MusicRadar Drums News | RSS Feed

Ilan Rubin's tips for success

Tue, 21 May 2013 14:57:00 GMT

Read more about Ilan Rubin's tips for success at MusicRadar.com

...

Read more about Ilan Rubin's tips for success at MusicRadar.com

Rhythm releases drum maintenance iPad special

Tue, 21 May 2013 13:24:00 GMT

Read more about Rhythm releases drum maintenance iPad special at MusicRadar.com

Rhythm have today released an iPad-only special which teaches the art of drum maintenance.

Power Up Your Drums features over 40 minutes of video tutorials helmed by James Hester – himself the the Head of Drums at the Bristol Institute of Modern Music.

Users of the special will learn how to refresh their kit so it looks and sounds 'showroom new', with specialist videos focusing on snare, bass drums, toms and hardware.

What's more, vintage drum expert Yard Gavrilovic offers his maintenance tips, while there's expert advice throughout from the likes of Ndugu Chancler (Michael Jackson drummer) Ian Matthews (Kasabian), Steve White (Paul Weller, Trio Valore) and Swiss Chris (Kanye West).

A complete video drum tuning guide is also included.

Click here or head to the Rhythm Magazine app on the App Store to download this Rhythm special.

Read more about Rhythm releases drum maintenance iPad special at MusicRadar.com

In conversation: Chad Smith with Alex Lifeson - part two

Mon, 20 May 2013 09:05:00 GMT

Read more about In conversation: Chad Smith with Alex Lifeson - part two at MusicRadar.com

Last week, MusicRadar kicked off a new podcast series, In conversation, with famed Red Hot Chili Peppers drummer Chad Smith welcoming his first guest, legendary Rush guitarist Alex Lifeson. In part one of their chat, the two rock icons were voluable, engaged, insightful and hilarious when talking about a variety of topics, everything from Lifeson's first teenaged date with his now-wife of 37 years, Charlene, to Rush's much-ballyhooed induction into the Rock And Roll Hall Of Fame.

Smith and Lifeson are no less lively in part two, which begins below. Over dinner last April at the Sunset Marquis in West Hollywood, California, the two again chat about the Rock Hall ceremony (Lifeson spills the beans on what was, at the time, a closely guarded secret, that Foo Fighters Dave Grohl and Taylor Hawkins, along with producer Nick Raskulinecz, would perform at the show as mid-'70s-era Rush – in kimonos, no less!).

But there's much more: Smith and Lifeson discuss hobbies such as painting and flying, guitar effects, late former Rush sticksman John Rutsey, what happens when band members just don't work out, and in a strikingly poignant passage, Lifeson recalls Neil Peart's efforts to regain his drumming chops after enduring soul-crushing personal tragedies

In conversation: Chad Smith with Alex Lifeson - part two begins below:

Edited transcript:

Smith: Dave and Taylor are gonna just gush!

Lifeson: I know. Taylor came by rehearsals today.

Smith: Did he? He was in Chile or something.

Lifeson: Yeah, he came back yesterday.

Smith: He texted me, like, "What are you doing?"

Lifeson: I can't believe he actually got there.

Smith: That guy's got some energy.

Lifeson: Yeah. Yeah, he's a sweetheart. We were planning on doing some stuff, and just for logistics, they asked him if it would be possible for him to play Neil's kit. It's like giving a right-handed guitar player a left-handed guitar. Neil's snare is really high, and everything's wrong.

Smith: It's like wearing somebody else's shoes or something.

Lifeson: Yeah, you can't do it.

Smith: I sat down at Alex Van Halen's kit once. He sits, I swear…

Lifeson: Really low.

Smith: Really low. His snare is above… I'm a tall guy. He's not as tall as me. Everything is up here. It's "Bang, bang!" And your knees are like… I was like, "How the fuck do you play?" It's crazy. I was like, "Kink, kink!" I couldn't… [Lifeson laughs] So he's going to tackle that monster. What song are you going to do?

Lifeson: Well, Dave and Nick Raskulinecz…

Smith: Yeah, of course. Very quiet man...

Lifeson: When does this come out?

Smith: I have no idea.

Lifeson: They've got something playing, yeah. [They laugh]

Smith: Good. That's all we're going to say about it.

Lifeson: They're going to the 2112 Overture, but they're going to wear kimonos. Taylor's going to have the big moustache that he had…

Smith: Ohhh, yes!

Lifeson: And they're going to play the Overture, and then we'll come in after they finish it at the end, and do a couple songs.

Smith: Fantastic!

Lifeson: They want to get it all right. [They laugh]

Smith: Who's you? Who's playing you? Grohl?

© JeromeBrunet.com

Lifeson: That's Grohl, yeah.

Smith: That's great. See, because I know you love… You were dressed as [laughs] Amy Winehouse in your tour booklet?

Lifeson: Yeah, I don't know where that came from.

Smith: Where's that come from? How long ago was that?

Lifeson: It seemed like a good idea at the time. I think it was the last tour.

Smith: Was it before she…?

Lifeson: Yeah. Maybe she saw the picture and –

Smith: Couldn't take it.

Lifeson: – couldn't take it anymore, because I was better looking.

Smith: Being made fun of by Canadian gentlemen. Did you make a good Amy Winehouse?

Lifeson: I don't know. What do you mean by good? [They laugh]

Smith: Good is a subjective word.

Lifeson: It is.

Smith: Good, like handsome? I was a handsome Amy.

Lifeson: Portly. She's a little thinner.

Smith: A handsome Amy Winehouse. Maybe when she was going through one of her not-so-healthy times, maybe.

Lifeson: Maybe. I probably look like a healthier Amy Winehouse, unfortunately.

Smith: Yeah, I don't think she for to the… I don't know. And you paint? I didn't know you were a painter.

Lifeson: I'm not really.

Smith: You Renaissance man.

Lifeson: I really enjoy it. I love it. I enjoyed art in school. I've always done little drawings and stuff like that. I don't really know what I'm doing with the painting, but I experiment. I got into it about six or seven years ago. I got a request from the Kidney Foundation in Canada to get involved with their... with a program that they run annually, where they get different celebrity artists.

© JeromeBrunet.com

Smith: Then they auction them?

Lifeson: Right, they auction it. It's called… Brush of Hope, I think. I did a painting, just a little acrylic painting on the little board they send you, with the little paints that they give you.

Smith: Did it have numbers on it?

Lifeson: No numbers. It sold for $7,000 or $8,000. I was so thrilled, as they were.

Smith: [Claps] I bet. Do you want some peppa?

Lifeson: Sure. Most of these things sell for between $25 and $100... thank you. It was a pretty big deal. They asked me to come back, and I thought, "For sure." This is a great idea. Since then, I now buy my own canvasses. I do bigger canvasses. I spent a couple thousand dollars on paints, so I can do some really decent-quality work. I still don't know what I'm doing.

Smith: So what?

Lifeson: I'm still experimenting. A lot of stuff, I kind of redo and paint over. But it's getting there. I really enjoy it.

Smith: Do you have a studio at your place? What do you do?

Lifeson: I sit at the table… the dining room table.

Smith: Not like …

Lifeson: No. I laid out a bunch of newspaper, and set everything up where it's nice and sunny, and a couple of lamps when I'm working in the evening. I got a little tabletop easel, so I can set it up there, and get a different perspective on it.

Smith: That's so cool.

Lifeson: The last one I did …

Smith: You could start painting guitars.

Lifeson: You know, I was asked to do that, again for a charity. There's something about working on a canvas that makes it realer. It takes it out of what the other thing that I do.

Smith: Yeah, that's true. That makes sense. I get it.

Lifeson: In fact, they ran a series of an earlier painting, and it got prints and sold a few hundred, for $100 or something.

Smith: You can retire.

© JeromeBrunet.com

Lifeson: Yeah, it raised a lot of money for them.

Smith: That's really great, too.

Lifeson: It's really great. I'm really proud of it.

Smith: This is really good.

Lifeson: I'll try one of those, for sure.

Smith: That's so cool. Later on, you can be like... you liked it in school, but then you never really did it after school.

Lifeson: Yeah. Charlene's an amazing artist. She was tops in her class. We have some stuff at home that she did in high school that is just so beautiful – mind-blowing. But soon became a mom, and I was away…

Smith: She didn't keep it up?

Lifeson: She never got a chance to really do it. She's been trying, but her whole life is so busy. It's too bad. It's really a waste that she doesn't do that. But you never know. It is a lot of fun. I enjoy that a lot.

Smith: Is it relaxing?

Lifeson: It's relaxing. I put some music on, and I'll have a puff every once in a while and get creative. Before I know it, it's dark outside. And I start in the morning – I've had nine cups of coffee. When I'm doing it, I can't stop thinking about it. I keep wanting to go back. "I've got to... I just thought of something. I know how I can feather that color out." It's great. At the end of the day, you feel like you're doing something that's helping somebody else.

Smith: That's great.

Lifeson: I used to fly… my pilot's license.

Smith: Flea's getting his pilot license right now.

Lifeson: Is he? Good for him.

Smith: He's just going to start solo.

Lifeson: What does he want? OK, so he's about 15 hours or so, 18 hours into it.

Smith: I think so. He's been doing it …

Lifeson: What are his intentions?

Smith: He's going to get a little Cessna. I can't remember the name of the plane. He's going to buy a plane, like a four-seater.

Lifeson: A 182, something like that?

Smith: I can't remember.

Lifeson: Something a little bit bigger?

Smith: No, not too big. It has all the latest modern –

Lifeson: Avionics, yeah.

Smith: A safe …

Lifeson: He's just planning on being a recreational flyer, and just going up.

Smith: Right. I think so, yes. You did that?

© JeromeBrunet.com

Lifeson: I did do that. I got my license in 1980, and then I was so keen after I got my license. It was a challenge. We were touring a lot back then. We were gone for long periods of time. It took me a year to get my license, because I couldn't fly. I was away a lot. When I was home, I went as much as I could. Winter, it's minus 30 – that's when winter was winter, and you aren't going to fly on those days. It's just too cold.

I was so into it. I wanted something that would challenge me, that I would do that would, again, be different from being on tour and playing and all of that stuff, and force me to be very responsible about what I was doing, and the application of this thing that I was learning.

After I got my license, I got my multi-engine rating. I got a float rating, I got a night rating – I got basically everything except my instrument rating. I have lots of instrument time, but... this is something that he should be aware of, too, and he probably is. Unless you're going to be really serious about your instrument rating, and really work towards it and keep it current, then you're better off to not get it and just be a recreational flyer when it's sunny and nice outside, and go and enjoy it.

