OwlTail

Cover image of Drumeo Gab Podcast

Drumeo Gab Podcast

Hi! I am your host Seamus Evely :) Let me tell you a couple of things that you can expect with this podcast. It has been said to me by many listeners that this podcast is unique, honest, insightful, entertaining, and highly educational. I also hear a lot of feedback about my laugh! Yes, I try to keep this show fun but it is serious too. My mission is to gain deep insights from some of the greatest drummers on planet Earth. Connect one to one with my audience. Deepen my own sense of what matters to me and how to improve upon myself each day. And finally, to demonstrate that if we have an idea and a great reason to do it, we can achieve anything in this life. Come join me on this journey and dive into this vast library of content that spans from my early grassroots interviews up until what it is today!

Weekly hand curated podcast episodes for learning

Popular episodes

All episodes

The best episodes ranked using user listens.

Podcast cover

Episode 29 | Stan Bicknell

#humpdaygiveaway | Week 8 Q: What are the two major opportunities that were offered to Stan earlier this year? (Prizes provided by @canadiandrumgear There are podcasts in the DrumGAB library that are resourceful, others are purely conversational entertainment and somehow Episode 29 with Stan Bicknell lies somewhere in the middle. I don’t really think that it was intended to become an episode where people could learn anything, besides the life of Stan Bicknell of course, but it unfolded in such a way that reveals a strong underlying message. You see, I draw a strong parallel between myself and Stan. We are both family men that are self-employed and drumming is a big part of us but it is no longer the forefront of our existence. While life presents new responsibilities and obligations, it begins to determine what is most important to us as people and how some things in life may take on a significant value that we couldn’t possibly understand in our younger years. It is widely understood on the Instagram medium that Stan is easily one of the most popular drumming figures on social media currently. What he holds is something that many of us would, for lack of better words, give a testicle or two as a trade for the kind of success Stan’s Instagram profile bears. However, even given the tremendous growth and rise of popularity, Stan does not ignore the life he lives in the flesh for this digital circus of likes, comments, and shares that he so regularly receives. Instead, he sets time aside when his family is sleeping to produce his content and share his thoughts with his followers through blogging in his captions. He very responsibly restricts his use of Instagram to be present in the moment with his family, friends and business partners. In short, he consumes the Instagram drug with a great deal of caution and regulates his intake. So what was the reason for Stan creating an Instagram account you may ask? Well, he had stopped touring with a band named Kimbra due to this little thing called, your self-consciousness, and felt that it was only going to get deeper and deeper and so he passed off the sticks to another player and quit the band. He continued playing drum set in his coffee warehouse, Rumble Coffee Roasters, but it just wasn’t satisfying enough playing to no audience. So he began using Instagram and all he was trying to do was keep a low profile but it obviously hasn’t worked out to plan as his acquisition rate for followers has been well over 1,000 per week over a course of over 52 weeks. So, what do 112 thousand followers in 15 months do to a person? Well, that all depends on the person. I would imagine for most people it would improve a persons’ self-esteem, and depending on your ego, it could turn someone into a complete arsehole. For Stan, it seems that what he enjoys most about having so much rapid growth is that it opens up a very wide audience to make a positive impact upon. For example, Stan receives many messages from fans all over the world who thank him for being the reason they are getting back into drumming. These kinds of comments are a highlight for Stan and is definitely a contributing factor to his continuation on social media. However, he is clear about his love/hate relationship with social media. It would be tiresome to keep up appearances and respond to every single message, in fact, you wouldn’t even have a life to speak of when you have that many followers. So Stan had made a reference to “Good Will Hunting” where he exclaims, “What if I deleted my account one day and didn’t tell anyone about it?” And it’s not that Stan is unappreciative, I think he’s just accessing, hypothetically, how much he really needs social media. In the interview, we discuss the fact that Stan will never leave his family and business partners to become a star and seek fame and fortune. He takes great pleasure in his day to day life and at the end of it all….he still gets to play his drums. And simply, that is what's important. Not the where or the who or for how much. He just wants to hear the crack of his snare. This puts a great deal of perspective in this conversation. A person who is at the forefront of popularity on Instagram and the drumming community at large is a simple man who knows what he needs and why he is needed. It is truly amazing someone who holds this in his hands has complete control over what his destiny is and that it hasn’t corrupted him with temptation. That is exemplary and it is the reason why this is such an interesting listen. A conversation captured at the apex of where a healthy perspective is absolutely paramount. I believe Stan could become an A-list drummer for a very major act and it could all have been seeded in Instafame. I wouldn’t put it past Stan, that if this all becomes too much and he has to decide what to do, he may do as Matt Damon did, and just not be there one day. Photography courtesy of @jessbicknellphotography Music Credits | Band: The New Caledonia a.) Breathing Space (coffee montage) b.) Solar Parade c.) Celestial Satellites Stan's Social Media Instagram Rumble Coffee Roasters Media Website | Instagram DrumGAB Media drumgab.com | Instagram | Facebook

1hr 30mins

28 Jun 2017

Rank #1

Podcast cover

Episode 38 | JP Bouvet

Just back from China from a three week clinic tour and in two weeks heading back to Australia and New Zealand with his band Childish Japes to perform clinics and band performances, not to mention ANOTHER album. JP Bouvet maintains a high level of productivity and has for years. JP is a really prime example of someone who respects the principle of “earning your place” as he realizes to be top tier in the drumming/music industry, you have to make sure people don’t forget you and move on. So he keeps his schedule full and is always working at evolving and pushing the envelope. This interview goes over some of what he experienced in China during his clinic tour and what touring the world is like for him. Being that the week that this podcast is published, Childish Japes’ new album is being released to add to the three singles that you may have heard up until this point. I think as a band they are really on to something and as it develops further, I anticipate that we will be continuing to hear good sounds from them. We get into quite a lot of detail about the band’s formation and what the general mission was for this band. In my opinion, I feel their reason for making music will generate great results and they will enjoy doing it for longer than had they simply created music for fame. At the end of the episode JP and I talk about the reality behind his 2011 Guitar Centre Drum Off and Roland V-Drums competition wins, in the same year, and what that ACTUALLY meant to his career. JP makes a lot of sense here and I hope people listening remember this part of the interview specifically. The facts presented by JP are not projections. When you win a major competition you will have people’s attention for a little while and eventually, if you make no effort to preserve your popularity, you will be forgotten. This message is so key to understand. It takes years of your life to even be skilled enough to win a competition like Guitar Centre drum off… You have to then try to win and lose…and then try again and lose again. In JP’s case it took him multiple attempts before he won. All of this prepares you for the many letdowns your life and career will throw at you. And then finally you win. But that is just the beginning for the workload to now execute and carve a career. Which then takes the rest of your life. JP is a drummers’ drummer. He’s really honest with himself with who he is but also who he wants to be and he knows there aren’t shortcuts…if you want to last. He is most definitely on a good path for longevity and good public interest. I think on a level beyond simply playing drums, he understands the moves he needs to continue making and the work that goes along with that and is fully committed to that. Make sure to check out Childish Japes and their full length album released August 30th and other future works. Also scope out JP’s website for quality lesson videos at www.jpbouvetmusic.com. JP’s media Instagram | Facebook | YouTube | Twitter DrumGAB media Instagram | Facebook | Website Music by: Childish Japes Songs: After your born (feat. Courtney Swain), Insight (feat. Joanna Teters)

