Cris Cohen: I'm always fascinated by singers who were initially drummers. And besides our friend, Fred LeBlanc, I've interviewed John Easdale from Dramarama. He's a drummer who became a singer.
What advantage do you think that gave you as a singer, as a songwriter, to come from a drumming background?
Kevin Martin of Candlebox: Probably the understanding of the song, and the structure of the song, and the ins and outs. The beauty of drummers -- John Bonham, Peter Criss, Neil Peart -- those kinds of guys are all musicians that I kind of aspire to play like, just because they had such interesting ways to get in and out of parts. And of course, Neil Peart being a lyricist as well was... When I learned that as I got older, it was just mind bending. “This guy’s not only behind the kit doing all of the shit he's doing, but he's also writing all the fucking lyrics?!” I guess that's what I learned from these guys, that I could continue to take with me to this day. When we write songs, I'm always writing around the beat. With the perfect example of this track “Let Me Down Easy.”
I knew that I wanted the song to feel like a Black Rebel Motorcycle Club song. That's what I wanted it to feel like, because I love that band. And I think that right now, save for the Black Keys, nobody is really doing that kind of music. So I love, love, love Black Rebel Motorcycle Club. I pulled from that when I spoke to the guys about it. I said, "This is the drum beat I'm looking for. It has to feel like you've just sold your soul and now you're running down the train tracks away from the devil, trying to get away."
And that's I guess what I've learned as a musician: That I can utilize that energy as a singer and pull it from that energy of the drummer. And that in turn allows me to sing around the rhythms and move in and out of patterns and kind of play both parts, if you will.
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