Smith: You can't fly at night if you're…

Lifeson: You can get a night rating to fly at night. For an instrument where you're in cloud and those sort of things, things can happen so, so very quickly. If you don't have the experience, and you're up to date with it, it can be extremely dangerous.

Smith: I think the Kennedy had …

Lifeson: John Kennedy is a perfect example. He went out at dusk. He figured, "It's still light outside. I can get there, just as it's getting dark. I'll be fine." He had a fair bit of experience, but not a great deal, and no instrument – from what I understand – no instrument experience. The thing is, at dusk, that's maybe the worst time because there's no horizon. That's what happened. He got disoriented, because he couldn't see the horizon. Even though it wasn't night... he's looking for this, and he's not looking at his instruments. What he should have done, as soon as he sensed any kind of problem, was to immediately turn back and go back to his departure airport. But you know, that's not the way guys think, mostly.

Smith: Yeah. "Oh, I can make it. I want to get there."

Lifeson: It happened so, so quickly.

Smith: He's taking it very seriously. He's a pretty responsible guy. I don't know how far he wants to go, but I know recreational. I'll ask him about the whole thing.

Lifeson: I'm sure he's …

Smith: He wants to get a plane. He's into it.

Lifeson: It is fun.

Smith: He's like, "I just want to fly around and go here."

Lifeson: He lives here?

Smith: In California, the coast.

Lifeson: Exactly. All over the place.

Smith: He's got a house in Big Bear.

Lifeson: Easy. That's an easy flight during the day. It's nice.

Smith: I think that's his plan. What happened, you lost interest in it?

Lifeson: If you own your own airplane, you can go and fly it any time you want. Staying current on your license, after I think 40, is an annual physical that you go for. After a while, I wasn't flying that much, so I wasn't getting my minimum annual... It's not a lot, 10 or 15 hours. I just kind of lost interest in it. I was playing golf.

Smith: Life happens – other things, kids, whatever.

Lifeson: The kids, grandkids, all that stuff. If you're not current every month... if you haven't flown in a month, if you're renting, you have to go back for another…

© JeromeBrunet.com

Smith: Is that right?

Lifeson: Yeah, you have to go with an instructor, fly around for an hour. He'll sign you off that you're…

Smith: You're thinking, "I want to go here next week."

Lifeson: It's too much work. I just want to go flying for an hour.

Smith: Exactly. "I've got to go with this guy now?" I get it.

Lifeson: I kind of lost interest in that.

Smith: I know that you're like "gadget guy." You like, I think… correct me if I'm wrong… pedals, and things that go "ping"? You like all that stuff?

Lifeson: I love all that stuff. I've always been interested in that sort of thing, right from the very beginning.

Smith: From your sound, or in your mind, what you're trying to... I know it depends on the music and where you're at, and what you're writing and stuff. How much does it dictate? Is it after the fact? You're in the studio and the song is developing, and like, "This is going to work?" Or can it be from the beginning, like The Edge, his thing. It happens both ways?

Lifeson: That's a great question. I think probably in the past, I would utilize effects or tonal shaping, more from the beginning. Less so now, because I really believe that the core of the song should work, no matter what you do.

Smith: You can play it on acoustic or whatever.

Lifeson: Exactly. That's the real test, is on an acoustic. If it works on an acoustic, it's going to work no matter what you do. It's easy to get caught up in the technology and be enamored by the sound of something. But it's just that – it's a superficial thing. It's not deep inside what makes the song a song, and makes it compelling. I've moved away, much more. It's more of an afterthought now. I've always been ensconced in the technical end of it, from a wah-wah pedal, to a fuzztone in the early days.

Smith: That's probably all you had. What were your first effects?

Lifeson: My first effect was the Fuzz Face Fuzztone. I remember, I used to plug my guitar into the back of my parents' TV. [Smith laughs] It had a little RCA input. I don't know why that input was there.

Smith: Was it distorted?

Lifeson: Oh, yeah, it was distorted before I even put the Fuzzface in. [Smith laughs] Then I got a wah-wah pedal, a CryBaby wah-wah pedal.

Smith: Jimi Hendrix had one of those. Gotta have it. Page…

Lifeson: Yeah, all those guys. Clapton when he was in Cream – White Room. I mean, there was lots of wah-wah. The Echoplex was the big one, and then the chorus pedal changed everything in my sound. I came to really rely on that from the mid-'70s on.

Smith: Chorus pedal?

Lifeson: Yeah, it just makes things bigger, especially in a three-piece. It makes it wider.

Smith: Crutch.

Lifeson: It can be a crutch. [Smith laughs] It can be. Delays can definitely be more of a crutch, because it masks insecurities and inaccuracies. Playing in this band with Neil and Ged, they're so active. You need to do something that kind of fills... it's the glue.

Smith: It's the situation. Certainly early on, before Geddy got into the Taurus pedals and keyboards, you were... that was it, as far as real melody. That was your job. You had a big job, a big thing to do.

Lifeson: Yeah, in a very busy space.

Smith: Where's... let me ask you this, and go back to the Hall of Fame for a second… Will anyone from the Rutsey family be involved?

© JeromeBrunet.com

Lifeson: I don't know, personally. Yeah, John passed away a couple of years ago. We hadn't really seen much of each other. When he left the band, he really left music. He sold his drums a few months later.

Smith: Look what you did to him. You ruined him.

Lifeson: He became a body builder.

Smith: He became a body builder? [Laughs] Really?

Lifeson: Yeah, he competed provincially in Ontario.

Smith: Wow!

Lifeson: John was a complex kind of guy. He was so funny – he was wonderful to be with – but would get into these moods where he hated you for some reason all of a sudden, and would have nothing to do with you.

Smith: Kind of no reason?

Lifeson: Yeah. For a couple of months.

Smith: A couple of months?

Lifeson: Yeah. Oh, yeah.

Smith: How are you going to be in a band with a guy like that?

Lifeson: I know, it was difficult. Suddenly, one day he would call and say, "Hey, what's going on?" – like nothing happened. He was a very moody, weird guy in that way. He had juvenile diabetes, and I think it had a big influence on his life. I remember, I met him when we were both 10 or 11 years old. We were friends from being kids. There were a lot of those little cycles where he would get like that.

Smith: You think maybe it was from the diabetes?

Lifeson: He was very self-conscious about the diabetes. He worried about touring, going away, how would he store his insulin and those sort of things. He didn't want people to know. It was a complex thing with him. I think when it came down to it, he had a very rough year before we got our American deal in 1974 and went on tour. That year, he was very sick. He had issues with his diabetes and other physical issues.

Smith: He kind of had enough.

Lifeson: In fact, we had another drummer – Jerry Fielding was his name. He sat in and learned the stuff, and played for a couple months with us while John was recuperating.

Smith: I didn't know that.

Lifeson: Then it went back and forth a few times. He was one of the candidates to join the band, when John left. He was a great drummer, and a really nice guy. But Neil was just something else.

I'd see John every once in a while, when we would come home, not very often. I didn't see him probably from 1976, I guess, until mid- to late '80s. And then we got together, and I started working out with him, training with him. We socialized a little bit. It was kind of nice. We actually went on a holiday together. Then I didn't see him or hear from him until four or five years ago, I guess. It was long, from '88 to 2008. Suddenly, I remember he called and asked me about something that he was – some charity thing that he asked if we would get involved with. The next thing I knew, he passed away, which is sadly not uncommon for people with juvenile diabetes.

Smith: It's bad when you get it as a juvenile, I think.

Lifeson: Yeah, and he was in his mid- to late 50s by then. It's tough. I don't know if there's anybody from his family that reached out to the office.

Smith: So you haven't been in contact with them.

Lifeson: No, not really.

Smith: I get it, I get it, I get it.

© JeromeBrunet.com

Lifeson: Forty years, that's a long time. There's no denying that he was an important part of the beginning of what our roots were, but we were a very different band not long after he left, really. It's kind of the way things go, I guess.

Smith: I remember they would ask, "Who do you want to be there?" Because we have quite a few members as well. They were asking us, "Who do you want to be included?" Usually, it's founding members. They gave us the usual parameter stuff, and it was up to us. Actually, I was talking to Sammy not too long ago – Andy Johns passed away last week, did you see that?

Lifeson: Yeah.

Smith: He did our first Chickenfoot record.

Lifeson: Yeah, that's right.

Smith: We knew Andy, and he did a Van Halen record, he did one of Joe's records. We were just talking on the phone about that. He said, "Yeah, Denny Carmassi, who was the drummer in Montrose, I've been doing stuff with Denny and Bill Church in the studio, recording." I said, "That's great. How does it sound?" "Cool, man. We've got the old Montrose thing going." I'm like, "You're kidding me." He's like, "Denny's really upset, because Denny was in Heart in the '80s.

Lifeson: Yeah.

Smith: [Laughs] He wasn't invited to be involved in the whole thing, and he was really bummed.

Lifeson: Yeah, well, you know…

Smith: But you guys are like... that's a no-brainer.

Lifeson: Yeah, I think if John was still around, I think an invitation would have gone to him, for sure. He's not, and it's nothing really to do with his family or anything. We did have another guitar player in the band.

Smith: When?

Lifeson: '71?

Smith: What?!

Lifeson: Yeah, Mitch Bossi.

Smith: Mitch Bossi?

Lifeson: Yeah, he was in the band for …

Smith: The Mitch Bossi?

Lifeson: [Laughs] Yes – the teacher. He was in the band for, I don't know... I think it was three or four months. We were playing clubs and high school dances and stuff like that.

Smith: Was this in your movie? I don't remember that.

Lifeson: I think. Yeah, Mitch was mentioned in it. There were some photos with the four of us. He was a friend of John's. Mitch was not that great of a guitar player.

Smith: You're being nice.

Lifeson: He was OK, but not that great.

Smith: He could play.

Lifeson: He could play.

Smith: Chords.

Lifeson: John really wanted to go to more of a Bad Company kind of, Small Faces, er, Faces sort of thing. That's the kind of music that he was really into.

Smith: Bluesy?

Lifeson: Yeah, the English bluesy kind of thing.

Smith: He had more of that vibe?

Lifeson: We went for a while, for a few months. I remember we were at a rehearsal, and we told Mitch that it wasn't really working out. [Smith laughs] He picked up his stuff, and he left.

Smith: Spinal Tap. Was John part of that decision as well?

Lifeson: Yeah, John actually made that decision. I remember him saying, "This isn't working out. I'll talk to Mitch." It was at a rehearsal. We were all there. I guess John did the talking.

Smith: In a band... How do I say this? When you have to fire somebody …

Lifeson: It's hard. We're terrible at it.

