Taylor Hawkins has achieved a rock
superstar status through his drum kit as
drummer for the Foo Fighters for over 20
years he strummed his way through
everything from the Reading Festival to
live lounges to sell out stadiums shows
but what does it take to become a
drummer what inspires someone to pick up
a pair of drumsticks in the first place
and just how important is the drummer to
a band the band together in this program
Taylor takes us on a guided tour of the
drums talking through his childhood his
influences others the Greek symbol
grabber the sounds of his drum kits
there's like a piece of metal where the
drum head on it what it's like drumming
with both Alanis Morissette's and Dave
Grohl this is a BBC Radio 6 music
drumming master class with silo Hawkins
the man the legend the punk-rock cozy
powell for our times this generations
dashing version of stewart copeland the
one and only hey little dude come on man
how i thank you for a great well let's
let's see over the course of this ale
because coming up some drumming tips and
insights into what makes what makes for
a great drummer but first we should do
some context first background okay where
did you grow up from when did you first
get into music how awkward I grew up in
Laguna Beach California I had moved
there from Texas when I was five and I
had a neighbor named Kent cleaner who
had a rickety rackety drum set and a
couple of beat-up acoustic guitars why
and I just wasn't really good at
anything when I was 10
yeah I wasn't particularly good in
school I wasn't good at sport as you
would say I was okay baseball but yeah I
didn't found something yet I remember
was 10 years old it was a summer in 1982
he was a couple years older than me but
he and his drum set and I kept like he
was trying to learn how to play guitar
and it seemed too much like work like
homework alright you know and he said
just sit on the drums just try it I want
to show you a beat you going one two
three four on the high hat and then you
cross your hand over here and then on
the third beat I want you to hit this
thing called a snare drum one two three
four one two three four and on the one
the first beat I want you to put the
kick drum on there so you go so
basically I want you to go one two three
for and I went okay probably wasn't it's
probably little more like I don't know
not quite there yet but but he really
literally said you know you're a drummer
really yeah
and he's and he was actually a pretty
decent drummer and he had this he had a
two-by-four holding up his TomTom I
remember that anyways he just said
you're a drummer he said and like I can
tell you can tell really quick if
someone's a drummer there's some people
that just they I guess they can't ever
be and I just took to it immediately and
so I mean that day there was like a
lightning bolt shot into me and it was
like and I'm like I'm a drummer that's
what I'm going to do and that sort of
became my armor and then I just fell in
love with it and then at the same time
around that time my friend down the
street Lisa Burton her brother went off
to the army cuz he got in trouble so the
judge is back in the 80s would be like
well you either you know either
dude you know six months or you go to
the army and that was insane he went in
the army left all his records and there
was this record with this monster
holding these guys in his hand this like
cartoon monster and it was Queen news of
the world I just fell in love with that
record what do you think it was about
that record is it is it because of the
drama of I think it's a cinematic mystic
because the first music I really liked
as a kid besides the pop music that was
on the radio was like Star Wars
soundtracks yeah and the Superman
soundtrack you know and all the John
Williams stuff and I was really like
emotionally drawn to those soundtracks
as a kid and even like the King Kong
sounds like you know all these seventies
sort of sound tracks and I think there
was something in Queen that had that
cinematic approach obviously it still
does I mean they have the biggest movie
last year but there was something about
it that was really good for a
ten-year-old and it was also you had a
hard rot you had you know a ballad and
you how
a hard rock song and then you had a
bluesy shuffle II song and they really I
mean me and then I really loved the
Beatles I was starting to love the
Beatles as well and I could see the
cross between them and the Beatles and
you know you got a queen record and you
got everything you know you got a lot of
all these styles in one record and you
know they just were rock band there was
just a garage band essentially that was
just really great and they had all these
styles on there and and then I looked
and I said well which one's the drummer
