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of KEVIN McCARLEY (Hand-drawn by: Ralph ‘Pervert’ Corona) “ODE TO THE DRUMMER” by Phinix Risin’ Mr. Skins, Oh how the pulse must be! THE PUBLISHER’S PEN THE PUBLISHER’S PEN CALIFORNIA SONG™ Magazine “ANNIVERSARY II” Issue In Honor and Remembrance of Michelle Donna Johnson Sad to say our natural rhythm has been diluted by the machine … Computerized Tones Clicking to a beat … techno that is trapped in the mind Where has the timeless timekeeper gone? Will their tickers be wound back to original time? Oh yes, Mr. Skins where have you gone? © 2005 4 // CALIFORNIA SONG // May - June 2005 PUBLISHER / EDITOR-IN-CHIEF ADMINISTRATION Assistant to the Publisher Creative Consultant Publicity & Promotion MUSIC INDUSTRY Advisors EDITORIAL Managing Editor Contributing Editor Copy Editor Contributing Photographers ADVERTISING & MARKETING Director PRODUCTION Art Director & Digital Design Digital Pre-Press & Production Production Coordinators DISTRIBUTION Distribution Manager Assistant Manager Distribution ______________________ SAN FRANCISCO OFFICE ___________________ HOLLYWOOD OFFICE Kevin McCarley Marlow Michaels Robert Schliesmann Kristen Arcovio (silverskypublishing1@hotmail.com) ____________________________ John Braheny, Don Grierson, Arthur Hamilton, Tisha Fein, Kenny Kerner ____________________________ Tequila Mockingbird (tequilatattoo@yahoo.com) Blair Jackson Deb Pistoresi Henry Diltz, Paul Ferrere, Art Dansker, Herve Muller, Paul Picasso, Lanning Gold, Tequila Mockingbird ____________________________ Jay Eisenberg (jepub@att.net) Publishers Representative Inc. 19640 Pacific Coast Hwy. / P.O.B. 2620 Malibu, CA. 90265 Ph. (310) 317-8716 Fax (310) 571-0307 ____________________________ Lanning Gold (www.lanninggold.com) Oron Kotlizky / Tamburello Prods. LA: Kathleen R. Melrose Bob Bitchin SF: Pavel Vladimirovic Shkurkin Gary “G-Money” Wheeler ____________________________ Craig McCarley Juan Ramirez Chester Kincaid, Paul Evans, Joe Haack, Lynetta Newman, Christopher Marvin, Marcus Whiting, Josh Rich, Vernon King, Ordell Cordova, Debbie Campbell, Joshua “Bungie” McGraw 465 Stony Point Rd. Suite 240 Santa Rosa, CA. 95401 (707) 575-6727 1608 N. Cahuenga Blvd. Hollywood, CA. 90028 (310) 281-1934 Attention Bands, Managers and Publicists! Submit promo for future reviews and Freelance writers send a detailed query including subject, length, applicability and writers clips to … Tequila Mockingbird c/o California Song Magazine 6500 Yucca St. Suite 118 Hollywood, CA 90028 Subscription Correspondence Contact Jay Eisenberg at Publishers Representative Inc. (310) 317-8716 or jepub@att.net. Single Year Subscription is $25.00 Two Year Subscription is $42.00 CALIFORNIA SONG MAGAZINE www.calsong.net Table of Contents Ian Astbury & The Doors of the 21st Century An exclusive interview. by Tequila Mockingbird Strange Days A multi-chronicled, musical collage of media & memories from the minds of those who were there. by Blair Jackson Ray Manzarek The Songwriting of The Doors An exclusive interview. by Kevin McCarley Robby Krieger The Songwriting of The Doors An exclusive interview. by Kevin McCarley CALIFORNIA SONG Magazine (ISSN # 1537-2286) © 2004 McCarley Entertainment Media L.L.C. All Rights Reserved This is actual and constructive notice that no part of this magazine is to be reprinted in any form, (band press kits excluded) without expressed written consent from the publisher. All recipients of this magazine, and its contents, obtained from public distribution are entitled to two (2) issues for personal use. Any deviation for the purpose of public use/resale is a violation of applicable laws under the U.S. Copyright Act and is liable for all compensatory damages and remedies. May - June 2005 // CALIFORNIA SONG // 5 continued on page 8 6 // CALIFORNIA SONG // January - February 2005 ON THE RECORD ON THE RECORD Editor’s Letter by Tequila Mockingbird “ADVENTURES IN DRUMMERLAND” I always find the journey as sweet as the prize. This CALIFORNIA SONG drummer issue turned into a really long-suffering adventure for me even though I love drummers! When I was an under-aged wild thing in Boston, my roommate Pamela Fox Manning, told me her wild stories of Keith Moon tearing through the city. She also said he played her like a drum. I love drummers! So many personalities, manic to panic led me down this percussive path. I communicated with drummers in all media, phones, meetings, emails & smoke signals! Them jungle rhythms are driving me wild. I started by calling my friend Danny Carey, (Tool and Pygmy Love Circus) to ask him to be on the cover ? no reply. I called Bill Bateman, (The Blasters and The Blue Shadows) and he actually called me back but was leaving to go on the road with The Cramps. I called the drummer John ‘Meganut’ (Fishbone) and I told him I wanted to interview him for CALIFORNIA SONG. He told me drum lessons would be $200.00 but that I sounded sexy on the phone, so yes ? lets meet in person. Mitch Mitchell (Jimi Hendrix Experience) was a friend of the late Kim Gardner, who owned The Cat and Fiddle and who, in the 60’s, played with Eric Clapton in The Creation. Kim introduced us! Mitch was always high energy like me so he and I played music together. We then enlisted Mark Leventhal and Paul Eckman to make the (Trouble for Nora) record in 1988. We played gigs at the White Trash a Go-Go, Scream, Downtown and the Stock Exchange until Mitch left and went back to England.We needed a new drummer, so Mark introduced me to Danny Carey who joined Trouble for Nora replacing Mitch Mitchell. Then Mark convinced Danny to join his other band Green Jello. Good for them ? bad for me. I had one drummer divorce his wife, leave his band of 10 years, join my band and have a nervous breakdown. I recently had a drummer stalking me on the Internet for telling him I didn’t want him in my band. I had left it to my guitarist and bass player, who said that he had hassled them for money ? to let him down easy. It led this Neanderthal into a tirade that lasted 4 months, about how I needed prayer and he how was actively rallying other drummer rejects against me. All he got was the LAPD up his butt for harassment. File that under “Drummer Career Suicide” I did finally see Danny Carey in person, as he was sound checking at the Whisky a Go-Go. He was acting more like a demi-god than a man. I mean he was too busy to speak to me. So many drum techs so little time. Finally ? I came across more positive examples. Don Bonebrake ( X - Don Bonebrake Syncopaters and Orchestra Superstring) who is super worthy as an artist and is the boy next door and makes the world a better place. The interview took place over tea in the snooker room of the Cat and Fiddle Pub in Hollywood. Don learned to play all sorts of percussion instruments in school band and continued with them through the earlier Punk movement days and now on to his new love of jazzy Latin-gringo doodads in 2005. ‘Heavenly Trip to Hell’ (H.T.T.H.) is at the top of my new favorite band list and I try to never miss their action packed shows. They are popping up all over, touring, house parties, making the scene! Their drummer J.D. Flores is a hard hitting wild thing. I once again saw Danny Carey, face to face at a birthday party for Michael Savage. I noticed his parents were at his side. I said “Hi Danny, I still want you for the cover of CALIFORNIA SONG magazine!” Danny replied “Sorry Tequila, I’m not in promotion mode right now.” Despite so many personalities, manic to panic, them jungle rhythms still drive me wild.Drum and Bass rules the day if you march to a different drummer like me. I love drummers! ? I love them all! Henry Morgenstein (Exene Cervenka’s son) is a drummer, Stewart Copeland is a drummer, Candy Kane’s son is a drummer, Buddy Rich was a drummer.Tommy Lee is a drummer. NAME YOUR FAVORITE DRUMMER HERE___________________________________________________ They are the keepers of groove from my village to yours. And the beat goes on !!! May - June 2005 // CALIFORNIA SONG // 7 May - June 2005 // CALIFORNIA SONG // 9 Quick Quotes, Jokes and Gems from California’s Coolest Purveyors of Percussion on Global Grooves, Bomb Beats, Rockin Rhythms and Visceral Vibrations in answer to the question... Q: A: Hal Blaine The world’s most recorded drummer. “Drummers are usually considered songwriters if they wrote the song but you will find that more often than not the drummer has produced his own drum part as his major contribution to the song/project. Many drummers are great songwriters, Dennis Wilson wrote some extraordinary songs for the Beach Boys. He really was a fine pianist and he sang his parts in perfect harmony with the guys. A double threat... I feel that drummers are of course a major part of any band, and especially in a co-op band where everybody contributes ... I would say that a drummer in that capacity should certainly be deemed a songwriter.” Keith Knudsen 1948 - 2005 The Doobie Brothers “Singers rely on the feeling of the drums to put real passion into the dynamics of their delivery. I mean the emotion of their performance through the melodies and lyrics that they compose.” Michael Hossack The Doobie Brothers “If … to paraphrase Huey Lewis “ the heart of rock ‘n roll is still beatin”, then the heart of every rock n’ roll songwriter is still … the beat.” Are Drummers Songwriters?? What has 3 legs and an asshole? A drum stool! (Courtesy