1 00:00:00,560 --> 00:00:03,400 Speaker 1: Taking a Walk. Welcome to the Taken a Walk Podcast 2 00:00:03,440 --> 00:00:07,120 Speaker 1: on Buzznight, and today we have a truly special guest 3 00:00:07,560 --> 00:00:12,600 Speaker 1: whose musical lineage is matched only by his own incredible 4 00:00:12,880 --> 00:00:13,800 Speaker 1: drumming legacy. 5 00:00:14,680 --> 00:00:18,480 Speaker 2: Zach Starkey needs no introduction to rock fans. As the 6 00:00:18,520 --> 00:00:22,480 Speaker 2: son of Beatles legend ringo Star, Zach grew up surrounded 7 00:00:22,520 --> 00:00:26,160 Speaker 2: by music royalty, but he's carved out his own remarkable 8 00:00:26,200 --> 00:00:30,720 Speaker 2: path behind the kit. Mentored by The Who's Keith Moon 9 00:00:30,840 --> 00:00:34,400 Speaker 2: is godfather, Zach has become one of rock's most sought 10 00:00:34,440 --> 00:00:39,120 Speaker 2: after drummers, playing with Oasis during their peak years, touring 11 00:00:39,280 --> 00:00:43,440 Speaker 2: extensively with The Who for over two decades, and collaborating 12 00:00:43,479 --> 00:00:47,159 Speaker 2: with everyone from Johnny mar to Paul Weller. But Zach's 13 00:00:47,159 --> 00:00:51,800 Speaker 2: story goes far beyond famous names. He's a drummer's drummer 14 00:00:52,000 --> 00:00:56,400 Speaker 2: who's earned every gig through pure talent and dedication. From 15 00:00:56,480 --> 00:01:01,080 Speaker 2: his early days learning Moon's explosive style holding down the 16 00:01:01,120 --> 00:01:04,959 Speaker 2: beat for one of rock's most legendary bands, Zach has 17 00:01:05,040 --> 00:01:07,600 Speaker 2: proven himself time and time again on. 18 00:01:07,560 --> 00:01:11,039 Speaker 1: The world's biggest stages. We're so excited to have him 19 00:01:11,080 --> 00:01:14,959 Speaker 1: here as he prepares for his upcoming New York appearance 20 00:01:15,280 --> 00:01:19,680 Speaker 1: at the Gramercy Theater on February the twentieth. So grab 21 00:01:19,760 --> 00:01:23,119 Speaker 1: your headphone, settle in and let's take a walk down 22 00:01:23,200 --> 00:01:26,759 Speaker 1: memory Lane with the one and only Zach Starkey. Next 23 00:01:26,840 --> 00:01:34,200 Speaker 1: on Taking a Walk, Taking a Walk, Zach Starky, Welcome 24 00:01:34,240 --> 00:01:36,880 Speaker 1: to the Taking a Walk Podcast. It's an honor having 25 00:01:36,920 --> 00:01:38,399 Speaker 1: you on. Thanks. 26 00:01:38,440 --> 00:01:39,399 Speaker 3: Does Scots be here? 27 00:01:40,280 --> 00:01:44,600 Speaker 1: So I heard the great Peter Asher made a comment 28 00:01:44,680 --> 00:01:48,040 Speaker 1: I wanted to get your reflection on. He said that 29 00:01:48,120 --> 00:01:52,600 Speaker 1: a good drumming sound is halfway to a good record. 30 00:01:54,000 --> 00:01:57,520 Speaker 1: Give me your reflections on that as an iconic drummer yourself. 31 00:01:58,160 --> 00:02:00,640 Speaker 3: Wow, okay, I never thought it very long that. I 32 00:02:00,680 --> 00:02:04,840 Speaker 3: guess it can catch your ear a great drum sound. 33 00:02:04,880 --> 00:02:07,080 Speaker 3: You know, I was attracted to the Who by the 34 00:02:07,160 --> 00:02:10,239 Speaker 3: drum sound immediately we'll have and a guitar sound. It 35 00:02:10,320 --> 00:02:15,720 Speaker 3: were so aggressive. But yeah, I would agree with that. Yeah, 36 00:02:15,800 --> 00:02:18,560 Speaker 3: John Bonham, like you know, you're drawn into his drumming. 37 00:02:18,880 --> 00:02:19,320 Speaker 1: That's right. 38 00:02:20,040 --> 00:02:23,160 Speaker 3: Whether you like that band or not, you can't really 39 00:02:23,960 --> 00:02:27,280 Speaker 3: fault the Grouse and the sound of the sound of 40 00:02:27,320 --> 00:02:28,720 Speaker 3: its flawless. 41 00:02:29,560 --> 00:02:33,080 Speaker 1: But you started first with guitar, is that correct? 42 00:02:33,960 --> 00:02:34,120 Speaker 2: Right? 43 00:02:34,200 --> 00:02:38,000 Speaker 3: Yeah? When I was about seven, I started because I 44 00:02:38,040 --> 00:02:41,320 Speaker 3: saw Mark Bolin t Rex or Marke Bowen with t 45 00:02:41,480 --> 00:02:45,600 Speaker 3: Rex play live. He used to be called Wembley Pool. 46 00:02:45,880 --> 00:02:48,320 Speaker 3: It's called Wembley Arena now. When I was about six 47 00:02:48,400 --> 00:02:50,960 Speaker 3: years old, I think, and I immediately wanted to be 48 00:02:51,080 --> 00:02:54,080 Speaker 3: Mark and Luway the guitar. I asked my dad for 49 00:02:54,120 --> 00:02:56,560 Speaker 3: a guitar, and we we already had something in the 50 00:02:56,600 --> 00:02:58,600 Speaker 3: studio upstairs in our house. 