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Home , 1980 World Tour, 21 at 33, Before I Go, Bob Birch, Breaking Hearts, Chris Dave

MAGAZINEMTHE OFFICIAL PUBLICATIONA OF DRUMG WORKSHOP •A 6.0 Z I N E

LIVE!ND MOTLEY CRUE! CHECKCHECK OUTOUT THETHE EE A ONON TOUR TOU RWITH WI TTOMMYH TOM LEEM YAND L MOTLEY CRUE! TOMMYTOMMY POSTER POSTER NEWNEW GEARGEAR FORFOR ‘05‘05 + FREE! INSIDE IN THE TIME R&B SUPERSTAR MACHINE WITH USHER’S AARON SPEARS NASHVILLE A-LIST STUDIO DRUMMER SESSION MASTER CHAD CROMWELL CURT BISQUERA CUSTOM BUILD YOUR DREAM KIT ON AT WWW.DWDRUMS.COM ALL-NEW B.O.A. TECHNOLOGY GOESGOES HI-TECH!HI-TECH! Shown from top to bottom: Collector’s Series® Aluminum, Brass, Copper and Bronze www.dwdrums.com ©2005 Drum Workshop, Inc. DRUM NOTES DIVERSITY IN DRUMMING As I glance through this latest edition of Edge magazine and witness so many different, yet inspiring drummers within its MAGAZINE pages, I’m instantly reminded ARTIST PROFILE: of how diverse the drumming AARON SPEARS 4 world can be. Whether it’s , R&B, pop, Usher’s Aaron Spears has all rhythm country, hard rock or alternative, one thing and no blues. remains constant—the drums are our voice. At DW, we never forget that diversity THE TIME MACHINE 9 means many drummers have specialized A career retrospective with drumming needs. By making pedals that are easily ad- legend Nigel Olsson. justable to every player’s taste, a full line of TECH TIPS 15 Page 4 Page 9 hardware in multiple weights and drums The second installment of our feature that not only sing, but are as versatile as the that gives you secrets and tips from multitude of music genres represented here, today’s working drum techs. our goal is to make tools for drummers to ex- press that voice. Q&A: JAZZ DRUMMERS 16 We’ve received a number of patents and ON THE RISE: NATHAN FOLLOWILL 21 have had many novel ideas over the years, The Kings of Leon’s drummer is an but the ones that really stick out in my mind up-and-coming artist to watch. are those that have made a change in the way drummers approach the instrument, no mat- ARTIST PROFILE: ter what style of music they play. These are CHAD CROMWELL 24 Page 21 Page 25 the ideas and the innovations that cross over Chad Cromwell has the know-how to musical boundaries: the free-fl oating 9000, survive in the Music City. the double pedal, the 9702 Multi Stand, Tim- bre Matching and even our new VLT technol- LIVE! WITH MÖTLEY CRÜE 28 ogy. They all make translating the language DW DRUM NEWS 30 of music just that much easier. Get the low-down on exciting new DW So, as we welcome new artists from all products and innovations. over the music world to the DW family, we can learn from each other and embrace our BACKSTAGE PASS: QOTSA 38 Get on the tour bus with Joey Castillo diversity. It’s part of what makes drumming Page 28 Page 31 a truly universal language. and Queens of the Stone Age. DRUM CLINIC 40 DW artist Rick Latham talks contem- porary drumset technique. Don Lombardi ARTIST PROFILE: President, Drum Workshop, Inc. CURT BISQUERA 44 Class is in session with DW artist and L.A. studio master Curt Bisquera. EDGE LEE POSTER INSIDE! PACIFIC DRUM NEWS 48 Page 35 Page 39 Want to see what’s new in the Pacifi c world? Get the info you need here. SPOTLIGHT: OMAR PHILLIPS 52 R&B’s Omar Phillips delivers the Southern-style Hotlanta funk. NEW DW DRUMWEAR AND DVD 54 Check out all the new DW logo gear and DW’s exciting new generation of drumming DVDs. Page 44 Page 48 NEW ARTISTS 56

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LXE-Perkins (EDGE).indd 1-2 5/18/05 2:37:29 PM ALL RHYTHM,

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2 5 AARON SPEARS ALL RHYTHM, NO BLUES IT’S BEEN ANOTHER CHART-TOPPING YEAR FOR R&B SUPERSTAR USHER, AND HIS STICK MAN IS MAKING A NAME FOR HIMSELF AS ONE OF DRUMMING’S NEWEST CHOP MASTERS. >>> EDGE: Talk about coming up in the gospel on Band. It was there my musicianship Jon Roberts, Calvin Rogers, Chester scene and how that shaped your playing. and concept of playing together with a Thompson, Chris Dave, Travis Barker, band began. Our music was compared a Brian Frasier-Moore, Ladell Abrams, Aaron Spears: I was born and raised in lot to and EWF because Milton Smith and Simon Phillips are a DC. I remember my fi rst taste of music of the instrumentation represented. few of my modern day heroes. There was in church. I came up as a Church We had three horns, two keyboards, a is a crop of drummers who I consider of God in Christ kid. As I look back B3 Hammond, percussion, bass, lead, to be, like, “new age” who also inspire there were so many different grooves three vocalists and drums. We also per- with their innovation and new con- and feels represented. The choir would formed all our songs with a sequencer cepts. Because of newcomers like Eric sing so many different types of songs. (drum machine). This really helped me Green (), Dana Hawkins, Cora I would play