of Lemmy Kilmeister) Intl. Drum Month Q: A: Getting the world to groove. Not a drummer, you say? Perhaps International Drum Month championed by the Percussion Marketing Council has encouraged people of all ages, cultures and musical backgrounds to become drummers at least during the month of November every calendar year. Hey buddy, how late does the band play?” Oh, about a half beat behind the drummer.” Louis Bellson Drummer legend and teacher, who for seven decades now has advanced the study of rhythm over melody and harmony to advance the awareness to the power of the ‘groove’ element “ Yes … Drummers are definitely songwriters because of their heightened sense of rhythm. Count Basie began music as a drummer and grew into one of history’s greatest composers. While others compose with a heightened sense of ‘pitch’ using melodic and harmonic notes … composers who play drums are masters of the rhythm qualities that create the ‘phrasing’ of the notes used create the ‘dynamics’ of the beats that propel them. The rhythm of the music is what breathes life and the human spirit into any notes you choose.” Q: What do Ginger Baker and 7-11 coffee have in common? They both suck without Cream. A: 10 // CALIFORNIA SONG // May - June 2005 THE Q: A: How many drummers does it take to screw in a light bulb? Just one, so long as a roadie gets the ladder, sets it up and puts the bulb in the socket for him. Earl Palmer Rhythm & Blues / Rock n’ Roll legend. “What kind of asshole thinks a drummer can’t write a song? Louis Bellson wrote Skin Deep and Duke Ellington featured him … I almost threw my drums in the lake! All other instruments take credit, but they can’t do a thing without the drummer. It’s particularly ignorant to think one instrument is superior over another and that drums be categorized in a rigid and specific role depending on what style of music you’re playing!” J a p a n e s e Taiko Sound off your inner drum You’ll often see Rev. Tom Kurai beat the hell out of things, but you’re not likely to ever see him angry. Kurai, Abbot of the Sozenji Zen Buddist Temple in Montebello, is the founder and director of Taiko Center of Los Angeles, and the guy who thundered out part of the soundtrack to The Last Samurai and The Thin Red Line, among other films. Kurai’s way with the drum is decidedly serene, emphasizing a flow and grace of movement, rather than martial rigidity. Says Kurai, “When you play taiko, you’re not a person here drumming on a drum, you’re expressing your true self through the medium of taiko. So the sound of the taiko is not the sound on the taiko, but actually yourself. Even if you happen to be angry! Taiko Center of Los Angeles 819 S. Lincoln Ave. Monterey Park, (526) 307-3839 • www.taikocenter.com Endless California Drummer’s Summer Joey Image The Misfits “Hey, if what the drummer plays actually makes the listener feel something … that’s songwriting!” Q: If a dollar bill was lying in the center of a room, and in each corner was the Easter Bunny, Santa Claus, a drummer with good time and a drummer with bad time who would get the money? A: The drummer with bad time, since the other three don’t exist. Don Henley The Eagles “I play drums like a songwriter; I don’t do anything fancy, just play the beat and try not to get in the way. I rely on gut instinct. It’s an amazing advantage to be singer/songwriter whose instrument is drums. It’s like a blind guy-his sense of hearing and sense of touch are intensified because of his sightlessness. I just don’t think an accomplished musicianwhich has never been a pre-requisite for being a songwriter; in fact most of the good songwriters I know are not very good musicians. The song caused a big stir in the news industry. NBC called me up and Good Morning America wanted to talk to me about it. But I didn’t want to talk about it because it’s selfexplanatory. I still don’t think of myself as a songwriter. I think it’s a big joke you know; I’m embarrassed about it. Q: Why is a pizza better than a drummer? A pizza can feed a family of four! A: Mickey Hart The (Grateful) Dead & Planet Drum “I’m not just in The Grateful Dead. I don’t just play the drums. I have another world that allows me to go deeper into more arcane subjects like music and trance, ritual and rapture. I wouldn’t say they’re separate. They are very similar in some ways. I put my slant on it basically. Coming from a ritual percussion viewpoint of music, trance and healing. That’s really the thing I’ve always been interested, and that’s the thing the Grateful Dead did.” Q: How is a drum solo like a sneeze? A: You can tell it’s coming, but you can’t do anything about it. Steve Smith Vital Information & Journey “A strong sense of pride for me is in the songwriting. When I play on pop records, I almost always record by myself or to (drum) loops. Each member exudes creative control in supporting one another until the time comes to take the reigns soloing. In the compositions, everyone’s writing and contributing to the tune so that we get a collective sound that reflects the individual personalities of the musicians in the band. The diverse collection offers a consistent level of exemplary song craftsmanship recorded completely live with no overdubs. When it comes to this type of music, that’s how it should be done.” Q: A: Q: A: What’s the difference between a Punk Rock drummer and a vacuum cleaner? You have to plug one of them in before it sucks. What does a drummer use for contraception? His IQ! Alex Van Halen Van Halen “Yes, at least in my case, what makes Van Halen different than most bands is that the rhythm section is not the bass and the drums; it is the guitar and the drums. I play with the guitar and with what Ed is doing rhythmically. If you notice on all the records, it is really the drums and guitar that create the turbulence, the movement. Mike Anthony (bassist) just carries the bottom, providing the subsonic qualities. Because Ed’s guitar is very fat and what Ed plays is very intricate there’s a lot of stuff to play off of. Sometimes I accent with, sometimes against it. The rhythm that Ed does in two beats I may stretch out to two measures. And interestingly enough, he’s also very rhythmically attuned – you know, he used to be a drummer and I used to be a guitarist until we switched. The way he fits in is as a hard percussive element. Everything’s more intertwined in a Bach fugue kind of way.” Two girls are walking along when they hear... “Psst! Down here!” They both look down and see a frog sitting beside the road.The frog says to them, “Hey, if you kiss me I’ll turn into a world famous drummer and make you both rich and famous!” The two girls looked at each other, and one of them reached down and grabbed the frog and stuffed it in her pocket. The other girl said, “What did you do that for?” The first replied,“I’m not stupid. I know a talking frog is worth more than a famous drummer any day!!!” John Densmore The Doors “Drumming is part of the program in the community of the song. It helps bring people together and they can share their pain and stuff. Intrinsically, that’s what a song is supposed to do – capture a universal feeling that everyone can relate to … so, in those terms – then drummers are songwriters!” May - June 2005 // CALIFORNIA SONG // 11 Lars Ulrich Metallica “Drummers are not good prolific songwriters for the recording studio, but they are the best improvisational songwriters on the stage. They compose for the moment, in the moment, not for posterity. Drummers are the songwriters who write what they feel … not what they think.” Jon Wysocki Staind “Drummers are gauged by what they play not how they play it. To have an extensive musical vocabulary, drummers have to facilitate a variety of chops. That is done when the equipment you’re playing can keep up with your creative ideas. Always test out new drum tech … are you missing out in something that might make a big difference in what you play, how well you play it and how much you enjoy playing.” Q: Why do guitarists put drumsticks on the dash of their car? A: So they can park in the handcapped spot. Terri Lyne Carrington “Drummers have always had heart. Music stems from the heart and intellect. In songwriting, their is equality between all instruments so everyone rides together ... but the drummer is the driver.” Q: Hey, did you hear about the drummer who finished high school? Me either. A: Q: What did the professional drum mer say when he got to his job? “Would you like fries with that?” A: 12 // CALIFORNIA SONG // May - June 2005 Q: locked his keys in the car? It took him two hours to get the A: drummer out... Did you hear about the guitarist who was going to a gig and Lynn Perko Imperial Teen “In my experience, drummers should be considered songwriters if indeed they do have a hand in writing a song. To clarify, I believe when a drummer is part of a band-family, meaning not a hired musician, but a thinking, acting, speaking, idea-exchanging band member, he/she is a critical component to the musical and song-writing process. Additionally, I have found that it is not unusual for the guitarist, singer, bassist, keyboardist to come up with a melodic component, but for the song to be fully realized the drummer’s rhythm and dynamic beat can often be the “make or break” of a song. Of course, the drummer and other band-members must be open to the ideas and suggestions of each other in order for a song to reach its