51 00:02:58,680 --> 00:03:02,920 Speaker 1: You know, so growing up in the Starkey household certainly 52 00:03:02,960 --> 00:03:06,560 Speaker 1: must have been extraordinary. What was your earliest memory then 53 00:03:06,600 --> 00:03:10,359 Speaker 1: of being around drums and obviously music, and when did 54 00:03:10,360 --> 00:03:13,760 Speaker 1: you realize that this was going to be your career. 55 00:03:14,760 --> 00:03:17,160 Speaker 3: My oldest memory of all of it is, like, you know, 56 00:03:17,360 --> 00:03:20,160 Speaker 3: so early that I'm not sure. There was always like drums, 57 00:03:20,320 --> 00:03:22,960 Speaker 3: and there's always been a studio or something or a 58 00:03:23,000 --> 00:03:26,639 Speaker 3: guitar around, mainly from like the late sixties. There was 59 00:03:26,680 --> 00:03:30,280 Speaker 3: definitely studios in the houses, and I got really used 60 00:03:30,320 --> 00:03:32,760 Speaker 3: to being in the studio and I got used to 61 00:03:32,800 --> 00:03:34,840 Speaker 3: seeing my dad and his friends jamming in the studio. 62 00:03:35,400 --> 00:03:38,240 Speaker 3: And then and then as I progressed as a musician 63 00:03:38,280 --> 00:03:43,040 Speaker 3: or I was involved in all that in them. 64 00:03:41,440 --> 00:03:45,640 Speaker 1: Your godfather, Keith Moon became your mentor he taught you 65 00:03:45,720 --> 00:03:48,000 Speaker 1: to play drums. 66 00:03:47,800 --> 00:03:49,440 Speaker 3: But no, I don't teach me to play the drums. 67 00:03:49,520 --> 00:03:51,920 Speaker 3: My dad taught me to play the drums. My dad 68 00:03:51,960 --> 00:03:54,600 Speaker 3: gave me one drum lesson and then said you're on 69 00:03:54,640 --> 00:03:59,040 Speaker 3: your own now, son. But Keith mentored me and encouraged 70 00:03:59,040 --> 00:04:02,560 Speaker 3: me and talk to me about other stuff like surfing 71 00:04:02,600 --> 00:04:04,560 Speaker 3: and the beach boys and girls and things. 72 00:04:05,360 --> 00:04:08,880 Speaker 1: You know, what was his sense of humor like it. 73 00:04:08,960 --> 00:04:11,280 Speaker 3: Was just like a really great guy who's like on 74 00:04:11,280 --> 00:04:12,200 Speaker 3: our level as kids. 75 00:04:12,240 --> 00:04:12,360 Speaker 1: You know. 76 00:04:12,960 --> 00:04:15,480 Speaker 3: I did once seeing him my brother in the back 77 00:04:15,480 --> 00:04:18,760 Speaker 3: of his car and he did his Hitler impression standing 78 00:04:18,839 --> 00:04:21,279 Speaker 3: up in the front on the open top car down 79 00:04:21,279 --> 00:04:25,360 Speaker 3: soundset strip, which me and my little brother were thrilled 80 00:04:25,400 --> 00:04:27,159 Speaker 3: in the back of the car that he was doing. 81 00:04:30,440 --> 00:04:35,280 Speaker 1: What an incredible opportunity to be around, to be around greatness, 82 00:04:35,320 --> 00:04:38,640 Speaker 1: for sure. I know though, there was an important time 83 00:04:38,680 --> 00:04:41,640 Speaker 1: for you and your life where you got to spend 84 00:04:41,680 --> 00:04:45,520 Speaker 1: time with the All Star Band on a couple of occasions. 85 00:04:46,080 --> 00:04:49,120 Speaker 1: Certainly there was the ninety two tour and ninety five tour, 86 00:04:49,160 --> 00:04:52,039 Speaker 1: but there was also I think you were around in 87 00:04:52,080 --> 00:04:55,640 Speaker 1: the eighty nine tour as well. Can you talk about 88 00:04:55,680 --> 00:04:58,240 Speaker 1: that experience and what it was like being with your dad. 89 00:04:58,920 --> 00:05:01,039 Speaker 3: Yeah, that was great. I mean I think it's me 90 00:05:01,040 --> 00:05:03,840 Speaker 3: and my dad would always any given moment, like if 91 00:05:03,839 --> 00:05:06,840 Speaker 3: I was playing the drums, he would at home. He 92 00:05:06,880 --> 00:05:08,960 Speaker 3: would get on the floors on, you know, and join in. 93 00:05:09,560 --> 00:05:09,719 Speaker 1: You know. 94 00:05:09,839 --> 00:05:13,920 Speaker 3: So it's always just been a sort of communal musical 95 00:05:13,920 --> 00:05:14,599 Speaker 3: family really. 