick - Smooth White Ambassador PC: It will be revealed when we get the final
20” X 14” Kick Snare - Coated Ambassador
DVD documentary out. But in brief, I had
Noble & Cooley 8” & 10” Racks - Clear Diplomats
14” X 4 1/5” Snare 12” & 15” Racks - Clear Ambassadors been doing interviews for the tour since the
Cymbals 16” & 18” Floors - Clear Ambassadors Dance Into The Light album which was also
Sabian Sticks when the first Gabriel-era box set also came
15” Hi-Hats Promark out. I just kept saying, “Maybe someone will
18” HH Medium Thin Crash brilliant finish Phil Collins Model
18” HH Medium Thin Crash brilliant finish Electronics
call to get the five of us together again.” And
20” HH Medium Thin Crash brilliant finish Roland Fantom XR & Roland TD-12 this started the whispers snowballing and
21” HH Raw Bell Ride Kat triggers snowballing until eventually Steve [Hackett]
22” HH China w/ rivets brilliant finish Simmons SDS5 sounds heard about it, Peter heard about it, and when
we were getting together to do interviews
very drum oriented. On tracks such as to Borboletta and “Promise Of A Fisherman” for the box set, I would sit down and discuss
“Los Endos,” “Dance On A Volcano,” and and that’s kind of a real cool jazz version that it and we’d kind of talk ourselves out of it.
“Wot Gorilla?” are you composing from became “Los Endos.” Sometimes we felt keener about it than
a rhythmic place? Meaning, do you first others. In 2004, Pete gathered with the rest
come up with an amazing ‘out’ groove, JM: Interesting. So you had things that you of us to talk about the 30th anniversary of The
then write something to it, or do you wanted to express and play on the kit, and Lamb [The Lies Down On Broadway], and that
actually think melodically with a rhythmic wrote music in order to do it. was really what we were talking about doing,
twist? PC: Yeah. We said one day in rehearsal that, something to celebrate the 30th anniversary,
PC: Up until that point, even though I was “We should be doing this. . .” Then people re-releasing it in 5.1.
singing with the band, I was a player first and would start playing and somebody wrote a We arrived in a hotel room in Scotland to
foremost. But my whole life changed with my song out of that idea. talk about it. Peter was keen, but he still had
first divorce. I went through that experience, his album to finish and still had a tour to go
then I started writing songs. The way we used JM: You mentioned Weather Report which with it. The album still has not come out and
to write for the last few albums was to sit in a obviously brings Chester to mind. At we’re in 2007. Really, that was three years ago,
room with nothing planned. I was always a big the end of “Duke’s Travels” there’s that November 2004. And that still might happen
Weather Report fan, a big fan of Joe Zawinul massive linear drum fill which you just at some point. When they left, Steve and Pete,
and the various drummers in that band. So played at sound-check, the same one we just sat there and said, “Well, that was a bit
that “bap bap, zigga bap” (singing the “Wot on Seconds Out. Did you get that from of a strange meeting, I thought we were going
Gorilla?” drum groove) is a Weather Report “Trouble Every Day” [Zappa]? to decide when we were going to do it, not if.”
riff really. PC: Yeah. We’ve put it in a few places. We do At that point I looked at Mike [Rutherford]
I would always try to bring that in, because it in “Afterglow” and then we do it in “Duke’s and said, “This is the Genesis that most
it’s just something that we never did. We were Travels.” people know. Do you fancy doing this tour
a song band, kind of progressive and I was with just us?” We could see that it was going
trying to stretch out. “Los Endos” for example, JM: Speaking of Duke, I really love the to be a lot of negotiation to present this thing
is my version of “Promise Of A Fisherman.” double drum tracking. It blew me away with all five of us. But it still might happen.
That’s Santana, it’s on Borboletta. You listen when I first heard it, and still does. What A lot of people think that we organized this

024
“With Steve and Pete, that’s a drums full time, as you used to do?
PC: I don’t miss it particularly. I mean I love it

separate thing that may still happen. when I do it. But the producing, well I’ve had
really a bad hearing loss in one ear, from a viral

I’d love it to happen, I’d love infection. Nothing to do with playing, but
it took away selected frequencies in one ear.

to get behind the drums and It’s called sudden deafness. This happened in
2000, so I’ve only got one and a half ears.

play. It would be fantastic.” People would have to be very brave to take

me on as their producer. Once you get under
the umbrella of hearing problems, as you
tour, asked Peter and he said, “No.” Like we recordings you’ve played on: Eddie Howell, know, people tell you different things like,
threw a party and he didn’t come, and it’s not John Martyn, Eno, Brand X, Robert Plant, “Oh, you’ve got tinnitus.” You try to tell them,
like that at all. Nova, Camel... With your incredibly “No, this is something else.” 
So it’s a separate issue, getting the five- successful solo career, as well as all the
piece with Steve and Pete, that’s a separate production work, do you miss playing JM: You mentioned Weather Report
thing that may still happen. I’d love it to
happen, I’d love to get behind the drums and
play. It would be fantastic. Pete’s very precious
about his career because he’s obviously built
something that’s quite fantastic. 

JM: I hope it comes around. Seeing you

play at Carnegie Hall with the Big Band
was a delight. Having you on drums all
night was just great and with Genesis, it
would really be something.
PC: With the Swing Band, yeah that was
great.
I wanted to record that whole ’98 Big Band
tour, which we did during the ‘96 portion of
the shows. In ‘98 we were recording in Europe
everywhere we played. When we arrived in
New York at Carnegie Hall I thought, “I’m
playing Carnegie Hall! We’re going to record
tonight, right?” The guy there answered, “No,
you can’t record here. It’s going to cost you to
record.”

JM: Mr. Union.

PC: Yep. So I said, “Nothing? Not even a DAT
for me?” And he said, “Nope. I can give you a
cassette from that mic up there. That’ll cost
you a couple thousand dollars, but I can do
that.” I said, “Alright, well I’m only going to
play it once probably.”
So I took it and back at the hotel after the gig
I put this cassette in and suddenly we sounded
like The Count Basie Orchestra, with that one
mic above the band and everybody balancing
themselves. This one mic was the recording. I
took this cassette and when we finally mixed
the Big Band CD, A Hot Night In Paris, I put
the cassette on for Don Murray[producer/
engineer]. I said, “This is what I want it to
sound like.” So he put all the tracks back
out through Capital, which is the studio
where Sinatra used to record. Everything was
recorded like they would have done back then,
in a very complicated way, but it ended up
sounding a little bit more traditional: the
Buddy Rich kind of band sound.

JM: I’ve collected so many of the

025
earlier. Was it Chester’s playing on Black
Market that convinced you he was right Solo
for Genesis?
PC: It was the Zappa Live album really. I’ve
always liked Zappa, he was always kind of
interesting, though I never saw him live.
That album Live At Roxy [Roxy & Elsewhere]
was fantastic and when I heard that stuff
he did with Ralph Humphrey I said, “That’s
incredible. That’s it… I want that. I want a bit
of that.” (Laughs).
So I rang Chester, and he’d heard of the
band I think but we’d never met, and he
actually joined the band without the other
guys having met him (laughs). Day one of
rehearsal, no one had met him. You know, he
just walks in and says, “Hello, I’m your new
drummer.” (Laughs).
That’s kind of weird to think it could happen
like that. I can’t imagine that happening now.
You can’t imagine a guitar player coming in
from nowhere. Like Daryl [Stuermer] walking
in just saying, “I’m you new guitar player,”
without some kind of audition. I mean Mike
even auditioned Daryl.

JM: What does Chester bring to the table?

Obviously there’s a groove and technique,
but what specifically?
PC: It’s very difficult for me, because I’m
always going to be (motioning like he’s turning
around on stage, having to keep an eye on the
drummer) which I’m not really doing with
Chester. If it wasn’t the right thing and he
wasn’t the right drummer, I would always be
turning around just out of habit. You know,
“What was that?”
But that never happens, unless a stick
comes flying by (laughs) or occasionally he
stops in a place where he shouldn’t.

JM: I haven’t seen the show yet, but I do

know the two of you are banging on a
couple of bar stools.
PC: Basically we’ve always written our drum
duets in a hotel room. He’d sit on one chair,
and there’d be a chair between us and we’d
play and record it on whatever the technology
was available at the time.
In Brussels, when we started rehearsing in
June for this tour, we did it in my room where
there was a leather stool, because that was all
that we had available.
This is all going to be on the documentary
that’s coming out so it’s kind of interesting to
see. We listened to it and it just sounded really
powerful. Had a chat about it and decided,
“Why don’t we just do this?”
I realize we’re in Stomp territory just kind
of playing on other things, but it’s different WEBFOOT
because it’s literally the way we’ve always
philcollins.co.uk genesis-music.com
done it, banging on the furniture.
drummerworld.com imdb.com
So it kind of feels like the right thing to
finish with.

026
GENESIS

Sessions

027
CThester
hompson
© Armando Gallo / Retna, Ltd.

028
W
ith freewheeling versatility, Chester
Thompson has bridged the gaps between jazz, rock, R&B and
Soul drumming, while thriving as a session and live player in the
music industry for more than three glorious decades.
When asked to explain the provenance of his playing, he once
commented that “It comes from God. You just close your eyes and
let Him take over.” Witnessing Thompson live, there does indeed seem to be a higher power
at work.
Born and bred in Baltimore, Thompson was raised on jazz and soul, with Elvin Jones, Tony
Williams and Max Roach inspiring him to develop his own uniqueness. At 13, Chester was
already gigging on the Baltimore club scene and by his mid-teens, his reputation was well
established within the local session community, having already played with regional and
national acts.

F rank Zappa and The Mothers of

Invention were the pinnacle of
experimentation and virtuosity,
their compositional adeptness and
penchant for mind-boggling time signatures
triumphant live solo tours throughout the
‘80s and ‘90s. Chester released his first solo
album, A Joyful Noise (’91) to critical acclaim
while also playing sessions for artists such as
Neil Diamond, George Duke, John Fogerty,
Jonathan Mover: Here you are, back again.
Chester Thompson: It’s been fifteen years.
The last tour finished in ’92.

JM: At that point you were still in LA?

legendary. In 1973, Frank Zappa drafted Donna Summer, Duane Eddy, Michael CT: Yeah.
Chester in to further augment the rhythm McDonald, and Steve Hackett.
section already inhabited by the formidable Genesis reformed in 2007 for their Turn It JM: And then off to Nashville. Did the
Ralph Humphrey. It was a challenging gig On Again tour, with Chester’s pulse-racing move there have anything to do with you
in terms of live preparation, yet Thompson rhythms and inventive fills converting knowing that it was possibly the end of
thrived on the road and in the studio on audiences worldwide into true believers in Genesis or perhaps a very long break?
landmark albums such as Bongo Fury, One the power of rock drumming. CT: No, it had nothing to do with Genesis.
Size Fits All, Studio Tan and live It was a combination of things. I certainly
albums You Can’t Do That Onstage wouldn’t have chosen Nashville (laughing).
Anymore and Roxy and Elsewhere. I say jokingly, it was an act of God. I
From the exalted realms of Zappa, actually went there for Larrie Londin’s funeral
Chester moved on to the musical and got in a day early, drove around, got the
ecstasy of Weather Report, debuting addresses for the funeral home, the church,
on what many consider the band’s the cemetery. I wanted to be able to move
finest album, Black Market (’76). around know where I was going. Driving
When he joined Genesis in around looking at the area, I just fell in love
‘77, Chester became familiar to with it.
mainstream audiences. Phil Collins I went back to LA and mentioned it too
needed to fill the drum chair for the many times to my wife, she thought I’d
band’s Wind and Wuthering tour completely lost my mind. Next thing you
while he stepped up front to sing, know, a few things happened to confirm that
replacing Peter Gabriel. Thompson it was the right way for us to go.
had been approached by Collins, (who We all flew down - my wife, our son and
was already a fan) and offered the gig me - looked around, and within a week,
without needing to audition. With we’d bought a house, registered my son in
little more than a week to learn all of school, went home and started packing up
Phil’s parts for the ’77 tour, Chester the house.
worked night and day to nail every
riff and fill as they were originally JM: Did it lead to more session work, or is
conceived on the earlier albums. it a completely different scene than you
Thompson continued with had anticipated?
Genesis for the next decade-and-a- CT: It was probably the worst disaster, work-
half, as well as joining Collins for his wise that I’ve ever encountered (laughs). But

029
 there’s no comparison between your
playing on a track such as “Black Market”
compared to Zappa’s “Approximate,”
which was pretty serious for the time.
How did the Zappa chair come about and
how did you prepare for such a heavy gig?
CT: Marty Parellis, Frank’s tour manager at
the time, was a friend from Baltimore. I guess,
the band was incredible, but apparently
Frank thought that it had gotten a bit sterile.
Everything was played to such a level of
perfection that he didn’t feel like it had any
sort of grit to it. As I understand it, he was
looking for somebody that had, as he put it,
“A street feel.” So I got a shot at an audition.
My audition was a little different from the
stories you hear. Basically we jammed for
about an hour straight without stopping. We
just drifted in and out of so many different
kinds of feels and grooves, it was amazing.
We played everything from blues to shuffles
to hard rock to some fusion jazzy kind of
stuff. After we played for about an hour, Frank
turned around and said, “You got the gig.”
And then a couple of days later I heard the
whole band together and it scared the pants
off me.

JM: So you didn’t play with Ralph

[Humphrey], only Frank?
CT: No, not with Ralph. It was just the rhythm
section; Frank, Tom Fowler (bass), George
Duke (keyboards), and the singer, Napoleon
it was a great family move. My son’s done very CT: Well I had done that with Zappa and it [Murphy Brock], we started at the same time
well, he finished high school, finished college, was pretty clear from Phil in the beginning basically.
and he’s now married with his own family. So that he really wanted to find someone that he So yeah, it was just us, just a small group at
it’s really been good. could lock with, a drummer that didn’t have first. We were working on a couple of songs,
issues with sharing the chair. I said, “I’ve a few of the things in 4/4. And at that time
JM: Now Genesis is back, 15 years after the already done that.” Basically, Phil and I locked in Baltimore, I’d actually played a pretty
last tour. Is there anything vastly different immediately. Even the first day of rehearsal, fair amount of odd times, but nothing ever
now compared to then? we just started jamming as everybody was prepared me fully for that experience.
CT: Everybody’s a lot more relaxed. And I setting up gear, we were just going for it.
think we’re probably having more fun than we Immediately it started feeling really good.
ever had. It’s been. . . let’s just say we laugh a
lot more, which is a good thing. JM: Once you’ve listened to and learned
the studio recording, is it an open door for
JM: When you first got the call from Phil, you creatively? How closely do you feel
did you know who he was, were you you need to stay to what Phil played?
familiar with Genesis? CT: I’m under no illusions about why I’m
CT: Yeah. Alphonso Johnson was a pretty big here. Basically I learn it as close as possible
Genesis fan. We did a Weather Report tour in to how he did it. But that’s not necessarily
Europe, and at the last concert in London, Phil the requirement. Phil’s a writer, so very often
came to see us. Alphonso used to play Genesis there are certain fills that are considered part
a lot on his his big Sony cassette player that of the composition. I get a handle on those
had speakers. We were on trains a lot so he first, then I bring my own things in. If you
would play The Trick Of The Tail album all the listen to any gig tape from the start of the tour
time. I only knew them from that. to the end of the tour, the songs usually have
quite a different personality. Daryl brings
JM: Did you know what you were getting something different to it just like I bring
into? something different to it.
CT: Not fully, only very little in actual fact.
JM: You’ve had some extremely
JM: As far as the double drum format, did prestigious gigs in the past. Playing with
you think this was going to be the set-up? Weather Report is very impressive, but

030
 Phil Collins

www.Gretschdrums.com
KMC., P.O. Box 507, Bloomfield, CT 06002

CHESTER THOMPSON
www.Gibraltarhardware.com KMC., P.O. Box 507, Bloomfield, CT 06002
JM: I’m curious, when Frank threw some gorilla” instead of “She’s a gorilla,” and it stuff he wanted to do on that last tour were
of that heavy stuff at you -- and probably stuck. just completely and totally against everything
the same with Ralph, who had a hell of a One day we rented a TV studio and we I believed in and I just couldn’t do it. It was
background with Don Ellis -- how did you taped what eventually became Dub Room pretty much anti-Christian, anti-religion of
jump into those charts and read all of Special. Our tour manager, Marty Parellis, put any kind, and I just didn’t care to go there.
those figures, the quintuplets and 11’s and on a gorilla suit and then sneaked up behind The music was always interesting, as usual,
so on? me while we were doing that song. This was but for me it was deeper than that and I
CT: It took a lot of work. I had no problem just back in the days of the big afro, and I had couldn’t support it.
playing time signatures, it was getting used to my comb in my back pocket. He pulled out
subdividing that stuff in the middle of a bar my comb and started playing with my hair. I JM: When Phil decided to leave Genesis,
or across a couple of beats. Then there were turned around and saw this gorilla, but I had the result was the album Calling All
times Ralph and I would be playing polymetric to keep playing. And there’s this one moment Stations. Was there any talk… an offer or
stuff, sharing ‘one.’ That took some getting on the video when I’m in sheer terror. But you any interest of having you be a part of it?
used to as well. I didn’t get very much sleep can’t stop playing... so I didn’t stop. CT: They wanted no part of anything from
that first month of the gig (laughs). the past. Although I can’t really say there
JM: There were rumors that Frank were no ties to the past, because I think they
JM: And Chester’s gorilla…explanation wanted to reassemble the band with were trying to get back to the sort of Gabriel-
please? you, Napoleon and the others. Was that era Genesis. The more progressive rock kind
CT: (Laughs) It’s just one of those inside something that was really happening? of stuff. But no, they weren’t interested in
fluke things that happened in the middle of CT: Frank did ask me to do the last tour that continuing as they had during the previous
rehearsal. The lyric was, “She’s a gorilla, she he actually ended up doing (before his death). few years.
goes…,” and then Ruth Underwood would I was up for it. I went to his house, and the only
always play the duck call. No matter what reason I didn’t do it was due to the fact that by JM: This situation that you’re in with
animal it was, she would play the duck call. then I’d become a Christian, and Frank had Phil and Genesis is obviously a very
One day in rehearsal it came out as “Chester’s a real issue with religion. The lyrics and the prominent one. Is this what you aspired
toward? Is this where you thought you’d
be, a monster progressive rock drummer
playing to a crowd of 80,000 tonight?
CT: I just like to play, I don’t care where. I
mean, I’ve been really blessed, very fortunate
career-wise. Obviously there are dreams and
goals, some of which have been fulfilled, some
of which haven’t even been touched yet. So
what I’m trying to say is that hopefully this
ain’t the end by any means.

JM: I certainly hope not.

CT: I do appreciate this and do not take it
for granted by any means. I’m grateful and
I’m really glad to be here. But if you catch me
at a jazz club with an acoustic quartet, then
I’m just as happy. I do as much of that in life,
maybe more, as the other stuff.

GEARBOX JM: What’s on the horizon, maybe another

Drums Hardware
DW Exoctic Twisted Rainbow Wood DW
solo record?
22” X 18” Kick 9000 Series Hardware (Gold) CT: Yeah I’m finally working towards that.
22” X 18” Kick DW9000 Pedals & Hi-hat It’s umpteen years later since I did the first
8” X 8” Rack Gibraltar one. I’ve come close a couple of times but my
10” X 9” Rack Rack (Gold)
musical tastes change.
12” X 10” Rack Throne
13” X 11” Rack Heads I’ve actually been studying composition
14” X 12” Rack Remo and arranging the last few years. I’ve been
15” X 12” Rack Kicks - Pinstripe / Black Ambassador front teaching at a university in Nashville, Belmont
16” X 16” Floor Toms - Clear Ambassador Top and Bottom University, and while teaching there, I’ve also
18” X 18” Floor Snare -Reverse Dot Coated Ambassador
been taking classes. It’s one of those things
14” X 6 1/2” Craviotto Snare Electronics
Cymbals Roland V-Drum PD-105 Tom Pad where I never actually finished a degree and
Sabian Fantom-XR Synthesizer/Sampler one day it hit me, “I’m in a university, when am
21” Prototype Ride RT-10 Acoustic Drum Triggers I gonna do this?” So I’ve been taking classes,
18” Prototype Crash Dr. Beat
and I’m now officially two classes away from
18” O Ring China Percussion
18” HH Extra thin Crash Meinl a degree. I also decided to take a year studying
16” Prototype Crash Shakere, Bongos, Tambourine arranging and did some composition study as
15” HH Sound Crontrol Crash Sticks well. So I’m really looking forward to going in
12” HHX Splash Regal Tip a whole different direction than I did before,
14” AA Rock Hats Chester Thompson Model
than I’ve ever done in the past.

032
 Selected Discography

Chester On...
Moving to Nashville -
“It was probably the
worst disaster, work-
wise that I’ve ever
encountered.”
Playing drums –
“I just like to play,
I don’t care where.”
Playing with Zappa –
“It took a lot of work.
I had no problem just
playing time signatures,
it’s getting used to
subdividing that stuff
in the middle of a bar or
across a couple of beats.”
His role in Genesis -
“I’m under no illusions
about why I’m here,
so basically I learn it as
close as possible to how
Phil did it.”
His career -
“I do appreciate this and
do not take it for granted
by any means.”
WEBFOOT

chesterthompson.com genesis-music.com
drummerworld.com united-mutations.com

034
035
MAROON 5’S

Great Taste,
Less Fill
WORDS KELLY KING
PHOTOS LEANNA BATES

036
037
 t’s a familiar story. A band is doing well and poised for superstardom. Seemingly
out of nowhere, a new drummer is chosen. The band’s popularity explodes
and it becomes bigger than anyone dreamed, with this new
drummer’s sound and feel helping to create a new chemistry for
the group. Sounds familiar? Ringo Starr..? Neil Peart..? No, this
time it’s Matt Flynn taking over the drum chair for Maroon 5.

Whether or not you’re a pop music fan, there’s no denying Maroon 5’s DRUMHEAD: What was New York City’s
accomplishments. In a time when the music business is struggling, allure?
this band has had major success in both record sales and touring. Just MATT FLYNN: I had a friend who persuaded
as undeniable is Flynn’s groove, feel and ability to drive the band. Matt me to move initially but then I discovered
has chosen the direction of drummers, such as Don Henley, Dave Grohl that there was such a great scene there. It
and Steve Jordan, who prefer to play minimally for the song and not to takes a little time to find them, but when you
impress the crowd. Don’t make the mistake of labeling him a one trick finally do, you can see some of the greatest
pony, he’s got some serious chops in his arsenal. Making music is his musicians in the world.
top priority, not flashy licks. You might catch him at the Baked Potato
(with Mike Alozondo) or at your local major concert venue but at either DH: What kind of stuff were you into
location his feel is infectious. Tall, lean and well spoken, his personality back then?
behind the kit is the same. It’s odd that a guy who is so heavily into MF: I was heavily into Stephen Perkins. I
players like Stephen Perkins and Elvin Jones would end up becoming even went through a Bow Wow Wow thing.
such a minimalist. No snare strainer turned on and crazy tom
beats. It was cool because I learned a lot
Matt Flynn grew up in Northern California. His family about overplaying going through that. I used
wasn’t what you would call particularly musical, although to record every rehearsal. I would play all
his mother was a piano teacher and taught him to play, and these wild things, just going for it all the time.
he was already begging for drums as early as age three. By Technically really cool stuff, but I’d get tired
the time Matt reached age 10, they relented and took him and just play a straight beat for awhile. When
to local drum teacher Rich Herns. Herns instructed Flynn I listened to the tapes I began to notice that
to prepare page one of Stick Control for his second lesson. things sounded the best when I played really
When Matt showed up having learned pages 1 - 20, his straight. It just felt and sounded good, that
parents were encouraged to allow this drum obsession to opened my eyes to what’s really important.
continue. Officially an overachiever, as far as drums were
concerned, at age 10 he began honing his drumset skills DH: Was the first “big” gig for you the
playing along to his favorites: Peart, Bonham, Perkins, and B-52’s?
yes, he was a huge KISS fan. An all too common experience MF: Yeah. It’s funny how that happened. I
would occur when a friend’s mother asked an eighth grade was playing in about 20 bands at once. In
Matt what he wanted to be when he grew up. The answer, “A New York a lot of these places have house
drummer” was met with the typical, “You can’t do that for kits. There’s this club called Arlene’s Grocery.
a living.” This fueled his dream even more. His first paying I’d play there almost every night with one or
gig was in junior high, taking over the drum-chair recently two bands. It was real close to my house. The
vacated by Eric Valentine. The two would cross paths later soundman there was this guy Strewen. We got
when drummer/producer Valentine would work on Maroon to be friends. He asked me one night if I’d ever
5’s sophomore release. be a drum-tech and, I nicely told him that it
wasn’t really my goal. He explained that he
After a year and a half at San Diego State, he moved to New was doing gigs with the B-52’s as a guitar tech.
York City when a friend persuaded him to play drums in his They were doing a lot corporate events. It
band. What followed was a decade of playing the New York involved being out for a very brief amount of
club scene, an experience both exciting and frustrating. Matt time and the money was really good. This was
felt that he was playing with great musicians, but always just around ‘98. It was great because I got to work
missing that “big” gig. With steadfast determination and behind Zack Alford and Sterling Campbell.
confidence, a series of events would deliver Flynn into one of When those guys weren’t playing with the
the biggest gigs in recording and touring today. B’s they were playing with Springsteen and

038
039
“If I had gotten this gig in my early
twenties I might not have handled it
as well.”
Bowie. They had broken into the group of played was at the Avalon here in LA. We had a MF: That was really a decision that the band
guys who get called for really big gigs. The song and a half at sound check. It was kind of made. I think that it was something that they
best thing was that I’d sit behind them and like jumping in the deep end of the pool. struggled with, but ultimately one that they
think, “I can totally do this”. I mean, in the all decided on together.
sense that the gig was about groove and feel. It DH: Was the situation difficult with
didn’t require you to be fusion chops monster. Ryan being hurt and you being called in? DH: When you watch a video of the band
They played great, and I saw that as far as MF: Not really because I was just the sub over the last 4 - 5 years, you can see
groove was concerned, I could handle the gig. guy. The band was great and a lot of fun to that the band evolved. It’s a relationship
Eventually there was a situation where the play with. I had heard the stuff and knew like any other where people change and
drummer couldn’t make it. Fred [Schneider, that I could do my sort of AC/DC-meets- grow. Your style is different from Ryan’s
lead singer] asked me if I could handle the Maroon 5 thing. I guess it was a little weird and it seems the band has moved in that
gig. I told him sure. They let me audition and but it could’ve been a lot weirder. A lot of guys direction. How does being in such a high
I started playing with them as their drummer. might schmooze up and try to be all palsey profile gig affect your everyday life?
It was funny because even though I was a walsey, but that’s not my style. Ryan and I are MF: Touring is rough, but I’ve been doing
fulltime drummer, the other techs were like, still friends. He’s a great guy. We talked a lot that for quite awhile so my family knows how
“Cool, one of us made it!” when I was making this new record. to deal with that. I struggled all through my
twenties to get that gig. If I had gotten this gig
DH: How long did you play with them? DH: Was if uncomfortable when the in my early twenties, I might not have handled
MF: About a year and a half, maybe two years. word came down that you were the new it as well. You just don’t believe your own
I would’ve played longer but I started to get fulltime drummer? press and the hype. I feel very grounded. This
really busy with different work. It was about
this time I got called me to do this record with
Gavin DeGraw.