Smith: It's the worst! So are we. We're the worst, and we've had to let some people go, and it's…

Lifeson: I know.

© JeromeBrunet.com

Smith: It's a horrible… When John, our guitar player, left, we got another guy to play just a tour, the Lollapalooza tour. We did another one in the fall. Arik Marshall, he was a really good player. But we'd never written, and we tried to write songs with him, because John quit in the middle of a tour.

Lifeson: Yeah, learn the stuff.

Smith: Right. He played great. He was a really good player, but we'd never tried to write. We were jamming and improvising, and that's kind of how we write our songs. He tried that, and it just wasn't happening. You're like, "Oh, no…. " We had to fire him. It was really rough.

Lifeson: I know.

Smith: We did this whole thing, auditioning guitar players is a nightmare. We put an ad in the LA Weekly. This was 1993, or something like that, and we had every crazy person come down and audition for the band. That didn't really work out. We saw this one guy playing in this band called Mother Tongue. His name was Jesse Tobias. We'd been so frustrated by the audition process; we saw him play and we thought, "Wow, he sounds good. His band sounds good." "Want to jam with us?" "Yeah, OK." We had one jam – an hour, hour and a half – good, funky, he played everything cool. We were so excited by this. We thought,
"Wow, the guy's kind of got his own thing."

Lifeson: "'This is going to work!'"

Smith: Yeah, exactly. We were so frustrated. "You're in!" Ahhhh… He quits his band. We start jamming… two, three days …

Lifeson: You realized?

Smith: Yeah. It was premature. At the time, we'd asked Dave Navarro to be in our group and he said no. Then he was like, "You know? Yeah, all right." We'd always kind of wanted him to be in the group to begin with.

Lifeson: Yeah, Dave's pretty …

Smith: Dave's a good player, right? It made sense, we know him, and Jane's Addiction. Dave says, "Yes, I think I'm ready to do it." And we had to fire Jesse…. Ohhh! The picture was already in Rolling Stone, [laughs] the new guitar player – aarrrgghhh! That was really bad. It's a hard…

Lifeson: Yeah, it's really hard.

Smith: It's hard… What's the longest... it was probably during when Neil took time off, that was probably your longest inactivity for the group, right?

Lifeson: Yeah, that was from... we'd come off that tour, I think in June of '97, the Test For Echo tour. The accident happened in August, and then his wife Jackie passed away in June of '98, and then he went on his odyssey. It wasn't until... was it 2011? Yeah, it was 2011, because we started in January of that year.

Smith: 2001.

Lifeson: I'm sorry – 2001. We didn't finish until fall of 2012, and I remember we were in the studio when 9/11 happened. We had some friends that were visiting from the States – actually, one friend from here in Los Angeles and another from Boston. They were stranded in Toronto. It was really interesting, because right in front of our offices, from 3:30 to 6:30, there's no parking. At 3:31, the tow trucks come and pull the cars away that are parked there. This one friend of ours, from Boston, his car was parked out front, right in front of our office. He had Massachusetts plates on the car. They didn't touch his car. Everybody was so freaked out about what had happened, and so supportive.

Yeah, that was a tough album, that one. After everything that he'd been through, it was so delicate and fragile. Honestly, he hadn't played in a few years. Once he'd played, in three years, and he barely got through that playing session. He talks about it, and how he broke down when he was playing, and really never wanted to play again, and didn't think he could. When we came back into the studio… he just was not anywhere close to being the same drummer that he was. He couldn't play.

Smith: That's the thing – you don't do it, you use it or lose it, right? Especially the way he performed.

Lifeson: You hit the drums hard. [Laughs] In different scenarios, at the club at the Orbit Room, when you played with the A Team that time.

Smith: Oh, that's right! I forgot about that.

Lifeson: It was so exciting. The tonality out of that kit – you just know what you're doing. You know the kind of pressure that's required to make the drums speak. When we were in the studio, oh, my God, he was hitting the drums at 65 percent of what he used to. I'm a pretty strong guy, and I'd go in there and mess around on his drums. I hit them as hard as I could, and it was nowhere near what he was doing in just his regular playing. I know a lot of it is technique, and how to snap your wrist or whatever it is. It was a long, arduous climb for him to get back together, to his playing speed. He did get back to it. It was a very difficult time.

Smith: He's such a perfectionist, you know? I'm sure he was just like... it must have been frustrating, to not be able to do your thing.

Lifeson: I think it was, but at the same time, I think he recognized that he'd gone through a terrible, difficult period where he just didn't play. He didn't exercise his…

Smith: Yeah, he wasn't like, "I just lost it for no reason. No, I know why."

Lifeson: There was a good reason why he couldn't do it. I think he realized that, and it was a long, hard climb to get back up. Some days, I think he was discouraged by it. Other days, he was more focused on it. Getting married, and Carrie coming into his life was really, really, really important. Carrie came up when we were there. She did that beautiful book of his hands – she's a photographer. She spent time with him, and it was therapeutic, I think, for her to be involved, and to shoot him while he's playing, and all of that stuff.

It was a very powerful remedy, I think, for him. It was important. She was there every few weeks. She would come back up and spend time with him, and be together and support him. She was the instigator in getting him back to work. She didn't know anything about the band when they met, and they got married. She basically said to him, "I don't really know a lot about the band, but what I do know is that you do what you do, and you're pretty good at what you do, from my understanding. You've got to do something with your life. Why not do the thing that you were really good at doing?"

Smith: [Laughs] That's very innocent, though, right?

Lifeson: It is very innocent. That doesn't account for all the turmoil that you're feeling, and this horrific experience that he went through. How do you eliminate, or at least dilute that emotional horror show? She was willing to support him, and lift him up. We were there all along for him.

Smith: I'm sure you guys were. That's amazing.

Read more about In conversation: Chad Smith with Alex Lifeson - part two at MusicRadar.com

The Weekend Woodshed

Fri, 17 May 2013 15:19:00 GMT

Read more about The Weekend Woodshed at MusicRadar.com

GINGER BAKER NEWS

Ginger Baker's been in the media quite a bit off the back of the fantastic rockumentary Beware Of Mr Baker, and this week he revealed that he actually always wanted to be a professional cyclist.

"I was obsessed with the idea of being a cyclist when I was a kid, and I rode everywhere. One day I had a smash-up and the bike was a write-off," he told the Calgary Herald.

"I had to earn some money, and this mate of mine said, 'Why don't you play drums?' It's funny – they all knew I was a drummer, and I didn't."

He was rather less forthcoming in this onstage Q&A hosted by the Guardian's Michael Hann at a screening of the film in London.

HOW TO WRITE A SONG

Dave Grohl takes time out from drumming for Queens Of The Stone Age to give Tenacious D's Kyle Gass lessons in songwriting. Very funny, and actually quite informative too. We're dearly hoping that "Life's a bitch, but keep on trucking…" appears on the next Foos album.

WHAT WE'VE BEEN LISTENING TO

Northern Irish punk legends The Undertones have a new, definitive, CD and DVD boxset out with all their hits, interviews, rarities and live stuff. We've also bagged an interview with drummer Tommy Doherty – look out for that in the August issue of Rhythm! We've also been checking out the debut album from guitar'n'drums female duo Deap Valley, Get Deap! It's very raw, very bluesy, very rocking.

DRUM COVER OF THE WEEK

This guy's actually awesome, nailing the Red Hot Chili Peppers' 'Can't Stop' – and he's had Chad's seal of approval.

If you've done a drum cover you're particularly proud of, or if you've seen an awesome one recently – email us at rhythm@futurenet.com!

Read more about The Weekend Woodshed at MusicRadar.com

MusicRadar Deals Of The Week

Fri, 17 May 2013 10:30:00 GMT

Read more about MusicRadar Deals Of The Week at MusicRadar.com

Killer bargains from our recommended retailers. Check out this week's deals.

Read more about MusicRadar Deals Of The Week at MusicRadar.com

Live Twitter Q&A with Ilan Rubin, Thurs 23 May

Fri, 17 May 2013 10:18:00 GMT

Read more about Live Twitter Q&A with Ilan Rubin, Thurs 23 May at MusicRadar.com

He's the drummer behind the latest smash hit Paramore album, he's Trent Reznor's go to guy for Nine Inch Nails and in recent years he's drummed on countless sessions for bands, artists and soundtracks as well as putting out his own music with The New Regime.

Ilan Rubin is also the star of Rhythm's latest cover and we're giving you the opportunity to ask him anything on Twitter! Want to know more about his killer Q Drum Co. set-up, who's been the best artist to work with, what shampoo he uses?

You can ask Ilan anything you want during his @rhythmagazine Twitter takeover using the hashtag #askilan. Get your questions ready and make a date to join Ilan on Rhythm's Twitter at 18.30GMT (10.30PST/ 13.30EST) on Thursday 23 May. See you there!

For more information about the latest issue of Rhythm with Ilan on the cover click here.

Read more about Live Twitter Q&A with Ilan Rubin, Thurs 23 May at MusicRadar.com

Steve Barney's Juicing & Health Tips

Thu, 16 May 2013 14:53:00 GMT

Read more about Steve Barney's Juicing & Health Tips at MusicRadar.com

Friends, Drummers, Juicers… Blenders! Glad you've come to check in with this blog again and I truly hope this finds you well. It's been a breath of fresh air getting positive feedback from like-minded drummers about their healthier food/liquid choices… seems "rock'n'roll" is slowly turning a corner of the clichés – or at least, people are stopping to think and get a healthy balance.

In this blog, I'm exicted to introduce another guest drummer who's 'pocket' is as deep as his lifestyle for Good Health… His credits are a 'who's who' of the world 's top selling artists including Alicia Keys, Katy Perry, Avril Lavigne, Britney Spears, Chaka Khan, Pink, Cher, Celine Dion, Ke$ha, Will Young, Leona Lewis, Kelly Clarkson and many more. We've also both shared live drum duties for the great Annie Lennox (him doing pre-2003 shows). Friends, a warm welcome to drummer, programmer, producer, writer, remixer STEVEN WOLF !

"I got into eating healthy in the late '80s. I was still at Berklee, and I injured my hands badly, and was told by a hand specialist (western doctor) I would have to give up drumming. As you can imagine, as a young drummer, I was devastated. My friend Fuze (David Fiuczynski) told me I should check out an alternative healer, named Richard Zukowski, who had helped him with his hands. At that time, alternative medicine wasn't as widely as accepted as it is now, so Fuze told me to go with an open mind.

"Aside from working on my hands, the healer asked me about my diet. I was like, 'What does my diet have to do with my hands?' I grew up eating a typical American junk-food diet… and I'd never made the connection between diet and health before. He explained that my hands would have a better chance at healing, if my whole system were healthier. I was skeptical, but desperate to be able to continue drumming, so I gave it a shot.