96 00:05:15,000 --> 00:05:15,200 Speaker 1: You know. 97 00:05:15,320 --> 00:05:17,320 Speaker 3: My brother was a drummer, my sister played drums in 98 00:05:17,320 --> 00:05:20,080 Speaker 3: a band. Now and like now all my nephews of drummers, 99 00:05:20,080 --> 00:05:24,520 Speaker 3: you know, and my grandsons a drummer, and just everyone's 100 00:05:24,520 --> 00:05:27,480 Speaker 3: a drummer. You know. We really need to work on 101 00:05:27,520 --> 00:05:31,800 Speaker 3: some other some other instruments. But yeah, so my dad 102 00:05:31,800 --> 00:05:34,800 Speaker 3: and me and who had played together before, we played 103 00:05:34,800 --> 00:05:37,920 Speaker 3: together on a record called Some City as well, where 104 00:05:37,920 --> 00:05:39,760 Speaker 3: we set two kids up next to each other, you know. 105 00:05:40,480 --> 00:05:42,920 Speaker 3: But yeah, I flew out to New York with my 106 00:05:43,040 --> 00:05:45,960 Speaker 3: mum in eighty nine and I got up and guested 107 00:05:46,000 --> 00:05:49,920 Speaker 3: on the last couple of songs Photograph and Little Help, 108 00:05:50,480 --> 00:05:53,240 Speaker 3: sitting between Jim Counton and leave On Helm, which is 109 00:05:53,279 --> 00:05:53,800 Speaker 3: pretty cool. 110 00:05:54,640 --> 00:05:57,560 Speaker 1: Thank god. How did that feel? I mean, you obviously 111 00:05:57,640 --> 00:06:01,920 Speaker 1: had followed their career as somebody who was watching drummers. 112 00:06:02,520 --> 00:06:05,640 Speaker 3: Yeah, I mean, I mean I've known obviously all my 113 00:06:05,640 --> 00:06:08,480 Speaker 3: life and leave On pretty much since I was at 114 00:06:08,560 --> 00:06:10,960 Speaker 3: least nine or ten, And when we started to go 115 00:06:11,080 --> 00:06:13,800 Speaker 3: to America to stay with my dad, I've got to 116 00:06:13,839 --> 00:06:17,479 Speaker 3: know all the guys in the band really, apart from Robbie, 117 00:06:17,520 --> 00:06:22,320 Speaker 3: I mean, leave On and Rick and Garth and Rich 118 00:06:22,520 --> 00:06:25,839 Speaker 3: would be at my dad's house regularly in Los Angeles. 119 00:06:25,880 --> 00:06:29,920 Speaker 1: You know, when we first discovered the band and leave 120 00:06:29,960 --> 00:06:33,599 Speaker 1: On and Company, what we loved about them was you 121 00:06:33,680 --> 00:06:37,000 Speaker 1: really couldn't put them in a genre. You know, they 122 00:06:37,040 --> 00:06:40,760 Speaker 1: were a style of music that we really hadn't heard before. 123 00:06:41,240 --> 00:06:43,479 Speaker 1: Is that how you felt when you first heard the 124 00:06:43,520 --> 00:06:46,560 Speaker 1: band sound? It really didn't it defied the genre. 125 00:06:47,279 --> 00:06:50,080 Speaker 3: Well, I wasn't thinking in this genre. I didn't start 126 00:06:50,120 --> 00:06:54,520 Speaker 3: to get genre till I mean quite recently. When you know, 127 00:06:54,640 --> 00:06:58,560 Speaker 3: music saw against segregated, you know, into charts, you know, 128 00:06:58,600 --> 00:07:01,279 Speaker 3: where people only listen to one. I find that really weird. 129 00:07:01,760 --> 00:07:03,760 Speaker 3: I don't know what you call the bands like Americana 130 00:07:04,160 --> 00:07:07,640 Speaker 3: me he's had his own genre, probably Canadiana. I don't know. 131 00:07:08,640 --> 00:07:10,840 Speaker 1: I like that. I like that. I want to talk 132 00:07:10,880 --> 00:07:14,280 Speaker 1: more about history, obviously, but let's set the scene. What 133 00:07:14,440 --> 00:07:17,040 Speaker 1: folks are going to be able to experience when they 134 00:07:17,040 --> 00:07:20,840 Speaker 1: come to see you at the Gramercy Theater on February 135 00:07:20,920 --> 00:07:23,640 Speaker 1: the twentieth in New York City. It sounds like it's 136 00:07:23,640 --> 00:07:27,520 Speaker 1: going to be a fantastic experience for your fans. 137 00:07:28,000 --> 00:07:28,920 Speaker 3: Yeah, thanks, Buzzy. 138 00:07:28,920 --> 00:07:30,200 Speaker 1: It's what is. 139 00:07:30,240 --> 00:07:34,320 Speaker 3: I made a film that that is an overview of everything, 140 00:07:34,360 --> 00:07:36,760 Speaker 3: almost everything I've done and manage to find. So if 141 00:07:36,800 --> 00:07:39,680 Speaker 3: anyone who doesn't know they're going to they'll get to 142 00:07:39,720 --> 00:07:42,120 Speaker 3: know what's gone on. It's also got a lot of 143 00:07:42,120 --> 00:07:44,640 Speaker 3: family stuff in it, and yeah, just an overview of 144 00:07:44,680 --> 00:07:46,920 Speaker 3: life really. And then I'm going to come out and 145 00:07:46,960 --> 00:07:50,920 Speaker 3: do a little short piece of very recognizable drums, and 146 00:07:50,960 --> 00:07:54,240 Speaker 3: then I hope to start a Q and A right 147 00:07:54,320 --> 00:07:56,880 Speaker 3: after that when the film is fresh in everyone's minds, 148 00:07:56,920 --> 00:08:00,160 Speaker 3: you know, and then explain to the audience what what 149 00:08:00,200 --> 00:08:03,480 Speaker 3: else I have is, Because what I'm doing is with AI. 150 00:08:03,640 --> 00:08:05,800 Speaker 3: Now you can take you can get a film of 151 00:08:05,840 --> 00:08:10,040 Speaker 3: a performance that say I've been involved in, and you 152 00:08:10,120 --> 00:08:13,200 Speaker 3: can you can take the drums out of it. So 153 00:08:13,280 --> 00:08:15,360 Speaker 3: I'm going to play the drums live with everybody else 154 00:08:15,400 --> 00:08:17,760 Speaker 3: on the screen from the same performance. 