Quick viewing(Text Mode)

Don Lombardi Danny Seraphine

Don Lombardi Danny Seraphine

s s Issue 11 ||| 2014 ||| dwdrums.com

a a

Tommy Clufetos of on location at the MGM,a Las Vegasa s s Contents Editor’s Notes: A Passion for Innovation Artist Features 10 Full Throttle: At Workshop, our mission statement In the driver’s seat with the of the Stone Age stick man is fairly straightforward: Solve problems for . To do so, means we have to constantly 16 Decades with DW: improve, remain ceaselessly innovative, and push Revisiting a and DW original the envelope of design. Whether it’s a top-of-the- 18 Big Gigs: Arin Ilejay & Christian coma line product or a price-conscious one, the goal is Metal’s newest get friendly with the same. As a company, we were founded on this principle and it’s just as valid and relevant today, 22 maybe more so. Ozzy’s powerhouse joins Black Sabbath for a massive sold-out tour Steve Jobs once said, “Innovation distinguishes between a leader and a follower.” 32 Blue Man Group The most unique act in drumming joins the DW family There is that harnessing a wide range of ideas can be a daunting task and, let me assure 36 Noteworthy: Coady Willis you, at DW there’s no shortage of ideas. The key See what all the buzz is about with half of The ’ percussive attack seems to lie in looking at the entire landscape and deciding what’s most important and what 46 Focus: will make the biggest impact on the drumming Nothing is shocking to this pioneer community. Sometimes it’s just a hunch, a gut feeling, but oftentimes ideas simply come 50 Heads Up: John Fred Young Black Stone Cherry’s basher on country roots and from drummers telling us what they want. Our

progression as an innovative leader has always In Every Issue been predicated on listening to drummers, and our 6 Time Machine: best test pilots are the artists we work with on a daily basis. There’s no better research laboratory 28 Drum Clinic: Bruce Becker than a concert stage or , and those two environments are where drummers make their 30 Q & A: Jimmy DeGrasso living, where the tools of their trade play a pivotal role in how music is made. We know we’ve done 40 New Artists our job if drummers don’t have to think about their gear; it just works and it makes playing the 42 Spotlight: Cactus Moser easier, worry-free, and more enjoyable. If what we do as a drum company can open musical Product News boundaries, we’ve done our job well. 2 Icon Snares So, as you thumb through this edition of Edge and read about our latest product innovations, just 4 Design Series know that we’ve done it all for you. If you feel so inclined, join us on , or our other 54 Concept Pedals & Hardware social media platforms. We’re listening.

Scott Donnell Editor, Edge Magazine

mfg Contributing Writers: DW Manufacturing Direct Drive Pedal Cactus Moser Atom Willard U.S.A. Brook Dalton The First DW Direct Drive Pedal. Scott Donnell Machined in . Summer 2014. Brook Dalton - Copy Editor Crystalline Boyett - Layout Design www.dwdrums.com ©2014 , Inc. All Rights Reserved. Edge 11 ||| dwdrums.com 1 Theicon

snareNo Signature Required: Collector’s Series Icon Snare Drums Created by DW Drum Designer, John Good, to pay tribute to some of the most iconic drummers in the history of Rock, the all-new line of Icon snare drums honors of Rush, Roger Taylor of Queen, and of . The sizes and shell configurations are as played by each artist, with one dramatic new design element. The finish is painstakingly laser-cut, then hand- inlayed from a variety of jaw-dropping exotic wood veneers. For Neil Peart’s drum, the Time Machine motif is realistically recreated in the wood, while Queen’s ornate, Freddie Mercury-designed crest is depicted, as is Pink Floyd’s famous Dark Side of the Moon prism and waveform.

Each drum is protected with clear gloss lacquer and includes Collector’s Series® snare drum standard features such as our MAG™ throw-off system with 3P (3 position) butt- plate, True-Hoops™, True-Tone™ snare wires, True-Pitch™ tuning and DW Heads by USA®. Also included are a premium DW snare bag, certificate of authenticity, and a legend that describes the woods used for each specific drum.

For more information on this iconic collection, visit: www.dwdrums.com.

2 Edge 11 ||| 2014 Photo Credits: thisis Performance Series™ Bop: This is how DW does ™ how The latest addition to the California-made line of Performance Series drums feature traditional sizes that are tailored for Jazz and gigging drummers alike. The 8x12” and 14x14” tom pack can be coupled with a new 14x18” drum, or any Performance Series™ , offering drummers more options within the line than ever before. We’ve also added a new Satin Stain Tobacco finish that is offered in all Performance sizes. doesjazz. The North American maple shells feature HVX technology that delivers round, resonant tones and can be sonically-customized using various head combinations. DW Coated Clear heads by Remo USA® come standard, as do STM (suspension tom mounts), True-Pitch™ Tuning, True-Tone™ snare wires, MAG™ throw-off, and more. Matching Performance Series™ maple or chrome over steel snare drums can be purchased a la carte.

For more information and to see Jazz , Henry Cole, demo the all-new Performance Series™ Bop kit, visit: www.dwdrums.com.

The Design Series™ Frequent Flyer: Don’t Without It Peter Erskine approached the DW design team with a novel question, “What if there was a travel kit that didn’t sound like a travel kit?” Seems obvious enough, but the minds at DW had never tackled the quandary head-on, as it wasn’t a simple task. So they set to work on a set that was just small enough to be travel-friendly, but also substantial enough to sound like a ‘real’ should. After, literally, years of R&D and discussion, the sizes were agreed upon: a 12x20” bass drum with low- spurs and a lightweight ratchet bass drum mount, an 11x14” with aluminum legs, and a traditional 8x12” rack tom with STM and matching 5x14” snare drum. The kit also comes standard with True-Pitch™ tension rods, MAG™ throw-off, True-Tone™ snare wires and DW Heads by Remo®.

The kit is offered in two finishes: a durable White Onyx FinishPly™ and a gloss lacquer Tobacco Burst. As is the case with all Design Series™ drums, the shells consist solely of North American maple with no reinforcement hoops. Lightweight 6000 Series hardware, including the new Ultralight™ stand, perfectly compliments the set and is sold separately.

For more specifications and to hear Peter Erskine demo the Frequent Flyer™ visit: www.dwdrums.com.

zz k its ||| n ew ja p rodu ct b e at 4 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 5 time machine & Tears. It’s actually kind of a Jazzy tune Rock, like , drummer, is something that always and I remember they had put their amps and Gary Glitter. That drum sound was inspired me. I never really pictured myself Clem Burke in a square formation and placed a mic in where I was coming from, so it was an just sitting in the back. That may or may the middle and they had a couple of mics easy transition for me to get involved in not be a good thing to the rest of the ambition on the drums. We recorded that what was happening in . mates, but it’s worked for me along the blondE and they played it on the radio. Then the Also, while growing up in Bayonne, New way. , for me, were integral to by Scott Donnell public would vote, and they usually had Jersey, commuting to New York City was my early background, along with bands the competition at a ballroom somewhere easy because it’s close. When we first got like The Rascals, , Yardbirds, in the city, but that year, it was at Carnegie Blondie together, I was working at the Post and . had just Hall! So, when I was fourteen, I played Office, going to college, and doing gigs. started getting back into music and I got at Carnegie Hall. I started at the top and My days were full. a call from Chris Thomas, the producer. I worked my way down. [Laughs]. It was went over to West and spent about funny, I was recounting the story when SD: You were in Drum Corps, right? four weeks with Pete in his studio. Mostly, Blondie was at ABC Studios years later CB: Yeah, I was in Drum Corps. I played we were jamming and just kind of getting and after the interview, this guy came out rudimental bass drum. I was being back into it. A couple of the tracks wound from the back and said, “Hey, I was the mentored by the older bass drum player. up on the White City . At the time, engineer on that session and here’s the You know, it’s not just standing with a bass Pete was actually talking a lot about Keith, tape.” He gave me the reel-to-reel tape of drum, it’s doing all the rudiments, like on a unprompted by me, and it was a great experience. It was a thrill to work with my high ’s performance in the snare drum, except you’re carrying a huge him. studio! drum in front of you with two giant clubs. I know did that, too. I think SD: I grew up in LA, so when I look at SD: That’s great. What did you play when I got a lot of my endurance and chops your discography, with bands like The

you were out of high school? from it. I took drum lessons for a couple Romantics and The Plimsouls, I realize

CB: When I got out of high school and of years, as well. I was in in that you were at the center of a lot of the a a college, I was in progressive bands. I grammar school and I got thrown out for music that was important to that, sort of, was about eighteen and was in this band playing too loud! I remember when I had KROQ . Did you end up on those ew York’s New Wave and Punk movements in the late 70’s were groundbreaking. The bands that cut their teeth at gritty clubs like called, Sweet Revenge, which was kind of to tell the priest at Drum Corps that I was records because of your particular style? CBGB defined entire genres. Blondie was one of those intregal bands although, stylistically, they defied categorization. With parts like a group and we played at quitting to pursue my band. N How did that develop? comprised of Punk, Pop, and , the avant-garde trend-setters ended up influencing a great deal of what we hear on the radio today. Club 82 in . That was where CB: Well, I think in working with bands like New York Dolls played and that’s where I SD: Did you tell your music teachers at As the driving beat behind Blondie, Clem Burke played drum parts that are as timeless as the music itself. We talked with Clem about that, there’s a common denominator with met my partners in Blondie. Club 82 was the time that you were in these bands, so those early years, his stellar career, and the indelible mark that he has left on the drumming community via his landmark recordings and the type of music that we all appreciated you wanted to learn things related to that endless touring. a place where they’d have Rock bands one and were influenced by. It’s funny, I’m a a night a week, on Wednesday, and the rest style of playing, or was it a completely kind of like the opposite of Spinal Tap; I’m of the time it was a Disco. The in the separate issue? the drummer that replaces the drummer. Scott Donnell: Talk a little about growing years old, making $100 over the weekend were a big thing. The drums background were dance music and, to me, CB: Drum lessons were funny because I’ve been in The Plimsouls, , up in and your exposure to wasn’t bad. were pretty present in their music. The it was just as subversive as underground my favorite part of the thirty-minute ...I guess you would call them music and drumming, in general. bands I had in high school played Top 40 , in a way. When we started session was the last ten minutes, where I ‘’ bands. I had some success Clem Burke: Well, I’ve always been in SD: So, you started gigging at fourteen music, The Beatles, etc. and that’s a great doing combinations, like “Heart of Glass,” could play along to my favorite record. Of with them. The Romantics had some great bands since I was about thirteen years years old? way to learn the instrument. Obviously, a lot of people thought that wasn’t Punk course, it was on a tiny record player and it success. I think it just kind of came about old. I still remember playing my first CB: Yeah, thirteen or fourteen, at Battle of we were trying to copy the hits of the day. Rock enough. There was an influence didn’t involve headphones or digital sends. more out of friendships. These people gig. We were opening for a band called, the Bands-type things. Nowadays, when My early band, The Total Environment, in New York during the mid-Seventies. I I remember bringing in the first album by were my peers as I was going through The Uncharted Bus at Mount Carmel, a you’re playing a bill with a bunch of other was actually on the radio. There was a was being influenced by dance music The Who and I wondered if I could play life as a . We shared a similar Catholic grammar school. I had an old red bands, you can still feel like you’re in show in New York called, Cousin Brucie’s like the Saturday Night Fever soundtrack; the end of “My Generation.” I was this aesthetic and they picked up on that. I was sparkle kit. It was a Sears kit, or something those competitions from when you were a Big Break, which was Bruce Morrow’s it’s one of my favorite . I loved little kid trying to play The Who and we very lucky. I still am very lucky. Blondie’s like that, but it only had one cymbal. I kid, depending on people’s attitudes. I’m program. He’s actually still on Sirius to songs like “Shame, Shame, Shame” and couldn’t even hear the song because of the like the home base for me. We’ve all done had one band in my freshman/sophomore left-handed, and I tried to play at an this day. “Rock the Boat.” For instance, ABBA is volume of the player! It was funny. well from it. We’ve had a lot of success years of high school and another band early stage of the game, but it was difficult one of my favorite bands. Their music and we walked that tightrope between in my junior/senior years. That was my for me to learn. When I sat down at the SD: He’s a legendary radio DJ. and musicianship is great! There’s no SD: Tell us about your love of . commerciality and being underground. social life, my way to meet girls, have drums, I learned how to play traditionally CB: Yeah, and for his show what you equivalent of an ABBA today. Now, it’s Working with Pete Townshend must have Now, I’m not sure where we fit in. When camaraderie with friends, and have on a right-handed kit, which I’m really did was record a cassette of your band all sort of programmed, but back then it been a dream, in that respect. we go to England, believe it or not, something to do on weekends. In fact, I happy about. Of course, there are a lot of and you sent it in. If they liked it, they was funky. were playing in a CB: As I get older, I always say, “Keith we’re kind of accepted as a band that is ambiti o n ||| cl e m b urke always made money at it. You know, $50 left-handed drummers that play on right- would let you come in and record a song group. When I was about nineteen years Moon taught me what not to do because, continuing the lineage of what’s come or something, which was pretty good back handed kits, Ringo being one. But, when I at ABC Studios. We did this song called, old, I got involved with and obviously, he died too young.” His energy before and what’s come after, whether and his ability to bring the instrument bl o n d E then. When we were fourteen or fifteen started playing the drums, I remember The “Somethin’ Going On” by Blood, Sweat we started playing the clubs around New it’s The Beatles, Oasis, or somewhere in- York. I was always informed by Glam to the forefront while being a ‘pop star’ between. We’ve had tremendous success

6 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 7 sM A g a z i n e s in England especially, so it’s still a big base for us. We just did a sold out tour over there.

SD: Can you talk a bit about the New York music scene? CB: I feel as though, with Blondie, we’re kind of carrying the torch because none of those bands really exist anymore. There is no , there’s no . these different artists. When I played with , it came SD: Yeah, and nobody else really has that go off and do other things, from my association with Dave Stewart sound. but we are concentrating on the band from . I played in Eurythmics CB: No, and the early musical influence quite a bit right now. Next year, there is on-and-off for ten years. Working with on me was taking place during the time going to be a Dylan was a highlight for me. I spent at the New York clubs in the

late Seventies. Specifically, CGBG and big tour for our 40th anniversary, which is SD: Talk a little bit about the chemistry Max’s Kansas City, because it was like hard to believe! within Blondie, how you guys operate as a musical food chain. Everyone kind of a band, how you write songs, and how fed off of each other. We were definitely SD: Wow, congrats! you come up with your drum parts. influenced by The Ramones, Television, CB: Yeah, I would love to play Madison CB: In the early days, we all sat in a tiny and . I think that some of our Square Garden. A lot of people find it hard room and hashed things out, as a band thing rubbed off on them a bit, too. It was to believe that we haven’t played there normally does. We were fortunate to great to be around that energy and the because back in the heyday, we probably work with a couple of great producers/ beginnings of whatever this underground could have done so. For whatever reasons, , Richard Gottehrer and Mike Rock thing was. I’m hesitant to call it Punk we never did. Chapman. Both of them wrote some Rock because it was more like a beatnik big hits. You know, we would just come scene, really. We were all beatniks, SD: What venues did you play? up with beats and figure out the songs. aspiring beatniks, or post-beatniks. When CB: We played racetracks, Central Park, “Heart of Glass” was going around for a you look at someone like Patti Smith or etc. There’s a huge outdoor show in long time. It was kind of a Reggae song. from our band, they had that Central Park. That was one of our really I put that dance beat to it when we were attitude. big gigs. I’d like to do some sort of indoor working with Mike. We’re down to the festival with, for instance, Blondie, Patti three original members: me, Debbie Harry, SD: Would you consider them to be Art Smith, Television and other people from and Chris Stein and that’s sort of how the Rockers? CBGB. We could throw in bands like The band started. The chemistry amongst the CB: I would call them beatniks. , The Romantics, and . three of us is very family-oriented. At this musical diversity that existed in New It could be a two-night show, probably a point, I would say that they’re both like York in the clubs was a lot different from benefit. I think it would actually fly in the older siblings to me. Nowadays, we work what was going on in England with the, New York area. I think people would really very differently. Everyone’s on computers, so-called, Punk Rock scene, which was get into it. We did the CBGB Festival in everyone’s programming. We have a specifically influenced by The Ramones, Square Park that Little Steven record coming out called, Ghosts of earlier Stooges, and MC5. , Sex organized. It was Blondie, , Download. I just went up to Oakland, did Pistols, and other Punk Rock bands kind and others. That was cool. It was great to the tracks, and loaded them to files. I prefer of stuck to that one style. Well, The Clash play with Public Enemy! not to do it that way. I’m into more of an diversified later on; they got into dance. I organic, collaborative, and natural style of recently did a session with Mick Jones from SD: Can you talk about your connection drumming. I have a bunch of side projects The Clash when I was in London. He was to The Ramones, your Ramones name, that are more traditional Rock and Roll, producing a record that I played on. It has and how that all came about? and that’s where my strength lies. I could a lot of assimilated styles on it and I got to CB: Well, The Ramones were my friends, play ¼ notes on the bass drum from now ambiti o n ||| cl e m b urke incorporate my own drumming technique obviously. Joey and Dee Dee lived in a until whenever and it’s not any big deal, with it. I always come from that place, so loft that owned. He was the but that’s what the songs require, so that’s

bl o n d E there’s a common ground that I share with guy that designed all of their art, logos, what I do. Like I was saying before, Blondie my peers. That’s how I got to work with all presidential seal, etc. Actually, he recently is like the home base for all of us. We all

8 Edge 11 ||| 2014 passed away. He was a very good friend of is Tuesday. I don’t think I can do that.” things being exactly the way he wanted ours and in the early days of Blondie, we Basically, I ended up telling them that I without any kind of interim or trial period. would rehearse in his loft, which was right would do it temporarily. I didn’t really see So, I played a few shows with them. I came around the corner from CBGB. They had myself being in The Ramones full-time to up with the name, Elvis Ramone, because, a huge Ramones banner that they slept on! begin with, even though I was good friends at the time, I had my hair combed back in They asked me to join the band at least with Joey. Being on tour with them, the a ducktail and they loved Elvis, especially three different times. When the original few big gigs that I did were odd because Johnny. It worked for me, but it was short- drummer, Tommy, left, they asked me to they didn’t really talk to each other much lived. It was very strange and it was good join. There was another time along the and there was no real camaraderie. The that Marc () was able way, I guess maybe the first time Marky key thing for me was that I never got to to come back. He’s a great drummer. I left. I had been playing with Eurythmics rehearse with them! It was a trial by fire. told them in the beginning, I was only and their U.S. manager, , was I had all the music, but I never physically going to do it temporarily and then it also the manager for The Ramones and played a set with them until I stepped on became controversial as to exactly what Talking Heads. I had just come off of a stage the first time. You know, I think it happened. It still goes on now. You can tour with Eurythmics and I got a call from went fine. There were a few mistakes here go on the internet and hear me playing their management asking if I wanted to and there, endings and such, but Johnny with The Ramones and people are saying, play with The Ramones. They were playing Ramone was such a...taskmaster, let’s put “This sounds great!” the Friday. I said, “Well, today it that way. He was really interested in

