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Home , Dirt Farmer, Levon Helm, Steve Jordan (drummer), The Band

The Classic Drummer Interview by Bob Girouard photo by Paul La Raia

No one plays drums or sings a song like Levon Helm…..no one. He’s in a select club of musical pioneers that have cut across time and trends; legend and fact being one and the same. In a way he’s the everyman; a true American original and his impact on popular music over the past five decades is in a category unto itself.

Helm is undeniably a larger than Sonny Boy Williamson on KFFA, The Drawing from his own influences, persona, yet at the same time humble to on WSM, Rhythm & Levon set the gold standard by creating a fault. Very few have commanded the Blues on WLAC, or “diving-in” to the a style uniquely his, and achieving a respect of such a cross section of influ- fray with his first , “The Jungle level many drummers are still trying to ential artists as he has, and drummers Bush Beaters.” Local dues paid, it was copy. Musically, when one listens to are only a part of it. A short list would time to venture out into the great such staples as , The be people like , , unknown with wild man Ronnie Weight, and The Night They Drove Old , George Receli, and Hawkins, and later Levon & The Dixie Down, they are hearing not only Steve Jordan, as well as icons like Hawks, who received a Brill Building songs….but rather a living-breathing , , and Eric baptism courtesy of mogul/gangster, history of a bygone era. As is commonly Clapton. Truth be told, Levon is usually Morris Levy. The aforementioned all known, that particular chapter culmi- on everybody’s A-Team, whether they leading up to his stint with Dylan along nated with . For be musicians or movie stars. with a group often heralded as the drummers, it represents one of the finest greatest ever in American- individual performances ever captured Since the beginning, music has reflected music: . on film, a virtual lesson on how to play his soul, whether he was listening to with other musicians in any context.

36 CLASSIC DRUMMER Time marched on, and so did he. But not about them in interviews. Larry Campbell, Teresa Williams... before adding to the equation with LH: I wish they could all be here! They everybody, especially the singers to gems like “The Muddy Waters would understand how much easier it is keep me from singing myself into a ”, “The RCO All Stars”, and a trio to play in the studio instead of trying to hole. Even though I had my voice back of new Band CD’S, “Jericho”, “High on pack everything up, constantly from enough to attempt the songs, I would the Hog”, and “Jubilation.” With the late place-to-place! have days where I’d start too early and 90’s came some major hurdles, but I couldn’t find my voice. It would con- never one to run away from a challenge, CD: Yeah, what drummer wouldn’t cern me, but having Amy, especially Levon even looked the big “C” in the want your set-up: I mean, you walk into helped guide me through those spots eye and put up his dukes. the living room, do a brilliant show, sign and I was actually able to perform better a few autographs, wave goodbye, and than I thought I could. Today, the miracle of his return to health head back in to catch the late movie on and the bonified success of The Midnight TV! CD: Amy actually co-produced, along Rambles have added yet another dimen- LH: (Laughter): Yeah, it is pretty good with Larry. Did their collective input sion to his legend. Moreover, his first isn’t it! provide any unexpected musical turns solo album in 25-years, , has along the way? won unilateral praise from both the CD: Coming off your amazing return to LH: Oh, sure, sure. I depended on them. public and press including CBS News, health and also performing again, your The first few songs from home that we CMT, , NPR, The New new CD “Dirt Farmer”, signals another cut seemed to lead us right on into the York Times, and Entertainment Weekly. milestone in your career. Its traditional other tunes that became the “Dirt The end result coming front ‘n’ center sound is like a virtual history of Farmer Sessions.” We’ve got probably with the ultimate tribute - two Grammy American roots music in itself. Kind of two dozen songs all together and we’re Awards. Fittingly, Dirt Farmer for “Best like offering a window to your soul. talking about a Dirt Farmer II. We’re Traditional Folk Album” combined with a LH: Well, you know, I guess you could thinking about putting those out too “Lifetime Achievement Award” for his say that. In my life, that’s the language and also working on some promotional contributions (as a member of The of heaven. After being as ill as I was, videos. Band) to American music. Recently, and faced with the possibility of not Classic Drummer was given the oppor- being able to perform, makes me appre- CD: On the video, can I wager you’ll be tunity to chat with Levon at Levon ciate the opportunity a whole lot more. I riding a tractor? I actually read some- Helm Studios, which serves as his kind of took it for granted. I’d have a gig where that as a kid, you were a home, creative, and business headquar- and I’d enjoy it….but I did take it for champion tractor driver? ters. Considering our mutual history, I granted. was quite honored about sharing this moment and its magnitude with our CD: A musician friend recently readers. told me when he first heard it he felt the presence of Ralph Classic Drummer: Levon, over the past Stanley. few years there have been several mile- LH: Wow…to be mentioned in stones that have all been part of this the same breath with (“Dr.”) amazing journey leading up to today. Ralph Stanley. I’ve just always One of the most formidable has been the worshipped the Stanley success of your Midnight Ramble Brothers and the bar they set is Sessions. You must be happy about a hell of a reach for all of us to that? work for; at least to do the Levon Helm: Yes, it is a real blessing for music with the same spirit. all the players. Woodstock used to be one of those places where you could go CD: Without question, you out in the middle of the week and hear seem to be coming from a very three or four live bands. Those days spiritual place. In your own have changed, and there are only a cou- words you’ve stated that your ple of venues left for live music. For the daughter Amy, was the moti- Rambles to have developed the “legs” it vator behind the idea. Was this has, it’s been good for the musicians a challenge musically, to go lit- and the audiences who have come. erally…back to the beginning? LH: You know it really was one CD: The performances have impacted of the more pleasurable things in so many ways and resounded with that I’ve ever had the opportu- other great musicians. I often get asked nity to do. I counted on Amy, photo by Paul La Raia

