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F. 78 MODERN DRUMMER f. w 78 MODERN DRUMMER ' MAY 2OO8 lntheworts-ond-ollfi[m'Lynch'smulifocetedroleosbreok- tlo*n/tf'"erleoder/boll steody drummer/clo" some length' boywos ii"u""d ot er/whipping mostly F,l*'J1"i,,1,?ilii*[i*i"""Jiii{, Jory wos represented though his side of tt" LYnch' with s,,i"r:Hli:il ch peoo! understoted *"tf. tP;"-t"t il:Ti'do novi Such os Lynch's ?l f i,;.'^'h dt,O,Y::1,:"*" o port of mv'life l've my my' oh' hell)es' triike ,t clossics. Oh, slinky ;rl'i;ouldnt' think o["'B'"okdown"'s U"'":::::il:fl those songs well' Just octuolly. t *on'"ov'[*n"n*i 'l"ljill, in the heovenly cho- up in weird'woys' t groceful tilt''il;i''h"' it' lt comes oulse. the lr"o*'oUout wolk oround con- ,,Here my Cirl,,' or the swomP-funk of it o' I would rus in comes hod to let go fl swon song "Mory "l'" .i hlJqqg. HJortbreokers rrrrtv - ten PeoPre !1.."" H;t; #;")"r'Y i; 'l :lni":ifobout i'li; it in .""ony [irst time l'n tolking Jone's Lost Donce.'' "This is the A '"iio"i, motter of lost yeor'sfeter .,t'o the t:i depth." dil;"'"1-directed :;Y*d"t5Down AADreom Dreom il::X,il::HJ;:;; ry Runnin' I : youn Hearl Stan kept two l helpe contfl mentl preftl high r bars, recor( was I rec0rl how i playit my pr ter. T discr( what doing actua Th LA, I this ! band SIip ( origit playe Vaug so thi They dig ir and s me a. at ml MD: People iove the economy of your playing to absorb. So when we went to cut the first cally, which was surprising, given that Tom with The Heartbreakers, and how well you demos with Benmont [Tench, Heartbreakers had already worked with guys like Jim served those songs. That was a fairly keyboardistl, I think I was fairty armed. Gordon, Leon Russell, and Duck Dunn. The enlightened style to have at a relativelv MD: How going was it from a heavy blues Heartbreakers were more country rock, and I "l thoughf God put me on fhis eqrfh fo ploy in fhqf bond. And it wqsn,'t unfil fhey told me I wqsnt rhd guy fhqf I believed lI.', young age. You were twentv when The situation to Tom's vibe, which was more wanted it to fall in a different place. I wanted HeartbreakeB formed. song-based? to be Mott The Hoople. I wanted it to sound stan: i had a great teacher, Gene Bardo, who stan: It seemed a little iightweight, stylisti- big and meaty. And I think thev wanted a kept me on the pad for two years. He really helped me hone my controi and my rudi- ments. I was gigging pretty heavily during high school, working the bars, and my bands had recorded a little bit. So I was learning from the recordings. I got to hear how crummy I was playing. I could pick out my problems a little bet- ter. There was a huge discrepancy between whatlthoughtlwas doing and what was actually being recorded. Then when I got to LA, I was working with this great heavy biues band from Texas called Slip 0f The Wrist. Their original dmmmer had played with Stevie Ray Vaughan back in Texas, so that was the lineage. They taught me to realiy Bltn dig in on the hi-hats snRn's GrRsslG .'This T0m0 KIIS, clrco rrre ruru I v / vr/ " "iriu and snare. They taught "This is one of m\/vintoseTom*'t**'ttgl'9my vintoge TT:i::T?JffHilllff-:::"',ilH';::[]^filg.o tjyhn, Jockson Browne, Don Henley, Nicks' De'sh.nnon' me about shuflling. And ;#;;ni'n' sr** fn*,:;;::1'r;'i?5ffi;ff;lil, monv omers' at my age, that was a lot '13'X'#""8T''ff"1;il3;'corlisle' Freedy Johnslon' ond is#;;.;fi, ine ayros, Belindo Asforlhesnoredrums'otthot .,ltfeotures ollx24kick,Bxl2ondgxl3rocktoms,*ooio*rofloortom ond o Sxr4 Ludwis Acro'te t*Yr suprophonics' rime rused o 6,izxr4 li::[*:li;*i$i:;ll;-1i,:H..: Dw pedors ' *lillili; :lilili. i'"i',.in lrumsticks, Remo heods, ond ?r1i lfl[i:i il'[Tfi:l,T'.'