"Yeah, well, that song speaks for itself. I love the sound quality of the Live Anthology, it's fantastic and better than I thought possible. He almost seemed puzzled by the question. It was shortly after GH's Japan tour that mostly the same band backed GH at Albert Hall for a one-time "Natural Law Party" benefit. Another question, did you catch TPATH with Stan live? When you're talking about somebody as flamboyant on the drums as Ginger Baker, there's no way you can play like him. Since I have a lot of the complete concerts, I don't mind that much that it jumps around in time. I've replaced Phil Collins with Eric Clapton. '” said Harrison. Was it due to Steve vs. Stan? I got a call to go out for an audition, but I wasn't told who it was for. Enjoy! Stan Lynch used to sing live with the heartbreakers. But they chose to do a bunch of covers instead of addressing their own deep songs. Youâd build to a chorus and then when you came back to the verse, there was a dynamic that had to happen. Petty’s job was to play back-up to Prince, and keep that section of the song going over and over and over until Prince was done. The lack of rehearsal. During this particular day, I was kind of visited by my mother, who had recently passed away, and she told me, ‘Relax. I don't think the actual song choices are that great (FAR too many covers). Then I went back downtown to Atlantic studios and worked with Roberta Flack in the afternoon. I followed him into The Piranhas, then into Oblivion Express and then into Average White Band. “I had been touring with Bryan Ferry, but I decided that I didn’t want to keep doing it. You will be able to leave a comment after signing in. And as far as Irving Plaza April 12 1999, it's still not a favorite - the sound is crisp but seems a little harsh/metallic to me, and the performance itself doesn't stand out to me. But the band overall just didn't seem as excited this go-round. It has a pattern that is very recognizable and I don't really change it at all. There's a few choice ones right there. Magazine’s August 2010 issue: Steve Ferrone: Tapping Into 40 Years Of Groove. He was a great guy. [laughs] Their music is pretty straightforward, so if I do something too complicated or come up with a groove that just won't fit - anything that gets in the way - that's when they'll say something. Lastly, the story that Steve Ferrone tells of Prince playing a riff from one of the songs Ferrone wrote, is just another of many examples I keep reading about lately, regarding Prince’s generosity and his thoughtfulness, and how often he took pains to connect with others. Pocket was king with most of those AWB records, but then there was that solo on the live version of âPick Up the Pieces.â What was your approach to the big live shows, where it was almost expected of the drummer to take a stadium-smashing solo? The number of songs and length of the show is a big factor no doubt. Now I've heard most of Mansfield 99, maybe it's my system but I don't think the sound quality is as good as Minneapolis or Hamburg from that year. [laughs] But I have a sense of the flow, the dynamics, where the choruses and verses are going. Did you plan those solos or just improvise every night? “A little while later, Tom called me back and said, ‘You’re working next year.’ He’d called Stan and sorted stuff out. People would call there to book you for sessions and theyâd tell them if you were available. (I read a piece yesterday, I’ll track it down, that referred to Prince’s performance that night as “pure blood sport.”) I’ve seen a couple people say that Petty seems a bit miffed that Prince is “taking over”, but I have never agreed with that. One day in particular I had a session at 10 [AM] in the Bronx for an Argentinian thrash metal guy. It was like a Tower of Power or Chicago type of horn band, a mixture of R&B, jazz and rock. I did think the Steve did a decent job on George Harrison's Live in Japan, then again he was aided by Ray Cooper, who is arguably the best rock percussionist ever (much as I also like Phil Jones, who was outstanding with TPATH and on FMF, and who may be Cooper's equal but he's less well-known). In the following interview with MusicRadar, Steve Ferrone talks about playing with Tom Petty And The Heatbreakers, along with some of the other illustrious names on his CV. Were you cutting to a click at that point or did you just really focus on your time while practicing? “Let’s talk about every moment playing with The Heartbreakers,” he countered. There was a point I could go get schnockered and not think about it, but things got so bad I couldnât even get high anymore. I was [12 years-old] in a kidâs chorus and it was the time The Beatles and Rolling Stones were starting to get big. Give me everything you've got.' It’s not that he thought that he was better than the rest of them, he was just a kook. That one also is long (30 songs), with a high percentage of covers, and a lot of "the usual" songs from the WF and GH albums. So I say, âYouâre not gonna play that one again, are you?â, The drummer creates the comfort zone. Yes, a lot of people rank that one (Feb 7, 1997) very high. I’m thrilled to announce that DW has signed on to support Drummer’s Reosource for 2016! He looked at me and said, ‘You know, you’re right. You never get the sense that she’s thinking, “Hey…I’m pretty good too. If you're shifting things around too much, particularly with songs that are so dependent on the vocals, then all you're doing is messing things up.". Guys like the aforementioned Gadd and Purdie, as well as Earl Young, Yogi Horton, Ndugu Chancler, Idris Muhammad, JR Robinson, Harvey Mason and others were all part of this development. Then at night I went down to Power Station to work with Pat Metheny, so I had to wear a lot of different hats. That was kind of strange, really, because you could kind of feel the energy from the two teams that had just left the field. These are professional musicians and rock stars and if anyone understood that Prince was, say, “touched” and bigger than most of them, it was these guys. That's a good one too, ha ha! He wasn’t “better”. Their choice