full potential. I’ve been in both situations in a band-family atmosphere: not getting credit, and getting credit for songwriting. Ultimately, as the songwriting and albums progressed over time, I was added as a songwriter, because my contributions could no longer be ignored. It was not an easy process and my ego definitely took some hard knocks, but in the end, every band member agreed it to be the right and just thing to do.” Q: What does the average drummer get on an IQ test? Drool. A: Tommy Lee Motley Crue & Methods of Mayhem “Drummers control the time signature. All other instruments must follow the drummer groove before any melody, harmony or key signature!” Q: How can you tell when the stage riser is level? A: The drool comes out of both sides of the drummer’s mouth. Q: How many drummers does it take to change a lightbulb? A: Twenty. One to hold the bulb and nineteen to drink until the room spins. Matt Sorum Velvet Revolver “Drummers are composers when what they play becomes a signature drum fill that is like a musical part of s song … a hook! You might have to play that same drum fill 20 times, but when it’s what’s appropriate for the song … and people remember that particular drum fill as being a big part of that song … then yes, drummers are songwriters.” Q: A: How many drummers does it take to change a light bulb? One, but only after asking “Why?” DON BONEBRAKE OF “X By Tequila Mockingbird I met “X” in 1979, when I worked at a store called Raconteur on Santa Monica and Curson. I collected plaid shirts, Haus- Frau dresses and Chinese dinner jackets, all of which I sold at our store. I would also take some to Raconteur and then I would go and knock on Exene, John, and Billy Zoom’s apartment across the street. All three lived in a one-room apartment. Poet and songwriter, Exene and John, jumped head first into the early punk revolt Exene told me John asked to use her lyrics and poetry and she replied “I’ll sing my lyrics along with you.” “X” was born in the midst of Venice California’s post-Jim Morrison poetry circle. Those were the days of coffee house merriment. Punks were writing, raging and reading Slash Magazine We was slamming, not moshing, playing records and cassettes not CD’s and MP3’s. We were a s m a l l - c i r c l e, playing a new kind of music, and we knew it. I was booking New Wave Theatre, putting X, Black Flag, The Gears, Circle Jerks, a young Anthony and a younger Flea, on Night Flight nationwide on cable not long before the Decline of Western Civilization and before MTV. We changed music in a slow process that swallowed our youth and fed our dreams. Eventually, Ray Manzarek, played organ in the bands early days on their records. Ray produced many of “X’s” early albums and attended their first gig at the Whisky. Exene’s sister had been killed in a hit and run accident that night. I had met Exene’s sister and interviewed her about her movie Ecstatic Stigmatic. She was a ray of light. They never found her murderer, may they burn in a living hell. Exene still had to play so she got drunk. The drunkenness of pain and truth touched everyone in the room. I know...I felt it. The music of the time was mostly post-disco, just like today. A world of mindless dullards filled the charts. The undergrounders played at the Cathay De Grande, ate at the original Oki-Dog, hung out till the morning at the Zero, One Gallery and C.A.S.H Don has been with “X” since their inception in 1978 when he met John Doe at the Masque. When Don was playing with “The EYES”, “X” had a famous ad in Slash Magazine, ’WE NEED A GODDAMN DRUMMER!” I didn’t see that ad, but he approached me, and drummers being whores in a way, they play with everyone, they’re really flaky or they’re really good and other variations! He is a part time drum teacher full-time dad. I tell him a few and asked him to tell me his advice for drummers. Don said, “ Take it seriously and practice a lot but there are practical things to do in music like meeting people and showing up on time and networking. There are a number of years where you just sit in your room and drum, there’s a period when you start playing with people, and there’s another period where you have to get out in the real world and make some phone calls or do business. You take it a step at a time. I would say be aware, don’t shirk responsibility.” Don and I lunched at the Cat and Fiddle Restaurant. He tells me about his upcoming gigs with “X” and his ongoing independent music projects. He gives me a CD of “Orchestra Superstring”, on Dionysus Records and is Don’s smooth Latin jazzy dance operation. He plays, writes songs, arranges, charts … he’s a musical percussionary superman! I asked him to spell the name of his other band, the “Syncopaters”. He spells it out, crinkled brow, sounding it out, spelling bee style. Tequila Mockingbird: “When did you get your first set of drums?” Don Bonebrake: I got my first set when I was 15. I started playing officially when I was 12. That’s when I started taking lessons. I hit things before that. I hit Frisbees and basketballs. I started out on drums, but that’s to the unified school system. I joined the school orchestra and they would say this week you’re going to play Tympani and I’d think wow, now I know 2 percussion instruments, I have to keep this thing in tune? Hello!!! I also played in community orchestra’s, like the Valley Youth Orchestra, Cal Arts Youth Orchestra and the North Hollywood High School Band and Orchestra. When you play in an orchestra, you have to play Mallets, Vibes, Marimbas and Xylophones, so I started taking lessons when I was 18. I took lessons from Earl Hatch for about a year.Then I became the resident Rock and Roll Vibes and Marimba player around town. I used to play with Geza X and the Flesheaters. I started playing jazz about 7 years ago. TM:What kind of drums do you use? DB:Lately I’ve been using Mapex Drums. TM:Can you spell that for me? DB:M-A-P-E-X that Mapex! I use Zildjian sticks and Zildjian cymbals. He spells it to me like a school cheerleader and I ‘m laughing pretty hard by now. TM:So tell me your Buddy Rich joke. DB:No, you tell me the one you heard. TM:The one I heard Buddy Rich was on the Tonight show with Johnny Carson. He had just had some kind of surgery or whatever and Johnny sez, “Hey Buddy, you’re not still smoking that stuff, are you?” And Buddy sez, ”Yeah and it’s getting expensive too!” DB:Buddy was back stage at the Tonight show and this drummer came up to him and said, “Oh Buddy, I think you’re the greatest drummer ever, why don’t you give me some drum tips” and Buddy said, “ FUCK OFF!” After the show he came up to Buddy and asked him again. Buddy said, “Well, awright. Practice, Practice, Practice and FUCK OFF.” FINIS May - June 2005 // CALIFORNIA SONG // 13 Groove Up: Drums and Electronica By Donny Gruendler Many of today’s Pop, R&B, Synth Pop and Hip Hop songs are created from the ground up –with a DJ or Producer providing the entire programmed (or looped) drum pattern. Thus, many drum set players feel that they do not have enough knowledge of electronic music (or the production skills) to utilize these modern groove elements in their compositions or performances. Therefore, (in hopes of remedying this situation) this article will discuss the main genres of Electronic Music, components of each groove and how to perform with these elements in a live setting. The mainstream rise of Electronic Music: a brief Background With the explosive growth of computers music technology and consequent reduction in the cost of equipment in the early 1990s, it became possible for a wider number of musicians to utilize, write and produce electronic music. With the advent of these new and widely accessible recording systems, it became possible for any home computer to now function as virtual recording studio. This economic (and musical) trend led to the formation of many “electronic bands” that often consisted of one or two people that created fully fleshed out compositions on a home computer. Subsequently, these newly formed groups were placed in to a new category of Genre that now embodied all of the electronic/dance/computer music styles: Electronica In the late 1990s, Fatboy Slim, Moby, the Chemical Brothers, Crystal Method, and Underworld became commercially successfully under this new “Electronica” banner and even influenced Pop Icon Madonna’s extremely popular Ray of Light CD. All of this helped expose Electronica music to the masses. Soon after Madonna’s CD, electronic music of this period began to be produced with a much higher budget, more layers, and with glossy production values than previous forms of dance music (since it was backed by major record labels as the “next big thing”). Modern Mainstream Electronica now focused on “songs’ and it combined traditional acoustic instruments with its electronic predecessors. These key elements often separated musicians working in this genre from the more straight-ahead (and one dimensional) computer only styles of electronic House, Techno, Jungle, Drum N’ Bass and Breakbeat. Therefore, Electronica was now part of the Mainstream and allowed into a Songwriters tool box. Hybrid Grooves: Compositional techniques of Electronica. Let’s remember that Electronica is a musical Collage and ultimately a juxtaposition of many different electronic styles and acoustic treatments. Thus, it combines many different electronic grooves and acoustic instruments