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Interview with Stanley Randolph - Stevie Wonder

Stanley Randolph certainly holds one of the hottest seats in the business. Having the one and only Stevie Wonder choosing you to hold down the grooves for him is an honour in itself. Stanley had that pleasure at the humble age of 23 and has proven that heís the perfect choice for the last 10 years now.

Aside from that he played the drums for artists like Christina Aguilera, Toni Braxton, Backstreet Boys, New Kids On The Block - to name a few - and produced artists like TLC, Fifth Harmony, Will I am and many more.

I met up with him after his show in Londonís Hyde Park to chat about his musical upbringing, his move to LA, working with Stevie Wonder and his passion for producing.


Why drums?

I donít know man. My mum said I just came out of her womb beating on everything.

I used to go to this church and I was just fascinated with the drums. I would go up to the drummer and just watch him the whole time. Itís crazy because no one in my family is musically inclined. Totally a gift.

I got my first drum kit, a silver sparkle Ludwig, when I was five years old, could barely sit down on the thing and just beat it to crap.

Did you have lessons growing up?

I remember I got some lessons from the drummer at church for about maybe a month, thatís all I did. After that I just played a lot. I think I really got more serious about drums as I got into middle school and high school. I got into marching band which is more military corps style where I learned all about rudiments and all that stuff.


Those are great two influences: church for the feel and marching band for the technical side of things.

Exactly. Well, church does have a little bit of feel, it plays a part, but I would say the city that Iím from, Memphis, had more to do with my feel and vibe. Just growing up in that area. It plays a huge part now when I play with Stevie. The old school Soul comes out.

I guess coming from marching band you learned traditional grip, yet you play matched now.

Yes I did but itís kind of over and done with. I havenít used traditional grip in so long, man, but I was on it for about seven years. From middle school, sixth grade, all the way to being a senior in high school. It needs a lot of practise and I just havenít, so I just lost the touch of it.

Who were your influences growing up as a drummer?

All the old school guys. I didnít actually know a lot of the drummers who played on records that I grew up on. I just didnít know who they were at the time. As I got older, before we had all this social media where you can access everybody, I used to go to drum stores and buy every video tape I could buy. I had the Dennis Chambers video tape, the Vinnie Colaiuta video tape, Dave Weckl, Steve Smith, Will Kennedy, Buddy RichÖ. I watched a lot of drummers.

And then you actually stopped playing drums, is that right?

I did. Towards the end of high school I was at the stage where I wanted to make some money from playing drums but the place I was playing at at the time didnít wanna pay. So I quit drums for a while and went to a friends church to play keyboards. I did that for about three or four years.

Your playing is some of the tastiest and Ďfeeliestí stuff Iíve ever heard. Iím curious where that comes from seeing as your main background is the marching band which is very strict and military.

Thatís very true, there is not a lot of feel, just straight discipline. As far as where the feel for me has come from: first of all, moving to LA I met some very important people that I would consider as mentors;

Rickey Minor - I did a lot of work with him and just seeing his camp and being a part of it, I learned a lot. It wasnít about all the chops that I learned, it was such a professional level of playing that I had no choice but to change my feel and to adapt. Rickey had a big part...

Rob Lewis too. Heís a huge producer and MD for a lot of people, we still work together a lot now.

Then of course Teddy Campbell, the drummer for Rickey Minor, who I would fill in for. Just knowing who he was and then actually meeting him and seeing him in his element once I moved to LA played a big part.

Also watching Nisan Stewart work. Heís another great drummer and huge producer in LA. Just seeing how he put things together, how everything is organised, how he performs, how he works with the artists and so on.

There are just so many people to name in LA. They have all done something for me and inspired me some type of way.


How came the decision to move to LA?

I was playing keys for a church back home and we came to LA to visit. I think I was about 20 or 21. We had just got there and wanted to get out to have some fun. We walked down 4th Street promenade in Santa Monica and hear loud music coming from this club called Harvelleís. The guy at the door didnít want to let us in at first because we were young and looked underaged so we tried to explain the whole situation: that itís our first time here, weíre from Memphis, we just wanna see some different musicians and so on. We convinced him to let us look in and there was Victor Wooten, Gerry Brown, Ricky Lawson,Ö. there were so many great musicians in there. Oh my god. We grew up listening to these guys and now walk into a club two minutes away from our hotel and theyíre all in one room...

We were just blown away. We started talking to them, Ricky Lawson convinced the bouncer to let us stay and after a while Victor and Ricky said: ďYou know what guys, if you have your instruments weíll let you sit in.Ē. We literally ran to the hotel, got our stuff, came back and played The Chicken. At the time we were also a band called New Genesis (we actually still are) so we played some songs we had written ourselves. All the guys there really like what we did.

Iíll never forget the next day Ricky Lawson came and picked us up in his car and took us around all of LA. We went to this jazz club where we met lots of other musicians and actors. It was a crazy experience. All these people you see on TV and who do these amazing gigs playing for huge artists are right here in this city and you can go and talk to them. We even started getting offers to do gigs while we were there.