everything from a blues because when it came to hitting on the Coleman, Tony Royster, Jr., Thomas shuffl e to a straight funk groove. It was big stage, the challenge of playing with Pridgen, George “Spanky” McCurdy never a dull moment. Back then I always tracks and loops was not diffi cult for (Tye Tribbett & GA), Jamal Moore and thought of it as fun and challenging but me. If it wasn’t for Gideon, I am sure Ronald Brunner, Jr., I believe the world now I see how even then it helped to that the transition wouldn’t have been of drumming will continue to evolve. shape my vocab and my love for mu- as smooth. However, going into the sic. It was defi nitely a great outlet for fi rst week of rehearsal smoothing out EDGE: Describe your live set-up with Ush- me. When I’m not on tour you can fi nd the rough spots, that’s a whole different er and why you’ve gone with a relatively me playing at my church. I’ll never get mountain to climb. If it wasn’t for God, modest kit. away from my roots. the support of the band and the insight of my MD, and the advice of a couple AS: On the tour I am playing a beautiful EDGE: How do you make the transition of my boys, I could have gone down in DW Black Spider Pine Maple kit with from playing in church to being a profes- fl ames. It’s good to be in close contact Satin Chrome hardware. I sound like a sional musician? with people who know fi rst hand and salesman [laughs]. I play an 8x10”, 9x12”, can identify with what you are going 14x16”, 14x18” (the 18” is to the left of AS: Making the transition from the kid through. my hi-hat), 18x24” kick and a 10x13” sitting in the fi rst row of the church, Edge snare—this monster sits on fl oor begging and waiting impatiently with EDGE: Who are some of your strongest mu- tom legs. I use the Pacifi c rack and the my one pair of sticks for my turn to sical infl uences? 9000 hi-hat and single pedal.These were play, to where I am now defi nitely was the tools used to make this tour feel like a process. As I got older, I began to lis- AS: Let’s see. I have so many. When I heaven to me. A lot of people ask why ten to any and everything I could get was younger, I would try to play like I only have a six-piece kit. That’s easy. my hands on. I would practice in my my favorite gospel drummers, like Joel After my tech Polo and I confi gured my basement with records I would hear on Smith (The Hawkins), Dana Davis (The cymbal setup there was no room for the radio or with cassette tapes. I loved Winans), Michael Williams (Commis- anything else. Just kidding! Coming up playing with tunes recorded by The sioned), Jeff Davis and Gerald Heyward. in church, a 12”, 13”, 16”, 22” kick and Winans, The Hawkins Singers, Com- I’m still trying to get some of Gerald’s 14” snare were the norm, so I honestly missioned, and John P. Kee. Those were chops to this day. I later began to get into just stayed close to what I’m used to. I some of my absolute favorites. I would other cats like Dennis Chambers, Vinnie have always been comfortable playing imagine that I was the drummer put- Colaiuta, Dave Weckl, and . a fi ve-piece but I added the 18” on my ting it down on those different records. I have taken so much from all of them. left because some of the tunes called for As I got older, I started to get into more I remember sitting with my dad watch- really big, beefy fi lls. Those 16” and 18” diverse styles of music. I remember lis- ing Vinnie play at the Zildjian Day in VLT fl oor toms are just what the doctor tening to music from , EWF, New York, like, 15 years ago. He was ordered. The low tones are powerful! I Run DMC, , , defi nitely the fi rst of many drummers really did have a lot of cymbals set up and even a little Metallica, Van Halen who would change my life in regard to there on my kit though [laughs]! and AC/DC. Hearing what was hap- playing. I would try my best to do the pening on some of those records was things they were doing and make it my EDGE: Do you have a particular warm-up like an incredible new world! I did a own. I’m into so many different drum- routine? little playing in my high school march- mers now: Teddy Campbell, Nisan ing band and also with the jazz band Stewart, Chad Smith, Jojo Mayer, Paul AS: I can’t say that I do. Did I miss that in college, but I didn’t really feel like “Buggy” Edwards, Horacio Hernandez, section in my trusty drummer’s hand- I found my place until I began to play Marvin McQuitty, Gary Novak and Abe book [laughs]? As the tour went on with a gospel group in D.C. called Gide- Laboriel, Jr. I still dig Gerald, and Lil’ though, I did fi nd myself doing pretty [ E D G E 6 . 0 ] 5 I used to wonder what it would be like to be in any magazine or publication, to be affi liated with the best sponsors in the world and possibly appear on some of my favorite late night TV shows. Because of Usher and Valdez allowing me to be a part of their team, I don’t have to dream about it anymore.

