Cris Cohen: You had this great quote where you talked about recording this album. You said, “We were all pushing each other towards this direction of simplicity and anger.” What drove that? What inspired that?
Joel Ekelof of SOEN: When we talk about simplicity, it's in the context of being a progressive metal band. You come from progressive metal traditions where what you play is complex and it's technical. But within that framework, we still strive for simplicity or this kind of beauty in the music that you find when you sort of solve the equation… when the song really stands out in its magnificent simplicity. We always put a lot of work into the songwriting and the production, but we wanted to feel (relief). When you listen to it, it's supposed to be sort of a catharsis… something that you feel is just beautiful. It doesn't have to be gymnastics when you listen to it. Cris Cohen: Right. It's kind of like with writers when they're writing stories, when they're writing novels. A lot of the great stuff comes in the editing, when they go back through and tighten it up. What can you take away and still leave the power of it all, but go more direct to the reader. Joel Ekelof: Exactly. What is not necessary? What is the core here? What do we really want to say? Exactly. Cris Cohen: I've seen other interviews you’ve done. You come across as very mellow, affable people. And yet, you have songs like the opening track, “Cut the Cord,” which have this raw, edgy feel. And particularly your rhythm guitar has this fabulous, buzzsaw kind of effect. I'm wondering, what aspect of you are you digging into to bring forth that raw, visceral response?
Dean Roland of Collective Soul: You know, that's a great question. I think, as a musician or artist or songwriter, all of those things, it's multifaceted, right? The music that we are inspired by is all over the place too. I could be just as enthralled listening to some classical music or “Mona Lisas and Mad Hatters” by Elton John. Or I can listen to Metallica or AC/DC, who is a huge influence on us. You just kind of tap into it and see where it goes. Cris Cohen: In the days of all this technology, where everyone can just piece things together in their own individual homes and recording studios, what is it about getting together and actually seeing one another as you play that creates a better sound?
Billy Sheehan of Talas: It's an intangible. I'm not sure exactly what it is. And I believe you can carry on without that. And I've done a lot of records where I'm in another city. But I've played for a long, long time and played a lot of different styles of music, so I'm listening to the drummer anyway. And if I was recording, I would probably be in the control room listening to the playback monitors and playing along like that. Because it's difficult for me to be out in a room with headphones. I really can't hear what I'm doing. So I've done a lot of records like that. Which are, in effect, us not being in the same room technically, but because we're all there, there's a group dynamic that happens with any bunch of creative people. They work off each other and I do believe that you get a better product. Because right up until you record, things are still in flux. They're still malleable. They're still plastic. They can be moved around, and that's a very important factor. Because many times… I remember doing the “Sink Your Teeth Into That” record (Talas). As the vocalist was at the mic, I would have to say, "Hold on a second." And one song was just particularly too wordy. I just crossed out every other line. Cris Cohen: [Laughter] Billy Sheehan: And it made for a much better song. The vocals sat in the track better. He wasn't trying to rush and get all these mouthfuls of words out. So, everything changed throughout that. When you have a whole bunch of people in a room together working on a piece of music, many factors are at play. And the one I believe that is probably the most noticeable is that interaction and creativity in last-minute changes. Cris Cohen: How would you say you guys are different as songwriters?
Pat Simmons of The Doobie Brothers: Good question. I couldn't really tell you, to be honest. I think most songwriters probably do it the same way, just like anybody writing anything. It's trial and error in a certain respect. You get an idea and you just try to float it and see if it'll turn into something. I'm sure you've talked to dozens of writers. Everybody has the same process. Everything you come up with as a writer, it's an idea that embeds itself in your head. Where it comes from? Who knows. It's something that you cultivated. I certainly think that people are born with an aptitude for music, but it's something that you cultivate, especially with writing. If you never tried it or determined that it was (not) something that you wanted to do, it wouldn't come to you. But once you've decided that, "I can write a song," that's where it starts. "Maybe I can do something." You write a song and you go, "Hey, that works." And then you try performing it and everybody goes, “Oh, that was good, Pat. You should write some more.” Then you go and try to write more songs. That's I think how it starts. From then on, it's just exhilarating. For every song you write, probably there are a hundred different ones that never get there. I have so many demos on my computer. Sometimes it’s a matter of minutes until you have something really great. Other times it's a matter of months to years to have something that’s solid. That’s the process for me anyway. (Bob) Dylan writes six songs every day and completes them. (laughs) Huey Lewis of clients Huey Lewis & The News: Around 1984 our tour was sold out. The agent said, "Who do you want to open?"