Selected Discography: Year Album Artist 2013 everybody Loves Sausages Melvins 2013 The Complete Album Collection, Vol. 1 Bob Dylan 2011 Blondie 2007 Gilby Clarke Gilby Clarke 2004 The Curse of Blondie Blondie 2003 61/49 The Romantics 2002 California Girl 2000 Livid Blondie 1999 No Blondie 1998 kool Trash The Plimsouls 1996 The Delphines The Delphines 1993 Hi-Fi Sci-Fi Dramarama 1993 Made in The Romantics 1986 deep in the Bob Geldof 1986 knocked Out Loaded Bob Dylan 1986 Revenge Eurythmics 1985 white City: A Novel Pete Townshend 1982 The Hunter Blondie 1982 1981 Bad Reputation Joan Jett & the Blackhearts 1981 I Love Rock-n-Roll Joan Jett & the Blackhearts 1981 In the Garden Eurythmics 1980 Blondie 1979 Blondie 1978 Blondie 1977 Blondie 1976 Blondie Blondie

Edge 11 ||| dwdrums.com 9 feature AW: And they can play, no tricks. the first time, before I even sat down, that AW: Like independence stuff? JT: Yeah, and they just happen to be able that’s what I should be doing. So, when JT: Yeah, muscle control and stick control to sing like (expletive). [Laughs]. I started playing, I thought, “No more stuff. rayson

G questions, I’m home.” att

: M : AW: When did you start playing? AW: I have a few exercises that I do, and redit

C JT: When I was fifteen, or so. I grew up AW: That’s so great. What a moment based on how I feel going through those, hoto P playing , though. of clarity. To have all of this musical I get a feel for where my playing is at. Jon Theodore experience from the piano, and then it all JT: Yeah, me too. You’ve got to unlock AW: So, what got you to switch over to came into focus, a feeling of purpose. your brain. I loosen-up physically so I the drums? JT: Yeah, especially with me being a little can get comfortable enough to clear the JT: I think I’ve always been into it, even brown dude. I didn’t have my table at the pathways and open the channels so I can FULL Throttle before I ever played. I always focused on school cafeteria, you know what I mean? I really let it rip. It’s what I need in order by Atom Willard the drums whenever I listened to the radio was down with everyone and everything, to keep the sticks in my hands as much as or records, and I think subconsciously it but I had no real spot that was all mine. possible. was always something I wanted to do. I No place to go, where I didn’t feel like I grew up playing the piano for years had questions that needed answering. AW: Do you feel it if you don’t? and I kind of resented it. I practiced a No place to see my identity reflected in JT: Yeah, even if I miss one day. lot and I got pretty good, but I couldn’t the faces of others. But when the drums stand the structure of it, and I wasn’t really happened, it was all good! None of that AW: Okay, so after a week…? putting much into it. I finally got to a point business mattered, and I spent almost JT: After a week, I’m thinking, “Oh man, where I had to bail. I just couldn’t pretend all of my time playing, thinking about I definitely need to do some practicing by to like it anymore. playing, or figuring out how to play more. myself to dial it all back in.” But these I was totally hooked! Then, my friends got days, Queens is so busy that I rarely get AW: Were you taking lessons and all that? some and we spent all of our time to practice alone. And when I do get JT: Yeah, daily practice, recitals, the whole making an awful racket together. Man, did the chance, there’s no time for technique nine yards. In all honesty, I really wasn’t we suck! because there are a lot more songs left to committed. I was kind of a natural at it, learn! but I wasn’t trying very hard. AW: Yeah, but that’s how it’s supposed to go. AW: We all go through phases as AW: Well, you’re very musically-inclined JT: We would just party in the basement drummers. So, when you were jamming a a so it’s not a stretch to think you were and jam until someone had to go home. I in the basement, were you still in high naturally picking it up. was practicing by myself all day, every day. school? nce again, I had the opportunity to custom motorcycle and hot-rod shop near do, you know? It’s like they have these JT: Thanks dude, but if you saw my teacher I also took some lessons from the dude at JT: We were doing it in the basement until Osit down and talk with a friend and the studios. abstract beats and wild fills that are you might understand. Bless her heart; she the local drum shop. I left for college. There we started a band fellow drummer, an inspirational player so weird that they become hooks. It’s was a big woman with a big attitude. I was called, Golden. We made some records who currently finds himself in a really Atom Willard: So, what’s your problem compelling to me. a string bean, and she was just a gigantic AW: Did you take lessons for a while? and toured for about fifteen years. I guess great place in his career. In speaking with with ? and imposing taskmaster. Oh man, it was JT: The guy at the shop, who helped me we never really broke up; we just got busy Jon Theodore, a guy I have known for Jon Theodore: It’s just never been my AW: Right, so because it’s not really so heavy! It also felt like she took no real convince my mother to buy my first snare doing other stuff. And that’s actually how over ten years, I realized that I’ve never thing, I guess. I’m not even trying to go “drummer-y” or technically amazing, it joy in what she was doing, and that really drum, came to my house a few times and I met guys. We played a really talked to him about playing music. there because I really don’t know enough becomes its own thing, something that’s affected me, at least subconsciously. tried to to play “Stairway show with their band (De Facto) in El Paso. Jon and I have spent hours discussing about them. actually more important to the song. to Heaven.” Since I could already read That’s where that whole thing started. motorcycles, dogs, and running...anything JT: Exactly. They’re playing from the heart, AW: Well, that’s understandable. music and play a little, I joined the school JT: So, I was at summer camp and I found AW: So, your move to LA came from a but drums. For example, I had no idea AW: And you don’t want to learn? just doing their thing and always serving band. It was so fun; we played stuff like JT: Right! And honestly, to have a valid a set of drums. This ‘Deadhead’ cat had great night of hanging out on tour? that he had played piano for years before the song, no matter what. And it gets so Big Band and Star Wars opinion, I should probably listen to more been hired as the Music Director and he JT: Yup. A few months later, I got a call picking up the drums, or that he loves abstract and idiosyncratic that it becomes soundtrack medleys. I was playing drums, songs, but I just don’t dig it for the most unique and dynamic. Although I’m pretty brought all this gear. I wanted to play the , , and vibes. I also took from Omar about coming out to Long Ringo, but isn’t a fan of The Stones. He part. new to Ringo and the lads, I’m really into drums but he said, “No, you look like a some lessons from a guy named, Grant Beach to play in their new band. We had keeps you guessing. He tends to give the it. bass player.” Menefee in Baltimore. an hour-long conversation that was really th eodore impression that he flies by the seat of his AW: What about The Beatles? promising and I said, “Well, we’re clearly pants, the quintessential improvisational JT: I am into The Beatles! AW: Is there a specific era you love? AW: What? Why? AW: So, you were full-on reading music. connected on a personal level, so I guess drummer, but that couldn’t be further JT: Well no, not yet, because I’m new to JT: Man, I don’t know, maybe because I Have you kept up with that? you should send me some music to listen from the truth. After conducting a was so tall and skinny. I never found out to.” He said, “Why don’t I just send you ttl e ||| j o n AW: Because of the song writing? them. I couldn’t be bothered as a younger JT: No, I can’t sight read. I have to sit “proper” interview with my good buddy, JT: Well yeah, I love a tune, but also man. [Laughs]. I really like a lot of what why because he got canned for smoking with stuff and sound it all out now. I’m so a plane ticket?” It seemed like such a th ro I maintain the same level of respect that Ringo has that rare thing. Kind of like Lars I’ve heard. Not so much the earlier/ weed, or something. They ran his ass out slow, the only books I really use now focus wild proposition! A new city, new band, f u ll I had for him going into it, but I also feel (Ulrich). bubblegum stuff, but even of so quick that he left all of his gear. And more on possible permutations and things new friends, surfing...what could be bad a newfound sense of admiration for how their instruments is impressive, it’s all so that was it; I went in there every day and like stick control, not so much expanding about that, right? It seemed like there was he does things, and the level he’s achieved AW: WHAT? real. It sounds like people in a room, it played those drums whenever I could, rhythmic ideas or drum set applications. nothing to lose, so I went. I took a bag while doing it his way. Jon and I met up JT: Yeah, because Lars and Ringo...they sounds natural. until I got kicked out of the camp, too. I of and a backpack, and stayed at a place called, Evil Spirit Engineering, a play stuff that no one else would think to knew it when I walked into that room for out there for several months, just eating

10 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 11 sM A g a z i n e s burritos from Blue Star #3, jamming and else! But at some point, when you get drummers and plenty of parts to emulate. a problem or someone has a different everyone! In certain songs, I need things now. DW makes the best hardware, so my writing tunes all day long; then we hit the serious about something, you submerge Do you feel that since you’ve been doing idea, you find out right away. No one boosted or cut, but, shockingly, I have set-up is solid and things don’t fall over road. I went back east a few more times to yourself and start to investigate all of the it for a little while now, you’re creating a pulls punches, and there’s no harboring of everything pretty much equal in my mix. that much anymore. do Golden tours and recordings, but I’ve possibilities. I had decided that I was a new, hybrid version? resentment. That way, nothing festers or There’s no fat, though. It’s a well-oiled lived in LA ever since. “drummer,” so learning all I could about JT: You know, that’s an interesting question. gets weird. We stay focused on the fact machine and everything works together. It AW: Recording, practice, live shows…do it and being the best I could be became Yeah, I think that’s probably a good way to that we’re all here for the same reason, to feels like a gang. I’d take a bullet for these you like one more than the other? AW: You really are a musical drummer; my main focus. I didn’t learn to play the describe what’s happening. make this as good as it can be. dudes. In some situations, the playing feels JT: I’m not sure there are any that I you’ve always come across as someone drums because my friends and I wanted to more like, “Check me out over here doing don’t like. I guess practice can be hard who hears the whole picture. Do you think be in a band, I learned because I couldn’t AW: Because on the older songs, it will AW: Well, that seems like the golden stuff!” regardless of whether it fits well or sometimes. your love of resonance and everything keep my hands off them; it really felt like never be all them, or all you. ticket. is even appropriate. This is a celebration working together comes from starting out love, and I couldn’t think of anything else JT: That’s just what’s there. Those parts were JT: Definitely. It’s funny though, this kind of all the reasons I fell in love with playing AW: Depending on how you do it, right? on piano? I’d rather do than play drums. Then, I got written by those players. It’s easy to pick of openness and honesty would have been the drums. It’s natural, like it was back JT: Well, yeah. When I sit down at the JT: I think so. Probably, because I learned into a band with my friends. out the major differences and similarities difficult for me to enjoy until very recently. in the basement, like the original muse is drums, it’s always the same. I want to rip to listen to everything instead of just between the drummers, but there really here again. every time I touch them, so I try as hard rhythm: melody, harmony, dynamics, AW: Music was a big thing for you. is a subtle thread of same-ness that unites AW: But, that’s you evolving! We all grow as I can. But for extended practices and them all. And going through it all with a and theory. I really love hearing musical JT: I was a hormonal teenager and with each new musical situation. AW: Wow, I think a lot of drummers will long periods, it can really run me down, fine-toothed comb, like I am now, makes drummers, the ones with a lot of vibe everything was going crazy! I was molting JT: I can remember being unreasonable be jealous of that statement! physically. Then again, that does help me it possible to pick up all of the nuances, and character, who have something and really just beginning to figure out who in the past about so many things, like JT: It’s pretty great. And it’s great to get to that baseline and prepares me for a from the way the drums are recorded, to unique about their approach to the I was. I just wanted to freak out and shake thinking, “Why would I want to try those know that it can be created anywhere, by tour. I love being on the road and I love the way the parts develop through a tune, instrument. They add something to the it all down! And since music and drums rented drum kits, that would probably anyone who gives a shit and wants to do being in the studio. Maybe the studio is my to the sounds that were chosen. So, when legacy of musical exploration and help were what I loved most, playing was sound way better for this record, when I something awesome. But, yeah, I focus on favorite, because putting everything under how I manifested the internal changes. we need to, we talk about the songs or the the microscope really suits my personality. to broaden the horizons of our collective have my own crappy tubs?” Looking back different guys in different parts and then consciousness. Not like that kind of Becoming a better drummer was how I angle of certain parts, how it swings or now, I see an opportunity missed because I sometimes I put the rhythm hammer down “sports drumming.” You know what I’m connected with my personal power. I just doesn’t swing, where it hooks up with the AW: You’re a detail guy? was too defensive, or combative, or closed- and push or pull as I see fit. That’s rarely talking about? It’s the same drums, same wanted to get wild like my first musical guitar or a vocal, where they really want JT: Super detail-oriented. It’s all about the off. It’s a great feeling to just let go. I’m the case, because we’re always moving heads, same sticks, same clothes, same loves: Bonzo, Moon, and Peart. things to be just like the original or where nuance and I can’t stand a mess. It can be trying things with gear that I would have together. patterns and rhythmic permutations and they can drift. never done before, even if it’s outside of a detriment because, sometimes, it makes modulation. It’s musical monoculture; AW: You were a Peart fan? my comfort zone. I don’t just say, “No” or, it hard for me to let it fly in the studio. AW: Is the band good at telling you AW: No one gets caught by surprise. everyone’s trying to outdo everyone else, JT: Totally, still am! I’ve always been “I don’t do that.” I say, “You know what? what’s important? JT: Right. On the good nights, anyway. but it all feels like GMO Monsanto crops impressed by his playing and his words. I Heck yeah, I’ll try that!” because maybe AW: I’ve always thought of you as a really JT: There are no accidents on those to me. It’s a dazzling brain burn and it is was air-drumming the fills in “Tom Sawyer” it’ll end up being the next great thing. loose, open, “Let ‘em fall as they may” kind records. Everything is intentional and AW: Let’s talk about your set-up. How very impressive, but it doesn’t stir anything before I even started playing! [Laughs]. His Every situation is a chance to reinvent of guy. I say that with affection because everybody is super sharp, so we can all strict are you with positioning? Can you in my soul, you know? I need the creative abilities to constantly reinvent himself and to yourself and you never know what’s going it’s always exciting and unpredictable. put our heads together and figure out sit on any kit and play comfortably? JT: Well, I definitely am that, too. spark and the “heart music.” That’s what continually improve are an inspiration. to work best for everyone. I’m here to speaks to me and my sensibilities. where things need to be. Josh (Homme) JT: I like everything to be set up the same Spontaneous stuff happens all the time, make this as kick-ass as possible, so if AW: He really is very musical, even within can articulate the details and the thought every night. Occasionally, after I see a and I’m always down for a jam. I’ve there’s something new to try, let’s try it! AW: You touched on that before with his über-technicality. processes behind the music; that makes photo of Bonzo or something, I’ll get a tracked and mixed whole records in less Ringo and Lars. Maybe not the most JT: As a kid I might have called it everything much easier to understand. It’s weird idea about what I should do or than a day before, and ‘fast and loose’ is AW: Well, that’s the best attitude you can technically-adept, but… “technical,” but now I just hear incredible like he has the Cliff’s Notes to all of the what might be cool, and start moving stuff almost always better than overthinking. have. A lot of people never get to that JT: Thankfully, their music works because musicianship, you know? albums! But the real beauty of this band around. Although, once you start moving But, the more recordings I make, the point, and without even knowing it, that’s those guys did their thing and it sounds is that they only bring in people they can stuff it can be a wormhole. I usually end up more I’ve come to value precision. Not what is holding them back. unique. Could you imagine those tunes AW: I hear ideas and phrasing. trust, musically speaking. It’s the golden going back to where I had it before. I like that it’s more important than creativity or JT: We spent our whole early musical lives with any other drummer playing them? JT: Yeah! At that point, I was trying to rule, right? You can’t thrive in a situation having the set-up be precise, but I don’t that it shouldn’t still feel fresh, loose, and feeding the fire and figuring out how to Or, full of blazing, technical fills and state- expose myself to as much drumming where people need to be micro-managed, like bulky stands and things that take the spontaneous, but the mics aren’t listening make it burn. Now, it’s about cultivating of-the-art modern gear? No way! It just as possible. I wanted to learn about or everyone’s going to be miserable. So, movement out of things. I use the lightest to your heart and they can’t hear what’s wouldn’t work. African rhythms and I wanted to learn the mentality is, “You’re here because of it. The flame is there in all of us, and it’s stands possible, so that the drums and in your brain. They just get what’s in your about Fusion, so I sorted through a lot your strengths, and if you can honor the got a particular hue that’s unique to each cymbals can sway and resonate together. hands, you know? Also, I usually like to person. It looks like me and it looks like th eodore AW: Were you turned off by technical of old record crates and made plenty of past, together we’ll build something new You get that great feeling of unity and take the time to go beyond my first instincts playing? bad purchases before I found the good for the future.” you and it sounds like us. Now, it’s about wholeness; the separation and hard sonic and really focus and refine my parts. JT: Not at all. I mean, it’s really impressive, stuff. So yeah, I got into more technically- how you make that work in a particular edges of each piece of the set get blurred but I just didn’t feel it call to me. Well, progressive stuff, but it was mostly about AW: Well, that’s the evolution that situation when you have the opportunity and the kit becomes a singular ensemble. AW: They develop. ttl e ||| j o n maybe I dabbled in it when I was young. I exploring my own limitations, finding happens when musicians play together, to shine. It takes some sensitivity, though. Sure, you get some unpredictability, JT: They develop. That’s what I’m talking right? You all start to place the emphAsis You don’t usually want to just bang the th ro may have dabbled. new inspiration, and expanding my own and things can occasionally fall over, about. Sometimes things will come out boundaries. It was always the music that on a different sylAble. door down, spitting fire. but it keeps everything free and open. blazing, especially if you’re improvising, f u ll AW: Listening or playing? brought me in though, not the chops. JT: Yeah, exactly! Nailed it, dude! The Sometimes, it feels like you’re a log roller but I like to take the time to refine it for JT: Listening, mostly. I wonder if Mo Tucker old stuff has to feel right, so we start with AW: That’ll never get the best results. So, but you know you’re keepin’ it tite on recording. Your first instinct is the most was listening to Billy Cobham? Maybe the recorded versions and then things in the live situation, which band mates do the loose caboose! [Laughs]. Of course, natural and usually good, but there’s always she was! She was probably too busy AW: Let’s talk about playing the QOTSA evolve from there. It’s an incredibly open you find yourself listening to? there’s a need for things to not malfunction, something better. You use to getting weird at The Factory with everyone stuff. The band has had several different and communicative situation. If there’s JT: You know what? I’ve been listening to so my stands are more solid and practical write and arrange everything and really