much the exact same thing before every that God’s favor, coupled with Usher’s with. These guys have played with ev- show. I would get dressed for the show popularity and success this year, are eryone from Phil Collins to . and listen to a couple songs from Jay- solely responsible for the light shining Did I mention this is one of the biggest Z’s The Black . I would give Polo on me right now. I am so thankful and stages in the world with two of the big- our secret handshake, and from the humbled. gest names in music? Oh, okay, cool. I time I’d sit down on my kit until my just wanted to make sure you knew MD, Valdez, would call for the intro to EDGE: What’s it like to play the Gram- [laughs]. Once the music started and the show, I would pray and ask God to mys with the “Godfather of Soul” James Mr. Brown looked at me with approval, take away any nervousness, help me Brown? I was cool. He later verbalized his con- make it through this show and play it sent in regard to how I was playing his the way he would have me to. That was AS: It was an absolute honor. I really song. I did a good job of trying to stay about it. felt like I was dreaming even in the re- chill, but, man, on the inside I was so hearsals. A couple of my closest friends hype. Wow! It was defi nitely an experi- EDGE: How has Usher’s immense popular- helped to put things in perspective and ence that I will never forget. ity and rise to the top of the charts directly it was such a huge honor to be there. affected your drumming career? They both are extremely successful. EDGE: You’ve been traveling the world They shared with me that it took one over the past year and a half. Any interest- AS: It’s absolutely incredible! I couldn’t of them ten years before he got to play ing or funny stories? have asked for a better situation. I know there, and the other is still waiting for this was nothing but God that worked the opportunity. So please try to under- AS: Wow-wee! There were so many this out for me. I have been dreaming stand my excitement. This is my fi rst memories, man. This was an incred- of playing at this level ever since I can professional gig and tour, and I get to ible experience for me personally off remember. I used to wonder what it play at the pinnacle of music recogni- stage, as well as professionally on stage. would be like to be in any magazine or tion with the number one artist in the I could tell you about the time I felt a publication, to be affi liated with the best world. And on top of that, the “Godfa- little sick just minutes before a live TV sponsors in the world and possibly ap- ther of Soul” is coming out to make a taping in N.Y. where I earned the nick pear on some of my favorite late night special appearance. Wow-wee! It took a name “Dynamite Bottom.” I could talk TV shows. Because of Usher and Valdez few days for the reality to set in. I re- about how the band—Natural, Buddy, allowing me to be a part of their team, I ally thought I was dreaming until James Valdez and I—would stay up for hours don’t have to dream about it anymore. Brown showed up for rehearsal—I was trying to determine who was the PS2 They helped to make it a reality. It’s still so swoll. Keep in mind, we are talking nighttime champion. It was always me, crazy to me sometimes when I look back about “Soul Brother #1,” “Mr. Papa Got but please don’t mention it to the oth- on the last couple years. I hear my name A Brand New Bag,” the original “Sex ers. Maybe I could share about the time in the same sentences as some of my he- Machine” himself. We also had Fred when Usher picked a girl out of the au- roes and the legends that I look up to. Wesley and the best horn players I have dience to sing to and she had the look I have no problem with acknowledging ever had the honor to share the stage on her face like he better have picked her because she belonged up there with EDGE: What’s in him. She was so stuck on herself. So he your iPod?  stopped the music, politely asked her to ON THE return to her seat and picked a young AS: I think this lady who was crying and with is the fi rst time I RECORD: disbelief as she with him while have been asked GERALD HEYWARD: he sang to her. I could even talk about all that. Hmmmmm. I met Aaron when I was on tour the celebs that I have had the privilege Let’s see—I have with Mary J. [Blige]. I was hang- to meet. Looking back, all these things all kinds of stuff in ing out with my homeboy Jay were really cool. There are, like, a thou- there. I have some Jay and he showed me this tape sand more memories in my head that I live concert per- of Aaron playing in his base- could mention but the one that totally formances from a ment. It was crazy. sticks