SKF NOTE: If the circumstances for conducting a drummer interview aren’t right – don’t conduct the interview. Say, “Thanks, but no thanks.”
That is one lesson I learned from my disastrous attempt to conduct a feature interview for Modern Drummer with Little Feat drummer Richie Hayward.
Let me say unequivocally: I love Hayward’s drumming, especially, but not exclusively, with Little Feat. His swinging, easily recognizable style was his own. And I very much looked forward to sitting with Hayward to find out what made him tick.
I have forgotten many of the details of my brief time with Hayward. We met somewhere in NYC, I believe. I remember showing up for the interview a bit earlier than the appointed time, and being met by a tall, muscular guy in a shiny gray suit. He looked to me like a bodyguard. I don’t recall his name.
The bodyguard escorted me along a series of cement block hallways covered in white high-gloss paint. Perhaps we were in the basement of a hotel. I don’t remember. But our walk ended in a very brightly lit room also made of high-gloss cement blocks.
Ritchie Hayward was in that bare room by himself, seated in a corner. He acted nervous, twitching. Hayward’s appearance reminded me of how dogs behave when they are consistently abused by their owners.
While the bodyguard introduced me to Hayward, he told me I had “15-minutes” to interview the drummer. Then Hayward had to be on his way to wherever Little Feat was playing that night.
That was the first time anyone from Little Feat’s management mentioned a 15-minute curfew. MD’s feature interviews had a minimum 7500 word count. That’s 25 single-spaced typewritten pages. Fifteen minutes is barely enough time to get a quote from somebody.
I thought maybe I could still pull a rabbit out of a hat. Maybe once our interview was underway Little Feat’s people would grant Hayward more time with me.
After firing up my trusty audio cassette deck I asked Hayward, “How did you first meet Lowell George?” Little Feat was really an extension of George’s songwriting, singing, and guitar playing. It is no exaggeration to call George Little Feat’s bandleader.
In response to my first question, Hayward answered, “I took the train from Iowa to California and met Lowell George.” Then Hayward stopped talking. And my horror over a bait-and-switch 15-minute curfew grew worse with an interviewee who gave minimal word answers to questions.
When I asked a follow-up question, trying to get Hayward to provide a more detailed answer, he acted annoyed. As if he was thinking, “You asked me a question. I gave you an answer.”
My wish for an interview extension never happened. At the appointed time the bodyguard accompanied Hayward to a taxi cab destined for wherever Little Feat was performing that night.
I remember Hayward getting into a disagreement with the cab driver. The cabbie made a rather innocent reference about working as a rock musician, which set off Hayward into a “How do you know what it’s like working as a rock musician?” exchange.
And that was it for my so-called interview with Ritchie Hayward. I did stick around to hear Little Feat in concert that night. Ritchie was playing a killer sounding brass snare drum made out of a timbale. At some point, Ritchie shared that detail with me.
Overall it was a disappointing interview session. But I learned a valuable lesson. Make sure to have, in advance, agreement on interview logistic details.
And if the logistics aren’t to my liking – just say no to the interview.
Scott K Fish 
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