12 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 13 work out the best way to approach it so I’d played two hours of full-tilt boogie, and the simplicity of these beats? that by the time you’re ready to record, I knew I needed time to get strong again. JT: It’s not just the simplicity, it’s the you’ve already dialed in the nuances and I’ve never been the ‘new guy’ like this groove, the place where you’re driving the you’re free to let it rip and go for the takes before. Usually, I would just come in and train, but it’s still groovy and it’s hanging that feel best. Let’s take Frank Beard as an do my thing, but this is like simultaneously tight. It’s not fading, it’s not pushing, it’s example. It always feels great, it always learning forty equations, each containing just in there. The challenge for me is to serves the song. He’s never in a hurry. more details than I’m used to. So, for me calm down and keep it grounded, to feel There isn’t one ’s out of place, and to get back to the physical and mental the flow. the sound is clear and direct. There’s no fat. place I needed to be in order to perform Now, I’m trying to remove the fat and get like I knew I needed to was a hard road. AW: Do you feel like there’s any to the essence of things. I’ve done a lot of knowledge that you could pass on to a impressionist drumming that is loose and AW: You were starting at ground zero. younger player? free but, right now, I’m drawn to finding JT: Yup. I am very proud of that. I think JT: Man, I love talking about that kind of the essence of the or tune, finding the I can say that I’m proud of everything I’ve stuff. It means so much to me and I have clearest and most complimentary rhythm done. There’s nothing that I can think a lot of theories so I’m always happy to for it, simplifying and refining it, and of that makes me cringe too hard, you discuss it. I’d probably tell them to stay putting it down clean. know? There’s always something good to simple, don’t get ahead of yourself. Take be gained from anything, whether it’s a it easy and do what you like. If you like AW: It seems like you’re in a great spot once-in-a-lifetime experience or a painful playing the drums then play the shit out of because you have all of that experience to lesson. the drums! Hook up with your friends and draw from. So now, you can inject those play. Don’t worry so much about ‘what elements of detail-oriented precision. AW: Who were ‘the guys’ for you? When you’re going to be’ or whatever. When JT: It’s been a long process. Playing with you were just starting and absorbing we started playing, we didn’t even know simple, refined precision has always been everything, who were you listening to what a producer was, let alone why you’d a bit of an albatross for me. I was always when you were really figuring out your actually need one! [Laughs]. too busy getting wild! But now, my brain identity as a drummer? craves it. It’s taken me this long. [Laughs]. JT: and Neil Peart were the Maybe you’d get to play your friend’s two drummers that were ‘my guys.’ Also, basement party. Maybe you’d play at a AW: You strike me as a guy who loves to everyone else on Rock radio: Buddy Miles, school dance. Or maybe you’d make play just for the sake of playing. Like, you , Frank Beard, Alex , some flyers on the Xerox machine at your will go sit at the drums just to be there. Keith Moon, Al Jackson, Bill Bruford, Lars school and organize a show for you and JT: I am. I really love it. It’s my happy Ulrich, , Roger Taylor. The your friends’ band in the local church place, the place where all is right with the second wave of ‘my guys’ ended up being: basement, you know? That was the extent world, and I feel like I’m in my element. I , , Billy Cobham, of it, because if you don’t have that in place, really notice if I don’t do it. You know, I Art Blakey, and Tony Allen. that passion, then no amount of peripheral read this great quote, I think it was from business-based crap that you can surround Art Farmer (Arthur Stewart). He said, AW: A lot of Jazz! yourself with, agents, lawyers, managers, “Neglect your art for a day, and it will JT: Man, this is a tough question; I really publicists, sponsors...none of that will neglect you for two.” That’s my story. I have so many influences! Sebastian mean anything or make any difference. If take one day off and my hands hurt and Thomson, Damon Che, John Herndon, you’re not coming from that place where I’m already thinking, “Wait, how does that Dave Leto, Jaki Liebezeit. Now, I’m you just can’t live without it and there’s part go again?” focusing on the subtle stuff. For example, nothing you’d rather be doing, it will be I’m trying to keep everything moving very difficult to enjoy the journey. AW: What are some of your favorite without squashing the groove out of it. moments from your career? A certain Stuff I’ve taken for granted before, because You have to do it for yourself. Figure it recording, show, etc. I haven’t had the occasion to focus on it. out. Write the songs, figure out how to JT: Favorite? That’s not easy. I think I need I find myself well and good in my usual play your songs until you can really wail. Make flyers and book your own show, th eodore to keep it current. The best, after all, is yet routines and suddenly it’s time to re- to come. I had to do a lot of work to get examine everything. save up your money to book a studio to this point with Queens. It was really and record and mix your record in a day. intense, and I honestly can’t remember the AW: That’s heavy. Make your own , even if you ttl e ||| j o n last time I worked that hard for anything. JT: It’s really heavy! There are times when have to photocopy it, and sell them at your I really had to focus and get a lot of songs I’m trying to play the simplest beat. Two shows. Buy t-shirts and make a stencil and th ro together in a short amount of time. We drums, it literally couldn’t be any simpler, make your own merch. Sleep in the van. f u ll played a couple times and it was like, and I feel like I’ve never played the Share a loaf of bread and a jar of peanut “Okay you’re in. You go learn these forty instrument before. butter. Start a gang with your friends and songs while we finish this record.” I was make your happiness, because you can’t thrilled, but it had been a long time since AW: So, that’s the biggest challenge now, expect anyone else to get you there. That, and remember to listen to the masters.

14 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 15

sM A g a z i n e s a

a Don Lombardi

DS: Not really. Between Don and John, onDanny Seraph a they probably got six hours of sleep a a ine night. In other words, they eat, sleep and breathe DW. All I had to do was show up on Lombardi, DW’s Founder/Chairman, and give my opinion, which was usually has devoted most of his life to spending positive. The same thing applies today. I D time with drummers, their instruments, and still own some of John’s prototype exotic the art of their craft. While he clearly cares kits and they are always beautiful to look for the myriad of talented people that he at and play. encounters, there are few that garner his utter admiration and respect in the way that Danny SD: What are your observations about Seraphine does. Prior to Danny joining the the development of DW drums, pedals Drum Workshop family, Don was an avid and hardware over the years? fan. He would practice by playing along to DS: They keep making things better. early Chicago albums, running back and forth They keep adding new, ground-breaking between the turntable and his kit, attempting to products. These are all things that dissect the fills along the way. Since Danny’s drummers can use on a daily basis. I use inclusion on the DW roster, more than twenty- a bunch of Dog Bones in my set-up and five years ago, the two have not only built a they didn’t have anything like that when I strong working relationship, they have also become great friends. I recently spoke to first started. It’s such a simple idea, but it’s Mr. Lombardi about his personal history with the legendary drummer. a clamp that nobody else had. Now, I can mount a bunch of my cymbals without Brook Dalton: Danny joined the DW roster decades ago, during its formative stage, having to add a ton of extra hardware. and has since become one of the legendary, tenured artists on our team. Can you anny s er aphin e Like I said, these guys don’t sleep much. talk a bit about how you met and what his presence has meant to you, on a personal

level? SD: Have the products influenced your Don Lombardi: Danny was one of the first artists that was in a major to drumming? start playing our drums. When he came on board, it helped give us the presence of DS: Absolutely! The pedals feel great being a big league player. He had been using our pedals, but he called us one day, under my feet, and they always have! I’ve out of the blue, and said that he wanted to play an American drum company’s drums.

dw ||| d w ith dw de s de ca Danny Seraphine also always strived to be a melodic player That was important to him. He borrowed a kit from us, played it, and said, “I’m with my use of tuning and by adding

ready to make the move to DW.” We couldn’t have been happier. So, my personal different tonal colors to different songs,

Decades with relationship with him began after I knew him as an artist. Now, we’re close friends.

grooves, and fills. The drums inspire me a DWa with their consistency and tone. I want to BD: That’s great, especially since you were a fan before he came on board. play them night after night and I’m always is work with Chicago is highly influential among many drummers, including Drum Workshop’s Founder, Don Lombardi. His DL: Growing up, I knew him through vinyl. I owned all of the Chicago albums. finding new sounds and opening up new persistence and passion for making music are evident with his latest project, California Transit Authority. He’s been at the In my mind, back in the day, he and Neil Peart were the two most ‘air-drummed’ H creative avenues because of them. pinnacle of the music business and he has weathered career lows. Through much of his journey, Danny Seraphine has been an guys around. I admired him for his unique way of playing patterns. He would pay

important member of the DW family. We asked him to recount some of his memories from those early days and talk about why homage to great drummers before him, like and Buddy Rich, but he SD: Talk a bit about your long-standing he remains loyal to his local drum manufacturer. would put his own sticking on it. relationship with DW’s founders. a a DS: I consider Don, John, and Chris BD: He had taken a lengthy hiatus from playing live, and you were involved with (Lombardi) to be good friends of mine. Scott Donnell: How did you first hear way my drums had been sounding and I the first-generation 5000 series pedal. motivating him to return to the stage, right? Don was in helping me get about Drum Workshop? missed being affiliated with an American DS: It was definitely a big improvement DL: In recent years, I had the good fortune to do a DVD with him for Drum Channel. back in the saddle after my fifteen year Danny Seraphine: In 1987, my drum tech, drum company. I had previously endorsed over the pedals I had played up to that He was concerned about playing again. His good friend, Gregg Bisonette, put hiatus from drumming. John sent me one at the time, told me that Drum Workshop Slingerland drums for many years and I point. It stayed with my foot, no matter together a meeting with us and some younger musicians, some of them actually of the first exotic kits while I was hiding was beginning to manufacture custom missed the face-to-face contact. So, I went how hard or fast of a pattern I played. The went on to be in his current band, CTA. We told him how great it would be to away in Colorado. It meant the world drum kits and that they were looking to DW’s Newbury Park, California facility construction was solid. They lasted on have him playing again and doing some clinics. It was reassuring to him. I also to me that he hadn’t forgotten about for big name drummers to play their to meet Don Lombardi and John Good. It the road and other drummers were talking filmed him playing here and it really demonstrated his Jazz/Rock style and his wild my contribution to DW’s growth. Chris instruments. I was already playing their was the beginning of a long, meaningful about them, too. I was proud to be one of independence. The footage was used to convince the Modern Drummer Festival to continues to support my band, CTA. I could pedals and I was in the process of leaving friendship and business relationship. the first people playing them. have Danny perform. At the end of his performance, he received the longest ovation go on and on about how I feel about all of my the drum company I had been with for in the festival’s history! Everybody was on board to have him back. friends at DW! the previous five years, so I decided to SD: Tell us about your experience with SD: Were you heavily involved with the check it out. Truthfully, I didn’t like the R&D process at the time? 16 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 17 s s M A g a z i n e a a Atom Willard: Arin, how did you come to ride for cymbals. So, I needed to get used AW: Had you warmed up or stretched? join this band? Were you friends with the to playing more stuff. Mike was a huge AI: Well, yeah, I had done as much as guys previously or was there an audition? supporter of mine, he really helped me I could, but it was early in the day and Arin Ilejay: There was definitely an focus and get my priorities in line. I had my mind was working against me. I just audition, but it happened in a strange about two weeks to learn the four songs wanted to get through it. way. When my other band, Confide, was for the audition, and Mike made me in the studio recording, this guy named quit my job and basically sponsored me, AW: Had you ever done an audition Mike Fasano came down to help get the financially as well as emotionally. He prior to this? drums sounding good. He and I got to be asked what I made at TRX and he said, AI: You know, I had only done one friends from then on. Mike had done all “Okay, I’m going to pay you that, so you other audition and it was a video-style of the studio teching on the A7X records, can just practice and get ready.” He had submission for Ke$ha which, obviously, and he was really my connection to the so much faith in me and that I was the didn’t work out. band. So, after playing for two years right man for the job, that he was willing with Confide, I quit. After I’d been home to do that. AW: How long did you have to wait until for a while, Mike called me to play with you found out that you had the gig? the band, Rocket Summer. At the time, AW: It’s amazing that you had a mentor AI: About a month. They were still not I wasn’t feeling like doing anything. I in your corner. sure if I was going to be ‘the guy’ and I wanted to just quit touring, stay home, get AI: He’s a really great guy. It’s so funny know it was a really hard thing for the married, and have a normal job. because we had just sort of kept in touch band, so I was trying to be patient. Plus, over the years, but he really believed in the transition in going from AW: Would you have continued to play, me, a real godsend. He said, “You’re to me wasn’t something they’d had any but not as a career path? awesome and you’re going to get this.” experience dealing with in the past, so AI: Yeah. I grew up playing in church You’d be surprised at how much can I was trying to be understanding of that, and stuff, and playing in my bedroom, so happen when you just believe something too. I was just trying to be positive. I was content to keep it to that. I mean, I is going to happen and you say that over Arin Ilejay just love drumming. I never wanted to be and over to yourself. AW: A month can seem like a really long a ‘big’ drummer or anything. I was okay time. to do whatever sessions I could get, stay AW: Positive energy and attitude go a AI: I was coming off of a long period home, and have a normal life. After being long way. of broken-heartedness from a broken- home for two years, then getting the text off engagement, and was getting to the Christian Coma AI: So, Mike coached me through a from Mike F. asking if I would be down to pretty unique situation, since the guys in point where I was happy to just live in the try out for A7X, I was like, “No way, no the band would have rather not been in moment and be alive. I’ve been a devout way is this happening right now.” So, I that position at all (having lost original Christian my whole life and love God so

ohnson thought, “I might as well try; if I suck, then drummer, Jimmy “The Rev” Sullivan), and much. He’s my savior in everything, so J isa

: L : whatever.” I had to be sensitive to that. It was a very walking through those stages was better redit

C small audition, only two other people tried with him. hoto w illa rd o m P AW: Were you a fan of the band?

at out besides myself, so it was a really hard AI: Yeah, I was. and sensitive thing. When I got there, I AW: Bottom line, everything worked was terrified. I kept thinking that it was out. Are you happy with your playing on AW: So, were you in playing shape at going to be so hard for them to be playing the new record? big G igs ||| that time or did you have to get yourself with other people. I also realized that we AI: Honestly, I can say that I absolutely together before the audition? weren’t going to be talking too much, so love the record now. When we were AI: Oh man, I definitely had a lot of work I helped set up the drums. They asked working on it and getting the songs

Big to do. I was working for a company called what I wanted to play first, and I figured I together, I was really unsure about what Gigs TRX Cymbals at the time, as their Artist would just do the hardest one (“Beast and was going on since this one is so different a by Atom Willard a Relations Manager. I was having fun just the Harlot”) first. I was playing as hard from the last one (musically), and I just going to shows and talking to drummers as I could, that was all I could do, play as had to trust that they knew what was best, n this latest installment of Big Gigs I interview two of the brightest, rising stars in Metal. Both Arin Ilejay of about the TRX stuff. I wasn’t playing too hard as possible. After the first minute, and they did. Strangely enough, I really and Christian Coma of are undoubtedly fans of the art form and can hold their own when it comes to high- I much. Plus, with Confide, I was playing a my forearms were just like . had to re-learn how to play the drums for energy, blistering drum performances, but they have something else in common. They were both about to walk away from a career 4-piece kit with only hi-hats and a crash/ this record. in playing drums before they landed the biggest gigs of their lives.