1hr 20mins

29 Aug 2017

Rank #2

Similar Podcasts

Podcast cover

Episode 49 | Mike Johnston

Welcome to another episode of the DrumGAB podcast. Today’s guest is Mike Johnston. Widely regarded as one of the leaders in online drum education with his business Mikeslessons.com, Mike has incredible positive influence and affinity in the drum industry with his friendly and relatable demeanor. He has been creating instructional content for years now and is very careful in his approach to ensure that his audience and students can be as engaged as possible and fill their minds and hearts with positivity to trudge through with learning this incredibly challenging, and often times, frustrating instrument. I don't think anyone does it better either. He was an absolute treat to interview and has affected how I think as well about my DrumGAB podcast and how I engage my audience. Key moments in this episode - Mike talks about how his new musical project, Man on the Moon, came about and how Mike hasn’t been involved in a band for ten years since he decided to start his own online teaching business, Mikeslessons.com. We also learn about how the album was originally tracked elsewhere but the drum sounds and vision from other producers weren’t matching what Mike had in mind….so Mike recorded it himself at the Mikeslessons.com facility. - The next segment of the interview is perhaps the most valuable to listeners. We talk about the differences between company culture and client culture. The concept of client culture has personally spawned a more focused effort for how I build DrumGAB and my listening community. Anyone who has a product or media that they are trying to get off the ground needs to really listen to what Mike has to say here. It contains the special ingredient for long-term success and maximum engagement. - Next up in the interview is Mike’s drum camps and that whole experience. If you are a softy, you may want to have Kleenex nearby. This also, in an indirect way applies to the client culture discussion as I believe Mike’s drum camps are a perfect solution to client culture. It is great to hear how the camps started and what people are getting out of them. I’d be surprised if you don’t love Mike after this part….but let’s be honest you probably do already anyway. - The final chapter of this interview deals with the 500-pound elephant in the room…..what Mike thinks about online drum education. Mike lends some major knowledge about this side of the industry and for anyone trying to become online educators, he explains what you need to do and what to expect for this long and arduous journey that lies ahead. In many ways, Mike and a few others got on board at the right time and while it hasn’t been easy for any of them, the level of saturation was next to nothing compared to today. Mike started doing this before the term “streaming” was a thing, it was simply called “broadcasting” and the technical limitations were extreme and the frustrations must have been high back then. In any case, Mike reassures the listeners with some great advice on this subject. Concluding Thoughts This episode marks a huge milestone for the DrumGAB podcast. It sits perfectly at Episode 49 and everything that has led up to this moment has been a whirlwind of learning, experience, and fond memories. Mike provided such a positive experience to me personally and I feel listeners will gather that from our chat. Overall, this episode provides some of the best knowledge shared on DrumGAB and I feel it is a precursor to other great opportunities on the show. Thank you to all the listeners that have supported the show so immensely and for Mike giving me a chance to produce a top quality episode with him. This one, on a personal level, was an incredible session that I won't soon forget. Music by: Man on the Moon Join me next Monday for another episode of the DrumGAB Podcast! Mike's Social Media Instagram | Facebook | YouTube | Website DrumGAB Social Media Instagram | Facebook | Website DrumGAB theme music: Ian Maciak @ianhitsdrums VO artist: Tom Knight @tomknightvoice Background music: Etienne Mason @maysun.music

1hr 32mins

13 Nov 2017

Rank #3

Podcast cover

Episode 70 | Mike Dawson

Modern Drummer magazine is something that most drummers grow up with. I remember watching the 2000 Modern Drummer Festival DVD over and over when I was a teen. I learned and tried to mimic so much of what I saw in that video, always trying to aspire to produce anything remotely similar to Billy Ward’s sound….and failing miserably of course. But, regardless of how it came out, the most important thing was that a lot of my inspiration that came from that video. So speaking with Mike Dawson, who is the managing editor at Modern Drummer, I found that there was an association of nostalgia that came along with this interview. Like many of us, Mike grew up with the magazine as well and fortunately through hard work, a chain of fortunate events, and perhaps even a bit of luck, Mike found himself a seat at the Modern Drummer table. In this conversation, which is important to note that this is much more of a conversation than an interview, we sprawl over so many different topics. Our chat ranges from how Mike found himself at Modern Drummer, the truth about how Mike felt initially about the Mike and Mike podcast, the fleeting muse of a musician, and parallel universes…yes you read that correctly. During the conversation there are many moments where Mike and I discover we are so similar in ways and this lead to many improvised moments of true conversation and I feel that is the magic of podcasting. When you find a kindred spirit on your line and you just spend most of the time relating and deliberating about whatever comes to mind. This one is full of that. I hope you enjoy this one and have some takeaways from it. I’ll catch you all next week! Mike’s Socials Instagram DrumGAB’s Socials Instagram | Facebook | Website

1hr 18mins

18 Mar 2018

Rank #4

Most Popular Podcasts

Podcast cover

Episode 45 | Anika Nilles

If you have internet and social media, you know who Anika Nilles is. An artist who started professionally late in life and yet in a small time frame has captured a wide audience all across the globe with her high level production quality drum videos, original compositions, tireless work ethic and touring. It was an absolute pleasure and honour to feature her on this podcast and the results of our conversation are terrific. Some of the particulars about her that I find fascinating is how widely recognized she is in this industry. She, along with a handful of others, discovered the power of social media and producing high quality content distributed through YouTube before it became a saturated platform and I believe this is a major contributing factor to her success. I certainly don’t want to discount her amazing abilities, attention to detail and innovation, but had she started last week I cannot assume she would have had the same level of fortune in her career. It is this topic that I find most compelling about her. We discuss this at length as well as her transition from a regular working life to full time professional drummer. The incredible advice and council that she received when she was 21 years old from the renowned drummer Benny Greb. It all comes together to shape this incredible journey she has had and to hear it first hand is great listening. Some other points that we talk about are whether she finds it hard to keep her performance levels high when she is travelling so often in different countries. I recall a time when I saw her on Drumeo and she had talked about having jet lag and she seemed very tired. You have to wonder, how do you keep your performances at a high level when you are experiencing so much exhaustion? Another subject is how she feels about her fanfare. What is it like to be recognized and admired across the globe? Anika, for the record, is a genuinely humble person who is incredibly friendly. She was one of the nicest people I have ever had on the show and she was gracious towards the invitation to be on the podcast in the first place. She talks about how she views the fans who appreciate her and that she feels so appreciated that she can only give that back to her fans. Her attitude towards life seems to be consisting of hard work, appreciation for herself and others and to focus on what brings joy and value to her life. We also had some great questions come in from fans. Here is what the fans wanted to say…. - Jamie from Greenfield drums: What was your dad’s background as a drummer and how was he an influence to you early on? - @Ethangarofalo: Why do you utilize quintuplets so often in your music? - @Travisonthedrums: What is your song writing process? - @Man_francisco - Is it possible for music to be technical and still have as much heart as a Motown classic like “Ain’t No Mountain High Enough?” - Mike at Predator Percussion - What was your inspiration in creating your own album and do you write the parts for the other instruments? - @Davidszieber - This fan was actually at your Expo in Hungary and he wants to know how you tune your drums. - Jared Falk wanted me to ask Anika about her ping pong skills. (The response to this is priceless!) All in all, this interview was a dream of mine when I started the podcast and I am a huge fan. I feel this interview holds a great story and advice within and I hope listeners feel like they got to know her as a little bit better because of it. Enjoy DrumFam!!! Song performance by Anika Nilles - Those Hills Watch the YouTube performance HERE Anika Nilles Social Media Instagram | Facebook | YouTube | Twitter | Website DrumGAB Social Media Instagram | Facebook | Website

1hr 11mins

15 Oct 2017

Rank #5

Podcast cover

Episode 23 | Scott Pellegrom

#humpdaygiveaway Week 3 - What cymbal is Scott ranting and raving about? Last summer I was writing a weekly piece that I released on Sunday mornings that I called "Weekly Warrior". The "Weekly Warrior" were articles about drummers that I really liked. I would just randomly pick a drummer from my head and then I would write an article on drummer I had chose. One of the reasons that I was writing the weekly piece was to practice my writing. I also had to create a routine around DrumGAB, or it would have died early on. Projects like this require constant effort or else they don't work. So in the very beginning, I had to create content from my inspirations and Scott Pellegrom was one of those first 6 articles. Once the article was all done, I tweeted it to Scott and thought nothing of it after that. Until a couple days rolled by and I received a message from him that he had read it and he said thanks for the thought. So, thinking back, you could say that Scott was actually the first confirmation for DrumGAB directly from the artist. Fast forward about 10 months later and we got in touch to hang on my podcast. This is kind of a special episode to me because it is a full circle moment and how it all played out and how it all turned out, is so rad and I am so thankful.  So what is this episode about? Well, it is really hard to answer that OR break it down into any kind of formula. It is simply a great conversation with a down to earth guy that seemed to enjoy the "no pressure" zero "agenda" that my show can offer someone. It is really a place to just be yourself and hang out and this episode captures a fine energy. Also, Scott hooked us up with a trio of SP3 (Scott Pellegrom Trio) tunes that are wild. If you dig the vibes you can check out the entire album SuperNaturalBang right here! i) Bees Knees ii) Creepin' iii) Squatchin' Enjoy the show! Scott's Media Instagram | Twitter | www.scottpellegrom.com www.drumgab.com