"It was a radical step for me. I changed my diet completely… giving up everything I was used to eating: sugar, dairy, red meat, refined grains, etc.Long story short, as soon as I made those changes, my overall health improved dramatically, which was an unexpected bonus… as I originally went to him because of my hands.

"I've aged extremely well since then, and it's mostly because of my diet.As far as my hands: he helped me to be able to drum again, and within a year, I went from being told I'd have to give up drumming to being on the road with a major label artist, and have gone on to have a great career in music.My hands still hurt when I play – that will probably never go away – but I can play, and that's all that matters.

"When I began changing my diet, I started out being macrobiotic, and then began experimenting over the years (vegan, raw, alkalizing, etc), and have found what works best for me. Juicing has been a major part of my diet the whole time, though. I bought my first juicer in 1990. I've owned a few juicers over the years, but now I mostly get my juice from my favorite local juice bar, Liquiteria. If you're in NYC, I highly recommend checking them out (they deliver too!)

"My diet is mostly greens (spinach, kale, etc), so I generally don't juice greens, aside from wheatgrass shots. My juice of choice is usually some variation of carrot, apple and ginger. My favourite variation of this is one of Liquiteria's specials called 'Mr Green'. It's not really a green drink, as the name would imply (that would be their 'All Greens'). Mr Green has a greens powder blended in, but it's not a proper greens juice. The ingredients are: carrot, apple, beet, ginger, Super Green Food (greens powder) and Liver Kidney Lymph Detox (tincture).

"It's f**king delicious. They make a traditionally juiced version, and they also have a pressed version. Pressing gives you more nutritional content… and it's convenient for me, because they do bottles of their pressed juices. I always keep at least one bottle in my fridge. I drink others from the list too, but Mr Green is my go-to juice.

"The other thing I like to drink a lot is some sort of banana smoothie. My favorite type of banana smoothie is 'The Elvis', which is a peanut butter and banana smoothie.

"My version of The Elvis is made with the following:

Frozen ripe bananas

Filtered cold water

Unsweetened vanilla hemp milk or unsweetened vanilla almond milk

Natural peanut butter (just peanuts, or just peanuts with salt)

"I don't use specific measurements… I just eyeball everything. I use about 3 parts water to 1 part hemp or almond milk, 1-2 bananas, depending on the size, and a big glob of peanut butter. Occasionally, I'll skip the water, and use just almond or hemp milk, if I want an extra creamy version. Also, a healthier variation is with almond butter instead of peanut butter. Almonds are more alkalizing than peanuts. That being said, it's so much yummier with peanut butter, so that's my preference, unless I'm on a cleanse."

You can contact Steven Wolf at:
http://www.wolfedelic.com/

For more on juicing, check out Barney's healthy inspirations.

Read more about Steve Barney's Juicing & Health Tips at MusicRadar.com

Gavin Harrison clinic review

Thu, 16 May 2013 09:01:00 GMT

Read more about Gavin Harrison clinic review at MusicRadar.com

It was standing room only at Wembley Drum Centre as the drumming faithful gathered to marvel in wonder at Gavin Harrison during his Zildjian clinic tour.

Harrison kicked off the evening with Porcupine Tree's 'The Sound of Muzak' before busting out some jazz fusion. The performances were interspersed with Gavin taking questions, which led to revealing explorations of different facets of his playing. Gavin discussed his approach to fills, saying that he never wants to be someone that people can air-drum along to. One way he stays fresh is to play games with himself – for example when a break is coming up, he will decide that the fill has to include flams and a triplet. Or the fill might have to include the low frequency instruments, like the floor toms, and high frequency instruments like splashes and bells. Then he can improvise the fill with those elements in mind so he always has a concept around which to frame his playing.

Asked about playing double kick, Gavin replied that he leads with his right foot as he finds that much simpler when playing odd times. Furthermore, he always plays single strokes, believing that doubles only make sense with two distinct sound sources. Similarly, in response to a question about strengthening his left hand, Gavin explained that he does not feel that he needs his hands to be mirror images of each other as they have different roles to play.

Gavin briefly stepped away from his gorgeous Sonor kit to demonstrate Zildjian's new Gen 16 electronic cymbals while one topic that proved fruitful was creating drum parts. Gavin discussed being inspired by Steve Jansen of the band Japan and the vital importance of where you place the backbeat, illustrated with a breakdown of 'Bonnie The Cat'. Another highlight was a performance of Porcupine Tree's 'Cheating The Polygraph' arranged as a big band swing number, which was just as mind-stretching as it sounds. Throughout Harrison stressed the importance of determination over talent as the key in any drummer's growth. An inspiring evening with one of the UK's most innovative and articulate players.

Read more about Gavin Harrison clinic review at MusicRadar.com

Rhythm Studio attracts top drummers for open day

Tue, 14 May 2013 11:21:00 GMT

Read more about Rhythm Studio attracts top drummers for open day at MusicRadar.com

Top drummers are heading to London's Rhythm Studio this summer for a day packed full of percussive fun.

Ex-Stereophonics sticksman Javier Weyler, Basement Jaxx's Nathan Curran and Jessie J drummer Ben Martinez will all be at the studio for its Rock and Pop Academy Music Technology Open Day on 23 June.

So what does that mean for you? Well, it means you can attend masterclasses from these three ace drummers, as well as checking out the Rhythm Studio for yourself and taking a free trial of one of their classes.

For more on this and everything else the Rhythm Studio has going on, head here.

Read more about Rhythm Studio attracts top drummers for open day at MusicRadar.com

Ozzy: Bill Ward 'couldn't cut' Sabbath set

Tue, 14 May 2013 08:52:00 GMT

Read more about Ozzy: Bill Ward 'couldn't cut' Sabbath set at MusicRadar.com

Ozzy Osbourne has spoken out on the Bill Ward/Black Sabbath saga, claiming that the drummer wasn't up to the gig.

In an interview with Mojo, Ozzy indicated that the band were concerned over Ward's ability to play a two hour show, with the frontman suggesting they ran through the set at rehearsals to see how Ward fared.

Ozzy added: "We looked at Bill, and he couldn't remember what the f*** we were doing. But he didn't come clean and say, 'I can't cut this gig, but can we work something out, guys, where I'll come on but with another drummer backing me up?' Or, 'I'll come and play a few songs.' That would have been cool."

It wasn't just Ward's condition that Ozzy called into question, he also said that the drummer simply couldn't remember the songs.

Ozzy said: "You know them yellow f***ing stick-on memo notes? He had them all over his f***ing drums. I was like, 'What the f***'s that for, Bill?' He said, 'I can't remember what I'm doing.' I go, 'How are you gonna remember out of those 500,000 bits of paper stuck all over your kit, which one you're looking at, Bill?' [He said:] 'I'll know.' Ah, OK great

Sabbath release their new album, 13, this summer with Brad Wilk on drums.

Read more about Ozzy: Bill Ward 'couldn't cut' Sabbath set at MusicRadar.com

Russ Miller set for Mapex dates

Mon, 13 May 2013 13:04:00 GMT

Read more about Russ Miller set for Mapex dates at MusicRadar.com

Mapex and Russ Miller have joined forces for a UK clinic tour this summer.

The drummer, who has worked with the likes of Nelly Furtado, Hillary Duff and Ray Charles, will be over on these shores for four dates in June.

The full dates are;

10 June: Absolute Music, Poole

11 June: Drum Wright, Reading

12 June: Sound Attak, Colchester

13 June: Rattle and Drum, Derby

During the shows Miller will be behind one of the brand new Mapex Saturn IV kits, giving you the perfect chance to get an up-close glimpse at this series of kits.

For more details head to www.mapex.co.uk. Contact your local venue for details on ticketing.

Read more about Russ Miller set for Mapex dates at MusicRadar.com

Paramore and Avenged Sevenfold announce UK tours

Mon, 13 May 2013 10:03:00 GMT

Read more about Paramore and Avenged Sevenfold announce UK tours at MusicRadar.com

Paramore and Avenged Sevenfold have both today announced UK tours.

The Hayley Williams-led pop rockers kick off six shows over this way with a stop off in Dublin on 2 September. From there, they head on to Manchester MEN (20 September), Cardiff Motorpoint (21), Birmingham LG (23), Nottingham Arena (24) and Wembley (27).

Avenged, meanwhile, start a trio of gigs at Manchester Arena on 30 November, before stopping off at Wembley Arena (1 December) and Birmingham LG Arena (5 December).

Ridiculously excited about those Paramore dates? Then pick up the new issue of Rhythm, which features Ilan Rubin on the cover. In the issue, Ilan discusses recording the new Paramore album, as well as how he bagged gigs with Nine Inch Nails, Angels and Airwaves and more.

Read more about Paramore and Avenged Sevenfold announce UK tours at MusicRadar.com

Rhythm 216 Next Step lesson notation correction

Mon, 13 May 2013 09:48:00 GMT

Read more about Rhythm 216 Next Step lesson notation correction at MusicRadar.com

The eagle-eyed among you may have noticed that the incorrect notation was featured in example 3 of Colin Woolway's Next Step lesson in the June issue of Rhythm (p84). You can download the correct music here.

Read more about Rhythm 216 Next Step lesson notation correction at MusicRadar.com

In conversation: Chad Smith with Alex Lifeson

Mon, 13 May 2013 07:05:00 GMT

Read more about In conversation: Chad Smith with Alex Lifeson at MusicRadar.com

Wearing highly amplified red plaid pants and shirt, along with a stylish black fitted jacket and his trademark backwards-turned baseball cap, Chad Smith looks taller than usual as he strides purposefully into the upper pool area of the Sunset Marquis in West Hollywood, California.

It's a cool, crisp early evening in April, but in just a couple of days Smith and the rest of the Red Hot Chili Peppers will brave pummeling temperatures and near-sandstorm conditions when they play the first of two Coachella gigs. Tonight is something of a work night for the acclaimed drummer – he's launching his MusicRadar podcast series, In Conversation – but it's a kick-back-and-chill night, too, and Smith is looking forward to bonding with a fellow musician he's rubbed shoulders with briefly on tour stops but one he's known longer, like most of the world, as an ardent admirer.

Alex Lifeson, brimming with good cheer, dressed rockstar-casual (black trousers and sweater with a dark-brown leather blazer), walks up and greets Smith with a hearty bro hug. The venerable Rush guitarist has his own ginormous show coming up, but it's one that he and his illustrious bandmates, Geddy Lee and Neil Peart, certainly didn't see coming until recently: their much-publicized, practically fan-willed induction into the Rock And Roll Hall Of Fame.