18 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 19 AW: How so? AW: It seems like some bands never get to AW: Christian, how long have you been in pull up to a show to play for eleven kids in AW: How is it playing the new songs live? busy touring schedule, that when I get AI: Well, growing up, my dad got me that place. this band? A few years, right? this huge bus. So, that was the kind of stuff CC: Well, our set now has about four home I just like to relax. I can play the into a lot of music like Earth Wind and AI: Family is very important to us, and the Christian Coma: Yeah, it’s been a little over that was going on in my other bands, and I or five songs from this latest record, and (touring) set fine, but unless I’m going to be Fire, and stuff with Dave Weckl and Steve aspect of compromise is really important. three years now. had to leave that. It just wasn’t happening. they’re all fun to play. doing a , or something, on one Gadd. From there, my tastes evolved. I The process of writing a record is a perfect of our headline tours, I won’t practice. In got really into My Chemical Romance, The example of where that comes into play. I AW: So what was the deal, did you AW: It was just in time! They saved you AW: Does your set list stay the same for high school I was in a Punk band, a Metal Mars Volta, and Incubus. Man, Incubus wasn’t exactly agreeing with all of the previously know these guys? Was there an from working in a hospital, right? an entire tour? band, Jazz Ensemble, and I was watching was a HUGE influence for me in the years decisions about the direction the record audition? What went down? CC: Yeah. Oh my god, I hated it. Lots of CC: We’re a band that’s hard to label, videos, trying to learn from the Jazz greats. growing up! So, my tastes were never was going, but I was like, “I trust you guys, CC: Well, before my two guitarists got women, just gossiping all day. I wanted to so depending on the tour and who we’re I’ve learned some different stuff these (Metal), like , , and I will do what you think is best.” I into BVB (Black Veil Brides) we’d all had jump off a cliff! Getting the call to be in playing with, we’ll change out some songs days. I play with a click now, so where or . And that’s really the record thought it was a bummer that I couldn’t just a band together in . I had been this band really saved my life. to work better with that crowd. Like, last I’ve slacked in some areas, I’ve gained in we made. It’s kind of a nostalgic album, shred, but I let it go and decided to adopt playing with them for a while, but it just night there was a girl from the Make-A- others. I have a bit more flash, a few more one that connects the older generation to the best attitude I could. We all really never really took off or worked out. We AW: How long did it take to feel like you Wish Foundation there, and she really stick tricks and I’m more solid on the click, the younger generation. It bridges the gap, believe in A7X. There’s no space for egos. were having some trouble with our singer were really part of the band? Did it take wanted to hear this one song, and we for sure. I probably should practice more, so I had to re-learn the drums to do that. It’s not about any one member, and we all and we didn’t all agree on stuff. I actually a while until you were truly comfortable? haven’t played it in…I don’t even know anyway. support and work together for A7X as a ended up taking off. I couldn’t handle it CC: It’s really weird, because when I was how long. But she wanted to hear it, so AW: Was it a much more pulled-back whole. anymore. Then, , the talking to the other two members before we were in the dressing room before the AW: Speaking of high school, what were approach? player, got into BVB and he brought Jake I joined, we were just kind of feeling show trying to remember how it went. your early influences? AI: Yeah. The one phrase that we kept AW: Tell us about your kit. along. After that, I ended up joining the each other out. I had a bit of stability in We played it for her, and we pulled it off! CC: I started out as a Jazz drummer, using was “caveman fill,” big and spaced- AI: This new drum kit really is amazing, band, too. my life, so going back wasn’t really what People were really going crazy for it, too! believe it or not. I was taking lessons from out. They wanted me to stay on the snare it’s a Collector’s SSC maple, and it sounds I wanted to do. And I didn’t really know an early age and got into Gene Krupa, for fills and, to be honest, I didn’t really incredible! The kick drums are like AW: So, they kind of brought you in. how big the fan base was. What was I AW: What’s up with your new drum kit? , and . I would grasp the concept until we were already in cannons! I have two 20x22” kicks and a CC: Yeah, the drummer’s spot opened up getting into? I’m the kind of guy that gets CC: Oh man, I have always wanted to be watch all of their videos. In high school, the studio recording. I was trying to think drum, which I’ve never had before. and they were like, “Oh, we have to get along with everybody anyway, and as soon with DW, so I am just so happy to be on I got into drumline and was blown away of what The Rev would play, what kind of I made the toms a little bit more shallow, our guy in.” as we started touring it really gelled. You the roster. It’s a really big deal for me! I by all of that stuff. Then, I went to my first fills he would do, because I didn’t want the so they could be (positioned) a little lower know, they all say the band wasn’t really had originally wanted to get a drum kit Metal show and I just lost it. People were fans to hate me. And there’s none of that and I can be seen a little better. I added AW: It’s almost like it was always meant a band until I got in there. They’d only wrapped in lace, but it wasn’t going to going crazy and screaming; I was into on this record. I’ve been a fan of bands another stack of cymbals, similar to Thomas to be. done a couple of tours before I joined, and work since I was going on the Warped Metal from then on. that had different drummers, and the new Pridgen’s set-up. It’s finished in Black CC: Yeah, and it was super weird because I after we had done a tour and an album, Tour. So, we went with this really cool drummer has to make his mark. That Velvet FinishPly, with gold hardware. I had given up on music at that point. I remember them saying, “Now we’re gun metal grey matte lacquer with black AW: What concert was that? definitely changes the sound of the band, also have a matching 8x14” VLX snare starting!” Now, we’re all a family; we all nickel hardware. It’s just awesome, I love CC: Oh man, it was like and and that was totally on my mind as we went drum and a 6.5x14” steel snare. It’s like AW: What?! get along really well. it. I got the VLX and VLT shells and it’s an Coal Chamber, I think. And I hadn’t really into this. The way this record was made a mound of treasure in the middle of the CC: Yeah. I had toured with various bands 8-piece kit with 22” kicks, 4.5x14” snare seen that stuff before, so I was really into and edited depended on the fills being stage, that’s what it’s supposed to represent. and even, pretty much, ruined my credit AW: What was it like making the new and 10”, 12”, 13”, 16” and 18” toms. I get it. came out a few years later open and spaced out. In order to have that I’m basically playing on diamonds, jewels from being on tour with no money. All of record? compliments on it everywhere I go. and that was awesome! He became one big sound, the hits needed to be singular, and rubies. my cards were maxed out. So, I had really CC: Going into it, we wanted to head in of my idols. too, that guy pronounced, and projected. So when I got just given up on doing music and I was a different direction. We went with John AW: What’s your touring style like? Do just has such a sick groove. When I watch that, I was able to start executing those fills AW: Will this be the first time you’ll be working in a hospital. And that’s when I Feldman to produce, and we had never you work out or exercise on tour? guys like Carter, Thomas Lang, and Dennis better, and the guys were just so stoked in playing some of these new songs live? got the call to be with these guys. done a full-length album with him. He’s CC: I try to eat as healthy as I can, take Chambers I just get frustrated because w illa rd o m at the control room. AI: No, we’ve been playing a few already, I remember being so broke that I couldn’t pretty controlling, and he’d drive me nuts vitamins and all, but my main thing they’re so good! How do they do that? I like “Murderer’s Row.” I actually haven’t afford a Top Ramen packet. I mean, how trying to get something that I just didn’t is sleeping. I love sleeping more than could never do that. I don’t even know AW: It must have been a great feeling to seen the set list for this tour, yet. much are those? understand at the time. Plus, our writing anything. I sleep as long as I can. They’re how they get that good! So, I’ve kind of finally get the fans’ approval. always waking me up, like, “Hey you have big G igs ||| process was really different for this one. been all over the board. AI: Yeah, it’s finally like I can really settle AW: It’s nice that you guys change up the AW: Not much. Our guitarists would be working from to get up!” I don’t work out at all, though. in. Now, I can really make my mark. Now, set list. CC: Yeah, back in the day I was really home and they would send their parts As it is, I’m 126 pounds and 5’11”, so I AW: We were thrilled when Thomas I can really just ‘be’ because, for a time, AI: We try to do it tour-by-tour. I mean, a roughing it. My mom would give me a box via email. I was at the studio where we can’t really lose any more weight. I’ve Lang joined the DW family. We’re just as they didn’t know if I was really into doing lot of times we’re playing the same songs of Triscuits before a tour, and we’d go to did vocals and drums, so it was kind of a tried for years to grow some muscles, but excited to be working with you! it. They didn’t know if I wanted to do it. because we want to give the fans what they Taco Bell to get the free hot sauce. That unique process. I mean, I had never done it’s just not in my genetics. I stay in shape CC: Oh yeah, I am so happy to be with We’re so happy together now, I love these want to hear. But, we also try to introduce was my dinner. anything like that, and it was challenging from playing the shows. DW! It really is a dream come true! guys, and they love me; it’s great! They’ve the newer songs, too. We have a new stage at times, but we’re all really happy with the invited me in as a band member and that’s set, with all kinds of fire and stuff, so it’s a AW: That’s rough! finished product. AW: Do you tend to practice a lot when actually been the biggest thing in the last whole different show. CC: For some reason we were on a tour you’re home? What’s your routine? few months, becoming a family. bus, which made absolutely no sense. We’d CC: Well, not really. We’ve had such a

20 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 21 feature hanahan S ob : R : redit C hoto P

Tommy Clufetos “None More Black” Interview by Scott Donnell lack Sabbath’s triumphant return is o s B marked by their very first number one album, 13, and an extensive concert tour that sees the seminal Metal icons bringing their massive riffs to arenas around the globe. When the rubber met the road, they recruited Ozzy’s drummer, Tommy Clufetos, to fill the throne. We met up with Tommy at a sound check in Las Vegas to discuss how touring with Metal royalty mmy C l u f e t To k ||| No n e m ore blac has changed his career, and get some insight into what it takes to be at the top of the Rock game. Ironically, he might be playing with the “Prince of Darkness,” but his outlook is always bright and optimistic.

22 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 23 TC: I don’t have it’s a never-ending, evolving process. It’s a old, I knew exactly what I was going to a favorite song; painting that’s never finished. do. There was never a doubt in my life. I everything is my would see bands on TV and go to concerts favorite. I just want SD: By the same token, you must listen and I’d say, “I can do that!” But you have to be the best that back to certain parts and say, “Hey, I did to be patient and you have to be willing to I can be at every that right.” work. It’s about diligence, discipline, and single note that TC: Yeah! You know, it’s an experiment. staying at it. And you have to be ready I play, without I’m not a guy that does the exact same when opportunity comes down. being too perfect thing every time. That’s so sterile. If there because that are parts that work, then I have to do that. SD: Are you jaded at all, or do you still have that childhood enthusiasm when would make In this band, this era of guys, everybody you play drums? it not perfect. experiments. That’s the beautiful part. TC: I absolutely feel so blessed every Everybody is on the edge, and that edge is what creates the excitement. single time I go up on stage. It’s because I started out at the bottom. And now that SD: How is playing with this band I get to do this, I look out to the audience different than playing with Ozzy as a solo and say, “Thank you!” and I can’t take it artist? for granted. I work harder and stay more TC: It’s a different approach, it moves a focused at it today than I ever have. The little more. But, I always address every more I get into it, the more I give to it gig the same way, so I probably look at it because it doesn’t get easier, it gets more differently than you look at it. Whenever difficult. I play with anybody, I dig into that music and I devour every piece of it so that I can SD: How much of this same focus and fit in as perfectly as I can. These guys have philosophy applies to the business side of been playing the songs for more than forty what you do? years, so I have to put in a whole bunch of TC: There isn’t too much of the business work to get that comfortable feeling, the side that I can control. The only thing that I feeling that I’m not just playing the parts, can control is being the best drummer that but that I’m playing in the music. I can be. I stay focused on that and the It still needs to have edge, rest works itself out. Of course, you have Scott Donnell: How is the tour going so far? vibe, and attitude. SD: Have you ever had the feeling, from to be as professional as you can be, but if Tommy Clufetos: Totally and utterly any of the gigs that you’ve worked on, you’re a good person and you work hard, amazing, it’s a dream come true. I can’t say SD: Given the history of this band, are that you’ve improvised too much and you can get to work with good people. anything except great things about it so far. you playing like yourself, stylistically, stepped over a line? SD: So, what have you learned from o s or do you need to cop some of the fills? TC: Maybe early on. I’m fortunate working with musicians like Tony and SD: Is it like an adrenaline explosion TC: Well, the audience is there and they because I’ve been playing gigs for so long Geezer on this Black Sabbath tour? going out and playing those songs that expect to hear the songs a certain way in that I got to cut my teeth early and make TC: These guys have been doing this you grew up with? their heads, so I try to give them that but, my mistakes at the beginning. I believe for about forty-five years and they give TC: There’s no better high than going of course, it’s going to come out sounding that you have to make mistakes, you have more than any younger people that I’ve up there and doing what you love. And to find your way on the bandstand and like me. So, it’s some of both. When I go ever played for. They stay focused on being able to do this is the epitome of that figure out what works and what doesn’t to a concert, I don’t like when a song is the gig and it reinforces what I’m about; feeling for me. missing a signature moment, so I want to work. And you have to be honest with yourself about it and be open. A lot of it reinforces my philosophy because it’s give that to the fans. If it’s a part that should the same as theirs. I’m playing with the SD: Were you a Sabbath fan when you times, people don’t judge themselves be there, I’m going to play it because the greatest guitarist, the greatest , instrument. I don’t ‘party,’ whatever that mean, I love music but I just wanted my were young? honestly. It’s hard to do, but you need to mmy C l u f e t To k ||| No n e m ore blac music is owed that. and the greatest front man in the world means. To me, partying is what I’ll be opportunity to be a part of it. TC: Yeah, but maybe without even be your own critic. You need to know your and they approach everything like it’s all doing on stage in an hour. knowing it, if that makes sense. As a boundaries, but you also need to know SD: Do you study the studio recordings? about the gig, too. You can’t worry about SD: Is there a certain style of playing that young kid, I always loved the tunes, when to let yourself go. If it’s coming from TC: Oh, I go over them with a fine-toothed the future, you just need to try and be the SD: What other bands have influenced you adopt to perform in a venue this big, even if I didn’t know exactly what I was the honest side of you, it’s cool, but if it’s you in your drumming? in contrast to playing in the studio or a comb, over and over. You have to listen best you can right now. I have the same hearing. It was a little before my time, but coming from a need to impress people, it’s TC: The reason I play is because I love smaller venue? without playing along to the music, too. routine every day: I go to the gym and I it is an amazing thrill to be a part of this not coming from a love of music. I’ve tried the drums. My father, who I looked up TC: As far as deciding what to play, or Sometimes, kids will be jamming and they practice drums. If it works, I stick with it. right now. to let that side of inspiration lead me to to, was a musician and he got me into not to play, you have to realize that in a think they’re learning a song, but if you’re play certain things. I go by what I feel, and drums. My parents are my inspiration and big room, certain things won’t cut it. They just playing to it, you might miss the little SD: So, the fitness side of it is part of the SD: As a kid you knew the songs, but now if it feels right I go with it. they always supported me, so that’s how aren’t going to translate. You have to play intricacies in there. Even when we have a aspect of being prepared? that you’re a part of the band, what are it all started. I never had that envy thing in a way that keeps the band together; you break on tour, I’ll go back and listen and SD: How early in your life did you know TC: Drumming is physical; you have to some of your favorites that you get to play with other musicians. Maybe that sounds vs. what you’re playing. realize that I can do different things. So, that drumming would be your path? keep yourself in shape. For me, it’s a big every night? part of it because drums are a physical like a cocky attitude, but I don’t think so. TC: When I got my drums at seven years I’ve never been a fan or spectator-type, I

24 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 25 sM A g a z i n e s

SD: Do you write or play any other Something you’d see in a drum clinic isn’t SD: Do you want to tell the readers how instruments? going to work in a Rock or a huge you came about joining the DW family? TC: No, I don’t. I’m a drummer that festival. And I mix it up every night, too. TC: I was complaining to my friend plays in bands. There’s a certain structure, but I may do about the pedals I was playing at the something, or the crowd may get hooked time, so he recommended that I contact SD: Do you have any hobbies outside of on something that leads me in a different you about some new ones. Things just drumming? Since you’re into fitness, do direction. I go with the feel. sort of evolved from there. You know, I you mountain bike or anything like that? never want to switch unless I have to, but TC: No, not really. Drumming is full- SD: You have a new kit for this tour. Can it was time to make the switch. So, we time for me. I don’t want to do anything you tell us about it? did it and I feel like I’m home. It’s so else that could injure me. No way am I TC: The DW drums! My drum tech easy to talk to you guys because you fix o s going sky-diving, I’m not going out on a (Panda) and I had a basic idea that was the problems that drummers have. You jet-ski…because you always hear about based around my core kit, which is a listen. For me, playing is a journey and I someone that broke his hand while on rack tom, two floor toms, and a kick. I always try to get better, and you guys do a boat, or a motorcycle, or whatever. I also have a second bass drum which is the same. go to the gym and keep it in control. It actually used; I can’t stand when guys all goes back to the belief that the gig is have two bass drums but use a double SD: In general, what sort of advice would the most important thing. If you want to pedal! Then, I have a bunch of smaller you give to someone that is starting out be the best that you can in this business, drums that are placed wherever we can fit playing drums and thinking of making a you need to look at your choices and be them because it’s Rock ‘n’ Roll. Honestly, career of it? willing to sacrifice certain things. I’m so happy with these drums! This TC: The only answer that I can give is mmy C l u f e t To k ||| No n e m ore blac is the first company that I’ve been with to be the best that you can be and do SD: Talk a bit about how you construct where everything is all-encompassing. everything that you can to be the best. I your drum solo for the show. The hardware is great, the drums sound wanted to be a drummer, so every day, TC: Well, there’s an art to playing great, and the mahogany shells I play fit every moment, every decision that I made for a big crowd. I’m not exactly sure so well for this gig. They are so warm and in the back of my mind was dictated by about the process, but it’s something powerful, they’re perfect! Nothing has asking, “Does this help me get to my goal that has developed over the years that gone wrong with the gear, nothing has or does it deter me from it?” If you want I’ve, hopefully, gotten better at. There broken, and I usually end up breaking to do something, you’re either going to are things that translate and there are some small pieces. That’s why I came to go out and grab it or you’re not, and the certain things that don’t, and you have DW; I want my drums to be like I am. I rest is all excuses. Excuses don’t cut it. Get to separate yourself as a musician. It’s want the best all the time, which is why over yourself and do the work, or don’t. Rock ‘n’ Roll, so you have to play for the I’m with you guys. crowd, not for your drumming buddies.

526 Edge 11.011 ||| ||| 2014 Fall & Winter 2012 EEddggee 11.0 11 ||| ||| dwdru dwdrumsms.c.coomm 275 drum clinic TheUps Down (Up) Down (Up) Down (Up) Down (Up) Etc.

andDowns a ofa Paradiddles In this example, we are looking at the paradiddle-diddle. The right hand down stroke is followed by an up with the right hand double stroke or left hand lead left down stroke followed by left hand up stroke doubles. In the following example we can analyze each hand individually. t is very common for drummers in the early part of their development to think about the “down” stroke, but what Iabout the importance of the “up” stroke? Because it is counter-intuitive to give much thought about the value of the “up” stroke, many of us are conditioned to give it little thought. Down Uh-Up Down Uh-Up

When we reframe our reflexes to consider the up stroke and its place in the circular nature of motion, we can better connect to the whole circle of movement. Thinking like a tap dancer, one must consider coming off the surface. This conceptual approach can add a better sense of swing to our playing. If we analyze the movement (or as I refer to it, the choreography of the rudiments) we can use a series of logical steps to enhance the dance on the drum set. More specifically, let’s analyze some of the choreography and find the tap dance nature of different paradiddles. Focusing on each hand individually: It is like playing the Jazz pattern backwards. I will break the up stroke into 2 syllables, uh-up. In these exercises, I would like to establish two modes of movement to support the up and down strokes. In the Once the fow has been established, add the opposite hand and fll in-between the lead hand. first approach, playing slower, we will use the wrists. The up stroke is starting in a “down” position and is played by snapping up. The down stroke is starting in the “up” position, allowing the wrist to drop to the pad. The second approach is the MoellerTechnique. The Moeller Technique can really assist in developing a fluid, circular movement that truly best represents the dance of the up and down strokes. The Moeller movement begins with a fluid whipping motion starting from the shoulder, moving through the elbow and releasing the wrist for a wave- like motion. With this motion, both the up stroke and down stroke can be clearly defined. The down stroke is achieved from the follow-through of this whipping motion. The up stroke is achieved by the lift of the wrist off of the surface as you come back to the starting position. These approaches are both covered in my DVD, “Concepts by Bruce Becker and Philosophies.” Example 9: We can arrange to use the paradiddle-diddle over 16th notes and using 2 paradiddle-diddle and a single paradiddle alternate a a from 1st bar to 2nd bar. The Ups and Downs The single paradiddle is most common, but to better illustrate the down and up stroke nature of movement, let’s start with a double paradiddle.

The sticking is: (r l r l r r) (l r l r l l) Down Up Down Up

On the bounce stroke, allow the stick to bounce freely over the balance point and stop on the second accent. Watch the up strokes and down strokes carefully and make it swing like a tap dancer. Example 1: If we accompany the sticking with triplets as our rhythm of choice, the choreography will be easy to follow. The down stroke on 1, up stroke on 2, down stroke on 3, and up stroke on 4. This will create an easy-to-follow dance to support the sticking. Down Up Down Up ns ||| b ru c e ker an d dow u ps

Example 2: The double paradiddle will played with eighth notes in 3/4 time. Remember, while there will always be up and down strokes, the up in ( ) should not pull an accent off the drum! We want to control the Down-Up Down-Up Etc. touch and density of .