1hr 50mins

24 May 2017

Rank #6

Podcast cover

Todd Sucherman - Find Your Calling and Styx To It

As a drummer, Todd Sucherman is in a band with an ironic name. Styx. Harhar had to do it. On a more serious note, the Styx throne has only been held by two individuals in the forty-six years that Styx has been around. The original drummer, John Panozzo, and of course, Todd Sucherman. That is serious rock drumming royalty to behold right there. This interview was captured the day after the cold and rainy BC Helicopter Mountain shoot that many of you have seen on YouTube. The video shoot was in an effort to promote Todd Sucherman’s Rock Drumming Masterclass and do something that has never been done before. CLICK HERE TO CHECK OUT THE HELI-DRUM VIDEO! Imagine….you already play with Styx, you're publicly known as a total badass player, you have been recognized numerous times for your many contributions of excellence in the art of drumming, and then some crazy Canuck suggests that you fly in a helicopter with a massive drum kit to play on top of a mountain…..while being recorded and filmed. “A charmed life”, I believe is how Todd put it. In addition to Styx, Todd is also a clinician, session player, and responsible for multiple award-winning video pack series Methods and Mechanics. In 2018 Todd was awarded the title of “#1 Progressive Rock Drummer” and “#1 Recorded Performance” for “The Mission” (Styx). Beyond Todd’s outstanding playing, he is also an incredible hang. I can see why people want him around. He’s clear, direct, intentional, smart, funny, and there is a certain intensity to him that is nice to be around. I had an amazing time visiting with Todd, Dave, Jared, Victor, Taylor and the rest of the team at Drumeo while I was there. Getting to have that time with such a revered musician is something very special. It was THE BEST way to reintroduce this podcast that I and many of you have grown to love. So I want to give all of my past listeners a big "high five!" It's great to have you back! I also want to welcome new listeners to this show! Thanks for checking this out! I love hearing from listeners, and I will always try to get back to everyone, but please write into the show to share your thoughts, experiences, and in general any feedback or suggestions to seamus.evely@gmail.com Alright, let’s get into this! What we talked about (IN ORDER) - Fresh in his mind, Todd talks about the BC mountain video shoot. - Todd talks about his philosophy on the good and bad cards that we are dealt when we are born and the cards that show up later in life. - The daisy chain of small opportunities that can lead to big ones. Todd shares a personal story relating to this. - Todd talks about the night when he asked other students at Berklee when the penny dropped for them that they would actually become a musician. Todd goes on to explain that he never had to give it thought. He always knew. - We discuss Todd’s upbringing in a musical family and how that nurtured him into a life of music. - Did you know that Steve Smith wrote Todd back a six and a half page letter after Todd reached out when he was a kid? Todd reflects on the impact that the letter had on him, some of the memorable contents, and why he feels it is important to pass that same feeling onto other young students who are fans of Todd’s like Steve did for him. - After we reflected on Steve’s letter we got into a story about Elvis and a costume that illustrates how the universe reveals unbelievably coincidental circumstances when we follow our path in life. Maybe it isn’t a coincidence at all, but it is the kind of thing that makes us wonder “how in the hell…?” - It is widely known that Todd has been playing with Styx for twenty odd years now, but he is not the original drummer. Todd explains what it was like stepping into Styx after tragedy struck the band when they lost the bandmate, friend, and brother, John Ponazzo. - There were two concerts/tours that really stuck out to me in my research. One was the concert where Styx played with over 100 school children from the Cleveland Contemporary Youth Orchestra, which was directed by Liza Grossman. The other was when Styx did a tour (around 26 shows) in 2010, where they played Styx albums “Pieces of Eight” and “The Grand Illusion” back to back. I had to know more about how each of those musical experiences was like for him. Todd’s answers may surprise you…. - Todd is a father. I had to know more about how he balances his work life with his family life. - Todd shares some thoughts on the balance between having good business sense and a creative passion. They both need to exist with today’s modern musician. I bring up a thing I found about a sour deal that Todd had to deal with when he released Methods and Mechanics. Todd’s Socials Website Instagram Facebook Twitter Drumeo Gab Socials Instagram Facebook Drumeo’s Socials Website YouTube Instagram Facebook Twitter Sign Up for Todd’s Rock Drumming Masterclass Click here to watch Todd’s Drumeo Lesson Jingle Credits Music Production/Mastering - Kingmobb Voice Over - Tom Knight Drums - Me Recording Engineer - Michael Marucci

56mins

20 Jan 2019

Rank #7

Podcast cover

Carter McLean - Let’s Talk About Drums!

Carter McLean has been rising steadily in popularity since I have been familiar with Instagram. He has a great eye for gear, be it audiophile equipment, watches, drums, or pajamas and he also has a great ear for sound and musical tastes. He is really a guy who is after my own heart when it comes to this stuff. So it is no wonder why Internetland has rising interests in what Carter is doing musically. Between his long-standing gig with the Broadway musical Lion King and then his more improvised and loose approach with the unreal guitar freak Charlie Hunter, it would appear that Carter has found his footing quite firmly in his career. He also has an educational website business called Four Hands Drumming. Again, considering Carter’s immense appeal, that also means that other podcasters have also sought interest in interviewing him. I have had the desire to interview Carter for a long time now, but every time I would consider reaching out to him he would appear on a podcast...and this happened, what seemed like, a handful of times until I finally decided to hit him up and make something COMPLETELY different. There is no sense in diluting the airwaves with rehashed Carter interviews, taking away the value of both this show and the others who have also had really fantastic sessions with Carter. So what did we talk about you may be asking….well let’s see? We talk about watches, audiophile equipment, a gruesome skiing incident involving Carter and his friend, that one fateful morning working at Manny’s Music when the Twin Towers came crashing down, a memorable lesson with Peter Erskine, his new book, the switch the Ludwig. A lot in other words and it is all dealt in a rapid-fire type fashion. This is a rather short episode considering the sheer vastness of subject matter. I highly recommend that you follow Carter online and check out his Drumeo YouTube lesson featured below to get a taste of what Carter is about. He does an amazing job waving the groove/song drumming flag that has seemed to become somewhat elusive since chops have become so fascinating to many drummers. He is without question one of the most controlled, smooth players in the game and equally a thoughtful and intelligent guy with some great perspectives. I feature some tunes performed by Charlie Hunter and Carter McLean, which was performed live in Manchester. If you enjoyed what you heard and want to hear more of that music, please click the link below and enjoy it. Charlie Hunter & Carter McLean Duo - Manchester https://www.youtube.com/watch?v=7k_8XTVMWvE&t=3040s Drumeo Gab’s Socials Instagram Facebook Carter’s Socials Instagram YouTube Fourhandsdrumming

1hr 14mins

19 May 2019

Rank #8

Podcast cover

Mark Guiliana - SIDE A

In this two-part episode, Mark and I discuss the process of creating Mark’s new record BEAT MUSIC! BEAT MUSIC! BEAT MUSIC!, his relationship with the drums, his fellow musicians, and music in general. Mark shares so many incredible insights to how he negotiates any commentary whilst playing, how he sets his expectations, and how he maintains the level of joy required to make drumming worth while. Mark discusses his earlier years being a student of Joe Bergamini and how this relationship would continue forward into the process of creating Exploring Your Creativity On The Drumset. And who is Cole Whittle? Music featured in this episode is: Mark Guiliana Quarter - "Big Rig Jones" (Jersey) Heernt - "Locked In A Basement" (Locked In A Basement) Mark Guiliana - "Ode to Bobby Moons" (Beat Music: The Los Angeles Improvisations) Mark Guiliana - "GIRL" (BEAT MUSIC! BEAT MUSIC! BEAT MUSIC!) Drumeo Gab’s Socials Instagram Facebook Drumeo’s Socials Instagram Facebook YouTube Website