and it was the guy with the blond hair
and I was like ding oh my god well I
loved him and then I find out he's the
guy doing all that yeah crazy high notes
something he's he's ran you know the
these big beautiful drum sets and I
would draw Roger Taylor's drum sets
really yeah and it would draw the stages
and then then I got their other records
and I'd look at the inside of Queen jazz
and they'd have all the drums all their
drums everywhere and associate those
pictures on those albums from that era
when they used to show the studio I've
seen ah she saw you I mean there were
the drunkest well Maximus radios were as
big as the one we're in today was no
foreign for a 10 year old you know music
porn
that sounds world but it really it was I
mean I did I would sit there and look at
every single drum and you know as I fell
in love with oh and then my brother
handed me a copy of police Zenyatta
Madonna this was 1982 but he handed me
this album and he goes if you want to be
good you have to play it like this guy
and all of a sudden
[Music]
Stewart Copeland yeah so my two first
major inspirations and I would say
probably the two guys that shaped a lot
of what I do when I play drums in a rock
band is Roger Taylor and Stewart
Copeland and the funny thing is they're
so far away from each other home the
spectrum of drummers Rogers got this
great big fat you know that's a little
bit of somebody to love
[Music]
I can't let it stay
[Music]
[Applause]
[Music]
but they were so different from each
other I felt like it was a good like
looking back on it it gave me a pretty
wide berth as far as styles so did you
get your own drum cape then when was it
was the point where you could go first
so the first kit I got was it was the
ragtag deal you know nowadays like if a
kid shows any interest in music it's
like oh why do you drum set the one like
that when we were kids you know it was
like your dad like you want to play
write music why no drums aren't allowed
no so I like it was that thing you know
you go down the street you heard that
some guy down the street selling a bass
drum you know and then another guy you
know has a Japanese copy snare drum of
Ludwig and your snare and then I really
literally bought symbols out of Sears a
magazine like you know you'd buy you
know you probably like your laundry
machines because cymbals and drums are
really expensive and when you're ten
years old if a pair of hi-hat cymbals is
a suppressor belt a year's worth of
pocket money but I mean yeah I mean it
was just on I didn't even know so I like
I put a ragtag drum set together and
yeah that was my first drum set and my
dad was nonplussed to say the least
about any of it if he were so going back
putting yourself back there now so after
the first beat that you were taught if
we were trying to help some of our
listeners show you've got their own
first kit together where would you go
next then what was your next progression
what were the first beats that you sort
of learned or the first well it's funny
I I just it was that beat and then
Phil's drum fills connecting you to
think and it's learning how to play a
song such as you play along to a lot of
songs yeah it's the first thing I did
and I mean the right away I was playing
along the
at the Opera and queen the game and
trying to play those in yattaman Dada
and trying to play to the romantics what
I like about you and haircut 100 and and
I literally would just turn on the pop
radio back then like a litter like you
know a dial radio and we'll just play
everything and it didn't matter what it
was and you know I didn't know half of
it was drum machines back in the 80s so
I was trying to figure out shout you
know by via
Tears for Fears is
[Music]
drum machine
don't go knock on door but I would play
along and it's funny cuz my son he's 12
and he's good at drums but he doesn't
really care that much about it it was
fun he can play play all this these drum
fills and he can play beats and stuff
but I'm like if you want to learn how to
play you have to play a song he's that
learning the discipline of playing a
drum within early do you think the job
of the drum arrays well the first thing
I wanted to do the second I got that
crappy kick and snare and hat and Sears
symbol was start a band right away like
that was there was no question so you
were recruiting your fellow neighbors
hood friends and stuff and literally
just but you know try to get that dude's
mom to buy him a guitar amp and then you
put the vocals in the guitar amp and the
guitar and then a bass amp what's a bass
amp I don't know well they're like five
hundred dollars you're like I never
gonna have that ever
there's never but you'd put it together
and eventually you through just you know
Christmas and small amount of thievery