155 00:08:17,920 --> 00:08:20,280 Speaker 1: Yep, that's going to be cool, Yeah, fix all. 156 00:08:20,160 --> 00:08:26,520 Speaker 3: The bits so fucked up before hopefully right, I hope to, 157 00:08:26,880 --> 00:08:28,640 Speaker 3: and it'd be like the first time I ever played 158 00:08:28,640 --> 00:08:31,200 Speaker 3: with the who I know what's going to happen, right, 159 00:08:31,760 --> 00:08:34,240 Speaker 3: He's never knew before, But this how I'm going to know. 160 00:08:34,760 --> 00:08:36,920 Speaker 3: So I'll be able to, like, you know, be the 161 00:08:37,000 --> 00:08:40,320 Speaker 3: leader for months, which should be fun, you know. And 162 00:08:41,320 --> 00:08:43,840 Speaker 3: there's other other other things that have been I mean, 163 00:08:43,840 --> 00:08:46,200 Speaker 3: I don't like blow it all, but you know, there's 164 00:08:46,280 --> 00:08:49,000 Speaker 3: Toots and the Matel stuff and stuff I do with 165 00:08:49,080 --> 00:08:52,400 Speaker 3: Slime Robbie. There's stuff I did with Johnny more in 166 00:08:52,520 --> 00:08:55,240 Speaker 3: it and stuff I do with Oasis, you know. And 167 00:08:55,280 --> 00:08:58,679 Speaker 3: then in the films there's a lot of unseen footage. 168 00:08:58,480 --> 00:09:00,880 Speaker 3: I didn't realize what for a lot of years on 169 00:09:00,920 --> 00:09:03,720 Speaker 3: the road I was filming, you know. And I've got 170 00:09:03,920 --> 00:09:07,480 Speaker 3: I've got some really there's nothing like you know, mind blowing, 171 00:09:07,520 --> 00:09:10,600 Speaker 3: like you know, revelatory, but it's more like, you know, 172 00:09:11,040 --> 00:09:14,360 Speaker 3: there's some stuff where I've got footage of Peat doing 173 00:09:14,400 --> 00:09:19,040 Speaker 3: his podcast taking the pits out of me really, and 174 00:09:19,440 --> 00:09:22,240 Speaker 3: me and Roger and Rabbit and me having meetings about 175 00:09:22,600 --> 00:09:25,200 Speaker 3: song structure and things like that. And it's already lighthearted 176 00:09:25,520 --> 00:09:29,080 Speaker 3: I've got some footage of Roger's very first orchestra tour 177 00:09:29,120 --> 00:09:30,959 Speaker 3: that I was on in ninety four that I don't 178 00:09:31,000 --> 00:09:32,480 Speaker 3: think anyone's ever seen any of that. 179 00:09:32,440 --> 00:09:34,280 Speaker 1: You know, that's fantastic. 180 00:09:34,520 --> 00:09:37,560 Speaker 3: Well, stuff with me and john hanging out because we 181 00:09:37,640 --> 00:09:39,400 Speaker 3: used to hang out a lot, you know, that no 182 00:09:39,440 --> 00:09:41,240 Speaker 3: one's ever seen, and a lot of stuff from me 183 00:09:41,240 --> 00:09:44,599 Speaker 3: and Johnny my hanging out and being really stupid and 184 00:09:44,679 --> 00:09:47,880 Speaker 3: stuff and just not so it's how much fun of 185 00:09:47,880 --> 00:09:51,520 Speaker 3: everything has been, really because it really hats in it. 186 00:09:51,520 --> 00:09:55,720 Speaker 1: It's an amazing legacy that you continue to have, you know, 187 00:09:55,760 --> 00:09:59,160 Speaker 1: playing with Pete towns In and Roger Daltrey. That experience 188 00:09:59,240 --> 00:10:03,520 Speaker 1: certainly ships as a musician. Yeah, what do you think 189 00:10:03,720 --> 00:10:07,160 Speaker 1: there was the most important aspect that you learned to 190 00:10:07,240 --> 00:10:09,080 Speaker 1: be part of such an iconic band. 191 00:10:10,240 --> 00:10:14,960 Speaker 3: I don't fear anything musically now. I'm not afraid of music. 192 00:10:15,440 --> 00:10:17,959 Speaker 3: I think when I started with them, I really didn't 193 00:10:18,040 --> 00:10:22,320 Speaker 3: know what music was. Really. I knew what rehearsing was 194 00:10:22,400 --> 00:10:26,200 Speaker 3: and how songs went and how to reproduce that live, 195 00:10:26,720 --> 00:10:28,720 Speaker 3: but didn't know how to play music. And so I 196 00:10:28,760 --> 00:10:32,400 Speaker 3: started working with Pete Roger because they're playing music and 197 00:10:32,440 --> 00:10:35,640 Speaker 3: it's not a set structure. It's where it goes, it goes, 198 00:10:35,720 --> 00:10:36,840 Speaker 3: and that's music. 