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Paul Hawley Does on Elevator, and Going up … – Robert L

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Paul Hawley Does on Elevator, and Going up … – Robert L 14.7_44-48 6/7/05 4:34 PM Page 44 1. VITALS 2. ALL GEARED UP BAND: Hot Hot Heat AGE: 24 BIRTHPLACE: Victoria, British DRUMS: Ayotte SNARE: Ludwig Black Beauty CYMBALS: Sabian Columbia, Canada BIGGEST INFLUENCES: Mitch Mitchell, Dave HEADS: Remo STICKS: Pro-Mark HARDWARE: Yamaha, Tama Grohl, Ringo Starr, Ginger Baker CURRENT RELEASE: Elevator 44 DRUM! | WWW.DRUMMAGAZINE.COM 14.7_44-48 6/6/05 10:26 PM Page 45 VIBE SERIOUS HEAT I try to get “inside the feeling of the music ... and the head of the DUSTIN RABIN BY BILLY RAMIREZ BILLY BY writer PHOTOGRAPHY BY he butt of many drumming alone. I think there was a jokes, drummers period in” my early teens where I was are sometimes playing seven days a week, two or not considered three hours a day.” serious Hawley wouldn’t make good use T musicians. While of that drumming for a while, some do live up to and actualize the however. Victoria, British Columbia Neanderthal stereotype, Paul boasts amazing landscapes, but for all Hawley’s musicianship and its photogenic scenery, it lacks contributions to the über hot Hot musical outlets. During his high Hot Heat break down those school years, Hawley had a difficult generalizations. Taking after his time finding serious musicians to father, Hawley first picked up the play with. guitar at age nine but switched to “Every high school has a group of drums a couple of kids who play rock, and play bass or years later. drums,” he says, “but trying to find “I felt that he put a lot of pressure another dedicated person in my high on me to learn guitar quickly,” he school was nearly impossible. I had a says, “so I decided to get a set of tough time keeping groups together drums and play an instrument that in Victoria. I had musical partners, he didn’t know much about. It who one year were focused, but I turned out he could drum pretty would have to move on because they well, but I quickly surpassed his would not keep up. If the band was skills. For a couple of years it was going to survive, we would have to PAUL PAUL mainly drums, but when I got to compete on a higher level. Obviously, about 13 I studied both pretty the standards in Victoria are lower closely.” than places like San Francisco, New Drums quickly became Hawley’s York, or London. We didn’t get a lot thing, and he taught himself the of touring acts near there.” basics by playing along to records Things changed in 1998 when he featuring drummers like Ginger met bassist Dustin Hawthorne, Baker, Ringo Starr, and Mitch vocalist Matthew Marnick, and Mitchell. “I’ve never taken a drum keyman Steve Bays, forming Hot Hot lesson in my life,” he explains. “I Heat. A couple years later the band’s used to put on headphones and play sound shifted when Marnick HAWLEY along to my favorite drummers. I departed, Bays took over vocal duties, used to spend a lot of time by myself and guitarist Dante DeCaro joined. AUGUST 2005 45 14.7_44-48 6/6/05 10:29 PM Page 46 VIBE HAWLEYHAWLEY CONTINUEDCONTINUED 3. INSIDE TRACKS that is precisely what You Hot Hot makes this one great album. Consider, for really have ELEVATOR example, Steve Bays, Sire who bawls his vocals “ Heat and holds down chords to push if It’s been said that the drummer’s job is to keep on his retro organ pretty time. This, of course, is hogwash: keeping time is much the same way on each cut. Hawley, on the just the first step on each drummer’s mission. It’s other hand, is the dynamo here. Though he never you want essential, sure, but if just going tick-tock-tick is seems to exert less than maximum energy, he enough to keep you happy, may we suggest tailors his playing to fit each section of the song. something to moving to Switzerland. These days, the key to Check, for example, his massive cymbal wash on achieving percussive excellence involves listening the last chorus of “Soldier In A Box” and it to the song, mapping through its twists and turns, becomes clear that everything he threw down work and finding that Zen-like balance of playing more before then was conceived to build to that than the backbeat while making it sound like moment. This is smart drumming, people; more you’re pared down to the skeleton of the rhythm. than anything else, it’s what makes Elevator