out in my mind is when I got to couple different His playing is real crazy ‘cause go the house of one of my heroes, Boot- artists. I have some you can’t really fi gure out how sy Collins. He was soooooo cool. One of very recognizable he fi ts the licks that he does in any my friends has been doing some work names in music size space. And he can do licks with him and mentioned that we were like Stevie [Won- all day long. in town. Mr. Collins was like, “Bring der], James Brown, Aaron, don’t ever, ever, ever them over to the house.” It’s crazy! It’s , 50 change kid, stay true. like a museum. So many different pic- Cent, Marvin tures and memorabilia. So many differ- Gaye, Sting, Steely ent basses. I remember seeing a couple Dan, Jay-Z, Prince, TONY ROYSTER, JR.: I used to wonder what it would be like to be in any magazine or of them during his performances on Tye Tribbett & GA, The fi rst time I met Aaron was at TV or on video. I was so swoll! Here I Donny Hathaway, Gerald Heyward’s house, along am with the band, chillin’ at Bootzilla’s Run DMC, Yellow with Calvin Rodgers. We were publication, to be affi liated with the best sponsors in the world crib. Unbelievable! He has a studio in Jackets, Snoop on our way to the Zildjian facto- the basement. We all got on the instru- Dogg, Mary J. ry to pick out some cymbals. Ac- and possibly appear on some of my favorite late night TV shows. ments and brought in the funk for like Blige, Kanye West, tually, that’s the fi rst time I heard an hour. It was so much fun. He gave Herbie Hancock, him play. We were playing to- us our offi cial funk cards. Defi nitely an Weather Report gether on this practice kit, in this Because of Usher and Valdez allowing me to be a part of their experience I will never forget! and, of course, I soundproof room where you test have Usher in there as well. I have some out cymbals. It was great. team, I don’t have to dream about it anymore. EDGE: What advice would you have for Green Day, Linkin Park, Cyrus Chesnut, Aaron’s playing is incredible. young, aspiring R&B or Hip Hop players Richard Bona, Fred Hammond & RFC, He is clean, precise, and he plays that are looking for a career as a pro drum- John Legend, Toto, Dave Weckl, Noto- with a lot of power. If he commits to mer? rious B.I.G., Frank McComb, Beyonce, a fi ll on the drums, you are defi nite- Earth Wind & Fire, Maroon5, RHCP, ly going to hear, and know, that he AS: I would fi rst tell them to be pa- A Tribe Called Quest and D’Angelo. It meant to play it. Also he has great tient and wait for their opportunity to seems like a lot, time, which is a very important come, but make sure to be ready when but I really love aspect of becoming a great drum- it shows up. Chops and licks are really music—all dif- mer. cool when you are shedding, but on ferent styles and He should continue to develop the gig you have to be able to estab- genres. To me, his own style of playing so he can lish the groove and play the part above music is what have his own tone and be dis- anything else. Once the groove is laid makes the world tinguished from everyone else. down, it’s the placement of those chops go ‘round. In or- He is doing the right thing by that you have in your vocabulary that der to function in staying busy and having a pas- will set you apart from the players who this world, I feel sion for his craft. Aaron Spears, focus on wowing the crowd with the that I need to be an awesome drummer. ultimate super-fast double roll of death educated and up and mortifi cation. That’s whack! Stuff on what’s really NISAN STEWART: like that will get you an aisle or a win- going on. I met Aaron a couple of years dow seat on the way back to your house ago in . I was out there quick. Do not get caught up in the hype at Fred Hammond’s big gospel that these gigs can bring. It’s so easy to event performing with The Soul go down in fl ames because you aren’t Seekers, and he was playing with being true to yourself. My MD would The Gideon Band. I was amazed always tell me about how so many great from the gate. He was killing!!! musicians got fi red on their day off. I love his style. He’s very quick Stay humble and really appreciate what and creative. You never know it is that your gift has made room for what to expect from him as the you to do. I have met so many incred- show goes on. ible musicians who are dying to be able My advice to Aaron is to keep it to play at the professional level. If you chuuuch, as we say out in L.A. For get there, you can’t take it for granted. those that don’t know, it means It’s really a blessing. I think the most keep it church! He follows a great important thing that I can share with list of professional drummers that the future cats is how important it is to started out in churchurch.ch. Some say it’s keep God fi rst. Stay grounded in him. not wherwheree you come frfrom,om, but it’s He will direct your paths and put you wherewhere you’reyou’re at. ToTo me, it’s both! where you need to be. When you do get there, make sure you cherish and enjoy every second of it. USHER: CONFESSIONS (2004) [ E D G E 6 . 0 ] 7

