thanks Conroy, but it will be in our shop at the railway station soon
this will be a hard year for me as a magazine collector!
about the Vancouver recordings - I've got all three concerts on CD right now, but as I might also get them on DVD I'll wait a little bit longer before I send out copies to you and the others from Vancouver (incl. bits of carpet)...
dietmar
Great interview with Stewart in July 2007 issue of DRUM.
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by batitude on 15 Jun 2007 19:14
[quote="smudge"]You can pick up back issues from the store on the website - but the July issue isn't available there yet.
http://drum.safeshopper.com/[/quote]
They usually show up after the on sale date has passed..should be on their next month I would think?
http://drum.safeshopper.com/[/quote]
They usually show up after the on sale date has passed..should be on their next month I would think?
- batitude
- Posts: 12
- Joined: 02 Jun 2007 08:22
by Three over Four on 20 Jun 2007 23:51
I'm not sure because I don't have the magazine itself, but it appears the full article is available for reading at:
http://www.thepolice.com/news/interview.php?uid=5187
The highlight for me was reading this wonderful wisdom:
"At this point, we're into the lesson part of the article," Copeland says. "With the perspective I now have that seems to make it all work better, the two big things are relaxing and listening. When I was a kid trying to prove myself as a rock star by any means, and my means were my drums, somehow it was the job of the drums to stand out. I had to make my mark on the world. I had to piss on the tree. But that's a distraction. It's more fun to play when you couldn't care less, when you just live in the music. Drums are an accompanying instrument, and if you understand and bathe in that concept, then they are really fun to play.
"Maybe I can elaborate on the listening part. There seem to be two modes of playing: one is when you're listening to yourself: and one is when you're making music and not listening to yourself. Listening to yourself is practicing, playing rolls, paradiddles, flamacues, and ratamacues, paying attention to whether your right hand is heavier than your left hand, and you can work on that. You can work on that by slowing everything down, because playing slow is actually more difficult and has a better effect on the synapses than anything else - you're training the synapses to fire off in the correct sequence. If you do that, then speed is just a natural thing that comes. The physical patterns of playing drums, the choreography of all that, is most effectively streamlined by doing it slowly when you're listening to yourself.
"When you're actually performing music, the most important rule is, no tweaking yourself and proving your own technique. The minute you're listening to yourself you're not listening to the band and your feel is diminished. The minute that you're listening to the guitar and the vocalist and the whole band, your hands and the drums just take care of themselves. They have the same principle in polo, where the horse is an extension of your body that you can't think about. That expression works for the drums, too. Get out of your instrument and into the band, fold in and surrender in a weird kind of way."
http://www.thepolice.com/news/interview.php?uid=5187
The highlight for me was reading this wonderful wisdom:
"At this point, we're into the lesson part of the article," Copeland says. "With the perspective I now have that seems to make it all work better, the two big things are relaxing and listening. When I was a kid trying to prove myself as a rock star by any means, and my means were my drums, somehow it was the job of the drums to stand out. I had to make my mark on the world. I had to piss on the tree. But that's a distraction. It's more fun to play when you couldn't care less, when you just live in the music. Drums are an accompanying instrument, and if you understand and bathe in that concept, then they are really fun to play.
"Maybe I can elaborate on the listening part. There seem to be two modes of playing: one is when you're listening to yourself: and one is when you're making music and not listening to yourself. Listening to yourself is practicing, playing rolls, paradiddles, flamacues, and ratamacues, paying attention to whether your right hand is heavier than your left hand, and you can work on that. You can work on that by slowing everything down, because playing slow is actually more difficult and has a better effect on the synapses than anything else - you're training the synapses to fire off in the correct sequence. If you do that, then speed is just a natural thing that comes. The physical patterns of playing drums, the choreography of all that, is most effectively streamlined by doing it slowly when you're listening to yourself.
"When you're actually performing music, the most important rule is, no tweaking yourself and proving your own technique. The minute you're listening to yourself you're not listening to the band and your feel is diminished. The minute that you're listening to the guitar and the vocalist and the whole band, your hands and the drums just take care of themselves. They have the same principle in polo, where the horse is an extension of your body that you can't think about. That expression works for the drums, too. Get out of your instrument and into the band, fold in and surrender in a weird kind of way."
- Three over Four
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- Location: Portland, Oregon USA
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