199 00:10:37,920 --> 00:10:42,400 Speaker 1: Well, the Who's music obviously you know firsthand physically very 200 00:10:42,559 --> 00:10:49,200 Speaker 1: demanding and it requires your version of that explosive you know, 201 00:10:49,320 --> 00:10:56,720 Speaker 1: Keith Moon influenced style. What was your preparation regimen for 202 00:10:57,160 --> 00:10:59,760 Speaker 1: getting ready for those marathon tours? 203 00:11:01,480 --> 00:11:04,520 Speaker 3: Not well playing. I always used to if we were 204 00:11:04,559 --> 00:11:08,880 Speaker 3: going to do Quadrophenia, I would play to Tommy super 205 00:11:08,920 --> 00:11:11,839 Speaker 3: Practice at home, or if we were going to do Tommy, 206 00:11:11,840 --> 00:11:14,320 Speaker 3: I'll played to Cordrafenia, because it was I knew that 207 00:11:14,440 --> 00:11:17,200 Speaker 3: whatever you learn on the record wouldn't happen when you 208 00:11:17,240 --> 00:11:19,560 Speaker 3: got there. It would always be Pete would always play 209 00:11:19,559 --> 00:11:23,160 Speaker 3: it differently the world. You would always phrase it differently, 210 00:11:23,280 --> 00:11:26,880 Speaker 3: or it would be difference. There's no point, you know, 211 00:11:27,080 --> 00:11:30,240 Speaker 3: learning records by rope, because when you got out there 212 00:11:30,600 --> 00:11:32,080 Speaker 3: wasn't going to be like that. It was going to 213 00:11:32,120 --> 00:11:35,800 Speaker 3: be like those two guys trying not to be bored 214 00:11:35,800 --> 00:11:38,040 Speaker 3: with the music they've been playing for so long, which 215 00:11:38,120 --> 00:11:40,160 Speaker 3: means they'll change it up all the time. So there 216 00:11:40,240 --> 00:11:43,040 Speaker 3: was I would always go okay with doing Ordena. I 217 00:11:43,160 --> 00:11:46,040 Speaker 3: played to Tommy or I'll played to like you know 218 00:11:46,920 --> 00:11:48,920 Speaker 3: who sent out or something like that, just to get 219 00:11:48,920 --> 00:11:51,280 Speaker 3: in the mood really, or to get in the vibe 220 00:11:51,440 --> 00:11:53,839 Speaker 3: of the Who. You know, I never played him live 221 00:11:53,840 --> 00:11:57,839 Speaker 3: at Leeds. That that's a moment, that that album is 222 00:11:57,880 --> 00:12:00,800 Speaker 3: a moment. You can't if you've follow it, then you're 223 00:12:00,840 --> 00:12:03,840 Speaker 3: just copying. The thing about playing the Who is I 224 00:12:03,920 --> 00:12:06,560 Speaker 3: learned to play with the Who with like a boombox 225 00:12:06,559 --> 00:12:09,280 Speaker 3: behind me, and I can only really hear Pete and Roger, right, 226 00:12:09,320 --> 00:12:11,120 Speaker 3: And I kind of like made up what I thought 227 00:12:11,200 --> 00:12:14,000 Speaker 3: Keith would be doing because I couldn't really hear it, 228 00:12:14,880 --> 00:12:19,040 Speaker 3: and I don't. I mean, I've copied certain signature things 229 00:12:19,040 --> 00:12:21,800 Speaker 3: that he's done, and a few of those turned out 230 00:12:21,840 --> 00:12:25,199 Speaker 3: that Pete wrote them drum things. But I don't think 231 00:12:25,200 --> 00:12:27,000 Speaker 3: anyone can copy Keith from me. I don't mean Keith 232 00:12:27,040 --> 00:12:29,920 Speaker 3: Moon can copy Keith Moon. Really two times in a row. 233 00:12:30,520 --> 00:12:34,480 Speaker 3: I think you're talking about a personality that's transmitted, transmitted 234 00:12:34,520 --> 00:12:37,760 Speaker 3: to the drums so perfectly. I think anyone would be 235 00:12:37,760 --> 00:12:40,400 Speaker 3: foolish to try to copy Keith Moon. You could try 236 00:12:40,440 --> 00:12:42,600 Speaker 3: and catch the vibe, which is what I've done. I 237 00:12:42,640 --> 00:12:44,000 Speaker 3: think that's what I did to do. 238 00:12:45,880 --> 00:12:49,520 Speaker 1: Can you take us through some of your mount Rushmore 239 00:12:49,559 --> 00:12:52,800 Speaker 1: of other drummers that we haven't really talked about, because 240 00:12:52,800 --> 00:12:57,120 Speaker 1: I'm sure stylistically there's others that you just look at 241 00:12:57,240 --> 00:13:01,160 Speaker 1: and either you know or fond or learned from. Who 242 00:13:01,160 --> 00:13:04,160 Speaker 1: are some of those other drummers when. 243 00:13:04,040 --> 00:13:06,040 Speaker 3: You're talking about the band? You know, Levon was great, 244 00:13:06,120 --> 00:13:08,640 Speaker 3: wasn't he? Leve On was fantastic drama. But then when 245 00:13:08,679 --> 00:13:11,199 Speaker 3: I watched I watched some documentaries on the band, and 246 00:13:11,200 --> 00:13:14,080 Speaker 3: a lot of the time Richard would play drums, and 247 00:13:14,240 --> 00:13:16,120 Speaker 3: the feel on those sums is incredible. 