into one new hybrid genre. Therefore, this ideology is perfect for drum set players and songwriters that wish to utilize these elements within their existing playing and compositional vocabulary. In order to integrate these textures into our musical language, we will now take a look at many of the individual traditional electronic groove styles. (It will then be up to you to combine and integrate them into your compositional work – go to work and make your own Electronica Hybrid!) House House music refers to the electronic dance music, of the early- to mid- 1980s.The common element of most house music is a relentless 4/4 Bass drum pattern on every quarter note that is united with an electronically generated bass line. Upon this foundation you can add electronically generated sounds and samples from of music such as: jazz, blues, soul and synth pop. Ultimately, it is a fusion of 70’s disco and 80’s breakdancing music that’s roots are found in sampling and sequencing. (Later found in Hip-Hop.) EX: The main groove is 8th notes and depending on the exact tempo – you can “sprinkle” some 16th note partials for syncopation. Techno Techno features an abundance of percussive, synthetic sounds and studio effects that are used as principal instrumentation. The techno musician treats the studio as one large, complex instrument: an interconnected orchestra of machines, each producing timbres that are at once familiar and alien The music itself is mainly instrumental and relatively atonal (often without a discernible melody or bass line. In addition, the groove consists of a cleverly programmed drum pattern that is in the 130-140 bpm range. Rather than creating many different patterns, the producer varies the groove by bringing 16 // CALIFORNIA SONG // May - June 2005 the layers of effects in and out of the mix. Therefore, creating an ever-more hypnotic, propulsive environment, so that it’s not clear where the instrument’s timbres end and the effects begin. EX: Techno is usually 16th notes that are extremely even and that sound machine like. Breakbeat A Break Beat is a section in a record (or CD) where the drums are the only instrument playing. DJ’s and producers usually take this section and sample it. Then they take this sample and loop it – it is usually the basis for a new compositions groove. Think of James Brown’s Sex Machine looped and sped up. In addition, Breakbeat is also become blanket term (like Electronica) that refers to both Drum N Bass and Jungle grooves. Drum N Bass The use of a Breakbeat loop or loop fragment is what loosely defines the music as drum and bass. Generally speaking, this rhythm stripped down to its raw bones is played using a kick drum sound a snare, HiHat and a Reggae Bass line. Drum and bass tends to be dark in tone, texture and there are very few variations or breaks in the groove. The usual tempo is somewhere between 160 - 180 beats per minute. Jungle Jungle is another variation in Breakbeat. Its name stems from its origins — a rough area in Kingston, Jamaica originally known as Concrete Jungle. It was likely named after this area due to the harshness or roughness of the beats and rhythm. Jungle incorporates highly programmed and complex beats running between tempos 150- 190 BPM and then layers Breakbeats on top of them. In addition, Jungle borrows samples and styles from almost any type of music, assimilating them and bringing them into a completely different context. Unlike Drum N Bass, Jungle is extremely dense in texture and it frequently makes use of various cuts and breaks in order to keep the dancing audience from becoming bored and losing energy. Integrating these grooves into your Drum set playing Okay, we now understand how these grooves function within the Electronica realm. How do we incorporate these loops with our drum kit and function with them in a live setting? Well, let’s move our thinking back into “drumistic terms”. Just as your musical influences, drums, drumheads, and cymbals help shape your sound - the use of Electronica Grooves, loops, and Breakbeats will not only shape your sound; but your overall compositional and group sound as well. Essentially, the loop will now be functioning as the non-listening - extra member in your band. Therefore, when you are performing with a loop – the tempo, feel, momentum and note choice that you use to blend with the loop are extremely important (AND INTENSIFIED) focal points. So to that end, I have compiled the four essential thoughts that you MUST consider every time you sit down and play with a loop: 1. A Click Track Provides ONLY Tempo Information. Pay close attention to this fact. 2. Loops provide Tempo Information AND Feel Information. Therefore, what is the feel/texture of the feel of the loop? Is it 4/4 or 12/8? Does it have a straight or swung feel? Is the snare behind the beat? Etc... These factors will determine how well you line up and blend with the loop. Do not overlook small details!! 3. Keep the Momentum! Loops are used for adding relentless drive to a track or live performance. Therefore, we as drummers cannot disrupt that energy with fills/note choices that disrupt or distract the listener from that momentum. This does NOT mean that you cannot play fills and must sound stiff. However, when you attempt to play fills, keep in mind that the audience does not realize (or care) that you are performing with loops. Therefore, you should strive to blend your parts (and fills) with the loop. 1. So How can you blend with the loop and keep the momentum going – in addition to playing a great transition fill? Well, what item is present in almost every electronic drum groove? Answer: The Backbeat! So every time you fill – it should include the back beat in some shape or form. All extra notes should be within melody and groove of the loop. 2. In addition, it would also be more appropriate to keep your fills short in length. A fill that is one measure or more – can definitely detract from the overall cumulative groove. Therefore, it would be more advantageous to play fills that are one or two beats in duration. 3. Note choice is important too. Fills that are on the Hi Hat/cymbals are also less likely to detract from the loop. Stay away from the snare during fills (unless it is to play the backbeat). Here is one basic idea on how to keep the backbeat going within a fill 4. Choose tones and tunings that blend well with the loop. Compliment the loop – DO NOT detract from it (it is there for a reason). Example: What frequencies are present on the loop? If the loop is FULL of high frequencies; but lacks low end – then it is our job to compliment the loop with lower voices on the kit. Compliment the loop – If the loop is playing tons of Bass drum notes – then we should play fewer notes. Thus, we are adding (rather than detracting) from the overall sound of the cumulative drum part. Conclusion Electronica is now part of today’s musical mainstream and its textures are here to stay. If you utilize them creatively and correctly in your playing and compositions - who knows what doors may open to you? An artist might call you BECAUSE you can compose something fresh and different for them. Furthermore (as a drum set player), a band leader may call you because you can bring something original and sonically interesting to their live show. Imagine creating your own signature sounds, palettes, loops, Breakbeats and Hybrid Electronic grooves. These trademarks would be inherently you and only speak from your playing and compositions. People would have to call you for these items - you would then be irreplaceable in this context. As always, when you dive into new realms — study diligently and be patient. In addition to this article, please look to famous drummers who use some of these approaches, read magazines, surf related websites, and talk to individuals who are already knowledgeable in these matters. Get to work! Electronic Music Genres by Category Contemporary electronic music includes many different styles, categories and musical sub genres. Many electronic music experts believe that identifying all the various terminologies often lead new listeners to become confused with (and discouraged about) the style. Furthermore, many think that this is the reason that Electronic music has not caught in America – like it has in Europe. However, here is an in depth list of the most prevalent styles: Ambient Ambient groove Illbient Organic ambient Isolationist Breakbeat 2Step also known as Speed garage Breakbeat hardcore Breakcore Brokenbeat Drill and bass Drum and bass Jungle Downtempo Nu jazz Trip hop (aka the “Bristol Sound”) Electro Electronica Big beat Intelligent dance music (IDM) Hardcore 4-beat Gabba Happy hardcore Freeform hardcore House Acid house Chicago house Deep house Freestyle house Garage Ghetto house Hard house Hip house Microhouse Progressive house Tech house Vocal house Industrial Musique concrète Electronic body music (EBM) Old-school EBM Synth pop Electroclash (late 1990s, early 2000s version) Electropop (1980s incarnation) Synthpunk Futurepop Bitpop Chip music Glitch Miami Bass New Age Techno Hardcore techno Noise Detroit techno Freetekno Ghettotech Trance Hard trance Goa trance Melodic trance Minimalist trance Progressive trance Psychedelic trance May - June 2005 // CALIFORNIA SONG // 17 STEWART An EXCLUSIVE interview with Police drummer and founder - “Rock n’ Roll Hall of Fame” honoree - accomplished film & TV