"I love the grit, the earthiness, the low down grease and the honesty of the Blues, It's REAL!"

Brian Fahey: Swing, Blues n' Roll Cat

Drummer Brian Fahey was born and raised in the New York City area. Although he did not start playing drums until he was 22 years old, his interest in music started at an early age. In 1979 he purchased his first set of drums, a beautiful set of 1961 Gretsch champagne sparkle finish and studied under the legendary east coast jazz drummer, Pat Dama. Around the same time that he was studying and learning his trade, Brian began getting gigs with various blues and rock-a-billy artists in the New York area.

There were also a good number of jazz clubs in Manhattan, where Brian could see drummers like Elvin Jones, Max Roach and Buddy Rich. He got his first real professional gig with a version of Bill Haley's Comets. They toured nationally with greats like Jerry Lee Lewis, Carl Perkins and Bo Diddley. In 1985 he moved to Phoenix Az. where he lent his drumming skills to local rock-a-billy favorites, The Varmits. In 1987 he formed a blues and roll band called The Hoo Doo Kings who were voted best blues band 1987-89. In May of 1989, Brian was asked to fill the drum seat for Alligator recording artist, The Paladins. This 3 year stint took him all over the world, also during this time, Brian backedup Smokey Wilson, Lynnwood Slim and Charlie Musselwhite.

After 3 years, Brian left the band to stay at home with his sons. It was during that time that he played drums with Bill Tarsha’s Rocket 88. In 1993, rejoined the Hoo Doo Kings. The band was voted best blues band 1993-1996 and Brian best drummer in 1996. In summer of 1996, Brian got a call from harmonica wizard, William Clarke. He spent 1997 with Scott Mitchell & The Sultans. Early 1998 saw a return to the Paladins. Taking a break from the Paladins in 2005, Brian is currently lending his skills to the California based band the Cadillac Angels. In 2006, he was inducted into the Arizona Blues Hall of Fame. He is also performing with Big Pete Pearson & the Rhythm Room All Stars.                 (Photo by Kenny Benton)

Interview by Michael Limnios

When was your first desire to become involved in the blues & what does Blues offered?

I think my interest in the Blues came about when I started playing drums. I started late in life (20 years old) and I was real into jazz at that time, I was also into Soul and R&B. I can't really pinpoint exactly when I got into Blues; I guess it was a natural process. I was into all sorts of American music, Jazz, Rock and Roll, Rockabilly and of course the Blues is right there. It is the basis of all those styles, so when you want to study those styles you always come back to The Blues. The basic 1, 4, 5, chord progression which is so fundamental to those other styles is also fundamental to the Blues. Growing up in the New York City area I got to see a lot of great Blues artists, Big Joe Turner, Otis Rush, Son Seals, Albert Collins, Koko Taylor, John Lee Hooker, just to name a few, it was awesome! I love the grit, the earthiness, the low down grease and the honesty of the Blues, It's REAL!

How do you describe Brian Fahey sound and progress, what characterize your music philosophy?

I think my sound is a combination of a lot of things. I believe that how someone plays their instrument is an extension of their personality. I try to get to the essence of the song, if it's Chicago, west coast, Texas, and uptown or down in the Alley, I try to make my drum part fit. It's important for each musician to understand his or her role in the band. Me, as a drummer, my job is to lend rhythmic support with accents and phrasing. The Chicago style is very interesting because it requires the drummer to be very interactive with the soloist. Fred Below is a perfect example, his drumming is driving the band, accenting what the soloist plays, phrasing around the vocalist and he's very expressive. I love the way he plays. I think it's important for a drummer to understand a lot of styles so that he is prepared and knows what needs to be played.

From whom have you have learned the most secrets about the music? What is the best advice ever given you?

I can't really say that i learned from any one person, I really learned from a lot of people, what to do, how to present yourself, what not to do, all of that. It's important to be professional, show up on time, dressed appropriately, have your gear in good shape, play well, study and practice. There is always something new to learn! When I started playing drums I wanted something that I could devote my life to, to always motivate me to strive to get better. Believe it or not, a few years ago i went to a clinic that Steve Gadd was giving and one of the things that impressed me the most was his attitude toward playing which was to enjoy the ride, try to be the best you can, not everyone is the same so if you have to work a day job you can try to sneak in a little practice time when you can. Don't worry that you're not as good as this guy or that guy, just try to be the best drummer that YOU can be. I thought that was great advice!

Which was the best moment of your career and which was the worst?