DH: That record would be Chariot.

MF: Yeah, but they ended up re-recording
it when I was out with another band due to
some changes in direction with the music.

DH: Even with that, you ended up

leaving the B-52’s to play with DeGraw.
MF: You know, it was less money, but
musically I felt pulled in that direction. I
played with him for awhile, but I felt like I
needed to spend some more time at home
with my daughter. Funny thing is, had I been
still playing with Gavin, I wouldn’t have been
available when Maroon 5 called.

DH: They saw you when DeGraw opened

for Maroon 5.
MF: We opened for like a second.

DH: But they obviously remembered

you. I know Ryan was having medical
problems with his arms that resulted in
his not being able to play. This was at
a critical time for M5 since the record
was taking off. You weren’t the first
drummer to sub. How did you come to
the gig?
MF: James Valentine called me. Ryan was
unable to play. I learned the set in a few days
off a board tape. They had all these tricky
transitions from song to song. The first gig I

040
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 is my job. It’s a little different for my daughter, Lasts Forever” were all programmed. Initially
she’ll turn on the TV and expect to see me on they wanted me to just play kick and snare in
it. We were walking down the street the other the chorus, and lay out during the verse. My
day and passed a magazine stand. She saw the view of pop music is that we’re a band. We
Rolling Stone with the band on the cover and might right a song that’s like a Beyonce song,

“You’re
was like, “There’s daddy.” My parents think but we play it instead of programming it all.
it’s cool. Most of the friends that I have now, Ultimately we all came to a compromise that

supposed
I’ve had for a long time. Sometimes people serves the record well. After that we went
pay more attention when I’m on a plane or to Eric Valentine, which was really straight

to be a
doing a session somewhere. Most of the time forward, no click, nothing, just play. It was
I’m just at home with my wife and kids. fun and more organic. Eric is a great producer

musician,
and drummer, so we really understood each
DH: So now you are officially the other. I’ve known him for a while. By the end

not a
drummer for Maroon 5, and you’re of the recording process we were working
thrown right back into the hot seat with Mark Endert. That was really great. I

drummer.”
recording the follow up to a very flew by myself to Atlanta during a vacation
successful disc. The band worked with to rework “Wake Up Call,” because it was too
three different sets of producers on It ‘boxy’ and it needed something different. I
Won’t Be Soon Before Long. What was like some of that looseness. That’s why the
that like? White Stripes are so great! I think that kind of
MF: The sessions with Spike [Mark Stent] thing is a reaction to the stiffness and control
and Mike [Elizondo] were very electronic, lots that can happen in the studio. The single
of programmed drums. Songs like “Nothing “Makes Me Wonder” has fills where there is

042
a flam between the kick and
“We tried some MF: Yeah, that’s Spike. Booohm!
snare. I think that can be good
sometimes. Mistakes can be the
different DH: How about that crazy part at the
best parts of records.
things, but it end of “Kiwi?”
MF: We were recording at the Houdini
DH: You are triggering some
things live right?
always came Mansion on Laurel Canyon. Adam [Levine]
had done a demo with a loop the night before.
MF: Yeah. The first time we did
it was on this MTV thing with
back to that I showed up in the morning and listened to
it. I played along to it, very simple groove.
Kanye [West] and Eve. It was
10 minutes before we went on
basic groove.” There was no bridge at this point. When the
part that was finished ran out, I just started
air, I just took a deep breath and screwing around playing along to the loop.
we went with it. On “Wake Up
Call” the loop is only playing during the intro
and chorus with no click during the verse.
If you’re not spot on everything falls apart,
so that’s a challenge in itself. We’re talking
about maybe using it on some other stuff on
tour because we’d like to keep the chemistry
we have with just the five guys rather than
bringing a bunch of other people out for just a
few things. I’m not really sold either way yet,
so we’ll see what happens.

DH: Fair enough. Let’s talk about the

new record. Any tracks that you’re
especially fond of?
MF: I love “Little Of Your Time.” I love that
song! It’s one of the last ones that we recorded.
Just being with Eric Valentine. He did that
Queens Of The Stone Age album, Songs For
The Deaf, with Dave Grohl on it, which is one
of my absolute favorites. It’s just an insane
record. We got this dry sound. It was a small
kick, snare, hi-hat and one cymbal. That’s all
it is through the whole song. In the bridge I
played this pattern on an acoustic guitar case.
It was so organic working with him. We’d
drop keys on the ground and play on them
with pipe cleaner rods. I was really happy with
the way it turned out. “Not Falling Apart” is
another favorite. It’s very straight. We tried
some different things, but it always came back
to that basic groove. Proof that sometimes
straight ahead and driving is the best thing.

DH: “Wont Go Home Without You” has a

Police vibe reminiscent of Synchronicity.
Were you thinking Stewart Copeland
when you played it?
MF: That song is kind of an homage to The
Police. It’s funny because I can’t do all that
crazy stuff that Stewart does, he’s ridiculous
(laughs)! But that song is so simple that it
required simple drumming. When Stewart
plays that way, he’s equally amazing.
There’s a little drum thing in the bridge
that goes “doozh doozh GAK!” That’s very
Synchronicity. I love that guy, but I could
never cop his style. Nobody gets the sound
out of a snare like him.

DH: The floor tom sound on that track

is great.

043
 out there. It’s more about the way the guy
plays with the band than anything. Matt
Johnson’s work with Jeff Buckley, he’s one
of my favorites – a perfect blend of rock and
jazz, energy and swing. The drummer for The
Brazilian Girls [Aaron Johnston] is amazing. I
used to play to that record all the time in our
jam room when we were on tour. I actually
listen to the radio a lot. It’s interesting to me
to see what other drummers are doing in
pop music. I saw JD Blair with Shania Twain
on TV and thought what he did was really
interesting. Sometimes in pop music you get
maybe and eighth note or quartet note to put
personality in, so you have to be as creative as
possible while still supporting the music.

DH: What’s on your iPod?

MF: I’ve been listening to the Eagles lately.
I think Don Henely is a great drummer,
everything is in the right place. People ask
GEARBOX me sometimes why I think that there aren’t
Drums Hardware any new guys like Bonham or Moon. It’s so
Yamaha Custom Maple / Chrome Wrap Yamaha hard for somebody like that to prosper in
12” X 8” Rack Heads today’s musical environment. With all the
16” X 16” Floor Remo
18” X 16” Floor Rack — Coated Emperor Top / Clear Bottom
software and the way the music biz is, they all
24” X 18” Kick Floor — C oated Emperor Top / Clear Bottom get the life taken out of their style. It doesn’t
14” X 5.5” Snare Cherry Wood Maple Snare — Black Dot Coated Emperor X really allow someone to grow and develop a
Cymbals Kick — Powerstroke 3 personality like those guys had. Hopefully
Zidjian Sticks
we’ll begin to understand that we need to get
15” K Light Hi-Hats Vater
16” A Custom Crash Electronics back to that pocket that rock ‘n’ roll is known
18” A Fast Crash Roland SPD-S: Sampling Pad for. There’s a band called Priestess that I like.
19” K Hybrid Crash Pintech Trigger Bar As we wrap up the interview and leave
22” K Custom Ride Yamaha Click Station SKRM 100 Matt’s backyard, he reminisces about the lean
18” A Medium Thin Crash
years in New York and the struggle to be
a working musician. Walking through the
When we went to the studio and listened to early on that he’s to drummers, what Eddie kitchen, he offers me something to drink as his
what we had laid down, Spike & Mike said Van Halen is to guitar players. Unfortunately wife enters with their newborn son. As Matt
that they like the part where I was going nuts. that only seems to work in Rush. If you’re proudly introduces them, he kisses both and
I had originally kind of done it as a joke, but trying to get a gig, people aren’t going to talks about his precious daughter. Everyone
it actually worked in this song. That was a appreciate you playing like Peart. (Laughs)! seems so, well, calm and normal, that it’s
one-take when we laid it down and it was Steve Jordan’s playing is sick. When you hard to picture Matt rocking out behind the
really fun to play something like that. It’s hear him playing with the Expensive Winos, kit in front of tens of thousands of fans. It’s a
just a bass drum and floor tom pattern that his pocket is insane. Matt Chamberlain on little easier to imagine a few days later when
mimics double bass. that Wallflowers record. Terry Bozzio on Matt invites Leana Bates (M5 photographer)
Spring Session M. To this day that is some and I out to a full production rehearsal for
DH: How about the drum sound. What of the most ridiculous drumming ever, in Maroon 5’s upcoming tour. During a break
are you going for? a really good way. I could never come near in the rehearsal Adam Levine (singer) and
MF: Big. I don’t know if that’s the Maroon that. Of course, Stewart Copeland with The Matt trade self deprecating humor while
5 sound, but it’s my ideal. The sound of un- Police. I’m a huge Dave Grohl fan because he pictures are taken. It seems that the letters
mic’d drums in a big hall. My favorite KISS plays compositionally. You’re supposed to to the editor concerning their Rolling Stone
album is Alive II because the drums just sound be a musician, not a drummer: that’s what cover and article were not all complimentary.
huge. I always ask the monitor guy for that. drumming is. That guy writes hooks on drums. They laugh it off proving that they don’t take
I feel like, if I can hear that, it makes me “In Bloom,” are you kidding me? That fill he themselves too seriously. A final friendly hug
play better. I don’t tune to a specific pitch or keeps playing is just as much a hook as any and “Thank you” from Matt and security
anything. You have to tune some, but after guitar riff ever. He never just goes “whatever.” walks us out. Passing behind the drum riser
that it’s more about the way that you hit the He’s writing music when he’s playing the I notice a practice pad where a sharpie has
drum than anything. If you really hit a drum drums. That’s a huge lesson. He’s pretty much been used to write slogans and jokes on it.
square you can make even a bad drum sound my idol. It’s funny, I remember when he was The largest one reads like Matt Flynn’s mantra
good. first interviewed in a drum magazine. The “Great Taste, Less Fill.”
next month all these letters to the editor were
DH: How about players that have like, “What are you crazy? Why is this guy on WEBFOOT
influenced you? the cover?” They just didn’t get it.
MF: Early on I think it was Neil Peart. I realized There are a lot of good young drummers maroon5.com yamaha.com

044
 www.yamahadrums.com
©2008 Yamaha Corporation of America. All rights reserved.
 H E N EW CO U N T RY
T Mitch Jim
Marine Riley

Words Kelly King

046
 oth attended University of North Texas (Denton,
Texas) known for it’s lauded music program.
Although Marine’s gig with Yoakam is a more
“traditional” one, and Riley’s with Rascal Flatts
more “contemporary,” the two have more than
just a common background. Their paths have
crossed several times, sometimes even in the
same band, at the same time!
While Riley was in LA to play at the American
Music Awards, he sat down with Marine
(fresh from recording Yoakam’s new CD) and
Drumhead to discuss education, success and
what it’s like “having your ass handed to you.”

Mitch Marine grew up in Illinois, and has played drums from an

early age. By the time he was able to drive himself to a gig, his career in
music was already off and running. He continued his education at the
University of North Texas, after which he gained notoriety with Brave
Combo and Andy Timmons, playing everything from Polkas to Latin
to high-energy rock. Upon hearing that Smashmouth was looking for
a new drummer, he packed up and moved to LA. “I had played with so
many people, I knew I had to know someone involved with the band. I
eventually got hold of the drum tech working with the band. He asked
if I had a tech. I told him that if I got the gig he would be my tech.
Needless to say, he became my tech.”
Mitch also played bass around LA in his downtime. “I was playing
bass, as well as drums, in a lot different bands. I kept running into
Dwight. I think that he was out just looking for some new energy and
players. I guess he figured that I must have something if he kept seeing
me so much. He gave me a shot and it worked really well.”

Mitch Marine

Jim Riley

Jim Riley, while attending North Texas, met the person that inspired
his move to Nashville. “Larrie Londin was at UNT doing a clinic. This
guy had played with everyone from Elvis to Journey. He had played
on hit records from Motown to Nashville. I had to meet this guy. So
I went to the hall early that day and Larrie was there setting up his
kit. I introduced myself and he could not have been cooler. I told him
that I had just gotten into country music, and I was thinking about
visiting Nashville to learn more about the scene. He gave me his phone
number and told me to call him when I got there, that he would show
me around and take me to one of his recording sessions. I was blown
away that a guy of his professional stature would be willing to help out
a young kid like that.”
Sadly, that opportunity was never realized. Later that day, Larrie
London suffered a heart attack while performing, slipping into a coma
from which he would not return. The kindness of a great player turned
a potentially scarring experience into an inspiring one for the young
Riley. Inspired by Larrie’s enduring spirit, after a short stint in Kansas
City, Riley decided to relocate to Nashville in pursuit of his dream.
He takes great delight in being able to share that same kindness with
young players that attend his clinics today.
It was while playing with Mark Chesnutt, he became friends with
members of the opening band on the tour. He would later join those
same musicians when they offered him the job playing in their new
band Rascal Flatts. Leaving an already established artist was a big leap
of faith, but after eight years with the Flatts (including world tours,
videos, awards and multi-platinum albums) it has proven to be the
right move.

047
“I love playing great music with
is. Something a lot closer to
what I saw rock bands doing
when I was that age. Drums
are relatively new to country

great musicians and country

music. I don’t think that
they were even allowed on
the stage until Johnny Cash
said that he wasn’t going

music has allowed me to do that.”

on without them. Overall,
drums in country music are
changing very quickly.

— Jim Riley DH: Do you think the

“feel” is overlooked and
underrated?
DRUMHEAD: Do you feel there’s a a country drummer has to be different. That MM: It either swings or it doesn’t. Rock is the
misconception that country drummers are sort of traditional country playing is what I same way. It’s not just the notes, it’s the way
not as versed or proficient as, jazz or rock just did on Dwight’s new Buck Owens tribute that you make it feel.
drummers? CD. The drums sort of mimic the strumming JR: I think country drumming is largely
Jim Riley: You know, in years past, country of the acoustic guitar, and help fatten up the misunderstood. I recently purchased a book
drumming was extremely simplistic in nature, groove. You have to honor that kind of thing. and CD that was supposed to be an “essential
but in a good way. I mean, those guys were However, I think that when most people think styles” type book. There were four different
playing for the song, and the song forms of country nowadays, their reference point samba patterns, but no train beat. No country
were very basic. Today’s country is influenced is more like what Jim is doing with Rascal shuffle. These are extremely important
greatly by rock, pop, soul, and even hip-hop. Flatts. It is country but leans hard towards grooves that everyone should know if they
To play in this genre, you have to be very well pop music. There’s a lot of rock ‘n’ roll in are going out into the gigging world.
rounded, and I think that the perception of there. I would think that the average 12- or
the modern country drummer is changing. 13-year old is going to see Jim up there wailing DH: Were you always fans of country
away on the drums, and that’s going to be music?
MITCH MARINE: I think in general the view of his perception of what country drumming JR: I think that I’ve always been a fan of

048




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“Whether I’m under qualified or
Jim called at the right time, which is how
it works, and filled in brilliantly. It was
particularly satisfying for me because when
I first picked up the bass, I would sit in with

overqualified, I’m there because

Jim and his band, who were gracious enough
to let me play a Tom Petty song, just so I could
learn how to play the bass! Now he actually

I bring the right energy.”

got to witness how his generosity helped me
become a pretty good working bass player. We
had a great time!

— Mitch Marine
DH: Now that you both have major gigs,
is it all that you expected and wanted it
music. When I was a kid, I remember seeing a tour ever, and I called Mitch looking for a to be?
commercial for a KISS album. Peter Criss was lead on a gig. I knew Mitch had been playing MM: When I played Madison Square Garden
on this huge riser and it was cool. Growing up bass, because he used to bring his bass to with Smashmouth, I walked the venue, took
in the Northeast, I wasn’t really exposed to one of my local bar gigs and sit in. But what pictures of the name on the marquee, and
very much country. It wasn’t until I moved to I didn’t know was that he was playing bass just soaked it up. Those are the things that
Texas that I really got hip to it. I love playing with Jack Ingram, and that they were looking you circle on your schedule. I want to really
great music with great musicians, and country for a drummer. We played that gig together experience those things.
music has allowed me to do that. for several months. It was a blast getting to
hang with a fellow drum buddy on a gig like JR: Yeah, I felt that way when we played
MM: Same here. I can remember always loving that. The Garden. I thought – this is where Led
country music but at the same time being Zeppelin recorded The Song Remains The
very into many other styles. I think that it’s MM: Yeah, in ‘94-‘95 I stopped playing drums Same. Your perception of the music business
more about good music than any one style. and was playing bass full-time with the Texas is so much different when you are 12. You’re
singer/songwriter Jack Ingram. Jack’s regular not that same kid, but he’s still there inside
DH: How did the two of you end up in the drummer, Pete Coatney, a great drummer you. As a kid I dreamed of playing on the
same gig at the same time? who is still with Jack, was taking some time “Tonight Show” and riding from city to city in
JR: Well I had just finished doing the worst off to get married and go on his honeymoon. a tour bus. When you wake up and that’s you

050
life, it’s surreal. but I also knew that someday I would get
back to teaching. Being with the Flatts, I have
DH: And what of the perception that
others have of you once you’ve landed the
the opportunity and time to do both. I teach
privately out of my home and do clinics when .
big gig. Is it difficult? I’m on the road. It’s a great balance.
JR: You know it’s funny because the reality of
it is different than what you think. I mean, it MM: For me it’s easiest to see with the swing
is all those great things, like the tours and the thing. UNT is an amazing school for jazz.
records. But the weird thing is that once you Dwight’s gig relates directly in terms of
get to a certain level of success, it affects many swing. Also the teachers there were amazing.
other things. I had about six months of down Henry Okstel is an amazing teacher. All the
time last year, but everyone assumed I was stuff he had me do with Syncopation, I think
busy. People don’t call you, because they just he’s the best teacher I ever had.
assume that you’re not around.
JR: He’s definitely one of the best. My Mitch Marine
MM: I’ve seen some of that as well. I’m drumset guy was [Ed] Soph. He was real big
actually playing with Smashmouth while I on phrasing and playing musically. I also
have down time from Dwight, but it does think that I learned just as much out on Fry
happen where people assume that you’re busy Street as I did in class. Not to diminish the

I  .
and you’d like to be playing or recording. We school, but there were so many amazing
love what we do and we enjoy it. players there and they would be pushing ’ 
each other. My rehearsal room was two
DH: Having studied at UNT, you both have doors down from Keith Carlock. You go in
strong backgrounds in education. How do there and listen and learn. I would go out on
you feel it relates to you being where you any given night and hear Matt Chamberlin,
are in your careers? Keith Carlock, Earl Harvin, Jason Sutter, Dan
JR: I can draw a direct line from my education Wojciechowski, Mitch, or tons of other guys.
at UNT, where I was a music major, to Rascal And for every guy who “made it” like those
B550A
DELUXE BOOM STAND
Flatts. For one thing, I’m the bandleader, so guys, or Mitch and I, there are guys like Greg
I have to be able to communicate with the Beck and Rob Avsharian, who may not be
other musicians in their language. When I household names but are frighteningly good
left school, I knew that I wanted to perform, drummers.

MM: I heard that Fry Street is Multi-position ratchet

Jim Riley Discography being gutted. cymbal tilter
Knurled hideaway
JR: Yeah, that sucks. I went back boom arm
to visit the campus recently. Triple tube construction
Things are a little different, but with slip-proof nylon
they still have a killer program. inner sleeve
OS Cymbal
MM: It was intense. I remember Accuentuator
Doc Schietroma telling us the Die Cast memory locks

Mitch Marine Discography first day, that in a year, half of

us wouldn’t even be there in the
Double braced legs

program.

JR: Doc and I had, and still

have, more of a father-son
relationship. He yelled at me and
kicked my ass, but trust me, I
needed it! (Laughs)

MM: He’s a great guy. My point FIVE YEAR WARRANTY

was, that it was brutal. I think
that there were 90 drummers
trying out for 17 positions in
bands. There were auditions just
to audition.

JR: I remember auditioning for USA.MAPEXDRUMS.COM

lab band. Doc’s son Todd was the
room moderator, and the hall was © 2007 Mapex USA Incorporated.

filled with hopeful drummers.

MapexHW07.indd 14 11/16/07
051 9:10:41 AM
DRUM VITALS on than just what they’re
showing you. I learned early
Mit ch Marine GEAR BOX on to not close my ears to any
Drums kind of music: that’s part of
Mapex Saturn the education also. If I hadn’t
12” X 8” R ack learned, that I never would
14” X 14” Floor
16” X 16” Floor
have gotten the opportunity
22” X 14” Kick that I now have.
14” X 6 1/5” Black Panther Snare
Cymbals MM: You can’t afford to
Sabian
close off your ears if you’re
15” HH X Groove Hats
19” HH Xtreme Crash a working drummer. No
19” Signature Series Saturation Crash matter what level you’re at.
22” Prototype R ide I recently had an experience
Hardware with a young rock drummer
Mapex 900 Series
DW 9000 Double Pedal and Hi-hat
here in LA. I play some rock
Heads gigs and he was in a group of
Evans friends that would come out.
Kick - EQ3 Clear He came out to see me with
Snare - Coated HD Dry
Dwight and said, “That’s not
R ack & Floors - G Coated Tops / G1 Clear Bottoms
Sticks so hard, what you do back
Vic Firth there with that train beat.”
Buddy R ich Model I agreed, but then he got a
country gig and I went to see

“I learned early
him. He was sweatin’ it! He
Jim R ile y GEAR BOX could play it, but it didn’t
Drums
feel great. Technique is only
Ludwig Amber Vistalite
part of the battle.

on to not close my
24” X 16” Kick
12” X 8” R ack
16” X 16” Floor JR: I think it’s very
18” X 18” Floor
important for people to hear
14” X 6 1/2” Chrome Over Brass Snare

ears to any kind of

Cymbals this. Country music is an
Sabian important part of essential
22” L egacy Heavy R ide styles.
18” HH X O-Zone

music.”
18” AA Xplosion Crash
19” AA Xplosion Crash
DH: Do you feel
14” AA Hi-Hats pigeonholed, being
Hardware perceived as “just a
DW5000 — Jim Riley country drummer?”
Pedals
MM: I don’t think so. I don’t
Gibraltar
Custom R ack The door opens and some guy walks out of think that I could try out for a band of 20-year
Heads the audition room with his sticks in his hand, olds, but that’s more about marketing than
Remo and his head held low. Todd looks out at the anything.
Kick - Clear Powerstroke 3 crowd and says, “Who else here thinks they
Toms - Clear Emperor Tops
Clear Ambassador Bottoms
can drum?” Needless to say, I didn’t make JR: Even if I wasn’t playing with the Flatts,
Snare - Coated CS Top / Clear Ambassador Bottom lab band my first semester either. I got my ass I don’t think I’d be into playing in a band of
Sticks royally handed to me, and it made me realize 20-year olds. That’s just not who I am right
Vater that I had a lot of work ahead of me. now, nor where I want to be.
5B Wood T ip
Microphones
Shure DH: It’s important for drummers to hear MM: I auditioned for Korn earlier this year. I
Toms - Beta 98 that everything wasn’t so easy. It’s a didn’t change who I was or how I play. I did
Snare - SM 57 process of setting goals, determination, wear my black cowboy hat! (Everyone bursts
Kick - Beta 52 failing, achieving. Too often we hear into laughter.)
Hi-hat / Overhead - SM81
Electronics
that you either have it from birth or you
Apple Macbook don’t. It’s refreshing to hear successful JR: I don’t think that notion of being “just a
Abelton L ive Software musicians talk about their struggles, trials country player” exists anymore, at least not
M-Audio T rigger Finger and tribulations. Did all the hardship paid in the circles that we travel in. Vinnie Colaiuta
Misc.
off? playing with Faith Hill helped break down
Shure SCL 5 In-Ear Monitors
Direct Sound Extreme Isolation Headphones JR: I can’t complain. When I moved some of those misconceptions.
Pure Sound Snare Wires to Nashville I was living in my truck. Ten
Quik Stix Stick Holders years later, I’ve got a great gig. Those types MM: I remember, I saw a concert with Vinnie
Clark Synthesis Tactile Sound Unit Sub of early struggles build character and make when I was a very young player. I thought to
you appreciate what you have. I think that myself, “I might as well quit playing because
any professional has got to have more going I’ll never be that good.” You soon realized

052
“It either swings
wants to look back and feel
relaxed; he knows he can be
if I’m there. That’s a huge
compliment to me! .

or it doesn’t.”
DH: When you look
back, are your careers
everything you thought
they would be?
— Mitch Marine
JR: As a kid I wanted to play
arenas, record platinum
records, play shows like
the Grammy’s. I’ve gotten Nick D’Virgilio
to do all of that and more.
Playing music puts you
in an arrested state of
development: it keeps you
young at heart. It keeps you
excited in a way that few

I  .
things in life do.
’ 
MM: Nothing has changed
for me since I was a kid.
That way that you used to
feel when you had that show
NEW
coming up, and it was all
MAPEX ROLLING HARDWARE BAG
about that show. I still feel
that way every time. I was
playing with Smashmouth
recently and we were doing
a gig with Cheap Trick. I
love that band, loved them
as a kid. I was sitting at the
side of the stage watching
them thinking, “How cool is
that you don’t have to be that good, and that this?” I also get to play with Dwight Yoakam:
there’s only one Vinnie. he’s an icon. Literally a country legend!

