The legions of drummers spawned by the Heavy Metal Heyday of the early-to-mid 80’s came a dime a dozen; each sporting huge set-ups, huge hair-dos, and enormous egos. While many of these denizens of the double-kick sect have disappeared into the “Where Are They Now” file, there is one that continues to “…hit the drums like they owe (him) money.” Frankie Banali is of a different breed from among these players. A true aficionado of the music and slave to the groove, Frankie’s drumming echoes the sound of many of his influences (which, as you will see in the following interview, he wears proudly on his sleeve.) Candid and outspoken, unabashed and yet a true gentleman, Frankie has seen it all and lived to tell the tale; which he does –much like his career- writ large.
Frankie Banali: Before we begin, let me first say that for rock music from Ringo with The Beatles, to John Bonham with Led Zeppelin (and so many more in-between, more on that later!) the Ludwig drum sound was pivotal in the development of how drums should sound. And this doesn’t even include the influence of Buddy Rich while masterfully playing his Ludwig drums in the field of jazz, big band and swing during certain periods of his career. Ludwig drums are as relevant and powerful now as they were then...
Ludwig HQ: What is your schedule like for the next few months?
Frankie Banali: I continue to do sessions. I expect the usual slow-down in November, and then the habitual music industry grinding to a halt in December for the holidays; which invariably continues through January. Then, slowly, the industry resuscitates itself back to some abnormal sense normality in February.
I am involved in a new project called “FREAKSHOW”, which I am excited about. The tracks have now been recorded and mixing will commence around the middle of September. I am really happy with the drum tracks for these recordings and I love the songs. I used the Ludwig re-issue Amber Vistalite Zep Set, and they recorded amazingly well. It’s not the first time I’ve used the Ludwig “V’s” in the studio; having done so with both the Amber set, and two of my vintage kits (a yellow 1975 and a clear 1976.) The Vistalite’s are largely considered by most recording engineers, producers and some musicians as un-recordable; but I beg to differ and I play them wide open.
Ludwig HQ: What do you have planned for your clinic at the Hollywood Vintage and Custom Drum Show?
Frankie Banali: I want to focus on the “Power and the Groove” as it applies to drumming. The majority of my career is based on recording and playing live with various groups and musicians. My focus has always been on the importance of the song first, and how the drums enhance the song and the band. Unlike many drummers who are known for the expertise in soloing, if I am known for anything at all, it is for what I have contributed to the songs from the drummer’s perspective. To me it’s always been about the groove rather than the individual as a drummer. Personally, I’ve always tried to play with authority and individuality, but not at the expense of the song or the musicians. It’s all about the groove.
Ludwig HQ: Quiet Riot was the first metal band to break through to the mainstream with a chart-topping single and album. What was it like for you to reach this level of success so early in your career?
Frankie Banali: I was fairly realistic when we reached the pinnacle of success, with the “Metal Health” record reaching #1 on the Billboard Top LP’s and Tapes chart, and #5 with the single “Cum On Feel The Noize” on Billboard’s Hot 110 chart on November 26, 1983. To put into perspective how historic this was, Metal Health had to climb over albums by Lionel Ritchie, Michael Jackson, The Police and Billy Joel -all established hit makers- which no one would call an easy feat. I also understood that the elusive elevator of success travels both up, and eventually and invariably down.
Having said that, I had already been fortunate enough to have recorded the hit single “Mony Mony” for Billy Idol’s debut EP “Don’t Stop”, as well as drum tracks for the Hughes/Thrall record (which featured Glenn Hughes from Deep Purple and Pat Thrall from Automatic Man and the Pat Travers Band.) I had just returned from Germany where I recorded with keyboardist Tony Cary (fresh out of Ritchie Blackmore’s Rainbow.) I was already both somewhat experienced and very fortunate. Perspective was somewhat easier for me to comprehend.
Ludwig HQ: Where there any drawbacks?