248 00:13:16,160 --> 00:13:18,360 Speaker 1: You know, I would say, yeah, you. 249 00:13:18,280 --> 00:13:20,720 Speaker 3: Know, I love that drumming. I love a guy called 250 00:13:20,760 --> 00:13:24,560 Speaker 3: Jim Gordon who was a session drama around the same 251 00:13:24,600 --> 00:13:26,880 Speaker 3: time that Jim Kardner was coming up in the sixties. 252 00:13:26,920 --> 00:13:30,800 Speaker 3: You know, Jim and the two gyms kind of beat 253 00:13:30,880 --> 00:13:33,360 Speaker 3: down hal Blaine's door and stole it. 254 00:13:33,400 --> 00:13:36,880 Speaker 1: You know, I'm so glad you mentioned Jim Gordon. What 255 00:13:37,040 --> 00:13:40,600 Speaker 1: a story that is. What a player he was. But 256 00:13:41,120 --> 00:13:46,520 Speaker 1: what an absolute tragic ending to a guy's amazing career. 257 00:13:46,880 --> 00:13:51,240 Speaker 3: Truly, But what a funky man, What a funky drama you. 258 00:13:51,200 --> 00:13:54,280 Speaker 1: Know, versatile beyond belief, right. 259 00:13:54,520 --> 00:13:56,839 Speaker 3: It's just funky. He's got he's got it. He's got funk, 260 00:13:56,920 --> 00:13:59,480 Speaker 3: you like, he's really funky. It looks it looks like 261 00:13:59,520 --> 00:14:03,240 Speaker 3: he's done not doing anything right, don Jim Kelder looks 262 00:14:03,240 --> 00:14:04,839 Speaker 3: like he's doing a slow motion is not? 263 00:14:05,720 --> 00:14:09,440 Speaker 1: Yeah? Your work with Oasis, how did you end up 264 00:14:09,480 --> 00:14:12,320 Speaker 1: behind the kit for them? And what was that like 265 00:14:12,480 --> 00:14:15,360 Speaker 1: being part of that cultural phenomenon. 266 00:14:15,960 --> 00:14:19,200 Speaker 3: They were my favorite group of my generation, and I 267 00:14:19,280 --> 00:14:21,960 Speaker 3: knew the two brothers a little bit and they called 268 00:14:21,960 --> 00:14:23,440 Speaker 3: me up and asked me to play in their band. 269 00:14:23,480 --> 00:14:27,240 Speaker 3: And I have been so buzzed in my time, I 270 00:14:27,240 --> 00:14:27,640 Speaker 3: don't think. 271 00:14:28,920 --> 00:14:32,680 Speaker 1: And you mentioned earlier your work with Johnny Marr and 272 00:14:32,720 --> 00:14:37,200 Speaker 1: Paul Weller and so many other British rock legends. What 273 00:14:37,440 --> 00:14:40,960 Speaker 1: draws you to certain collaborations and how do you approach 274 00:14:41,040 --> 00:14:43,160 Speaker 1: playing with different artists. 275 00:14:43,440 --> 00:14:47,400 Speaker 3: Well, they called me, they called me really, I mean 276 00:14:48,160 --> 00:14:52,560 Speaker 3: me and Johnny Matt in an elevator in New York 277 00:14:52,640 --> 00:14:55,760 Speaker 3: in nineteen ninety six and we hung out a little 278 00:14:55,760 --> 00:14:59,640 Speaker 3: bit because obviously got on really well, you know, as friends, 279 00:14:59,720 --> 00:15:01,640 Speaker 3: and Johnny said, you know, when you get and I'll 280 00:15:01,640 --> 00:15:04,400 Speaker 3: give you a call and let's let's play, you know, 281 00:15:04,800 --> 00:15:06,800 Speaker 3: And I didn't think he would, but the day after 282 00:15:06,800 --> 00:15:09,200 Speaker 3: I got Homi called me, I think two days later. 283 00:15:09,360 --> 00:15:12,440 Speaker 3: When started jamming with Johnny in ninety six, and we 284 00:15:13,280 --> 00:15:17,640 Speaker 3: slowly built our record from from when we weren't both 285 00:15:17,720 --> 00:15:21,600 Speaker 3: working with other artists. We'd always be together working on helus, 286 00:15:21,640 --> 00:15:23,960 Speaker 3: you know, and then it finally came out and we 287 00:15:24,000 --> 00:15:27,280 Speaker 3: toured the world in two thousand and three, so by 288 00:15:27,280 --> 00:15:30,239 Speaker 3: which some one we knew his other really well. 289 00:15:30,400 --> 00:15:34,640 Speaker 1: So let's talk about drum sounds, which is so key obviously. 290 00:15:34,800 --> 00:15:37,560 Speaker 1: Can you maybe take us a little bit inside about 291 00:15:38,240 --> 00:15:43,120 Speaker 1: your setup and how you get that zach starky particular tone. 292 00:15:43,200 --> 00:15:45,400 Speaker 1: What's your philosophy on drum tuning? 