CLASSIC DRUMMER 37 LH: You know, I’m not so sure that it might be Amy playing there?

CD: So, it’s a genetic thing? I’m literally waiting for that beat to come down! LH: She did a fabulous job on Got Me a Woman. I think deep down, she’s a drummer at heart.

CD: She can out-groove most of us! LH: That’s part of the joy in this album. We didn’t have any plan and we let the music dictate the instrumentation for the most part. We also had plenty of help. For instance, George Receli came in on percussion to tie everything together in a nice way. I mean, to play as tasty as he plays… never overplays…never in the way…always

photo by Paul La Raia the right part.

CD: So many drummers ask this, espe- LH: (Laughter) You know on the farm, you had together in The Band. cially when it comes to you, ‘The the 4-H Club was how country kids got LH: Well, I love to hear you say that Memphis- feel, is it some- to go to town! If it was that, or a hog- because I sure feel Rick, Richard, and thing that all Southern players have? Or calling contest…whatever was going Stan‘s (Szelest) presence. They’re my is it a case of hard work and discipline’? down, I was game for it…just to get out three brothers if you will… and my par- LH: I think it’s just that old...or, some- of work! ents too. Funny you mention that where in-between, that Saturday-night CD: You tear into Most of the things I play certainly have a street-beat-march to them. So, it’s between that and the album’s first cut, “False Hearted Lover watching Peck Curtis play with Sonny Boy Williamson and The King Biscuit Boys. That Blues”, with a march-like, rolling march and that shuffle is where I live . feel and a wicked lead vocal. Both your drumming and because when we were working on singing reaffirm an exuberance that’s all Blind Child and Little Birds I couldn’t over the disc. What makes this record quite remember a couple of spots….it different than other classic ones you’ve was almost like…..I would either dream made in the past? them or they’d come to me in other LH: The most different thing about this ways. It was wonderful. Vocally, for the one is probably the use of acoustic first time it was like all of us who were instruments. For the most part, I don’t singing were as comfortable with each think we have an electric instrument other and reached that level that Rick, although maybe a pick-up here and Richard, and I used to aim at. For sure, I there. We’re using acoustic piano, bass, copied Rick and Richard….we sang drums, guitar(s), mandolin and so- together so many times and I tried to forth. At the same time we used a full sing like they would sing and phrase so it still has enough like they would phrase. I love em’ that rock ‘n’ roll on it to hopefully make it much. danceable. CD: The Girl I Left Behind: My take on dance and a street parade. Most of the CD: There’s a feeling I got when this was a bit more blues than Cajun but things I play certainly have a street- listening to The Mountain: I closed my the accordion really creates a flow here. beat-march to them. So, it’s between eyes and felt the presence of The groove is right out of your own that and watching Peck Curtis play with and . Forgive me, but playbook: A fat 2 & 4 back beat, and it Sonny Boy Williamson and The King you almost seem to be channeling here, sits so far “behind” it almost steps into Biscuit Boys. That march and that shuffle reminding us of the collective greatness the next bar! is where I live most of the time.