Which right off the bat gives the two men something in common, as Smith and the Peppers joined the hallowed Hall Of Fame dream team last year. Big-time awards functions are just one of the topics the two men discuss while dining on striped sea bass and baked duck in their private cabana. Over the course of two and a half hours, they cover matters both personal and professional, including Lifeson's first date with his wife (at age 15!), his signature Gibson Les Paul, former band members, balancing work and family, life-altering tragedies, meeting heroes such as Jimmy Page, recording gear, the importance of having non-musical hobbies, and the ways that both gentlemen's bands maintain their commitment to artistic integrity despite massive changes in the music industry.

In Conversation: Chad Smith with Alex Lifeson will be presented in installments over the coming weeks. Part One begins below:

Edited transcript:

Lifeson: Did you like South Africa?

Smith: I did. We'd never been there before. You guys been there?

Lifeson: No, I haven't. My wife's South African. She's from Port Elizabeth.

Smith: Really?!

Lifeson: She left when she was young, a few years old.

Smith: You guys are, like, high-school sweethearts.

Lifeson: Yeah.

Smith: Where's she from – originally?

Lifeson: From Port Elizabeth. Moved to Denmark… Her mother met a sailor… [Smith laughs] A Danish sailor.

Smith: [Laughs] That old story!

Lifeson: [Laughs] Yeah, that old story. But he was white, and they couldn't marry, 'cause they were "colored". So they left South Africa, and they moved to Denmark. They lived there for about a year and a half and then came to Canada, to the West Coast of Canada, Victoria, and from there to Toronto. That's where –

Smith: Did you guys meet in high school?

Lifeson: Yeah. I was 15. Grade 10.

Smith: Wow.

© JeromeBrunet.com

Lifeson: And I had such a big crush on her, and I was so terrified of saying anything. I was very shy.

Smith: Fifteen? That's like… fertile…sort of.

Lifeson: Yeah. Oh, yeah.

Smith: I don't know if you're an early starter…

Lifeson: No, no, no, no. It was the first serious thing. And I remember going through the phone look and looking up the last name – there were probably 15 in the phone book – and nervously calling the first few. "No, wrong number…" Ahh, this is easy. I got to about 12, and [in a sexy voice] "Hi, is Charlene there?" "Yes, speaking." Huhpt!... It was total panic. So we went out on a date…

Smith: What do you do when you're… How do you date at 15? I have no idea. What do you do? You can't drive.

Lifeson: Well, first of all, I worked around the house. I did stuff for my dad. He was doing some work, putting a patio in the back yard. So I did all of that to make some money to take her out. I don't know, I think I made five dollars, 10 dollars or something. Yeah, we went to a movie. We went to see… uh, I think…

Smith: I'll be impressed if you think you can remember the movie.

Lifeson: Claudia Cardinale and Rock Hudson, and I can't recall the name of the movie. It was a cheap movie. It was in 1969, in the spring of '69… I can't recall the name of the movie.

Smith: That's OK.

Lifeson: We watched the movie, and I'm looking at her out of the corner of my eye – "Is she having a good time? This is a terrible idea!" The movie was awful. There were only, like, 10 people in the theatre. And then we left, and we took the bus back towards home, but stopped in an area just before where she lived, where there were some shops and restaurants and stuff like that. We went in and had a cup of tea. We went to one place, but they wouldn't let me in 'cause my hair was long. [Smith laughs] This is how it was all starting our first date.

And I built up the nerve… She could see something was wrong, and I built up the nerve to ask her if it was OK if I just held her hand while we walked. And she was like, "Oh, you big, stupid idiot! Sure." [They laugh] And then she got pregnant. And then everything went screwed up after that. [Laughs]

Smith: Fast worker this one! Wow.

Lifeson: Yeah, here we are… still together.

Smith: That's great. You've got sons...

Lifeson: Yeah, I've got two grandsons.

Smith: I think I've met both of them. Your one came to a show…

Lifeson: Yeah.

Smith: He's still doing music, right?

Lifeson: Yep. Web design, and he loves to write electronic music. Trance, moody stuff – it's what he's very much into. The web design is what pays his bills. He does some other things. Music doesn't pay very well, but he's got a real passion and love for it. He's been doing it for 20 years, so it's not like it's something new. But he gets the odd gig here and there.

© JeromeBrunet.com

Smith: Yeah? Is there a decent scene in Toronto?

Lifeson: Probably a decent scene for that sort of thing. There are a few venues and clubs that DJs play and you can get some work. He doesn't count on it that much, but he really loves it. He really enjoys it.

Smith: It's good that he can do that, and like you say, he's realistic about it.

Lifeson: He's realistic enough to know –

Smith: Yeah, 'cause how old is he now?

Lifeson: He's 36. Yeah… where he can afford to starve for a little while. [Laughs] I mean, I could afford to starve for a little while myself. [Smith laughs] That's what happens when you're at home for more than a couple of weeks.

Smith: I'm gonna eat… watch the TV…

Lifeson: And then I'm gonna eat again.

Smith: I think I'll have that… chocolate thing over there.

Lifeson: [Laughs] Yep.

Smith: So… what else? You've got, Gibson's got – I have to ask a couple of nerdy –

Lifeson: Sure. Yeah.

Smith: Guitar questions… You've got a Gibson Les Paul, that is a signature?

Lifeson: Yeah, sure.

Smith: And how is it different from the Les Paul?

Lifeson: Well, it starts out –

Smith: And how cool is that?

Lifeson: It's really cool. When I was a kid, when I first started playing, I started playing guitar when I was about 12. So when I was about 13, 14 years old, there was a Music Store in Toronto called Long & McQuades. They were right downtown, and we lived up in the suburbs. I would go down every weekend, every Saturday, and I would take either a Les Paul or an SG off the wall, and I would play it for, like, an hour. And this goes on at music stores all over the world.

Smith: Yeah. People playing Stairway To Heaven – badly.

Lifeson: They would let me play for about an hour –

Smith: Plugged in?

Lifeson: Usually not plugged in. And then somebody would come over and say, "OK, kid, put the guitar back on the wall and beat it."

Smith: "You're gonna buy that?"

Lifeson: And then I'd come back the next week, and I'd do exactly the same thing. I was doing that week after week after week. And it was the same story: "OK, kid, beat it." But you always came back, and they always let you do it.

Smith: That's nice of them.

© JeromeBrunet.com

Lifeson: Years later, of course, we bought all of our equipment from them, and that was kind of a treat.

Smith: You get your first little bit of money: "I know I'm gonna go in there, and this time I'm gonna buy something!"

Lifeson: I dreamed of having a Gibson. I had a cheap Kent – you know, a Japanese guitar – and then a Kanora, a Japanese guitar. I borrowed a friend's Harmony for years. To have a Gibson was really, really my dream as a kid.

Smith: Of course.

Lifeson: So, all these years later – all these decades later – to have a signature model with my name on it, that's part of the Gibson family, that's really a cool thing. I'm very proud of that.

Smith: That's really cool.

Lifeson: And we didn't just stick my name on a guitar that could sell a bunch; we spent a lot of time. We spent a couple of years developing something that really worked for me. We went through a lot of body weights, different types of wood. The chambering on this particular guitar is one of the reasons why it's a lightweight version of a Les Paul. And the body is –

Smith: The '59s were light, right? Wasn't that the thing about them?

Lifeson: Yeah, you can get different weighted bodies.

Smith: That's why everybody sort of liked – that's one of the reasons they liked it.

Lifeson: Oh, that period, yeah. 'Cause I've got a couple of guitars, a couple of Les Pauls, that I bought. I have an early '90s Custom – that thing must weigh about 85 pounds. It's so heavy. But with my guitar, I wasn't that keen on the chambering; I wanted something that was somewhere in-between a standard Les Paul and what the Axcess model provided. It was narrower – the idea was that it was narrower, lightweight. We wanted the density in the body for sustain.

We went through a couple of different types of pickups, wiring, until we achieved the kind of tonality that I wanted. I wanted a Floyd Rose vibrato arm, something that locked, that would stay in tune, for sure.

Smith: Right, right.

Lifeson: Coil taps –

Smith: And these are all things in the design that you have in your Les Paul that you use and record with?

Lifeson: Yeah. That was the whole idea.

Smith: Somebody who's getting your guitar, it's like, "This is what I need to do my thing." Right?

© JeromeBrunet.com

Lifeson: Yeah. If I came in and they said, "Alex, build a guitar that you want to build. Here – what do you need on that guitar?" And that's basically what it was. They were really cool about it; we spent a lot of time back and forth –

Smith: Did you go to Kalamazoo?

Lifeson: I went to Kalamazoo to get my first Gibsons, back in '76.

Smith: I've been there once.

Lifeson: Yeah, that was a treat to go in that old factory; in fact, I picked out the white 355, I picked it off the wall, the body. But this was in Nashville, at the Custom Shop.

Smith: Oh, OK.

Lifeson: So we spent some time; they sent some prototypes back and forth, and now it's one of their more popular sellers. It's done really, really well.

Smith: How long has it been out?

Lifeson: I think it's been released for about two… two years, I think. Something like that. Two, maybe three?

Smith: Yeah?

Lifeson: Two. I think it's two. Maybe it is three. Anyway, it's something like two or three years. [Laughs] Two and a half years!

Smith: Two and a half! Split the difference.

Lifeson: Cheers. [They clink glasses]

Smith: Cheers! [Laughs]

Lifeson: But it's done remarkably well. They're thrilled about the action that they've got on it.

Smith: Do you play, in a live situation, do you use one of the guitars that's an Alex Lifeson model?

Lifeson: Yeah, yeah. In fact, I use a few of them in the course of a show. I mean, I have four different tunings that I play during the course of a show, and I need backups for everything 'cause the tunings are such that there's always the possibility of something going wrong – a broken string or something like that. And it's not something that you just grab any other guitar; it has to be a dedicated guitar for that. So, consequently, I need to have quite a few with me.

And my model, I think I have four out on the road with me right now. And a couple of older Les Pauls and my 355, a Telecaster – you know, it has a slightly different character, tonality.

Smith: Do you use a doubleneck now, still?

Lifeson: I haven't had the doubleneck – the doubleneck's actually in the museum now.

Smith: Is it?

Lifeson: I just went a couple of weeks ago.

Smith: Do you do any songs that you need that?

Lifeson: No. No, we kind of don't.

© JeromeBrunet.com

Smith: "Yeah, I think we're gonna do… Wait, I don't…"

Lifeson: I had it for Xanadu, in particular, and we haven't played that song in a long time. Whether we do it in the future, I don't really know. We never know what we're going to do, so… And it's a cumbersome thing to play. It's heavy in the headstock.