Meeting the Rolling Stones! I was in Albuquerque New Mexico playing in my buddy's band" The Sultans" when the Stones crew came out to the club we were playing. They invited us to the show the next night, but I was the only one who could go. I got back stage and got to meet and hang out with Keith Richards, who offered me a Guinness and Ron Wood. Then I met Charlie Watts who was so gracious, we talked for about 30 mins on all the big band and blues drummers we loved. I have to say that they were so friendly and down to earth, they could have acted like rock stars which they are but they didn't, they welcomed me into their dressing room, I sat on the couch between Keith and Ronnie, drinking a Guinness. How cool is that!!

What are some of the most memorable tales from Jerry Lee Lewis, Carl Perkins and Bo Diddley?

Well, my first wife was Memphis Tennessee and her grandparents lived in the same section of town, Coro Lake where Jerry Lee Lewis lived. They were neighbors and always got invited to his birthday party. I also found out that her mom, my ex mother in law dated Jerry Lee in the 70"s. I would ask her what it was like and all she would say was "Brian, it was WILD!" That's it! I met Carl Perkins in 1990, you see, the Paladins were endorsed by Miller beer and every year they would have a convention in January in Milwaukee. It was a 3 day affair with workshops and things like that. They always had a guest speaker and in 1990 it was Carl Perkins. I only got to shake his hand but what impressed me most was how down to earth, genuine and sincere he was. He also told great stories in his down home southern way. I met Bo Diddley a few times but my favorite Bo Diddley story was in September of 1987. I played a festival in Prescott Arizona and Bo was the headliner. My first son was born on August 28n1987 so he was just a few weeks old. I took my son to Bo and said "Bo, this is my son, would you like to hold him?" Bo took him and held him up and said" He's the one, he's the one, and all the little girl's mama's is gonna say He's the one!" It was a great moment. Somewhere I have a picture of Bo holding my boy!!

"I believe that how someone plays their instrument is an extension of their personality. I try to get to the essence of the song, if it's Chicago, west coast, Texas, and uptown or down in the Alley, I try to make my drum part fit." (Photo by Harold Schreuder)

Which memory from William Clarke, Smokey Wilson and Charlie Musselwhite makes you smile?

Bill Clarke was a great, great musician. You see, he had this big shopping bag full of cassette tapes and a big tape player in the van and every morning he would pick out a stack of tapes and play them all day. Now, we never had a set list so after a while I figured it out, a lot of the times he would play the songs from the tapes he played that day, so all you had to do was pay attention and you had a good idea of what he was going to play that night. The Paladins went to Australia with Smokey Wilson in 1991, we played some festivals and club dates. Now Smokey had a prosthetic leg from the knee down, he lost it when he was young in a car wreck. So we're playing this club and the stage was pretty high, about 5 feet off the floor, I see Smokey go to the edge and the next thing he jumps off the stage and into the crowd, still playing and not missing a beat. The crowd went crazy! I had never seen anything like it! The Paladins toured with Charlie Musselwhite in Europe around 2003. Charlie was great, easy going, awesome player and singer, I really enjoyed backing him up. We would sit in the back of the van and he would tell me stories about his childhood growing up in Memphis. He lived across the street from Johnny and Dorsey Burnett and he would shoot their milk bottles with a BB gun. Man, he was 19 years old when he moved to Chicago in 1962. Can you imagine how cool that was? He got to see all those great blues guys when they were still in their prime. He also told me he had the biggest crush on Charlie Feathers' niece

Some music styles can be fads but the blues is always with us.  Why do think that is? Give one wish for the BLUES

I think that there's a lot of diversity in the Blues. There's acoustic blues, swing Blues, soul Blues, funk Blues, rock Blues so it appeals to a lot of different musical tastes. You can dance to it or just sit and listen. I think Blues has every broad appeal, but people can also relate to the words. Most blues songs deal with subjects that most people can relate to. My wish is that blues keeps relevant but still honors the traditions of all the great blues artists that came before. It's an American art form and like any art form it has to grow in order for it to stay alive but it can't lose those elements that are the Blues.

(Photo by Dave Blake: Brian Fahey with Big Pete Pearson and the Rhythm Room All-Stars)

How has the Blues changed over the years since you first started in music? What are you missing from the 80s?

It seems like there's more R&B, soul and funk type blues now. Bands like the Rhythm Room Allstars who play a more traditional style of Chicago Blues are really an exception at festivals we play. I think Blues has always been influenced by contemporary music and it's happening now. Back in the 80's there seemed to be more clubs to play, I mean a band could go out on the road and tour and make a living now we have to rely on festivals and it's difficult to make money on the road. Back in the 80's Miller beer had the Miller Genuine Draft Network they would select regional bands and sponsor them with advertising, equipment and tour support. The Paladins were on it along with Little Charlie and the Night Cats, Anson Funderburg to name a few. It was great and it really helped us out. I don't know of anything like that anymore.