of Breakdown, a song I've heard so many times, is truly spectacular in both sound quality and performance. There was a guitarist in The Piranhas who was a stickler for tempo and he was a soccer player. So I guess for me, Steve got a lot better after 2005. But I think I'm the only one who sees a divide in his performance with the band, so enough about that. And with all due respect to AV Club.com (i.e. Your drums are so well recorded on Soul Searching â the snare grabs you by the throat! And then I'll say, 'Fine, I just won't do that again.'" Every once in a while someone will ask me for a lesson, so I do this thing called a recording lesson. "I'm always the second man asked to the dance," he says, laughing. Iâd set my metronome and see if I could play a paradiddle faster and faster, until one of the musicians I was working with just said, âHey man, just take a James Brown or Rolling Stone record or whatever you like and read the [music] to that.â So instead of seeing how fast I could play, I started playing it with some feel. I had no idea that Prince was going to be there. Takes one to know one, Steve. I jammed with Brian Auger in Italy and one day he tracked me down and asked if I wanted to go to America [in 1973]. When I started playing drums, I didnât know anything about [brands]. Hamburg's a darn good show with an extended Honey Bee. Tom would come in and start playing a groove, and I'd start playing along. Really interesting article. It was one of those things you’re just not ready for. Nervous. He said, âHeâs black, too!â [laughs] So I auditioned and it was scary; kids my age usually just got beat up by [older kids]. Steve Winwood said, “Hey, Prince is over there.” And I said, “I guess he’s playing with us?”, So I said to Winwood, “I’m going to go over and say hello to him.” I wandered across the stage and I went up to him and I said, “Hi, Prince, it’s nice to meet you — Steve Ferrone.” And he said, “Oh, I know who you are!” Maybe because I’d played on Chaka Khan’s “I Feel for You,” which is a song that he wrote. https://music.avclub.com/tom-petty-and-the-heartbreakers-american-girl-1798228863, https://music.avclub.com/inventory-14-classic-tom-petty-opening-lines-1798209600. This was for the Wildflowers album. But then I was working with some musicians who knew their stuff; they were schooled musicians, [the band was called] The Piranhas. Iâve always felt you and Bernard Purdie and Steve Gadd were able to master subtlety â you show presence in ways that donât scream for attention or interrupt the groove. Why don’t I get to solo?” It must be such a pleasure just to be there and experience that voice and that artistry. All of this is to say: There’s a great piece in the New York Times about that guitar solo, with reminiscences from most of those guys onstage: The Day Prince’s Guitar Wept the Loudest. I think Mike Campbell talked about going through the Fillmore 1997 shows for a possible "Fillmore Only" release, if I recall correctly. I still miss Stan's creativity on those songs, and generally find the earlier stuff (through 1993) more satisfying, but these are well-chosen performances of the songs they chose to include. I was as dumb as everybody else, but fortunately I came through it. [laughs]. "Absolutely. [laughs] Maybe he could tell by the way I played, I don't know. Prince came out to play the big solo, and it was like he was doing the whole thing for us in the band. [laughs]. Tom Petty. We caught him at an exciting time. Tom Pettyâs band is a great rock & roll band â theyâre all pros. The band works really well as a team. Did you have to play through some of Tom's hits? Im always the second man asked to … So I don't have to adapt my style to fit them; my style is already a part of them.". Now it’s become something rather iconic — people are watching it on YouTube and sending it around all the time. I called him back and he said, ‘What are you doing next year? That was Bernard Purdie and Iâd never heard syncopation like that before. It became perhaps a little less special when they did more Fillmore shows in 1999, and more similar "covers oriented" residency/theater shows at Chicago 2003 and NYC 2013. Learn more at MI.edu, Evans Drumheads: Drummers can’t agree on much, but they do agree on UV1. Just saying. Who do you listen to in the band? He seems very nice.’. Their approach is simple: Make high-quality, handcrafted cymbals and gongs and sell them for a reasonable price. Not to take away from Bryan’s musicianship, but he just wasn’t a great fit for me. BTW, I also am not a big fan of the April 12 1999 Irving Plaza NYC concert. Thereâs a lot of stupid stuff you do when youâre high on drugs. It’s a pretty big deal. The concerts without Stan often feel like it's a cover band, not the real band. That cracking snare was an old wooden Gretsch?! Well, you do walk it like you talk it. Also Tom slightly flubs the opening lines of Jammin' Me in that show (he says "fall" instead of "go"), which kind of grates on me. But they could be worse. These two features combined make it the first choice for drummers who’ve grown tired of heads that flake, chip, and wear out before their time. I, too, thought of 20 Feet From Stardom! It’s top secret.’ I thought, ‘Wow, it must be something big. Thanks for the interview. It's a label he's grown accustomed to over the years. Yes they could issue the Feb 7 1997 concert officially, assuming they could get the rights to them. He does have some odd facial expressions, but that’s just Tom Petty. If we've covered this before, alas...I do not recall. Of course they love hearing cover songs of classic rock bands, because they love the bands that made those songs famous, and they love those songs in particular. Or do they give you free reign to come up with your parts? Mike Campbell. As Benmont said, it wasn't "chamber music" anymore. It’s sort of a meditation that I do, because I really want the people in the audience to enjoy the show. Also Tom slightly flubs the opening lines of Jammin' Me in that show (he says "fall" instead of "go"), which kind of grates on me.
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