and whichever however you had to get it
you got the gear you needed to try and
start your first really horrible band
I'm gonna talk about your first bands
horrible or not in a second this is a
terrific excuse though to play coin on
six music
[Music]
is pointing on six music eights the
choice of I guess
Tyler white boy that particular Queen
song what was it boy well as their first
single wasn't it keep yourself alive yep
I think they may have done a set at BBC
session in this very room for it or
somewhere right down the hall which is
amazing
just to be here in these amazing place
anyways and that was the first time the
public heard Queen and it was all there
I mean it was still at that and but I
love the sound of that first Queen
record cuz they were still sort of
students they'll sort of kids they were
still figuring it out then totally
learned how to layer their vocals
perfectly yeah it was a little ragtag he
stood like they you know they got better
like and they kind of grew in the public
eye which was awesome but there's
something about that first record that
is just it's you can hear them trying to
like figuring it out on tape which is a
beautiful thing that's art you know and
there's a drum solo in the middle of
their first song
I mean only Roger Taylor would get that
done I'm gonna put a drum solo here
it's staying I learned that drum solo I
tried you know funny enough when kids
asked me today I'm in a band and you
know what should I do
how do I do it what's the deal you know
I know what you got to play as much as
you can in front of people and get the
stage time and you know write songs
that's good be creative but learn a
bunch of other people's songs too cuz
for the most part no one's gonna want to
hear the first group of songs that you
start writing when you're 12 or 13 years
old it's fine yeah right um that's cool
do that but also learn a bunch of covers
because I mean the Beatles were a cover
band before they you know really I mean
the stones were just a cover band and
and that's where you learn the craft of
what a song is and how you get inside a
song so a you're getting stage time in
front of people cuz you're actually
playing songs that they might want to
hear no matter how badly you're playing
them at least they pretty sure that's a
clash song or they're pretty sure that's
[Laughter]
a song or they're pretty sure that's
that you know whatever and Van Halen was
a cover band jumpin forwards something
eventually I suppose your first brush
with proper fame almost is touring with
Alanis Morissette which you mentioned
earlier well I actually the first proper
Pro gig if you will like actually
someone handed me a paycheck besides a
few weddings and a few beer parties and
stuff you know in Laguna Beach was a
lady named sass Jordan and she was from
Canada did his manager was like you know
I have this girl I just signed a
management deal with and she just
finished a record and most of its kind
of loops and stuff like that it was mid
90s
her name is al anis Morissette I'll
introduce you to her so I met her and
she was quiet and sweet and stuff and uh
then next thing a couple months later
he's like hey we're auditioning drummers
so I auditioned I got the tape and the
first song that it was on the tape was
you out and you oughta know
[Music]
we did you ought to know I want you to
know you know and thankfully Thank You
Alanis I love you so much she gave me
the gig she wasn't scared about how loud
she wouldn't know she I think it was
cool at her her and her manager were
like it should be more of a rock band
and that I don't think the producer was
too stoked actually on me because I
think he was hoping it was gonna be some
guy playing along the computers and
being very pure to the record we just
threw the record out the window
with Atlantis and turned it into a live
rock band and that's what the manager
had in mind and that's what Alanis was
down for she's like that that was the
record turned and she kind of gave us
free rein really actually just bless her
heart and we really did completely
destroy those songs but we were a good
little we're a good band and that's
where I met Dave I was just about a sigh
so enter Dave Grohl well around that
time on tall yeah so basically we're
over here doing actually I'd met Dave
once in LA and the Foo Fighters albumen
just come out
[Music]
and I was so blown away and I've just
the energy and and I loved his vocals I
loved it it was like Steve Miller on
steroids you're like you know at a punk
rock club you know there was this
breeziness about him and then in the
easiness about the way he he was saying
and then he would scream really good you
know he had that good-good scream as
well but but his verses were pretty and
like I don't know there was almost a