JR: Thank God for that. It’s not about being JR: I know what you mean. We did a private
that good, it’s about finding your place. show on the same bill as KISS and I thought
my head was going to explode. I couldn’t
MM: Whether I’m under qualified or believe I was working alongside the same
overqualified, I’m there because I bring the band that first inspired me to play. It was a
right energy. The people that hire me are full-circle moment.
happy I’m there. I’ve done the necessary prep As I excuse myself and drive away from the
work. I’ll play what is appropriate and make Universal Hilton, I notice that Mitch and Jim
it feel good whether it’s simple or complex. I are still standing in the lobby. No doubt they
might just play ride and hats all night, but it were discussing the good ole days in Denton,
feels great to the band when I’m doing my job. and the new teaching method for students
That means I’m going to work. that Jim had alluded to earlier. Obviously
these guys live and breathe drums, the very
Carry up to six pieces of hardware including
JR: It goes back to the country thing, we same as when they were kids. I can’t help
stands and pedals in this convenient, durable
might just play 2 & 4, but it’s about the energy but smile, knowing that the next time some rolling hardward bag. Includes pockets for smaller
and spirit that you bring to the 2 & 4. The naive musician thinks that these two are items and is emblazoned with the Mapex logo.
biggest compliment that I get is when Joe Don “just country drummers,” how royally their
[Rascal Flatts guitarist] is tired from doing ass will be handed to them.
interviews and speeches or whatever, looks
back at me wailing away on the drums, and WEBFOOT Mitch MArine
feeds off of my energy.
MARINE www.mitchmarine.com
www.dwightyoakam.com USA.MAPEXDRUMS.COM
MM: I had a situation recently where there www. youtube.com
was a conflict with a Dwight gig. I was asked
Riley www. jimrileymusic.com © 2007 Mapex USA Incorporated.
if I could arrange things so I could be there
www.myspace.com/jimrileymusic
because Dwight really wanted me there. He

MapexHW07.indd 13 11/16/07 9:09:26 AM

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 CHOPSHOP
Contributors
DRUMHEAD ISSUE 7

CD Content
Track Listing
Gary Chaffee - Advanced Technique: Credited with teaching some of the
contemporary drumming scene’s most successful and influential players, Gary has been earning the
respect of musicians worldwide for more than 30 years. Having served as Chairman of the Perc. Dept.
at Berklee college of Music from 72-76 and more recently in his own private teaching studio, Gary
has worked with many of the industry’s top players, including Vinnie Colaiuta, Steve Smith, Jonathan
Mover, J.R. Robinson, David Beal and Joey Kramer, to name but a few. His 4-volume PATTERNS series
play with the pros and his two videos are considered classics in the teaching of contemporary drum set. His new Linear
ABCD Time Playing book looks to follow in the same tradition. Gary is also the inventor of the revolutionary new Gary Chaffee Bass
01. “Full Count” Drum Muffler. For information on all of Gary’s books and materials, please go to www.garychaffee.com
02. “Full Count” — Practice

Advanced Technique Mike Mangini - Extreme Drumming: Boston’s Mike Mangini began playing drums
03. Chaffee Example 1 at 5-years old, and by the time he left high school was already a noted young musician. Foregoing
04. Chaffee Example 2 a career in music for college, Mangini programmed software for the Patriot Missile Program while
05. Chaffee Example 3 studying the links between the human brain and body. These experiences would be integral in the
development of his Rhythm Knowledge learning systems. He has toured and recorded with Annihilator,
Extreme Drumming
Extreme and Steve Vai, and In 2000 became an Associate Professor at Berklee College of Music,
06. Mangini Example 1
accepting a full-time teaching position in 2005.
07. Mangini Example 2
08. Mangini Example 3
09. Mangini Example 4 Larry Fratangelo - Urban Percussion: Master percussionist Larry Fratangelo has
10. Mangini Example 5 recorded and toured with many of today’s top artists. Appearing on many Gold, Platinum and Grammy
award-winning albums, Fratangelo has also had the honor of performing at The White House, for the
Urban percussion
British House of Parliament, with the Boston Pops, at the Grammy Awards, the Rock and Roll Hall of
11. Fratangelo Example 1
Fame Induction Ceremonies, on “The David Letterman Show” and “Saturday Night Live.” He is also
12. Fratangelo Example 2
celebrated for his vibrantly exciting performances with George Clinton and the P Funk All Stars, as
THE DigitAl Domain well as the Red Hot Chili Peppers and Aretha Franklin. A graduate of Michigan State University, Larry
13. Wolf Example 1 is currently producing several World Music projects.
14. Wolf Example 2
15. Wolf Example 3
Steven Wolf - Digital Domain: Steven Wolf a.k.a. Wolf, is a drummer/ programmer/
16. Wolf Example 4
producer/ songwriter/ remixer who began his career as a touring drummer. Moving into session work,
DRUM U Wolf found himself producing, remixing, and song writing. He has worked with many talented and/or
17. Bernstein Example 1 famous artists in many different musical genres including Annie Lennox, Avril Lavigne, Britney Spears,
18. Bernstein Example 2 Bobby Mcferrin, Chaka Khan, Hiram Bullock, Macy Gray, Pink, Rufus Wainwright, to name a few. He’s
19. Bernstein Example 3 played on stages all over the world, he’s appeared on the Tonight Show, David Letterman, SNL, The
20. Bernstein Example 4 Grammys, VH1 Honors, The Today Show, Later (BBC), and he’s recorded on numerous gold, platinum,
21. Bernstein Example 5 and Grammy winning records. A electronic junkie, Wolf’s touring drum sets always had triggers, pads, samplers, and drum
22. Bernstein Example 6 machines mixed in with his acoustic drums, as well as maintaining a home recording studio with the latest “gizmos.”
23. Bernstein Example 7

preview Art Bernstein - DRUM U: Art Bernstein has been playing drums for over 20 years, and
Trick Percussion teaching for 14 years. As a performer and session artist, his versatility behind the kit has afforded
24. “Dawsonism” - Dom Moio him the opportunity to perform and record; rock, funk, blues, pop, metal, folk, jazz and country with
both regional and national acts, as well as for musical theater. Art has well over 30 CDs to his credit,
including recent collaborations with guitarist Chuck D’Aloia, Gears, Under the Hood and Christmastime
Is Gears. From his private teaching studio in upstate New York, Art has been inspired by his students
of all ages, whose achievements have ranged from coveted positions with competitive school district,
all-state and college ensembles to international tours with their own bands. During its 2005-2006 season, The Empire State
Youth Orchestra’s Youth Percussion Ensemble featured Art’s composition “Luna’s Lunch, a 2 Drumset Solo,” performed by
two of his students. Art has written books on drumset and snare. He is a Drummers Collective NYC Alumnus, and is proud
to endorse Audix Microphones, Ayotte Drums, Sabian Cymbals and Vic Firth Sticks. More information on session availability,
CDs, clinics, performances, student achievements and Art’s teaching studio is available at www.artbernstein.com

054
 NOW AVAILABLE
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of Drumming Inspiration!
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EVERY DRUMMER!
Learn to play the most legendary drum beats
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Play With the Pros

CD TRACKS

01-02
Full Count
Art Bernstein & Chuck D’Aloia
Words and Music, Chuck D’Aloia, Ed Tourge, Art Bernstein
Drums Art Bernstein

056
Play With the Pros

057
Play With the Pros

058
Play With the Pros

059
 Advanced Technique

CD TRACKS

03-05
Longer Phrases with Stickings
by Gary Chaffee Drum Key

Now with a phrase as long as this you know there’s going to be a lot of different ways
that you could put these figures together. I never counted them up, but I bet there’s
five or ten at least. Every time you play it in a different order, realize that you can get
different accents and get the notes coming out on the drums in different places. The
point is to keep trying out different versions until you find the one [that you really
like]. The individual 5-note and 4-note stickings

Now our third example in this section is a sticking example. This example is going to use the same
number groupings (5/5/5/5/4/4), but it’s going to do it with sticking phrases instead of linear phrases. In
this case I’m using what in my system is called a 5A sticking: Right – Left – Left – Right - Right. I’m going to
play four of those, and then a couple of paradiddles for the four note stickings at the end. The paradiddle
version that I use is not the old traditional paradiddle: Right, Left, Right, Right, Left, Right, Left, Left; but
is the version with the double stroke in the middle: Right, Left, Left, Right, Left, Right, Right, Left.

So here we go, four of the fives, and two of the fours.

Now here’s the entire phrase played on the snare drum.

Chaffee Ex. 1 - CD Track 03

Now we’ll take the right hand and place it on the hi-hat to work this into a groove.

In this example, we’re going to add in a bass drum line.

Chaffee Ex. 2 - CD Track 04

In this last example, I’m going to add in a quartner note step hi-hat line along with the bass drum.
Chaffee Ex. 3 - CD Track 05

060
 EXTREME DRUMMING

CD TRACKS

06-10
Moving Systematically
by Mike Mangini

The following system is based on categories and quick thinking. I don’t believe in improvisation. I think that there’s a form of
improvisation, but I don’t think there’s any kind of ‘just make up stuff on the spot,’ without previously putting some of that stuff
into your muscle memory. I really don’t think that new things can just pop out of nowhere, I think combinations can. So, this
system is about combinations. About combining different aspects of the many categories we have available to us.

Time signature - everything seems to have a time signature, unless it’s a kind of Andy Warhol musical thing, like throwing paint against the wall or “free time.”
Everything that I can think of has a time signature, everything that I can think of has a beat that’s divided with something. Be it even or uneven, it’s divided
with some amount of notes. Everything I can think of has a dynamic aspect. Everything I can think of regarding drums needs to be hit with the limbs, when
you’re on a drumset. Everything I can think of has some kind of phrase to it, be it the phrase of the beats, the phrase of the subdivisions, or the phrase of the
patterns. Everything seems to have a pattern to it, be it in the form of a permutation, a figure out of a book like Syncopation or New Breed.

What I want to communicate here is that thinking in simple terms is a way to “improvise” quickly with many different styles of music.
For example, if you’re playing a rock beat, and you know the essence of the sound of rock drumming, you can think simple things. Like if I play a straight rock
beat and I think, “bass drum only,” I just might isolate an instrument and do a fill based on the bass drum. I might do a fill based on a tuplet, like a triplet. I
might be playing a straight rock beat and think, OK, “triplet,” and I’ll do something with a triplet.

This kind of simple thinking is in accordance with our nature. Meaning, you can’t just not think. You don’t just, not think.
So, you have to think on some level. If you’re playing the swing beat and you know the essence of swing, play triplet based rhythms. Use moves like stepping
the hi-hat, buzz strokes, just sticking with dialogue between the ride, snare, kick and hat. You’ll be safe almost every time, without having a full jazz
background. The only reason you wouldn’t sound right is if you don’t sound right. If you haven’t learned the mechanics of controlling the dynamics, but as far
as ideas go, there’s a set amount that work. And if you’re thinking categorically, you can literally say to yourself, “OK, sixteenth notes,” and base a jazz fill in
four notes per click. You wouldn’t want to do it every time of course, but you can do that as long as you have the right sound and the right dynamic level.
As far as Brazilian music goes: Samba, Baio... If you don’t know what those are, bear with me for a minute. Bossa Novas - there’s a couple of easy things
you can do if you stay on the snare drum with sambas or biaos. For instance, you can do just permutations or you can just do patterns, that works great.
So if you’re playing a simple Biao, and you have the right dynamic level, the right subdivision and you’re hitting the right things, you think, “OK, I’m going to
improvise, but I’m going to go to the snare drum and just do accents,” it will work.
So let me summarize very briefly here. You can play with the style of music, think something very simple like a part of the kit, a subdivision, a dynamic
level change, a pattern of some kind or a phrase of some kind. You could be playing jazz but play a mambo for a fill, because Latin and jazz do meld.

My point is: have a simple thought and express yourself that way.
I’m going to demonstrate. What I’ll do when I demonstrate is: I’ll just say the name of one simple move and I’ll use that to improvise. I’ll use that one move
thinking categorically. Very specifically, if I’m playing Afro-Cuban, I know a move that works is to make a tom tom sound like a timbale, because the timbale is
very Afro-Cuban conducive. If I use a tom rimshot, it’s basically going to work every time, provided the other components are correct. That’s what I’m talking
about. Now I’m going to demonstrate, and again, I’m going to blast out the name of a move, and then I’m going to do fills or I’m going to ‘improvise’ based on
that one move.

The Moves
Brazilian Biao. The move for improv - snare drum eighth notes
Mangini Ex. 1 - CD Track 06

Afro-Cuban Songo. The move is tom rimshots

Mangini Ex. 2 - CD Track 07

Basic Swing. The move is dialogue between the instruments that make up the beat: kick, snare and hat
Mangini Ex. 3 - CD Track 08

Basic Rock. The move is a flam, used in a hand foot dialogue

Mangini Ex. 4 - CD Track 09

The Shuffle. The basic move - hand unisons with triplets

Mangini Ex. 5 - CD Track 10

061
 Urban Percussion

CD TRACKS

Djembe Rhythms 11-12

by Larry Fratangelo

Now that we’ve learned that we can place the beat on the ONE, TWO, THREE, FOUR in 4/4, or being the ONE, TWO in 2/4, let’s
continue with another practice routine on the djembe.

To start, I’m going to show you two rhythms, one in 2/4 and one in 4/4. We’ll be counting in either two or four. What’s going to be the common denominator
here is that the right hand is what’s holding the beat, whether it’s in two or four. I’ll be playing ONE, TWO, ONE, TWO for 2/4, OR ONE, TWO, THREE, FOUR for
4/4. The right hand is going to be the law that lays down the beat, and the left is going to be playing an E, an AND, or an A.

There are two rhythms I’ve found that are pretty ubiquitous and have different names around the world, but have similarities with what we’ve just talked
about, that they do use this E, AND, an A.

One of them is the Ayyoub, which is a Middle Eastern rhythm in two, which gives us a:
ONE - A, TWO - AND, ONE – E - A, TWO – AND, ONE - A, TWO - AND, ONE – E - A, TWO - AND.

The other one is the Puerto Rican Plena in four, which gives us a:
ONE - AND, TWO - AND, THREE – E - A, FOUR - AND, ONE - AND, TWO - AND, THREE – E - A, FOUR - AND.

Fig. 1 - Right Hand Position Fig. 2 - Left Hand Position

The Middle Eastern Ayyoub.

Fratangelo Ex. 1 - CD Track 11

The Puerto Rican Plena.

Fratangelo Ex. 2 - CD Track 12

062
 Gary Chaffee

www.artbernstein.com
CD'S/Book/Videos/Private Instruction/Remote Recording Sessions

Bass Drum Muffler

The Whirlybirds
Also play along tracks now available for Gears, Under The Hood & Private Instruction
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www.garychaffee.com

Larry Fratangelo Mike Mangini Online

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SKE BAND www.rhythmknowledge.com

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clock to the making of musical statements.

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All Girls and Mike playing Rock Music with lyrics about
the habits of women and their power over men.

063
 Digital Domain

CD TRACKS

13-16
Amen,
Brother
Seeing Ain’t Believing
I was recommended years ago to audition
for a well known jazz musician. He didn’t
know I was white, I wasn’t just white, I
was white, with long blonde hair, eye liner,
gigantic earrings, and stretch jeans. Very ‘90s
glam rock. He was definitely a judge-the-
by Steven W olf book-by-it’s-cover person, and I think he was
expecting someone who looked a lot different
than I did. But I came highly recommended by
Gimme Five I’m generally a Radiohead fan. Sometimes the one of the musicians in his band at the time,
Drum & bass, jungle, that’s so last decade. time signature thing gets me, when people so he hesitantly asked me if could do play in
But, last week, I had to program some drum do it for the sake of doing it, and I could be odd time signatures and if could I read. Yes,
& bass grooves. Not only that, but I had to wrong, but this felt like that. and yes. He plays me a track and gives me
program it in five. Why was I programming sheet music. It was basically the “Popcorn/
drum & bass in five you ask? Well, I work Oddly Enough Cold Sweat” groove in seven. I told him that.
on a lot of music for TV and film. It’s a very I admit, when I was a teenager, I loved He angrily said, “No it’s not. It’s this,” and
common practice for TV/film editors to use playing in 19/16, 11/8, 5/4, 7/4, 15/16, etc, you pointed to the music. I said, “Well I can read
well known tracks by famous artists to score name it: I did it. I also loved to displace whole the music, and I can hear and see variations
scenes to while they’re putting together grooves by a sixteenth note. I thought it was in the pattern here and there, but it’s basically
footage for things like TV commercials, film cool. Let me ask you something, do you want a two bar pattern based on the James Brown
scores, and scores for television shows. to immediately stop people from dancing? “Mother Popcorn” and “Cold Sweat” grooves.
If the editor is doing something for, say, Just displace the groove by a sixteenth note, I know the drummer who played on your
Martin Scorsese, then chances are whatever works every time. You want to work in popular recording, and I guarantee that he’ll tell you
track they’re using, the film studio will actually music, get really good at playing regular time that’s exactly what he’s doing.” The guy got
license for the movie, When the film comes signatures. really pissed off and said, “You’re wrong. Just
out, the Rolling Stones track they were editing There’s a reason certain grooves have been read the music.” So I read it note for note, and
to, will still be there usually a big chunk of the around for ages, and yes, in certain cultures, I read every other chart he put in front of me.
song (this type of music licensing, by the way, odd time signatures are natural. When you I didn’t even want the gig at that point. I was
is known as “needle drop” hear that stuff, it flows naturally, as opposed way past my days of thinking it was cool to
licensing, as in “put the to someone who just discovered Dave play in odd-time signatures just for the sake
needle on the record”...) Brubeck or the Mahavishnu Orchestra, of doing it (plus I knew there was no way he’d
But needle dropping is and wants to “spice up” their sound ever have me on his bandstand looking the
the exception, not the with some odd time signatures. way I did). But, just out of spite, I nailed the
rule. The rule is this: audition, and he was kind of stunned. He was
The people making a little more respectful when I was done.
the film, television Anyway, yes I’m a purist with groove music,
show, or commercial and don’t ever try to tell me about some James
(also known as a jingle), Brown grooves. This guy obviously didn’t
will license music know who he was talking to, or in the words of
that sounds like the my on-and-off girlfriend, “Do you not know
original. They’ll have a who I am?!”
composer actually come
up with something very More Or Less
similar, or they’ll look for My least favorite artist(s) I ever worked
another record that sounds with was the band Tribal Tech. Those guys
similar, or occasionally, they’ll are amazing musicians, but I was the wrong
go with something completely guy for them. I remember our first gig. I’d
different. just started with them, their drummer had
Back to drum & bass in five. I quit, and I literally had two days to learn all of
got a call from a composer friend of their material, which was quite intricate. I had
mine, and he wanted me to come up charts all over the place, and I was going on
with some grooves that felt similar no sleep (a theme in my life). I was seriously
to the grooves in the tracks that the jetlagged, and we’d just finished playing a big
editor for a TV thing was digging. He festival in Italy. Scott Henderson (guitarist)
sent me mp3s of the tracks. One of them took me aside, and said, “Great job,
was by Radiohead, and I listened, and I was but don’t play so straight. When
like, “This is bad drum & bass in five.” Sorry, I’m soloing, I don’t want to see

064
 Digital Domain

Board in my Roland Fantom XR Module), and

it sounds like this:
Wolf Ex. 1 - CD Track 13

Now, to get the drum and bass vibe, I’m

going to take a bar of my groove in Pro Tools
and speed it up (pitch and speed) to 160bpm.
I’ll use Serato Pitch ‘n Time, it sounds like
this now:
Wolf Ex. 2 - CD Track 14

“To me, it’s cool when music makes

you think, but it’s REALLY cool
any of this,” and he
moved his hands like
he was playing two and
when music makes you move.”
four. I said, “Wait, are you saying
you don’t ever want a straight backbeat
behind you?” He just hated simple grooves If I chop the loop up and do the “one” and
and sometimes he and bassist/co-leader Gary The basic drum & bass groove “and of two” thing it will sound like this:
Willis (who hated when I’d ride on the crash, is this: The “Amen break” sped Wolf Ex. 3 - CD Track 15
but liked simple grooves) would butt heads. up to about 160 bpm, and retriggered from the
I remember one night, after a really groovin’ downbeat, on “one” and the “and of two”... That’s a basic drum & bass groove. If I chop
set, we went backstage, and Gary Willis was For those of you who don’t know, the Amen it up a bit more and set my Pro Tools grid to
happy and Scott Henderson said something break is a drum solo break from the track 5/4, and retrigger on the “one,” the “and of
like, “What’s with all the vamps? If I wanted “Amen, Brother,” by the 1960’s funk/soul two,” and the “four” it gets that “Take Five”
to play over vamps, I wouldn’t have quit the group The Winstons, and the drummer is [Dave Brubeck] vibe, and that’s a basic drum
f-----g Zawinul Syndicate!” and he stormed Gregory Sylvester “G.C.” Coleman. & bass groove in five:
out. Anyway there were very few girls at Tribal Other breakbeats were also popular in the Wolf Ex. 4 - CD Track 16
Tech gigs, ’nuff said... early days of drum & bass, but the Amen
break was by far the most popular, making For the record I have a huge MPC library
Playing Favorites Gregory Sylvester “G.C.” Coleman the of “slices” (remember that from an earlier
At the other end of the spectrum, my Clyde Stubblefield of drum and bass. (Clyde article?) of kicks and snares, etc. from various
favorite artist to work with was always Grover Stubblefield’s grooves were also used in drum breakbeats (including the Amen break). When
Washington, Jr. I worked with him on and off & bass, including the “Funky Drummer” I’m doing drum & bass, I take the individual
for years until his untimely passing. He was break, but the Amen break was the most sounds in the MPC and just pitch them up
the coolest guy, ask anyone who knew him. popular) really high, and program drum & bass grooves
While his music was considered to be The Amen break has also been used a lot in from scratch at the appropriate tempo. It
simple to some jazz purists, Grover really hip-hop, and at a slower tempo is the drum sounds much cooler, but for copyright reasons,
knew how to move people, and his stuff was loop in NWA’s “Straight Outta Compton.” It’s I can’t show you what that sounds like.
all about grooving. He used to do an updated a funky groove. Unfortunately for copyright
version of “Take Five,” called “Take Another reasons, I can’t play it for you, but it’s easy to I’ll Take Five
Five,” and it was in 5/4, but that shit was find online if you look around. Anyway, drum & bass in 5/4 doesn’t suck.
groovin’ like a motherf-----r. For now I’ll do something like I’ve done It’s just not as danceable as drum & bass in
But back to the Radiohead track. I told my before (make a breakbeat sound-alike). I’ll use 4/4. The 5/4 is like the thinking man’s drum
friend that it was live drums over a drum and a drumkit from one of my Roland modules, and bass. To me, it’s cool when music makes
bass breakbeat in 5. He said, “Are you sure it’s and program a groove similar to the first bar you think, but it’s REALLY cool when music
in 5?” I counted it for him. So he had me do of “Amen Brother.” I’ll do my usual thing: makes you move.
some drum and bass in five. MPC300 and Edirol midi controller. I’ll set As drummers, definitely don’t overlook
the MPC swing to 52% and the tempo to 114 odd-time signatures, it’s a great tool to have,
Four To Five bpm. I’ll run the output of my Roland module and when used in a tasteful way, odd-time
Now, I’ll show you, good readers, how to through my Universal Audio 6176 into Pro signatures can be very cool. Just don’t get
make a drum and bass groove in five. To do Tools. I set Pro Tools MIDI-clock to run my so caught up in them that you forget how to
that, first I have to show you how to make a MPC (the actual kit is the “Phunque Kit” make people dance.
regular old drum & bass groove in four. from my Roland Dynamic Drums Expansion Can I get an Amen?

065
 Drum U

CD TRACKS

Double Paradiddle 17-23

The Rudiment and The Groove
by Art Bernsten

Welcome back to Drum U. For this lesson, I’m going to demonstrate the use of a double paradiddle as a groove, by orchestrating
it around the kit. Since the double paradiddle is a six-note sticking, it will translate very easily into a groove in six. And since 6/8
is a fairly common time signature, I’ll be using that for the following examples. Remember to first work up the rudiment on the
snare drum. Then, once you’re comfortable with the phrase, apply it to the drumset.

In this first example I’ll play the double paradiddle.