58mins

7 Apr 2019

Rank #9

Podcast cover

Benny Greb - Growing Pains

Benny Greb is one of the most celebrated drummers over the last ten years. With his acclaimed educational content such as “The Art and Science of Groove” and “The Language of Drumming”, Benny has been opening up the minds of drummers in a unique way. He currently has another book that is due to launch in Q1 2020. Along with his educational content, Benny is well known for his original music with his Grebfruit albums and his fusion trio Moving Parts. Benny also holds clinics and camps worldwide to expand the knowledge and abilities of drummers. I would imagine it would be an amazing experience for anyone who attends. A Big Opportunity Since running this podcast I have always hoped that one day I would have an opportunity to interview Benny. Any content that I have viewed, Benny stands out to me as an exceptional communicator, teacher, and performer. He would bring up concepts that went further than simply the mechanics of drumming by also implementing the psychological and scientific aspects of how we play. He breaks these concepts down into very understandable smaller parts so that literally anyone can understand it. Looking at Benny’s performances will also very quickly indicate to you that he is very methodical and intentional about his musical decisions and execution. So with all of these ingredients, you might imagine that an interview with Benny would be very eye-opening and an event that I would be very excited to present to all of you. And you would be right — mostly. If you have been listening to DrumeoGab, or in its earlier days, DrumGab, you will know that I like to promote the idea of pursuing your work with integrity and to push yourself to reach greater heights with your art. Stagnation usually leads to boredom. So, I think it is important to step out of your comfort zone and do things to the best of your abilities. With Benny’s interview, I prepped a lot and tried my best to design something a bit different for listeners that would challenge myself with being able to host it. It was all really deep subject matter that brought curiosities forward but I hadn’t fully established my own thoughts on it yet. Instead, I wanted to see what Benny would bring forward and discover what kind of conversation could be had from the questions I had. I also enjoy challenging my guests with these deeper subjects as well. All was going quite well I thought and then towards the end, I asked a question that would end on one word that would essentially ruin the question. The question was whether a drummer should spend their time mastering one to three styles of music or if it is better to know a lot of styles — but just a little bit. Nothing too in-depth or “masterful” so to speak. We as drummers hear a lot of people suggesting that in order to have a better shot at a stable career that we should learn as many styles of music as possible. But how is that information being handled? This is my curiosity. Are people just dipping their toe in styles or are they spending a great deal of time in a style of music and as a result finding their own voice within that style? So the question seemed pretty interesting to me when it is phrased that way. It seems like something people may want some clarification on but I really flubbed the question. I said, “should you half-ass it all?” which is absolutely horrible wording. It also contradicts how I approach this podcast and I personally don’t think that anything should be half-assed whatsoever. But I said it. And instantly, I regretted it. During the interview with Benny, I felt what was best was to just let it pass and try to continue with the interview without having to defend myself at that moment, even though my ego felt the need to pipe up to try and regain some worth. It was tough making a big mistake on the podcast with Benny. I don’t know why the word came out of my mouth. It just kinda popped out of there and before I thought to stutter a bit and readjust my question, I committed instead.  It was this type of catastrophe that I used to worry about happening when I first got into doing this podcast. It is the kind of event that I never wanted to have happened because I am not good at feeling embarrassed and I have a perfectionistic approach with this show. Whenever embarrassment happens I have a tendency to ruminate on my embarrassment and it cuts away at my confidence quite a lot. So what did I learn from this? Growing Pains The episode is titled “Growing Pains” because that is what I had experienced making this one. It connected me again with the fragile side of my ego that has always been a bit soft. Before I continue though, I need to hit rewind a little bit. When I started the podcast people were saying, “it’s really good considering you have practically no experience! Keep doing it!” What does that really mean? Well, I guess translated it means, “it isn’t very good yet but I think it will be good once you learn more about how to do it. Definitely stick with it.” So even from the beginning when I was incredibly uncertain about myself doing this kind of work, people were very gentle with their feedback. As the show grew and I felt that the content was becoming much better, I felt that the feedback was far more natural sounding. People were telling me often how much they look forward to it, that it was making a big difference in their personal lives and with their approach to drumming. The feedback has been really great, with only a few small comments stating otherwise. But that is the thing, I haven’t had much “bad” stuff to deal with while making this show. It has all been very good and it has been easy to feel positive about the work. To clarify, I have also been very careful not to get too comfortable or confident either. Believe me, I still get nervous butterflies with every interview. I always want to hit a home run. It is very tough for me if I feel that I didn’t. This is why I prep so much and pour so much love into the work because I am actually really afraid to fail. That feeling of embarrassment is one of my biggest fears. For my listeners, you must know the following about me. I grew up being incredibly self-conscious. Even something as insignificant as playing a game of basketball as a kid was stressful because I wouldn’t want to trip over the ball, miss a shot, miss a pass, or anything that put me in a place of inferiority to my peers. I didn’t want my teammates to say I was the reason why they lost the game. Overall, I wanted to be accepted. This mental strain actually caused a lot of these “misses” to happen and I felt like the loser on the team. In school, I was always the last person to be picked to be on a team for gym class because most of the kids didn’t like me much. And that became my truth. Fast forward a few years later — I was always in a band, playing a lot of shows and having a lot of fun with music. I would come off the bandstand and my bandmates would tell me how tight the show was, and some members of the audience would say how they dug my playing. I got told this all the time. Hugs all around and everything is alright! I felt like I was competent at something! I was being accepted for a skill that I had. Once I packed in playing music, due to Harrison arriving soon and needing something different for myself, I decided that I would start up a podcast. And again, I found something that really worked with me. I have felt a bit embarrassed or self-conscious a few times for sure, but I knew it was all part of growing with the show. The difference was that it was always in micro-doses, never a full blast of it. And that all changed with this episode. The thing I was trying to protect myself from by over preparing, over-editing, and playing it a bit safe with questions lead me to what I needed. A big jolt of something that would force me to make a decision that would test my comfort levels like no other time in this podcast. Do I keep the part of the podcast that I cringe at when I hear it? Or do I remove it and continue to be safe from humiliation? Making A Tougher Decision Always Has A Better Outcome Even writing this article took me about a week to visit. The reason being that I have to relive the bad feeling. As you heard in the intro to this episode I confronted it once already, and it felt GREAT when I faced my fear. I felt so uplifted and proud that I decided to keep something in the show that I felt was as embarrassing as running down my neighborhood naked with a cowboy hat on. But coming up to the release of this episode I am once again feeling a bit worried about what people might think when they hear it. Will any credibility I had built be lost? Will people make fun of me when they are listening to it and praise Benny for pointing it out? Is it going to be spread around on the internet as the big highlight to this episode? Will fans of the show email me about it to ask what went wrong this time? So now as I observe it again, I am hoping I can let go a bit. As you build something and the momentum grows as this podcast has experienced, you feel even more need to protect it. It can become this thing that you place on a pedestal. Like a game of Jenga, you are more reckless at the beginning of that game than you are towards the end when you know it could all fall down. With the relationships I have formed, the wide listener base that comes here to get their weekly dose of podcasting goodness, and the growing sense of responsibility to everyone above, I am feeling the imposter syndrome more than ever. I was told once by a good friend, Ned Burwell, that a decision should be looked at as a circle with a line running through the center. The center line represents a neutral state. On the right side of the circle starting in the middle is the hard decision. It is a vertical climb to get to the top and then an easy fall to get back to neutral again. An easy decision is represented on the left side of center on the circle. You can fall down the edge of the circle but it is a hard climb to return to neutral. This concept has become one of the most influential things to me when I need to make a decision. In this case, I felt it was no different. I had to make the hard decision in order to live with myself easier. I also had to do it not just for me but to inspire you too. I want people to make decisions that challenge them for the right reasons. I could have removed that part of the show and avoid my humiliation but instead, I thought it would be best if I just owned it instead. It is what I promote after all. With More Influence Comes More Responsibility As you become someone that people look to for inspiration and advice I feel that it is absolutely crucial that you practice what you preach. That might seem incredibly obvious and it kind of is. But doing it can be tough especially if you think there is a chance to avoid it. It negatively affects your confidence if you know in your conscious that you aren’t living up to what you promote. We live in a world now with social media influencers everywhere. The potential issue with that is simple. Social media doesn’t have to be real to be believed. We can edit and filter out all of the stuff we don’t like about ourselves through it. We can essentially lie to both our audience and ourselves and only we will truly know that. Personally, I don’t want to live with that burden. That also means that I have to grow to become a person that truly doesn’t care what people think about me. If I know myself that if I am being honest with myself and my audience, that is all I can do. I should feel liberated to show my scars and insecurities. I should also feel liberated to show my successes too. Overall, we need to accept what is. We need to practice what we preach. Ned told me another amazing thing once about trajectory and influence. Let’s pretend that we are a ship setting sail. The trajectory is going to be one hundred miles. In order to get to our destination, we must sail perfectly forward on the trajectory to meet our destination. If our moral compass is off by one or two degrees, it has less impact if we have only traveled five miles. You may only be off center by a few feet and it is easy to get back on course. But if we are have traveled one hundred miles and haven’t checked our moral compass we could find ourselves off course by many miles. So what do the one hundred miles vs five miles represent? It represents influence. As we gain influence in the world we must be more aware of our moral compass because we are now affecting more and more people. The intention behind our actions has to come from the right place. Many things can have an effect on our moral compass and so we need to check in with it every so often. As an example, I have heard of some people falling into what is called “the messiah complex” by becoming really influential. It is a real thing, look it up if you don’t believe me. I am always trying my best to stay humble and remember that loser kid that no one liked. I feel grateful that I have an audience that adores this podcast. You come here each and every week to get your weekly dose of quality media that I try so hard to ensure it is good for you. (Hence the catchphrase for this podcast has always been, “It’s good for you”) I don’t ever want to be misguided by my desires, for acceptance. I just want to make my show and learn more about how to be a better version of myself, have great experiences (like this one), grow the show in every way, and develop more relationships. In addition to that, if people are learning, growing, achieving, facing their fears, working hard and being respectful and kind to other people too — then I am very happy with that. Face Your Fears With this decision to leave in something that I am insecure about is the very thing I needed. I needed it to see for myself where I stand with my own growth as a person and to ensure that you, my audience, understand my intent with this media. I hope that after you hear this episode that you feel that it is a great thing to own your failures, observe them for what they are, and move on as soon as possible. It is all part of the process. I can also guarantee each and every one of you that growth lies on the other side of your fears. It is better to face them now and see what they really are instead of allowing them to fester in your mind. You have to prove to yourself time and time again that your fears are not what your mind makes them seem. It is nothing more than something your mind has conjured up in order to prevent you from moving forward. I also think other people are wanting to see other people set the example of walking through their fears before they take their first step. So be the person that shows others the way. Be encouraging to your peers who you know to struggle with moving past their fears. Once fear turns to worry, it only becomes harder to move forward. I hope you all have a tremendous week and thank you for coming along on this leg of the journey to finding more growth within myself and maybe even you too.  I also want to say a huge thank you to Benny for spending his time with me on this episode to provide some incredibly thoughtful insights in this interview. Also, with teaching me more about myself. Music used in this episode: “Barking” - Benny Greb Moving Parts “Stabila” - Benny Greb Moving Parts “Bunker” - Benny Greb Moving Parts https://www.youtube.com/watch?v=OP3o84bMduE Benny’s Socials Instagram Facebook Website Drumeo Gab’s Socials Instagram Facebook