Example 3: Let’s look at the movement of the single paradiddle, stressing the down stroke accent. Still adhere to the up stroke but with no accent.

Example 4: We will examine a potential accent structure for the triple paradiddle. The frst 2 accents are achieved by getting a free stroke on the frst accent and then stopping, or catching the second accent, and up stroke on the third accent.

Again, watch the touch on the up strokes on beat “4” of the 2nd and 4th measures. Keep a smooth up stroke and a nice touch.

28 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 29 Q & A , and it feels a bit awkward, so we’re lot to deal with. I don’t want to run my own , our record had only been out a few days the Wild West. Whatever you can do to forward a mistake to never stop. Don’t stop! Keep going better off changing the name. business right now. All I have to worry about and people knew the words to the new songs. your product, your music, and keep the whole because someone will hear a hiccup and they is playing drums. I’m not worried about the I thought that was impressive! They must have thing moving. I’m excited about it. It’s definitely may not notice, but if you stop you’re completely SD: So, when you play shows, do you play Thin record company or the press or the budget for downloaded them a couple weeks prior. I can different than it used to be. We’re going to hit the screwed and the song ends. That’s why it’s Lizzy hits? the semi…I just go up there and play drums. understand how they would know “The Boys road pretty heavily. important, especially at the beginning of the tour JD: We have to. Everyone knows it’s Thin Lizzy Are Back In Town” and “Jailbreak” but they also when the songs are new, that you set up every with a different name and a new record. They SD: You get to do what you love, what brought knew the new songs like “Bound For Glory.” I SD: When you play Thin Lizzy songs, do you section. Everything the drummer does is a cue. expect to hear all the Thin Lizzy hits, which is you into this career in the first place. could see them singing along! play them with your own angle or do you try to If you’re setting up the chorus, it’s a bigger fill. great because no matter what, we have a good JD: Right, I don’t have to worry about anything. match the originals? Start to pull it back for the last bar before the catalog to fall back on. There was a meeting last At the same time, I do like to be part of something SD: That’s promising, right? The younger JD: I play the parts the way they are supposed ending. Certain things have to be exaggerated to year because they needed to find a drummer. and contribute and try to grow something. generation picking up on a real Rock band. to be played because I think you have to do that let everyone know that there is a change. After a Damon suggested me and Marco and Gorham JD: I take my kids to shows. It’s more of an to do those songs justice. I don’t have any issue while, you don’t have to worry about those things chimed in. They needed somebody who could SD: With , you’re with an event. When we were younger and went to with it because I like those parts. I’ve been in so much. play a shuffle because the whole Thin Lizzy established project that is rebuilding. concerts, there were only kids from high school bands before where I had to play other drummers’ catalog is basically -based Rock so if you JD: We’re taking an established name and we’re and middle school. Now, when you go to a parts and they weren’t good. Sometimes they’ve SD: Luckily, you’ve worked with seasoned can’t play a shuffle, you really can’t play in this building on top of what it already is, which is concert, you see parents bringing their teenagers. become dated, so you have to put a modern musicians. These people really get the flow of band. The shuffle is sort of a lost art. When I got a good starting point because we have a great I saw Page/Plant in ’98 in Philly on a night off spin on them. The parts played by the previous playing live, how to get through problems, and the call, I was in Hawaii and I had the kids out on catalog that people still want to hear. We’re and they were playing old Zeppelin songs. The drummer, Brian, are great, they fit the songs really the idea behind the meshing. the beach; I was putting boogie boards on top of not using it as a crutch. They expect us to play seven-year-olds knew the words and the sixty- well and they are really indicative of the way the JD: That’s exactly right. We’re not eighteen- the mini-van and Damon started going into this Thin Lizzy material and we like playing it. The year-olds knew the words. It’s neat. band sounds. Obviously, the new songs are in year-old kids anymore; everyone’s been to the long explanation. The kids were yelling because whole thing works out really well. That’s why, the same vein, but they put a modern twist on it. rodeo a few times so they know what’s up. It’s they wanted to go to the beach. I told him to cut even though the record has only been out a short SD: Rock and Roll used to be dangerous and on Honestly, I really don’t need to put my stamp on great. I can’t believe we got away with some of it short and asked him, “Am I going to be playing period of time, we’ve done a lot of festival dates the fringe. It seems like it’s really mainstream anything. I just play whatever works, whatever the things we used to do. I was on tour with in Thin Lizzy and doing a new record?” He said, in Europe. these days. makes the band sound good. I’ve never been and we didn’t even rehearse “Yeah.” It was a thirty second phone call. When JD: It used to be very dangerous. Going to like, “Look at me!” I know if people are getting for the tour! That’s the way we ran. We were you get a call like that you just think, “That’d be SD: In this changing music industry, you’re concerts was a risk. Every time would into it because it sounds good, then I’m doing my touring with Guns N’ Roses and Metallica at the Scott Donnell: How did you get involved with great!” Let the attorneys and managers talk later going to have to go on the road quite a bit, come to Philly, someone would get blown job. I just want the band to be happening. As same time, so we’d go back and forth. We were Black Star Riders? and figure it out. aren’t you? That’s your revenue source. up because they were constantly throwing long as we’re kickin’ ass, it’s good. touring a lot that year. Our first show was some Jimmy DeGrasso: Black Star Riders is Thin Lizzy. JD: That’s why you see more people touring. It’s fireworks. I was at a Van Halen show in ’80 stadium in . It went fine, but we should Thin Lizzy had been touring for years and they SD: So, is Black Star Riders a ‘band’ in the a broken industry that’s trying to figure out how and somebody something up. I played a SD: Does the band click, chemistry-wise? have rehearsed at least once. decided they wanted to do a new record but traditional sense? to recover. The illegal downloading of songs Y&T show at Laguna Seca, at the raceway, and JD: Yes. We do because a lot of us come from the original drummer, Brian, didn’t want to tour JD: Yes. This isn’t one of those bands that are doesn’t help. There have been many flaws with someone set off a pipe bomb. Now people similar backgrounds. Damon and I grew up SD: Aside from Black Star Riders, are you anymore. They called me to do it because I have imbalanced. I’ve been in that boat before. it for a long time. We have the Thin Lizzy legacy complain about security, but I’m glad. When we listening to a lot of the same bands. When we juggling other projects? history with the band members. I’ve known to help us, but if we were completely new, it’d be were kids, we wouldn’t think of going to Rock were playing with , we’d sound JD: I don’t want to be the guy that’s in four bands , the original Thin Lizzy guitar SD: Probably more than once. near impossible because there’s no way to break shows with our parents, but it’s cool now. It’s check by playing Thin Lizzy songs! at once. It’s okay to do sessions, but while I’m player, for a few years. He used to come out JD: Not really. I’ve only been in one or two new artists. The machine that used to be there to not so alien between the generations, it’s not with Black Star Riders I’m not starting a band with to Alice Cooper shows when I had that gig. I’d previously-established bands where it was like, do it doesn’t exist anymore. separate anymore. SD: You’ve been with a lot of bands and learned my other friends to try to do a tour in-between never played with him, but we’d out and “This guy gets this, this guy gets that.” It’s not a lot of songs. Do you just pick up on them and our shows. I don’t overlap things. It’s good to Q & A ||| J immy D eGr ass o Q & have a drink and talk. He’s American, but he much of a band when everyone has to negotiate. SD: So, it’s a huge asset that you guys have a SD: Does Black Star Riders get together and they stick with you? get a breather between gigs. The only thing I lives in London, so every time we’d play around name to draw on, a catalog, and a fan base. discuss how you’re going to promote the record JD: Sometimes I take notes. If it’s a large amount can think of is that after we went to Europe this London he’d hang out. I played alongside SD: That’s sort of a gray area, right? You go JD: That’s exactly right. A lot of young, talented or do you do the old Rock and Roll “Let’s just hit of material with one or two things out of twenty- summer, we had a couple of months off because , with Alice Cooper and a few from bands where everyone shares the pay and musicians ask me, “What can we do?” and I the road and make people believe” tactic? five songs that have difficult nuances, then I’ll our tour was pushed back in order to give our other sessions, and I’ve known the workload, to bands where you’re the hired don’t have an answer. Before, I had an answer: JD: We’re kind of old school. We do our record. write it down. record some time. Don called me, so I for years from the LA scene. gun. Go to LA, go to New York, go to Nashville…play We write a bunch of songs when we’re on the went and played with Dokken all summer. It was JD: When you’re in a band, you’re part of a the clubs, work on your songwriting and your road and get together and pick the best ones. We SD: Is that a note that you write on the set list? fun and easy and I could do it without interfering SD: Marco has been playing with corporation. You run a business and it’s difficult. live show. I can’t say that anymore. do our YouTube videos and live videos and then JD: I’ll put it on the set list: bar, third chorus, with Black Star Riders. I did that with Don, and Thin Lizzy? You guys collectively juggle a If you’re making money, everything is good. If we hit the festivals. It’s ‘old school meets new push, etc. I’ll make a little note to myself. I know clearly knowing that Black Star Riders was my lot of gigs. you’re working and you’re losing money then SD: These days there’s a whole YouTube technology.’ From that aspect, it’s great because singers that start songs by asking the guitarist, main gig. I played with him as long as I could. JD: He gigged with Thin Lizzy, Whitesnake, and you’re personally in debt. That’s happened generation happening. There’s no revenue we’re hitting a lot more people than we could “What’s the first word?” It’s just a weird block he’s been with Nugent and a few other people. before. I remember when I joined one band, attached to it. years ago. We used to send out street teams that that happens. Sometimes you get up there and SD: Where can our readers go to learn more He’s like me; he’s done a lot of gigs. I’d met about ten years ago, only to find out they were JD: That’s what I mean, everybody wants would plaster the town with posters. The record with all the noise and adrenaline, you can’t about Black Star Riders? Ricky in passing once or twice over the five or six hundred thousand dollars in debt. In everything for free. They’ve made music a labels would do that. think. One time, we were playing a stadium in JD: They can visit: www.blackstarriders.com and years, but never played with him in any projects. the long run, it wasn’t such a good idea. commodity that is devalued. It’s weird, I don’t Bogotá and we couldn’t remember how to end Facebook. We printed vinyl records this year. I’ve always been a big Thin Lizzy fan. I think get it. When we were kids, we liked to buy the SD: Why do you guys feel the need to be on a the song, so we just stopped it and it was about The artwork is unbelievable. We made 3000 or a lot of people I grew up with musically were SD: You inherit it all as if you’ve bought a albums, read the sleeves, and listen to it. Those these days? three minutes short! 5000 copies. really influenced by that band. About a year ago, corporation. records were the soundtracks to our lives. I JD: We have enough to worry about. We want to they thought, “Okay we have this new record JD: You just become a member of a loss, of a think a lot of that has been lost because it’s so work on music; we don’t want to have to hire an SD: What do you do when a train wreck SD: It must feel good to be putting out a piece label. We’re going to do a new record.” They deficit. You have to work for a while to bring disposable now. It’s great to have immediate art department. You need your art people, your happens on stage? Does the band pick up on it of vinyl. It’s a cool thing. You need to get a realized that they weren’t going to call it Thin the business back into profitability. Now, being access to everything, but it has created this design people, and your promotional people. or do you plow through them? turntable and play it for your kids! Lizzy, though, because it was an odd situation a hired gun is different because none of that mentality of instant gratification with music. You need your people to go out and make your JD: I am immediately the Sherpa of the train JD: I need to get a stereo! I don’t have anything and it was the first new record in more than responsibility is mine. I go and I get a check. phone calls and you need someone to market it. wreck. No matter what happens, follow me. I but a docking station. twenty years without the original singer. You’re I’m an employee from a corporation and no SD: What makes up a Black Star Riders We can’t do everything ourselves. It isn’t strictly will get us up the mountain somehow. That’s sort of damned if you do, damned if you don’t. responsibility falls on me, which is great, too. audience? all-internet yet. Maybe it will go there someday. what we do as drummers. When I work with We’re going to make some fans mad if we call it That can sometimes be easier because there’s a JD: We’re seeing teenagers and adults. In You still have to shake hands with people. It’s like other drummers, I tell them that when they make

30 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 31 feature Blue Man Group SD: After you got through that first stage our choices, as well as the audience. Mandelbrot is one of the key elements to of auditions (the cattle call) did you go They are an x-factor every single night. our show. It’s a drum rhythm based on Bang a back multiple times? Were you playing Sometimes, we have people join us and a left-hand, low-tom feel. Our kits are Drum Blue Man tracks? How did that process we’re not expecting it. It’s something set up backwards from what a normal kit work? we’ve never trained for, but we have that would be. Every night is different; every BE: At my audition, we played a couple base of communication and trust that it’s night we’re playing a different position. of tracks from the show and then we just going to work. That’s the cool thing The unsung heroes of the show are our improvised to see if I had the ability about Blue Man, there’s no failing. techs. to spontaneously move in different directions and play off of different BE: The creators and the directors MR: The music techs here are amazing. scenarios. After that, I had a month of encourage experimentation. So, if you do They know who’s going in what position playing in the show before they actually something that’s never been done before, and what’s going on and they’ve got told me I had the job. It wasn’t about they don’t say it’s wrong. We have a everyone’s personalities and personas the music; they wanted to know how I fit discussion about it and ask ourselves, “Is down. into the community. I think I was the first that something that we can use as a tool guy from a Rock band that came into the in the future or is it something we should SD: What do you guys think of the new

show. Some people probably worried never ever do again?” drums?

that it wouldn’t work. [Laughs]. MR: My gosh, they’re amazing! Not only a a SD: How much creative freedom do you in their feel and tonal quality, but we put Photo Credits: Rob Shanahan SD: With Blue Man Group, you have a have in the show? these drums on vehicles and creatures large cast with people working different BE: It goes in waves and I think they every night so they go through a great o say that Blue Man Group has become a household name is, perhaps, an understatement. Their glimmering, bald, shifts. Is there a musical chemistry there? do that on purpose. They give us tons amount of duress and they continually Tblue heads have graced just about every conceivable media format and their music-meets-social commentary- BE: Absolutely. It’s great because we of freedom and they want us to push deliver. They get brought to me on this brand of comedy serves to enthrall new generations of fans the world over. For more than a quarter-century, this have the shows in different cities and the boundaries and then see where that thing called The Phoenix with these giant drum-centric franchise has found their pop culture niche. But, exactly how do they coordinate a show like this? We guys will rotate through the tour so we’re takes us. Every now and then they’ll say, metal arms and we smack them around caught up with Marc Roberts and Blas Elias, two of the lead drummers in their Las Vegas ensemble, as well as Lloyd constantly playing with new people. A “Keep this, it’s working. That other thing the stage with all this goo and paint Edelman, the man that acquires all of the Blue Man gear, to see what it takes to bang a drum in one of the hippest lot of times, we’ll play with someone we is not working.” And then we’ll take the everywhere, while bumping into walls, shows on The Strip. haven’t played with for a couple of years show back to what they call template. At and they consistently sound amazing. and when they come back it’s fresh again. the opening of shows, we may tighten They work; they cut through the mix. You Scott Donnell: How have your past the show, someone said, “Hey, they’re without saying anything at all. Blue Man It keeps it from getting stale. There’s it up just so we know that everything is can tell that all the drums were designed drumming experiences led you to your actually looking for another drummer right became a career goal. I transferred my always something new going on. Every buttoned-down at the beginning, but to be together. It feels like everything position in Blue Man Group? now.” And I was like, “Wow, man. Maybe degree over to Theater Performance and night, there’s a different combination that as we move on, they like us to push is a complete unit that is dispersed Marc Roberts: I was a hyperactive child. that’s just fate/destiny for me.” They were after a series of odd events, I went to a makes it unique. boundaries. throughout the stage and they have a pro- When I was in the seventh grade, my theater conference and BMG was there. I having an open call and I came down and quality that I love! We’ve gone through parents picked me up from school one I sat in the lobby with 150 other amazing met them and ended up auditioning. I still MR: Chemistry is key. It’s not a scripted MR: It’s a process and if something isn’t quite a change. Having the ability to day and took me to Drum Headquarters, a drummers. These guys were far more cannot believe that I have a salary, health show that goes exactly from blocking- working, we have that responsibility tune the drums that we pour paint onto drum shop in St. Louis, Missouri. They said, advanced than I was. They had a couple insurance, and retirement with drumming. to-blocking, point-to-point, and song-to- to the integrity of the show. We’re not is great. “You’re getting drum lessons.” Because guys (Todd Waetzig and Todd Perlmutter) It was never an option. Now, I’m living in song because we are so intertwined with just going out there to see how crazy we I was hyper and had a kit, I became the down there and they had two kits. They Las Vegas. each other. I’ve been in shows where I’ve can get. We’re all working towards that BE: The paint drums are props. They drummer in every single garage punk wanted me to play with Todd to see how left the stage in the middle of a piece to same goal. We’re focused on making an were made for the visual aspect of the band ever formed in my schools, but I well I gelled with another drummer but I’d Blas Elias: I played in the band, Slaughter. follow an audience member to the lobby experience for the audience. It’s amazing show. It had been a struggle because it never had aspirations. I never wanted never really done that before. The thing I had been on the road and making and the band has to deal with that. We to have that kind of trust, for the directors didn’t feel like you were playing a regular to be a performer of any sort, drumming about Blue Man is they’re not necessarily records and I was getting to a point in my know each other and we have that kind to say, “We’re going to give you the drum set. Now, the feel of playing real was cathartic for me. I would go into my looking for the best drummer with the life where I thought, “Maybe it’s time for a of trust where not only are they going to reins, but we trust that you will control drums is just amazing. The sound of room and play along with albums until my change. Maybe I want to take a different most chops. They want someone who a dru m ||| bl ue man g rou p extend the amount of bars they play per yourselves.” hearing an acoustic drum coming back parents would say, “You’ve got to stop, it’s path in life, settle down and have kids” has that special something that works section, but they’re also going to change to you feels so much better, it makes us

bang dinner time and the neighbors are coming with the other musicians and makes the and I was confused about which way I the mood. They create the base of the BE: The chemistry and communication play better. We’re more comfortable and home.” I built up my drumming chops. I magic they want. I guess I had something wanted to go. On a break from a tour, a emotion and the spirit that’s going on in is great because we can directly discuss we hear each other better through our went to school for Chemical Engineering that they liked. I wasn’t like some of the friend of mine said, “Hey, there’s this new the room to accompany me. You have to with the Blue Man what we’re doing, own mixes because we can hear each and Criminal Justice because I wanted to other guys but it worked and that was show that just opened called, Blue Man have this connection, trust, and musically. It creates a mood for him and individual drum. We’ve been looking be in the DEA, go into Central America the beginning of my journey with BMG. Group.” I didn’t know anything about without saying anything. We get dark, he’ll give us feedback immediately. forward to this moment for a long time. and bust drug dealers. That didn’t last long it but I fell in love with the show and all I’ve been here almost fourteen years now we get intense, we get emotional, and because when I was nineteen, a friend of the drums, the mystery, and the art. It and it’s changed my life. It’s an awesome we bring audience members on stage. It SD: Do you have creative freedom, as SD: We just came out with cherry took me to see Blue Man Group and I sucked me in and I wanted to be a part of show and the community is great. It’s an has every spectrum to the furthest degree. far as how your instruments are set up? drum shells. They have less sustain said, “This is what I want to do with my amazing company to work for. it. Then there was one of those amazing The band will go with us and we’ll also BE: There’s a basic structure to the than maple and they’re more musical life.” I was drawn to this show with its timing moments where, as I was leaving go with them. We have to be aware of kit, based on some of the parts. The with more attack. Todd Perlmutter said, energy, music, and ability to say so much