Beach Boys II thing or something I I
couldn't put my finger on why I loved it
but I just fell in love with that record
and then I met Dave at some radio show
somewhere like in LA if the first time
and he was really nice to me and I was
like wow he was nice to me I'm not cool
he was nice to me and then I and then we
started doing the same festivals over
here and a lot in the UK and we just
just fell in love and but I didn't think
anything of it because they had a
drummer and I got on a plane with Alanis
after doing a couple shows with the Foo
Fighters and she said what are you gonna
do when Dave Grohl asks you to join the
Foo Fighters she's literally said that
and I went well that's never gonna
happen
and I would never leave you darling but
but he said drummer quit not in you know
or it couldn't handle the job and it's a
tough job but you know I it ain't easy
you know living in those shoes was the
columns like done yes so basically what
had happened was so he had made the
first record all by himself
yeah which is I mean he did like in five
days of course and being told oh yeah
yes five days yeah the master the master
of who gives a crap but oh look at what
I did
he's brilliant and then the second
record they really wanted to get it
really they knew it was a make he knew
it was a make or break record
[Music]
and the drummer just couldn't handle it
Canela pressure wasn't used to the
studio
you know studios a whole different trip
it's not there's one thing to play bash
it out live no one's sitting there
scrutinizing each I mean the snares got
to land in the same spot every time so
that it's a called a groove you know the
time has to be good or you play with
click tracks or you know we do sometimes
in the studio sometimes we don't
but the drummer just he just chunked it
and then Dave you know famously went
back and rerecord his drum tracks and he
didn't fire him
nobody even nobody everyone thinks how
he fired he didn't fire him he said dude
you're just not ready to make a record
yet and this records make or break and
I've made records and I know what I'm
doing and you know learn how to record
and he couldn't handle it so that's I
stepped in and I called Dave myself and
I said I'm your drummer sorry and he's
like but you're in Atlantis he's the
biggest thing in the world and I'm like
well you know Alanis is a solo act and
you're this this is a band and I love
your band and I want to play hard rock
and and I think Atlantis was going and
you know in a different direction
I had heard yeah you know and which was
great and you know me and Lannister fine
we're friends now and which is great we
just you know the capacity enjoy
[Applause]
and amazing literally 18 straight months
with Atlantis and just just discovering
the world with her and it was beautiful
and she gave me a lot of leeway and I
think her forever for it and she was a
great she was a great leader and a great
boss and you know I have a great leader
a great boss again so you walk it so you
would join the Foo Fighters you get and
the first time I ever recorded what the
Foo Fighters was it wasn't in this exact
room it was in studio for I believe oh
well might have aisle forward just right
going wow really was the last time yeah
doing what set of songs can you remember
yeah it's funny it's a funny story
actually
so I joined the band and one of our
first trips was coming to England the UK
to do a tour and one of the first things
we did was come to Maine avail to do
maida vale sessions
I wasn't John Peel I don't think but it
was it was you know who what it was
called it was a Maine avail session yeah
and we did Baker Street oh it was as
[Music]
the public requiem killing James were
actually up
[Music]
was my first recording well it's loads
of great 70s records yeah I have grown
up with yeah yeah I mean there's a lot
in there lively and they're fun and I
hear those recordings and that's me the
first time I ever recorded with the Foo
Fighters then we got to that third
record which was just before we go on
somehow Requiem close yeah yeah it's
pretty much that the whole time yes good
it's great though sorry you were saying
so you thank you Mike that was kind of
like my first time in the studio with
the Foo Fighters but then we went back
and we started doing there's nothing
left to lose which has learned to fly on
it
[Music]
and I got in a similar similar somewhat
situation as the first drummer I was
just green and I was having a really
hard time learning how to play in the
studio because it's just such a
different thing and really learning how
to focus in on cuz I mean you know if
you're gonna play drums on a record for
Dave Grohl it's got to be really like
top-shelf
I mean there's a certain pressure their
