Talking Heads’ Chris Frantz shares his vital tips for drummers
After meeting David Byrne and Tina Weymouth at art school, Chris Frantz soon formed Talking Heads, and the trio quickly became well-known in the New York underground scene. Playing their first gig at CBGBs in support of the Ramones, Talking Heads carved out a sound that was separate from their punk counterparts, drawing on avant-garde influences.
The band released multiple seminal recordings, including Remain in Light and Speaking in Tongues, becoming one of the most influential outfits of their generation. While Talking Heads are so often praised for Byrne’s quirky vocal delivery and stage presence or even Weymouth’s effortlessly funky basslines, it is important not to forget the sheer precision of Frantz’s drumming.
Frantz has been drumming for decades, providing vital beats for the rest of the band to build upon, and it’s hard to imagine anyone else lending their percussive skills to Talking Heads. Talking to Music Radar, Frantz shared some of his most useful tips for budding drummers, starting with a word of wisdom regarding drum machines – “embrace” them.
He explained: “There are some things you can create electronically that you might never be able to physically play, but you can also write simple, sweet parts that you can then take to the kit. It’s a good way of practicing, too.”
Additionally, Frantz encouraged readers to ignore the obsessive intensity displayed in Damien Chazelle’s movie Whiplash. He said, “The film was torture for me and Tina.”
Continuing, he added, “The teacher, played by J.K. Simmons, he was like the drill instructor in Full Metal Jacket. So I’ve seen that shtick but in a much better movie. This wasn’t fun; it was torture. If you’ve got any sensitivity and love for music, this will bring you no joy.”
He also urged eager drummers to study soul musicians, such as Booker T. and the M.G.s’ Al Jackson Jr, calling him “the best”. Frantz added: “People talk about minimalism, and when it comes to taking that mindset to the drums, you’re really talking about Al.” He referred to Jackson’s playing as “beautifully sexy,” highlighting that his music will make you “feel good.”
Frantz believes that art school is just as useful for breeding musicians as music school, if not better. He explained, “Be strongly influenced, but if you want to be taken seriously ever, you have add something unique, a quality that’s yours. I don’t know if music schools teach you that kind of thing, but we sure got that in art school.”
When it comes to songwriting, Frantz urges drummers to join in. He stated: “Sure, it’s important to be good on your instrument, but try to work on being a songwriter. Those royalties can add up. And don’t sell your publishing. It’s tempting sometimes, but don’t do it.”
He also suggested, “I would encourage drummers to try another instrument and sit down with other people and help them finish some songs.”
Thus, Frantz believes teamwork to be essential. “You don’t want to ignore what your bandmates are doing; you need to think about what they’re playing and work to amplify and enhance their contributions to the music. That’s your contribution,” he explained.