We went back home - man, terrible trip home, we just didnít wanna leave. That all happened in August 2006. In October 2006 we went back to visit on our own. We were chilling at our rehearsal space and just decided to go to LA again. We literally went and got a rental car that day and drove non-stop. Everybody took shifts driving and we got from Memphis to LA in 24 hours. We just wanted to see if itís really like that or if it was just a lucky moment. This time we stayed for two weeks and it was amazing. We did gigs, met more people, people started kind of knowing who we were, we even had to turn down gigs before we had to go back home. After making that second trip bro, for me it was just clear.


Your first pro gig in LA was Boyz II Men. How did that come about?

Yes, thatís right. I was playing for this Temptation singer called Ali Woodson at a little restaurant called Stevieís Grill and this place just had a lot of heavy hitters and celebrities coming to eat there. This MD called Rick Saliss, who was the MD for Boyz II Men at the time, was there to have dinner and heard us play. He needed a bassist and a drummer for the band and asked me and my brother to play. My first time going to Russia and Canada was with the band. It was a pretty good experience.

Youíve also done the New Kids On The Block / Backstreet Boys double tour. That sounds fun.

Yeah, crazy story. The first week I moved to LA I was best friends with a drummer called Brian Frasier-Moore. I just dropped him a message to say that Iím new to LA and asked if he wanted to hang or had any advice. The best thing heís ever done was allowing me and my whole band to come and sit in at the Christina Aguilera rehearsal. Rob Lewis was MDing the whole thing. I didnít know anything about ProTools, in-ears and how the whole thing works, so it was amazing to get the chance to watch how the whole show and tour was put together from beginning to end. Not knowing that four years later I would get a phone call from Rob Lewis asking me to play for New Kids On The Block. Turns out the first tour was New Kids and Backstreet Boys together.

That tour went so well that Rob offered me some Christina Aguilera dates that Brian couldnít do too.

Are you currently still working with Christina Aguilera?

Yes, Iíve actually been with her for the last five/six years. Weíre currently working on a new TV show called Tracks which will be on Spike TV Network. Christina put the show together with her husband, we did the first two shows already recorded the first and the network loved it. We gonna start the show for good in September so people will see me on TV on a day to day basis. The whole point of the show is that you have to guess the song based of the part the musicians play. Itís set up quite nice and really focuses on the musicians.

Letís talk Stevie.

Stevie!! Now for the way I got that gig I have to thank three people: Rickey Minor, Teddy Campbell and Chris Johnson. Chris had the gig at the time but he was having a child while Stevie was on tour so he wanted to leave and called Teddy to do it. Teddy was busy doing American Idol which had just come out, so he put my name forward. I get a phone call late at night: ďHey man, could you just come by the studio?Ē. Iím thinking Teddy Campbell is such a big drummer, maybe he wants me to check out some music heís producing or something like that. I go to this studio which looks like an abandoned warehouse and while Iím sitting in the lobby waiting the doors open and Stevie Wonder walks past me. Now I didnít know it was his studio so Iím thinking: Wow, if Stevie Wonder is here, I wonder who else is back there. So I keep chilling and then Teddy and Chris come out to the front and ask me if I could do some dates for Stevie. Chris explains that his wife is having a child and he needs somebody on backup. I just went: ďMan, yeah!!Ē. I went to the back, in the live room of the studio, met Stevie, talked to him for a little while and then we played for two hours. We played Giant Steps, some of his stuff, basically we just jammed for two hours. Unbelievable! After that he just went: ďYou know what, you got the gig man, youíre cool.Ē

I was 23 or 24 at the time. I just couldnít believe it!


How is it working with him?

Itís amazing! Iíve had the opportunity to work on a lot of albums with him, been in the studio numerous times to work on a lot of music. Heís taking me to a lot of places, man, Iím really grateful for that. Iíve been able to travel all over the globe and see a whole bunch of random cool places I would have never in a million years imagine I would end up in.

Working with him is awesome. Heís always creating new music and he keeps you on your toes for sure because heís the type of guy who would never do the same thing more than two times, he likes to keep things fresh.

How does it feel playing his parts? After all he recorded most of the drums on his albums himselfÖ

Itís fun. The last three years itís actually been even more fun because I studied his music more. When I first got the gig they gave me this iPod with pretty much all of his music, something over 300 songs, and I had to learn as much as I could. Since then I kind of chilled out on learning his music because the gig became a little bit more free and I could be myself a bit more; but when we started doing this ĎThe Songs In The Key Of Life - Tourí Greg Phillinganes came onboard to MD the gig for a short time. While he was there he said he really wanted musicians to respect the authenticity of the music and genre from at that time because it just had a certain feeling and vibe. He wanted to recreate that certain energy the music put out back then on this tour, so it made me go back all over again to study the music and really pay attention to how Stevie played the record. As I was doing it I remembered that Stevie came to show me parts on the drums all the time. I remembered how he played them and how he looked when he played them.