293 00:15:46,280 --> 00:15:48,120 Speaker 3: Well, honestly, I don't think I have one. I think 294 00:15:48,160 --> 00:15:50,040 Speaker 3: you like when you go into a studio, it's really 295 00:15:50,040 --> 00:15:53,840 Speaker 3: what what what the song is and what the the 296 00:15:54,000 --> 00:15:57,000 Speaker 3: yst is. And you know, some people are really specific 297 00:15:57,000 --> 00:16:00,000 Speaker 3: about where they're after. I makes this in particular, really specific, 298 00:16:00,120 --> 00:16:02,640 Speaker 3: thick about how the drums should sound on each song, 299 00:16:03,240 --> 00:16:06,120 Speaker 3: right to the point where one song we ended up using, 300 00:16:06,160 --> 00:16:09,560 Speaker 3: you know, I played it on a box of whetos 301 00:16:09,600 --> 00:16:14,760 Speaker 3: with wooden spoons and that sounded like Buddy Oli is 302 00:16:14,840 --> 00:16:17,960 Speaker 3: great me. It really works, you know, But they're very 303 00:16:18,040 --> 00:16:21,520 Speaker 3: very specific about everything. So we'd have three two or 304 00:16:21,560 --> 00:16:24,480 Speaker 3: three drum kits set up all times so you can 305 00:16:24,520 --> 00:16:27,400 Speaker 3: move quickly between them. If one of them didn't sound right, 306 00:16:27,440 --> 00:16:29,280 Speaker 3: one would be a bit liveer, wan to be a 307 00:16:29,320 --> 00:16:33,000 Speaker 3: bit deader, you know, very specific those guys with John 308 00:16:33,080 --> 00:16:36,120 Speaker 3: Johnny's record, that's kind of my sound really that which 309 00:16:36,160 --> 00:16:38,040 Speaker 3: were just the drums I had at the time, just 310 00:16:38,080 --> 00:16:41,480 Speaker 3: tune them, tune them into the room and then tune 311 00:16:41,560 --> 00:16:43,760 Speaker 3: and then address them a little bit for each song 312 00:16:44,160 --> 00:16:47,640 Speaker 3: and recorded with the who. It would depend sometimes I 313 00:16:47,680 --> 00:16:50,280 Speaker 3: was tuning the drums. Other times the would bring a 314 00:16:50,560 --> 00:16:54,600 Speaker 3: drum doctor, which is really great actually because you can 315 00:16:54,640 --> 00:16:58,440 Speaker 3: go and like hang out of the band and you 316 00:16:58,480 --> 00:17:01,520 Speaker 3: don't have to tune them yourselves. Everyone's staying for the window. 317 00:17:01,680 --> 00:17:03,440 Speaker 3: You like, going what come on? 318 00:17:04,440 --> 00:17:04,679 Speaker 1: You know? 319 00:17:05,040 --> 00:17:08,080 Speaker 3: Ye more pressure doing that and there is getting the 320 00:17:08,119 --> 00:17:09,679 Speaker 3: bloody take a lot of the time, you know. 321 00:17:10,040 --> 00:17:15,359 Speaker 1: Yeah, Zach, you've witnessed the music industry from multiple angles, 322 00:17:15,520 --> 00:17:18,720 Speaker 1: as as Ringo's son, as a session musician, as a 323 00:17:18,800 --> 00:17:22,280 Speaker 1: touring member of major bands. How do you think the 324 00:17:22,359 --> 00:17:25,000 Speaker 1: industry has changed from your perspective. 325 00:17:25,920 --> 00:17:28,840 Speaker 3: There aren't as many places to play now. It's a 326 00:17:28,880 --> 00:17:30,840 Speaker 3: lot harder for bands to get out and play, I think, 327 00:17:31,440 --> 00:17:33,600 Speaker 3: you know, and that's how it's changed. And obviously streaming 328 00:17:33,600 --> 00:17:36,280 Speaker 3: has changed. The only way for bands to make money 329 00:17:36,320 --> 00:17:42,800 Speaker 3: is like merchandise and merchant touring or physical vinyl. You know, 330 00:17:43,320 --> 00:17:46,439 Speaker 3: you know, here a single still going to pay fucking anything. 331 00:17:47,880 --> 00:17:50,240 Speaker 1: What's your take on the current state of rock music. 332 00:17:51,320 --> 00:17:54,520 Speaker 3: It doesn't concern me. Make a lot of music, and 333 00:17:55,760 --> 00:17:59,280 Speaker 3: that music for myself really and sometimes how other people 334 00:17:59,400 --> 00:18:02,560 Speaker 3: like it. But you know, eventually it'll come around, something 335 00:18:02,600 --> 00:18:05,480 Speaker 3: will happen. That's great, you know, the moment has gone on. 336 00:18:05,560 --> 00:18:07,960 Speaker 3: I don't know, it seems a bit miserable or miserable. 337 00:18:08,000 --> 00:18:11,320 Speaker 1: List When you look back at your career from those 338 00:18:12,000 --> 00:18:17,000 Speaker 1: the early lessons, the stadium tours, are there certain moments 339 00:18:17,200 --> 00:18:20,840 Speaker 1: and events that stand out to you as really really 340 00:18:21,359 --> 00:18:24,320 Speaker 1: you know, just these pinnacle moments for a great career. 