>TIME MACHINE NIGEL OLSSON: A CAREER RETROSPECTIVE

EDGE: What inspired you to start play- from hearing African music, which is sort workroom, showroom, whatever it is, ing? of like a language and religion there, to a and he said, “Hit that.” And I boinked it drumset? once, and I said, “Phew! That’s it. Let’s Nigel Olsson: I spent a lot of my early do it. Let’s get it ‘round Clive, though.” years in West Africa because my father NO: To me it’s all about the tone of the [laughs] So Clive basically didn’t know, was a pilot. He was the chief pilot for drums. You know, I don’t read or any- I don’t think, until John told him about the Ghana government. A pilot being thing, and I can’t do a roll—if they asked three or four weeks ago when we were the guy that brings big ships in and out me to play “God Save the Queen” it’s in Vegas. of the harbor so they don’t crash. And gonna be, “Off with his head!” ‘cause he never lost one, so I guess he was I can’t even do a roll. But it’s just that EDGE: I want to just get back briefl y to you good [laughs]. So, my older brother and tonal thing, and when I hear the music, transitioning from being inspired by Afri- I would spend our summers in Gha- especially Elton’s music, which is very can drums to actually your fi rst experiences na—it used to be the Gold Coast—for inspirational to me, you know, the big playing drumset. How you got started play- eight weeks at a time in the summer, ballads and stuff, I plan what I’m going ing, you know, in popular music, or…? and it was like, still is, a major, major to play, but I hear the low tonal qual- part of my life. I think about it often, ity. You know, my drum fi lls aren’t very NO: Well actually, I started out as a about going back. Now that it’s Ghana, technical, but they’re planned to be big player. I was with this band— it’s changed a lot because it got po- and huge. God, I’ve forgotten what they’re even litical. There’s war on either side, you called—and I was a guitar player. know, there’s Nigeria and Gambia and EDGE: Tell us about your front-of-house ‘Cause in those days, this was like the all them places. But on the weekends, sound man, Clive. I understand he’s been nineteen—mid-’60s, I would think. In the local people would have, like, what with you since the beginning. those days you only needed to know we would call jam sessions now. And basically three chords, which I’ve now they’d beat on anything, you know? NO: He’s been there the whole time, forgotten [laughs]. And I was, like, the It was all about beating on stuff, hol- and you know, he’s been through many, lead singer and player. lowed-out pieces of tree—you know, many drummers as well. He just loves And our drummer had left, or he didn’t basically what you guys do [laughs]. this new kit, and we got it past him with show for a gig one night, and you They’d chop a tree down and make a these kick drums because he loved the know, I could basically keep time, so I canoe out of it; and then they’d chop an- “Ghana” kit, but that’s our studio kit just went back and bashed away on the other tree down, and hollow it out, and now because as soon as it goes in the drums and loved it. And loved it even make a drum out of it. And, you know, studio you put a microphone on that more because some of the places where they’d have animal skin heads and kit. You don’t have to hardly use any EQ we used to play in those early ’60s, if stuff, and different tonal quality. But I or anything. Engineer’s dream, right? you didn’t play or The Roll- always remembered that the low tones So we’re keeping that for studio work ing Stones they’d start hurling stuff at were the ones that stuck with me, and now. “The Pinky,” the pink and purple you, you know. ‘Cause mainly we were I think it stuck forever and ever. So my one, he loves that as a road kit. Loves playing in working men’s clubs or pubs, early mega-infl uence was these African it. And when we had discussed doing a you know, I mean rough stuff. So I fi g- people bashing away, basically. special kit for Las Vegas for The Red Pi- ured out, if I’m sitting behind the drums ano, John Good had said, “Listen to this and the cymbals I’ve kind of got shields, EDGE: How do you make the transition bass drum.” And we went into the little you know [laughs].