Plus, Iíve been in his studio so many times, so Iíve seen the drums that he used to record these albums, which is just crazy. There is nothin like hearing a record or a hit song on the radio and then going to the place where it was created. You hear the drums on the record and youíre just blown away by the sound and wonder how they did it - then you go to the studio, you see those drums, you sit down to play them and theyíre they exact tone and sound from what you heard on the record. You know what Iím saying? Before all the ProTools shit. Itís unbelievable.

So yeah, I saw how he set up his drums: no bottom heads, his snare drum head has never really been changed and has lots of old tissue and tape on it to make it sound dead and funky. When Greg said he wanted to make it authentic I just took all the things I learned from Stevie in the studio to create this vibe from the 70s and 80s but with a new approach of being a younger guy. Making it authentic but still being myself.

How does the Stevie gig compare to your other more Ďpoppyí work? You once said Stevie doesnít rehearse much, Iím guessing there are not click tracksÖ?

Actually the whole show is clicked out. The reasons is we actually took a lot of original information from album, from the session back then. Certain parts for example canít be replayed because he used a certain instrument that you donít want to travel with. He had that big dream machine which is just impossible to tour with.

Also just some nuances and certain parts of the record that you just canít recreate.

So yeah, the whole show is to track but you wouldnít think so because there are so many people up there who all play live.

How do you feel about click tracks?

I love them, itís the best thing ever. It just keeps everybody on the same page. Iíve been on gigs without click on a huge stage and itís easy for people to get lost.

I also played in bands where you have that one musician where the adrenaline gets the best of them and theyíll speed up, but with a click track everybody just knows where to stay.

Youíve got Fausto Cuevas joining the rhythm section on percussion on that gig as well.

Yes, I love it. Fausto has taught me a lot. Heís from the Latin world, he grew up in it and itís a very different place. You think you know Latin music when youíre growing up as a drummer - itís just the same beat that everybody plays - but being with him and studying a bunch of different music and cultures totally opened up my mind. It has a part to play in all of my playing. I learned two things from Brian Frasier-Moore and from Fausto in Latin music: the importance of accents. Sometimes knowing the melody and the lyrics is key because as a drummer you donít really have to do a lot of chops, sometimes you can just do the coolest, simplest fill based of the melody or the lyric and make it seem like something amazing and meaningful. Rather than going crazy playing for yourself youíre playing with everybody and for the music because youíre in sync.

I learned that from both of those guys.

You produce a lot as well, right?

Yes, Iím currently signed to Sony RedZone, Tricky Stewart. I think thatís my third or fourth year with them now.

Iíve always been into making tracks. Even at a younger tracks I recreating tracks I liked. I would go home, had my MPC, my laptop, I had Reason, I would borrow my friends keyboard and just sit there and remake beats and songs that were already out. I just had a fascination doing it.

This guy in my apartment building always saw me loading my drums and one day he came up and went: ďYo bro, I see youíre a musician, do you make tracks and produce? I just got this new studio and was wondering if you wanted to become the house producer?Ē I go to the studio to check it out and it was just awesome. That studio became my home for like three years. Being there I taught myself ProTools, had to learn the whole microphone set up, different mics, pre-amps, plugins...all of it bro, and Iím still to this day just overwhelmed by it and still learning more and more. Thatís the next phase as far as my whole career goes because drumming is my first love, itís the thing I do all the time Iíve done a lot in my drumming career and Iím gonna do way more, but Iím just picking up more on the producer side. Iíve been producing a lot of new records and all that stuff is gonna drop soon.


I was about to ask about the next step in your career. Itís pretty hard to top Stevie Wonder.

Yes, thatís exactly what Iím working on now. Right now Stevie is amazing. I get to work with a lot of great people, great friends and great artists but when he goes on to the next life or whatever, I already wanna be set up doing my whole production thing. I donít want there to be a pause where people are wondering about what Stanleyís gonna do. I let people know what Iím doing now already and itís actually working. I promote on social media all the time that Iím working on different records, I have placements right now, Iíve got a song with Sierra, 2 Chainz, done some music with Will I am - Iíve been in the game. Iím gonna be in that lane for sure. Iíll still be a drummer but I thought why not produce some records with some new artists, out them out, promote them and what not. You can play drums on your own, travel on your own, just do your own thing. Iíve been touring for the last ten years non-stop so Iíve seen how it runs, made a lot of great connections and a lot of great friends. Now itís all about using my resources and making the next step.

Finally, whatís next?

Iím going back to LA now, straight to the studio to work on some producing, but I also have lots of Stevie dates coming up. One-offís for now but heís starting a tour end of August/beginning of September.

I have some more Christina dates, more Toni Braxton dates and then Iím starting the game show with Christina. The rest of the year is book pretty solid.

Thanks you Stanley for your time and thanks to Gary from GAM Representation for hooking it all up.

Interview by Tobias Miorin

August 2016


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