Smith: "Ughhh." You've gotta hold it up.

Lifeson: You're playing it, and you squeeze it with your right arm. But it's a cool thing. I've probably seen more pictures of me with that guitar than anything else because it's so iconic. The same thing with Jimmy Page.

Smith: And with Page?

Lifeson: Page, same thing, probably 90 percent of the pictures you see of him, he's got that pose with the guitar up.

Smith: I was just walking in here, and I saw a picture of Jimmy. There are a lot of rock pictures at [directly into the recorder] the Sunset Marquis, where we're at… I know that he's maybe your biggest influence on the guitar.

Lifeson: Yeah, for sure.

Smith: He's like Jimi Hendrix. They never take a bad picture. They always look so fucking cool!

Lifeson: [Laughs] Yeah.

Smith: And Jimmy's clothing… like, some guys can look a little dated maybe. You can tell, "Oh, that's from that era." He always was very… whether it's the dragon thing, he just always looked really cool. I mean, Hendrix, to me, is maybe the coolest-looking – not only probably the most amazing musician, but he looked great. Page just always… I can see, if I was a guitar player…

Lifeson: That's the guy.

Smith: Jimi Hendrix, it goes without saying. But Jimmy Page… when you were a kid, was that… ?

Lifeson: I remember… Zeppelin, of course, were a huge influence. Seeing him then – and I knew who he was before that… The Yardbirds and the session work that he used to do…

Smith: Did you know about his session work prior to him being in Led Zeppelin?

Lifeson: Oh, yeah. When we were kids, we lived off music. Yeah, we read everything –

Smith: Which you can't do anymore. It sucks!

Lifeson: Yeah. It's completely different. I hate to sound like an old guy, but we kind of lived through the golden age of recording – just the whole industry and the way things worked. But Jimmy Page definitely had something about him. There was even that period – what was it, the Houses Of The Holy era? – where he had that really shabby look. He had a beard and a trench coat.

Smith: Yeah, yeah!

Lifeson: But he still looked really awesomely cool! [Laughs]

Smith: It was a little before that, I think. I think it was right before Zeppelin IV, right around that time. They were all workin' the beards. Plant had a little –

Lifeson: That's right. But they still looked very cool.

© JeromeBrunet.com

Smith: If you can pull off the bum look… [Lifeson laughs] As soon as you put on that Les Paul, and it's down here…

Lifeson: Yeah, that says something right there. That's not easy to play, when it's down there.

Smith: No. He plays it kind of low, right?

Lifeson: Yeah. Yeah, he's great. I met him once… in 1998. Geddy had met Robert in Morocco. Ged was on a trip with a group, and Robert was there with his wife or girlfriend – I'm not sure what their relationship was – but they met. They happened to be staying at the same hotel, down the hall from each other, oddly enough. They spent a few days kind of eying each other, sort of smiling.

Finally, Ged came up over on the last night that they were there. He said to his wife, Nancy, "I have to go over and just tell him how much I've admired him, what a great influence he's been." And he went over, and he says, "Excuse me, Robert, I don't mean to bother you…" [Imitates Robert Plant] "Oh, Geddy, I was wondering when you'd finally come over! Sit down, have a glass of wine…" And they spent the whole evening together, getting to know each other. And he's a terrific guy.

Smith: Right.

Lifeson: You know… you meet your peers, and they're like us. We talk about a lot of different things. From the first time we met, it's not about your work and that so much. Yeah, you share those sorts of things, but it's about your family, it's about kids, it's about those places you've visited that are really special – the impact that it's had on you… Not always, but every so often you meet somebody and they're like that, and you can engage on that sort of footing. Certainly, Robert and Geddy were like that.

Smith: That's great. And probably what a relief, instead of "Yeah, right, you're the best – now, fuck off!" Aaaaggghhhh! Or whatever. To not be like… That's so great that he was like –

Lifeson: Well, at the end of the trip, Robert said, "We're coming to Toronto later this year, and you must come down, and bring Alex." They exchanged phone numbers and all that. And you know, you do that, but it's seldom that anybody acts upon it. You know, everybody's got a busy life.

But a few days before they arrived, Ged got a call from him, and he said, "You know, we're in town, come on downto the show." And Ged said, "I don't know. We've gone through this terrible nightmare with Neil, and everything that he's been through. I don't know if our hearts are in going out," and all of that. But you know, he's been through that. He lost a child, as well.

Smith: Yeah. Yeah.

Lifeson: He said, "No, you must get out and come down. Please do." We went down. It was kind of cool because it's a venue that we play all the time when we play in Toronto. We know lots of people backstage, the crew and stuff like that. So we went up to the dressing room, we're sitting with Robert and chatting – again, you know, talking about all kinds of things – and then Jimmy came into the room. I'm telling you, I was like, "Oh, my God! Jimmy – oh, my God!" [Laughs]

Smith: [Laughs] You were 14 again!

Lifeson: I was totally 14 again. [Smith laughs] He was just so sweet and gracious and engaging and funny. We chatted for, I don't know, 10 or 15 minutes, together there. I gave him a copy of my solo record, and I'd written something for him in it, because his playing, the influence of his playing, is all over that record. I was so nervous about giving it to him 'cause I know what it's like when somebody gives me stuff –

Smith: "Here, here. I'm gonna give it to you, but don't read it now."

Lifeson: [Laughs] Exactly. And then they invited us down to sit at the monitor desk, right at the side of the stage, while they performed. Throughout the whole show, Jimmy would look over and smile and wink. It was just like so… cool. [Laughs] It was a really, really great experience.

Smith: It's so nice when that happens.

Lifeson: Yeah, your heroes are heroes.

Smith: Yeah, man. You know, I've been fortunate to meet a lot people. You stick around this whole racket we've been doing for a while. More often than not, everybody's… You know, lots of times I think, you're know, you're professional. Like you say, sometimes it can be like, "Oh, whatever. Thanks a lot," and then… [whistles]. A other times, you connect with people, like we did. For the most part, people aren't, like, assholes. You don't get anywhere –

Lifeson: I agree with you. The majority aren't.

Smith: The majority aren't. Once in a while, and it's usually, I've found, it's different from meeting your peers or people you looked up to, but younger bands, where maybe they get a big hit or something, you know, they kind of think –

Lifeson: They're cocky. They just don't even know how to deal with it.

Smith: Yeah. Exactly. And I don't blame them for it. I can see how it can happen – people around them, certainly in this day and age, the way our industry is and everything happens now.

Lifeson: Yeah, it is so different now.

Smith: It's so different. To me, what's kind of sad is that, one aspect of it, is that both of our groups would have never been able to grow and have the opportunity to suck for a while – not even suck but just to learn –

Lifeson: [At the same time] To learn –

Smith: – and get better, three records, four records, that would be unheard of today. If you didn't sell your x amount or whatever, then "sorry," and bands would break up. They're not nurtured like they once were, which is sad because you miss out on bands like U2 and REM and Rush and Chili Peppers. You know… we were doing the best we could do, obviously, but the public wasn't on board the way that the industry thinks about it. And people would have missed out on all that great music. It's kind of sad…

Lifeson: Well, record companies were developers then, and now they're speculators.

Smith: Bankers. Bottom line.

Lifeson: Basically, you have to make your own record and shop it to them [Smith laughs], and if it does OK, then they'll sign you. There's no commitment or help from them. Our first deal was for five records. The idea was that the first two records would be those starting points; and maybe on the third record it kind of turned around and the record company would make a little bit of money. Everybody would be moving forward. And the next two would be those stronger commercial records.

Smith: What that like a plan?

Lifeson: I think that was the plan then. And it makes sense on the curve of the five records. This is sort of the mid-point, the third one, and the next two, everybody's laughing –

Smith: [Laughs] "We love everybody!"

Lifeson: But that… that can't happen.

Smith: No, it doesn't happen. I just wonder what we're missing out on.

Lifeson: We got to experience it. It's all the young kids now who are missing out on it. But at the same time, for fear of sounding like an old guy – "arrggh, get off my lawn!" deal [Smith laughs] – it's a different world that is their world, so they work it accordingly. They don't feel, I'm sure, that they're missing anything, just like we didn't feel like we were missing out on anything.

I don't know how many times I heard older people, and not just parents but just older people, say, "Oh, my God. Your generation is just totally nuts. You have no sense of what it was really like, when it was great." And every generation has that same feeling, you know?

Smith: Yeah, maybe you're right.

Lifeson: It's a pretty normal kind of cycle, I guess.

Smith: Well, I'm just glad… now that you're a young-and-upcoming band…

Lifeson: [Laughs] It's only been 40 years.

Smith: Let me ask you, you're… next week… going into the Hall!

Lifeson: Yeah.

Smith: I know you've been talking about it or whatever –

Lifeson: Yeah, we've been talking a lot about it.

Smith: [Laughs] And people are asking you about it. That's what happens. It was a year ago, this time.

Lifeson: Yeah, exactly. In fact, they've been playing the HBO special a little while. I saw it back then.

Smith: Let me tell you what, it's quite edited down.

Lifeson: Yeah.

Smith: It was six hours. We went on last. Six hours. Now, I don't know if that's going to be the case again this year. When are you slotted – are you supposed to go last?

Lifeson: We're supposed to go last.

Smith: You're the Snoopy.

[The waiter approaches, makes dinner suggestions. The guys order, and then the conversation continues.]

Smith: It's a long show. At least the only one I went to, our experience is… Obviously, there's performing, but the speeches, depending on who's being inducted, there's no… [He drums on the table.]

Lifeson: Right. The music starting to play.

Smith: And when we went, it was –

Lifeson: Well, it was all of you. Everybody said something, right?

Smith: Yeah. But not just like – well, it was Guns N' Roses, and they had a lot of members; we had a lot of members. They inducted the Comets and the Crickets, and these older… I think it was the first year they did bands that… obviously, it was Bill Hailey and the Comets. Not just Bill Hailey, the Comets get in, too. Now the Crickets, not Peggy Sue, that gentleman, his band… they had the first time with the bands. There were a lot of people that were in these bands that were old, and they're all up there talking.

Lifeson: Yeah. They haven't done anything in 40 years. [Smith laughs] It's their big chance.

Smith: It was their big moment. Everybody thanks their first grade teacher. It's a long night, in that way. It's heart-felt, and it's a big deal.

Lifeson: It's a very big deal.

Smith: As you know, awards are great, and it's nice to be recognized. This is for 25 years or plus, more. It has a lot of weight to it.

Lifeson: Yeah.