[ E D G E 6 . 0 ] 9 EDGE: So you never had lessons? the toms. And we found that wooden straight into the studio and cut it fi rst rims in the studio don’t rattle like metal take [snaps his fi ngers]—done! NO: No lessons, no. ones do because of me having to tune the drums so low. So, that worked. EDGE: So you were rehearsing in the stu- EDGE: So you developed dio, actually, when you were doing that sort your style of playing on EDGE: So did you of thing? your own? “We were all on the play with a click back then? NO: Not really. We knew we had the NO: I just used to put same wavelength sound together, and we just sat down the headphones on and so we knew exact- NO: Nope. No and played the song. Most of that stuff, play along to records. clicks. I hate, hate, the big, big records were cut within one Whether it was Cliff ly what we were loathe click tracks. I or two takes ‘cause if you go any more Richard records, or Lon- going to play, and even hate ProTools. than fi ve, you lose the freshness of it all, nie Donegan records, or we were excited to Because now that I think. Still to this day, I don’t like to go Beatles, whatever. And Elton has fi gured in and play until I’ve heard the song at I’d just play along with go and get behind out that you can fl y least a couple of times—if Elton plays them. And that’s basi- the gear and bash stuff in, you know, it down a couple of times. I won’t sit at cally how I started. And you only get, really, the until he’s ready to, like, then, there’s what I call away. Most of those to play half say, “Okay, let’s go and cut it.” my “descriptive drum- songs were written anymore. There was a song we did on the Cap- ming,” which would and recorded with- tain Fantastic album, I think it’s called be, you know, those big EDGE: Now you’re “We All Fall in Love Sometimes,” which fi lls that I put in the El- in about an hour looping things… goes—it’s kind of two songs in one—it ton songs. When I fi rst and a half.” goes into “Curtains,” and we didn’t heard, I think it was The NO: Yeah, and fl ying want to make an edit between the two Beatles’ White Album, ‘em in. songs because you would lose the at- when you heard Ringo’s mosphere. And I have this, what we call drums in stereo in the headphones, it EDGE: Everybody’s doing that. my trademark, I have the hi-hat going was amazing ‘cause he’s got that low at the same time as the sizzle cymbal, tonal quality. I think it was Geoff Emer- NO: And you get the same drum fi ll and that’s my trademark. But the sizzle ick who was the engineer on that partic- twice, exactly the same. And it’s okay to cymbal lasts for so long, we didn’t want ular record—and I think they used to put put the same fi ll in, but you can play it a to make an edit because you’d cut that sheets and carpets over it. Just to make little bit different. sizzle off. And there wasn’t enough it sound like “dju, dju, dju, dju, djum.” So, the days of making records like time for the sizzle to fade away before I wanted to take that a little bit further I know records are meant to be made the next song would come in, so we had and have that kind of sound—but with is totally, probably, over. It’ll never be to cut that whole thing in one take. the sheets off. That’s where I was look- like that ever again. And for the re- ing for that low “djuoooom”—that you cords that we did with Elton, the early EDGE: So you didn’t even cross-fade it? don’t stop the tone, you make it ring on, records—you know, like “Captain Fan- you know? And I was a nightmare ac- tastic,” “Good Bye Yellow Brick Road,” NO: As you hear it on the record, that’s tually when we fi rst started recording “,” “High Flying the way we cut it. So, you know, you get with Elton because I didn’t want to tape Bird”—those records were cut in min- halfway through the fi rst song, “We All up the drums. I wanted that “djum,” but utes, basically. We’d be there when they Fall in Love Sometimes,” and you say, in those days, you know, they’d always were written, we were all on the same “I hope that I remember how to get it to say, “Oh, it’s rattling. You’ve got a rattle wavelength so we knew exactly what the next!” [laughs] And it was fantastic. here,” and you’d spend, like, hours try- we were going to play, and we were Still one of my favorite songs that we’ve ing to fi nd where the rattle was coming excited to go and get behind the gear ever, ever recorded because it was just from. Then, actually, Slingerland built and bash away. They were just so inspi- fresh. We were, again, all on the same me a kit with wooden rims. It was in the rational, and most of those songs were wavelength, and I remember we had ‘70s, like ’73 or ‘72. And I had wooden recorded, written and recorded, within our eyes closed and we knew exactly rims on them. Oversize toms, oversize about an hour and a half. “Daniel” was what we were going to do. And we kick drums, and these wooden rims on written in fi fteen minutes and we went didn’t have to cross-fade or edit or any- >TIME MACHINE: NIGEL OLSSON thing. No razor blades on that record. dinated in a racing car. Because when you’re behind