341 00:18:25,160 --> 00:18:27,440 Speaker 3: Well, It's moment is the concept for New York though 342 00:18:28,160 --> 00:18:31,159 Speaker 3: in two thousand and one. But because it was an 343 00:18:31,200 --> 00:18:33,840 Speaker 3: emotional thing as well as a musical thing, you know, 344 00:18:35,080 --> 00:18:39,680 Speaker 3: and we slammed it in the front rows where the 345 00:18:39,800 --> 00:18:43,200 Speaker 3: with the people that we're trying to save their oards. 346 00:18:43,720 --> 00:18:46,600 Speaker 3: Between towns, you know, it was really an emotional I 347 00:18:46,640 --> 00:18:48,600 Speaker 3: think we kicked the ship out of all the other 348 00:18:48,640 --> 00:18:50,679 Speaker 3: bang on that bill already. We really picked it up 349 00:18:50,680 --> 00:18:53,320 Speaker 3: and we kicked it out. And as I say, it 350 00:18:53,400 --> 00:18:58,560 Speaker 3: was John Interests performance particularly amazing. And the whole the 351 00:18:58,560 --> 00:19:00,679 Speaker 3: whole event is you know, I live together. 352 00:19:01,760 --> 00:19:05,240 Speaker 1: And when you think about that event, you think about 353 00:19:05,920 --> 00:19:11,280 Speaker 1: what community means and how music and community draws us together. 354 00:19:11,880 --> 00:19:15,639 Speaker 1: As someone who experienced that firsthand, how special is it 355 00:19:15,760 --> 00:19:19,680 Speaker 1: for community to come together around music at a pivotal 356 00:19:19,680 --> 00:19:20,640 Speaker 1: time in our life? 357 00:19:21,440 --> 00:19:23,320 Speaker 3: And what's music's always been about. How is in the 358 00:19:23,359 --> 00:19:28,480 Speaker 3: community bringing people together, whether it's different sort of areas 359 00:19:28,480 --> 00:19:32,000 Speaker 3: of youth culture or or woodstock or whatever. You know, 360 00:19:32,560 --> 00:19:35,040 Speaker 3: I think it's I think it's very important thing. It's 361 00:19:35,119 --> 00:19:38,440 Speaker 3: very important to start groups. You know, I'm not live 362 00:19:38,480 --> 00:19:40,040 Speaker 3: in the world where it's and I think it summarized 363 00:19:40,040 --> 00:19:42,960 Speaker 3: are great and everything. I but garage bands are fucking 364 00:19:43,520 --> 00:19:47,720 Speaker 3: amazing loud guitars. You know, kids that can't wait to 365 00:19:47,800 --> 00:19:50,960 Speaker 3: get a guitar and can't wait to get on the stage, 366 00:19:51,680 --> 00:19:53,880 Speaker 3: can't wait to get their brand out there and make 367 00:19:53,920 --> 00:19:56,520 Speaker 3: people listen to it. You know, I think that's great, 368 00:19:56,760 --> 00:19:58,760 Speaker 3: and I hope they're still out there. 369 00:19:59,680 --> 00:20:02,800 Speaker 1: Zach. We do call this podcast Taking a Walk, and 370 00:20:02,880 --> 00:20:06,080 Speaker 1: I do have to ask you, is there somebody you 371 00:20:06,119 --> 00:20:08,520 Speaker 1: could take a walk with, living or dead? Who would 372 00:20:08,560 --> 00:20:09,520 Speaker 1: you take a walk with? 373 00:20:10,800 --> 00:20:11,240 Speaker 3: Well? Them? 374 00:20:12,119 --> 00:20:15,480 Speaker 1: Oh yeah, Thank you so much for sharing that. I 375 00:20:15,560 --> 00:20:19,639 Speaker 1: really appreciate it. So everybody who's listening, head to the 376 00:20:19,760 --> 00:20:24,600 Speaker 1: Gramercy Theater on February the twenty at seven pm, New 377 00:20:24,680 --> 00:20:28,320 Speaker 1: York City. Is going to be an amazing experience. I 378 00:20:28,359 --> 00:20:31,320 Speaker 1: know you're excited about it, your fans are excited about it, 379 00:20:31,800 --> 00:20:33,919 Speaker 1: and I'm so grateful that you took the time to 380 00:20:33,960 --> 00:20:36,800 Speaker 1: come on Taking a Walk. Zach Starky, thank you so much. 381 00:20:37,880 --> 00:20:39,040 Speaker 3: Thanks bos for being a pleasure. 382 00:20:40,600 --> 00:20:43,080 Speaker 1: Thanks for listening to this episode of the Taking a 383 00:20:43,119 --> 00:20:47,000 Speaker 1: Walk podcast. Share this and other episodes with your friends 384 00:20:47,080 --> 00:20:50,560 Speaker 1: and follow us so you never miss an episode. Taking 385 00:20:50,600 --> 00:20:54,520 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 386 00:20:54,720 --> 00:20:57,119 Speaker 1: and wherever you get your podcasts.