Smith: Of the people that are inducted, you have a wacky combo of Public Enemy and Donna Summer and you guys, which wouldn't be played on the same radio station.

Lifeson: No.

Smith: It's not really Rock and Roll Hall of Fame anymore, is it?

Lifeson: I'm not so sure it ever really was. Madonna's in there, ABBA… They all are very notable artists on their own. Whether they belong in the Rock and Roll Hall of Fame… There again, the Rock and Roll Hall of Fame is not like an industry-sanctioned thing. It's not something that we all vote on and are a part of.

Smith: A club.

Lifeson: It's basically one person's idea of this thing. He runs it the way he wants to run it, and he can have whoever he wants to have in it. So at the end of the day – and there's been so much controversy with us in it – you know, we've been eligible for 65 years or something. [Smith laughs] I remember the last 19 years, or 15 years, or something like that. And our fans are so dedicated. I'm sure that they must feel like, "Thank God, this is finally going to be over." We're not going to get deluged with all this mail.

Smith: Now they have to find something else to chat on the Internet about.

Lifeson: I think the Hall needs to really open their doors to all forms of rock music, in particular. If they're going to have the Crickets and the Comets and ABBA, then they really need to have Yes and Moody Blues.

Smith: Yeah… Deep Purple?

Lifeson: How can you not have Deep Purple?

Smith: I can't believe Deep Purple's not in.

Lifeson: Like, I feel guilty going in –

Smith: I know who I voted; I got my little voting thing, I'm like "Rush, Deep Purple… " No brainers, they're in. They're in!

Lifeson: That's why we're in, because guys like you have a vote now. It's changing the core. It's diluting the core's… who are strongly influenced –

Smith: The little boys' club.

Lifeson: Exactly – who are influenced by Jann. I'm not complaining about that. That's fine. They can do whatever they want, it doesn't matter. It's their place, or it's his place; he can do whatever he wants. The perception to a lot of your fans is that… and I'm sure it's the same thing for you… that this is a big, big deal. To them, it's so incredibly important that you get this recognition. They feel validated by your inclusion into this thing, even if it doesn't mean that much to you. It means a really big deal to them.

Smith: To the fans. I agree.

Lifeson: I'll tell you quite honestly, a year ago or more, I really couldn't care less. I probably would have preferred not to be a part of it, only because it didn't really mean that much to me, and my priorities are different. It's about being a musician and about playing and all that stuff. Like you say, the awards are nice, but they're not important at the end of the day.

But seeing the response of our fans and what it means to them, and really even outside of that, you can't possibly be a dick about it. You have to be gracious.

Smith: [Laughs] Some people are, though.

Lifeson: Some people are, and that's fine. They can do what they want.

Smith: I totally, 100 percent agree with you.

Lifeson: At the end of the day, you want to be gracious. You want to be courteous. You want to do the honorable thing.

Smith: That's how you are, though. That's an extension of you guys, and what you have always been: "We do our thing. We don't give a shit about what anybody thinks – we just do it." It's great, and people love it. Obviously, your longevity and everything, and all the success that your band has had, and you never are like, "Oh, we're trying to be like this, because we want someone to like us." Which is beautiful; which is what being a true artist is really all about. I admire that to the nth degree.

And now, it's great that you're like, "If it happens, no big deal. You know what? We're not going to change anything that we do. Gee, I need to feel validated by these New York whatevers." [Laughs] They can't kick me out – it's too late!

Lifeson: No, they can't. I think it's too late to kick me out, too.

Smith: It's too late to kick you out, too. You're right. The fans are so… the fans are everything. They're the ones that keep you going. It's important to them. It's almost like your family. My mother thought it was great. It doesn't matter if you sell out this or have these records or whatever. "Oh… You're in the Hall of Fame? Wow, that's really something. I might have to come to that."

Lifeson: Did your mom come?

Smith: My mother was there with drum earrings on [Lifeson laughs], the whole nine. She was so proud. There is something to do when there's a Hall of Fame involved…When there's only one, there is some sort of special thing to it. Your friends and your fans and your family… it means almost more to them than maybe it does to you.

Lifeson: Oh, easily. Yeah.

Smith: It's a great gift for them.

Lifeson: Yeah.

Read more about In conversation: Chad Smith with Alex Lifeson at MusicRadar.com

The Weekend Woodshed

Fri, 10 May 2013 14:43:00 GMT

Read more about The Weekend Woodshed at MusicRadar.com

GEAR NEWS

Drums slipping and sliding all over the place is a reoccurring gig nightmare for many of us, so much so that all manner of drum rugs and mats are available to prevent such issues. Meinl have come up with their own eye-catching solution – this fantastically garish Oriental Drum Rug. Beautiful, isn't it? What do you use to keep your kit locked in place during a gig? Send your pictures over to us at rhythm@futurenet.com.

DRUM'N'BASS MASSIVE

We like this kind of thing. Two brothers calling themselves the Kinky Wizards do a mental jam. Great bass playing, great drumming.

DRIVEN TO DISTRACTION

Is this a good idea? Could it possibly be a good idea?

This former NASA employee has created a steering wheel you can drum on. Will it, as the inventor claims, prevent 'highway hypnosis' and keep you awake, or cause you to crash as you replicate some intricate Neil Peart fills?

THUMB THING FOR THE WEEKEND

Here's yet another drum-related invention. Ever wished you had another hand while drumming, so you could add some percussion to your sound? This guy has invented a shaker that you wear on your hand, and doesn't interfere with your beats. Pretty good idea, we reckon.

http://www.kickstarter.com/projects/1522631178/thumb-thang-handsfree-shaker

DRUM COVER OF THE WEEK

This is massively over-the-top, but once we got over the crazy CGI stuff, we couldn't help but be impressed by Fede Rabaquino's cover of Limp Bizkit. He's got John Otto's bounce down, for sure.

If you've done a drum cover you're particularly proud of, or if you've seen an awesome one recently – email us atrhythm@futurenet.com!

Read more about The Weekend Woodshed at MusicRadar.com

Murray Drums unveils new snare and names his first endorsee

Fri, 10 May 2013 10:28:00 GMT

Read more about Murray Drums unveils new snare and names his first endorsee at MusicRadar.com

Scottish drum maker Murray Drums has unveiled its latest creation - a 13"x7" African Blackwood and Scottish Burr Elm snare.

The drum features over 72 different sections of wood, skillfully glued and machined to a 10mm thickness with 1.5mm re-rings. It is then sanded, shellac-ed, buffed and varnished to an inch of its life before being topped and tailed with Evans G2 and Hazy 300 heads supplied by dD Drums in Falkirk.

The lucky owner of this new percussive work of art is Fraser West from one of Scottish band Skerryvore.

Fraser has also been named as Murray Drums first official endorsee. He dropped into dD Drums in Falkirk last week to pick up his new snare drum from the man himself and to give it a bit of a whack before setting off on a Highlands and Islands tour of Scotland.

For more details head here.

Read more about Murray Drums unveils new snare and names his first endorsee at MusicRadar.com

Subscribe to Rhythm and get Joey Jordison Signature gift

Fri, 10 May 2013 09:29:00 GMT

Read more about Subscribe to Rhythm and get Joey Jordison Signature gift at MusicRadar.com

Subscribe to Rhythm and you can not only save money, but you'll also get ProMark and Joey Jordison gifts!

Great reasons to subscribe…

* Save 20% off the cover price and pay just £25.49 every six months

* Get a free pair of Joey Jordison Oak Drumsticks, a stick bag, and a drum key keyring.

* Free CD every issue

* Get your copy up to a week before it hits the shops

* FREE delivery direct to your door!

About the signature Joey Jordison Drumsticks, ProMark DSB4 Stick bag, and Drum keyring

These signature 16" Drumsticks designed by Slipknot drummer Joey Jordison, feature a classic 5A diameter, a slim neck for fast and precise rebound, and a full round bead for great articulation and projection. Made out of 100% Oak – the preferred wood for drumsticks – these make a perfect set of sticks for any Joey Jordison fan; especially since the "blood red ink" contains Joey's own blood! Coupled with a ProMark DSB4 Stick bag – which can easily hold all your sticks, brushes, and mallets – and a drum key keyring, this subscription offer is unmissable for any serious drummer.

For more info: http://www.daddario.co.uk

Don't miss out

Subscribe to Rhythm to get your gift, save 20% off the cover price and never miss an issue again!

Alternatively, to order by phone, please call 0844 848 2852 and quote offer code RHYW1L.  Offer ends 30/06/13.

This is a UK-only offer. However, drummers outside the UK can still make huge savings off the cover price: overseas subscriptions are available here.

Read more about Subscribe to Rhythm and get Joey Jordison Signature gift at MusicRadar.com

Subscribe to Rhythm and get Joey Jordison Signature gifts

Fri, 10 May 2013 09:29:00 GMT

Read more about Subscribe to Rhythm and get Joey Jordison Signature gifts at MusicRadar.com

Subscribe to Rhythm and you can not only save money, but you'll also get a haul of Joey Jordison gifts!

Don't miss out

Subscribe to Rhythm to get your gift, save 20% off the cover price and never miss an issue again!

Alternatively, to order by phone, please call 0844 848 2852 and quote offer code RHYW1L.  Offer ends 30/06/13.

This is a UK-only offer. However, drummers outside the UK can still make huge savings off the cover price: overseas subscriptions are available here.

Read more about Subscribe to Rhythm and get Joey Jordison Signature gifts at MusicRadar.com

Beat show returns for 2013

Thu, 09 May 2013 14:36:00 GMT

Read more about Beat show returns for 2013 at MusicRadar.com

First details of this year's Beat show have been announced.

The event, held at Birkdale's Heeley Hall in Sheffield, will take place on 23 June and features performances, trade stands and more.

Funk-master Pete Ray Biggin and renowned teacher Toni Cannelli are among those that will put on clinics during the day.

Tickets for the show cost £8 for adults and £4 for children. For more details visit www.tonicannelli.com.

Read more about Beat show returns for 2013 at MusicRadar.com

Where to buy Rhythm Magazine

Thu, 09 May 2013 14:30:00 GMT

Read more about Where to buy Rhythm Magazine at MusicRadar.com

Rhythm, the magazine for drummers, is available in a number of different formats to suit every type of reader. See the options below to find out where to buy and the best format for you. In most cases you can also view samples issues to try before you buy.

...In Print

Click here to pick up the latest issue, selected back issues and to check out current subscription offers. Rhythm is also available to purchase from all good magazine/book stores and supermarkets.