inherent pressure and it's not from him
actually to be honest I mean he
definitely knows what he wants but I
think he was still struggling with can I
let another drummer play on my record at
that time I think that was another thing
for him and because we had such a bro
ship if you will in such a great
connection live that he had to sort of
eventually give up the reins so that it
could be a real band he's an amazing
drummer and then we have two different
styles and so he does his thing and I do
my thing and he adds so much to the
songs that it's like sometimes too much
[Laughter]
I can see like other drummers being in
the band a feeling weird feeling
intimidated and whatever but we do two
totally different things and I think we
have a mutual respect for each other and
it's it's awesome I mean it works
perfect you know and there's no you
could you could find a better drummer
there's no way so it works out this time
and so I I don't play like Dave I played
differently so the first album I played
on I played half the drums on and Dave
played the other half and I was just
sort of I remember at one point I was
just like Dave just you play drums on it
I'll tour III won't quit like I'll stay
I'll learn I have to learn how to do
this just you you know you're Dave Grohl
you're a master already he's smells like
teen spirit I'm I'm a dingdong I've
never done this before and I'm scared
and I had red light fever which is
something that people use as a terms
like whenever the recording lights are
on you kind of freeze up and I was doing
that in it and he kind of held my hand
through half of that record and he did
the other half
of the tracks there's one song on there
called Aurora which is the first song
that I ever recorded I felt like there's
some good stuff I played a breakout and
I play on m.i.a and a few of these other
tracks on there mmm
but there's a song called Aurora which
is the last song on that record and that
was like that was the first time I ever
went okay I can fit in this band as the
drummer right not just the live drummer
but I can I can be me and still fulfill
the role of being Dave Girls rhythm man
you know because he writes in rhythms
not only in melodies but in rhythms so I
have to meet him there
the next album one by one we eventually
got to and then that was I played all
the drums on that record and I played
all the drums on all the records since
on traded some belief that's me
[Music]
Oh can't be story of the Foo Fighters
and second which is coming back to given
that you're here we're trying to learn
something at the jumps because I have to
get inside the mindset of a drummer for
a start talk is talk is through talking
surround your kit oh you need all you
really need at the beginning is a kick
drum a snare drum a hi-hat which are
these two symbols one's upside down and
you control that one with your foot as
you do the kick drum and then you have a
TomTom here in the front and if you're
lucky you have a floor tom and if you're
lucky you have a crash cymbal and if
you're even luckier you have a ride
cymbal and really if you have that you
could pretty much play any song yeah
every all the other stuff the roto Tom's
and the timpani drum
[Music]
[Applause]
and Brandt the other picks PMC's okay
these are roto Tom's over here do not
even a drum really they're just like a
piece of metal with a drum head on it
you can tune them with your hand and you
know I must have been a seven he's like
what is this and I love him Roger Taylor
always had him on it next to his floor
toms so he'd always do these great this
is color you know I I'm drawn to with
drummers bells and cowbells and timpani
drums China symbols and stuff
[Applause]
[Music]
anything three can surprise a listener I
always loved that about Roger Taylor and
I always loved that about Stewart
Copeland yes Roger Taylor just throw a
little cowbell thing in there and use
leg line he's got a cowboy I need a
cowboy he's got a cowboy
[Music]
we
[Music]
did you mention the difference between
in a Roger and Stewart how different the
rest of the style cent can you tell a
van Halen from a Phil Collins oh yeah I
mean there are so different do you want
to give us a bit I think that's what I
like about what's different or any way
to play them yeah you can come on
if we can't get Tyler to do Phil Collins
up going over was that I know there's
something going on Freda
that's fell cars yeah he would have big
concert Tom's over here Van Halen uh I
wish I had double bass I was like I play
double bass but van it thing about Alex
Van Halen is he just couldn't not swing
[Music]
get batter what he was just always you
know even Jamie's crime love Alex Van
Halen al is such I've done enough Roger
Taylor I'm sure Oh Julius another Roger
was a great cymbal grabber he was so