1hr 29mins

7 Jul 2019

Rank #10

Podcast cover

Ash Soan (Adele, Rod Stewart, Seal) - Talk To Your Neighbour

“It’s not about the drums. It’s about the song.” Ash Soan is a British drummer from Norfolk, GB. Both he and his Windmill Studio have caught everyone’s attention. I know that Ash’s commanding and slippery groove caught mine. For those of you out there who grew up listening to anything with Bernard Purdie, Steve Gadd or Manu Katche’s fingerprints on it, chances are high that you will instantly love Ash’s sound.  In over twenty years experience, Ash has recorded 56 top ten records. He was also, until recently, the drummer for the UK television show “The Voice” for a tenure of seven years. Some of the artists that he has worked with are Cher, Robbie Williams, Adele, Snow Patrol, Billy Idol, James Morrison, Trevor Horn, Rod Stewart, Seal and the list goes on and on.  His career is one where hard work and luck met at the right time and things took off from there. In this interview you will get to hear that story, his thoughts on modern drumming, second-hand weed, first take and; just listen to it already! Ash endorses Gretsch Drums, Remo, Vic Firth, Zildjian You Will Hear About…. Ash’s famous musician neighbour in London back in 91’ and how that changed the course of his career. A conversation about how we as drummers are kinda sounding the same. Certain drummers we are both digging…JD Beck, Daru Jones, Chris Dave, Yussef Dayes. Ash’s take on ‘Dilla Beats’. Ash’s reading and why he left The Voice. How intense performing film scores are. Comfort levels and the Windmill Studio. Why Should You Listen? Ash is one of the most popular drummers on the planet right now and there aren’t many appearances of Ash on podcasts currently. To get a little deeper, however, this interview has some controversy in it that is really interesting. Did I mention that this was recorded first thing in the morning in the LA sun on an eleventh storey hotel balcony too? That certainly didn’t hurt. Overall, we had a lot of laughs, it was laid back and it was real. Are you listening to it yet? Ash’s Socials Instagram Facebook Website Follow ‘Drumeo Gab’ Instagram Facebook

1hr 18mins

16 Feb 2020

Rank #11

Podcast cover

Episode 72 | Juan "Carlito" Mendoza

Drummer and music educator, Juan "Carlito" Mendoza is famously known as the 2012 Guitar Center Drum Solo Grand Champion. That YouTube video has over 3.5 million views. Juan has also written his own educational book titled, Rudiment Creativity Vol. 1: Rolls and Paradiddles. Volume Two is planned to be the works this coming fall.   In this interview we discuss the importance of patience, being genuine and authentic and why having a creative outlet is beneficial for people. Recorded March 30, 2018 Juan's Socials Instagram | Facebook | Website DrumGAB Socials Instagram | Facebook | Website

2hr 3mins

1 Apr 2018

Rank #12

Podcast cover

Jojo Mayer (NERVE) - It’s A Human Thing

“Technique is just legwork. It’s not a paradigm shift for the most part.” This interview with Jojo was the last interview that I recorded during the Drumeo Festival in 2020. The night prior to this interview was when NERVE closed the festival with a tremendous performance that blew the minds of the audience in attendance. I have been listening to NERVE since early on, in fact, it was the Prohibited Beats album where I discovered them with the incredible tune “Far”.  Prohibited Beats was the first NERVE album release but there were also major parties that Jojo hosted in NYC that he called “Prohibited Beatz”. At the Drumeo VIP dinner he shared that entire story of how he was no longer allowed to host these parties, as people well into the thousands would attend. Look up what the “Cabaret Law” is for some nice casual reading. It was that among other contributing factors that forced Jojo to stop the Prohibited Beatz parties.  Jojo Mayer is a very creative and ingenuitive musician. It has been commented on many times before that Jojo possesses very high technical abilities both in his hands and feet. He broke all of this technique down in his two highly acclaimed instructional Hudson Music DVD’s “Secret Weapons for the Modern Drummer”. The first release was dedicated to hand technique and the second release was for feet. Combined, these DVD’s covered everything you’d ever need to know about technique. There is no question that Jojo Mayer is among the greatest drummers of all time and has been incredibly influential in music and the arts. You Will Hear About…. The message, “you can’t do that” and how Jojo basically ignored that. How New York isn’t matching the creative output it used to produce. Whether a musician who hasn’t struggled as much is missing something musically? Jojo on “Rock n’ Roll”. Jojo on technique. Jojo is concerned about the safety and prosperity of mankind. Why Should You Listen? Jojo is obviously an expert musician and I love his music but his interviews are always interesting too. His thoughts about society, art, culture and beyond always have an enlightening edge to them. Speaking for myself, I find the words he speaks to be almost as enjoyable as the music he performs. Much like Frank Zappa in that regard. I am very happy to have had the opportunity to have one on one time with a hero of mine and to have captured something of value for listeners. Jojo’s Socials Patreon Instagram Facebook Twitter Website Follow ‘Drumeo Gab’ Instagram Facebook

55mins

29 Mar 2020

Rank #13

Podcast cover

Episode 59 | The Truth About DrumGAB

TRUTH.