Frankie Banali: No more than there are in life in general or any other profession. With success comes a lot of demands, which are to be expected. You can’t dream of being a successful musician and then complain about the constant touring, which feeds the industry and your career. Yes, the touring was exhausting early on, because we toured under the worst possible circumstances. First in two station wagons and a rental truck, then a Winnebago, then a low end Eagle bus that spewed more exhaust inward than outward. But we were touring! It improved as we earned more money, and time off from the road usually meant that we would fly to LA to shoot a video or a TV show. But it was great, it was wonderful and I would not trade one single experience --neither good or bad- because I achieved many of my dreams as a musician along the way. If you look at life as neither being fair or unfair, you get the sense that life is just life; so do the best you can while you can and make the best of it. Enjoy the ride, as much as the ride and you allow it to.
Ludwig HQ: What were you doing when you were asked to join Quiet Riot?
Frankie Banali: I was in five bands all the time, playing all the LA clubs and doing a number of sessions, some of which were released and others that were not. I played around LA a lot, which worked as a showcase for my drumming style. This led to working on production demos in 1980/81 with Roy Thomas Baker, who was one of my producing heroes for his work with Free and Queen (to name just a few.) Roy would later hire me to record drum tracks for Andy Taylor (Duran Duran,) for the soundtrack to the film “American Anthem” in the mid 80’s (which featured the single “Take It Easy” the video of which has Terry Bozzio playing to my recorded drum tracks. Around the same time I recorded drum tracks with Roy for Yes vocalist Ian Anderson‘s “3 Ships“ release. I also worked early on with Andy Johns who is famous for recording Led Zeppelin, in 1980 when he recorded a band that I was in and loved called “Monarch” at the Record Plant with Michael Monarch the guitarist from Steppenwolf and Detective. That was a great band and it was the band that Kevin DuBrow first saw and heard me play with and then asked me to join QUIET RIOT. This was on January 30, 1980 at a small club in the LA suburbs, but it was a number of months before I took up Kevin’s invitation. Monarch only did a few more shows before breaking up, one was opening up for the newly formed Missing Persons with Terry Bozzio which was a free drum lesson for me. At the final Monarch date I met guitarist Trevor Rabin and he asked me to record tracks with him. Trevor later joined “Yes” and a great number of the tracks on the Yes landmark release “90125” I recorded the demos with Trevor and I still have those tracks in my archives. It really was such a musically creative and exciting time for me then. The LA music scene was so alive!
Ludwig HQ: What were the “Metal Health” sessions like, and what are your drumming recollections of those sessions?
Frankie Banali: The Metal Health sessions were very disjointed. Initially the band was called “DuBrow” because Kevin wanted some separation from the first version of QUIET RIOT which included the late great Randy Rhoads. We only changed the name back to QUIET RIOT while deep into the sessions because the label wanted the band to have a band “name“ and everything that was suggested didn‘t click. “DuBrow” had turned into a revolving door of musicians the year before we recorded Metal Health. Kevin and I had planned to record with bassist Chuck Wright and guitarist Bob Stephan, but there was a falling out between Bob and the band. There was another guitarist involved as well prior to Carlos Cavazo being asked to join the band. I actually have different versions of a number of QR songs with three different guitarists from this period.
When we started the Metal Health sessions, it was all on available time at the studio, so no real recording schedule. The Pasha studio had a small drum room that was fairly dead acoustically. I went out and acquired about eight sheets of 4 X 8 plywood and stood those up against the walls to create some reflection. The room had a low ceiling and further complicated by a dropped acoustic tile ceiling. I removed the tile to get even more reflective surfaces and it also allowed for the overhead mic’s to have more height. This is something that I had also done when I hade previously recorded there for the Billy Thorpe’s “East Of Eden’s Gate” Randy Bishop and the Underdog’s “Dangerous Infatuation” and a couple of Danny Spanos records all released by Pahsa through CBS records before the Sony moniker change. For the QR sessions we used my personal Senheiser 421 microphone for the kick drum, it was a really old model, the gray ones with the hardwired cable, and I still have that mic. The drum set I used for the Metal Health record and everything else at that time was my 1969 Ludwig green sparkle set, 14 X 26, 12 X 15, 16 X 16, 16 X 18 and my 1976 Supraphonic 6.5 X 14 snare drum. I later stopped using the 15” rack tom and went down to a 10 X 14 tom. I still have that set as part of my ever growing collection. Engineer Duane Baron and I were instrumental in the development of what was a huge drum sound for 1983. Duane knew how to record me in the way I played and the drum sound I brought in which was very, very live with no dampening or muffling whatsoever.