the wheel, SELECTED DISCOGRAPHY: EDGE: Talk a little bit about your solo ca- and you’re doing, like, 200 miles Solo : reer. an hour, and there’s a wall com- 1971 Nigel Olsson’s Drum Orchestra and Chorus 1975 Nigel Olsson ing up, your reactions have to be 1975 Drummers Can Sing Too! NO: I was happy with most of the stuff very, very, very quick. And, you 1978 Nigel Olsson I put out. “Put on Your Dancin’ Shoes” have to use both sides of your 1979 Nigel was a big record for me. It was, like, top brain. Your hands, arms, legs and 1980 Changing Tides four in America. It never did a thing feet are doing totally different 2001 Nigel Olsson’s Drum Orchestra and Chorus, overseas. But it was a good experience things all the time, so you have to Vol. 2: Move the Universe for me to make records because I love be really coordinated to do this. With : being in the studio, that’s my thing. And that’s part of my passion. I 1969 And when I moved to , the lady was so passionate about motor 1970 11-17-70 that I was seeing—I mean, we were to- racing, and when I got to go into 1971 gether for like nine years—she ran, well, the Ferrari Challenge and drive 1971 owned Bang Records out of Atlanta. So these super-cars the way they’re 1972 Honky Chateau 1972 Don’t Shoot Me...I’m Only The Player we’d be in the studio all the time, basi- meant to be driven you know, 1973 Goodbye Yellow Brick Road cally, cutting with Paul Davis and some at breakneck speeds, and know- 1974 Caribou of the Atlanta people and bringing ing that there was nobody com- 1975 Captain Fantastic and the Brown Dirt Cowboy people in from Memphis and Muscle ing around the other way, well 1976 Here & There Shoals. That was a great experience to hopefully not, it was amazing. 1980 work with those kind of musicians. You And I did very, very well, I think, 1981 The Fox know, the Blues guys, and the people because of my coordination. You 1983 from Staxx and everything, you know? know, your legs have to do dif- 1984 But, I never toured. ferent things from your arms and 1988 1991 The One I was going to go on a tour, and then hands. People fi nd it very, very 2000 Elton John’s I had a really bad car crash and never tough. It’s like that thing where 2000 One Night Only: The Greatest Hits made it out onto the road on my own. you rub your stomach and pat 2001 Songs From The West Coast But I was kind of freaked out anyhow your head, you know, you’ve 2002 Greatest Hits 1970-2002 because I didn’t really want to come gotta be coordinated and concen- 2004 Peachtree Road out and sing, even though I had James trate. Other appearances: Stroud, who was going to play drums. 1968 : of a Penny We were going to have, like, two drum- EDGE: So, it sounds like you’re pur- 1969 Plastic Penny: Currency mers, and I would come out and sing posefully playing fi lls in a certain 1969 Group: Funky part of the time and then go back and way. You’re holding back and play- 1970 Uriah Heep: Very ‘Eavy, Very ‘Umble James and I would play together. But ing in a simpler way than you maybe 1971 Cochise: Swallow Tales I was just freaked out about being the would. 1971 Mike Hurst: In My Time 1972 Mick Grabham: Mick The Lad frontman. And it’s not a case of them 1972 : throwing bottles anymore, I just don’t NO: And it’s basically to the lyr- 1973 : want to be the frontman, you know? ics, as well. Because all the big, 1973 : Smiling Face But I’d like to do a record, which I did, big ballads that we’ve done with 1974 : Land’s End and it was only really released in Japan, Elton, you know, they’re Bernie’s 1975 Barbie Benton: Something New the most recent one, called Move the Uni- lyrics. The lyrics have so much 1975 : verse. I cut that record, but had different meaning and you don’t wanna 1975 : Tommy (Original Soundtrack singers. I had, like, girl singers, a couple cover them up with something Recording, ””) of guy singers, and just did songs that that’s not really needed. You 1975 : Prisoner in Disguise 1975 : Atlantic Crossing I always wanted to do, like old cover know, just don’t do a drum fi ll 1976 : records or whatever. And we tried to for the sake of doing it. When we 1976 Rick Springfi eld: Wait For Night get a record deal over here for that, but fi rst started recording with El- 1976 Brian and Brenda Russell: Word Called Love they said, “Well, we don’t know where ton, I discovered that if I do a fi ll 1976 Neil Sedaka: Steppin’ Out to put it.” So... but I just love to be in the across the toms in stereo it travels 1976 Peter Lemongello: Do I Love You studio. across the speakers. 1977 : Boats Against The Current 1977 Paul Davis: Singer of Songs, Teller of Tales EDGE: Has your auto racing career played EDGE: Those were the “Don’t Let 1977 Helen Reddy: Ear Candy a role in your drumming? the Sun Go Down on Me” fi lls… 1978 Eric Carmen: Change of Heart 1978 Bonnie Pointer: Heaven Must Have Sent You 1978 : Heaven Help The Fool NO: It’s actually backwards. Being a NO: True. So you know that 1980 Neil Sedaka: In The Pocket drummer, you are so much more coor- when you got back in the control 1981 Chris Christian 1983 : Greatest Hits Volume II 1987 Spencer Davis Group: Golden Archive Series 1990 : River of Love 1993 : If Only My Heart Had a Voice 1994 Uriah Heep: Lansdowne Tapes 1996 Leo Sayer: Show Must Go On: Anthology Trutunes 1997 Eric Carmen: Defi nitive Collection 1999 Random Hearts (Original Soundtrack Recording) 2002 Toto: Through the Looking Glass