25mins

10 Jan 2018

Rank #14

Podcast cover

Episode 36 | Billy Martin

The goal with DrumGAB is to find the fire in the belly of the artists that I feature. Every person has baggage and experiences that make them unique and ultimately, interesting. Normally I dig deep ahead of time to find the key to the doors that contain great conversation and true honest perspective. With Billy, things went a little differently. I have been listening to MMW for years and have always enjoyed their performances and Billy Martin has been an artist that I have admired for years. Now, I must confess that beyond Billy’s music, I am not very familiar with his complete range of work. For me personally, I have been curious about his process of creating, his philosophies on improvising and what life means to him and how being an artist fits into that. In all honesty, while this episode may feel like it’s an interview, the reason for that is because Illy B has so much wisdom to shed on every single question I had. I discovered quickly that if I were to continue peeling layers on a single topic, this could have easily become a two hour plus episode and I have to keep brevity in mind for the sake of my monthly podcast allowance. So we explore a handful of interesting ideas that are unfolded with unprecedented detail on a DrumGAB podcast. This is a podcast you may find yourself replaying just to capture the depth of his explanations. It is nothing short of incredible. Billy shapes his responses into a powerful string of sentences that are coupled with vivid metaphors time and time again that gets your brain moving. Early in this episode, we discuss Billy’s music camp, Rhythm, Sound, and Magic, which I mistakenly addressed as a festival, oops. Illy B discusses the purpose of the camp and what campers can expect to take home with them and the concept is simply wonderful. This camp attracts all walks of life who share the love of rhythm, sound and the magic of creating in the moment with your peers. The result is a beautiful celebration that I can only imagine leaves the campers feeling inspired and fulfilled. Billy seems to have a strong inclination to implant radical ideas into people to help them find their true path for creating and find themselves in the process. It is one thing to copy someone else and shape yourself around someone else, but it is another thing to gather and store knowledge as your tools and use those tools to experiment, fail, succeed and eventually develop something that is truly you, which acts as a genuine and sincere contribution to the world. Bob Moses is also a topic of discussion in this podcast. Billy has known and mentored, unintentionally, with Bob for many many years. The stories about Bob and Billy are treasures. It is pure gold what Billy shares with us. I won't spoil any details here, you'll just have to listen. Although I will say that I do ask about the reason why Bob and Billy both often use branches and sticks to play the drums and how it changes your playing from using conventional drumsticks. In my ignorance, I referred to the branches as "twigs" so I am somewhat regretful of how I addressed my question, however, the reasons for using this technique surely has opened my mind considerably to this idea. There is one more particularly special element to this episode as well that I would like to share. I have a friend that I have made through creating DrumGAB and he has become a devout listener and I am grateful for him. Mayo Coates created the intro music for Ep.35 with Freddy Charles and I was so impressed with the results that I asked him if he would like to create an intro for this episode with Billy. Mayo probably thought about the offer for about a second because his response was a resounding YES! He told me he would spend the week working on something and because Mayo is an enormous fan of Billy, he wanted to make it perfect in honor of the opportunity. So he sent me the tracks and while I loved them, I didn’t see it as an intro this time around but rather one piece in particular, “Grooves for Whales” as an outro piece. It features the beloved Morfbeats Marvin in action and it just works, so instead of going the usual route of featuring the guests’ music I decided to use Mayo’s music as he saw it as a tribute to Billy and I personally believe in sharing and adding value to people’s lives whenever I can. I am sure that Mayo will treasure the experience and I love how it is a true extension of Billy’s teachings as Mayo has been indirectly mentoring from Billy for years through his books, videos, artwork, and music. You can also hear Mayo’s creative sounds when the call drops between Billy and I, in a trippy void of technological misfortune. As for the intro that I put together, there is a small reflection of myself in this. I am an only child and I spent a lot of time experimenting with recordings and sounds as a child and I feel that as we age and we become more and more objective and realistic and as a result, we lose the ability to be open to our imagination. The man in the interview is Captain Beefheart, whom I am fascinated with and have been for years. Beefheart had an often brutal, dictatorial approach to controlling his creative environment but one thing cannot be denied. He pursued his creativity with no barriers and with a childlike nature that made him one of the greatest creative minds in the 20th century. I find that there are mild parallels to Illy B and Beefheart in terms of exploration and their prolific catalog of work but beyond that, this intro was simply interesting and fun to create, albeit dark and sinister in tone but I like that sort of thing. As a final thought, I will never forget my involvement with this podcast. Besides the incredible experience of speaking with someone that I have been admiring and listening to for so many years, I was in the Bruce Peninsula cottaging during the editing process and I found myself in the perfect headspace for working out this episode. While I was up there I kept thinking about how honored I am for the responsibility of making this special episode. The task of creating media that features Billy's wisdom and knowledge for people who truly appreciate Billy is something I don't take lightly. I consider this episode as one of the most important episodes that I have done so far and I am completely humbled to have been the director of such a thing. Amazing. Thank you for this opportunity Illy B, it has been a slice. Billy Martin Media Instagram | Facebook | Website | Amulet Records DrumGAB Media Instagram | Facebook | Website Music By Mayo Coates Instagram

1hr 11mins

13 Aug 2017

Rank #15

Podcast cover

Anika Nilles (Nevell) - On The Record

Sign up for only $5 (all proceeds go to the Covid Solidarity Response Fund) to enroll in the Drumeo Learn Songs Faster Masterclass. This is for a limited time only. “Something changed. It was a heavy time.” Anika Nilles has built quite an impressive career for herself over the last six years or so. Her profile blossomed into international status almost overnight with the release of “Wild Boy” on YouTube. From there, she has gained considerable exposure and has been in high demand for clinics and other educational platforms, such as Drumeo. It could be argued that Anika was one of the main influencers on the popularity of quintuplet phrasings but also disguised them well to make these odd-phrasing ideas approachable and musical. This was the second interview opportunity that I have had with Anika. The first was over two years ago where we spoke over Skype while she was home on a quick break. It was amazing to have her on the podcast but also quite disappointing to me personally due to the outcome of the audio I recorded. It was compromised heavily due to static and other noise that I couldn’t remove from the recording. I have always been a bit upset by that. However, this episode sounds quite good and the conversation is so much more compelling than the first one we had. I feel like I got the interview with Anika that I always wanted. Anika opens up here. She discusses things that she has never discussed publicly and perhaps to an even further extent, at all. I am very thankful that she was so willing to be transparent and honest about her career, the obstacles that have been challenging and the things that still trouble her to this day. You Will Hear About…. Stage fright Needing control Anika’s thoughts on musical freedom What really happened on October 18, 2017’s announcement Anika’s objectives right now Looking on the bright side American influence on European drummers How viable is the online influencer option today? Does Anika know how to future proof her career? The best nights of music aren’t always the ones you thought were great at the time. Why Should You Listen? This is the interview you have never heard before. In fact, I was in disbelief after the interview just how open Anika was. I pushed a bit into territory that was a bit vulnerable for her but she didn’t shy away from the questions. She really put herself out there in an honest and transparent way. Anika has a lot of fans who see her as a deeply inspiring drummer and personality and the things she discussed with me will likely end up furthering that feeling for her fans. She is an exemplary person who shows us that the top level professionals have fears too.  https://www.youtube.com/watch?v=C1AtfdNKYug Anika’s Socials ANIKA”S NEW ALBUM - For A Colourful Soul YouTube Instagram Facebook Twitter Website Follow ‘Drumeo Gab’ Instagram Facebook

52mins

5 Apr 2020

Rank #16

Podcast cover

Dan Weiss - 98.9% Honest

“The artistic thing needs to happen. Along with being great parents we just can’t live any other way. I can’t live any other way.” Dan Weiss is a musician from Brooklyn, NYC who is a drummer, tabla player, and composer. He leads his projects Starebaby, his jazz trio, Fourth Floor, and collaborations with Ari Hoenig and Miles Okazaki. As well as being a sideman in very high demand, he is also a bandleader and composer. He composes through piano, electric bass, and drum set to create these incredibly moody, complex, rich and compelling works that have a distinct presence to them. Dan also studies tabla with Samir Chatterjee. This study with Samir has been going on for over twenty years.  In this interview, you will hear Dan’s complete and total honesty. Dan provided an analysis based on his answers in this interview. The results were, Honesty = 98.9% Answers on the whole = 87.3% You Will Hear About…. Dan’s creative process with composing and some details on the new Starebaby record. Dan’s discusses the book You Are Not Your Brain and how he has benefited from this book. How Dan's Guru, Samir Chatterjee, teaches him by example. How Dan adapted to being a father and what he has learned from his daughter. If Dan ever thinks about the future state of the world. If we as adults lose the child-like "specialness" of life. Practicing in your mind vs on the drums. Why Should You Listen? I am usually very satisfied with these podcast episodes that I create. But sometimes when they are finished, I have an incredible feeling of connectivity to the work. It is remarkable how much Dan and I related to each other in this one. There was a great sense of honesty, openness and human rawness in this conversation. Dan and I cover a lot of deep topics that apply directly to the artist’s mind and heart. How do we know when our work is done or if it is any good? How do we obsess over detail, without it suffocating us in the process? These are some of the questions raised in this one. I recommend listening deeply and focused with this one to get the full effect. Music used in this episode: Dan Weiss Trio - Timshel Prelude Always Be Closing Dan Weiss - Starebaby Veiled Dan’s Socials Patreon Instagram Facebook YouTube Website Drumeo Gab’s Socials Instagram Facebook