Drum U Ex. 1 - CD Track 17

For this next example, I want to explain what I will be playing by breaking it down into parts. I will play the double paradiddle rudiment with the right hand on
the ride cymbal and the left hand on the snare. I will play the step hi-hat on the dotted 1/4 note, and I will play the bass drum on beats 1, 3, 5 and 6 of the first
measure of the 2-bar repeating pattern.
Remember that where there are the two syllables “di-ddle” within a rudiment, they are both played by the same hand. If we are counting the double
paradiddle, or this double-paradiddle groove in 6/8 time with each stroke played equaling one 1/8-note, then the double-paradiddle rudiment has the 2
syllables (di-ddle) at the end of each measure on, beats 5 and 6.
The dotted quarter note rhythm falls on beats 1 and 4 of every measure, or the the “Dou” and the “Ra.” For example, I will emphasize with my voice: DOUble
paRAdi-ddle, DOUble paRAdi-ddle. The bass drum pattern I am demonstrating falls on beats 1, 3, 5, 6 of the first measure, or “Dou Pa di-ddle” of the first
measure only. If I emphasize with my voice and say the entire rudiment phonetically: DOUble PAraDI-DDLE, DOUble PAraDI-DDLE.
The double paradiddle sticking between the ride and snare drum.
Drum U Ex. 2 - CD Track 18

066
 Drum U

In this example, I will play the double paradiddle between the ride, snare and cowbell. My left hand will stay on the snare drum, while my right hand
will move back and forth between the ride cymbal and the cowbell.
I will start with my right hand on the ride. Every time I come back to my right hand, I will switch.
Please note for the “diddle” portion of the double paradiddle, where there are two strokes in a row with the same hand, I will stay on the same
surface for both of these strokes before switching surfaces again.
Also, I have found that it helps to count the rudiment out loud while air drumming the left hand and playing the right hand part.
Drum U Ex. 3 - CD Track 19

Now I will play the double paradiddle between the cowbell, snare drum and ride cymbal. My left hand will stay on the snare drum, while my right
hand will move back and forth between the cowbell and the ride.
I will start with my right hand on cowbell. Every time I come back to my right hand I will switch to the ride.
Drum U Ex. 4 - CD Track 20

For this example, I will play the double paradiddle between the ride, cowbell, snare, tom 1 and floor tom. My left hand will move from snare to tom
1 to snare to floor tom and will then repeat this sequence of movement, while my right hand will move back and forth between the ride and the
cowbell.
I will start with my right hand on the ride and left hand on the snare. Every time I come back to my right hand, and every time I come back to my left
hand, I will move to a new surface within each of the independence sequences for right and left hand. The right hand sequence being ride cymbal to
cowbell, and the left hand sequence being snare - tom 1 - snare - floor tom.
Drum U Ex. 5 - CD Track 21

067
 Drum U

In this next example, I will again play the double paradiddle between the cowbell, snare, ride, tom 1 and floor tom. My left hand will move again from snare to
tom 1 to snare to floor tom, and will repeat this sequence of movement, while my right hand will move back and forth between the ride and the cowbell.
I will start with my right hand on the cowbell and left hand on the snare. Every time I come back to my right hand, and every time I come back to my left
hand, I will switch to a new surface within the sequence of movement for each hand.
Drum U Ex. 6 - CD Track 22

In this example I’ll play a improvisational medley of grooves and incorporate some of the grooves from examples 2-6.
I will play a new order of the left hand surface orchestration when I move to the toms: The new orchestration i’ll play for left
hand is: tom 1- snare - floor tom - snare.
CD Audio Example Only
Drum U Ex. 7 - CD Track 23

In conclusion, these are just a few simple variations ... Improvise... Have fun with the rudiment. Move it around the kit,
play fills, make new grooves. Most of all, have fun! Now go get your sticks, and let’s play!

Since 1918

G e o . H . Way D r u m C o m p a n y, Va n c o u v e r , C a n a d a Tel: 604-643-9939

W i r e : I n f o @ G E O R G E WAY D R U M S . C A w w w. G E O R G E WAY D R U M S . c a
a division of Dunnett Classic Drums Ltd. NAMM Booth #3364

068
promark.com
SAY IT WITH YOUR MUSIC
®

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 Working it out

Glute Stretch Calf Stretch IT Band Stretch

Back Stretch Hip Stretch

These examples show self myofascial release
on five different areas of the body. The glutes,
hip flexors, IT Band (iliotibial band), lower
back and calves. Other areas would be the
hamstrings, quads and lats. Place a foam
roller on the floor then place the area you
wish to work, on top of the foam roller. Your
bodyweight alone will be enough pressure to
break up the adhesions in most spots. Adjust
yourself until you find the painful spots. Once

Roll The Pain Away!

you find those tender spots, hold that position
until the pain subsides. The amount of time
will vary from person to person.

by Kevin Thomas Posavetz

I’m sure most have heard the term ‘scar tissue,’ but how many really know to prevent scar tissue from forming, I would
what causes it and why it happens? Whenever trauma takes place and tissue is recommend finding a qualified chiropractor
damaged, instead of new tissue developing, the damaged tissue heals, resulting in or licensed massage therapist who is trained in
the formation of adhesions or scar tissue. Scar tissue forms due to acute injuries Myofascial Release or Active Release Technique
such as falling, blunt force traumas, car accidents or sprains and strains. (ART). This hands-on approach can be of great
benefit, as the therapist’s fingers and thumbs
Chronic injuries that most drummers/ have scar tissue, as most do, then you know can be used to get deeper into the area that
musicians will suffer from occur due to that it can be quite painful and restrictive. needs to be manipulated and broken up. I
repetitive action. Things such as forced Damaged fascia can cause breathing problems, had ART performed on me after surgery and
movements, small rapid movements and headaches, chronic neck and back pain, although it was somewhat painful, the result
sitting for long periods with poor posture can numbness, bad posture, lack of flexibility, was well worth it.
all cause adhesions over time. Any muscle muscle pain and spasms, and sciatica. If you If you have not been operated on, but want
being overused and/or constantly contracted suffer from any of these conditions, and you’re to increase your flexibility and break up those
will have a restricted oxygen supply making not sure what to do, today maybe your lucky painful adhesions caused by sitting behind
it susceptible to adhesion buildup, which day. your kit or computer, then performing self
can take place anywhere in the body. This A massage technique known as Myofascial Myofascial Release with a foam roller should
tissue is now weaker and will be less elastic, Release was developed to treat these conditions do the trick. This is achieved by rolling
creating muscle imbalances and disrupting and help return the body back to balance. different areas of the body over the foam roller.
its normal function. Working out or playing When I first started taking drum lessons, I I recommend doing this over as much of the
sports will make you a prime candidate for was taught that I could always do a drum roll body as possible, with drummers focusing on
these conditions. if I was unable to think of another fill to play. the calves, glutes, hip flexors and back. Due
Besides forming in the muscles, scar tissue In fact Bill Bruford has a book called When in to this being a self technique, you will need to
can form in the ligaments, tendons, joints Doubt, Roll! This same thought process can adjust the angle of your body/muscles until
and fascia. Infections and radiation can also be used when trying to break up scar tissue or you find the spots that need it the most. For
cause scar tissue, with the stomach, pelvis adhesions, and also when trying to increase those of you trying this for the first time, there
and heart being common places for adhesions range of motion. I know people who have bad will be areas that can be very painful. When
to occur. Fascia is the thin web-like soft tissue posture and body pain, and live every day like finding those spots, hold it there until the pain
that runs from head to toe, front to back, and this because they just don’t know how to fix diminishes, then move to another area. Keep
covers the bones, muscles, organs, nerves and the problem. in mind that muscles are supposed to move
blood vessels throughout our bodies. If you do If you have recently had surgery and want freely over each other. When muscles are stuck
together, it can be painful and cause many
Kevin Thomas Posavetz has been a certified personal trainer/kickboxing instructor for 10-years and
a professional drummer for more than 15, with a focus on creating programs that combine; healthy problems. By using this technique and being
eating, exercise and lifestyle modifications to produce optimal performance. Kevin has played, toured consistent with it, you will be amazed at how
and recorded with: The Exposers, Soul Picnic, Edenseed and In Too Deep. Originally from Detroit, he
much better you will feel and move behind
now resides in New York City.
Certifications: A.F.P.A: Certified Personal Trainer, Injury Prevention for the Neck, Back and Shoulders, Developing your kit.
Lateral Speed and Agility, C.H.E.K. Institute: Scientific Core Conditioning, Scientific Back Training Program Design, Equal But Not The Same, References: NASM
Nutrition and Lifestyle Coach, MTA 1 Certified Kickboxing Instructor.

070
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 Nutrition Fuel For Thought

Pasteurization
by Kevin Thomas Posavetz
Part 2
At the end of Part 1, there is the definition of pasteurization taken from problems, developed calcium deposits,
the Encyclopedia Britannica 2007. When I try to figure out my choices, I allergies, immune problems and ten cavities.
get my hands on as many facts as I can. I feel very fortunate because I’ve Since I stopped consuming pasteurized dairy
gained a lot of knowledge from my mentors when it comes to fitness/ products, these problems have stopped,
including not having another cavity. I wish I
nutrition and also music/drumming. Unfortunately, most people do
knew this sooner.
not know where to look or who to believe, and decide to believe what
Now, I am not saying to run out and
the media tells them. Hopefully what you read in the rest of this article purchase a bunch of commercially raised beef
will be informative. and chicken and start eating it raw, that could
be deadly. But raw dairy products from healthy
Some of the best research on raw and structure and their jaws and teeth were grass-fed cows and goats, along with fruits,
natural foods versus pasteurized, processed perfectly aligned. When they changed to a vegetables and nuts, should be consumed as
and cooked foods was conducted by Doctors modern diet, which included processed foods, part of a healthy diet. Dr. Joseph Mercola
Weston A. Price and Francis Pottenger, two they started to suffer from chronic illnesses (www.mercola.com) is even a big fan of eating
pioneers whose research has been used in and physical deformities. Their teeth had raw eggs, but he knows his food source.
developing the metabolic typing system. many cavities, their jaws, skeletal structures Recently, one of my drum students suffered
Dr. Weston A. Price is also the author of the and facial bones inadequately developed. This a broken arm from a fall. In the past, I’ve
book Nutrition and Physical Degeneration, well documented study has many photos to known a few other drummers/musicians
in my opinion, one of the best books ever prove his findings and like the saying goes, “A who also suffered broken bones. Bones are
written on nutrition. Dr. Price conducted picture is worth a thousand words.” supposed to be strong, and bad diet choices
investigations of indigenous cultures from If Dr. Price’s work does not supply you with can make them weak. If you’re on the road
around the world. His findings are quite enough proof to the value of unpasteurized and consume processed dairy products for
amazing and pretty hard to argue with. He foods, get yourself a copy of the book your source of calcium, be aware that it is
discovered that indigenous people on native Pottenger’s Cats. Dr. Francis M. Pottenger, Jr., not a good choice. According to Dr. Mercola,
diets, which contained raw foods, did not MD conducted his experiment on over 900 raw dairy from grass-fed cows and goats is
suffer from physical degeneration, disease or cats, which he studied over a 10-year period probably the best choice, and raw organic
structural deformities. They had good bone of time. He discovered that the cats only had fresh vegetable juices are also a great source of
optimal health when their diets consisted of calcium. Vegetable juice is also high in vitamin
raw milk and raw meat. They had no parasites K, which acts like a glue and binds the calcium
or disease, had good bone structure and into the bone matrix.
teeth, and could easily reproduce. Processed dairy products are said to be
When the diet changed to include unhealthy for humans and have been linked
cooked meat and the heat- to acne, allergies, anemia, arthritis, asthma,
processed milk, they suffered autoimmune diseases, bone fractures, cancer,
from physical degeneration. diabetes, ear infections, heart disease,
They had many parasites, osteoporosis and skin problems among
their bones became weak, several others. If you’re a working drummer/
and there was an increase in musician these health issues can affect your
skin diseases and allergies performance tremendously.
from 5% to over 90%. They If you want to read some amazing articles
also developed a change in and facts on this subject, or want to know
temperament, had thyroid and where you can purchase clean raw dairy
reproductive problems, and by products, check out the website www.
the fourth generation they had realmilk.com. This website is founded by Sally
completely died out. Fallon who is a leading authority on nutrition
During all my years of playing research, and you will not find a better source
sports, my diet contained a lot of of information.
pasteurized dairy products. I was You may be one amazing drummer, but it
eating like an athlete was taught to is hard to play if you are sidelined with health
eat, even today, many still are. While issues. Remember only a strong healthy body
consuming these products, I had skin makes a strong healthy drummer!

• For more information about raw milk: Fallon, Sally. www.realmilk.com • Mercola, Joseph, Dr., Get Your
Calcium From Natural Sources. www.mercola.com • Wolcott, W. and Fahey, T., The Metabolic Typing
Diet. Broadway Books 2000 • American Fitness Professionals and Associate •

072
073
 Industry Standard

Words R ober t Boutin, Jr

“These machines...
can create a much
finer, more detailed
profile than would
be possible on a
centerless grinder.”
music store, Vater Music Center, in Norwood,
Massachusetts. With the help of his young
sons, Ron and Alan, Clarry Vater began to
pursue his goal of making a mass-produced
drumstick that maintained the feel, balance
and handmade quality of the original sticks,
joining modern manufacturing with old-
fashioned craftsmanship.
Vater began supplying local music stores
and distributors with high-quality private-
label drumsticks, and the popularity of these
sticks began to grow. Now officially known
as “Vater Percussion,” the company found
Standing at a long black table in the middle of Vater’s second floor of their manufacturing
itself designing and producing drumsticks
facility in Holbrook, Massachusetts, Alan Vater is rolling sticks. His concentration on his
for Vic Firth, Zildjian, Tama and Pearl, as well
drumsticks is unwavering, even with the sounds of howling lathes and machinery from below,
as maintaining the production of specialized
and the constant activity of Vater’s crew: packing boxes, labeling, pairing and shrink-wrapping
private-label sticks for the country’s top
bricks of drumsticks. Downstairs, in the factory, his brother, company President Ron Vater,
drum shops.
is attending to the manufacturing machinery, a complex mixture of old and new, hand
At the end of the 1980’s, this burgeoning
craftsmanship and automation. The controlled chaos of this foot-to-the-floor, high-intensity
company needed its own identity. Encouraged
operation is a far cry from the company’s humble beginnings in the dark, quiet basement of
by Alan Vater, the company launched the
Boston’s legendary Jack’s Drum Shop.
“Vater” line of drumsticks in 1991.
Today, under the leadership of Alan and
Jack’s [Jack Adams’] Drum Shop in
Ron Vater, the tradition of handcrafted quality
the 1950’s was a hub of musical activity
continues in combination with the latest
on the East Coast. Artists like Buddy
technological advances in manufacturing.
Rich, Philly Joe Jones, Louie Bellson,
Vater sticks, while still hand-rolled and
and Elvin Jones frequented Jack’s on
inspected for quality, are also subjected to
a regular basis, becoming attached
a high-tech, computer-driven weight and
to the specialized, hand-lathed
pitch pairing process resulting in the best of
drumsticks that were being turned by
both worlds: a handcrafted product with the
Fred Michaile, Jack Adams’ brother-in-
precise quality control only possible with the
law. A true craftsman, Fred specialized
latest technology.
in high-quality furniture building
According to Alan Vater, this mix of old
and restoration, and his sticks began
and new technology is the cornerstone of
to acquire a reputation among top
the company’s success. “We use back-knife
drummers of the day.
lathes,” says Alan. “These machines produce
In the 1970’s, Clarence “Clarry”
a true turning. They find the center of the
Vater, Jack Adams’ son-in-law, took
dowel, and can create a much finer, more
over the family tradition of stick
detailed profile than would be possible on a
making in the basement of his own
centerless grinder. They require a lot more

074
 Industry Standard

“new breed” of up-and-coming

players, such as Chris Pennie,
Kim Thompson, Derek Roddy,
and Will Hunt, brought into
the fold by Director of Artist
Relations and Marketing, Chad
Brandolini.
“These artists contribute to
Vater’s success, not only from
a marketing standpoint, but
they are integral to the design of
some of our most popular stick
models, as well as accessories
that we’ve introduced in the
last decade,” says Brandolini.
“They are definitely part of the
family.”
Vater’s back-knife lathe making the cut

Ron Vater, Chad Smith and Alan Vater Clarence Vater

skill and time to operate, but the results are The company has a keen eye on the future.
well worth the effort.” “We’re currently working on expanding
“Things have changed over the years,” Vater’s Educational Division with some of
says Production Manager Billy Clark, who our great educators like Steve Fidyk and
has been with the family for over twenty- Dave DiCenso, as well as working with
eight years. “The sticks are still the best. Pat Gesualdo and his D.A.D. (Drums and
Nobody can do it like we do, and now we do Disabilities) Program,” adds Brandolini.
it a lot faster.” Clark continues, “All of our With their excellent reputation for
production, sales orders and inventory are “combo” sticks and accessories, the company
computerized. I can tell with the push of a has branched out further into the challenging
button what our orders look like, what we marching and orchestral field, with a full line
have for stock and what needs to be turned.” of sticks, mallets and accessories for the field
It’s a long way from the pages of handwritten and orchestral player.
charts and order lists that Clark deciphered in Vater not only embraces new technology
the past. The company is growing at such a as it pertains to manufacturing, but also
rapid pace that they have recently opened a entertainment and music. The Company is
new office and distribution facility, separate featured prominently in the new video game
from the nearby manufacturing plant. Rock Band, an all-new platform for gamers to
Today Vater boasts a full line of sticks, experience music, giving players the chance
brushes, mallets, specialty sticks, marching to rock in the shoes of the biggest guitarists,
products and accessories, as well as a large, bassists, drummers and singers of all time.
diverse and influential artist roster, which The root of the company’s success is their
includes some of the biggest names and chart- dedication to maintaining the highest degree
topping bands in the industry. Drumming of quality. This commitment is what has
icons like Chad Smith, Stewart Copeland, brought Vater from the basement of Jack’s
Josh Freese, Virgil Donati, John Roberts and Drum Shop to the forefront of the drumstick
Jimmy Cobb take their place alongside the industry.

075
 Gear

CD TRACK

24
SPOTLIGHT:Trick Percussion Audio Example
Chicago based drum manufacturer Trick Drums™ is well known for making metal drums. They make snare drums from copper, brass, stainless steel (their principle
material) and the material they make all of their drumsets from is Trick’s exclusive AL13. According to Trick’s V.P. of Sales, JT, “AL13 is what sets Trick apart from
all other drum manufacturers, and allows Trick drums to be more consistent than wood drums while providing for endless finish types.” Trick drums are touted
as being impervious to climate changes and weather conditions such as temperature, moisture and humidity. Trick states, AL13 provides all of the characteristics
we know and love in wood drums, but with enhanced resonance, sustain, and durability. When it comes to the environment, and the notion of “being green,”
Trick claims to be the greenest company going. AL13 is derived from one of the most abundant elements in the earth’s crust, eliminating the need for trees to be
harvested. Additionally, all of Trick’s powder coated finishes produce no VOCs (volatile organic compounds), while offering a pristine finish with industrial strength
protection. Finally, the drums are expeditiously available and very affordable.
www.TrickDrums.com

Zildjian K Crash Ride Cymbals In Brilliant Finish

MSRP: 21” $589
MSRP: 22” $644
The 21” and 22” K Crash Rides feature a Brilliant Finish and a medium-thin weight. These new models now
become Zildjian’s largest crash cymbals available, and offer an explosive crash sound. Both K Zildjian Crash
Rides were developed with Zak Starkey, who has been using them in his setups with The Who and Oasis since
2000. These cymbals help Zak create the “wall of sound” he needs when playing with both bands. While adding
a dynamic visual impact, Zildjian’s Brilliant Finish also helps to smooth out the sound and add extra high-end
sparkle. The K Zildjian Crash Rides open up quickly and are excellent for “shouldering” with the stick.
www.zildjian.com

Zildjian Introduces New Sizes The Avedis Zildjian Co. is pleased to

announce the introduction of new sizes into
To The K Light Cymbal Series its popular “K Light” cymbal series. The 22” K Light Ride, 15”
K Light Hi-Hats and 16” K Light Hi-Hats make available more options to the
22” Ride $644
growing number of rock and pop drummers choosing the darker sounds
Light Hi-Hats:
of the K Zildjian cymbal range.
15” Pairs $722
The new 22” K Light Ride comes in a traditional finish, and is thin in weight.
15” Top $361
It features the same “smoky” sound and excellent stick definition of the
15” Bottom $361
existing 24” model, but in a smaller more controllable size. The 15” and 16”
16” Pairs $798
K Light Hi-Hats offer more volume and lots of “wash” for a “sloshy” feel.
16” Top $399
They feature a traditional finish with a medium-thin weight top cymbal and
16” Bottom $399
a medium weight bottom cymbal. The 16” K Light Hi-Hats are the first ever
16” Hi-Hats offered in the K Zildjian range. Both the Ride and the Hi-Hats
are versatile enough for almost any style of music.
www.zildjian.com

076
077
 Gear

Tama Starclassic Bubinga Cordia

Drums as pictured, other sizes and hardware available:
22” x 20” Bass Drum $2130 10” X 6.5” Tom Tom $680
12” X 7” Tom Tom $770 14” X 12” Floor Tom $1030
16” X 14” Floor Tom $1135 13” X 6” Snare Drum $660
20” X 14” Gong Bass $1450
Tama, the first major drum maker to craft all-bubinga drum sets, continues to be the number one and best-known maker of bubinga drums with their Starclassic Bubinga
Series and Bubinga Omni-Tune Series. Tama was also the first drum maker to utilize cordia in the first Artstar kits in 1983, and drum aficionados have long asked for a
return of the beautifully grained wood. Now Tama has combined its two firsts with the Starclassic Bubinga Cordia series. A particularly attractive feature is fiscal: the new
Starclassic Bubinga Cordia will be the same price as the Starclassic Bubinga Series drums that feature a premium maple outer-ply.
www.tama.com

LP Diablo NEW and Improved LP Matador Timbales

Cowbell: MSRP:
14” & 15” Brass Shells $519
Summoning the 10” & 12” Brass Shells $489
Unseen 14” & 15” Chrome Shells $479
10” & 12” Chrome Shells $429
MSRP: $56
14” & 15” Brushed Nickel Shells w/ Gold Tone hardware $549
Possibly the most controversial and
Many players feel that there is little to improve upon when it comes to the LP Matador line. The marriage of
provocative cowbell in the extensive
attractive finishes, sturdy resonant shells, quality heads and modest price make for a potent combination,
LP collection, the LP Bell Diablo will
and is the reason many discerning musicians prefer Matadors to more expensive, premium instruments
appeal to drummers with attitude. The Diablo will
from other brands. A few slaps on a well-tuned Matador conga tells the story eloquently.
wreak vengeance when summoned, slicing through
When LP designers took a look at our Matador Timbales, they weren’t out to alter a proven attribute,
clouds of volume, with definitive, cutting projection
the tone, what they did want to tweak was the various nuts and bolts that add up to creature
and a raspy, threatening tone. The demonic low
comfort. Accordingly, the newly improved LP Matador Timbales feature their proven traditional
fundamental tone and blood red finish, inscribed
sound for cascara, center-of-head and rimshot applications, but they now come with redesigned
in the blackest black with graphics depicting
mounts, an upper stand post with a superior tilter, and an exceptional cowbell bracket. The
The Horned One, will appeal to any drummer or
latter, incidentally, is not just stronger: it allows players to mount multiple percussion items
percussionist with a pagan sensibility.
on a single post.
www.lpmusic.com
www.lpmusic.com

078
 Gear

Mike Mangini Pearl Signature Snare Drum

MSRP: $499
The Mike Mangini Signature Snare Drum is the only drum of its kind. It features a 6-ply, 100%
birch shell in a unique 10” X 6.2” Golden Ratio size, complete with “Phi” graphic covering.
Mangini, the Berklee professor and international clinician, has always been fascinated with
science and the nature of sound, so it made perfect sense for his Signature Snare to be based
on the ancient architectural phenomenon that is the Golden Ratio. With Swivel Tube Lugs,
SuperHoop II hoops and an included OptiMount holder, this is a snare drum marvel!
www.pearldrum.com

Pearl Primero Box Cajon

List Price: $165
Pearl’s new Primero Box Cajon is packed with quality features at an affordable price. Made
from Asiatic pine and finished in Gypsy Brown matte lacquer, it features fully adjustable
snares that can be played “on” for Spanish Flamenco-style or “off” for Peruvian-style playing. Jimmy Degrasso Pearl
The front plate is designed for maximum bass and super-sensitive snare response.
www.pearldrum.com
Signature Snare Drum
List Price: $649
The Jimmy DeGrasso Signature Snare Drum is
Pearl New Reference Colors And Features For 2008 a 14” X 5.5” hammered brass snare drum with
gold-plated hardware, ideal for loud, amplified
Reference List Price: $4,499.00
music. Jimmy has laid the foundation for such hard
Pearl’s Reference series, the most acoustically advanced drums in the world, offer even more features and rock acts as Alice Cooper, Ozzy Osbourne, Suicidal
colors in 2008 to make it one of the most impressive looking and sounding drumsets available. Six brand new Tendencies and most notably, the multi-platinum
finishes are now available with Reference: Shimmer of Oz, Inca Gold Burst and Ivory Pearl, Black Pearl, Red Megadeth. This striking drum is sure to catch the
Pearl and Purple Metallic will combine with a selection of Masters Premium finishes to give Reference a total eyes and ears of all drummers.
of 27 premium finish options. New for 2008, Reference drums will now come fitted with Remo Clear Emperor www.pearldrum.com
drumheads for the toms, Remo Clear Powerstroke 3 drumheads for the bass drum, and an exclusive Remo
“Window” drumhead for the snare batter drumhead so that the task-specific shell configurations, thicknesses
and bearing edges are all clearly visible. Lastly, Reference drums will now be offered in your choice of Chrome,
Gold-Plated or Black Chrome Drum Hardware.
www.pearldrum.com

Morgan Rose Pearl

Signature Snare Drum
List Price: $499
The Morgan Rose Signature Snare Drum is
a force to be reckoned with. When rocking
with his band Sevendust, Morgan needs his
drum to be loud, powerful and full of attitude.
His mean 14” X 5” steel drum has plenty of
projection to cut through huge speaker stacks
and subwoofers, and has stainless steel tension
rods for incredible tuning precision, and a
nasty green metallic finish with glow-in-the-
dark “Alien” graphic that can’t be missed.
www.pearldrum.com

080
 These
Mics Give
You More.

Xavier Muriel, Buckcherry

More clarity.
More gain before feedback.
More ability to handle high SPL.
More separation of sound.
More articulation.
DP7 More consistency.
Best Wired Mic of 2007 More durability.
durabilit
More natural sound.
More bang for your buck.