#lir ', STAN IYNCH pocket that probably was a little more you as tasteful." That was brilliant. [laughs] Americana. But that's where it worked. Maybe Denny had that ability as a producer to Itl/ I was bullish enough to bring something out of make you want to do great things. He'd show them. God knows why that worked. [laughs] In you gEeat things and go, "That's what you some ways I was probably the exact wrong should do." And you would. Instinctively, you'd WI guy for the band, but the exact dght guy. go, "Hell, if they can do it, I can do it. Or I'll do MD: You created such smooth pockets on those a version of it." That's what great producers Ar early songs, but there were always interesting do. They take you there without lecturing you. subtleties like the hi-hat kicks and tom hits on They don't scare you. He made me believe I the "&" of I in "Breakdown," and the 16th- was exactly the right guy. lr note hi-hat part in the bridge of "American MD: That seems pretty much the opposite of Girl." your relationship with Jimmy Iovine. dr Stan: So much of that stuff was instinct and Stan: In Jimmy's defense, he was under a lot accident-a little bit of both. From the day I of pressure. He was hired as a hit producer to w L 16" D .595" . L 40.64 cm D 1.51 cm was in the krand, I thought, "l'm either saving make hits. He wasn't there to iisten to my Designed by the Jazz Legend, JimmY's their asses or I'm kiliing them." I wasn't ever opinion. In retrospect, I can see that. At the model measures in between a 5A and a But time, I thought, "Man, you're just a drag, you 58 in the grip. Features a long taper to a sure, and I don't think they were ever sure. "*oo medium sized teardrop tip for warm and when it was right, it was dght. can't help me." I would ask him about a bass 0n the defined cymbal tones. A "quick" feeling MD: The Heartbreakers worked with a unique drum pattern: "Shoutd it be four-on-the-floor? MD: 81 mix of producers over the years. How was it Anything you'd like me to try?" And he would work v working with an established guy like Denny just wave me off. His guote was, "l don't know, ly Dan Cordell fleon Russell, Joe Cocker, Proco] Stan. it's just a million miles away." Again, he Stan: I Haruml so early on? was hired to make hits. So, really, the only guy NCVCI I Stan: He taught me a lot, sometimes in very he had to deal with was Tom. I was wav down acoust L 16" D .575" . L 40.64 cm D1 .46 cm abstract ways- I was still young and I didn't really understand what he meant by "groove" and "feel." i remember asking Denny, "What does that mean, can you guantify that?" So he tells me he's taking me to a Bot) Sugar Maple Super Jazz Marley & The Wailers gig, and he flips 1.41 cm 116 1/4" D 555". 141.28cm D me the keys to his Ferrad. As we're A Maple version of Vater's popular Super Jazz model for a lighter feel. Jazz S$le driving, he's making me haul ass, and grip, under a 5A, with a little extra length he says, "Stanley, driving a Ferrari and long taper. fast, that's what a gnoove feels like." At the gig, Marley had the place hyp- notized. Someone's passing a joint through the balcony and DennY saYs, "That's what a feel is." He was just L16114" D 610" . L41.28 cm D 1.55cm being helpful in his very'70s way. Saying, "These are the things that feel incredibly good, that can't be dupli- cated. You'll know it when you know it." Sure enough, we went back to the studio and we got two tracks that night. I was so vibed. Sugar Maple SDO MD: Did he offer more specific advice? L 16 1/4" D 610" o L41.28 cm D 1,55cm Just over a 58 in the grip with an oval tip. Stan: 0h, yeah. Again, in his own great 1l,gst plg,ying ttlck that is for Jazz. way. I remember having a really hard time once on some track. I was PlaY- ing way too much, trying way too hard. So Denny, in that perfect English accent, he blows a big cloud of smoke and says, "Stan, if you leave all that shit behind and just play the $oove, they'll always misinterpret 82 ruoornn DRUMMER . MAY 2oo8 ughsj rt0 d show "l'm q qfwqys y0u 9uy_who ly, you'd wqnfed )r q I'11 do fo be in bond. lcels ng you. And when if off went clwafr eve I I wqs fosf. I sqf down of ite of th; drums qnd :alot didn'f know cer to whefher Iy fo cry or bo rf .r, the y0u the food chain as far as Jimmy was concerned.
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