In mid sessions we parted company with bassist Chuck Wright, although he appears on the tracks “Metal Health/Bang Your Head” and “Don’t Wanna To Let You Go” those already having been recorded. This was around the time that Randy Rhoads passed away as the result of the tragic plane crash, and Rudy Sarzo left Ozzy Osborne’s touring band to join QUIET RIOT. A lot of people think that Kevin DuBrow wrote “Thunderbird” as a tribute to Randy, but in actuality he wrote the song when Randy left to join Ozzy and Randy had agreed to and was scheduled to come in and record “Thunderbird” with us for the Metal Health record. Randy is missed. He was a great talent and a great person. May he rest in peace.
Ludwig HQ: It has been said that Slade liked QR’s version of “Cum On Feel The Noize” better than their original. Is this true?
Frankie Banali: If that is true, they never told us! I think they were a little bitter about our success with their song. They had a hit with it in other territories but not in the US and later our version overshadowed theirs worldwide. Any real success in the US always seemed to elude Slade, so QUIET RIOT having a major hit with “Cum On Feel The Noize” was bittersweet for them. When QUIET RIOT played the Hammersmith Odeon in London opening up for Judas Priest in 1983, we offered them an invitation complete with a limo service to attend the show, but they never responded. Later I was shopping in Kensington Market and ran into (Slade bassist,) Jimmy Lea, who co-wrote of the song. I wanted to shake his hand and thank him for writing a great song. He looked into my face, and walked away leaving me with nothing in my hand but air! I look at the situation like this: QUIET RIOT received a great measure of success with the help of that song, and Slade received a great deal of money for their trouble. Fair enough!
Ludwig HQ: It is also rumored that you and Kevin Dubrow were against covering it; true or false?
Frankie Banali: True. I really didn’t care either way. To me it was a good song, but just another song. Kevin, on the other hand, hated the song! He thought “Mama Weer All Crazy Now” (another Slade song we later recorded for Condition Critical,) was a better choice. But the producer thought that “Noize” was the one. Kevin wanted nothing to do with it. I understood that we could not avoid the issue, so we decided to not work on the song or rehearse it. When asked to record the song, it would sound so awful that it would be set aside. On the morning of that particular session, the producer asked for us to play the track. I had already privately confided with Duane, the engineer, of our plans for not recording “Noize”, so he was ready to push RECORD anyway for comedic value. I didn’t even have an intro for the song, so when the producer said “Let’s hear it!” I counted it off and for the first time played that intro and just kept going. I made it through the entire song, and the producer said “Great, Duane recorded it and we have the drum track!” Meanwhile, Kevin is sitting across from me glaring, smoke coming out of his ears! He took me aside and said.... “What was that? What am I supposed to do now?” I replied “Sing it poorly; you know how to do that, don’t you?” It took a few minutes, and though he started to laugh at the joke, he was still clearly angry. In the final analysis, we both agreed that it was the right song, the right performance, the right time, and if not for that song, who knows how my own personal career might have evolved! I am very grateful for that song, QUIET RIOT, and yes, grateful to Slade for having written it!
Ludwig HQ: QR’s version has recently seen a resurgence in video games (Grand Theft Auto, NHL 2K8, Rock Revolution,) and movies (Tropic Thunder.) Why do you think the track has such staying power?
Frankie Banali: The two most representative tracks from the Metal Health record are “Cum On Feel The Noize” and “Metal Health/Bang Your Head”, which seem to have captured a sense of what the music of the period was. These tracks have become iconic representations of a time and place in music history and could arguably be called part of the soundtrack of that generation. The fact that they have endured over 25 years, and have crossed over to a couple of new generations is a testament to what QUIET RIOT accomplished; it really needs no further justification. We were very lucky, and we worked very hard for those accomplishments. Metal Health has gone on to sell well over 10 million units worldwide as of 2003. We must have done something right!