rise. That’s what Paul Hawley does on Elevator, and Going up … – Robert L. Doerschuk The band climbed the ranks – touring,”project to being a band project where the feeling of the music and the vibe and the small record deal, EP, debut album, and other members add their bits and the song head of the writer. Then, I amplify that such – and eventually ended up plastered starts to take shape. There’s a certain point vibe with the drums. The feeling of the all over the airwaves with their hit album where we decide that it’s working and songs is all drums. You can make or break Elevator, which rose to #34 on the decide to continue or if it’s not we drop it. a great riff or a great song with the drums Billboard charts piloted by catchy and For the most part, it happens differently and obviously it’s my job to make a song. memorable tunes like “Running Out Of every time. The amount of people’s I don’t take that responsibility lightly. I Time” and “Goodnight Goodnight.” involvement is equal to the amount of try to listen to it and feel it, for lack of a Much of the band’s success is owed to passion they feel for the song. Sometimes, better term.” Hawley’s contributions, which range from you really have to push if you want Hawley “made” all the songs using his keeping the beat, laying down some guitar, something to work. You need to push and bumping playing style and fat drum and even to writing. “I am very involved in pull your way through the process.” sounds, which he utilized a little our songwriting,” he explains. “Steve and I Hawley’s dedication to his art is a professional medical help to attain. “I wrote most of this record. Some songs are testament that the Heat are not flash-in- learned a lot from the Drum Doctor Ross definitively his, and some that are the-pan MTV fodder destined for a quick [Garfield]. He worked on the record and is definitively mine. Usually, he or I have a 15 minutes. Behind the addictive hooks a man unto himself. He really makes magic song sketched out with rough melody, and bumping beats is a serious musician happen with drums. He does it so subtly. rough verse, and a rough chorus. One of us determined to deliver a serious Tuning is such a black art, and you can will bring it to the other and we’ll work on performance. “From a drumming take a great drum and wreck it or make it it together, then we bring it to the group. perspective, I approach every song as open- sound like gold. He’s got a touch that I just From then on, it goes from being a solo mindedly as possible. I try to get inside the don’t understand. If you take a good drum, 4. “SHAME ON YOU” Transcription by Anthony Geluso This opening groove features a cool and unexpected Rush “Subdivisions” vibe. The dynamics then drop into a quasi salsa groove with sixteenths on the hat and syncopation on the snare, which further evolves into an open hi-hat disco feel. hi-hat half open f 3 5 46 DRUM! | WWW.DRUMMAGAZINE.COM 14.7_44-48 6/7/05 1:17 PM Page 48 VIBE HAWLEYHAWLEY CONTINUEDCONTINUED with a good tuner, you get the sound that and crashes and the whole idea was to a click before and I was really nervous,” he ends up on the record. The first find what suited the song the best. We admits. “We did a couple songs without conversation I had with [producer] Dave wanted it to be obvious, with no egos the click and Dave asked me if I wanted to Sardy over the phone, I said, ‘I want the or arguments. When it was obvious that try it. I was hesitant but I agreed to do it. I best snare sounds I’ve ever heard.’ We both it was going to sound as good as it was found out that it came natural to me and I agreed that snare sounds define records. going to, it would be obvious to did a bunch of songs in a row and really They define the time period, and quality. everyone involved.” got into it. Our aim was to find the perfect drum Hawley experimented with different “I remember hearing about Dave Grohl sound for the song. We used a couple kick drums and cymbals, but also played with a doing the Nevermind album. I heard it drums and I think we ended up using a click track for the first time. Many took him hundreds of times to get that combination of hi-hats and cymbals. It drummers are horrified of playing with a stuff right because he was playing to a click wasn’t as varied as I thought it was going to click, and Hawley wasn’t exactly looking for the first time.
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