1hr 33mins

13 Oct 2019

Rank #17

Podcast cover

Episode 68 | Nick Ruffini of Drummer's Resource Podcast

If you know about drumming podcasts, even if only a little bit….it is almost impossible not to know about Drummer’s Resource. With over 360 episodes recorded, Nick Ruffini has never failed to release a podcast every single Monday since November 2013. Some of the guests that Nick has had on the show include Mike Portnoy, Thomas Lang, Ndugu Chancler, Steve Gadd, Chad Smith, Nate Smith and Lenny White. Any of the guests listed above gives you the impression that Nick has made some deep contact within the industry. It is not a small task to book those caliber of shows, as I can relate to the process myself. So I have to share a small story to explain to you why this episode is pretty special to me as a podcaster. Over a year ago when I started DrumGAB podcast I had never listened to a podcast before. I knew what they were but that is all I knew. So when I decided to develop my own podcast I had no references initially which was a problem because I had no idea if I was doing it correctly and so it was time to start listening to them. I didn’t know of any drumming podcasts so I went to Google to search and the first result that came up was Drummer’s Resource, so I clicked on it. I can’t remember the first episode I listened to but I do remember my first impressions of the show upon first listening. The host was comfortable, the audio is good, the episode list is stacked with legacy players and I had a lot to learn. For about three months I listened heavily to the podcast picking up some nuances of flow, the delivery of questions, responding organically through careful listening to the guest and some production stuff. It wasn’t that Drummer’s Resource was a blueprint but I felt that I was gaining experience by listening. Eventually I reduced my listening to Drummer’s Resource and other podcasts and began isolating myself to my own project so that I could be as original as possible and find my own way in podcasting. I think that was a wise move because I didn’t want other podcasts to be my source of creative inspiration. It was November of last year when Nick reached out and in our first conversation had said that he was digging what I was doing with the show. I must say that because his show was the first podcast I had ever listened to and originally obsessed with when I started mine, receiving a compliment like that was pretty awesome. Fast forward up to a couple of weeks ago….I recorded a solo show about social media engagement and influence building and sat on it for a week. The show is actually assembled and I could have published it by now, but I kept holding onto it. Then a lightbulb moment happened and just figured, why not talk to Nick about this stuff? I caught a couple of his live feeds on Instagram and he was talking about this stuff and I figured he would be a great guest to have on to discuss this stuff and besides that I wanted to talk some podcast shop too. That brings us up to the present. The Episode I think listeners will recognize a few things relatable to themselves in this episode. One concept that I think people should take away from this episode is not to limit yourself by having a restricted way of thinking. You have to decide how badly you want something and then understand that it is not impossible at all but that it will be difficult and you will have to deal with personal tests that will challenge your passions. Another strong message in this podcast is how too much information and not enough action can create an unhealthy cycle of over motivating your mind but underachieving as a result. We also go over the importance of engagement on social media and that big numbers don’t always mean big engagement or meaningful connections. There are more examples of great points being addressed that are beneficial to the modern drummer, whether it is practical application or state of mind, this episode touches on a lot of quality subjects that lead to great conversation with a veteran in the podcast game. Drummer’s Resource Socials Instagram | Facebook | Website DrumGAB Socials Instagram | Facebook | Website

1hr 22mins

4 Mar 2018

Rank #18

Podcast cover

Keith Carlock - Locked In

Man, am I ever a lucky guy. Keith Carlock has been one of my drumming heroes for many years. Ever since I saw the 1999 Marciac Jazz Festival video on YouTube, featuring Keith, Wayne Krantz, and Tim Levebre, I have been a big fan of these musicians. That video had a very profound effect on me as a young musician who was trying to find something new that I would connect with for the rest of my musical life. Since then, I have wandered cyberspace to find other examples of Keith’s playing in that context that I could also connect with but unfortunately, high fidelity content featuring Keith online is not in abundance. This is one of the big reasons I was excited to see Keith perform and teach his concepts at Drumeo. To witness that in person was a pleasure of the highest order. Moreover, to interview such a modern legend in the Drumeo studio was something I never EVER thought would ever be in my future. So first and foremost, I owe an enormous thank you to the wonderful team at Drumeo for this opportunity and to Keith for giving me his undivided attention and time after a full day of filming lessons at Drumeo. Keith Carlock is a favorite of mine because he has such a firm grasp of having a distinct sound. In addition to that, he has managed to forge an incredibly nice career for himself too. Working with such acts as Steely Dan, Toto, James Taylor, Oz Noy, Wayne Krantz, Sting, and John Mayer to name a few. He also released his own instructional DVD through Hudson Music titled The Big Picture: Phrasing, Improvisation, Style, and Technique. Over the years he has also received many accolades through the Modern Drummer’s readers poll, managing to win a few and make it to the top three in several categories many times over. Too many drummers, Keith is held in high regard for his smooth delivery, musical style, and untouchable groove. Can You Unlearn? Keith studied at North Texas State University in their acclaimed jazz program in the early ’90s. Taught by Ed Soph, Keith went to the University of North Texas to learn jazz. It would prove to be nearly impossible to consume and digest all of the materials covered in school. Keith sat upon that material for a few years to process what he had taken in. There also came a point where Mr. Soph approached Keith’s mother to inform her that he felt that Keith no longer had to continue his studies. Ed felt that Keith would be just fine if he stopped going.  I suppose it is fair to say that Mr. Soph possessed some exceptional foresight. At one point in the interview, I asked Keith if he ever wished that he could unlearn some of the stuff he learned in school. This curiosity spawned because of a very interesting point made by Mark Guiliana on episode 108 of DrumeoGab. Mark had declared that while school was great, sometimes he kind of missed how he used to play before he learned all of this stuff in school. This point of view struck me as a very interesting point made in that interview with Mark.   Keith had said that he went to school to learn and be a sponge. How he characterized his sound has much to do with the time spent with guitarist, Wayne Krantz. It is how I found Keith originally, after all. Keith regards those early years in NYC, specifically with Krantz, as the years that he really found his sound. That must have been amazing times for Keith. If you watch any of their stuff, you will notice the wonderful mix of searching for the high and getting there. Wayne  with Tim and Keith at the 55 bar playing their asses off is something I wish I could have seen when they were playing there all the time. Time Away From Home Keith is a father and a husband — and a musician. Being a musician seems to be both isolating and social, which seems like a dichotomy. When your life also encompasses your family and friends, I have to think about how the pleasure of the road changes. I would personally find that very challenging. For any small length of time that I have been away from my family, I end up missing them quickly and I find that it takes a day or two to adjust when I return home. I can imagine how difficult long periods of time for touring drummers would be when their family is at home. Like anything, people adapt and find their ways to make it work though.  Todd Sucherman had said in episode 101, he just slides into the groove that is happening and adjusts to them. Time away from loved ones will always be hard though. It is the life a musician chooses to live. It is one of those sacrifices, if you do in fact see it that way.  I want to share a quick story. This is abrupt, but hang in there. This is a great perspective I was given by a stranger that applies to this. While I was staying in Abbotsford at the Sandman hotel, I popped outside for a bit of fresh air and found myself having a nearly forty-minute conversation with someone who was also staying at the hotel. He was a European man, middle-aged, who was in town because he and his team set up the scoring system screens for horse racing tracks. I can’t remember all of the details of his job, but what I do recall was the fact that he and his team spend upwards of 300 days per year on the road. His name was Tom. Tom told me an amazing story about how he was a musician in Europe during his teens and into his twenties. He became quite popular in Germany and other parts of Europe with his music. He got into electronica towards the end of his music career and had the best management in Europe handling his act at the time. This same management was working for Sigfried Fischbacher. Yes, the world-renowned magician. Well, as it turns out, Tom and Sigfried became very good friends. Sigfried eventually told Tom that he should incorporate magic into his musical show to bedazzle his audience and add something that no one was doing at the time. Eventually, Tom’s act became solely a magic show. He bought a caravan and toured all over Europe performing his magic. He eventually gave that up and began this gig with the scoreboard systems. This is, of course, the cliffs notes version of the story he told me but there was something very interesting that he talked to me about.  A perspective that helped me understand a lot more about what some musicians who tour for most of their lives might go through. Tom had said that after a week at home, as much as he loved his home (which he showed me a picture of on his phone and it is absolutely lovely looking) he gets very antsy after a week. Willie Nelson comes to mind.  What I was getting from Tom was that even though he did miss home when he was away, he was just so used to the life of being in different, far away places all the time. Tom began touring very young. So, really -- it is all he knows. He probably feels more at home on the road than at home. Starting late with a career that involves travel might be a totally different story for some people. I just find this idea of detachment from a physical home base really fascinating about musicians, or any entertainment based careers. I wonder how many musicians began playing an instrument because of the appeal of potentially touring? Could that be why some musicians began playing? This is why I think some people are built for the road. There must be so many costs and perks to touring. The adventure! I mean, c’mon, when you are young it would be amazing! This must be a dream for a person who is, other than to him/herself and music, not committed to anything too significant. Pack up and go whenever you want. Eventually though, I think it is hard to not notice the pressure to conform to adult society. House, married, stable job, financial freedom, kid(s) and on it goes. I am bringing this up because I know some musicians that never really settled down. When you are young it must be fun, but it seems lonely when you’re older. Props to any musician that has a family at home and with the support of their spouse, manages to find a routine or norm within their family unit. Just something to create some stability. That mustn’t come easy. The thing we love isn’t easily compatible with the idea of settling down. IF, you want to make it your life.   Finding Your Voice I see a lot of chatter online, and I am certain it has been discussed within this podcast before, that we as musicians need to learn as many styles as possible in order to establish a more reliable career. Before I continue, I do not disagree with this at all because it has been stated many times by many industry professionals. But the quality of that message is determined by how it is interpreted. It could be possible that the wrong approach to this idea leads to a generic sound. Even with a generic sound, as long as the drumming is tight, and you have yourself put together professionally, that could be just fine. However, I still feel like there is something to be said for recognizable musicians. So I asked Keith what he thought about this, after basically answering my own question, and he made a very good point in particular. He used an example of some African music that he was asked to perform once where the artists sang the parts for him to play, which was very helpful he had mentioned. Keith wasn’t born in Africa, nor did he grow up there with their music, so there is a limit to the authenticity. He managed to play the music and they actually called him back even though he may not have been the most ideal musician to play the music.  But the most important thing he had said in regards to all of this, in my opinion, was that with any musical style it is important to find your voice in it. What is it that you can connect with and project your true self through the music? This is such a cool point I think. Not just the notes, but the attitude, the spirit, creativity, and flow. I think this is a strong point made by Keith that should be considered by everyone when they get called to perform. How can you inject your voice into something pre-existing and let your sound be heard without taking anything away from the music? To Conclude This opportunity to speak with one of my heroes is one that I will never forget and certainly a highlight with this podcast. Keith is an incredibly nice guy. What is nice is when you meet one of your heroes and they turn out to be a person that you really like. It was a very important and special time that I will be telling my kid about one day. So, I hope that you enjoy some good vibes and the thoughts of a truly great player in this episode. It was an absolute treat. Thank you again for all of your comments in the Drumeo Edge section, DM’s and emails sent to me to show your love and support to this podcast. I appreciate every single one of you. Keith’s Socials Instagram Facebook Website Drumeo Gab’s Socials Instagram Facebook