Ludwig HQ: What goes through your head when you hear it now?
Frankie Banali: It’s been so long since I recorded the tracks that I don’t think about it, other than taking pride in them. I will admit that to be at a sporting event, or watching one at home, and hear it being played to unanimous approval from the crowd is really beyond description. Also, my 11 year old daughter takes a lot of pride in letting her friends know that it is her daddy playing drums when it comes on a video game, which puts a smile on my face!
Ludwig HQ: Everyone hears about the decadence of the Heavy Metal Heyday of the early-to-mid Eighties. As a member of a band that pioneered that kind of image, are the “Behind the Music” stereotypes true?
Frankie Banali: With regards to the VH1 generated “Beyond The Music” shows, you really need to view those as a set format, in a way a tried and true plot, which every show follows. They all have the “Humble Beginnings” portion, the “Rise to Success and Excess” portion, the “Personal Tragedies/Road to Redemption”, and the end of the story…for now! Sensationalism at every level sells interest, so the story line is directed toward and feeds off of that. While the stories are generally true, there are many aspects of the story, the interviews, etc., that are unused simply because it’s not titillating enough to include; but therein you loose a lot in the progression of the stories. Understand that this is not criticism, but an observation as an overview. There is just so much time to cover a story, and I am just happy that they chose to include QUIET RIOT!
As to the stereotypical portrayal of the bands from the 1980’s, let’s just say that if you get a 50 gallon drum and fill it with dog food, the dog will eat until it explodes if he can get to it! Much is the same for the bands and musicians from that genre. We all had a great time, it was a great ride! For the most part, we all got whatever we wanted, a few have managed to retain their success (or part of it,) and a lot did not. Many fell to the wayside, or worse, through lifestyle choices. Every ride has a beginning, a middle, and an eventual end; no matter how many tickets you have.
Ludwig HQ: What did this demand from your drumming, and what did you do to prepare yourself for it?
Frankie Banali: I think that the most difficult part of it was knowing when to end the party. You spend the greater part of 24 hours either traveling to some place or leaving some place to travel to another place, only to arrive and wait, wait, and wait. The great motivator is that hour and a half onstage -often much less if you are the support act- and when you finish playing you don’t want the excitement or the adrenalin to end! So the music ends and the party continues! You do this day in and day out, and it takes its toll. It’s difficult enough just to get any measure of uninterrupted sleep on the road; but if you allow the party to continue day-in and day-out, your playing suffers, your health suffers, your personality changes and your performance suffers. You rarely get sound checks as a support act, so I always had my drum set available and set up somewhere deep in the recesses of the venue, just so that I could play them at some point during the day between interviews, in-store appearances, etc. My drums have always been the safety zone, albeit a very bombastic oasis.
I am very matter of fact about the daily routine on the road now. I get on a plane or a tour coach to go to whatever the destination will be, sleep when I can, thoroughly enjoy the performance aspect (regardless of all the inadequacies of touring,) make time to meet the fans and thank them whenever possible (because they make it possible,) and then continue on to the next city, state, country and show. It’s not that I don’t appreciate it. I do and more so now than ever because I am still doing it, but I just don’t let outside influences dictate my behavior one way or the other. I don’t know if I credit this to maturity, longevity, or the fact that I also managed QUIET RIOT -in every sense of the word- for the past 13 years, until the untimely passing of Kevin DuBrow.
Ludwig HQ: What was the strangest thing that has happened (or that you have seen,) during a tour?
Frankie Banali: There have been so many surreal experiences that I would be hard pressed to relate even one or two of them while ignoring so many others, and because they all involve multiple individuals, I really prefer to let those rest in the mist of the experiences. You know what they say: “You had to be there!”
Ludwig HQ: Most people know you simply as “Quiet Riot’s Drummer,” but your resume goes much deeper than that. What other projects have you been involved with?