38 CLASSIC DRUMMER CD: The “playing behind the beat” style like the tread.” It’s like your regular kind may be the first time you’ve ever heard is not necessarily geographical? of a blues tune. The World Is Mad is an it, but that song’s about you, your life, LH: I’ve heard that and I’ve heard peo- example: “I heard a smash and a terrible your sorrows and joys. ple say it. But every now and then you crash…and bodies laid out in the street. The can go to places like Buffalo or undertaker smiled and he winked his eye CD: True, but in this case there is a cer- Rochester. Let me tell ya’ there’s some of and said man’ the business sure is sweet!” tain amount of intensity you convey on the baddest players up there that you’re (Loud laughter)! Those kind of songs, this song; coming from what sounds ever going to find! It’s about the rhythm just singing and talking about them like your reflections thus far, on your section. Look at Muscle Shoals…Roger show there’s another side to the blues. own life experiences. It’s very moving. Hawkins and or Al Jackson LH: Yes, I know what you mean. and Duck Dunn from Memphis. Hell, CD: The album closes with Wide River you could take them to Hollywood and To Cross. This is a beautiful, at times CD: I’d like to give a nod to the drums they’re still going to sound like they haunting, song. It almost could be con- for a minute: Over the last few years, sound. strued as autobiographical; the sorrows, your signature sound has gotten more the joys, and the friendships along the powerful. You’re attacking the backbeat CD: Artistically, you’re not afraid to way. The song’s arrangement is basic, harder, and using your kick and snare to have some fun on this disc. For instance, not glossy. Again, it feels like a perfect propel the rhythms. You also continue the title song, Dirt Farmer and Got Me a arrangement for what might be the to innovate by never doing the same Woman reflect a sense of joy and humor most personal statement you’ve ever thing twice. Are you exploring or essen- that comes through musically and lyri- put on record. tially reacting to the music in a different cally. LH: There again, it shows how the writ- way? LH: (Laughs!) Yeah, (recites) “How bad ers Buddy and , captured the LH: (Laughs!) Exploring? Yeah, because the old farmer must feel....fell off his tractor moment. When you hear that special I couldn’t get it right the first time! Well, up under the wheel…now his head is shaped song it’s almost like it’s about you. It in the old days I used traditional grip

CLASSIC DRUMMER 39 about 80% of the time. I developed a to equipment-wise? LH: I got good feelings about the habit of being overly busy with my left LH: I’d like to give credit to all the good Ryman. The Last Waltz performance I hand. I wanted the backbeat but also companies that have supported me over had good feelings about and still live by wanted to do a lot of other stuff. It the years: Pro Mark, Zildjian, and it but it quickly turned into a rip-off. I became unnecessary to me. When I got Slingerland Drums. I played Yamaha for think the Ryman….to have something sick and was playing blues with the years, and liked the drums….mainly like that happen this many years later, Barn Burners (with Little Sammy because the people were so nice to me. was as good as having Muddy Waters Davis), the backbeat became much more Great people over there. You know, come to Woodstock. To have the likes of important. By changing my grip to mal- Slingerland has a drum factory in Ricky Scaggs, Sam Bush, Emmylou let-style it basically simplified . Harris, , and others? Gosh, everything. It kept me concentrating everybody showed up! The Ryman was more on the backbeat and less busy; a CD: How convenient…Right in your just a wonderful, special night. There’s little of the “less is more” theory. home state! so much history there. It was a thrill of a LH: How bout’ that. I’ve been playing lifetime to work with some of the nicest CD: Let’s talk about your drum them for about two years now. I really people in the world. equipment? Traditionalists love your like them. Most important, they’re set-up: Snare, two toms and kick, along sounding good. CD: It was a validation of what you’ve with a 20” (or in-past, 18”) ride w/rivets given to so many and what you are all and a 16” or 17” crash with four rivets CD: Reflecting on some of your per- about. (Any one of which you have a way of sonal tour de forces: What means most? LH: Well, I don’t want to go that far, but making sound like an orchestra). The Last Waltz, or more recently, The I did take some of it back in interest that LH: And a cowbell. That’s the funny ? night! bone of the drum set!

CD: Oops, sorry I forgot that. LH: I also use a crash-splash type of cymbal that sits right next to my cow- bell. I’m still looking for the perfect one. It’s what I like to call the “Jimmy Reed” cymbal. I need to start checking the pawn shops again….got to find that “elusive” crash.

CD: Vintage lovers out there will be pleased to know you continue to use a 60’s Ludwig “Speed King” for your foot pedal. True?

LH: I can’t find anything that will beat photo by Paul La Raia an old Speed King. You put a drop of machine or olive oil on the pedal part if it starts squeaking…and there aren’t many that are faster.

CD: Yes, but they always seem to get temperamental when you’re in the recording studio right? LH: Kind of like a squeeeal! (Laughs).

CD: Do you prefer wood over metal snare drums? LH: I love that wooden rim. You know it’s hard to tell the difference if you catch it just right. When you get used to the rim and the alignment of the batter head…..it actually knocks better if it’s wood.