1hr 20mins

30 Jun 2019

Rank #19

Podcast cover

Gunnar Olsen - Right Place, Right Time

Gunnar Olsen is a New York-based musician who performs both live and in the studio very often. He has performed with The Exit, Big Data, Mother Feather, The Goo Goo Dolls, and even the boss. Mr. Bruce Springsteen. You are going to hear all about how that came to be in this interview. He represents C&C drum company, Zildjian Cymbals, Remo Drumheads, Vater Drumsticks, GoPro, Big Fat Snare Drum, Big Ear N.Y.C., Ableton and Reflexx. Becoming a session player Gunnar talks about how back when he was playing with The Exit originally, he believed that what he wanted out of his career was to be a band guy. A rock star type. That was where his head was at. But as he continued on his path with music he started getting calls to do other stuff for other people. Eventually, The Exit fizzled out and by this point, Gunnar was finding himself doing a lot more session-based work. It wasn’t really the goal when he set out to pursue music but it became his experience either way. As Gunnar explains in the interview, he was being taught many important things about how to do a session gig to best suit the music, artist, and the producer. It is a discipline to simplify your playing in order to get a thumbs up from the producer. Is it really necessary to get attached to your performance on the record or to just do what is satisfying everyone else who is involved? This is a very interesting point of the conversation. On the other side of the coin, sometimes it is a great thing to really push the envelope and create something particularly special on the drums. I suppose that is a matter of good judgment, experience, and intuition. In any case, as you will hear in the episode, Gunnar has become a very active player in the New York scene and recording remotely for other people abroad. The Bruce Springsteen thing To lay down drums for the Boss has to be one of the greatest feelings a session player can experience in his/her lifetime. A major triumph and validation that you are doing something right. The tracking for Bruce’s new album “Western Star” happened a few years ago. Gunnar wasn’t sure if the music was ever going to be released, but sure enough this summer it happened. He finally had the chance to tell the world what he had participated in. And you are getting that story told for the first time publicly on this podcast. What a treat! The story of how Gunnar got this gig and the events that took place at Bruce’s home studio at his ranch is larger than life really. You can tell that Gunnar has rehearsed this story by living with it for so long and telling his close buddies in sworn secrecy. I won’t spoil it in this article, but what I will mention is how Gunnar knew how to read a situation and provide what was truly preferred by Bruce. This must be incremental as well considering the other two cats who laid down tracks previously to Gunnar. But a combination of having a producer’s ear for drumming and intuiting a situation based on a keen observation made by Gunnar definitely had to play a role in why you are hearing him on that record. I actually included the tune “Sundown” at the end of this podcast from Bruce’s new record. And yes, that is Gunnar on drums. A producer’s ear I think that this is an often-overlooked “chop” by drummers. We tend to focus on the technical prowess that we possess on our instrument and less often employing a producer’s ear towards what we perform. Music isn’t just about drumming and I realize this isn’t news to many people. What I am getting at though is that many of us, I think anyway, are looking to constantly improve our abilities on the drums and rightly so! But we cannot simply focus on that. We also need to look at how our natural eq is in the mix when we play, what sounds we select for any given song, the effectiveness of our fills that we use and this applies to the grooves that we use too. It all plays a role in the delivery of the music and drums have a lot to do with setting the pace on this stuff. Of course, all of the instruments involved in a piece of music have to be considered, but drums really do have a profound place in this and it isn’t something I hear much discussion about. Like you, I see so many incredible session players who know what to do with this and can fit in nicely with their playing and even inject their distinct sound into a piece of music but we are observing that. So Gunnar and I have a go with this subject and I think there are some valuable nuggets in there for listeners to check out. What should we focus on? Gunnar talks about how he isn’t interested so much in being an engineer. Like any skill, much time is required to become great at something. With time invested in one thing, means that less time can be afforded for other things. Gunnar COULD dive headfirst into engineering but he is far more interested in producing and drumming. Between those two things, he could easily spend a lifetime growing and he just isn’t keen on including engineering into that mix. I think what is important for people to consider is to really hone in on a couple things at a time. Take your time to truly explore a skill and develop it through your honest interest and passion for it. There is no better way to see what is possible within yourself by being selective and intentional like that with learning. I really like that message. It is really easy to get tempted into other things by the vast quantity of tutorials and so on out there but it is common to be really into something for a short while and discover that you aren’t truly into it once the honeymoon phase wears off. Be observant of your level of interest in what you pursue. Music used in this episode: “When Will Today Be Tomorrow” - Gunnar Olsen “Sundown” - Bruce Springsteen “Western Stars” Gunnar’s Socials Instagram Facebook Website Drumeo Gab’s Socials Instagram Facebook

1hr 34mins

14 Jul 2019

Rank #20