I said, "Stevie Ray Vaughan." He said, "Who's that?" I said, "Check the record out." I sent him the record. He said, "It's great. Let me check into it." Stevie Ray's manager at the time asked for more money than they were worth. My agent said, "This is ridiculous. We can't pay them this kind of money. They're not worth anything. We're just helping them by putting them on the tour. They should be paying us. Blah, blah, blah." I said, "Forget about it. Just pay him. Trust me. You'll be glad you did." The first show was in Oklahoma City. I showed up early and went straight to the wings of the stage. Stevie Ray Vaughan and Double Trouble with Tommy Shannon and Chris Layton. They were just killing it. Then the song ended and there was a moment of dead silence. Then the audience started chanting, “Huey, Huey, Huey, Huey." I thought, "Oh my gosh. That's horrible. These people don't get this." I couldn't believe it. Double Trouble finished their set. They were put off by the reaction and went into their bus. I went onto their bus and told them, "Look, fellas, you're tremendous. Here's the thing, the audience is invested in us. They know our music. They play the record on the way to the venue. No matter how good you are, they're bound to think that we're going to be much, much better. There's no way you're going to score here. "What's going to happen is, when they go home tonight, they're going to say, 'Hey, you know what? That first band was pretty good.'" I said, "Just relax. Have a great time. Believe me, this will be good for you guys." They did and we had a wonderful tour. Stevie Ray got on stage and played “Bad Is Bad” with us every single night. We just were inseparable for the whole tour. Cris Cohen: You seem like someone who is never done, never satisfied. Over the years, you made some big changes to your drumming technique. For instance, in recent years, you learned how to play using traditional grip.
Ben Sesar, drummer for Brad Paisley: It is all about trying to make the gig easier. Because with Brad, it is very demanding musically. There is a lot going on and the intensity is high. And there is something magical about having more at your disposal than you actually need, so that when you are cruising along, it is that much easier. Cris Cohen: In other words, learning to play fast improves your ability to play slowly as well. Ben Sesar: Yes. It is like an Aston Martin versus a Volkswagen Bug from the 60s. Both can go 70 miles an hour. But one is doing it easily and one is doing it at the top of its range. That is the purpose: To increase your headroom so that everything you do just rolls off. That is how I look at it. Cris Cohen: Did this whole process [recording a concert with a symphony] change how you viewed any particular song of yours?
Emily Saliers of the Indigo Girls: That's a really good question. Gosh, I'll have to think about that for a second. I just have to say that the arrangements, they bring the songs to life in a way that I didn't experience before then. And so now, even when Amy and I are playing as a duo, I hear those arrangements in my head. You know how orchestral arrangements can be. They get used in movies all the time because they evoke emotion. They can make you feel things in a very big way, when the orchestra kicks in. I think it's the same way with these songs. To have that beautiful sound, now, as part of the landscape of the song, is profound. What I end up feeling is, those arrangements really bring the messages of the songs home. I'll pick a song like “Mystery.” It's about a relationship, but it also describes the end of summer and what it feels like outside in the weather. It's describing these two people and the mystery of what's going on, both in the physical world and in their relationship. The strings just make that like a movie inside my head. So I think the arrangements just bring the songs to life in a new way. But I wouldn't say that they make me stop and think about the lyrics in a different way. They just sort of heighten the experience. Cris Cohen: When you join an existing band, how do you honor what came before -- in terms of the drummers who sat in that throne before -- but also make space to express yourself and show what you have to offer?
Mike Vanderhule of Y&T: Good question. First thing I do is learn everything the way it was done originally, so I can sound like the record first and foremost. And then as you get to know them, they'll let you know where you have freedom to play other parts. As a kid coming up, any band I was into, you go to a concert and you want to hear songs played the way we knew it. So those are the key parts, the sound you want it to have. But we have a lot of places where we stretch out and I can't help but sound like myself. Scott from clients Red Wanting Blue: If you're a music listener that's listening for flawless perfection, I don't know if we'll ever be the band for you. We're always looking to find a moment, coddle it, and turn it into something that can really be remembered. For me, that's the best thing in the world.
Cris Cohen: What's the key to learning how to play well with others on an album? To play well with the percussionist? To play well with the programmed drums?
Chris Fryar of the Zac Brown Band: The most helpful thing you can keep in mind is to listen, to be aware. For example, when Daniel (de los Reyes) is playing, sometimes he'll play a part, and that part will just catch the ear of whoever's in the booth and he will go, "Oh yeah, why don't we make that into a loop?" In that kind of context, you want to just listen and give space to those ideas as they come up in a live context. And so from my perspective, my job is to hit the high points, the strong beats, embellish where I can, but pretty much be aware and be open to what's happening musically with the electronic end of things. And what's happening with Daniel's end of things. So if he picks up a shaker and starts playing an intricate pattern, then I am more than likely going to lessen what I do on the hi-hat, since they are similar sounds. I defer to him. It's out of love for the music and out of love for him, because he's an incredible player and masterful musician in his own. I don't want to detract from what he's doing. |
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