32 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 33 them. We get to build a 42 inch bass drum o r fi g u r e o u t a l l t h i s c r a z y h a r d w a r e . SD: How big is Blue Man Group? LE: It’s been the best relationship that I’ve How many different shows are there? ever had with a drum company in all my LE: Right now, we have a total of seven years, and I’ve been in the industry for a shows. There are five domestic: New York, long time. We are a very difficult company. , Chicago, Orlando, and Vegas, Before Blue Man, I was a touring guy with and two abroad: and Norwegian Rock bands, which is very straightforward Cruise Lines and two tours. and easy, comparatively. We are a good company to work with, but we have a SD: Are the three original Blue Man lot of demands. DW has always come creators still involved in some aspect? through. Garrison (DW’s Artist Relations LE: Yes. Two of the founders still run the Manager) has saved my life many times at company on a day-to-day basis, but all this point. Other companies have a very three are involved. hard time working with us, so in the past we’ve curtailed a lot of what we really SD: How do you find drummers for the wanted to have and settled for things that show? were available. Now that we’re dealing MR: Blue Man has a lot of open calls. “We’ve got to do all the shows with these with DW, we are really getting everything We travel all over the world looking for drums because they’re suited for a lot of that we need. There are many music drummers and we all refer people. We’re drummers playing together.” Obviously, directors that design these kits. It’s only still in need of players and we’re always there’s no reason that we designed drums been a few years now that we’ve been looking. Check out: bluemancasting.com for that purpose, but it’s a happy accident. able to tell them ‘yes’ and that we can to see how you can join the family. MR: It feels like the ceiling has been meet their strict deadlines. raised. The sound and the ability of what SD: What advice do you have for young we can play and what can happen on SD: How many drummers are in this drummers that have learned about Blue stage has just skyrocketed. Vegas show? Man Group and want to follow that path? BE: Aside from the three Blue Men, there BE: Get as much diverse experience as SD: We saw the show at the Monte Carlo are three drum positions. There is one sit- you can. No one took the same path to when you were getting set up with Lloyd down kit and two standing percussionists. get here, so there isn’t one specific way, in October, 2012. You were still working but playing as many styles of music as some kinks out, but everyone was really SD: Is this Vegas show a unique endeavor you can with as many people as you can happy with the sound of everything from the other Blue Man shows or do helps. Don’t just stay in your bedroom after the transition from the other hotel. you have some that act as a blueprint? and practice. Get out there and play Lloyd Edelman: I can speak on how LE: This is extremely unique. We wanted live, learn to interact and improvise with it rolled out because I was previously to build the newest incarnation of the people, and don’t do drugs. You can’t do dealing with the other companies. There Vegas show to be the biggest, most this because you want to be famous and were some drummers in the cities who technically-advanced, most intricate make a lot of money. If you don’t have liked the other companies that we were show that we have. We divide the shows it in your soul and love doing it then it’s dealing with. DW gave us our very first kit into two categories: an old show like the wrong career. Not everyone ends for our LoHo recording studio. Any of the New York, Boston, and Chicago, which up being successful or gets the gigs they naysayers were sold, right off the bat. That still have the essence of early Blue Man, want. The people that do are usually the was how everything started moving so and new shows like Orlando and the ones that do it for the love of music and quickly because the music director from previous Vegas show. This show isn’t even not because they want to be rich and New York played the LoHo kit and fell a dru m ||| bl ue man g rou p considered a new show because there is successful. in love immediately. Our old Blue Man so much more going on. It’s kind of its

bang drums were literally built by set shops. own thing. MR: Remind yourself that you love it. I DW has made us actual instruments. The absolutely love drumming and its aspects. Blue Man Groups that are equipped with SD: Are you testing ideas that you Constantly think about how good it them are in love with them. may move to other shows or is the makes you feel. Do the practicing and

Vegas show some sort of prototype? the rudiments but allow yourself to dance SD: It’s fun to work with you guys because LE: We would like this to stay. This way, while you play because the and you do wacky stuff and you always request we also appeal to the people who’ve seen the fulfillment is what gets you through it abnormal things. We’re a custom drum our New York show…when they come and what translates to the audience. company. It’s what we do. You get to play here to Vegas, they are seeing something drums and we get to design and construct that is pretty different and they’re happy.

34 Edge 11 ||| 2014 blue man group Q&A with

The Todds by Brook Dalton

a a Photo Credit: Rob Shanahan

n a somewhat sweltering late-summer afternoon, Drum Workshop’s VP of Marketing, Scott Donnell, and I ventured to Los Angeles in order to hanahan S Omeet with two pivotal members of the percussive team of The Blue Man Group to discuss their upcoming premiere at The Hollywood Bowl.ob The crew was preparing for the performances at the legendary Jim Henson Studios, a building I have driven by, and pointed at, countless times, R : redit always curious as to the wonderment contained within its walls. As we passed a large, cartoonish statue of a dinosaur and dozens of images of C hoto familiar Muppets, we were greeted by Blue Man Group’s Creative Director, Todd Perlmutter, and the show’s drummer, Todd Waetzig. The duo gaveP us a tour of the hallowed Charlie Chaplin Sound Stage and the myriad of props, inventions, and instruments that it housed. In a courtyard shadowed by a smile-inducing monument of Kermit adorned as The Little Tramp, we sat with ‘The Todds’ to talk shop and gain a bit of insight as to what goes on behind the scenes of a show as unique and outlandish as this one.

Brook Dalton: Can you give a brief of gear; we’ll have the paint drums (Blue Blue Man instruments, we’ll be using new overview of your history with Blue Man Man’s signature paint-splattering tower versions of the Drumbones and we have the Group? drums), the band drums (like Todd plays), Snorkelbone, which is making its debut. It Todd Perlmutter: I started off with the show giant 48” drums, etc. I think we’re currently involves a tube in the Blue Man’s mouth in Boston, eighteen years ago. I played in the best gear situation that we’ve ever and a backpack with a spinning tube with drums with them for a year, then I moved been in. We just received our DW cherry a slider that changes pitch. We also have to New York to produce the first Blue Man drums and, on a technical level, I feel some new video/percussive instruments. It’s record and I became the Music Director. like we’ve hit the ‘sweet spot.’ These are all coming together, but we’re getting tight Since then, I’ve had several other jobs, the best drums to have in situations where on the tech and the time with the orchestra. including being ‘the voice’ of the show, there’s a lot of different percussive activity The timing and amount of new work for this and now I’m the Creative Director. I come happening at the same time. They have a show is intense. up with the material for the productions, lot of ‘thud’ with great attack and a solid special events, etc., so I don’t get to perform tone; they’re perfect for our needs. TW: These guys have been working on all of the time, but every time I’m going to the music for several months, but the other play at a gig, I always hire this guy (points to TW: For us, everything is close-mic’d but percussionist and I came in recently and Todd Waetzig) because he makes me sound these drums don’t need to be muffled or learned the whole show in one day. But good! messed with at all. They’re easy. Todd sees things musically and, thankfully, he’s a drummer. So, he comes up with the Todd Waetzig: I was hired in 1998 in BD: Can you describe what the parts and we can get them down quickly. Boston. I did that gig for a year, then, when preparation entails for the upcoming the show opened up in Vegas in 2000, I Hollywood Bowl performances? I’ve BD: Aside from the deadlines, it seems went out there as the Drum Trainer. I also heard that there will be some brand-new like a dream job for you. You get to be did the first three tours for Blue Man and I’m instruments involved. inventive, perform, and be part of the involved with the Monte Carlo (Las Vegas) TP: This show has the most amount of new important decisions. Obviously, it pays off. show, as well. material for a production since I’ve started TP: Yeah, the building that I work at in New with the company. This time, we have the York has the recording studio, composers, BD: How has the evolution of Blue Man cast playing in an orchestral setting in a engineers, musicians, writers, and there’s Group affected the necessities of the whole-new, two-hour show. For example, a shop where they create the wacky instruments or stage presentation over the we’re doing Bolero in a method that has instruments and weird things. It’s great, years? Blue Man curating the instruments for the this band is exceptional, and I love working TP: The original show in New York had one piece. So, we wrote it in a way where they’ll with guys like Todd. It’s a ‘jerk-free zone’ drummer, and we moved to having three bring out a saw, and a glass harmonica, and I’m very blessed to work with such drummers for the first Vegas show. Now, and , and a theremin, and it just talented people. each production calls for different amounts gets weirder and weirder. As far as the Edge 11 ||| dwdrums.com 35 noteworthy ennedy K c k atri : P : redit C hoto P Coady Willis Fifty-Fifty by Brook Dalton w illi s y a d

- fifty ||| co fifty

a a

t the risk of sounding hyperbolic or hackneyed, I’m going to state that somebody is one of my all- A time favorite drummers. But it’s true, Coady Willis is one of my all-time favorites. Since he (and fellow Big Business band mate, ) relocated to LA from Washington to join The Melvins, I’ve seen him play dozens of times and I consistently walk away impressed. Whether he’s synchronizing with the legendary on a monster kit or playing in one of his other high-energy bands, Coady invariably gives the performance everything he has. He never mails it in, which is an impressive feat in itself considering the voluminous amount of shows that he plays. He’s a person that cares about drumming and realizes the importance of having fun while doing it. I caught up with Coady, in that rare window between gigs, and had the chance to ask him about his recent tour, his new kit, and the possible whereabouts of Yahoo Serious. a a

Edge 11 ||| dwdrums.com 37 Brook Dalton: You guys just got back album (Battlefields Forever). You guys important to them. Also, all of those guys shows while you were growing up in they still have low tones. They really cut had to learn their whole discography. from your Australian tour with Helmet. just released it on your new record label, at Third Man know exactly what they’re Washington. What live band was a through the bass tone that Jared (Warren) Furthermore, you and Dale are basically How was the trip? Gold Metal. Can you talk a bit about the doing. I was really, really impressed with prominent influence for you when you uses. That used to be a challenge for us. ‘rewriting’ the parts so they can be played Coady Willis: It was great, we went to decision to start your own label after all their whole compound. It’s definitely a were learning to play music? My old kit had a 14” rack and an 18” floor by two drummers. New Zealand, , and we actually these years? labor of love and it felt very special to be CW: Oh yeah, I saw some amazing shows tom, so the tone would get lost when his CW: Well, yes and no. We just kind of played one show in Tasmania, which CW: Thanks man, I really feel like it’s there. when I was younger. was a bass started roaring. Now, everything sits figure it out as we go. Jared and I were was cool because I’d never been there our best album. Well, our old label went great, great band. Sarah Lund is a cool just right. The toms cut through and you familiar with the songs when we joined before. The last time The Melvins went through some tough times and they aren’t BD: A while ago, you told me that you, drummer. There was also a band from can tell what’s going on without sacrificing the band; at least we had the sensibility to Australia, in 2011, we flew to Japan really around anymore. We’ve all been Dale, and Joe Plummer from Modest called, C Average that I loved any of the sounds that we want them to down. Those guys trust us and actually directly afterward and we managed to through the mill of the record label world Mouse had recorded a drum album watching. have. Plus, everyone loves the way they encourage us to play what we want. They catch both the earthquake enough times to know what we liked together. Do you have any updates on it? look. I’m really excited to record the next like when we come up with new parts and the Fukushima earthquake on the about it and what we didn’t like. We kept CW: Yeah, the record is called, Hew Time BD: You had a new DW kit with cherry album with this kit! and don’t play the songs exactly like they same trip! We were doing a sound check at seeing labels spending money in places and it’s being released at the beginning shells made recently. You changed up are on the records. Buzz and Dale aren’t a theater in when it hit. I remember that didn’t really make sense for the kind of the year. It was inspired by Max the dimensions a bit from your previous BD: What is the longest wheelie that really about preserving the ‘sanctity’ of the the lighting rigs and speakers swinging of band that we are. Taking out half-page Roach’s album, M’Boom. Joe really loves set and went with smaller sizes this time. you’ve ever popped? song, they just want to keep it alive and like crazy and the room was moving in ads in thrash magazines or booking radio that record, so we compiled this giant How has it been working out for you? CW: On my old BMX, I could probably always changing. I was nervous at first, a lateral motion; it lasted for more than appearances right before a show doesn’t mountain of percussion instruments and CW: I love it, it’s awesome! It works ride one for about a hundred feet. We sitting next to Dale and trying to keep four minutes. Dale (Crover) dislocated his make a lot of sense for us. I’d rather do weird noise-makers, Brazilian drums, three really well with The Melvins. In the called it ‘cat walking’ in the Northwest. up, but they were very confident in us finger and had to be hospitalized. So, this an in-store appearance where there’s an kits, etc. We wired it all up and mostly past, we spent a lot of time trying to get and made it known that they wanted us trip was way more fun. [Laughs]. arm wrestling competition or speed-dating recorded the whole thing live. It came out our drums to represent one big kit. Now BD: You’re in a unique place, as far as The to play what we wanted to play. We can an awesome tour, actually. People were going on. [Laughs]. Something different, sounding really cool! I’m excited to see that the sizes/shells are different, there’s Melvins’ catalog is concerned. Normally, add things, but it still has to sound like it’s really enthusiastic. you know? We just decided that if people what people think of it. definitely a contrast and they ‘pop’ more. when someone joins a pre-existing band, supposed to happen. We’re pretty quick w illi s y a d want to buy our records, they can go to It’s obvious that there are two drummers. they’ll learn a selected set of songs to play studies, we’re fast learners, and I think BD: Is it true that everyone down there shows or buy them on-line. We don’t BD: When you stub your toe on a coffee I’ve played a few Big Business shows live, but The Melvins have done a bunch of we’ve figured out that our brains can store dresses like Crocodile Dundee? have to go through these huge distributors table leg, what is the first word that you with them too, and the band loves them. shows that consist of entire albums from a lot more information than we thought CW: Yeah. That took a little getting used anymore and we can spend the money usually scream? Those cherry shells are super punchy, but the last thirty years. You, almost literally, they could! - fifty ||| co to but, after a while, we just rolled with it. how we want to. It’s way easier and more CW: For some reason, I always yell, fifty fun. There are fewer cooks in the kitchen. “Summertime!” I also say it if I do an BD: Did Yahoo Serious come to any of extra-harsh shot of tequila. the shows? BD: You’ve recorded several live records CW: I didn’t see him, but I don’t know with The Melvins, including the newest BD: Which drummers have been standing what his hair looks like nowadays, so he one that you did at Jack White’s Third Man out/inspiring you, lately? I know that might have been there. I didn’t see Olivia Records. What is it like recording an album you’re a big Keith Moon fan, is he someone Newton-John, either. that is being cut direct-to-acetate while that you’ve always been into? you’re playing? It seems like there would CW: He’s always been up there, for sheer BD: You don’t get much of a break in be a lot of pressure with that process. entertainment value. His energy level your schedule. You just got back home CW: It was just like playing on a TV show; was so fun to watch. I’ve always been and The Melvins are driving to San you have one shot to get it right. The hardest a ‘cut-and-paste’ guy. Whenever I go Francisco to play for New Year’s Eve, part about that session was the timing. see a band, I make sure to try and find then you immediately have shows on The record had to be twenty minutes per something that I like about the drummer. the road with . side, so we couldn’t go over the limit at I think that Ashton Bird from Tweak Bird CW: Yeah, I drive back to LA after the all. There was a clock on the stage and is a super fun drummer to watch. They’re show, then I have one practice with The we had to break the set in the middle to a great band. John Sherman from Red Murder City Devils and we fly to to accommodate the A and B sides of the Fang is also a really infectious drummer. play three gigs. It’s cool, man. There is album. When you listen to it, you’ll hear He’s having fun while he plays and that definitely an ingrained chemistry with us. that each side is just about twenty minutes counts for a lot. I’ve always believed that The feeling comes back very easily since long. When the recording was finished, playing music is all about how you put it we’ve known each other for so long and we played additional songs for the people across. I’ll see super technical drummers have played so many times together. It’s in the audience so that it felt more like a and it’s impressive, but it can be boring, actually really fun to play shows like this. show. Buzz (Osborne) and Dale realize you know? I also have to mention Hozoji Beyond that, Big Business is getting ready that everyone makes mistakes, but we’ve from Helms Alee. She’s definitely one of The New Design Series™ Frequent Flyer™. Go Places. to go on tour in February. been playing together for so long now, my favorite drummers. we know that they just want the energy of Introducing the Design Series™ Frequent Flyer™, a compact kit that’s designed to take you anywhere you want to go. Available in White Onyx FinishPly™ or Tobacco Burst BD: I really love the new Big Business the performance to be there. That’s what’s BD: You must have gone to some great Lacquer, the 4-piece Frequent Flyer™ offers up a travel-friendly configuration that doesn’t sacrifice sound or features for portability. Designed with Jazz legend, Peter Erskine, it’s the perfect kit for working drummers and frequent flyers everywhere. To hear Peter playing the Frequent Flyer™ and for complete specifications, travel to: www.dwdrums.com. ©2014 Drum Workshop, Inc. All Rights Reserved. 38 Edge 11 ||| 2014 Jon Theodore QOTSA F

Claude Coleman Eagles Of F

Dan Epand Nico Vega F

Vijay Mistry F

Chris Tomson F

Mike Vanderhule Y&T p

Robert Brian F

Jamie Follese Hot Chelle Rae F

Luis Gerardo Reyes Los Buitres de Culiacan F

Mike Fuentes Pierce The Veil ph

Jermaine Parrish Alicia Keys F

Roland Gajate Garcia American Idol F

Luke Holland F

Jesse Wood The Naked and Famous F New Artists Enough said. s ||| dw drums ti s t ||| dw Ben Sims Brantley Gilbert ph a r