Frankie Banali: I think to date I am on some 88 or 89 releases -not counting the ones I am currently working on or have recently completed. Everything from major label releases, independent releases, tribute projects, live recordings, video, DVD performances; it runs the gamut. I am an equal opportunity drummer and I love to play! My partial discography can be found here:
http://www.frankie-banali.com/discography.html
And sample MP3 session tracks can be found here at:
http://www.frankie-banali.com/songs.html
A release that I am really proud of was also a pet project of mine. I had some rare time off in late 2006 and early 2007 from the QUIET RIOT schedule (which generally consisted of anywhere from 160 to 230 shows a year,) and decide to call on my musical friends to record my own tribute to Led Zeppelin. I recorded all the drum tracks and produced the record, 24/7/365 THE TRIBUTE TO LED ZEPPELIN - Frankie Banali & Friends, which includes Vocalists Bobby Kimball (Toto), Glenn Hughes (Deep Purple/Black Sabbath), Don Dokken (Dokken), Kevin DuBrow (Quiet Riot),Jeff Scott Soto (Yngwie Malmsteen), Alex Ligertwood (Average White Band/Santana), Robin McCauley (Michael Schenker/MSG), Mark Boals (Yngwie Malmsteen), Paul Shortino (Rough Cutt/Quiet Riot), Chas West (Bonham) and Guitarists Doug Aldrich (Whitesnake), Gilby Clarke (Guns N Roses), Bruce Kulick (Kiss), Reb Beach (Winger), Bill Leverty (Firehouse), Steve Fister (Lita Ford), Neil Citron (Hero) and Michael Lardie/Keyboards (Night Ranger/Great White).
More information on this release and MP3 samples can be found here at:
http://www.frankie-banali.com/music.html
Ludwig HQ: Have any of these projects been keeping you busy lately?
Frankie Banali: Earlier this summer I contributed drum tracks for a session that included “Guns & Roses” man on the keys Dizzy Reed. The tracks also had Alex Grossi on guitar and Chuck Wright on bass, which were both part of the final “QUIET RIOT” touring lineup.
In the early part of July I recorded drum tracks for a new artist called Ashes and Acid, which I also enjoyed because my rhythm section partner was none other than the great Billy Sheehan on bass. Billy is a monster! It was also very rewarding for me since the producer of the project is the talented Neil Citron, who engineered and contributed the guitar tracks for my 24/7/365 THE TRIBUTE TO LED ZEPPELIN CD. Neil was also the guitarist on the "Rehab" QUIET RIOT release.
The last week of July, I recorded the drum tracks for the debut FREAKSHOW record in San Jose, CA. Markus Allen Christopher of M!SS CRAZY wrote some really great all out rock songs, which were a blast to play. I love Markus' vocal style and energy, and he is really a very good guitarist as well. Tony Franklin (The Firm/ Blue Murder) was the bass player for these sessions. I love working with Tony, and he and I have a rhythm section recording relationship that dates back to the first record that we did together (Gary Hoey's "Animal Instinct" in 1994.) Jeff La Bar from Cinderella recorded guitar on that project as well. Jeff is the real deal; his guitar style is as authentic as it gets, and I've been waiting a very long time for the opportunity to work with him. I’m very excited about this record!
Late in July I recorded one song for a "Metal" Christmas CD, which is slated for release this fall. I don't believe that the track I played on will be included in the US release, but it will be a bonus track for the European version. It's a great line up with Doro Pesch on vocals, Michael Schenker on Guitar, Tony Franklin on bass and yours truly pounding out some holiday cheer!
On August 16, I played a set with the Big-Ball Stars at the Key Club in Hollywood. The lineup for this version of the BBS is scheduled to include Robin McAuley/Vocals (ex-MSG and Survivor,) Brent Woods/Guitar (ex-Vince Neil Band), Phil Soussan/Guest Bassist (ex-Ozzy Osborne), Neil Turbin/Guest Vocalist, Dizzy Reed/Guest Keyboards (Guns & Roses), Chris Holmes/Guest Guitars (ex-W.A.S.P.), and I was the guest drummer for the evening.
