Transatlantic Modern

“When you try to tell a drummer or a bass player, as I’ve said, how to put that extra something in it, they don’t even know what the extra something is that you’re asking for. They don’t get it. It doesn’t have a name. It’s just a feeling that’s intangible that grew up in the embodiment of growing up in New Orleans. It’s a second nature thing to you, like blinking your eyes.”

Irma Thomas at length about her 54 years in the music business, from being fired for being a “singing” waitress to recording music with an ever-increasing number of fans. Oh, and a few thoughts along the way about the delayed credit of the British Invasion, the irritating aspect of Motown and how HBO’s “Treme” did New Orleans right. A lesson in soul from the Queen of New Orleans. Continue reading →

“I’ve managed to play the ‘Concerto For Group and Orchestra.’ I’ve played the drum fill in ‘Won’t Get Fooled Again.’ I’ve played ‘Don’t Look Back in Anger.’ I’ve played ‘Sunflower.’ I’ve played ‘Walls Come Tumbling Down.’ I got to play with Ian Dury. You know, if you don’t rise up and say, ‘I’m gonna have a go at this,’ then you’re just sitting back, looking at other people and going, ‘Oh that’s easy, that is, mate.’ No. It isn’t.” 

Drumming legend Steve White talks in depth about his career, from being a teenage Style Councillor to diversifying his resume as a drum teacher and music manager. Oh, and he manages to fill in the gaps with more than a few nifty stories about Paul Weller, Ian Dury, Ginger Baker, Oasis and some withered old puffin with a pointy finger. Continue reading →