composer & the definitive rhythmic master of rock, reggae & the realities of making music! b y Ke vin COPELAND McCarley CalSong: I want to speak to you on how drummers can also use their abilities to influence better band songwriting. Most people know the joke that every GREAT band always has at least “Three musicians ... and a drummer.” Stewart Copeland: You know how the drummer got fired from his last band? He said, “Hey guys, I just wrote a song!” CSong: I’ve heard that one too. It’s kind of relavent. Drummers are the ‘Rodney Dangerfield’ of music jokes … they get no respect. How important to you is the ‘Groove’ element in songwriting terms of the equation with the melodic and harmonic songwriting elements? SC: The groove is a part of the envelope in which the song goes. The melody might have a rhythm, but it’s expressed within the melody not the accompanying drum rhythm. Drums are an accompanying instrument. That’s sort of how I feel philosophically about it even though the drums are my instrument, but legally it’s also the case when it comes to copyright. Like Bob Marley’s songs - where the Reggae bassline counts as the contrapuntal melody in the main composition but legally doesn’t count - the vocal melody counts as “The Song.” Everything else is considered the arrangement. It’s a bane for the drummer. Kids tell me all the time “I want to take up the drums.” I tell them get on the mike! CSong: Be the lead singer and your picture is on the cover. Why do they put drummers in the background? Is that a deliberate or sub-conscious thing? SC: It’s easy to put the singer up there, it’s what people are interested in. If he’s got a pretty face it’s in the interest of the band to put their front person out front. People like the concept of the band but also want to know who the guy is whose voice they hear. 20 // CALIFORNIA SONG // May - June 2005 Every instrument talks to a different part of the brain - the body if you like. It’s subliminal, and just as important, but it’s not the conscious part of what you’re listening to. CSong: Still the drums, from being just one subconscious element that you could possibly take away … would be the SAME one that you’d miss the most. SC: It’s like “Amazing Grace” doesn’t need drums. It’s emotionally very moving. CSong: Well that’s true in the sense that it creates it’s own drama. The dramatic elements are within the piano and the vocal. I’m trying to show how important drums are to the songwriting process in creating equally substantial dramatic elements for the music. SC: Arrangement is very important. It can make or break a song. “I Did It My Way” wasn’t a hit until Sinatra did it his way. So arrangement is very important to the success of a given recording and that’s why they pay the royalties to the musicians. But as far as the composition, it’s a whole different animal. CSong: Sure, in terms of the legal aspects. SC: Not just the legal aspects. Philosophically it took me a long time to learn this as a drummer. I didn’t get it at first but then I finally did. I’ve played with bands that didn’t have great material but had great musicians AND played with bands that did have great material with not so great musicians. Those bands would connect in different ways … but, bands without great material mostly just connect with each other, rather than with the listeners. CSong: It’s more substance than style. SC: What it is that you’re playing, what it is that you’re saying with your instrument, which is what the ‘written composition’ is, is a different animal from how you say it, in conjunction with the other individual instruments, which is what the ‘song’ is … the telling of the story. CSong: Certainly. Reggae music, for example, I’m trying to equate in the same way that Reggae music has the three distinctively separate melodic, harmonic, and groove elements, but it’s not a ‘song’ if you take any one of the components away. SC: Well that’s very much more so in Reggae. If you take away the groove component, meaning it’s unique musical style of storytelling, then it isn’t Reggae anymore, but it’s still a song. CSong: Specifically how, for yourself as a drummer, has playing Reggae music changed the way you think as a composer? SC: It’s taught me the value of holes (gaps) in the music.You can create a rhythm with a bassline that makes you feel like ... huh you just drove on a road and it suddenly goes up like a humpback and down the other side and you feel whoa! a total visceral sensation, not just in your mind but as a body rush! CSong: Sure peaks and valleys. SC: Well you can do that with a bassline by leaving that little hole, that little feeling that you’re falling into a space. That’s kind of a trick of the Reggae bassline and that can be applied to all kinds of music that ‘drop beat’. CSong: Tell me why the upbeat of the rhythm guitar is crucial to the Reggae synergy? SC: ‘Cause it’s the constant. CSong: So. It doesn’t really become Reggae music until that upbeat guitar is present in the dialogue between the bass guitar and the kick drum. SC: Yeah, and the ONLY way that the bass achieves those holes is to have a ‘fixed rhythm’ consistently playing over and around it with such a momentum that when you drop a note, you don’t stumble ... you fly right over the gap, you feel it … as does the listener! It’s one of the main functions of guitars in Reggae music to indicate the continuity of the rhythm, because the drums are very un-constant. The Reggae drummer is continued on page 26 like playing a solo. He’s always playing drum fills, always playing out drum fills both that start early and end late, much more than in rock and roll. The Reggae drummer is playing far more chops easily. The consistent seam of Reggae music rhythms is in that guitar chop. CSong: It’s like taking the publicly perceived function of the instruments and flipping them. SC: The drummer decorates it rather than the other way around. CSong: Right, so it’s the Reggae guitar player who is designated the ‘timekeeper’ amongst the other musicians. SC: He’s the guy who indicates the pulse, so that they can go after the 1 and know where it’s going to be. The guitarist, of course, doesn’t play the 1. In Reggae, the consistent factor is the upbeat rather than the downbeat. That’s the thing about Reggae that’s so cool. Part of the Reggae dance is the stumbling. CSong: Sure, so Reggae guitar keeps the groove in full momentum. Doesn’t that open up new ways and ideas for composing songs specifically written by drums and bass? SC: Rock music has been based on 4/4 time with the ‘back beat’ on the 2 + the 4 forever! That ‘backbeat’ has been there through many different generations of music from Pop to Swing to Ragtime. Reggae is the first popular music to really do away with that and turn it completely around. And then there have been other rhythmic revelations with everything that’s spawned from that. It’s just a different way of breaking up the rhythm. Reggae broke the log jam that people have been dancing to for over 50, 60, 70 years or more. Once Reggae turned it upside down, kids were able to cut music up any which way. It popped the bubble of thinking in terms of ‘back beat’ which is amazingly present in the widest variety of music from Country, Rock, Jazz, Funk, Folk and Pop. It’s there in everything! CSong: Until Reggae music turned it around completely simply by turning around the traditional role and function of each instrument in the band. SC: So then it kind of gives new invention to the way you can use it. The other thing is ‘Ska’ which got us to ‘Four on the Floor’, which is related to ‘Beatbox’. These beats and rhythms weren’t used so much in other different kinds of music, but dance people knew. It’s a primal thing. Then the ‘Song’ is like a springtime flower garden in full bloom, but the rhythm is the year round seed under ground. CSong: Yeah, like the hundred million years of human evolutionary DNA that biologically inspires the primal urge in young males to dance with young females. Psychologically, it’s an element that can’t be removed. Just like the ‘groove’, as one of the three musical elements of songwriting, is psychologically used much more than the melodic or harmonic elements in a very subliminal way and its effect upon the listener becomes so much more powerful than the other two in what can be emotionally achieved. Do you agree with that? SC: It’s a combination. I think I’ve got two unrelated musical brains. There’s this ‘composer guy’ and there’s this drummer guy. Pretty much I spend my time as a composer guy. When I get behind the drums this other guy takes over and it’s a completely different experience of music and a different way of listening, a different way of participating in it and it’s a different place on the musical landscape of whatever is being performed. CSong: I understand. Interesting that the one thing that keeps coming up here is the collaborative aspects - the elements combined together to create a synergy and that’s really the definition of Reggae music encapsulated isn’t it? SC: Yeah. CSong: A lot of the focus of what I’m trying to do here is determine with that pre-conceived notion, how thinking like a drummer … affects your approach to composing? SC: It doesn’t at all. CSong: Not at all? SC: Not at all, the only way it does is when I’m entering notes on my midi keyboard, I might be able to play a more rhythmic pattern as I’m entering the notes because