What more do you need?

FOR A DEALER NEAR YOU CALL 1-800-966-8261

D4 ADX51 ADX51 D6 i5 D2 D2 TEL: (503) 682-6933 FAX: (503) 682-7114 www.audixusa.com
 Gear

Paiste / Nicko Paiste to Launch several New

McBrain Power Signature Series Models
Slave Ride The 16”, 18” and 20” Crystal Thin and the 14” Crystal Hats feature the unique bell
shape that was Paiste’s innovation with the ‘70s Sound Creation Mellow Crash. The
The Reflector Bell Ride is reminiscent
distinctive design allows the creation of cymbals with a beautifully sweet, silvery,
of the Sound Creation Bell Ride, which
warm and silky sound character and a high degree of responsiveness and control.
Nicko McBrain used throughout the
The 8” Cool Bell is a complete re-design of the long running Bell model.
1980’s. The original concept was updated
The 16”, 17”, 18”, 19”, 20” and 22” Reflector Heavy Full Crash offers the best of
according to his current specifications and
both worlds for players that were forever caught in the dilemma between the
executed in the Signature Series, utilizing Paiste’s
beauty of a Full Crash and the strength of a Power Crash.
unique Reflector finish.
The 14” Reflector Heavy Full Hi-Hat was designed as a counterpart to the Reflector
In 20” and 22” they feature a full, fairly dark, controlled,
Heavy Full Crash. As such, this very balanced model offers the responsiveness
glassy and shimmering sound character, a clear full ping over a
and control of a medium weight hi-hat, yet features consistent cutting power and
large, deep harmonic wash, and a dominant, strong bell, making it extremely well suited
strength and a fairly dirty, full, barking and piercing sound character.
for the intricate ride stick work that is one of the hallmarks of Nicko McBrain’s playing
The 8” and 10” Reflector Splashes are additions that provides a bright and
style with Iron Maiden. As a tribute to Nicko’s collaborative effort in the creation of this
shiny appearance, with the slightly equalized harmonics and glassiness of the
unique cymbal, the label “Powerslave” and a rendition of Iron Maiden’s mascot, Eddie,
Reflector Finish.
have been placed on the 22” version of the cymbal.
www.paiste.com
www.paiste.com

Mapex Introduces Mapex Adds New

“Krushed” Glass Glitters Configuration And New
For Orion & Saturn Finish To M Birch Series
MSRP: $3,989.99 all-maple Orion MSRP: $1,869.99 burst finishes
MSRP: $3,059.99 maple and walnut Saturn MSRP: $1,689.99 non-burst finishes
These sparkling beauties will have you sounding and The new Studioease configuration includes a 22” X 18”
looking better than ever. Choose from the diamond-like
brilliance of Crystal Krush, the breathtaking sparkle of
Mapex Unveils 2008 bass drum, 10” X 8” and 12” X 9” tom toms, 14” X 14” and
16” X 16” floor toms, and a 14” X 5.5” snare drum. The
Copper Krush or the intriguing subtlety of the exclusive Limited Edition Orion set includes five pieces of Mapex 550 Series hardware:
Cosmic Krush. The Studioease component pack includes
a 22” X 18” bass drum, 10” X 8” and 12” X 9” tom toms,
Chocolate Burl including a bass drum pedal, hi-hat stand, snare stand,
cymbal stand and a boom stand. The beautiful Hermosa
14” X 14” and 16” X 16” floor toms, and a 14” X 5.5” snare MSRP $5,799.99 Fade transparent lacquer finish has also been added to
drum. Hardware sold separately. the M Birch line-up for 2008. The Series features 6-ply,
The 2008 Limited Edition Orion Chocolate Burl
www.mapex.com 7.2mm shells with an exterior maple veneer to accent
drumset will be sold in extremely limited quantities
the series’ hand-applied, high-gloss transparent lacquer
in North America. What sets this all-maple drumset
finishes. The drums are also equipped with the exclusive
apart is its exquisite exterior burl veneer. Handmade
Mapex I.T.S. (Isolated Tom Mount System), designed to
in Italy, the remarkably figured exterior ply is formed
extend the shell’s resonance.
together with six North American maple plies for an
www.mapex.com
ultra-thin (6.1mm), ultra-resonant shell that’s built to
be enjoyed for generations. The set includes a 22” X
18” bass drum, 10” X 8” and 12” X 9” tom toms, 14”
X 14” and 16” X 16” floor toms, and a matching
14” X 5.5” snare drum. All drums feature
all-maple Orion shell construction, luxurious
black chrome hardware and a classic, white
coated front bass drum head.
www.mapex.com

082
Duck, Duck Boom!
Pintech Novelty triggers aren't
just for children, but the child
in all of us. Even the most
serious rocker is a big kid
at heart. John, of course,
doesn't play with these on
his kit, but he can
appreciate the benefit
and fun of these
great new little triggers.

“I believe these triggers are

a fun way to introduce chil-
dren to the exciting world of
drumming. I have one for
my 3 yr old son, who is
showing an early interest in
music and drumming”
John Humphrey

800-445-0506 • www.Pintechworld.com
**No Duckies were harmed in the making of this ad**

083
 Gear

New Stage Custom Birch Drum Set From

Yamaha Drums
Introducing Yamaha Drums new Stage Custom Birch kit. Perfect for students,
houses of worship and gigging drummers, the kit’s 100% birch shells offer a cutting
low-end, while eight new gorgeous lacquer finishes provide sustain and great looks.
Yamaha’s first mid-priced birch kit also comes with all-new, top-quality 700 series
hardware. The drumsets feature three unique configurations, including a five-piece
with a 20” bass drum, a five-piece with a 22” bass drum and a four-piece with a 24”
bass drum. All toms are in “universal” size depths to provide the most projection
and purest tone.
www.yamaha.com

Sensaphonics A Snare Drum For All Seasons: A Premier

Hardwired 3D Active Birch And Vintage Vibe
Ambient™ IEM
System Yamaha Drums will introduce 10 new snare drums that offer a
wealth of sounds, and complement almost any playing style.
MSRP: $2,300 (single-driver The new drums include Yamaha’s all-birch snare in the Stage
earphones) Custom line, a new Musashi snare and a new Vintage snare.
Two new series, Loud and Sensitive, make it easier to select a
MSRP: $2,800 (dual-driver
snare based on its application and the sound that a drummer
earphones)
seeks. Yamaha’s new warm and punchy Stage Custom Birch
Sensaphonics introduces a hardwired version of Snare Drums, made from six-ply, 100% birch, mark the first
its revolutionary 3D Active Ambient IEM System. time Yamaha has offered an all-birch snare drum at an entry-
Designed as a standalone system for drummers, level price. Configurations include 14” x 5.5”, 12” x 5” and 10”
keyboardists and other stationary performers, x 5”. The two smallest sizes come with a tom mount for easy
the new 3DAA-HW Active Ambient uses highly addition to any drum kit.
sensitive, precision-equalized microphones www.yamaha.com
embedded in soft silicone earphones to pick up
stage ambience with natural sound quality and
accurate directional cues. This binaural ambient DTX-Cellence: Yamaha Unveils Flagship
signal is sent to the compact 3D-HW bodypack
mixer, where it is combined with the monitor
Electronic Drum Kit
feed from the console with zero latency. The 3D
Active Ambient is the only in-ear system that
Yamaha Drums has completely overhauled its flagship electronic kit. Introducing the
provides full ambient sound for the performer,
DTXTREME III and DTXTREME III Special electronic drumsets. In addition to redesigned
while keeping the ears fully sealed. This allows
cymbals, a new kick tower, and an all-new module, the sets
the performer to have normal conversations and
use the same technology that powers the supercharged
hear audience response with the earphones
Yamaha MOTIF XS synthesizer. In addition to over 1,000
still in place.
onboard drum, percussion and special effect voices, the
www.sensaphonics.com
module includes over 100 General MIDI voices. With the
optional memory installed, 512 MB of sampling allows players
to trigger a large library of custom sounds. Combine the
stacking and layering capabilities of 100 voices with
other advanced features, and the DTXTREME III
is a complete workstation for drummers. Both
DTXTREME III versions include 3-zone drum and
cymbal pads, USB connectivity and an advanced
internal sequencer. The DTXTREME III Special
comes with Yamaha’s new Hex Rack System,
the strongest and most versatile rack in the
industry, which locks drums and cymbals
firmly in place, and offers limitless versatility
for a completely customized setup.
www.yamaha.com

084
 Gear

Kelly SHU™
Suspended
Microphone
Mounting System
MSRP: $154
Looking for an alternative to the bulky
microphone stand and boom you’re likely using
to support your kick drum microphone? Kelly
Concepts, LLC introduces a suspended microphone
mounting system for kick drums called The Kelly SHU™.
High-strength rubber support cords have eliminated
any hard-mounted contact of the microphone to either
the drum shell or the floor that the drum sits on.
The result is an integrated microphone shock mount system that
reduces mechanical noise, while saving stage space and reducing
clutter. Setup and teardown times are also reduced since the microphone can stay with the drum during transport. The
Kelly SHU™ can be installed internally within the drum shell, or suspended externally on the front of the drum with the
same packaged system. The main mounting unit is made of high-grade 301 aluminum and anodized in your choice of
either Stage Black or Clear-coated Aluminum colors. The mount offers 10 support-cord holes that are each fitted with a
vibration-reducing rubber grommet. The threaded post will accept any standard kick drum microphone, has 2 ½ inches
of adjustment range along the slotted tab, and is outfitted with an oversized jam nut that’s easy on the fingers.
When installed internally, The Kelly SHU™ system utilizes your drum’s pre-existing tuning hardware screws as a means
of fastening interior loops, which become attachment points for the support cords. Internal adjustment possibilities
for microphone placement are virtually limitless, as the mounting unit can be installed vertically, horizontally, sideways or diagonally to obtain your desired microphone
position. Tension on the support cords radiates outward in all directions, holding the microphone mount in position night after night. Simply run the microphone cable out
the sound port in your front head, make the connection and your kick drum is ready to go!
Externally, the Kelly SHU™ will utilize existing tension lugs as attachment points for the support cords. Position adjustments are regulated by the length of the support cords,
and where they are attached around the perimeter of the drum. The company recommends a 6-inch sound port in the front head, which allows room for the microphone
and the slotted tab of the mount. The Kelly SHU™ puts the microphone in the traditional placement one gets when using an old-school microphone stand, but requires
no drilling or modification of the drum for installation. The system is portable and can be moved from drum to drum easily, leaving no indication it was ever installed. By
incorporating your choice of pro-quality microphones with the system, you’ll get a more consistent sound from gig to gig, as well as make good friends with the soundman
since you’ve just made his job easier!
www.kellyshu.com

Hammerax™ Indigo™ Cymbals

MSRP: $370
Indigo 20” Ultra Dark Crash (pictured)
Indigo™ multi-cup cymbals are ultra dark in tone with a super
complex wash. Even greater variety comes from the multi-cup
technology and a new alloy. Drummers can play multiple
points for a variety of ride and crash tones, or play the small
buttons for multiple unique stick tones. The ending washing
is complex and deep without being gong-like. Create giant
"curtain of sound" phrases by moving upward from Indigo™
cymbals into higher or brighter cymbals.
Pictured is the Indigo 20" Ultra Dark Crash with three additional
outer cups with three small buttons. The center cup has quick
attack with good sustain and almost no bell-like tones, helping to
darken the cymbal’s overall sound.
www.hammerax.com

085
 Gear

Bosphorus Rockett Ride

MSRP: $550 / $600
The ultimate hard rock cymbal is coming to a town near you. Bosphorus
has produced the first handmade ride cymbal designed by the man
that lives metal, Rikki Rocket of Poison. This is heavy metal in its truest
sense, weighing in at 3000 grams of hand-hammered potential energy
coiled to deliver arena size volume and cutting projection. The Rockett
Ride features an over-sized unlathed bell that meets a polished lathed
area for amazing volume and high-octane projection. Available in 20˝
and 22˝ sizes.
www.bosphoruscymbals.com

Black X™ Drumheads, Another

X-Treme From Remo®
Remo expands their popular line of Emperor X™ heads for heavy hitters. In
addition to the award winning Emperor X™, now there’s the BLACK X™, which
features focused midrange and warmth, with plenty of attack. In addition,
Remo is now applying its unique suede texturing process to its popular Ebony®
Series drumheads. The Emperor®-weight BLACK X™ is 2-plies of textured
Ebony® 10mm film with a 3mm reverse dot, giving it X-treme durability with
a unique esthetic look.
www.remo.com
Remo
Black Suede™
Drumheads
Remo® Crimplock™ BLACK SUEDE™
Emperor®-weight
Symmetry Conga Heads BLACK SUEDE™
Remo now adds to its World Percussion Drumhead Line the New Crimplock Ambassador®-weight
Symmetry, type 4, conga drumhead. Crimplock Symmetry was created to
Give your kit a unique look with REMO’s
add flexibility in our manufacturing while increasing available drumhead
new BLACK SUEDE™ drumheads.
dimensions. This means Crimplock Symmetry drumheads can fit more conga
Remo is now applying its unique
drum models from various manufacturers. Added to their compatibility
suede texturing process to its popular
list are the following companies: LP, Pearl, Meinl and Gon Bops. Now more
Ebony® Series drumheads. Offered in
percussionists can play Skin-on, Nuskyn®, Skin-on, Fiberskyn® 3, and Skin-on,
Ambassador® and Emperor® weights,
Skyndeep™.
the BLACK SUEDE™ drumheads provide
www.remo.com
focused warmth, and enhanced mid-
range for snare drums and tom toms
without muting their percussive attack.
Available is sizes 10”, 12”, 13”, 14” and
Remo® Expands Vintage A™ With Tom Heads 16”.
The BLACK SUEDE™ Ambassador®
MSRP: 10” - $23.75, 12” - $25.25, 13” - $26.50, 14” - $28.25, 16” - $30.75
drumheads feature 1-ply of textured
Inspired by the overwhelming popularity of the Vintage A™ snare head that was EBONY® 10mm film. The BLACK SUEDE™
introduced for Remo’s 50th Anniversary, Remo now expands the Vintage A™ line Emperor® drumheads feature 2-plies of
with tom drumheads. Vintage A is available in 10”, 12”, 13”, 14”, and 16” sizes. The textured EBONY® 7.5mm film. Both weights
Vintage A™ drumheads are constructed of 2–ply, 7.5mm and 3mm polyester films, are ideal for all playing applications.
and are a reissue of the first Remo Ambassador® drumhead that changed the art of Stand out with great sounding and great
drumming in the late 1950’s. They feature the sensitivity and snare response of the looking BLACK SUEDE™ drumheads.
Coated Diplomat®, the focused mid-range of the Coated Emperor®, and the longevity www.remo.com
of the Coated Ambassador®. These unique features make the Vintage A™ one of the
most versatile drumheads on the market.
www.remo.com

086
 Gear

Gibraltar Expands Gibraltar’s Stealth Vertical

Hi-Hat “Off Time” Mounting System (VMS)
Offer MSRP: Vertical Mounting System $240
Vertical Mounting Package with single tom mount and
MSRP: Hi-Hat Off Time Attachment
UA snare basket $350
(only) $92.50
Side Mounting system $255
Chik Effects Pack (pair) $30
Ultra Adjust snare basket $79
Hi-Hat Off Time Attachment with
Single Ball L-rod with Cymbal Mount $70
Chik effects pack $115
Hardware Transport bag with wheels $130
Gibraltar has expanded its Hi-Hat “Off Time”
Gibraltar’s Stealth Vertical Mounting System (VMS) takes a
offer to include everything drummers need
minimalist approach to mounting hardware by showcasing the
to achieve an offtime, second layer of sound.
kit and removing the cluttered appearance of bulky tripods and rack bars
The Chik Effects Pack creates the “chik” sound
spanning across the bass drum. Best of all, Stealth VMS means you have less to break
when used with the Hi Hat Off Time Attachment.
down and carry after the gig. The Stealth VMS creates a low profile vertical mounting plain for mounted toms and
Want the whole package? The Hot Hat Kit with
the snare creating a rock solid foundation for any set up. This innovative mounting system works with virtually any kit
Chik Effects Pack features everything you need
configuration, and can utilize existing tom and snare mounting hardware no matter what brand or size kit you play.
to create that second layer of sound.
www.gretsch.com
www.gibralterhardware.com

Gretsch 125th
Anniversary Limited
Edition “Rock Legend”
Drumset
MSRP: $7,995
Gretsch’s 125th Anniversary “ROCK LEGEND”
drumset stands as a tribute to rock music’s
legendary players. The Rock Legend set
features classic 6-ply Gretsch-formula maple
shells with 30-degree bearing edges and Silver
Sealer interiors —the same Gretsch formula that was used when rock music was defining a culture all its own.
Other classic features include vintage rock sizes, mounted tom, Gretsch Round Badge, triple chrome-plated
hardware and Nitrocellulose Millennium Maple Gloss finish. The Rock Legend kit is limited to 125 total kits for
2008 production. Sizes: 22” X 16” bass drum, 12” X 8” tom, 14” X 14” and 16” X 16” floor toms, and a 14” X 6.5”
snare drum (20 lugs).
www.gretsch.com

Gretsch 125th Anniversary Ltd Edition Progressive Jazz And Bop Kits
MSRP: Progressive Jazz Kit $6,145 20” X 14” kick, 12” X 8” rack, 14” X 14” floor and 14” X 4.5” 8-lug snare drum.
MSRP: Bop Kits $5,950 18” X 14” kick, 12” X 8” rack, 14” X 14” floor and 14” X 5” 8-lug snare drum. (Shown)
Gretsch Drums proudly celebrates 125 years of “That Great Gretsch Sound” with two limited
production Custom kits. Gretsch’s Progressive Jazz kit, modeled after the classic Gretsch
“Birdland” kit from the 1950’s, was used by some of Gretsch’s past master drummers
– most notably Max Roach – and kept as the house kit at the renowned New York City jazz
establishment. This kit features classic 6-ply USA Custom shells, and features gold-plated drum
hardware. Traditional jazz sizes, mounted 12” tom, Gretsch Round Badge, Cadillac Green finish
and bass drum finished with gold sparkle inlay and vintage T-rods.
Inspired after their eternally classic Be-bop configuration, Gretsch’s Progressive Bop kit conjures
the essence of the many great Gretsch jazz masters. Features include Gretsch classic 6-ply
USA Custom shells, traditional be-bop sizes, mounted 12” tom, Gretsch Round Badge and
Cadillac Green finish. The bass drum is finished with silver sparkle inlay and vintage T-rods.
Each of these two kits also contains a uniquely serialized vintage orange/white internal shell
label and a special 125th logo affixed over the paint - but underneath the lacquer - on the bass
drum shell. 2008 production is limited to 125 total kits for each drum set.
www.gretsch.com

087
Gear

Tycoon Percussion Signature “Grand” Conga Drums

MSRP: $869 to $899 shells in a rich, natural satin oil finish with 10% wider bellies. This
Tycoon Percussion is proud to announce the introduction of its all-new shape allows more air movement and creates a fatter, warmer, more
Signature “Grand” Series conga drums. This series is acclaimed for resonant sound. Additional Tycoon innovations include old-school style
its exclusive combination of classic wide-body designs and advanced Classic-Pro™ hoops, premium-grade calfskin heads, and the luxurious
handcraftsmanship, which offers high-end performance and tone look of brushed chrome hardware. Matching requintos, bongos and
quality, not to mention a stunning appearance! The 11˝ Quinto, 11¾˝ djembés are also available to round out any percussionist’s set-up.
Conga and 12 ½˝ Tumba feature hand-selected North American ash www.tycoonpercussion.com

Promark Jason Bonham EC Resonant

Autograph Model Tom Heads
MSRP: $13.45 & Hybrid
Jason Bonham has worked with the design team at Pro-Mark to Drumset
create the Jason Bonham SD531W. Made of American rock maple,
the SD531W is 16 ½” long, .595” (15.1mm) in diameter, and features
Snare Batter
a relatively short taper and a large wood modified acorn-shaped MSRP: EC Resonant
tip for added power and volume. $27 - $47
www.promark.com MSRP: Hybrid Drumset Snare
Batter $92 - $96

Promark Pad Bags Evans brings EC (Edge Control) technology to

resonant heads. The EC Resonant is constructed
MSRP: Small $79.95 / Large $99.95 from a single ply of 10mm ultra-clear film augmented with the EC ring. It attenuates
unwanted overtones and centers pitch, while delivering a desirable mid-range
Promark’s new “Pad Bags” incorporate a
frequency bump. It’s the first head to control and correct the tuning inconsistencies
practice pad permanently affixed to the
of bottom heads, a long-standing roadblock to perfect tuning for many drummers.
exterior of the bags themselves, eliminating
The result is a more resonant, fatter tom that projects a truer pitch, irrespective of
the need to carry a separate pad in
volume levels.
addition to his/her stick bag. Pad
The new Hybrid Snare Drum Batter is durable to the extreme, yet does not sacrifice
Bags are available in both small
sensitivity, a result of two unique high-tensile fibers. The head answers the wishes of
and large (large is equipped
heavy rockers, delivering heightened attack and unprecedented resistance to breaking.
with a sturdy and comfortable
The most durable of Evans heads, it offers an intriguing aesthetic: A layer of Evans’
shoulder strap).
unique “frosted” coating allows the grey twill inner weave to show through clearly.
www.promark.com
www.evansdrumheads.com

Evans HQ Soundoff Universal Bass

Drum Mute
The new HQ SoundOff Bass Drum Mute will be welcomed by drummers who own

Promark Drum Roll Tape a “gigging kit” with a smaller bass drum, in addition to a rock kit with a power kick.
The amazing new mute, with its unique attachment clamps, will fit any bass drum
MSRP: $11.25 per roll within the 16” to 26” range — and provide realistic rebound. Evans Mutes eliminate
penetrating lows and shrill highs while preserving authentic feel.
“Drum Roll™” is a gauze-type material that can be applied to literally
www.evansdrumheads.com
any striking implement. It can also be applied directly to fingers for
hand drummers desiring additional protection. It sticks to itself, but
not the surface to which it is applied, thus eliminating the possibility
of sticky residue, common to some other gripping tapes. Drum Roll™
is available in four colors: red, blue, purple and black.
www.promark.com

088
 Gear

Qwikstix Beverage Holder

MSRP: $42 (includes free shipping)
Qwikstix products provide for easy access to drum and musical accessories,
allowing fast recovery or easy reach. This new product is no different,
providing an innovative new beverage holder that attaches to a floor

AQUARIAN tom. This new product compliments the successful stick holder that
also attaches to the floor tom. The new beverage holders provide no
Tru-Bounce™ more spills, and a fast easy way to access your beverage of choice:

Practice Pad Easy on, easy off, and always in the right position.
www.qwikstix.com
MSRP: $45
With an active neoprene playing surface for
true and accurate response, the Tru-Bounce™
Practice Pad is comfortable to play on without
the “overly-springy” feel of traditional gum
rubber. The result is a more accurate rebound
stick response that helps to develop control,
strength and speed. It makes your practice
work a little harder, but not too hard. Included
with each pad is a pair of Power-Sleeve™
drumsticks, a “teacher approved” list of
essential snare drum rudiments, and two
[BPFM4600THT]

“Fact Sheets” by Aquarian co-owner Roy

Burns, which covers sticking exercises and
tips on snare drum tuning.
www.aquariandrumheads.com

BLACK PANTHER THICK FLAMED MAPLE 14 x 6

the 15-ply extra thick shell features a trditional deep snare bed along with a rounded
bearing edge that provides increased shell to head contact... the result is warm, dark,
Cymbal Swipes full-bodied sound with incredibly soft feel... the flamed maple exterior veneer is finished
in high-gloss, hand applied lacquer which brings out the rich grain of the wood...
MSRP: $18
Cymbal Swipes offer amazing cleaning
power for all of your prized cymbals. Just a
swipe removes years of grime and restores
the cymbal’s original luster and shimmer
without removing logos. Cymbal Swipes
are packaged for easy dispensing and
ready to travel.
www.cymbalswipes.com

SPECIFICATIONS: 12mm shell thickness « Honey

[BPFM4600THT] Maple Burst Finsish « 3.0mm Die Cast Hoops « fully
adjustable throwoff and butt plate « 20 strand snare

“I’ve played Black Panther snares for nearly a decade. There’s no more
versatile snare anywhere at any price.”
Gregg Bissonette «