N e w Brian Dunne Hall & Oates F

Michael Jeffery Atlas Genius F

Lucky Lehrer Independent F

F = Full Line p = pedals PH = Pedals & hardware

40 Edge 11 ||| 2014 spotlight oth R re gg

: G : redit

C hoto P

a a

This story starts in my bedroom. It was winter and I was in the 6th grade. I was sitting there with a Kay acoustic guitar trying to figure out why I wasn’t having as much fun as I thought I would while playing guitar. I had been going to my parents’ c t us mos e r a friend’s house and playing along to music on a drum set in their basement. They had two daughters that would play the hit singles of the time and I would play along. I had my own DJs way before even existed (actually, way before anybody knew that playing records was even an art form). I began to think that this drum thing really was a blast, and I n d e s t ruc tible ||| c the girls were an added bonus, for sure. So, I begged my parents for a kit. My came around and there it was: a silver sparkle 20” kick and a 12” ride tom with a mounted on the bass drum. I couldn’t figure why there was no floor tom, or cute DJs fora that matter,a but I was ready to go!

was instantly addicted. I couldn’t get five nights a week at clubs and concerts. call from a friend in Colorado who was Ienough. I played and practiced every After failing to score a record deal with putting together a band to go to Nashville. single day. I would play before school, my band, I decided it was time for a I didn’t realize that it was a call that would after school, and during school in stage change. to move to Los Angeles, completely change everything. Highway band. It became my persona, my identity. and explore the music business there, 101 was born, and was an immediate hit! It was also my saving grace. Music became seemed like the next logical step. I guess Literally overnight, I was on a bus. The next my wave to surf, my slope to ski, and my I had known for a long time that I would thing we knew, we were garnering awards salvation for those tough adolescent years. ultimately go that direction, I just didn’t for Group of the Year and earning Grammy Figuring out who I was became easier with know exactly when. My dream was to nominations, all in our first year as a band! drumming in my spirit. play sessions in the big city. I was thrilled Thankfully, that ride continued for twenty Indestructible I’ll fast forward to the days after high to be there and, thankfully, I was making amazing years. I had met Wynonna Judd By Cactus Moser school. I started playing professionally in a living with drum sticks in my hands. during that time and we were fast friends Boulder and , Colorado, playing That was my life, until I received a phone from day one. We toured together, and

42 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 43 had many mutual friends, so we’d see each moment was eclipsed by the excitement of me. The motorcycle became insignificant just happened. I tried to get a sense of I had never felt, nor imagined, pain like of me. I needed to begin physical therapy other at functions in Nashville. A few the day. My wife and I were in a bubble at that moment. As I made contact with where my wife was, and then noticed her that. I began to lose my ability to breathe. to build strength. I couldn’t believe how years went by and she and I reconnected. of joy, newly-wedded and enjoying the the car right behind the front driver’s-side motorcycle was a hundred feet down the The pain was so tremendous that I started weak I was. It’s remarkable how fast the We were both single and the timing was magic of the ride. By the time we stopped tire, I watched in sluggish detail as the rear road and on its side. For a brief moment to wonder if I was going to make it. I body breaks down in a hospital. I played right for us to start a serious relationship. for lunch, the motorcycle oddity was a view mirror and a piece of the wheel flew I freaked out, until I could see her famous started to see my kids and Wy, and prayed 8th notes to see if I could get my kick foot We were married in June of 2012 and vanishing memory. I never mentioned a past my face. I’m so thankful that I was red hair running towards me. She was to God to get me off of that road and home back. started a band called, The Big Noise. We word of it to anyone. After eating lunch on wearing a helmet. I was then catapulted spared, hallelujah! to my family! It was a process, yet I could visualize were both looking forward to a summer of a sun-drenched deck, we decided to head up onto the hood of the car on my left Now it was time to assess my damages. I was flown to Rapid City, South a return to playing. I also mourned not touring and enjoying our new life together. to the Crazy Horse National Monument. side, watching the motorcycle tumble end- I looked at my left hand first. I can’t image Dakota and was there for five days, five being able to just play the things I had On August 18, 2012, I woke up on a We reveled in the breathless natural over-end, right next to me. I remember what it would have looked like had I not excruciating and life-changing days. After been able to play such a short time before. tour bus in Deadwood, South Dakota. It beauty we were witnessing during the thinking that it was so loud, questioning been wearing gloves. It looked like the that, I was flown home to Nashville’s, Using my left hand was another story. It was a stunning day with perfect weather ride. It truly is mind-blowing how we live why the bike was traveling end-over-end, top of my hand was protruding upward Vanderbilt Hospital. I was there for seven had been pinned, without any movement and a wonderful location. Our booking minute-to-minute and don’t really ever and not front-to-back. Now on my back, inside of the glove. I didn’t take the glove days and then sent to their rehab facility for eight weeks. I had almost no strength agent decided to set up a motorcycle ride know what is around the next turn. I, for some inexplicable reason, started off to take a closer look, and got a very called, Stallworth. They initially told me at all. My entire shoulder would move for my wife, myself, and some friends. we made it up the hill in thirty recalling 21 Jump Street, a movie I had strong feeling to not allow anyone take it I’d be there for three weeks. I was pretty just to attempt a simple ‘two and four’ We had just played a bunch of shows minutes and pulled into the monument just seen wherein the film’s stars slide off, either. Even as emergency personnel much wiped out by that news. I made a backbeat. My wife returned from a trip to in a row and were both thinking that a to take pictures and look at that “big ol’ over the hood of their car for cinematic started showing up, I remained guarded. vow to do the rehab work with a vengeance find this little drum set-up in our bedroom c t us mos e r a day of hanging and resting could be a rock.” Soon after, we decided to head for effect. Was this ironic, pragmatic, or just I became aware of a guy standing above and get out of there. I would do two laps dressing area. She was a great supporting good thing. I distinctly recall reminding the hotel to get ready for the show. We plain weird? Next, I could feel gravity me yelling instructions to stop traffic. when they asked me to do one, lift ten lbs. sport during this entire process. She took myself to wear the gloves I had brought pulled out of Crazy Horse and took a right pulling my body across the length of the Just like when I was in mid-air, noises when they ask me for five. I was able to videos of me playing. It was shocking how for the ride. As we were walking down turn to go back, and the group split up a hood and off the side of the car. I started were amplified, like the years of Marshall leave after only eight days, which was a bad my playing looked, but I had faith that the hill from the bus, I noticed I hadn’t bit on that turn. Some went ahead of a to think about a strategy for protecting amps on stage were washed away and very short stay in the doctors’ minds. To it was only a matter of time before I could

I n d e s t ruc tible ||| c brought the gloves and said something to group of cars and some of us were behind. my arms and legs. I thought that I should my hearing was once again perfect. This me, it felt like a lifetime. regain my groove. Wynonna. She said that she would like Wynonna and I were ahead of two others. keep them tight to my body because I’m guy was taking charge of the whole scene. I arrived home to a standing ovation Inevitably, I returned to a version to get a scarf and a couple of things at We pulled out and she was ahead of me. a drummer and I need arms and legs, and As it turns out, he was an off-duty EMT from all of the therapists and hospital of me. It was weak, but workable. I the Harley shop, so we went there first. I waited about five minutes, then decided in the very same instance, I rationalized coming home from a fishing trip. He employees that had saved my life. It was had accomplished my goal of doing the Afterwards, we came back to the front of to go around and get in front of her. We that if something happened to me, I hadn’t planned on coming to that area to a day I’ll never, ever forget. That was the Wynonna and The Big Noise Christmas the casino and there were fans waiting to had been warned to watch for deer and could still play . “Hey,” fish that day, but changed his mind at the day I started my own rehab. I started tour. There were a lot of people questioning take pictures of us getting on the bikes. I I was wondering if she was still thinking I thought, “Maybe I can get my laptop gig last minute. If he had turned right to go envisioning my first time back on stage, if I could pull it off, including myself. I was on a big Fat Boy with fiberglass saddle about that. Wanting to be in front was my together and become a DJ.” These random home instead of the usual left to go back even though I couldn’t hold a . was concerned about handling the travel, bags and a Cowling dash with radio and way of being dutiful and protective as a thoughts are as vivid now as they were the to town, I may not be alive. I survived, but my next biggest as well as the eighteen shows, but I kept windshield. Looking back, I realize that husband. As I passed her and got into the day it all happened. Now, completely off I didn’t really know that my leg had challenge would be regaining the drum that to myself. The first rehearsals were there’s a false sense of security with that lead, my motorcycle started to do the same of the hood, I worried about keeping my been severed on impact with the car. The throne, so to speak. I started hand and surreal. Playing with the new set-up, much motorcycle around you; it feels safe maneuver I had felt earlier in the day. It body parallel to the car so it wouldn’t roll femoral artery, which, if cut, bleeds so fast leg therapies immediately. On my second and the new me, was a whole different and enclosed. With the thunder of eight was like riding on ice; I had zero traction. over my head, or any part of my body for that you maybe have three minutes to live day home, I called Garrison and Scott at ballgame. I used to only think about the motorcycles all starting at once, we were I actually looked down to see if I was that matter. As soon as I hit the ground, (or so I am told), was lacerated. Anyway, a DW to order what pieces and parts it was song or the performance. Now, it required all ready to head out. Our road manager, hydroplaning. It was one of those things everything transformed back to real time. girl in a different car and one of the riders going to take to get me back on the road. decisions on every move I made and every Tami, came walking up to make sure Wy where my brain couldn’t really process I hit so hard, that I was instantaneously with us, collected belts to wrap my leg and I wasn’t able to hold a stick, yet, but I was fill I played. Yet, I felt the energy come and I were both wearing helmets, and we what was going on at the moment. I didn’t jolted back into the now. I would later find stop the hemorrhaging. It took them both already plotting my assault on my physical back to me as I pushed through the tough were. The entire group roared out onto the feel like I had room to do much because out that the blow completely crushed the holding the tourniquet to keep me alive on maladies. How would I make my hi-hat, stuff. streets and headed for what was to be a Wy was to my right, and maybe ten feet back of my helmet. I was spinning side- that sunny afternoon on a Dakota highway. and the set-up in general, function with I’ve been back playing now for ten three-hour ride to Mt. Rushmore and the behind me. There was no median between by-side at a forty-five degree angle and I sat up after my pant leg was cut open and my missing leg? In my mind, I had three months and I really feel great! I’m thankful Crazy Horse Monument. We rode out on the lanes and I saw a red dually pickup in rolling down the road, and I was traveling could see, not comprehend, but see just months to be back on stage. So, I started for every single moment that I play. This the highway going toward Hill City to get the far left lane and a silver car behind the so fast that I actually felt like I needed to how much blood I had lost. There were playing on my bed with one stick in my has changed my life, yet much has stayed a bite of lunch. Still early in the ride, as truck. I began to access my options; I was put my arms and legs out to slow myself pieces of stark white bone strewn in the right hand. I decided If could the same. Life is an amazing journey. I’m we were just leaving Deadwood, my bike going about fifty mph, coming at down. After four fast rolls and four slowing middle of this mess. Then, I saw my boot do it, I could figure out a way! Worst case finished with rehab and I’m once again made a strange maneuver, which caused me were going fifty-five. I didn’t really rolls, I found myself in the middle of the and foot pointing in the opposite direction. scenario, I would do this with one arm and concentrating on being the drummer it to drift across the double yellow lines have time to react. I fought, then prayed to highway. At that moment, thoughts were I still didn’t fully grasp that my leg wasn’t one leg and see when the left hand and left that I’ve always wanted to be. I believe I on the small two-lane road. I had no idea make that bike turn but nothing happened. racing through my head. I had the, “This attached. That was the moment that I first leg would join the party. I was scheduled actually play better now than I did before why it did that. My initial thought was that Everything went into slow motion at that can’t have just happened to me” moment! realized I wasn’t playing the show that to get a prosthetic leg, literally, the day my wreck. Every quarter note means that maybe I was just getting used to the feel of point. I could now make out the person The very next thought was, “You know, I night. Wynonna was by my side. She was before the Christmas tour was to start. So, much more these days. My friend, and the new bike. It scared me for that second, behind the wheel of the approaching car think I can still play the gig tonight.” In laying on the ground talking to me. I was I wasn’t going to worry about the hi-hat in fellow Nashville drummer, Tommy Wells, yet I got it back across to my side of the and began to wonder if the driver was a between these thoughts of pure disbelief pretty peaceful at that point. When they the beginning. I had my kids bring drum said it best, “It was a good day, I got to play road and rode onward. I suppose I should man or woman. As I was literally airborne, and practicality, I tried to get a feeling for clinched the first belt around my leg, it felt pieces up to the house from my studio: a drums!” have questioned someone about it, but the I pondered the type of vehicle beneath everything that was hurting and what had like a torch was burning through my body. kick, one tom, and a fixed hi-hat in front

44 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 45 focus Brook Dalton: You’re a few shows into your tour now. How is it going, so far? Stephen Perkins: We’ve done three shows hanahan

S now and they’ve all been really great! We’re ob : R : on the road with , Coheed redit C and Cambria, and some other cool bands hoto P stephen and there have been between 6,000-8,000 people in attendance each night. We are in Perkins Saratoga Springs, New York right now and it’s raining, but there are a lot of ‘wilderness- After 25 years, Nothing’s type’ folks here, so it will be fine. [Laughs]. The band is playing really well and we’ve shocking been mixing up the set every night to keep by Brook Dalton things fresh. I got my new drum kit, so I’m playing it twice as much. I’m loving it! We didn’t have rehearsals for this tour; Jane’s Addiction has been playing together for thirty years, so we’ve got it sounding tight. But, it’s a double-edged sword. I feel that thin g’s s h ock in g ||| tephen pe rk I’m a lot more creative without rehearsals, n o but then I have to get my endurance up and awaken the muscles, you know? Whatever experiences I feel throughout the day, I’ll put that into the performance and it ensures that the show will be a little different than the night before. It helps me ‘be in the moment.’

BD: You mentioned your new kit. Can you tell us a bit about it? SP: Yeah, I got a brand-new cherry kit! It has 10” and 12” single-headed , as well as 10” and 12” tom-toms, and 14”, 16”, and 18” floor toms with a 16x22” kick. It’s crazy, man! I had about a month-and-a- half with the set at home, which was really nice because I was able to get intimate with it in my backyard studio. I used to play with about six cymbals, but I took most of them

off and now I only play with two. I’m really

concentrating on being more polyrhythmic, a a tribal, and melodic; I’m trying to use the toms more. Jane’s Addiction has always f you have ever watched Stephen Perkins play the drums, you know that he performs with an had that tribal, primal thread and pulse to Ienviable level of energy and contagious positivity. I’m here to tell you that he emits the same it, so whenever I get a new kit, I always aura in casual conversation, as well. While admiring his youthful excitement, it seems nearly mind- focus on what benefits the drums bring to that sound. These toms are quick-moving, boggling to realize that Jane’s Addiction is setting out on a tour that sees them honoring the 25th they fit in the mix where no other drums do, anniversary of their seminal album, Nothing’s Shocking. I was lucky enough to recently speak with I mean they’re really nice and dry. We’re Stephen about the shows, his new drum kit, and Jane’s Addiction’s experience with recording one of playing a lot of big outdoor venues and the most influential records from the last quarter-century. there are ten or fifteen on the a a kit and it sounds awesome! Plus, they’re really comfortable. They have a lot of guts