CD: Anybody you’d like to give a nod photo by Paul La Raia

40 CLASSIC DRUMMER Bonus Feature: “Behind the Mixing Board”

The making of a landmark album is vibe was when they got together things Rods. He likes a deader sound and it often the result of “ears” between the had to be set. Because of everyone’s translates to a punchier tone for artist, producer, and engineer. Justin schedule there was not a lot of time to recording. It’s all in how you hit the Guip, production manager and house waste by talking about the music. It was drum. engineer for Levon Helm Studios all about playing it and capturing that played a major role on the Dirt Farmer energy when it went through the room. The cymbals were all A Zildjian: 17” record. His revelations offer a unique I spent a lot of time setting up before- medium crash with rivets on his left, look inside the “technical arts” so vital hand so when someone wanted to go 20” medium crash ride with rivets on to the process. from instrument to instrument it would the right, and an 18” thin crash on the be ready to be recorded that minute. right as well. Hi-Hats were 14” New CD: Justin, as the engineer on the Dirt Not, “Hey, let me set up this mic and Beats. Levon’s cymbals have a very dis- Farmer project, how did you approach run a cable then I will be tinctive bell tone which he uses to the recording process? ready.” It was...are you ready? Great perfection with the music. We tried to JG: As engineer, I approached the proj- ....GO ! have new ones made to duplicate the ect with the most simple and pure form bell sound but they could not match of recording: A great microphone, great CD: Technically-speaking, aren’t there them. His cymbals are a certain tone mic pre amp, good placement in the complexities involved with leakage? which fits the music’s pitch and he nails room, and not a lot of compression or JG: The leakage was our friend. It was it every time. We sometimes have to production to document the perform- welcomed because it was the glue that send those cymbals to Zildjian for them ances. There were no bags of tricks on joined everyone together. It was the hid- to duplicate but we don’t want them to this one. Well, maybe a few? den “ambiance” we were looking for. I leave the studio! They were close mic’d did have baffles up around the band to with a pair of Neumann TLM 103 ‘s to CD: From a musical sense, you’ve kept minimize some leakage but I also capture the whole tone of the kit as well the traditional form constant through- wanted some for a live feel. I don’t like as his bell work. Having two small baf- out. Were there any points the sound of everyone in an isolation fles on either side of the kit helped bring instrumentally-speaking, that you were booth. Have you ever tried to perform out the detail as well as keeping the kit tempted to veer away from? that way ? To feel the dynamics in the contained inside the ambiance of the JG: I could not possibly veer away from room is so helpful especially relative to barn. That helped with the separation as tradition with a project like this. It had this type of music. well. to be approached from a selfless, egoless production, staying as close to the root CD: Levon’s drum sound on the album CD: With today’s emphasis on techno- as possible. With a CD like this, a hyped is very full. It’s clean and focused, with- logical perfection, Dirt Farmer is a production would not sound right. out sounding either thin or boxy. refreshing change. Do you feel it might What you hear on the CD is the room There’s a nice separation; like you let create a new trend...or a throwback to and them performing in it. We started as the drums breathe. What was the secret days gone by? live as possible, playing together and to that? JG: I hope so. The music sounds “real” feeling the energy in the barn. Then we JG: The drum set up was his traditional like the way this music should sound. went in and did any fixes or overdubs set up: 20 x 14 kick, 6 x 14 snare, 12 x 8 It’s not manufactured with fillers and that were necessary. The project’s feel rack, 14 x 14 floor. All drums were close additives; polished, wrapped, pack- was to remain constant with the sonics mic’d as well as distance mic’d. I aged, shipped and sent. This record and sound. We did not go in and try to wanted to have the option of capturing sounds like real musicians performing make it sound like a vintage record. Our both sound and detail...so that’s where songs in a room. It’s exciting to hear the intent was to capture the essence of the close mic’s came in. Then, I used dis- human feel...the push and pull of the what was happening in the room at that tance miking to capture the sound of the groove instead of the life force edited moment. No long and drawn out dis- kit in the room. I did not record wide- and processed out of the performance or cussions…that was just a given. open and live. We taped the toms down song. It has been a real inspiration. a bit and had a pillow in the kick with a CD: Was the “roll the tape” aspect more port on the front head. The snare had a The Levon Helm Band will be doing a conducive to the relaxed vibe of the zero ring on it as well as some addi- series of Rambles On The Road this sum- record? tional taping. Just when I thought they mer/fall. JG: No. The tape was not always rolling were dead, Levon would deaden them a but when they were ready it had to be little more. Part of the sound is the way For more info on Levon Helm, The good to go. There were no long sound he hits them with the sticks. On some Midnight Rambles or LHS Studios checks and tweaking tones for days. The songs he used Blasticks. On others, Hot please go to: www.levonhelm.com

CLASSIC DRUMMER 41