my hands are trained that way but that’s really all. When I, as the ‘composer guy’, write the rhythm drum parts for my music … very often later I’ll sit down at the drums and say wow that’s a really awkward part. I, as a drummer, would never have come up with a rhythmic sequence like that in a rock or reggae band! CSong: Ok, but doesn’t it also work in reverse - that drummers might contribute to something in a way keyboard players might not have thought of ... I read once that you said, when programming electronic drum sequences, a drummer should play all the rhythm breaks and electronic beats for the recording, not the keyboard players, because drummers instinctively know how to set up tension and release inherent in any dramatic work. SC: No, that’s not the reason that I said that. I didn’t say that because drummers can assume to be better at it - I said it because they better get their hands on that box ‘cause if they don’t ... someone else will. CSong: It ends up suffering. SC: It actually is true that keyboard players don’t play rhythms as well as drummers. Drummers know the nuances of relative volumes for each note of the 16th note patterns. That language of the high hat has these little accents and the drummer listens to that and soaks all that up. Those synapses are well developed and cognition is deep on those issues. So when they’re programming rhythms, they’re just more finely attuned to that kind of stuff and generally have deeper rhythmic texture. Total resolution of cognition to rhythmic issues. The keyboard player however thinks melodically and manages those synapses from within the brain cells so cognition of rhythmic nuances aren’t as deep. Sounds like I’ve got a PHD don’t it? Actually, I’m just making this up. CSong: Still, there’s some basis in fact as to why drummers are more efficient in setting up the elements in a song more so than other instruments - like the definable changes within verses and choruses. Drummers really know how to give it a ‘set up’ for the punch. I think that drummers’ contributions to songwriting, not traditional songwriting, but again as synergy working toward creating the whole of a song ... that drummers contribute so much more than they get credit for. SC: Let me tell you something. When bands come up with a track there in the rehearsal room and come up with this really cool riff and the drummer is gonna play the ‘rhythm’ of the riff, they divide it up three ways. Secretly the guitarist is saying, “Wait a minute, I wrote the riff! What part of that was written on the drums? No part of it. I wrote a riff, the bass player copied it - we were both playing the riff I wrote, but I’m actually splitting it with these two guys.” The drummer is playing the same rhythm he’s played in the last four songs, basically kick-snare-backbeat and the same thing he’s played in the last song is the same contribution to this song, yet he gets a third of it! CSong: Yes, sure but maybe that basic kicksnare- backbeat is what people liked about the last four songs. That’s what continued on page 27 May - June 2005 // CALIFORNIA SONG // 21 makes the people want to dance and once they’re doing that, they’re liking the record! By then it’s become the crucial difference between subliminally liking a song, or not liking it, and if enough people subliminally like the last four songs, it’s a HIT ALBUM! SC: Still, it’s kind of hard to argue with the guitarist really when the riff is “be be ba be ba ba be” and the band goes along with it because they semi recognize it BUT ... if he came up with that melodic guitar riff because the drummer was doing the rhythmic riff and it inspired that melodic guitar riff - Ok, give it up. Oh, but the other injustice, which you just have to get over, is the issue of the lyrics. The guy on the microphone gets to write the lyrics. You’re the singer and you get to sing the song, then you get to decide whether the moon is June or blue or swoon or spew or this other. Other band members could write a whole story, write the most beautiful sonnet and the singer ain’t gonna sing it. He’s going to sing words that come into his head and the song royalty goes to the guy who wrote the lyric, which is usually the guy on the mike. CSong: It’s the singer. So that’s why you said “Don’t play the drums, get on the mike!” SC: Exactly, so the guy that came up with “da da di da di” has to split his thing three ways, whereas the guy who came up with the lyrics at the last minute, he wasn’t even at that jam session - but he, at the last minute came up with something “Oh, baby I got to have your love - a hunka hunka hunk” in ten minutes, and he gets half the song. That’s a bitch! CSong: I understand the legalities; so why not play drums AND be the singer like Don Henley or Phil Collins. The trouble is they usually end up leaving drums and just want to be singers. SC: I never noticed Don Henley’s drumming one way or another. The Eagles’ records always had a good beat - nothing wrong there and that makes him an excellent drummer whether or not he stood out. Phil Collins was kind of a star drummer when he played the drums BUT his drumming became much more watered down when he sang. He wasn’t as exciting as a drummer when he was busy singing. He was actually a slick drummer, but then he became his own accompanist when his vocals took precedent in the music, which is where Phil Collins is at. It kinda voids him out. For me … even though I’m now the daytime job composer guy … I play the drums more exuberantly and with more abandon and with more rebellion and with more blast than ever. It had the opposite effect on me. CSong: Power to you! I get the feeling that your whole focus is in being able to achieve the most, using the least, in terms of drumming and songwriting. Is that a philosophy that you subscribe to? SC: It’s a philosophy I put great value in ... but seldom remember to apply it to my own work. I write more notes and I still love it so much I write a bunch more notes and then I add layer upon layer. I’m probably guilty that the music that I write is too complicated and when I play the drums, its not that less is more, it’s just that sometimes I feel that space. It’s really an instinctive thing. Maybe that minimalistic playing, or the ‘not playing’, is what really defines how cool it is. Was it Hayden or Mozart who was quoted as saying, “Music is the silence between the notes.” That’s where the real spirit of music is for me. CSong: Here’s an interesting concept. As a drummer more than a guitarist or keyboard player, you’re very aware of the use of ‘sub-division’ where every appendage is autonomously doing something different. So can you mentally manifest that concept and BE THE COMPOSER of arrangements within a song? SC: Kind of interesting ‘cause on the drums each hand is playing a different instrument. On a guitar, both hands are affecting the same string so one note is affected by both hands. Although on the piano each hand is playing different parts of the same instrument, they’re independent and nothing the right hand does affects the tune, timbre or quality of the left hand, so they’re going to work together in the same way. CSong: Like a drummer … who uses the footpedals so that both their legs and arms are of function. A set of four musicians would represent each individual appendage and would also be doing a specific ‘sub-division’ within the song AND all those parts together create a ‘Whole’ ... AND as a drummer ... does that instinctively give you an advantage in writing and arranging music? SC: Yeah, but does hitting a different inanimate object with all four appendages make the drummer an arranger? No, because it’s not actually four instruments, one at the end of each appendage. They’re all combining as much as possible, as much as the drummer is able, to one entity, one musical factor, one musical element. It’s not the kick, it’s not the snare; it’s not the high-hat; it’s not the ride cymbal; it’s the way they’re working toward one result, which is ‘The Drums.’
CSong: The same with songwriting. It’s not the guitar, it’s not the drummer and it’s not the bass, it’s the way they’re working toward one result, which is ‘The Song.’
SC: OK, OK ...You got me here! Give me a minute ... I know you’re right, but I don’t see any advantage in this viewpoint. I think you’ve spotted something interesting there, but I’m not sure that that makes drummers better arrangers.
CSong: Maybe they’re not aware of it, but it’s their own innate ability to think in four different directions at once.
SC: Yeah, I needed to brush my hair while buttoning my shirt and changing my socks and zipping my pants … that’s an instance of what you’re talking about, but a drummer, just because he owns and controls four different instruments, does not make him a good composer or arranger!
CSong: I just said it gives him an advantage. SC: Well, they have an advantage because they get laid more! CSong: (Laugh) I just thought it was because they were more attuned to the idea of ‘sub-division’, because I’m trying to find a way that drummers can actually get some respect and become known as legitimate songwriters.
SC: There’s some dignity here. I really appreciate that!
EDITOR’S NOTE: Proving there is life after ‘The RockStar’… Part II of this STEWART COPELAND interview delves extensively into his film and TV composing career in the upcoming “REEL COMPOSERS” issue of CALIFORNIA SONG™ magazine.