BLACKPANTHERSNARES.COM
© Copyright 2008 Mapex USA Incorporated

2007_BP_Ad_Series.indd 28 11/16/07 089

8:52:12 AM
 Gear

New Toca Professional Cuica

MSRP: $195
The cuica is a key component of Brazilian music, in particular the samba. It can be heard in a broad range of works such as the
early recordings of Egberto Gismonti, Porthino, and the pop recordings of Paul Simon. The new Toca Professional Cuica succeeds
in nailing the elusive indigenous sound, and protecting it in a durable housing. This shell is actually a seamless piece of aluminum,
produced by spinning a flat sheet into round with no seams to impede resonance. To further free the shell to vibrate, the drum
incorporates a free floating design: No tuning hardware,including lug casings, touches the shell. The head, or rather skin, is
specially chosen natural goatskin. To produce the signature jungle squeak, on the reverse side of the skin a bamboo rod extends
from the center of the head and runs parallel the length of the shell. For a robust squeak, a full-size 10” head interacts with an 11”
shell. The new Toca Professional Cuica is made to last, starting with the one-piece aluminum shell, progressing to the six sturdy lug
tuners in powder black, and finally to the failsafe shoulder strap.
www.tocapercussion.com

Toca Acacia 10 Tambourine

MSRP: $29
The Toca Acacia Tambourine, whether judged by aesthetics or certainly by tone, is undoubtedly one of the finest
tambourines Toca’s made. Constructed of lightweight premium acacia wood, the skinless tambourine is a beautiful
instrument capable of a range of timbres. A double row of nickel-plated jingles delivers dense, shimmering, chiming
tones that will be equally at home live or in the recording studio.
www.tocapercussion.com

Toca Surf Drum: You Toca Freestyle Series Talking

Control the Waves! Drum with Beater
MSRP: $55 MSRP: $345
This infectious drum is going to give a The Toca Freestyle Series Talking Drum offers delightful experiences
lot of people pleasure, and not just in an authentic styled unit priced extremely modestly. Toca Freestyle
musicians! Designed to emulate the Talking Drums provide their signature
sound of waves flowing, ebbing and undulating changes in pitch by means
breaking, when played in a circular of squeezing and releasing any of the
motion, the Toca Surf Drum is multiple chords running the length
remarkably effective. It ‘s a legitimate of the shell, while simultaneously
percussion instrument that can be playing the head. The result of tension
put to good use in lieu of a Foley Stage manipulations are pitch bends, low
or digital samples on motion picture grumbles and babbles, topped by
soundtracks, or to underscore performances shrieks, all resembling the inflections of
by singer-songwriters. And, let’s admit the the human voice.
truth, it’s a whole lot of fun! www.tocapercussion.com
www.tocapercussion.com

NEW Toca Fiberglass Shekere

MSRP: $175
The West Afgrican Shekere has migrated across the waters and mingled with the music of many cultures. In essence, the Shekere is
a hollowed-gourd covered by a fish-net web of string or nylon, intertwined with various beads, seeds or hard objects. The loose fit
of the web allows for a range of sharp to sustained swishing tones, while variations in the size of the gourd afford significant changes
in the fundamental tone. Traditional, indigenous Shekeres are also fragile and cracking is a fact of life. The new Toca Fiberglass
Shekere circumvents the problem with the use of a handmade fiberglass shell. Not only is the problem of durability solved, but also
consistency of tone. Reliable and projecting, the sonority of the Toca Fiberglass Shekere is virtually indistinguishable from its folkloric
counterpart.
The Toca Shekere features a black shell with a new belly shape, exclusive to Toca, which produces a wide range of sounds and,
in particular, low bass tones. Atop the black fiberglass shell sits a web of hand strung black and green synthetic beads. Players
will immediately notice the ideal blend of rattling tones and low-frequency fundamentals. The mouth of a shekere tends towards
fragility, accordingly, the Toca Fiberglass Shekere features a protective rubber ring surrounding this opening. The combination of tough
fiberglass construction, synthetic beads, and a reinforced mouth makes cracking a thing of the past.
www.tocapercussion.com

090
 Gear

iZotope - Ozone 3
Everything But
The Mastering
Engineer!
The traditional music mastering process requires three things: a well-equipped
studio, a mastering engineer and a deep pocket. But the programmers at iZotope have
cleverly crafted software, Ozone 3, which allows musicians on a budget to achieve a
high-quality end product.
Originally, to master a recorded album,
the engineer started by regulating the The mastering process is simplified
overall volume of the tracks. Since tracks are
recorded at different times, each song needs to make the software accessible to
to be regulated according to a median volume
level. everyone regardless of his or her
The engineer then used the compressor (or
limiter) to ‘brighten’ the songs. By using an
equalizer, he could add specific frequencies
production experience.
to the track. Depending on the style and genre engineer, was able to get what he wanted and you set it up well, this software could take
of each song, the mastering engineer would from the program in a very short period of you a long way.”
add either low-end or high-end frequencies, time. “It was not that hard to figure out,” Ozone 3 not only covers the basic mastering
and compress the studio track to fit the Geuting said. “I just played around with the tools required to fine-tune your sound, it
commercial format. presets and it worked. It also fits right into provides advanced options that might benefit
The engineer finished by sequencing the Pro Tools, so now we can master CDs here certain musical genres.
songs on the record. at Skyline without having to go to another “Normally, the presets should be enough,”
Today, most engineers use their own presets studio, or to a mastering engineer.” Sansano said. “But Ozone 3 also includes
to perform these three basic processes, and The mastering process is simplified to make harmonic excitation and stereo imaging/
later complete the mastering by perfecting the software accessible to everyone regardless enhancement otherwise known as ‘psycho
the songs on a case-by-case basis. of his or her production experience. Instead acoustics,’ a mathematical distortion in
iZotope’s Ozone 3 mastering software of having to sort through separate plug-ins, sound that affects certain areas that the ear
is equipped with 83 presets that fit most Ozone 3 is an integrated system, which will readily accepts. This feature adds warmth,
mastering situations. There are also more improve the quality of your final sound. depth, and an overall pleasing sound to your
presets available to download on their “The mastering engineer might have a songs.”
website. By playing around with them, you better idea of what he is doing,” Sansano While the software is equipped with analog
will be able to find the best fit for your tracks. said. “But, if you have a decent sound system modeling, preferable for a more vintage
Once you get more comfortable with the sound, it also includes digital precision.
program, you’ll recognize which presets are If you find yourself lost in the middle of
better suited for your desired results, or fuse
several presets using the advanced preset
Vitals your endless possibilities, the manufacturer’s
website (www.izotope.com) has an extensive
• Compatible with Windows XP, X64, Vista
manager. downloadable guide and video tutorials to
and Mac OSX 10.3.9 or later (Universal
“Ozone 3 provides all the elements of teach you, regardless of your background in
Binary)
mastering at a very reasonable price [$250],” music, all the tricks of music mastering.
• Pro Tools 6.4+, VST, MAS, Audio Unit and
said Nicholas Sansano, New York University The only real downside is that you do not
DirectX Formatted.
Music Production professor. “Considering have a professional at your disposal with years
• 64-bit Internal Processing
a mastering engineer would charge you of experience to do it for you. But if you are
• 7 Plug-ins in 1 integrated interface
approximately $300 an hour, this software comfortable in your environment, you will be
• Analog Modeling
is a bargain.” surprised at your own achievement.
• Digital linear phase modeling
Skyline Studios NYC engineer Steve www. izotope.com
Geuting, who is not a trained mastering

091
Caught in The Act

On the road

Inferno
Artist: Behemoth
Gig: Irving Plaza
Location: New York, NY
Date: November 2007

GearBo x
Drums Cymbals Electronics
Spaun Custom Series Sabian Alesis DM5
Piano Black Lacquer with Black 14” AAX Metal Hats Ekits Triggers
Hardware 20” AAX Metal R ide Korg D888
8” X 8” R ack 14” HHX Evolution China Shure E5 Earphones
10” X 9” R ack 20” AA China Heads
12” X 10” R ack 16” AAX Metal Crash Evans:
13” X 11” R ack 17” AAX Dark Crush Toms - Genera G2 coated top/clear
14” X 12” R ack 18” AAX Metal Crash R esonant bottoms
16” X 16” Floor 18” AAX China Snare - HDDR Y
18” X 16” Floor 17” AAX treme China Kicks - Emads
22” X 18” Kick Hardware Sticks
22” X 18” Kick AXIS A Longboards pedals Vic Firth
14” X 8” Snare Gibralter Rack 2B American Hickory

092
 Caught in The Act

GearBo x
Drums
Pacific Drums
10” X 9” R ack
12” X 10” R ack
14” X 12” R ack
16” X 14” Floor
18” X 16” Floor
22” X 18” Kick
22” X 18” Kick
14” X 5” DW Edge Snare
Cymbals
Paiste
15” Sound Edge Hi-Hats Signature
15” Sound Edge Hi-Hats Signature
Eric Peterson, Andy Sneap and Paul 22” Power Bell R ide 2002
19” Wild Crash 2002
in the studio 20” Wild Crash 2002
19” Power Crash Signature
Paul Bostaph 20” Full Crash Signature
20” China Signature
Artist: Testament
8” Splash Signature
Recording: The Formation Of Hardware
Damnation DW
Studio: Fantasy Studios 9000 Hardware
DW 9000 Pedals
Location: Berkeley, CA Sticks
Date: November 2007 Vater
Heads
Remo
Misc
Yamaha Subkicks

093
 TUNING IN

Mike Portnoy - Dream Theater

Keith Moon
The Who – Live At Leeds
That album is the quintessential ‘live’ album, and The Who
is one of those bands that were never properly captured on a
studio album. As much as Tommy is one of my favorite albums,
it’s Keith’s live playing that gets me. The band’s bombast and The Who
volume, captured on Live At Leeds, is not truly represented on LIVE AT LEEDS | 1970
Tommy or any other of their studio albums. To me Live At Leeds
TRACKS:
totally captures what they were: raw and loud. Keith Moon’s
playing was a style unlike anybody before him and really unlike DISC 1:
anybody since. He was totally one of a kind. He inspired me to 1. Heaven and Hell
play drums because of his personality. When I was a kid I saw the 2. I Can’t Explain
movie The Kids Are Alright, and I just couldn’t take my eyes off 3. Fortune Teller
of Keith. He was exciting to watch visually. He was the front man 4. Tattoo
behind the drums, and seeing that kind of personality made me 5. Young Man Blues
want to play drums. He was just such a manic presence, a huge 6. Substitute
visual personality. The other aspect is his drumming, which was 7. Happy Jack
just so completely over-the-top. His style was not about holding 9. A Quick One, While
down a backbeat, it was about playing around the backbeat, on He’s Away
top of it, underneath it and on both sides. He was like a whirlwind 10. Amazing Journey/
that just steamrolled you. It was a constant barrage of fills and Sparks
a constantly pulsating kick drum, and the cymbals were just 11. Summertime Blues
constantly flying and you know he didn’t typically play a hi-hat, 12. Shakin’ All Over
or a ride, or a china, or a splash. His classic live set up was just 13. My Generation
three crashes. It was just a totally unique style captured on Live At 14. Magic Bus
Leeds, especially the reissued one, which was the entire concert DISC 2:
and Tommy live. Tommy

James Kottak - Scorpions

John Bonham
Led Zeppelin - IV
I played it over and over and over
and over. I had the eight-track tape
and I wore it out playing it round
and round and round. It wasn’t
just so much the drumming, it
was the music, and if you listen to
that album, the music Jimmy Page
wrote was incredible. He’s one of
my all-time guitarists, musicians,
Led Zeppelin writers, producers, everything. How
LIVE AT IV | 1971 the music was all put together and
what John Bonham played to it, is
TRACKS:
what makes it so genius to me. I
1. Black Dog love it. I played to it over and over
2. Rock and Roll and over with headphones on, one
3. The Battle of Evermore side worked, one side didn’t. We
4. Stairway to Heaven have a phrase at our house “It’s been
5. Misty Mountain Hop Kottaked.” Which means: I touched
6. Four Sticks it and it’s half broke.
7. Going to California
8. When the Levee
Breaks

094
 TUNING IN

Akira Jimbo
Steve Gadd
Bob James - One
I listened to One, Bob James’
first album with Steve Gadd.
It was a track called “A Night
On Bald Mountain,” from the
classical piece by the Russian
Bob James
ONE | 1974
composer Modest Mussorgsky,
but this arrangement was a TRACKS:
contemporary jazz style and
1. Valley Of The Shadows
Steve played incredibly. I was so
2. In The Garden
amazed.
3. Soulero
Before I listened to Steve Gadd,
4. Night On Bald
I thought the drums were just a
Mountain
background instrument with
5. Feel Like Making Love
a low profile. But Steve played
6. Nautilus
as if the drums were the main
instrument, and the image
was completely changed. That’s when I decided to play this
instrument. That was at age 16, and I started playing at age 17.
Kind of late, but hearing Steve made me want to play drums.

Gary Husband
John “The Baron” Von Ohlen
Stan Keaton - Today
It’s amazing to think back now and remember this,
but around the early ‘70s in Britain, there were actually
quite a lot of live music shows on TV - “Old Grey
Whistle Test” and others of that ilk included. On a
Stan Kenton Saturday night we had two that I remember distinctly
TODAY | 1972 - “In Concert” and another one called “Sounds For
Saturday.” The featured groups or bands were really
TRACKS:
diverse, but more than anything, I remember in particular some wonderful big band shows filmed in London. (A
DISC 1: lot of the bands such as Buddy Rich, Basie, Woody Herman, Harry James etc. would be touring around Britain back
1. What Are You Doing The in those days, fairly regularly).
Rest Of Your Life Seeing Buddy Rich had been always inspiring, but there was a really fantastic Harry James show featuring
2. Chiapas Sonny Payne that was just amazing. Though, the one biggie for me was in 1972, where I was lucky enough to catch
3. Opus In Pastels one of the most magnificent and exhilerating drummers I have ever heard in my life. The band was Stan Kenton’s
4. Malaguena Orchestra, and the drummer was John “The Baron” Von Ohlen. He was totally captivating - just intense, powerful,
5. Artistry In Percussion swinging like crazy and played with just unbelievable emotion.
6. Yesterdays He wasn’t about ridiculous technique, just about total passion, incredible drive, delicious time playing and real,
7. Fringe Benefits real high drama! Watching him I just knew he was completely “taken” in that music too - just “gone”! John had
8. Bogota a subtle but unmistakable Mel Lewis influence, but with a sound like John Bonham. He had a little black Gretsch
DISC 2: kit at the time - a shallow width 22” kick drum with two Ambassador heads on it. There was no dampening in
1. Intermission Riff that thing, and the two heads were so deliciously loose, he’d play it lightly and it sounded like a timpani. When he
2. Ambivalence socked it, everybody in the place knew about it! I even remember actually trying to emulate that sound a little on
3. Interlude two of Allan Holdsworth’s albums around the mid ‘80s that I played on - Atavachron and particularly Sand - and
4. Peanut Vendor record my kick drum a little that way.
5. Malaga I’m happy to say the record from that very period featuring John and the band (that STILL proves to be one of the
6. Walk Softly most captivating and exciting experiences for me to hear even now) has recently been released on CD: Stan Kenton
7. Take The “A” Train Today is the name of the album, recorded live in London in 1972. That’s Mr. Von Ohlen pumping and driving on
8. Artistry In Rhythm there like no other. And it was through him, at the age of twelve, I discovered exactly why I wanted to be playing
9. God Save The Queen the drums. Magnificent.

095
 Releases

On the Beaten Path: The

Drummer’s Guide to Musical
Styles and the Legends Who
Defined Them
By Rich Lackowski
Alfr ed Publis hin g

L earn to play the most legendary drum beats and

solos ever recorded! T his book is your essential guide
to the biggest and best drummers to ever grace the
Tipbook Drums: The
instrument, the music they played, the gear they
Complete Guide
used, and the drummers that influenced them. T he
Hugo Pinksterboer
book/CD set includes: authentic transcriptions and
Th e T ipboo k Co mpany
easy-to-follow lessons for 85 of the most legendary
beats and solos ever recorded, insight into the A handy, accessible, thorough and
history and development of funk, alternative/ convenient guide for drummers who want
punk rock, metal, progressive rock, classic rock, to get the most out of their instrument.
jam band, fusion, jazz, and reggae—plus a listing T his tipbook offers you a truckload
of essential recordings for each genre, an audio of information, delivered at the right
CD containing all the beats and solos presented in pace, including topics such as selecting
the book, and dozens of amazing photos. and play-testing drums and cymbals,
buying sticks, heads, and hardware,
maintenance, tuning as well as the
history and the family of the instrument,
and a drummer’s glossary. Written in
read all about it practicing the material can play with to help demonstrate the vast array of
collaboration with and proofread by
authentic percussion to better feel the cymbal techniques and artistry required
musicians, teachers, technicians, and
exercises in the proper context. in the music from the greatest composers
other experts, for beginners, students,
of the genre.
and advanced players.

listenup

Contemporary African
Drumset Styles
Book 3 MBALAX Cymbalisms: A Complete
Chris Miller Guide For The Orchestral Todd Isler
Double Pedal Gold
Lit t le Mar low Cymbal Player Soul Drums
Joe Morton
Frank Epstein Tak ad imi T unes
Book 3 of Chris Miller’s series takes Hud son M usic
Hal Leo nar d Dr ummer: T odd Isler
contemporary African drumset playing
Drummer, author and educator Joe Morton
to a new level of complexity and beauty Cymbalist Frank Epstein from the His sophomore release, in-demand session
presents hundreds of challenging exercises
with Senegambian rhythms inspired by Boston Symphony Orchestra shares a drummer, percussionist and educator Todd
that provide double-pedal players with a
Sabar drums, wrestlers, and the Islamic host of musical and magical moments Isler blends his jazz sensibility with three
straightforward, incremental method to
Wolof language. Mbalax was popularized in his experience as a member of this of his influences from world traditions:
developing their double-pedal technique.
worldwide most notably by Yousou N’dour great institution. T his book and 2 CD India, Africa and Brazil. An invigorating
T he exercises facilitate the use of single-
and his band Super Etoile de Dakar. T his package discusses the concepts of sound, showcase of his compositional skills,
and double-strokes in both 16th- and
book contains examples in 4/4 and 6/8 musicianship, precision, articulation, as well as his considerable drumming
32nd-note bass-drum patterns. T he book
time signatures as well as how to merge color, balance, and response in orchestral prowess, Soul Drums, is a grooving
includes over twenty solo compositions
the two time signatures. T he unison cymbal playing as it relates to some of the scintillating release, full of surprises. Isler
for the drumset incorporating the
percussion arrangements, Bak(s) (Bawk), greatest works in the orchestral repertoire. alternates between exotic hand drums
techniques learned within. Also included
are also featured. T he two audio CD’s Cymbal players will gain valuable insight like the South Indian Kanjira, Pakistani
is a companion CD loaded with examples
that come with the book, feature a live on developing a good sound through Gaval, Hadgini drum and the Uduboo as
of many of the exercises and solos as
Senegalese percussionist playing with the many personally developed and well as the drumset.
demonstrated by the author.
the author on many of the examples. formulated strokes contained within.
T he audio also contains a play-along T he accompanying CD’s feature over
section with the Senegalese percussionist 100 excerpts from orchestral literature
without the drumset so that the student (performed by the Boston Symphony)

dh 096
 Releases

Cinder Road R.E.M. Live CD/DVD David Gahan

Superhuman R.E.M. Hourglass
Car o line R ecords Warner Br oth ers Vir gin R ecord s
Dr ummer: Max Cal varesi Dr ummer: Bill R iefl in Dr ummer: Chris tian Eigne r

Cinder Road knows how to push the Their first live CD/DVD, the 22-track Teaming with drummer Christian
right buttons and tug on heartstrings audio and visual package captures Eigner (Depeche Mode’s touring
to win over the masses. Their radio the band doing what they do best at drummer), and Andrew Phillpott VaughnCraft has served the
friendly collection of songs pairs well a dynamic show at the Point Theatre (Depeche Mode’s touring percussion industry for over 30 years with
with their charismatic chemistry. in Dublin. Directed by Blue Leach programmer), Dave Gahan has made highly crafted, unique, quality percussion
Merging old-school rock sensibility (Depeche Mode), the set features an album of startling versatility
instruments including solid steam-bent
drum shells, tambourines, temple blocks,
with a modern, pop metal approach songs spanning the band’s 27-year and emotional weight. Rather than wood blocks, and mallets. Drum sets
underscored by a unique flavor of career, and many studio albums. a collection of highly stylized and are now available in both domestic and
attitude, Cinder Road’s presence is Singes included in the set: “(Don’t slickly produced songs, the music Limited Edition exotic woods.
reminiscent of the ‘80s arena rock Go Back To) Rockville,” “The One I on Hourglass is a direct extension VaughnCraft Percussion
era. The CD is a mix of High-octane Love,” “Orange Crush,” “Losing My of the specific emotions Gahan is P.O. Box 525,
rockers and heartfelt ballads. Religion,” “Everybody Hurts,” “Man trying to express. It is astonishingly 602 High Street
On The Moon,” as well as many, many direct, and not at all ambiguous. The Baldwin City, KS 66006
more. Mixing recent and past classics, eerily beautiful, gospel-tinged “Saw 785.594.6776 Fax: 785.594.6777
R.E.M. Live promises to tide fans over Something” quietly opens the album, E-mail: info@vaughncraft.com
until their new release. his aching voice conveying a chilling www.vaughncraft.com
reluctance to be secure in one’s
happiness, for fear of it suddenly
going away. With Hourglass not only
has Gahan intrepidly faced down his
Godsmack demons, but he’s also identified his
Good Times Bad greatest foe of all, time itself, and
Times…Ten Years Of made at least a little peace with it.
Godsmack
Univ ersal R ecords Dub Trio
Dr ummer: Sul l y Erna Another Sound Is Dying
and Shan non L arki n
Ipecac R ecordi ngs

Custom Drums
Dr ummer: Joe T omin o
This 16-track collection is loaded
with career defining milestones,
and seminal Godsmack classics.
Opening with a guitar riff that could
melt lead, you’d be forgiving for
Recovering Wraps
Among the groundbreaking songs wondering what connects Brooklyn’s
The Goo Goo Dolls
Parts - Repairs
included are the band’s clarion call Dub Trio to the 40-year-old Jamaican
Greatest Hits, Vol. 1 –
“Whatever,” their breakthrough #1 style that makes up half their name.
The Singles
rock mainstream smash “Awake,” The answer: the riffs, ‘riddims’ and
The Goo Goo Dolls
among many more. Considered one raw power at the core of the band’s
Warner Br oth ers
of the definitive alternative hard-rock sound get chopped apart, bounced
Dr ummer: Mik e Mali nin
bands of the modern era, the Boston across speaker channels and charged
based group stormed the music with subsonic frequencies. This is dub The Goo Goo Dolls, one of the great
scene enjoying an incredible run: as mixing-board art form. Mostly an American rock ‘n’ roll bands of our
selling more than 12 million albums, a instrumental set, the album features generation, have become one of the
remarkable 16 hit singles, 4 platinum a return vocal cameo from Mike most globally respected and loved
records, 1 gold EP and 3 Grammy Patton. songwriting forces in popular music Since
nominations. DON’T MISS: Drumhead
issue 1 in the CD’s booklet!
history. With this compilation the band
has gathered up their most-beloved
1961
songs, including their three number
one smashes - “Name,” “Iris,” and
“Slide,” as well as the Top 10’s “Black Precision Drum Company
Balloon,”Dizzy,” “Broadway,” “Here Toll free 1-888-512- 3786
Is Gone,” and many more. www.PrecisionDrum.com
097 dh
 Releases

Missy Higgins Mudvayne Pagan’s Mind Asaf Sirkis & The Inner
On A Clear Night By The People, For The God’s Equation Noise
Reprise Reco rds People SPV The Song Within
Drummer: Mat t Cha mberlin Epic Reco rds Drummer: Stian Krist of ersen Sam Produ ctions
Drummer: MATTHEW MCDONOU GH (sPüG) Drummer: Asaf Sirkis
On A Clear Night retains the irresistible On God’s Equation the band presents itself
melodies and piercing lyrics of Missy’s The new album from Mudvayne consists as a highly dynamic and extremely eager Composed and arranged by drummer Asaf
critically lauded debut. However, this of several live recordings, rarities, demos force that is both sure of itself yet keen on Sirkis, The Song Within is influenced by
time around, the tracks benefit from as well as two new recordings, including experimenting. The songs seem effortless modern classical music, and in particular
the production of Mitchell Froom (Elivs the single “Dull Boy” (produced by Dave and flowing, but also complex with the music of organ composers such as
Costello, Crowded House), and see a more Fortman and recorded in New Orleans), as multiple layers of heart, soul and intellect. Olivier Messiaen and Maurice Durufle.
confident and self-aware outlook as befits well as an incredible cover of the Police’s Bearing all the trademarks of a truely Combining modern jazz and elements
a young woman who is finding her way in “King of Pain.” Aptly titled, it is entirely classic progressive metal album, God’s of progressive rock this album melds
the world. Neil Finn provided extra guitars, fan-generated, from track selection, to Equation features gargantuan guitars, classical composing techniques with
and Matt Chamberlin recorded drums at artwork and videos, spotlighting the and a Teflon-like production: intense, the nuances of jazz improvisation. Using
Froom’s home studio. The new album will disruption of traditional media and the fundamental and outstanding. church organ sounds rather than the
include an MVI with exclusive behind the band’s desire to further connect with traditional Hammond organ sounds, the
scenes “making of the album,” videos, their fans. trio create music that is rich and unique
and bonus live concert footage. in spiritual tone, showing why Sirkis is
one of the most inventive new drummers
and composers on the European scene
today

Richard Leo Johnson &

Gregg Bendian
Neil Young Who Knew Charlie Shoe?
Enemy Of The Sun Chrome Dreams II Cune if o rm Reco rds
Shadows Reprise Reco rds Drummer: Gregg Bend ian
T he End Reco rds Drummer: Ralph Molin a
Johnson and Bendian create a new
Drummer: Danie l Zema n Tom Scott & Special
Chrome Dreams II displays Young’s hybrid, acoustic Americana that merges
Guests
This is metal, but not with a nice little strengths. Most of the album’s songs were rural roots music with urban avant-
Cannon Re-Loaded: An
box you can put it in. It’s not new school, written recently and came quickly, and garde. Expanding the focus of Johnson’s
All-Star Celebration Of
it’s not old school, not this, not that... the “live” recording sessions in northern previous album, the duo play an entire
Cannonball Adderley
it’s its own thing. Enemy Of The Sun is California were over before they were salvage yard of instruments and found
Canc o rd Jazz
the new band from producer/guitarist announced. The album includes all kinds objects for 53 minutes. Johnson plays an
Drummer: Ste ve Gadd
Waldemar Sorychta. A main ingredient of music, and taken together, offers a assortment of discarded and/or barrowed
to the eclectic sounding Enemy Of The complete picture of where Neil Young guitars. Bendian plays: “a bunch of rather Cannon Re-Loaded is a brilliantly realized
Sun is Finnish vocalist Jules Näveri, who is today. Young is joined by Crazy Horse special found objects” including “lard homage to Cannonball Adderley’s
delivers brutality, death and destruction drummer Ralph Modina, pedal steel can, blocks o’ wood, chunks o’ metal, powerful, thriving legacy by the ultimate
combined with addictive hooklines and guitarist and dobro player Den Keith, as washtub water, attic stairs, springs, pots, jazz dream team of Tom Scott, Terence
otherworldly eeriness. For the drums, well as Rick Rosas. Chrome Dreqams II pans, bowls, rakes, brooms and brushes, Blanchard, George Duke, Marcus Miller,
Sorychta unearthed a real diamond, was recorded at Feelgood’s Garage studio water jugs, plastic tubs, hubcaps, sheet Steve Gadd, Dave Carpenter and Larry
Daniel Zeman, who plays with a force near Redwood City, California, with two metal scraps, little shaker, big drum, tiny Goldings. Produced by famed drummer/
that will astonish. vintage gas pumps out front and vintage saw & bow, washboard and bells.” In the producer Gregg Field and leader Tom
studio gear inside. hands of Johnson and Bendian these Scott, the collection features fresh, in
simple instruments create music that is the moment interpretations of eight
sophisticated, accessible, beautiful and instrumentals popularized by Cannonball.
sincere. The album is a joyous celebration The CD also includes a very special guest
of the music and beauty hidden inside the appearance by vocal great Nancy Wilson,
most down-home of objects. who beautifully reprises two songs from
her classic 1961 recording Nancy Wilson/
Cannonball Adderley.

dh 098
 RELEASES

LOOK HEAR Phillipshalle, Düsseldorf, Germany; INSTRUCTIONAL DVD

and the unbelievable Rock Am Ring
Festival, Nürburgring, Germany.
Extras on the DVD include a slide
show of stills from the tour to the
track “This Suffering.” The second
disc is the audio portion of the entire
Düsseldorf concert.