What’s the best jam you ever played in? What are some of the most memorable gigs you've had?

I can't begin to recall all the names and places but I have had the privileged to be on stage with a tremendous number of great musicians I wish I could. I guess I should have kept a journal or something. Recently I had the honor of backing up Marshall Lytle, the original bass player from Bill Haley's Comets; he’s the guy playing on all those hits including "Rock around the Clock" He passed away only a few months after that so sad. I'm glad I had the chance to play with him.

"Stay honest to yourself and your music, be a pro, show up on time, look good, have your gear right, be a team player, remember you're a part of the band. Devote your life to music, live it, love it!" (Photo: Brian Fahey with Dave Gonzales and Thomas Yearsley)

Would you mind telling me your most vivid memory from the Paladins?

It was when I first met the Paladins in 1986. We knew about each other but we had never met. I was playing in a Rockabilly band in Phoenix and we were to open for the Paladins. It was my turn to sound check and the sound guy says "can I hear some drums?" so I played the intro to "Crazy Man Crazy" which is a really cool snare drum roll. Well, the Paladins heard it a came running in the club asking "who is this drummer?" So that's when we met and we've been friends ever since. It was in 1989 that they called me to play drums for them.

Are there any memories from the road and recording time, which you’d like to share with us?

When we were recording "Let’s Buzz" we did a song called" Kiddeo" and we asked Lee Allen to play sax on it. Lee played with Little Richard and Fats Domino and all those New Orleans guys so he came in the studio and nailed his part first take then he went ahead and played all the harmony parts all first take. It was so amazing to see a consummate musician work so effortlessly, he knew exactly what to play and nailed it!

Are there any memories from Louisiana Red, Tomcat Courtney and Big Pete Pearson?

Man, playing with Red was awesome, there were nights when he would give me goose bumps, I mean he would go to this place, this zone, he would channel all this energy, then it would just come out, John Lee Hooker, Earl Hooker, Muddy Waters, all of his influences, wow incredible! Tomcat's another guy with really really deep roots, he's in his 80's and he plays like a young guy, great energy and that voice! Big Pete Pearson is a consummate performer, he really knows what to do on stage to capture the audience with not only his voice but his presence on stage, and they don't call him "Big Pete" for nothing!

"My wish is that blues keeps relevant but still honors the traditions of all the great blues artists that came before." (Photo by Harold Schreuder)

From the musical point of view what are the differences and similarities between Blues, Rock n’ Roll and Jazz?

Speaking from a drummer’s perspective, Blues should be played with a relaxed feel, slightly behind the beat. You see, there are several ways to play time, behind the beat, on the beat and on top of the beat. Rock and Roll is played on the beat and even on top of the beat. Now jazz doesn't have so much of an emphasis on the back beat, the 2 and 4, the snare accents are placed to flow with the bass and piano or guitar. The thing they all have in common is "soul they have to project that feeling of sincerity to the listener, make it real and alive!

When we talk about the blues we usually refer moments of the past. Do you believe in the existence of real blues nowadays?

Oh yeah, there's a lot of great players out there keeping the Blues alive. With all the fans and promoters and Blues societies around the world, the Blues is definitely alive. In a way, I think it's stronger because the Blues fans and musicians realize that if they don't keep it alive, it's going to disappear and were not about to let that happen!

What are the reasons to become drummers like Fred Below, Odie Payne and S.P. Leary, a legendary generation that left it mark through the years until now?

When those guys started out, there was no "Blues" drumming instruction book so to speak. They took their influences and applied them to the music they were playing. I have a Living Blues magazine from around 1988 and it interviewed all those guys and they talked about their influences. Fred Below really dug Gene Krupa and Odie Payne said his big influence was Buddy Rich. These guys were influenced by the popular drummers of the day and created Blues drumming. There were no rules, they just applied what they knew about drumming music and it came out awesome. I think it's important for drummers to rally study those legendary players, they wrote the book and they were right there creating a style of Blues drumming as Blues was developing itself. For any drummer who wants to really capture the essence of Blues drumming, it's so important to listen to the greats that are true for any style of music.

What advice would you give to aspiring musicians thinking of pursuing a career in the craft?

My advice to young musicians is to practice, study, listen and grow. It's so important to constantly improve and progress. But enjoy the ride, have fun, be the best player you can. The more you learn, the more you realize how much you don't know, be honest, genuine and sincere, people will see that you actually live a love music. It will come across in your playing. Stay honest to yourself and your music, be a pro, show up on time, look good, have your gear right, be a team player, remember you're a part of the band. Devote your life to music, live it, love it!                                    (Photo: Brian Fahey with Cadillac Angels)

Brian Fahey - official website