May - June 2005 // CALIFORNIA SONG // 23

Great ‘UnderGround Sound’
Keyboards - Vicki Vicious
Vocal - Gerardo Christ
Bass - Sergio Natas
Guitar - Scott C.
Batteria - J.D. Flores

‘MEET J.D.’
By Tequila Mockingbird
I had seen this drummer with his red Mohawk in the dark of the Boardners bar before, but never spoken to him. My friendly bartender at Boardners is Forrest, who’s rather proper and resembles Clark Gable. He told me to go to the Lingerie Club to see H*T*T*H* where down at the front of the stage there’s always a crowd of punk kids, just happy to be somewhere cool together... the way it use to be, just like it always was. When this ‘Drummers’ issue came up, I decided no one hit harder than J.D. Flores! He’s not a big man, but he’s a strong man of Latin descent. His hair is fire red and black. He looks like a cross between Rudolph Valentino and Robert Downey Jr. His eyes are super large and filled with stories. He was the 10th drummer for H*T*T*H* but they all swear... he’s their best. I’d also seen the rest of the band and had grown fond of their political metal rock style.
J.D. and I drove to Long Beach so I could witness a rehearsal. Along the way, he plays the wheel of his car to Prince’s ‘Musicology’ album. He sez “It’s the bomb!” Tequila Mockingbird : “What’s your story and how did you get here?”
J.D. Flores: “I was born in Corpus Christi, Texas and I moved to Hollywood in 1986-87 with a band.We were about to sign to Metal Blade Records, but things got all screwed up, so let’s not talk about the past. I was in so many bands where the singers called the shots! You need a team to succeed and that is what most bands don’t realize. H*T*T*H* does understand and works as a team. This is the band that’s important to me now.”
TM: “What kind of drums do you use?”
J.D. : “I use one set of Monster Puke Green Sonor and one set of Black D.W. drums. I also use Sabian Cymbals and Vic Firth sticks. They’re fucking awesome! I got my first drum set when I was 9 or 10 years old and I would stay up late just to watch Buddy Rich play drums on Johnny Carson. I also liked Pierre Van Der Linden of Focus, Don Brewer of Grand Funk Railroad and Ian Paice from Deep Purple. I was in my first band at 12 years of age.Yes, I always liked it hard and fast.”
TM: “I think this is a massively awesome band and I love that H*T*T*H* has great songs, which is the #1 most important thing, as well as an original style and philosophy and a look at ghetto-metal political resurrection unlike anyone else I’ve seen or heard.”
J.D.: “In rehearsal, we listen to each other. We are very democratic and work on the songs together.We played the Voodoo Fest in New Orleans! We already played two Vampire Bazaars in a row for the Ultra Hip in Hollywood.”
TM: “Drummer’s have a notorious reputation for being party animals but you seem to take good care of yourself ? do you?”
J.D.: “I drink a lot. I admit to being vain so it might look like I take good care of myself, but I don’t. Still don’t get me wrong because with H*T*T*H* ? I really have a good time.”
TM: “The tightest gig recently was at the Club Vodka, and with the help of your pal, Juan F. Leon, the stage and props were out of this world! That night I noticed H*T*T*H* had many very devoted fans.
J.D.: “There were a lot of hot girls from every walk of life climbing on stage to dance to our song ‘Psalm 69’. They knocked my drums all over the stage, fell over the amps, fell on their ass and all over each other. They laughed and danced and danced some more. When I’m playing ‘Psalm 69’ ? I use the old Buddy Rich elbow lick I learned as a child. What’s old is new again!”
TM: “Tell me a drummer joke.”
J.D.: “Why are drummers like Rodney Dangerfield? They just can’t get no respect.” Info available at www.htth.net “Welcome to the Fire” was released on DVD on March 5th at Bar Sinister, Hollywood. Also available at ‘No Regrets’ located at 511 North Pine St. Long Beach, CA. FINIS

May - June 2005 // CALIFORNIA SONG // 27

PRINCESS KUBANA (THE LAST DONNA) PRINCESS KUBANA (THE LAST DONNA)