Live Earth: The

Concerts For A Climate
In Crisis CD/DVD
WARNER BROTHERS Gavin Harrison
Rhythmic Visions &
On July 7, 2007, 150 musical acts
Horizons
performed at a series of worldwide
HUDSON MUSIC
concerts, called Live Earth, to raise
awareness for the climate crisis, and Expanding on the advanced rhythmic
deliver a solutions-based message to concepts that he introduced in his
a global audience. This CD and 2-DVD award winning books, Rhythmic
HELLYEAH
package brings together the most Illusions and Rhythmic Perspectives,
Below The Belt
popular artists, best performances, and showcasing his incredible
EPIC RECORDS
and the message showcased at this drumming with Porcupine Tree
DRUMMER: VINNIE PAUL
truly global musical event. Concerts and others, Gavin Harrison’s DVD’s
took place in New York, London, Capturing footage from the day illustrate a wealth of new methods
Sydney, Tokyo, Shanghai, Rio de the band formed, Below The Belt, that drummers can use to manipulate
Janeiro, Johannesburg and Hamburg, includes performance footage from time and create drum patterns and
with special events broadcast from the making of their debut album rhythmic effects in contemporary
Antarctica, Kyoto and Washington HELLYEAH. Below The Belt covers the playing situations. Taking a musical
D.C. The DVD also includes six short first studio sessions, their world tour rather than a technical approach,
films from the Live Earth Film Series, and personal interviews, as well as Rhythmic Visions & Horizons are
and a documentary on the making of a few surprises. Witness a two hour designed to improve a drummer’s
Live Earth. Breaking records as the long view into the band’s life on the sense of rhythm, and inspire new
world’s largest entertainment event, road, including footage from multiple ideas that can be applied to any
included performances from Genesis, live performances, music videos, as drumming style. The DVD’s feature
Foo Fighters, The Police, Linkin Park, well as personal interviews with band a variety of interactive lessons,
Bon Jovi, Madonna, Black Eyed Peas, members as they chat about life both demonstrations, play-along exercises
Metallica, Lenny Kravitz, Smashing before and after the formation of and musical performances. On-screen
Pumpkins, Roger Waters, John Mayer, HELLYEAH. Other highlights include notation, printable PDF files and
Melissa Etheridge, Dave Matthews snippets of the band’s first recording markers at the start of each lesson
Band and many more. sessions at Dimebag’s legendary make the cutting-edge content easy to
Chasin’ Jason studio in Dallas, TX, navigate, access and understand.
coverage from HELLYEAH’s album
release party and backstage footage
from their world tour.

Billy Talent
Billy Talent 666 DVD
and CD
WARNER MUSIC
DRUMMER: AARON SOLOWONIUK

Here is the ultimate live collection

chronicling highlights from Billy
Talent’s would tour supporting Billy
Talent II. This live DVD/CD Billy Talent
666 shows the band at their best,
with 6 songs from three different
shows: Brixton Academy, London;

099 dh
 Face2Face

Mover
& Phillips
Round 2

How lucky was I to have Simon Phillips in SP: That’s Pete playing, he’s a
great pianist. This track was
Skyline Studios NYC for a week of various already done, so this was separate
sessions. As if just being a fly on the wall wasn’t from the rest of the sessions.
The first bunch of sessions
enough, I had to take advantage of his short we did at Wessex, and that was
residency. So, after all the dust settled and the the Octoplus. It was Rabbit

last few pieces of the S.S. Phillips were packed And I Moved [Bundrick], Tony Butler, Pete and
Empty Glass myself. They were the bulk of
away, I coerced Simon into a second round of Pete Townsend the songs on Empty Glass, apart
1980 from the songs that I didn’t do,
Face2Face. that Mark [Brzezicki] and Kenny
JM: It was hard to pick a song Jones did.
Armed with another stack of CDs, I cornerned off of this disc. But this groove Then I got a call later from
him at the console, and as always, he was more and the way your hi-hat lays Pete, or Chris Thomas, asking
inside the piano track made me to come in to Air Studios to
than gracious and accommodating. me choose this one. do a drum track. The track was

100
 Face2Face

already done with the piano, no way. They worked, you know. was really shy in those days too. another. Maybe it was Presence
click. In those days there really And he was playing there and we I didn’t really know what to talk and the story is that Bonzo was
wasn’t a click. Just piano with a had a great time. about to these people, these rock amazing, just amazing.
delay line, so that was the time. stars, Deep Purple. Roger said, It was a real rock ‘n’ roll time at
It was the white Ludwig kit, JM: Do you miss not… “Should we play a little bit?” So Music Land. There were all sorts
single kick. It might have been SP: Yeah, he is one person I do we played. He had a drum kit of people coming round. People
just a 12, 12, 13, 13, 16,16. miss working with. Sometimes there and he was like, “Wow.” He would drop by all the time, all
I’ll get a letter from him, and I’ll just couldn’t believe it. these wonderful pop stars.
JM: Wow, just from hearing the send him a letter back, but not Of course at that time I was I was a little out of my depth
opening drum fill, they don’t much contact now. doing sessions. I almost didn’t socially. But you know, we got on
sound like those sizes at all. I’d have to say that’s one thing really know how to communicate very well.
SP: Yeah, I do remember that. I do miss moving over here. He’s with a lot of people, because I
It was just a different sound, very English. He doesn’t really was kind of young. They were in
but they were definitely double like the States that much. Apart their 30’s and I was not even 20
headed. from The Who gig I did in 2000, yet. So it was very strange.
when Zak [Starkey] couldn’t He said, “Oh no, absolutely,
JM: I remember in “Let My make it, and John [Entwistle] was I’d love you to come and do it.”
Love Open The Door” you had still alive. So I went to Munich with Mack,
the Platina Tamas in the video. That was the last time, and who’s now a big time producer
SP: Yep, that was the fiberglass Pete said to me, “You know out here. Olympia
kit, but the recording would have what, if I had my way, you’d be Animation
been on the Octoplus. in this band.” But that’s the way JM: Is that the same guy that Jon Anderson
it goes… worked with Queen? 1982
JM: How did it all begin? SP: Yeah, they worked down
You had a pretty serious there, all the rock ‘n’ roll guys SP: I have no idea who this is.
relationship with Pete and The started to go down to Munich. (the vocals come in)
Who. Queen were based out there, Oh, Jon Anderson... and it’s me
SP: Well, he called me out of the Purple, great place. Used to playing? Wow, I don’t remember
blue. I don’t know if it was Pete get up in the morning, take the it. It sounds like an overdubbed
himself but it was somebody. elevator down and be in the hi-hat. It is me playing, but
He told me he first saw me studio. Breakfast at the studio. maybe they overdubbed the hi-
play with Gordon Giltrap. Sorry The Rings They had the first inline hat. Is this the one with David
not saw me, heard me. He loved Elements Harrison desk. The engineer, Sancious?
Gordon Giltrap, and he just loved Roger Glover Martin, he’d never worked on an
the drums on it. 1978 inline desk before. I’d say, “Can I JM: Yes.
I did two or three albums with get some reverb in the phones?” SP: F-----g hell, I don’t even
Gordon. I didn’t play “Top Of SP: Is this? I don’t know who he’d call, “Mack?” Anything remember that.
The Pops,” somebody else had to the f--k this is. Oh, this is Roger you’d want him to do, he had to
do the miming, but Pete knew it Glover. Wow! That’s me playing call. “How do I get reverb in the JM: Staccato toms, single kick,
was me, found out about me, and congas, I did all this stuff. sends?” “Ah, we need to ….” small kit.
then gave me a call. Ok, Jeffrey Levinson invited me SP: Definitely a small kit, and
I said, “Wow, OK cool.” We out to Buckingham to meet Roger JM: Was this his first solo Staccato toms, how do you
started playing and it was instant, Glover. I was living in London at record? know?
absolutely instant. the time, and went out because SP: No he’d already done The
he wanted to meet me. He met Butterfly Ball. This was another JM: A conversation we had
JM: Empty Glass has so much me on the doorstep and he and solo album. many years ago. You had four
raw emotion. Not just from the Roger just thought, “There’s no Great experience. I met Rory staccato toms.
tunes, but from your playing way, no way a 19-year old, how Gallagher. We were in just after SP: Yeah, that’s right, 6, 8, 10
as well. It’s so ‘earthy’. can he play?” Led Zeppelin had done In Through and 12. Because I used to use
SP: Well, it’s the songs. The songs So we were kind of hanging The Out Door. I think it was that part of the Octoplus for straight
really make you play a certain out a little bit, and of course I album… it might have been sessions.
Like a lot of the stuff I did for

“We started playing

Bonnie Tyler, you know those
regular dates - single bass drum,
6, 8, 10 and 12. 6 and 8 on a stand,

and it was instant,

10 and 12 on the kick. That way
I could use a lot of drums on the
gig, but in a small set up.

absolutely instant.”
My roadie Terry was always
giving me shit for giving him too
many drums to set up. I thought

101
 Face2Face

maybe that’s what that kit was, amenable, “Ok darling, we’ll try 10, 12, 13, 14, 15, 16, 18. That was
because one of the sessions I did to sort it out,” got up at that point in EMI 3, the Pink Floyd studio.
was that kit. and walked her out. David Sancious, Mo Foster, me,
Is this the first album we did? Russ Ballard, and his producer
John Stanley.
JM: No, the first album is Song Toto had played on the original
Of Seven, you play on one song record. They did the original
on that album. tracks here. They told me in Into The Arena
SP: Only one? London, “Yeah we started this MSG
record off with the Toto guys, Michael Schenker
JM: Yes,. with Jeff, Luke and Russ and 1980
SP: Really, I thought I played on Voices John.” I remember this distinctly,
the whole record? Russ Ballard they said, “Because everyone was SP: Judas Preist?
Russ Ballard dancing around the control room,
JM: I might be wrong. I think 1984 like really hyping it up,” and they JM: Nope, MSG.
just a song called “The Heart were going, “Doesn’t sound that SP: MSG, ah, right. I used to hate
Of The Matter.” SP: Russ Ballard. I used to love good to me.” this sound too, I remember the
SP: Was that this one? this. 1983, the cordia wood kit, So they decided to come back engineer. I f------g hated this!
Art Star I. 24” bass drums and by to England and do it with us. And This was the Tama fiberglass
JM: No, this is off of Animation, this time I had mic’s inside of the we had a ball, all the songs were kit, the ‘live’ kit. This would have
a song called “Olympia.” drums, since 1980. great. We did the whole album, been ’80, just before we went
SP: It was recorded at his home and wow, it sounds good too. Very out on the There And Back [Jeff
studio. We did different sessions JM: You recorded the drums ‘80s, obviously the digital verbs, Beck] tour. I was experimenting
there, at different times, with mic’d from the inside? probably EMT, the Flash Gordon with using Kepex noise gates
different kits. Hard to remember SP: Absolutely, you can hear the one, 268, 265, can’t remember. on all toms because it was right
when that was, if it was an front head, the guy loved it. 2-24s, Yeah it was fun. after recording There And Back,
overdub or if we actually played so it was the Ken Scott mode. I
it together. I know the first album wanted to use pickups to open
we did, and I’m pretty sure I the Kepexes a bit quicker, but just
played on more tracks than just putting them on the head took
one track. it away.
I remember being there for I remember the engineer,
quite a long time. There was an never liked this engineer because
Italian bass player called Stefano he always got a muddy sound. We
[Cerri], and the second album even put a P.A. system in there.
was Jack [Bruce] and David Wessex was not the greatest
Sancious. sounding studio. This is where
It was in his converted squash the Sex Pistols did their stuff.
court with the desk/control room Yeah, great record, it was great
in the live room. Tape machine fun to work with and Roger Glover
was in the hall and the monitors was producing. But I never really
and all were set up there and we liked the sound, and I knew going
were in this part. It was a good in, I wasn’t going to like it.
sounding room. Michael Schenker made a
I remember, I was there doing comment, he said, “I don’t like
one of these dates and I did it on the sound of this kit.” I’d used a
my own. It was after the fact, and little Ludwig kit for rehearsals,
we were sitting there listening to a just a single kick, and I said,
playback. And Jon Anderson had “Michael, it’s not the kit, this kit
this beautiful wife who comes in,
in the middle of the session and “My roadie was is very similar in sound to the
Ludwig.”

always giving me
goes, “Jon, I must speak to you.”
Jon says, “What’s up honey.” She JM: The Ludwigs had the
says, “I’ve decided I just can’t do fiberglass inside by this time?
without this. There is no way I
can continue without it.” shit, for giving SP: By that time yeah. I said, “You
know, if it was recorded properly

him too many

I’m thinking it’s something it would sound great, but even the
medical, something monumental. Ludwig kit would sound trashy.”
Then she says, “No I’ve really You didn’t have a lot of say
decided that I must have the
new Jaguar XKS.” Jon became drums to set up.” sometimes. You try as hard as
you can, but if the guy isn’t doing

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his job, it ain’t going to get better. JM: So it started out as a road JM: From School Days. JM: No
It’s quite amazing, it’s just the gig? SP: Yeah, Billy’s famous very SP Hmm, it’s the Octoplus. Is
way it is. SP: Yeah, we were promoting expensive track. It was very that John Giblin?
whatever his last record was, expensive what Billy charged in
JM: And Michael wanted to which I wasn’t on. But it was those days. Whew, it was a lot of JM: No (laughing)
keep it a band and hit the time for him to do a new studio money. SP: Who is that singing…? Well,
road. album, ‘cause I think he’d done a That was a lot of fun. With it’s got to be around ‘77, ‘78
SP: Yes. I said, “I’m going out
with Jeff Beck.” That’s when he
got Cozy Powell. That was the
one time that Michael, I think,
was relatively sane. We got on
great. Everything I heard about
him afterwards was like, “Are
you sure we are talking about the
same guy?” and people would
say, “Oh yeah,” I’d say, “I didn’t
find that at all.”

Part 3: I Nearly
Went Crazy
Rocks, Pebbles And
Sand
Stanley Clarke
1980

SP: Interesting how very similar

the sound of my kit is, although
they are very different.
Stanley Clarke, Bellingham,
1979, at Randy Bachman’s studio.
A bunch of Mormons. Really,
really sweet people looking
after us, flew all the way over
to Bellingham, it’s like a quarter
mile from the Canadian border. live album just before. So he just Dennis MacKay from Trident, because I’m definitely in a Gadd
Dennis Mackay had been working brought it all forward. we’d worked together on a Jack mode, it was kind of a formula.
up there and had recommended So, up we went and did it, and Bruce album. It was great, a real (listening) Wow… nope, don’t
that Stanley come up. We had it was amazing. It was a milestone learning experience. know.
been on tour. for me. It was the fiberglass kit,
the ‘live kit’, but various snare JM: Phil Manzanera K-Scope.
JM: With Jeff and Stanley? drums. The song is called “Gone
SP: No just Stanley, this is when I Flying” and it was my favorite
joined Stanley’s band, it was just JM: I remember hearing this to practice to on that record.
after the Shah left Iran. Fuel prices song and thinking, “He just Maybe because of the Gadd
went up, gas lines miles long, played Billy [Cobham] better feel?
and lots of tours got cancelled. than Billy!” SP: K –Scope?
Mick Fleetwood and Fleetwood SP: I always wanted to play that Gone Flying
Mac came off the road. We had song because I loved Billy’s way K- Scope JM: Yes, the second of the
to come off the road. The tour of playing it. We actually started Phil Manzanera studio records you did with
got shortened. It was really sad doing “Life Is Just A Game” 1978 Phil.
actually, but Stanley just said, because I kept pushing Stanley SP: Ok, now it’s coming back.
“Ok, let’s go into the studio and for it. I loved it, loved the song. SP: F-----g hell, who Wow, I had totally forgotten about
make a record.” is this? 10cc? that, but now it makes sense.

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Basing Street, the big studio, the called me for everything, which time engineering, and working worked with me doing drums,
one upstairs which used to be an was lovely. on a Neve 8108. We had met in so he said “Why don’t you come
old church. Tony Roma’s in New York in ’82 next week and start, we’ll do a
while he was on the Five Miles trial week and see how it goes.”
JM: A year after Listen Now? Out tour and I was playing with So I then rang Air Studios, to
SP: Actually the same year, ‘76. Al DiMeola. I don’t remember if get a hold of one engineer there
Hmm, could be ‘77. I’ll tell you I was with Phillipe [Saisse], but I that I knew that could work on
why, because I know I did a was there with a couple of people a Neve, because I wasn’t then
couple of albums in that studio and… hmmm, I remember the really an engineer. So, he turned
in ‘76 with the same kit, sitting girl though (laughing). I saw up and within a day, he’d been
in the same place. Ray Russell’s Taurus 3 Morris Pert, so I went over and fired, because Mike didn’t really
album Ready Or Not and that was Crises said hello, and he introduced me get on with him. I turned up the
after the Jack Bruce album. Mike Oldfield to Mike and we kind of had a next day, it was Monday and I
Now I remember. That was 1983 little chat. turned up on Tuesday, and in the
Bill [MacCormick] on bass, OK. Then we got together in ’83, meantime he fired the engineer.
And that was probably Brian SP: Ok, right. around Christmas time of ’82 or He came in with the Neve
Eno singing there. That would New Years of ’83. Actually, before manual, slammed it down on
make sense. What a weird voice. JM: You knew this one right that, I got a call from Richard the top of the Neve in front of
Rhett Davies and the mahogany away. Branson and he wanted me to me and said, “I’ll be back in an
Octoplus. SP: Really interesting, the sounds do something with Mike, but I hour, I suggest you read this.”
and all. Kind of nice I think. couldn’t do it and I had to say no, (Laughing) So, I’m looking at the
JM: Black dots? which he didn’t take very well. Neve manual, open to the first
SP: Not necessarly, I think I JM: How do you snap your Richard Branson doesn’t take page and see AES/EBU (Audio
had stopped using them by fingers so fast? ‘no’ very well. But I told him I Engineering Society/European
that time. They were probably SP: What? was going to be out of the country Broadcasting Union), and I’m
Ambassadors, or black dots with on tour. I think it was with Jeff thinking, “You’ve got to be f---
the spots pulled off. And I hadn’t JM: Those are triplet finger Beck, so probably ’81. So that was --n kidding me!”
been to New York yet to buy that snaps, and they’re very fast. the first time, and then I think it And I had to pretty quickly
snare drum, the Slingerland, so SP: Oh shit, play that again. was Mike who called me, for me learn how an 8108 worked with
that’s probably still the [Rogers] to play drums on this record, of it’s digital routing and an Ampex
Dynasonic. Now I did have a (Simon does a finger snap roll which all of it was not done yet. ATR124, with it’s digital routing,
Gretsch drum too, which I used along with the song) We did “Shadow On The Wall,” and that was it. Dropped in the
for some sessions, I bought in SP: Like that. “Moonlight Shadow,” “In High deep end.
‘75, it was mahogany twin lug. So Places,” and a few of the other
it could’ve been that, but I think JM: F-----g hell, ambidextrous songs. And we got on very well. It JM: This was up at Mike’s
for most recordings it didn’t work fingers snaps too! (Laughing) was just Nigel Luby engineering, house.
that well. The Rogers was actually SP: Yeah, that’s it. It took a bit, he used to work with Yes, Mike SP: Yeah, in Chalfont. We’d
a pretty good drum for that time getting into it, but yeah, that’s and myself. And I was really already had some tracks recorded,
and era. it. There’s a couple of tracks of itching to get into production and he came in and said, “Alright,

“I’m definitely in a Gadd mode,

it was kind of a formula.”
JM: How did you get the gig them, and boots. I took off my and either I called him or he I want to play some acoustic
with Manzanera? boots and played them on the called me to do more stuff and guitar on something.” I don’t
SP: I have no idea. Like a lot floor. we were just talking and he asked remember what song it was, but
of those gigs at that time, my about it. And I said, “Yeah, well I remember he had just gotten
reputation was kind of building JM: To get that Spanish thing actually I do produce.” I had been some of these [Neumann] TLM
and I’d just get calls. Usually from happening. producing a little bit. And he said 170s and he said, “These are some
an engineer or a producer. SP: Yeah, Mike wanted “Really, because I’m looking for really nice mic’s, I want to use
I don’t know how Phil got everything on the track, and he a producer.” And I went, “Ooo, this one.” He dropped the mic in
hold of me. Absolutely don’t wanted everything louder than OK.” He asked me what I’d done my hand and said, “Best of luck.”
remember. I just got a call everything else. and I told him I hadn’t really So, I’m in the control room, he
from out of the blue from the So that was Crises, which done anything big yet, and I was had already routed the mic so I
management and once I did that was actually my first real just starting out. But he could could hear it, and he showed me,
first record, that was it. He just production, and really my first obviously see something, having “Hit this button here, and push

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this button there.” You know it

was like ten button presses before
you could route anything, “And
you should be able to hear me.”
Out he goes, and I could hear
him, but I’m thinking, ‘gain’ and
stuff like that. But I’m looking
around and I see one of the Urei’s
moving, I think “Ah, great, there’s
the compressor,” so I know which
one it is, and basically that was it.
I found the inserts. I kind of knew
how a desk worked because I’d
worked on some simple ones. I
wasn’t a total novice, but it was
still pretty new.
And that’s what that album’s
all about. And this is one of
the tracks that we did later on,
because I remember that was a
small drum kit and it was set up
in a different part of the room,
hence the soun - three toms, kick
and snare.

Space Boogie
There And Back
Jeff Beck
1980

JM: You co-wrote this.