I am currently in discussions for possibly recording and or performing live with the LA based trio Bridge of Sighs, as well as other pending sessions. I’m just happy to still be in the game and to be playing.
Ludwig HQ: Having backed so many –shall we say- STRONG rock personalities, what does it take as a drummer -and a band-mate- to keep these kinds of egos at bay?
Frankie Banali: I think that for musicians in general, it is important to understand that the music industry -and particularly musicians- are fueled by egocentricity on various levels and to varying degrees. Understanding that in rock music, the emphasis has always been on the singer and guitarist first, it makes it easier to balance out the personalities. That’s not to say that a drummer should be subservient to the other personalities in the band. But rather make your worth known by doing your best, be musically supportive, and understand the personalities that you are working with. It’s not easy being a member of a band, and you really need to decipher what the intent of each member is, if your work is appreciated, your cooperation noted, are your contributions rewarded. As hard as it may be, you have to separate the music from the business, the musician from the friend, and always pay attention to all of these factors, because they all commingle. No job is perfect. And for anyone who would cite “my art” versus “it’s not a job”; well, it’s called “music business” for a reason...... Excel in both to the best of your abilities, only fight the battles that are worth fighting, and ignore the many skirmishes.
Ludwig HQ: What’s your Ludwig set-up like currently, and what do you dig about it?
Frankie Banali: My current Ludwig set up consists of a Classic Maple 14 X 26 bass drum, 16 X 18 and 16 X 16 floor toms, 10 X 14 tom and a 6.5 X 14 Supraphonic snare drum. The “live” set is in silver sparkle, the “studio” set is maple finish and they are both from the Super Classic line. I also have quite a number of vintage Ludwig sets that I use to record or play live with. They range from 1946 WFL sets through the late 70’s. Most of these sets are in the same size configuration as above, and this setup is the same as I have been using since I was 18, when I bought my first 26” bass drum set. Before that it was the same setup but with a 22” bass drum, 13” tom and two 16” floor toms with a 5 X 14 Supraphonic. Most of the records I have recorded have been with the five piece setup, and it was only after Metal Health was released in 1983 that I went to the huge setup, to go with the excesses of the era. I went back to the five piece set up on and off in 1987. I only use a larger set when requested to do so for sessions, or live shows if the music requires it.
For a peek at some, but not all of my vintage Ludwig sets, they can be found here at:
http://www.frankie-banali.com/ludwigphotos.html
And some, but not all my vintage Ludwig snare drums can be viewed here at:
http://www.frankie-banali.com/vintage/ludwig1.html
I have a lifetime love affair with Ludwig drums. My first drum set was a set of blue sparkle Kent drums, bought for me by my parents at the Debelis School of Music in Astoria, Queens, where I studied. Kent were locally made in New York when I was growing up in Queens. My parents made a deal with me that if I worked hard and earned a good drum set, they would buy me a Ludwig set, which they did. It was a red sparkle “Big Beat” set up. I still own that first Ludwig 5 X 14 Supraphonic! Here is a link to my first three snare drums, the blue sparkle Kent, my first 5” Supra and my first 6.5” Supra:
http://www.frankie-banali.com/loves.html
If you click on each snare drum you can see pictures of me playing these snare drums from those time periods.
I bought my first Ludwig drum set with a 14 X 26 bass drum when I was 18 years old. I was working after school giving lessons to younger drummers at Brown's Music store in Ft. Lauderdale, Florida. I saved every penny from that joband with my employee discount (and with money saved from my summer construction job as a roofer,) I ordered my first John Bonham style kit in the Maple finish. It was the best sounding drum set I had ever played.
I have come full circle through the generosity of Ludwig Drums, Mr. Jim Catalano, and most of all with the kindness of Todd Trent. I now have the 2006 version of my original maple set. The sizes are 14x26 bass drum, 12 X 15 tom (with an optional 10 X 14 tom,) 16 X 16 and 16 X 18 floor toms, and a 6.5 X 14 Supraphonic snare drum. This new set is as beautiful as my original, and sounds just as amazing. There is nothing that compares to that great Ludwig sound!