(Hand-drawn by: Ralph ‘Pervert’ Corona) BIGG SIXX • LA Hot Talents We live in the multi-cultural State of California filled with all types of cool musical stylings. In this ‘Groove’ issue, and many more to come we, well me, will give it up to our local rappers and R&B artists in both So Cal and No Cal. You can pretty much go anywhere and find a would-be rapper, but it takes real talent to flow and to take a stand by putting their flows on paper. One excellent talent is Bigg Sixx! He’s been around for years and has much to offer. A lot of LA’s locals are by far ready for the “big changes” but find it difficult to get the recognition much deserved while a fresh hot sound is freely flowing from his mike, he is still unsigned. Go catch up with him and his stylings while you still can. The first coming of Bigg Sixx was in the late 90’s with fellow rhythm masters JB, Silk and Jewel known as “Lost Souls” collectively. The song, “So Much Drama” really defines their ‘Gangsta’ rap style highlighted by the deft use of samples and effects. It encapsulates the rap sound era circa 1997 but delivers the clues that these innovative rap stars are highly creative artists. The precision of the records production is perfectly balanced along side the streamlined flow of the composition and its expert craftsmanship. Bigg Sixx, although still … one member in a group of four, demonstrated his contributions in “So Much Drama”. Bigg Sixx was the creative member you couldn’t delete from the equation. It proves just how integral Bigg Sixx was to the sound and image of Lost Souls. In second coming, a very unique rap styling and original lyrics are what set him aside from the crowd. Bigg Sixx is ready as an artist and solo performer to become The Soundtrack to the life! This is California Song™ magazine’s prediction of a major label deal for Bigg Sixx in 2005 and Rap Superstar by 2007! (YOU HEARD IT HERE FIRST!) He’s been Rap’n since 1997 and been writing three to four complete rhymes a day ever since. It really showed in the tracks I heard for the coming

14 // CALIFORNIA SONG // May - June 2005

• BIGG SIXX album. It flexed a real depth of emotion, range and content. The lyrical devices Bigg Sixx uses to tell his story (stories), for me have set the standard for Rap that’s hard and hypnotic. Sadly about only 10% of Rap and Hip Hop radio heard around the globe on a daily basis can’t even come close to the Rap genius of Bigg Sixx. It’s all in the point of view and the performance on record that makes this music work to his advantage. It’s also the fact that Bigg Sixx starts his workday at 6 am! He talked to CalSong Mag at 7 am and gave this interview over coffee.
Bigg Sixx: I was writing to a different track last night but I got up this morning and listened to this track and found I was flowing the lyrics a little easier.
CalSong:
BS: I got this other one “Pop Life” you know I’m using a couple of Prince tracks.
CS: So you’re adding more flavors to the already prolific Bigg Sixx style?
BS: A different flavor! In 2005, it’s gonna be a change-up. I been listening to vintage old Soul Records lately and most notably 1980’s Prince.
CS: Is Prince also most notably a big musical influence for you?
BS: Right now I’m finding I’ll flow to a lot of Prince tracks. His tracks just flow with me a little easier. I’m feeling that Prince was always a little, his music was, I believe, always a little ahead of his time. I’m using it, ‘cause many people never heard the songs without the vocals. His tracks connect me into new ideas and it all started flowing!

CS: How do you take that familiar flavor and make your own new taste sensation without sounding really dated? BS: A person’s music is really about what they’ve been through in life. Me personally, I can’t talk about anything I haven’t lived or experienced. So it’s my particular perspective about the same ole – same ole. That’s what makes me …my own. FINIS

May - June 2005 // CALIFORNIA SONG // 15

PROJECT STEIGER “Defiance” An expressionistic vision of the virtuosity of master guitarist Kenny Steiger, a distinguished educator at M.I. in Hollywood. It is a meticulously recorded adventure in aural space. Instra-metal guitar chops create a fluid atmosphere that threads through the entire record which made its listening an almost sub-conscience experience leaving all its melodic diversity to germinate inside your mind. Guest appearances include … Derek Sherinian – Keyboards (ex- Dream Theater, KISS, Alice Cooper), Virgil Donati – Drums (Steve Vai, Planet X), Tony Franklin – Bass (Jimmy Page, The Firm, Blue Murder) and Gary Hoey – (exchanging lead guitar on the song ‘Persuasion’) … I had to listen to this CD repeatedly and found new twists and variations to the music with each consecutive playing that I hadn’t heard before. Highly Recommended !!! www.projectsteiger.com

SERIOUS SUICIDE “Off With Your Head” Blammy Bros. Records Reviewd by Jenn Millar (a.k.a. HYPR) Death Metal wasn’t just a slang term after partaking a slice of vocalist, Psyche Suicide. Song titles like: “Schizophrenic Junkies”, “Evil Queen”, “Burn Me at the Stake” and “Fuck Me Till I’m Dead” should clue you into what’s in store! Still, I don’t think this record will be enjoyed by the masses because they follow the style completely, even down to the shock the monkey lyrics. It’s OK for me cause I love the sick, twisted stuff anyways. www.serioussuicide.com

CORSETS GOOD “Corsets Good” Avery Productions gets a solid mention here with a solid rave CD if only for the real creativity in telling each of the 14 trax on this release. “Rubber the Right Way” and “My Whore Moans” are exemplary electronica styles bouncing between a mix Psytrance and Euro-Hardcore. The production is lo-fi, but what do you expect from a Rave Party Disc. I like it when musical artists take the least sophisticated approach and create something using practically nothing! It forces composers to use their brains for ideas not their digital boards. Michael Avery gets props here for injecting imagination into the otherwise faceless music of electronica. The playing is solid and performances inspired. Together with song titles like “Dot.Cum” and “Route Sexy Sex”, I’ll remember these cuts for a long time. Check out the latest “Trance Sexual Dance” CD with 4 new remix trax. aveprods@adelphia.net

REBEL REBEL “Explode Into Space” Ultra Records Reviewd by Jenn Millar (a.k.a. HYPR) Does anyone remember, back in the 80’s, those ten bands a night at The Whisky A Go-Go? I hope I’m not the only one brave enough to admit it.

I saw these guys at one of those hectic nights. It was the first time I had ever been to The Whisky and I’ll always remember witnessing a true-to-life punk band, Rebel Rebel for throwing severed chicken heads into the crowd.

I was surprised at the reappearance of the band with “Explode Into Space” and pleased to hear their sound is still true-tolife old school punk oi oi oi yet has managed to grow with the times! Punx not dead we just smell like it - oi oi oi!! www.rebelrebel.org

The Ramones “Raw” Image Entertainment By Michael Muscal Planned well before the untimely deaths of Dee Dee and Johnny Ramone, this behind the scenes Rocumentary is mostly a standard hodgepodge of home movies with little or no direction but also contains a number of memorable glimpses, mostly in the 80s, reminding us that the Ramones made their mark in rock music and it sticks. Our hats also go off to the video makers, who stay clear of the most recent passing of Johnny and Dee Dee.

While on World Tour in 1996, you, the viewer, are handed a video camera and the passenger seat of any moving vehicle then asked to tape anything (and I do mean anything) in hopes of capturing the “first punk band” creating some havoc or taking part in the nightly orgy at Hef’s. But it doesn’t happen. If there is but one grand revelation about the original bad boys of punk it is that, off stage, they were a homely bunch more in hopes of trouble finding them instead of going out, sucker punching some overbearing smart ass then grapping the two whores he was with. The only true debauchery seen on this three continent tour is hung over Dee Dee, the morning after he did a number on two, maybe three, bottles of wine. And clearly, it is Johnny running the show. Always on top of things, he keeps the entire company focused and on the move.

But there is the flip side. The scene at the Berlin Wall is flat out memorable. Those East German guards will shoot at anybody, but not at the Ramones.You re-live not just a highlight in their career but something carved in music stone. Remember in the early 80’s, when we saw that slew of plastic hairdo, jerk off Punk/New Wave bands embarrass the genre and all we wanted was loud deafening rock and roll to hammer us into the ground? That was the Ramones.