SP: Yep material, because Jeff doesn’t bit. JM: So you and Tony did the
have anybody to write with, and I I’d only taken a little drum kit demos.
JM: It’s “Quadrant 4” on know he doesn’t want to use Max down there, but he had a little SP: Yes, we would do all the
steroids. Is that where it came [Middleton] and he’s even funny Premier kit. We started playing demos, and then we played it with
from, was it your chance to… about Jan at the moment. Let’s this boogie, and I got bored so I Rick Laird. We went to Maison
SP: Absolutely. We were down at get together, we’ve never done grabbed his drum kit and put it Rouge and it was a nice version,
Jeff’s house, and Tony [Hymas] this before and try it.” next to mine and we just started but it wasn’t quite right. It was a
and I soon figured out that Jeff The first song we wrote was playing like a boogie shuffle. It lot slower. I have that somewhere
didn’t write music, he needed a “Golden Road.” He came to my was a lot like a lot slower than this, on a cassette, but I can’t find it.
writer. We had already recorded house, I had a Rhodes there, a and then I just started turning the And then we got Ken Scott
six songs with Jan Hammer for little drum kit, and some form beat around. So we were playing involved, went back into EMI 3,
the beginning of that record in of recording, maybe he brought in four, and he kind of looked the Pink Floyd room, where we
1978, which was done with the his Revox or something, and I at me, so we kept in seven for a did Voices and Camel and loads of
Octoplus in Rampart Studios. whistled him the melody. He bit. I kind of made a mental note records really, and got Mo Foster
He needed more material, so I’d harmonized it, and he added the and thought, OK, that’s our next involved. Wrote him out a chart,
introduced Tony to Jeff, because next bit, and we had “The Golden song. We’re going to do a boogie Tony and I were sitting opposite
we were going through keyboard Road.” in seven, “Quadrant 4,” but in each other, he was on his Rhodes,
player problems, and Jeff loved We went down to Jeff’s house seven. I was on the kit.
him. So he came to Japan with us every now and then and we’d play We went over to Tony’s house Ken and I got on great. But Jeff
when we went there in ’78 with him a couple of demos. He’d then and did a demo of it, and it’s wouldn’t play. He would like play
Stanley. send us off and he’d be there with the only demo I can’t find, the half the song and stop. Mo has
So I said to Tony aside, “Tony, a cassette machine trying to just original demo of “Space Boogie.” pages everywhere and struggling
you and I need to write some pick it out. Then we’d jam a little Played it for Jeff, and he loved it. through it. Tony and I kind of

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laid the track, it was 1 – 2 takes, EMI. Kate Bush was in the other not. Jeff put this horrible synth
.
done. room. “The Pump,” “El Becko,” drum on it, adding an extra 16th
Jeff wasn’t interested, so I said “Space Boogie,” “You Never note after the ‘four’. I wanted to
to Tony, “Let’s go listen to it.” We Know,” - no click – but I redid get rid of it, but Jeff had this thing
were in the control room and Mo the drums on that one. about it, so it stayed.
had to do a few fixes and Jeff kind
of wandered in halfway through JM: You redid your own drums? JM: Was that the breaking
and heard it and said, “Boy this SP: Yeah, because we didn’t record for you? In the sense Hey Julia
sounds f-----g great, oh yeah!” like the sound. I think there was that the American market and Sneakin’ Sally Through
So I said, “Ok Tony, out you go, another one too, or maybe... oh the rest of world outside of The Alley
let’s do the piano solo.” So out that was it: Ken Scott wanted me England took notice? Robert Palmer
he goes, does the acoustic piano to overdub tom fills on “El Becko” SP: Certainly in the States, the 1974
solo and it was cut live, no click. at the end, and I f-----g hated States and Japan. It was Rocks,
We didn’t use click in those days, it and you can hear it too. It just Pebbles & Sand with Stanley, SP: Is this Dana [Gillespie]?
same with “The Pump.” doesn’t sound right at all, but I and There And Back. I think with
went with him on that one. Stanley, obviously, that got to a JM: No, but I know a lot of
JM: So this is prior to you, We kept the drums to “Golden different crowd. people wonder what part of
Stanley and he, or after? Road” because it was a really nice I still have a lot of black this trilogy you play on.
SP: It was after the Stanley Clarke take and we left Jan [Hammer]on musicians that come up to me SP: Trilogy?
album, and before I went out “Star Cycle.” But Jeff wanted to and know me from that record,
with Stanley in Europe. We did put this stupid synth Moog drum where they wouldn’t have known JM: “Sneakin Sally Through
a 1980 tour too, right in between added to the drum groove, and me from Jeff’s. It’s interesting The Alley,” Robert Palmer.
Michael Schenker and PhD, those everyone gets this wrong. where that record got to. SP: Ah yes. I play on this, the
two albums. There was another I saw Vinnie playing this the Those two records are the ones one with the machine. I actually
record we did there, and “The other day and even he got it that established me in the States played on two songs, but this one
Pump” we recorded there. wrong. That’s what they think and that’s when I started doing made it. The other song was…
We spent a couple of weeks in the drums are playing, but they’re work in the States, recording. “Walking In The Rain” I think is

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what it was called, but that one whatever that box was… Studer moved theirs, and it JM: What a shame, his passing
never made the record, though wasn’t until that became the away so young.
it was a really cool song. Yeah, JM: A Beat Box, I think. norm, when the other companies SP: Yeah, he died way too young.
I did the ones with the drum SP: Right, maybe the old Roland all changed to make that work, so
machine. Beat Box. So it was a little tricky you didn’t do an awful lot of that.
figuring out how to play to it. You just had multiple takes and
JM: So the trilogy is Bernard This was 1974, pretty early on. made it work.
[Purdie] first, then you, then Clicks really didn’t start coming So working to a drum machine
Richie [Heywood]. in until about 1976, from what on one reel of tape was kind of
SP: Yes. I remember. So it was all really tough. But I seem to remember
new. I think that box came out punching on that track.
JM: You were pretty young that year, or maybe the year Drums Away
when you did this one. Maybe before. JM: Did you know that it was The Simon Sound / Two
your first “major” record? No one had really done this going to be a part of what they Generations of Phillips
SP: Yeah, I was 17-years old. We before in the studio, and it was call “The Trilogy?” Those three Sid Phillips Orchestra
did the Dana Gillespie album at very hard to know how to play songs are joined together, 1972
Island Studios, Basing Street, with it, what to play to it. Do they’re seamless, “Sailing
downstairs, which is where Phil you play something different, Shoes” into “Hey Julia” into SP: OK enough of that, don’t
Brown was engineering and John the same? And also keeping time “Sneakin Sally.” need to hear any more of that
Porter was producing. I guess with it. For us, then, it felt so SP: No, I had no idea. I have the shit.
it was Phil Brown that must weird. Now it’s almost weird album, but I don’t remember
have mentioned me to Robert’s for people not to play without a that. JM: Come on now, considering
producer. metronome or a click, a loop or a That was actually the first... how old you were, that’s pretty
I got the call out of nowhere, drum machine. kind of biggest rock album I spectacular.
just to come to Basing Street, Nobody seems to set time played on at the time. SP: Well, ’72, I was... 15.
for the one track, and that led to anymore, whereas in those days, And I bumped in Robert in
JM: I’ve had students in their
30’s, playing for 20 years or

“Nobody seems to set more that don’t come close to

you at that age.

time anymore, whereas

SP: Well, I had been playing in
my dad’s band since I was 12.
And I sat in with his band when I

in those days, that’s was eight, I even have recordings

of that. When I was six I sat in

what the drummer did.”

with the band at Aeolian Hall,
at the BBC. Just snare drum and
cymbal, and the other drummer
played bass drum and hi-hat.
another. It was great, but kind that’s what the drummer did. 1983 in Germany at a festival.
of strange, because Robert’s You sat down and you played a It was Crosby, Stills, Nash and JM: Dixieland.
an incredibly quiet guy, very groove and you’d work on that Young, Mike Oldfield, Robert SP: Yeah. Played two songs, we
introverted. So it was mainly the grove for hours before taking it. Palmer and bunch of bands. We recorded them.
producer that I was talking to. Take after take after take, you’d were in the hotel bar, at the table
Robert didn’t really say a lot, he get stoned and do another. You’d with our band, and Robert was JM: So you had a bit of studio
just kind of hung. end up with reels of tape full of right next to me with his. And experience prior to recording
And it was quite tricky to music. being very British, I thought he this full record at 15.
play this, because in those days And then, you got this piece of would never remember me. SP: Yes. I started doing the
we didn’t really play to drum music that was laid to one reel of So I just kind of sat there broadcasts when I was 13. So,
machines, and very rarely did tape, the problem was that you and didn’t say anything. And therefore I had had - live to two
we even play to a click. It had could only have one take. And he was right next to me, but track, 12 songs in three hours.
only just kind of started, so it was dropping-in, in those days was again, I thought a) he wouldn’t There was a rehearsal for about
tricky, it was hard work, quite a tricky, because you couldn’t recognize me, and b) probably an hour and a quarter, quarter of
tough one. Kind of pushing the drop-out. First of all, we were not remember who I was. an hour break, and then an hour
limit of my experience, because it operating at 15 ips, very difficult And then he leaned over at one and a half to do 12 songs.
was something very different. to drop-in on a track. But the point and said, “I really like your
worst thing was dropping out, playing on that Stanley Clarke JM: Broadcast, meaning ‘live’
JM: Was the other track also to because the gap between the album.” I said, “Wow, Robert, you on BBC.
a drum machine. erase head and the record head know who…” and he said, “Of SP: Not a ‘live’ transmission,
SP: Yes, they were both done was so wide. course, it’s very nice to see you but recorded for playback and
in the same way, it was done to Remember they moved them. again.” He was lovely. transmission later. But that

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meant basically one take, two never a problem. I never really - 4 quarter notes to the bar in recordings, but even then, I
takes at the most. You know, if suffered from that “red-light” the left, together with the kick remember thinking, “Hmmm,
somebody made a mistake, stop sort of thing, only playing in drum - accent on the offbeat (2 not a great sound.” But there was
and start again. But, ‘live’ to front of an audience and getting and 4) with the hi-hat - then read nothing I could do in those days,
either full track mono ¼ inch, or it right. Being in the studio, with the chart note for note - do not it’s just how it was.
then they turned into stereo for the red light and being ready waiver, and lay off the cymbals
BBC Radio 2. to record, I was so used to it as (laughing).
So I had that experience, you a spectator, that it was a very
know - red-light experience. natural progression to just sit in JM: Those days are gone.
Which in those days, it really was. the drummers’ seat and to be the SP: It’s really interesting when
The big clock on the wall and drummer. I watch Tony Williams closely,
the different colored lights for So I had a bit of experience and he comes from that background.
recording, ‘ready’ was red, ‘off I had already done two records They all did, Art Blakey, Philly
the air’, blue light for ‘on the air’. before this one with my dad. Joe, Ed Thigpen, that’s the way Falling in Between
There was a big slate, and you it was. Falling In Between
didn’t wear headphones for those JM: Oh, I thought this was the Toto
kinds of sessions, you had a nine- very first one. JM: Now on this record, one 2006
piece band. SP: No, there was one we did side is Dixie and the other is
at Chappells Studio, with Sid more contemporary. SP: (Laughing the second he
JM: Everybody ‘live’ in the James’ son. SP: Yes, because one half of it hears the two gong drum hits)
room. was me, much to my father’s
SP: Yeah, two mics for the drums, JM: You must have been only discontent. JM: Ok, I have to ask you.
kick drum and overhead, maybe 12 or 13 years old. Tragically, Jeff passes away,
something on the hi-hat or SP: 13, but I would’ve been 14 JM: Oh really, was it your and the entire world of
snare, depending on what was when I made my first full LP, and demand. drummers is speculating and
fashionable. And everybody that was a whole three hours. Or SP: No, it was our managers’ expecting - is it going to be
played acoustically, listening was it a morning and afternoon demand. He had a manager then Keltner, Marotta, Gadd...?
to each other, no headphones. session… anyway, a whole day and he thought it would be a very Someone in the vein of Jeff,
And that was it. I had been going for a record. And by then it was good thing to do, from a sales to take over the seat and get
to those sessions since I was a multi-track, either eight or 16. point. them through the tour.
child.
JM: I can’t imagine what it JM: Was that the last recording Now I’m sure you know why
JM: Was it seeing your father’s must’ve been like for your that you did with your dad? many artists call you, for your
band and the drummer that father’s drummer to be shown SP: Album recording, yes. But technique, your style, your
got you interested in playing? up by a 13-year old. probably the best recording that abilities. But you must have
SP: Oh, seeing the drummer, SP: I don’t think that was the we ever did together, that the thought that that was the last
yeah. Whenever my father did case. When I sat in with the band band sounded the best, was the phone call on earth you would
a radio broadcast, if I wasn’t in they knew that I could play, but last broadcast, which was about ever be getting.

“It was a very natural

progression to just sit in
the drummers’ seat and
to be the drummer.”
school, I’d be there, sitting right that I was very inexperienced. My a week before he died. I still have SP: Totally, absolutely. Let me
behind the drums. father was having such drummer that, and it’s pretty cool. give you a little history there.
So I learned very early on, not problems, many different players Done at Aeolian Hall and it’s I was in Ibiza doing a TV show
to cough or sneeze during a take. and they just couldn’t grasp that really good, it swings. Funny with a guy called Frank Farian, who
I understood what a microphone old way of playing. enough, I didn’t like the sound is the mastermind behind Boney
was from a very early age. I knew I had the advantage in that I of this record. Even then I was M and Milli Vanilli. Incredibly
recording and how to record, so didn’t know any different. That’s into sound. It was really weird, it successful German producer, has
that whole concept of a studio what I grew up playing. Ding was too wet and sloppy sounding. his own studio called (laughing)
was second nature, that was ding de ding in the right hand I prefer tighter sounding Farton Studios, which of course

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we all found hilarious. I would have to cancel, I was

‘Far’ for Far-ion, and Ton already booked. They were my
for ‘sound’ in German, first calls, and I said, “Look, this
Far-Ton. is a bit awkward. I’ve been asked
Mike [Oldfield] and I to do something. You may have
were doing Discovery heard of the band Toto,” “Yes,
in Switzerland, because of course.” “You also may have
he had to stay out of heard that the drummer Jeff
England for a whole Porcaro just passed away,” “Yes,
year. He needed to find we heard.” “Well, I’ve been asked
a studio which had an to fill in for him and play the
8108 board and Westlake tour.”
monitors, I think that was And everyone said, “Wow,
the criteria. And we just that’s amazing.” And I said, “Yes,
so happened to find this but I’ll have to cancel what we
studio, which was kind of were going to do,” and everyone
a private studio in Bad- said, “That’s fine.”
Homburg, just outside And I got about three of these
of Frankfurt, and that’s calls done and everybody was
where we went to mix. We just so…
turned up there and that’s
how I met Frank Farion JM: Respectful, honoring Jeff.
and his crowd. SP: Yeah. The mention of Toto,
And then he asked me to and everyone was very cool about
play on a couple of tracks it.
for a thing called The Far And they asked if I could come
Corporation that Bobby back and do it afterwards, and I
Kimball was a part of too. said, “Yeah, if you’ll wait for me
He was celebrating, god and still want me, I’d love to do it.
knows how many years in But I’ll be out of touch for about
the music business. He rented JM: Buffalo Skinners. JM: So it was not an invitation three months.”
a plane, filled it with people, SP: Yeah. I was up at the house, to join the band, it was - can Then a few days later I got
and flew us all down to Ibiza for and I was about ready to leave you fill in and get us through another call from Luke and I spoke
about a week to do this one TV to Los Angeles. Had everything the tour. to him a little bit more about it
show, which was great. The other sorted out, visa and all... SP: Yeah, I don’t think anyone and I told him, “You know, this is
people there were Scott Gorham had any idea at that stage for kind of strange because, I don’t
[Thin Lizzy], Michael Schenker’s JM: Even before the offer to anything else. know if you know this, but I
singer at the time… tour? I thought that maybe it So he said, “Don’t take too was kind of leaving anyway and
was the reason for your move. long, just let me know as soon as coming to LA.” And I thought
JM: Gary Bardens. SP: No, I had been planning that you can.” And I said, “OK, I will, I about it a little more and said to
SP: No, not him. Another guy that for a year. I was ready to go, just realize the situation. I have a lot myself, “You know what, maybe
Bobby knows. Leif Johannsen the kind of waiting to get this record of stuff going on, so let me think this is what I should do.”
bass player, and loads of different done, and then my record. about this.” So I rang Luke back and said,
artists. So, it was late at night, the And I put the phone down “You know what, I think we can
Anyway, I’ll never forget, I was phone rings and it’s [Steve] and thought to myself, “Hmmm, make this work, but I can’t come
walking to breakfast... we were Lukather. I had thought, maybe Toto.” Because I’d been working over until such and such a date.”
in this remote part of the island he thought I hadn’t heard, or a lot in the States, I really didn’t He said, “That only gives us three
and there was only one phone, maybe he wanted to tell me, or know what Toto were doing. I weeks to rehearse,” and in those
this outdoor phone with a little maybe he just wanted to talk to didn’t realize they were kind of days, they used to rehearse for
canopy, and Bobby was on it... as me. We chatted and I said, “I’m still touring and stuff. I mean, a lot longer. Now, we’re pretty
I was walking across, he kind of so sorry… the news” and typical like a lot of people in the States, quick, but back then they used
stepped out, covered the phone Luke, straight to the point, he I didn’t really know what they to rehearse a lot longer and the
and he told me, “Jeff just died.” said, “We’ve got 42 dates booked, were doing. fact that they had never played
And I went, “What, Jeff Porcaro?” 45 people on the payroll and we Then management faxed me with another drummer, ever…
I was shocked. I was like, “Why, were just about to start rehearsals, some dates, and I think the next the band had never had anybody
how, what happened?” And that’s there’s a brand new album out day, I called and just asked a little else in, except for singers and a
where I heard it. and we want to know if you want more about it. What size halls bass player. The core had been
So, I finished that, came back to come play with us.” Stunned, I they’re playing, what kind of together from the beginning. He
to England, and I was just about was like, “Wow… I need to think shows, etc. was a bit worried about that, but
to start the Big Country record. about it.” This was the furthest Then I talked to a few people, he said, “We’ll make it work.”
thing from my mind. because there were a few things And I said, “Great.”

109
 Face2Face

it was a always a lot of fun was very involved production- 100-watt Watkins Copycat on
to practice to, because the wise and the engineer was each one, screens, drum kit,
second half of the phrase is hilarious. Always late. screens, bass player (Simon
missing. You don’t play the motioning the layout). It was
four, you play through it. Then JM: Did it go anywhere? I mean amazing.
you get dynamically very quiet no one ever heard of it in The
in the break down, and out States. JM: Fantastic record. I knew
Bach Onto This of nowhere play that shuffle SP; No, not really. Gary from Thin Lizzy and
Before I Forget across the bar line and catch Colosseum, but didn’t know of
Jon Lord the accent with the rest of the JM: Any live gigs or just the all the jazz fusion chops.
1982 band. Fantastic, really great records? SP: Yeah, and we got on great
playing. SP: No, just the sessions. I too. He was really fantastic. I
SP: Brit Row, the Octoplus, SP: Oh yeah, I remember. Wow… actually produced him a bit in was playing with Jack Bruce at
probably around the same time the early ‘80s. A funny, really the time and he was a big fan of
as the Bernie Marsden record. JM: So this was pre-Jeff Beck. lovely guy. Of course, he died of Jack’s.
Great fun. Was this where you first cancer when I had moved over Then I got the call from Peter
hooked up with Tony Hymas? here, ‘92, ‘93. Collins (producer), to do another
JM: The Glover connection, SP: No, no. A lot of people were of Gary’s albums much later in
was that Roger producing once saying, “Wow you’ve got to play JM: And the stuff that you the ‘80s at Air Studios. I was like
again? with Tony Hymas, you would get produced for him never came “Hmm, this music is a bit rough,”
SP: No, I was doing a lot with along great.” out? the gothic thing he was into.
him, but not this one. Jon was Back in ‘75, Martyn Ford, a SP: Never came out, I still have We did it and he wasn’t even
doing it himself. I even brought fixer (contractor), did a solo it somewhere. Shame. But they there. Gary turned up a bit later
Jeff [Beck] into the studio. It album at Basing Street. It was were really fun, those records. We and he was all fabulous and shit.
would have been ’79 then, when called ‘Smoovin’, and it was great. were there for one or two weeks I was like “Wow, what happened.
we started to make There And That was the first time Tony and doing it, and got paid well. We used to get on great, what
Back, it may have been ’81. Can’t I ever played together. And we happened to him.”
remember the engineers name. just hit it off like that. It was a I don’t know, it was really
Jon was really funny. great time. He’s a different kind strange, but that album was
of player. Mark Warner on guitar, really cool.
JM: Smoking record, the drum Johnny Muss. We did that Brecker
track on this is just ridiculous. Brothers song, “Sneaking Up
I remember reading a quote Behind You,” - Harvey Mason.
from Jon, about you going into That’s when I first met Tony,
the studio and knocking this and I introduced him to Duncan. What Would You
out. Having a listen and then Around the Jack Bruce time, ‘77 Rather Bee Or
completely nailing it. or ‘78 this one. A Wasp?
SP: Pretty wild arrangement. Scorpio Sound, which is where Back On The Streets
Ken Scott mixed Crime Of The Gary Moore Let us Prey
JM: It was a real challenge Century [Supertramp] and the 1979 Sin After Sin
playing to this one with all the first Stanley Clarke record. They Judas Priest
double bass, dynamics, odd used to have these great big SP: Gary Moore, it was the 1977
time. You name it, it’s in there. Cadacs. Huge Cadac monitors Octoplus, ’79. There were so
SP: Gothic rock. and a Cadac desk. A little cold many sessions going on around (Once again, Simon has no idea)
sounding. I remember I went that time. But that was at Morgan,
through my real ‘dead’ phase, Studio 1, where I did a lot of work SP: It’s the Octoplus. That I
gaffereing up all the toms, a la at that time. It was only a 16-track know.
Zappa and Chester. And Duncan, studio there, Chris Tsangarides
we’d met and done a session was the engineer. He did Black JM: You don’t know?
together at Air Studios in ‘74 or Sabbath, he did a lot of the heavy SP: I have no idea. Not a clue.
‘75. He was the guitarist on the metal bands. He did Japan, he
session and we really hit it off. did all the different heavy kind of JM: Judas Priest.
Things To Come I did an album with him up at bands, and John Mayall, who was SP: Ooh. That was Judas Priest?
The Wild Places Chipping Norton called Metro, in in Colosseum. Well they were all
Duncan Brown ‘75, ‘76 with John Giblin, and this in Colosseum at that point, when JM: The opening track off of
1978 was his solo deal. With the same Gary [Moore] was in Colosseum Sin After Sin.
record company that Madonna and Thin Lizzy at the same time. SP: Oh f*ck, I just don’t remember
SP: Ok, I know this, Duncan was with in the early days. And Don Airy... all live. that song, isn’t that funny. I knew
Brown. Wow, very cool. And when Gary played, the it had to be around that time.
JM: Sire snares would buzz, just like Judas
JM: I love this track. For me SP: Yes. This album was great, it Priest. He had four Marshall’s, JM: And the call for Judas

110 SP Extended
 Face2Face

“It was quite an experience doing a

record with an icon like Jack Bruce.”
Priest… . heads it was horrible. But if I put were shit dreadful. We always
SP: Again, Roger Glover. He Ambassadors on, it gave them wanted a lot of tone. So it was
just rang me for everything he more ring, a bit more projection, kind of a mixture, and we went
produced. He was becoming a so it worked. with it.
producer then and one of the Bill Halverson produced it, he It was quite an experience
records was for a Playboy bunny was a really big guy, I was scared doing a record with somebody
named Barbie Benton. of him! He was the classic kind like that, an icon like Jack Bruce.
Times of American, 57s on everything, And it got interesting at times,
JM: Hef’s girlfriend. How’s Tricks even in the bass drums, and I but it was great.
SP: Yeah, I think so. Roger was Jack Bruce didn’t like the sound. I daren’t Good old Octoplus again,
producing her, which was one 1977 say anything, he was a big guy, definitely the Rogers Dynasonic.
of the many records, including and I was only 19. He was also
Judas Priest that we did. Probably SP: Oh, this is Jack isn’t it? This really good too. JM: The Octoplus was a single
the same year, or maybe Barbie’s is off How’s Tricks. Lots of cool I could tell he was a wonderful floor tom?
was a little later. But anyway, he stuff on this. I haven’t heard it engineer, this was the difference SP: Double, 18” X 16”, double
was producing Priest, and they for ages. ’76, probably August,or between English sounds and head.
needed a drummer. I think Dave September, and that was when American sounds. American
Holland was… I almost kind of stopped doing sounds, to me at that time, JM: I mean one floor tom, 6 to
day-to-day sessions, the 10-1, seemed so small and dead, and 16 toms and 18 floor tom.
JM: Alan Moore was the guy in 2-5 stuff. British sounds were like big and Sp: Yes, some times I’d take the
before you. Then Les Binks and We went down to The Manor meaty. In some ways they weren’t bottom head off, some times I
Dave Holland right after. and recorded. I’d just swapped as clean, and almost weren’t as put it on, kind of always played
SP: Yeah, I don’t know what from using Black Dots to technical. around.
happened, but they needed a Ambassadors because a couple American mixes were nice.
drummer and so I did the record. of the engineers were not using The way of making a record, the JM: I know you hate them, but
They wanted me to join, but multi-mic’s, they were just compression was beautiful. But I still love the sound of a single
I was playing with Jack Bruce at using three mic’s overhead, the raw sounds, particularly a lot head tom.
the time, so that was it and with black spots and single of records at the time, the drums SP: Yeah, it’s interesting.

SP Extended 111
 Playing For Fun

Crossword

Across
1. This time, Chaffee
chose
3. From tech to
touring
5. Puerto Rican
Rhythm
9. Wolf’s least
favorite gig
11. He was on a huge
riser
12. Where Collins
cleaned up
13. The best rock ‘n’
roll drummer that
ever lived.
15. Wot? Chester’s
________
16. Duke studio
20. Grease Band
drummer
23. Frank’s funny
‘Sound’ studio
24. When In Doubt,
________.
25. Gabriel III aka
26. The Baron Word Search
27. 50s East Coast hub
of musical activity Find 16 Genesis
28. Phillips production albums that Phil
Collins played
drums on.
Down
2. When not with
Dwight, he’s with
_______.
4. Paul and Page
6. Post Zappa
Chester
7. Paul and Jones
8. Art and the double
10. Mangini does not
believe in_______
14. Broadcast hall for
the BBC
17. Simon’s single
head monster
18. Thompson’s new
digs
19. Riley’s drumset
guy
Bill Bruford

21. Marine’s favorite

teacher
22. The ‘Hottest’
ISSUE 6 ANSWERS

drummer

112
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WHAT YOU

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114
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 the REIGN of the
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drum as opposed to a ring that continues after you hit the drum.
A lot of that has to do with its special modified triple-flanged
hoop and ‘stick-chopper’ concept. The Monarch is a lot more
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