...On iPad, iPad Mini, iPhone and iPod Touch

You can read Rhythm, enhanced with video and audio, for these Apple devices. Search for 'Rhythm Magazine' on the App Store or tap here direct from your device to view available issues, special editions and subscription offers.

...On Kindle Fire and Kindle Fire HD

Read the video and audio enhanced version of Rhythm on your Kindle or Kindle Fire HD by clicking here.

...On Android devices

Android users can read Rhythm via Google Play.

...On Mac/PC

Finally, you can also read Rhythm digitally on your Mac or PC. Head to www.zinio.com to see the latest offers.

Read more about Where to buy Rhythm Magazine at MusicRadar.com

Drum Guru releases Spanky McCurdy pack

Thu, 09 May 2013 14:07:00 GMT

Read more about Drum Guru releases Spanky McCurdy pack at MusicRadar.com

Drum Guru has released a batch of lessons from Lady Gaga drummer George 'Spanky' McCurdy.

The pack features Spanky playing nine different grooves over the same loop, showing how one track can be given a multitude of different feels.

Spanky is the latest of a slew of top name drummers to provide lessons for Drum Guru. And, in case you hadn't notice, we have been offering a free lesson each week for you on this very website, including those from Mike Portnoy and Steve Gadd.

For more from Spanky, check the November issue of Rhythm.

Read more about Drum Guru releases Spanky McCurdy pack at MusicRadar.com

In conversation with Chad Smith

Wed, 08 May 2013 20:25:00 GMT

Read more about In conversation with Chad Smith at MusicRadar.com

MusicRadar is pleased to present a new podcast series called In Conversation, in which Chad Smith, the six-time Grammy Award-winning drummer for the Red Hot Chili Peppers and a 2012 inductee into the Rock And Roll Hall Of Fame, sits down with music's hottest and most influential stars to talk about matters both personal and professional.

"The invisible interview – that's what I call it," says Smith. "Friends, thoughts, information – why do you do what you do? Admiration, respect, insight and maybe a surprise."

For anyone who's ever wondered what artists really talk about when they get together, In Conversation will provide a fascinating peak inside the dressing room door. Hailed as one of the greatest drummers of the last 25 years, Smith is usually the one answering the questions. For all of his success, however, he's never stopped being an ardent and enthusiastic fan, and it's from this unique position that he brings listeners into the real-life and onstage experiences of fellow musicians.

In Conversation: Chad Smith with Rush guitarist Alex Lifeson. Listen to Part One.

In Conversation: Chad Smith with Rush guitarist Alex Lifeson. Listen to Part Two.

Chad Smith is a six-time Grammy Award-winning member of the Red Hot Chili Peppers and a Rock And Roll Hall Of Fame inductee. He is also a member of the supergroup Chickenfoot as well as a much sought-after session drummer whose credits include George Clinton, Johnny Cash, Kid Rock, Dixie Chicks, Jonathan Batiste and Jennifer Nettles, among others.

Read more about In conversation with Chad Smith at MusicRadar.com

June issue of Rhythm on sale now

Tue, 07 May 2013 08:01:00 GMT

Read more about June issue of Rhythm on sale now at MusicRadar.com

Ilan Rubin

He has landed gigs behind the kit with some of rocks biggest names – Nine Inch Nails, Paramore, Angels and Airwaves to name just three. On the way he has impressed notoriously difficult to please bosses (hello Trent Reznor) and built a name for himself as the hot new session star. He's also wowed us with his solo project The New Regime, on which he plays just about everything. Oh, and he's still just 24 years old.

This month the ridiculously talented Ilan Rubin shares his story and secrets for stardom. We also catch up with Ilan's bosses – Trent Reznor, Taylor York and Tom DeLonge – to find out just why this youngster is landing mega gig after mega gig.

Plus: We get the lowdown on Ilan's other project, his custom drum company Q Drum Co.

INTERVIEWED

Mark Richardson (Skunk Anansie)
Jim McCarty (The Yardbirds)
Tom Meadows (Kylie/Leona Lewis)
Sean Kinney (Alice in Chains)
Jimmy DeGrasso (Black Star Riders)
Frank Benbini (Fun Lovin' Criminals)

And: Part one of our guide to bagging theatre gigs

GEAR REVIEWED

Truth Custom Drums drum kit
Bullet and Kitch/Natal hybrid pedal
Meinl Percussion bongos and timables
Gear4Music hardware
Cymbal Doctor cleaning system
Leiva Zoco cajon

ON THE RHYTHM CD

Learn to play tracks by Yeah Yeah Yeahs, Steely Dan and Paramore

Plus all of your favourite lessons from Colin Woolway, Jason Bowld, Gareth Dylan Smith and more

WIN

Toontrack drum software worth more than £1,000!

All this and more in the June issue of Rhythm available now from all good newsagents, online or digitally from the Google Play Store (Android). Pick up a copy from Apple Newsstand for iPad, iPhone and iTouch or on your Kindle Fire HD and you can enjoy video and audio tuition on your device plus bonus videos, image galleries and other content.

Read more about June issue of Rhythm on sale now at MusicRadar.com

MusicRadar Playlist: this week's office listening

Fri, 03 May 2013 16:08:00 GMT

Read more about MusicRadar Playlist: this week's office listening at MusicRadar.com

It's Friday afternoon again, so it's time to round off another week with another dispatch of the new (and not-so-new) tunes that have been gracing our office stereo over the past few days.

Enjoy...

Kelis - Jerk Ribs

This new one from Kelis comes from her forthcoming album, which is produced by TV On The Radio man Dave Sitek. It's a wonderful piece of retro-tinged pop complete with ridiculously infectious percussion rhythms and Sitek's trademark funk-tinged horn arrangements. If the rest of the album is even half as good as this then Lord help us all... (Si Truss)

The Family Rain - Pushing It

If you manage to persevere through Zane Lowe's nonsense at the beginning of this video, you'll get to a magnificent new Family Rain track - and trust me, it's worth it. Another slab of swaggering Brit-rock in the very best sense, it's further proof that the Bath-based brothers are heading for the big leagues (check out our On The Radar profile here.) (Rob Power)

Annie - Tube stops and Lonely Hearts

This ode to the rave culture of the early '90s wears its influences on its baggy sleeves, particularly in the choice of synth sounds. It remains distinctly 'Annie', though, albeit with a smidgen more menace. (Ben Rogerson)

Capital Cities - Safe And Sound

This ultra-catchy tune was featured on the LA-based synth duo's self-titled EP from 2011, and wouldn't you know it's the lead single from their forthcoming full-length, In A Tidal Wave Of Mystery. Smooth electronic textures, a captivating beat and hooks that last for days - no, make that months, as this track could very well be the summer single of 2013. (Joe Bosso)

Neutral Milk Hotel - Holland, 1945

Is this new? No. Do I care? Not a jot, because this week Neutral Milk Hotel announced they're getting back together to tour once more, leading to much joyous dancing in my house. Having missed mainman Jeff Mangum's UK gigs last year, I thought the chance to see them strut their fuzz-folk stuff might never come round again, but (fingers firmly crossed) it looks like the full band might be over here next year. A thousand hoorays from me, then. (RP)

Read more about MusicRadar Playlist: this week's office listening at MusicRadar.com

Weekend Woodshed

Fri, 03 May 2013 15:52:00 GMT

Read more about Weekend Woodshed at MusicRadar.com

NEW ISSUE OF RHYTHM COMING!

It's June already...

Some of you will no doubt already be in possession of your copy, but June's Rhythm will be on newsagents' shelves and available digitally from this Tuesday. It's got Ilan Rubin on the cover, and inside the mag Ilan shares his secrets on how to bag the big rock gigs – and he should know, he's Paramore's new drummer, Nine Inch Nails' drummer, and he's worked with everyone from Lostprophets to Angels & Airwaves.

Also in the issue are Skunk Anansie's Mark Richardson and The Yardbirds' Jim McCarty, and Rhythm begins a two-part series looking at what it takes to be a Theatre Drummer.

You can learn tracks by Paramore, Yeah Yeah Yeahs and Steely Dan, and there's tons of great new gear assessed by our expert reviewers.

You can get it online here or at Apple Newsstand from Tuesday!

NEWS

Jeff Hanneman RIP

We start with the terribly sad news that Jeff Hanneman, Slayer guitarist has passed away, aged 49. Hanneman died of liver failure. He had been suffering from a skin-eating bacterial disease contracted from a spider bite in 2011. Jeff was a founding member of the thrash pioneers and news of his death makes this a sad day for metal indeed.

A statement on the band's Facebook page reads: "Slayer is devastated to inform that their bandmate and brother, Jeff Hanneman, passed away at about 11AM this morning near his Southern California home. Hanneman was in an area hospital when he suffered liver failure. He is survived by his wife Kathy, his sister Kathy and his brothers Michael and Larry, and will be sorely missed. Our Brother Jeff Hanneman, May He Rest In Peace (1964 - 2013)"

Drumming and metal stars took to Twitter to pay their respects. Mike Portnoy tweeted, "WOW....I'm in shock...RIP Jeff Hanneman....wow...."

Brian Tichy added "Very sad and shocked about Jeff Hanneman....R.I.P."

Dave Mustaine of fellow Big Four thrash icons Megadeth tweeted: "Tonight one less star will be shining and sadly, the stage got just a little bit darker."

This weekend Rhythm fully intends to crank up the Slayer in tribute to Jeff and the band he co-founded, and work on our metal chops.

Here's Slayer at their finest with Hanneman and Dave Lombardo at Donington in 1992.

CHOPS

Jojo Mayer

The always-cool, live drum'n'bass pioneer Jojo Mayer has made this film of himself playing some seriously impressive grooves in various public places in New York. Inspiring stuff.

VIDEOS

How to wow Prince. Or not...

You might have heard that pint-sized pop genius Prince was looking for a new drummer for the New Power Generation recently. David Kelly, drummer with Liverpool post-rock outfit Vasco Da Gama – who you can check out in an up-coming issue of Rhythm, by the way – wasted no time in uploading this audition video for the attention of the Purple One. With his offer of making his own special mashed potato for Prince, we don't understand how he's not already occupying the NPG throne…

COMPETITION

Win Download tickets!

We've got a pair of full weekend tickets to give away over at MusicRadar/Rhythm right now! Because we love you, that's why.

DRUM COVER OF THE WEEK

'Get Lucky'

French robots Daft Punk are riding high right now with their new single 'Get Lucky', and Helmsdrums here has done a pretty decent job of covering the tight disco infused beats. Good hi-hat work, fella.

If you've done a drum cover you're particularly proud of, or if you've seen an awesome one recently – email us at:rhythm@futurenet.com!

Read more about Weekend Woodshed at MusicRadar.com