good at grabbing us he always looked
great
and sounded great in saying he was just
he's the man he's a badass
[Applause]
[Music]
very mullet
[Music]
I played that last night in Dublin in
the middle of my drum solo I was
pandering a bit sorry like plates of the
crown yeah I was playing in the crowd
there's no question larry was there it
was like because you two were
I thought you two was really they were
such an inventive band and they're
really important to me when I like Larry
just had a very he really had a creative
style and here's the thing back then
before they were fixing everything with
computers and putting you know
unrealistic snare samples on everything
and you really could hear a style of a
drummer back in the day you know I'm
sure there will be some sort of garage
revival or some rock things like you
know that's what I liked about that's
what I loved about Jack White when the
White Stripes came out everyone was like
have you ever that girl play drums I'm
like I love the way she plays drums it's
so unique it's been found down and then
when she kicks into the beat
[Music]
the way she plays is literally just you
know I can't do it that's how unique
[Music]
drummers are a separate species I think
a lot of people say this would you agree
yeah III know you mean it doesn't matter
whether they're Keith Moon or you know
even Dave Grohl but they're a separate
or yourself there are separate sort of
species
what sort of temperament is a good
temperament for a drummer what you need
it's so it's so hard to say I mean I
guess I guess you need to have energy
yeah definitely in our freakin band
that's for sure I mean you gotta be you
gotta be fit you got to be fit
[Music]
you know okay in your 20s you may be you
know live fast and you know do all that
guy said if you want to play at drums
well once you start getting under your
late 40s or even you know beyond health
becomes an issue it really does I mean
you can't you can't be out all night and
then go play a three-hour foo fighters
set you just can't do it
and mentally as well what what do you
think is you you've gotta hold the band
together ah there's no computers up on
stage let's see there's so many bands
now that you know they get up on stage
and the drummer puts his in ears in and
they press a button and it goes what do
wait for it and then he plays along to a
click track while all this stuff is
coming out of speakers that are on some
computer behind the stage that's fine if
that's what you want to do that's not
what we do we don't do that at all so
the tempo of learn to fly is gonna be
slightly different every night depending
on how scared or excited or you know
hung or not on a jet-lagged
[Applause]
that's why we go to like X now let's
follow a tour it is always different
every night and because it's not
predictable and you don't go to a gig to
hear the record that's why I really
truly think I mean you know Dave said
last night to the crowd of however many
people which was a lot of people which
you're so blessed to have these people
come to our show
still can't believe that we play
stadiums now and I mean it didn't start
out like that and when I joined the band
certainly wasn't that way we're playing
clubs and opening slots for prodigy and
in the Red Hot Chili Peppers yeah awful
ability writing halfway up the billet
reading and we just kept at it and
people kept telling us rock and roll is
dead
I mean they kept telling us I remember
99 doing the promotion tour for for
nothing left to lose German why do you
play a rock and on his dead they're like
well it ain't dead at our house man
[Applause]
[Music]
[Applause]
but as you to your question yeah when I
walk up on stage at one of those places
I have major butterflies I'm scared
crapless every time if there's 30,000
people that paid good money social
responses your responsibility for me to
hold the band together and sometimes if
David doesn't want to rehearse I'm like
I will rehearse without you we weren't
here to make you look good
and I'm a drummer whose job besides
showing off sticks around and doing drum
solos and being a show-off which I am a
lot of the time is to lay down some
version of a solid foundation for the
band to play to so that's the perfect
drummer then there's the sort of the
trying to work out why doesn't presents
presents because even Nick Mason
presents some responsibility a bit a bit
of showbiz showbiz but if you watch Nick
Mason from Pink Floyd obviously on you
know the life of Pompeii
[Music]
he still has a great dramatic missed in
his drumming like Roger still his he
still hasn't about kind of Saint Nick
Mason's a showy drummer but he is in a
way and he's got a presence and it's a
presence
[Music]
did you practice to practice a lot when