46 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 47 them that they were out of their f-ing and effect has now been, literally, and low-end, but they’re very melodic. artistic/creative control. Then, we went on album; we took our time so we could get mind!” cemented into the fabric of the city that It’s no joke, everybody on this tour, from the hunt for a producer and ended up with it right. The ceremony included appearances spawned them. the monitor guys, to the band members, this wonderful engineer, Dave Jerden. He by noted musicians such as Duff several the ceremony’s the sound man, and my friends…they had done great records with , BD: Obviously, you’re very proud of McKagan and speeches were given by close, the band headed a handful of all say, “Dude, your new kit sounds and Talking Heads, etc. When we met him, Nothing’s Shocking, as you should be. , John Densmore, and blocks west to the El Capitan Theatre looks insane!” he pulled up in his VW Bug, blaring our But, if you had a time machine and the aforementioned, John Doe. I can’t for their performance on Jimmy Kimmel live album, and yelling, “I love you guys!” went back to those sessions, is there imagine that it was a coincidence that 2/3 Live!, a seemingly apropos way to cap BD: It seems like it’s firing on all cylinders. So, we moved into a studio in Hollywood anything that you would change about of the orators consisted of invaluable Rock off their red-letter day. I arrived early and What more can you ask for, right? called, El Dorado. I remember that DJ your drumming on any of the tracks? drummers lauding the band. While every met with the show’s affable drummer, SP: When a company like DW, and Bonebrake, the drummer for X, was down SP: Oh, hell Yeah! [Laughs]. Like a lot of musician in Jane’s Addiction is unique Jonathan Dresel, for a short tour of the John Good especially, dreams up shells the hall working on an album, too. We drummers, I’ll listen to it now and think, and vital to their sound and influence, it premises, stage, and band area. As the like these and I go out and take them on had a big budget and we spent every “Man, I could have played this or that.” is hard to argue that they aren’t a drums- show was being filmed I sat in the theatre’s the road, I feel like I’m involved in an penny. I rented so much top-of-the-line You know, after playing the songs live all driven outfit. Even the legendary Doors legendary Green Room and processed the experience rather than an experiment. gear: , church , timbales, these years, I now realize exactly how drummer, John Densmore, emphatically multiple levels of excitement surrounding Everything is so brand-new and fresh with , every kind of tom...we had a the bass lines work with the kick drum stated from the dais that Stephen Perkins is me. Most guests were enthused for the these cherry shells. We know their quality wonderful time with it! We were a great parts, etc. Art shouldn’t be perfect, so “the most important member of the band” taping, others were crawling out of their is great, but we were both wondering how live band, so we didn’t do a lot of pre- I don’t ever have regrets; I just feel that which brought forth the day’s loudest skin Series was nearing its they would feel. I’m really starting to get production. I can always play music better. I’m not a a volley of applause. conclusion, and some were star-struck at to know these drums and they’re a lot saying that the things I’d change would As the event continued to unfold, the sighting of Sir Ben Kingsley walking thin g’s s h ock in g ||| tephen pe rk make the songs any better, maybe even n o different than maple. They’re very fast, BD: I remember being very curious about the band members took turns at the by us as the crew filmed a skit. But as responsive, and articulate through the PA. what this album would sound like before less dangerous, but I have the experience t was the day before Halloween and lectern, giving heartfelt thanks and soon as the announced that it was It’s exciting. I also just got the new 9002 it came out. Everyone was familiar with now to realize it. However, I definitely Ithere was an active buzz in the air conveying some tales of their early days time to head to the back lot to see Jane’s XF pedals with the longer footboards, and the live album, so there was no doubt couldn’t replicate the energy that I had. on the corner of Wilcox and Hollywood in the scrappy Hollywood scene. Dave Addiction, the room became quietly eager I’m just ripping it up downstairs now! I’m that the energy would be there, but Boulevard. However, the excitement Navarro spoke of the ‘haunted mystique’ and quickly organized. throwing in little triplets and machine there were so many paths that you could BD: It was always very impressive wasn’t concerning the looming traditional that the stars represent to him and coyly We filed into the gated parking lot gun fills that I normally wouldn’t have have taken with the studio production. to me that you guys could make a holiday, rather it was encompassing a added that he might have had something that serves as the famous outdoor stage for tried. There’s an extra sense of freedom SP: In a way, we documented our live record like this while being so young. brand-new, soon-to-be-christened day to do with the decision to locate the the show’s live performances. Once we because I play barefoot with my heels up, show and put some mics up to capture It’s a very mature album that was, of celebration. As the president/CEO of Jane’s Addiction star smack-dab in front were settled, Jimmy Kimmel introduced so when I move my feet, I get the same it. Then, we decided to get crazy with essentially, made by a group of kids. the Hollywood Chamber of Commerce, of Playmates of Hollywood in the 6400 the band, citing the 25th anniversary of response down towards the heel that I do producing it and trying new ideas. Like, SP: Yeah, well Perry is older than us, but Leron Gubler, announced to the throng block of the boulevard. While all of the Nothing’s Shocking, and the local heroes up by the beater. I’ve been dancing up on the first half of “Summertime Rolls” I’m Dave and I were around nineteen years of media, supporters, and passersby, honorees were smiling and waving, took the stage, along with two women and down the footboard without losing playing thin sticks on a Jazz kit, but on old at the time. We were always the “Today is officially Jane’s Addiction Day Stephen Perkins was visually antsy. Not that were swinging above the platform any response or speed. I’m the type of the second half I’m using for the youngest guys in the Downtown LA scene. in Hollywood!” I experienced a surreal with nervousness, but with the sheer from hooks pierced through the skin guy that likes to try new things every fills. It was a glorious feeling making this But there is that sense when you’re young moment of conflict, simultaneously joy at being able to share the moment of their backs. Seriously. I had seen night, something different to make my record. It wasn’t Metal, but it celebrated and you have balls and the timing is right, thinking, “This is crazy!” and, “This with his friends, family, and fandom. Jane’s Addiction play three or four times time exciting, and I love looking around the energy of Metal. The crux of it came people don’t seem to notice your age. makes perfect sense.” The band was When I asked him about the cultural and around the album’s debut and this show at my band members or drum tech and from our different musical tastes. We all Even though we were younger than a lot receiving a star on the hallowed Walk of symbolic importance of receiving a star in held the same amount of intensity and watching them react to something that’s had different record collections. Perry of bands around us, I feel like we helped Fame in recognition of their contribution his hometown, he declared, “I love that attitude as those early gigs. And, forgive different than the previous night. With (Ferrell) and (Eric) Avery were into stuff to influence them and even change their to the local (and eventual global) music can be so environmental. You pull the pun, Perkins hasn’t skipped a beat a brand-new set of pedals and drum kit like Bauhaus and , while Dave sound. We dropped seeds everywhere. musical community. The occurrence was from your surroundings and you represent in the past twenty-five years. He was there are so many opportunities to try and (Navarro) and I loved Sabbath. Dave and When a band says that they’re influenced emphasized with the ever-present myriad your city. Our first hundred meetings intentionally adding small alterations to surprise somebody! I were younger and wanted to show off a by Jane’s, it doesn’t necessarily mean that of blasting car horns, a double-decker bus with management were on Hollywood songs like “Stop!” and “Three Days” but little more. Meanwhile, the tribal beats they sound like us. It means that they’re filled with pointing tourists, and the thick Boulevard, we’ve walked these streets a they served a subtle function with their BD: Jane’s Addiction is now on tracks like “Mountain Song” were taking chances and they put their asses on redolence of some sort of distant street million times.” He was clearly grateful for oddly-appropriate placements. When celebrating the 25th anniversary of inspired by African drummers and Go- the line, musically, visually, artistically, cuisine. It was an ideal day to honor the recognition, stating, “It really means the set ended, the crowd was ebullient to Nothing’s Shocking. Can you talk a Go rhythms that I was very into. When and they’re risking it all. It’s like we threw one of the most influential Rock bands a lot to me because when I was growing the point where they were rewarded with bit about the history of that album? we wrote these songs and I first heard the a pebble into a still lake and the ripples to come from LA in recent decades, and up, it wasn’t tangible for a Rock star to be an encore of the song, “Ocean Size.” As SP: We had previously released a live guitar riffs, I thought, “What would an haven’t stopped moving. I couldn’t have agreed more with X front on the Walk. This band has changed the the quintessential track poured over our record with Triple X and then we decided African drummer do here?” With Perry, man, John Doe, when he proclaimed in scenery in LA so it feels right and it tickles heads and punched us below the belts, its to sign with Warner Brothers after a his live presence was similar to Iggy, but his introduction speech, “If somebody in me inside knowing that I can bring my son dynamics seemed to carry the symbolic beautiful courting period with other labels when we recorded this record, he had 1985 said that in 2013, Jane’s Addiction to it in the future. It’s epic for us!” It was a embodiment of the band’s loud-quiet-loud ‘wining and dining’ us. We signed with more of a layered, Beach Boys thing going was going to get a star on the Hollywood historical moment for Jane’s Addiction and presence and realized aspirations. It was the WB because they offered us the most on. There was no rush with making the Walk of Fame, everyone would have told their community. The band’s importance perfect finale for Jane’s Addiction Day.

48 Edge 11 ||| 2014 heads up Scott Donnell: How long have you been right-over-left-handed drummer. But I had Black Stone with the DW family? a buddy, Jonesy, who was teching for me John Fred Young: It’s been two years now. and he told me to switch my 18” tom over to my left because I started having back SD: How did you come to know about us? pain due to the placement of the drum. So, JFY: I have a really good buddy, Daniel I set it on the left and it was so alien to me Cherry’s Adair, from . We were doing a that I thought, “I’ll never be able to do this.” tour in England together and he helped me But now I’ve started to play by leading with get hooked up with Garrison (DW’s Artist my left hand. I can cross-back and do your u ng yo John Fred Young Relations Manager). We started using the good ol’ ‘bucket-of-fish’ to the left and do stands and the drums. It’s killer, this stuff all the other stuff I couldn’t do before. ohn Fred Young comes from a down- is so rugged! They’re the ‘John Wayne’ of Jhome drumming pedigree that is drums. We tour a lot, we do 250-300 shows SD: So, you’re working on a new album, usually aligned with . So, a year, so these drums have to be sturdy for right? how did he end up in a Rock and Roll me and they are. They take a beating and JFY: We’re out here doing our fourth record band that plays at some of the biggest the hardware is incredible. I’m so proud to with and Mike Fasano, who I just Rock festivals in Europe? It seems like be here and using some great gear. met a week ago and now we’re passionately a long way home for a -bred in love. [Laughs]. Mike did the drums on

||| john fred cherry stone black country boy, but that’s where the road SD: This was your first time visiting the the record for me and brought in this killer has led him so far, and this young, wide- DW factory. What’s your impression? kit. It was a set that you guys made for Matt eyed, heavy-hitter isn’t complaining. JFY: This experience was awesome! You Sorum back in the day. It sounded sick. know how it is when you’re touring. You When I first started playing, we would bring come out for a gig and it might be sixty the heads up tighter. For me, that was cool miles away, which doesn’t seem like a lot, because I love Mitch Mitchell and Bonham but when you’re doing a show, you don’t and all the great Jazz guys. I developed a have time or you don’t have a runner to take style in my lower fingers where I play off of you all the way to the factory. Last year, the head. In a Rock band, everybody thinks we played with at The Greek they need deep tones. I love higher tunings Theatre and I wanted to hook up then, but in drums, so I told Mike I wanted to tune we couldn’t make it happen. This is my first hilli ps them that way. They were probably higher P

avid visit and it’s been an information overload than he’d ever had them before while : D : for me! Drums were made one way for so redit recording, but they sounded amazing! Joe C

hoto many years. DW makes them many new thought they were really great. I liked the P ways, beginning with the way you lay up way they didn’t fall into the realm of the the plywood. It’s second nature to you, but . For me, it was cool because I for many drummers it’s an overwhelming could do the rebound that I developed as a experience to see it in person. It’s awesome young player. to meet the people in the separate departments who make each feature, too. SD: Speaking of your technique, and what It’s really cool. you do in the studio, we recently filmed you playing for a segment on our YouTube SD: Tell us about the kit we built for you. channel. You play with a lot of fire. You’re JFY: It’s maple/mahogany with the maple a high-energy drummer. Do you drum that inner-ply and mahogany outer. It was a way in the studio? difficult choice because I wanted my drums JFY: On this record, I tried to capture the to have a glitter wrap. I looked at all the energy that we have live. I didn’t care color options and thought, “What’s going to about the rolls being perfect; I just wanted look good under the lights? What’s going to make a true representation of my playing. to match my eyes?” [Laughs]. I asked my Joe was so cool to allow me to do that. It family to pick a color and they chose Ruby, was great to be able to make a record that which was my great-grandmother’s name. didn’t sound like a lot of the Rock bands It’s an awesome kit. I’ve got 10x12”, on the radio. It’s not the bands themselves, hilli ps

P 14x16”, and 16x18” toms. When I first it’s just that everyone is so focused on avid

: D : started playing, I had a rack tom and two music that is gridded and perfect. We’re redit

C floor toms like John Bonham. It was cool humans, we’re not perfect. Why should my hoto P because I learned to go from the center of drums sound perfect? For me, it’s all about my snare (doing fills) to my right. I’m a

Edge 11 ||| dwdrums.com 51 sM A g a z i n e s emotion. Black Stone Cherry has so much opened for some buddies of ours in a band kids, I wanted to make sure I was spot-on. energy live, I wanted to capture that. called, Hinder. I met Jim Chapin when I was fourteen and that flipped my wig. He had a loose . SD: Does the rest of the band focus on SD: How many people did you play for That’s why I lose a lot of sticks. He was that level of emotion, too? at Download? like, “You need to loosen your grip. Pull JFY: We try to dehydrate ourselves JFY: I think there were 45,000. We did that stick out.” It was so cool to me, so I tico torres Enough said. and vomit on the stage once per night. the main stage earlier in the day and there latched onto that. I hung out with him for [Laughs]. It’s a high-octane Rock show. It were 70,000. It was the fourth year we’ve twenty minutes at NAMM.

u ng yo doesn’t sound very good, but it looks great. played Download. There are a lot of other cool festivals in America but, as far as SD: That’s what he did. He would change SD: How would you describe the band? Rock and Roll goes, it’s over there. people’s lives at a NAMM booth. JFY: Four dudes that grew up together, JFY: The guy would walk around with very isolated from a lot of stuff. Every day SD: So, the Brits are into ? sticks all the time! after school we would go and practice in JFY: All throughout Europe and Scandinavia the house owned by my dad and uncle on and into the UK! We have so many fans SD: What does the band have planned for our farm. We were listening to all different worldwide that love us; it’s hard to wrap the coming year? kinds of music, but we weren’t in a bigger my head around it. We’re just four dudes JFY: We’re doing a record with Joe Barresi. town where there were bands playing from South Central Kentucky. It will come out at the beginning of the year. ||| john fred cherry stone black every night. We didn’t play in a lot of other He is the greatest guy ever. It’s literally like bands; it was just the four of us. We got SD: Now, your music has taken you to a working with your best friend in college, together and created Black Stone Cherry. festival stage in front of 70,000 people. but he has a way cooler basement and Our sound is Southern Rock and Roll, but JFY: We’re very fortunate. We’re the he doesn’t live with his parents! He has there are so many eclectic influences like luckiest guys in the world. We worked a great mentality about recording. He R&B, Blues, and the stuff. The really hard, but there are cats that are so wants you to do the most genuine thing style of music I play is Hard Rock and much more advanced at musicianship you possibly can. He told us that we need even though we do have some ballads, it’s and songwriting than we are. We have to make records that represent ourselves the energy of Black Stone Cherry that has chemistry. Without each other, we’re and not what anybody else wants. In really kept us going. We’re in the top five awful, but together we’re pretty good, the end, when you’re making music, you bands on the radio because right? have to make music that’s truthful. I don’t we sound different. We’ve had to build care if you’re playing a flute, a recorder, a our fan base up from the ground floor. SD: On that topic, do you practice drums drum, or if you’re singing, there is a love That’s how it used to happen in the Sixties regularly? that you have that pushes you towards and Seventies with Rock bands. The band JFY: I did a double-stroke roll for an hour music. Some people that have it either is raw and very genuine. We want to make today. That’s no lie. I literally clocked it become musicians, avid music listeners, music that is entertaining to people. We from I0:00 to 11:02. I stopped because or concertgoers. It takes that whole want to put on a show. I thought, “If I go into DW and I play circle to make one go with the other. I anything, it’s got to be really good because think that working with Joe is really cool SD: What’s on your iPod? they have some other great drummers because he has so much knowledge of JFY: Everything from Zeppelin, Lamb there!” I’m very self-conscious about my the things that he’s done. He has made of God, The Beatles, to The Stones. The playing. I want to play things that are not some great records. Our first record other night we were listening to Jamie typical. Like when you look at a deer scared us to death. My dad produced it Johnson. He’s an amazing . and it’s got a typical rack versus a non- with us and it was a learning experience Last night, I was listening to Steve Gadd. I typical one. You know which one I want! for all of us. It took us to England and it is was influenced by my uncle and I grew up [Laughs]. I want people to remember my the epitome of what we were at nineteen listening to drummers like drumming as being something different. years old, having never been outside of and Keith Moon, the greatest drummers of Kentucky. On this one, Mike made me all time. SD: Is that what you practice? Do you so comfortable because he’s an awesome practice rudiments? tech. I went in thinking, “I’m not going SD: What have been some of the favorite JFY: I try to do a lot of rudiments. I actually to be nervous about my playing. I’m just shows that you’ve played? started teaching lessons to a lot of people going to have the biggest ball I possibly JFY: We headlined the second stage at back home, which is crazy because they’re can.” Forty years from now, when I’m on Download in England. Slipknot was really teaching me because I don’t know the front porch drinking coffee, I’m going on the main stage. We took KISS’ place what I’m doing. It was great because I to be like, “Dude, that roll right there? I because they couldn’t do the show. It was brushed up on rudiments. I was in the messed that up, but it sounded bad-ass!” incredible! We started touring Europe in high school. When I and the UK in 2007. We went over and started teaching, especially to younger

©2014 Drum Workshop, Inc. All Rights Reserved. 52 Edge 11 ||| 2014 a r e ALL-NEW concept series™ HARDWARE beat ||| co n c ept BUILTa rdw H TO BE THE BEST-IN-CLASS Engineered from the ground up, the complete line of Concept Series p roduc t hardware is designed to complement the line of Concept Series™ drums, but is also the perfect upgrade to any touring or studio kit. The range of stands includes a 2-legged and 3-legged hi-hat, snare stand, straight cymbal stand, boom cymbal stand, and a throne. All of the stands feature heavy-duty steel tubing, double-braced legs and a new Concept tube joint. Both cymbal stands employ a German-engineered QuickGrip™ clamp that functions as a toothless tilter and, when combined with Concept Series™ QuickGrip™ accessories, becomes a modular system that is highly versatile. The cymbal stands can easily and inexpensively be turned in to multi- cymbal stands, percussion stands, stands, fixed hi-hat stands, and more.

The Concept Series™ snare stand is a robust workhorse that includes an offset ball-and-socket basket adjustment for exact snare placement. Both of -pulled hi-hat stands are outfitted with slotted tension adjustments and XF™ (extended) footboards. To complete the line, an all-new heavy-duty throne with a contoured, active mesh top was also added. MODULAR QuickGrip™ ACCESSORIES are the Perfect Add-On At the center of the all-new line of Concept Series™ hardware is an innovative toothless QuickGrip™ clamp that allows drummers to add mountable percussion instruments, cymbals, accessories, and even microphones, without the need for additional stands. It also gives players the ability to customize just about any existing stand in a myriad of ways. The sturdy, all-metal clamp is outfitted with a friction disc that offers infinite adjustment, while the versatile design means that the ½” factory-set clamp can be quickly and easily converted to 10.5mm by flipping over the drum key brake on either end. This means that QuickGrip™ clamps and accessories can be used with DW and PDP arms, as well as most other brands on the market today. You can now utilize the backs of cymbal arms, floor tom legs, and the top of tom arms to customize like never before. To see the full line of all-new Concept Series™ pedals, hardware, and accessories, visit: www.dwdrums.com.

54 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 55 s al s pe d beat ||| co n c ept p roduc t PDPGear Box Better Pedals for Less:What a Concept

PDP Concept Double Pedal

PDP Concept Single Pedal

Concept Series™ pedals are like no other pedal that Drum Workshop has offered in the past. Not because they utilize a new design technology or radically change the way affordable pedals are made, but because they look and act differently than what most drummers expect from a DW pedal. That said, the feel is decidedly quick and responsive like the high-end 9000 XF™ pedal while sharing some of its features, such as the offset toe-clamp, spring rocker adjustment, and extended footboard. Make no mistake, these are not traditional DW pedals, they’re part of a new breed of player-friendly products that more drummers can enjoy. The endgame is to make them smart, efficient, and durable. All of this adds up to an aesthetically and functionally fresh pedal that drummers can’t afford not to have as part of their hardware arsenal.

The pedals come in single and double models and feature the aforementioned XF™ footboard for more leverage and a greater surface area for those players that use a rocking or sliding technique. The Concept Series™ pedals also come with a low-mass Cobalt™ cam that contributes to the overall lightweight design. Other standard features include: retractable spurs, a needle bearing hinge, dual-chain drive, and more.

™ To see the full line of all-new Concept Series pedals, hardware, and accessories visit: am C ™ lt a

b

www.dwdrums.com. o C

56 Edge 11 ||| 2014 Edge 11 ||| dwdrums.com 57 We hope you’d follow us anywhere.

www.dwdrums.com s Issue 11 ||| 2014 ||| dwdrums.com s

PR2014EDGE

Top View