[ E D G E 6 . 0 ] 1 1 >TIME MACHINE: NIGEL OLSSON

JOHN GOOD TALKS ELTON JOHN WITH NIGEL: JG: Those were some really big records with big hits. And when we saw you, Elton and the band playing the other You know, just don’t do a drum night, it felt just like it did the fi rst time I saw the band, in ’71. Back then, it just fi ll for the sake of doing it. blew me away. And it wasn’t a big ven- ue, but the people were electrifi ed with it. And I’m still seeing the same feeling room, your toms will travel. And Gus and I need to go start getting ready for coming from that stage. [Dudgeon, producer] was actually the a 7:30 show. And then Chris, my tech, one that said, “Nige, you know, you will come in with a Pepsi—has to be NO: His songs, there is a special can leave a few of them out. You’re not Pepsi. He will hand me the Pepsi fi f- way of playing his songs, and I . Let Moony do all that stuff. teen minutes before I go on stage. Every think we still pull it off. I play, actu- Hold back a little bit.” And that was it. single night. He’ll give half the can to ally, a little bit behind. I tend to hold That clicked. It’s what you leave out me and half the can to Davy. Before I things way, way back. I was actually and that’s been imprinted into my brain go on stage, I have to have Dennis, our once offered a gig with The Beach since the early, early studio days. stage manager, standing on the left of Boys, and Carl—God rest his soul— me [laughs]. Keith [Bradley, our man- said, “No.” ‘Cause Carl and I were EDGE: So, does Elton ever have anything ager] will be over by the curtains . Bob good friends, and he says, “No, to say about drum parts? Haley, Elton’s assistant, his right-hand Nigel wouldn’t work out because guy, is just behind me, and , he plays too behind the beat. Beach NO: No. He actually doesn’t say any- the bass player, is right behind me to go Boys songs are right there, or are thing to anyone about what they should on the stage behind me. And as soon as a little bit rushed. And Nigel is to- play because he has so much trust in the our intro begins, I say a little prayer to tally the wrong style.” And I would way we know his music. So he won’t make this a really good gig, and as the tend to hold it back, and I leave out say anything about, “Well, you play like downbeat for the intro music goes, Den- a lot of stuff where people think, this, and you play like that.” nis will always shake my hand and say, “Oh, here comes a fi ll, here comes “Have a good show, Nige.” And I’ll put a fi ll.” Oh, well, not with “Nige.” I EDGE: Tell us about when you and Curt my drumstick out here like that, and leave a lot out. It’s that space that Bisquera were playing together. touch Keith, every single day. And Bob makes our records so different, and Haley, Elton’s guy, always messes with the way that they’re held back. And, NO: He brought me along to you guys. me because he’s kind of movin’ around, you know, Dee obviously died ten Curt was playing DW at that time be- and I know that he’s in the wrong place. years ago now, and we miss him cause he was part of the band at that And I’ll look back to see that Bob Birch dreadfully within the band—Davy stage. DW was basically the sound, the is following me because I’m not going and I, and Clive. But Bob Birch has way they were built, it was what I was to do it on my own. And Bob will al- that thing going on as looking for. And Curt says, “You know, ways say, “...and a one...” So, we have well. He studied the way that Dee I know these guys really well.“ And our own little ritual. And I’ll always played on the records. And it’s pret- then Curt made the call right there. sign all the drumheads before I do the ty frightening because sometimes, gig, and that makes it all go smooth. It’s especially when we’ve been in the EDGE: So you’ve mentioned that you get like motor racing. You know, if your tire studio recently, when Bob plays, it’s pretty anxious before a show. man isn’t there when you come into the very Dee-esque—if that’s a word pits, you’re in big trouble. You know, we can use—Davy and I look at NO: No, I freak out until I get on that it’s all split-second stuff here. each other and say, “That was stage. And I don’t know what it is. a Dee, wasn’t it?” It’s not that I’m worried if I’ll break a drumstick or make a mistake in a song. JG: It just seems to be such a chem- I don’t know what it is, I’m just abso- istry with him and you guys. I lutely frightened to death. And with mean, Bob’s one of my favorites... the Vegas shows, it’s so weird, ‘cause I don’t look at a clock, but I have this NO: He’s got it down... adrenaline rush. I mean it’s like having heart palpitations, my whole body goes JG: ...and he nails that gig just “vrooouh,” and I know that it’s 7:05 perfectly.