|Henry Vasquez Talks About Saint Vitus|
|Wednesday, 16 January 2013 14:05|
SDM: Who are some of your main drumming influences?
Henry: Mostly 70's drummers: Don Brewer, John Bonham, Bill Ward, Ian Paice and Keith Moon. In the 90's drummers like: Chuck Biscuits, Joe Castillo, Greg Rogers, Armando Acosta. Today I enjoy watching Scott Batiste, Trinidad Leal, Dale Crover, Jean Paul Gaster, Jimmy Bowe, Tony Reed... All the heavy hitters that play with a bit of passion, but still play with danger and make it exciting.
SDM: What did you listen to during the recording sessions of Lillie: F-65?
Henry: Mostly old Vitus, Spirit Caravan, Black Sabbath and Bloodrock. I did not want to over play and play more for the songs. I studied what in my personal opinion grooves that I thought Wino sang the best over and focused on that. I didn’t feel like I needed be a "look what I can do" player, but be more tasteful and more true to Vitus.
SDM: What was your drum set up like on the Lillie: F-65 recording sessions?
Henry: All Ludwig: (2) 26" bass drums, 15" rack, 16" & 18" floors and an 8" x 14" maple snare.
SDM: What kind of sticks, pedals, cymbals, drums, drum heads and hardware do you use?
Henry: Vic Firth Classic Rock or Vader 2B Rock and I just started using Ahead XL Rock sticks. Those are cool, as I get a little more volume. All Paiste Black letter 70's 20" Ride, 24" Rude Mega Bell, Alex Van Halen 24" 2002 Big Al Ride, 2002 24" ride and 15" 2002 Sound Edge Hi-hats. All Black dots on top, Aquarian super kick 2 on bass drum and remo reverse dot coated on snare.
SDM: Did you use all mics during the recording or did you use a mixture of mics with drum triggering? If so what exactly did you use?
Henry: No Fake shit. All 70's real deal wide open NO TAPE on drums, the way they were meant to sound.
SDM: Did you take any drum lessons before? Tell us about your beginnings as a drummer.
Henry: No, just started playing to my parents Lp’s as a kid. Down the street as a teenager there were 3 drummers and a couple of older dudes that played guitar and bass, so they would play cover songs and who ever knew the songs the best got to play while the other 2 drummers had to sit and watch.
SDM: Who produced, mastered, and recorded Lillie: F-65?
Henry: Tony Reed
SDM: What’s the difference in your drum playing on Lillie: F-65 as opposed to your drumming on Saint Vitus/Born Too Late?
Henry: Armando had his own wicked style, unpredictable sometimes. Makes no sense! He would do things at any given moment for no reason and be able to play it that way again and again. I try to set up a formula for each section of songs. To really keep it real I tried to record without knowing too much and over thinking. More spontaneous if you will, to make it sound as Vitus as I could.
SDM: Tell us about your band “Sourvein” and the two albums you released "Will to Mangle (2002)" and "Rabies Caste / Sourvein (Split 2005)"?
Henry: T-Roy hit me up in 2001 to plan a Stoner Rock Hands of Doom Fest in Dallas and thought it would be fun to jam with him and Liz. So they came to Texas a couple of months previous to the festival and we started jamming and things started to take form when Miguel Velez joined and we all decided after the fest to do a record in 2002. At the time we had a label set up to pay for the Billy Anderson recording. 4 days before we left, the label went under. Miguel and I were friends with Greg Anderson, so we sent him an overnight delivery of the demo and he said yeah, but I need to see u guys live.
We made our way to California from Texas with no idea how we were gonna pay for recording and WTF we were gonna do. We showed up in Silverlake and played to Greg and 4 other people. We set up a massive Blue Oyster Cult backline with a full on Illuminated Vistalite Kit with a Gong and a wall of amps in a Mexican Catina. Knocking bottles off the wall because of the volume and thinking we were DOOMED! We blasted out a 45 minute set. I walked to Greg thinking we had no chance of getting signed. I asked, "so what did you think"? He said, "let's party! You guys just melted my face off". knowing we had to be in San Francisco at 10 am the next day, like troopers we made a handshake agreement then started drinking, which lead to a party at Greg’s, which lead to Exodus - Bonded By Blood at 2 am, which lead to cops and the landlord beating at the door. So we took off to San Francisco to record, hoping Greg would remember he agreed to sign us. We make it on time, then Billy Anderson wanted to know what was up. We called Greg at 10 am through the recording board and listened to a hungover Greg Anderson through the monitors of recording studio. He says, yeah I vaguely remember something like that... checks in the mail".
SDM: What’s it like to work in a band with Scott "Wino" Weinrich?
Henry: I love the dude and he has always been an inspiration as a musician to me. I feel like everybody in the band is a team and we all succeed together and go down together and none of us want to let each other down. I feel very fortunate to be in the position I’m in and Mark, Dave, And Wino all treat me golden and I do my best to hold down the beat.
Что-то не припомню "Темный инстинкт"в сценарии никакого десанта.
Я ненавижу этого ирландца, как и вы, но лезть "Решения самостоятельных и контрольных работ по экономике"в петлю "Гарики и проза"не собираюсь.
Начальник станции вам все разъяснит,-решил кондуктор.
Я говорю с ним "Adobe Photoshop Lightroom 4: официальный учебный курс (+CD)"по-английски, потому что у "Анатомия для художника: совсем просто"него может на время пропасть память на корейский.