Ludwig HQ: The Metal community, and indeed the music community at large, was saddened by the passing of QR front man Kevin Dubrow in 2007. At the risk of getting too personal, how did this affect you?
Frankie Banali: I was devastating on a personal level and life changing on a professional level. I knew and worked with Kevin for nearly three decades. We had our up’s and down’s (all well documented,) but we managed to remain friends through it all. That friendship was resuscitated when he asked me to rejoin the band in 1993, after QUIET RIOT had been largely dormant since late 1989. Our friendship continued to grow until the very end.
Ludwig HQ: What did you do to get through such a heavy personal blow?
Frankie Banali: I’m still not through it, I am in disbelief at the reality and finality of Kevin’s passing. Kevin and I shared a twenty-seven year personal and musical friendship, that encompassed both great triumphs, as well as difficult and hard times. We were like brothers in many ways, which sometimes found us at great odds with each other. One of Kevin's most endearing qualities was also to his detriment; as he was outspoken, and you always knew where you stood with him. This quality made for close friends, but also many critics of his point of view. Kevin had so many sides to his personality that few saw beyond his stage and professional persona. Musically, he knew more about the bands we loved from the musical periods we grew up with than anyone I've ever known. And if you were one of his close friends, he always made you feel like you were the most important person in his life. He was always incredibly supportive of my drumming, more so than anyone I've ever known.
I find comfort in knowing that the last three years of Kevin's life he was the happiest I had seen him since the glory days of QUIET RIOT. I am also comforted in knowing that the last time we saw each other at the airport for our respective flights home I said "I love you my brother. Have a safe flight and please call me when you get to Vegas so that I know you got there all right." He replied "I love you too my brother" and we hugged. We shared similar sentiments on our last phone conversations, e-mails and text messages. In this, I have no regrets.
Ludwig HQ: How important to you are the drums you play and how do you feel it affects your playing?
Frankie Banali: In my musical life, there has never been anything more important than the drums that I play, and how they sound. This began for me very early when I heard, then saw, The Beatles with Ringo playing his Ludwig black oyster pearl “Downbeat” sets (and later with his maple finish “Big Beat” set.) Even Charlie Watts with the Rolling Stones had that “Ludwig” sound early on, with his blue diamond pearl “Downbeat” set; which also made a huge impression on me as a young hopeful drummer. Both of these groups dominated the early 60’s airwaves, and Ludwig was representative of the sound and era.
If you then fast forward to the late 60’s and into the 70’s, the Ludwig “sound” became even more explosive with the great Mitch Mitchell, with his first silver sparkle set, and then his natural maple set. Just listen to the first three Jimi Hendrix albums; that drum sound, and playing, are undeniable. Then there was Ginger Baker with Cream, with his innovative jazz/rock styling’s on his double bass drum champagne sparkle set. Ian Paice with Deep Purple and his various Ludwig sets. Carmine Appice, who opened the door for those big bass drum with his double 26” and single 12 X 15 tenor drum as a rack tom, early on with the Vanilla Fudge.
This brings us to the man, the mighty John Henry Bonham, who rewrote the book of rock drumming on his many sets of Ludwig drums; running the scope of material from wood, to plexi to stainless steel! If there was one single drummer that got all the ingredients working marvelously right, it was John Bonham. It was the power, the tone, the execution, the bombastic to the sublime, and all on Ludwig drums. I think he said it and did it all behind the drums and no one -I mean no one- comes even remotely close.
This is not to ignore Buddy Rich, Joe Morello, Ed Thigpen, Ellis Tollin, Hal Blaine, Mowtown drummer Bennie Benjamin, John Densmore, Bill Bruford, all of these great drummers and so many more were playing and recording with their Ludwig drums when they were at their most musically productive bands and eras. Don’t take it from me, just go listen to these various drummers in so many different styles and music. It’s all there if you take the time to listen, and what you will hear is the Ludwig sound!