you were you know given so you're about
two three years into playing drums what
sort of things would you practice at
home I was I didn't practice properly I
did I played along to the radio or I
played along to records what were you
doing around that don't you remember
what was I playing along to yeah yeah I
remember playing along to unforgettable
fire by u2 and
and all and and October and I remember
plundering to play like some of the
crazy police stuff that I remember
trying to play murder by numbers and I
just couldn't figure it out and then
there was like stuff on the radio like
like Rosanna by Toto which basically he
was doing fool in the rain
double time which is all these grace
notes and all this crazy stuff
[Music]
I was had no idea how he was doing it
and I wasn't interested in some dude
coming over for 50 bucks to try and show
me how and they didn't have YouTube back
then so I couldn't like look it up on
YouTube how do you play the shuffle tell
Rosana or fool in the rain
I still can't play that so slow that's a
tough one that's a tough one that's when
you know bottom is just the greasiest
[Music]
you mentioned writing obviously within
the group
now you contribute to the writing
process is is there a particular
favorite Foo Fighters song that you've
been involved with from you know base
level upwards I would say the first song
that I'd like actively like me and Dave
sat down and worked out because there's
a lot of stages to the way the Foo
Fighters write and the home studios are
getting so good Dave's really good at
you know just popping in with demos that
are you have to work really hard to beat
but he's always constantly evolving the
songs so he brings a demo in and then we
learned like her we learned it like that
and then we start ripping it apart and
and sort of deconstructing it and then
reconstructing it back to and then the
producer comes in like butch vig or or
Gregg who did the last record and and
then they go well you know maybe he
should add do two courses there and you
know maybe that bridge isn't quite
working or whatever so there's a lot
there's a lot of layers as to way things
are written but the song that the first
song and I have felt like a real part of
the process was all my life
[Music]
the lady to a record which is coming
which you know you get the money except
what is cold yeah
get the money yeah there's a track on
the album called get the money and it's
actually I to do it singing me and
Chrissie Hynde from their protest see ya
and Joe Walsh was playing guitar no
couple do adds a couple vocal duets with
ladies actually and dave sings one with
me on there as well and but a couple
ladies I did actually a really this
super psychedelic stoner II trippy song
called see you in Hell which this girl
lives in my neighborhood and our kids
went to my kids school and I'm and it
was LeAnn Rimes remember you know it
sadly an rhyme yes she's still around
she so the other thing and she's this
great Patsy Cline ish country singer and
I saw her at this some skill a school
function for our kids and I'm like
will you come sing on my record and
she's like sure where I'm like in my
neighbor ID I have a studio in my house
and she came over and I played her this
really tripped out sort of Soundgarden
meets Pink Floyd meets you know Sabbath
tune and she's like you want me to sing
on this one like yeah just like alright
let's go
[Music]
[Applause]
[Music]
now I'm very lucky to do this but as
you're a cheater and you're here and I
think we've got a few minutes even given
that I have no rhythm can you teach me
how to hold a bleep if I come over there
I can okay Steve this is what I used to
do with girls in high school give them
drum lessons ah not gonna be quite the
same with you Steve sorry right
alright put that one where's that one
under there I want you to count to four
hitting that in the hi-hat one two three
four one two three four now put your
foot on that pedal over there the kick
drum pedal there you go come on give it
a good proper kick there you go there
you go now on the third beat you're
counting to four still this this little
bugger you hit that it's called a snare
drum man chiming no one on the kick drum
start out with just high up by itself
one two three four one two three four
[Music]
Steve guess what the beauty of today is
modern recording that would have been
enough we'll put it together for you
you'll love it it was the shortest
recording career known to man it's been
the best piece of tutoring thank you
very much this oddly anyone down here
people behind the cameras and a couple
of producers but could you all stop what
you're doing please and give a massive
round of applause and a thank you to
Taylor Hawkins those two gentlemen bless
you
it's been an absolute pleasure