So, now that I’ve gone on and on about the Ludwig sound, all of these artists tuned my ear to what I considered a great drum sound, and they were my measuring stick. I always feel that I sound better and play better when I’m playing my own Ludwig drums, or an event provided Ludwig drum set. It’s not psychological; but rather the combination of all the factors, the tone enhances my performance! If it sounds good, then it feels good; and if it feels good, you are playing more at ease, and the performance is natural because you are feeling the moment rather than being distracted by something that does not sound right to you. It takes very little time for me to get a Ludwig set to sound how I like it. Live or in the studio, it takes me far longer -if at all- to do so where it is impossible for me to use my own drums, and have to play other brands. That’s not to say that other drums don’t sound good, they do; they just don’t sound like Ludwig. I speak from experience, having endorsed other major drum companies in the past, they were great drums and great companies to work with; but they were not Ludwig. Not even close when it came to the sound.
I tried to get a Ludwig drum endorsement in 1983 at the winter NAMM show -just two months before the release of the Metal Health record in March- but was unable to achieve that goal. But if you look at the credits on the Metal Health jacket, you will see that I gave credit to Ludwig Drums, because I had recorded the record with my personal Ludwig set. I finally achieved my lifelong dream to become part of the Ludwig family, a week after the 1995 winter NAMM show; through the efforts of Todd Trent and Mr. Jim Catalano. They made the dream that I had as a kid, laying down on the carpet in front of the stereo, listening to Meet The Beatles while lost in the pages of the Ludwig catalog, come true!
Ludwig HQ: Can you describe how you tweak your drums to get your personal sound?
Frankie Banali: My father, who was not a musician, was a big fan of jazz, swing, big band music. So I naturally listened to what he listened to on the radio or on records, which my father would bring home from Europe. My first real recollection of noticing the drum sound, were on those records; especially the sound that Buddy Rich got on recordings with Eddie Condon, Artie Shaw, Harry James, Tommy Dorsey, etc. Buddy tuned his set high, which made sense to me because he was competing for “frequency” space against all the instruments in a big band setting; so his tuning sat above the lows of some of the instruments, and below the highs of the horn section. Joe Morello tuned similarly, even though he played in a smaller band setting; it allowed the drums to “speak” on their own. This really was the beginning of my tuning apprenticeship and habits. I tune all my drums higher than many rock drummers, especially my snare drum and kick drum. I just like knowing that my tone can sit comfortably below the all encompassing wash of multiple - and often distorted- guitar tracks, while staying above and out of the way of the bass tracks, keyboard pads, etc. These are the lessons that I learned from Buddy Rich early on. Thank you, Mr. Rich! The exception to this oddly enough came with the recording of some the 80’s records, when all producers of the genre insisted on their idea of “fat” drums. That was of it’s time, but I still managed to keep the tuning up a bit anyway.
Ludwig HQ: Who are your major drumming and musical influences?
Frankie Banali: Some are mentioned earlier, Buddy Rich, Ringo, Charlie Watts, Louie Bellson, Joe Morello, Bill Bruford, Mitch Mitchell, Bernard Purdie, Chick Webb, Papa Jo Jones, Max Roach, Elvin Jones, Ginger Baker, Ian Paice, Tony, Tony, Tony Williams, Art Blakey, Carmine Appice, Dino Danelli, Billy Cobham, Terry Bozzio, Simon Phillips and of course my personal favorite rock drummer, John Henry Bonham.
With regards to bands it runs from anything Miles Davis did, especially when the lineup was Miles, Wayne Shorter, Tony Williams. Ron Carter and Herbie Hancock, Led Zeppelin, Jimi Hendrix, The Beatles, Mahavishnu Orchestra, and on and on. I have a massive collection of vinyl, cassettes, CD’s, just ridiculous! I listen to everything!
And these are just the tip of the iceberg. There is something to learn from every drummer, every band, every song, and not all the lessons are the same. There is what you can learn to play, and what you may never learn to play. There are things that you learn to do and you also can learn what not to do as well. Less is more, more or less!
The important thing is to keep listening, keep learning, keep playing and always remember that while you might be a better drummer than some, you are not as good as others. There is always room for improvement.