If I could list the elements which would comprise the ideal band it would include the following:

1. Top quality Beatlesque catchy pop songs you cant get out of your head.

2. Keith Moon creative drum parts.

3. There is no 3 if the above 2 points exist. Thank god for The New Pornographers.

Its one thing to have a band who wear its influences on its sleeve. Its quite another to have a drummer who can drop the most classic drum grooves of all time into the context of a  perfectly crafted pop song. This skill is unique to Kurt Dahle.

Here Kurt gives some insight into the writing process of the band and where to look for cool drum parts to lift.

The Sadies are an example of a band that keeps on getting better and better with each album.  Mike Belitsky, their drummer, gives insight into their remarkable musical progress.

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Mike Belitsky holds the drummer’s throne for one of the hardest working bands in the world, The Sadies.  In 12 years, they have covered a dizzying amount of terrain – physically and musically.  Taking an opposite trajectory than most bands—i.e.: burst onto the scene and then fizzle out—they keep popping up with more cohesive albums and surprising collaborations.

Dip into their catalog at any point, and you will sense a confluence of styles, particularly in the rhythm section.  Nowhere is this more apparent than on “Ten More Songs,” the epic final cut on their latest album, Darker Circles.  Cymbal rolls swell into an airy 6/8 waltz, which washes out and then back into turbulent drum fills that finally crash into a galloping tom roll.

The Sadies Live at The Great American Music Hall in San Francisco, California from The Wooden Lens on Vimeo.

Belitsky’s musical adaptability is more impressive in concert.  He makes hairpin turns from driving straight-ahead rock to swinging country waltz.  What could tie all these loose ends together?  These shows all drip with punk sweat.

Punk intensity is at the core of Belitsky’s beat.  “I was inspired mostly by punk rock.  I played along to all the Ramones records.”  When he was 16, one of his sister’s friends came back from England with a suitcase full of punk records and punk fashion.  That sparked a group of kids in his neighborhood to start a band.  They drafted him to play their garage-sale kit and the gigs immediately started rolling in.  Nevermind that he’d barely held a set of drumsticks.  “I told them, ‘I’ve only been playing for a couple of days.’  They said, ‘It doesn’t matter, its punk rock.  Just show up.’”

He did show up, and he’s been showing up ever since, with greater success each time.  He jobbed and toured around the Eastern Seaboard for a few years with Jale and Pernice Brothers.  He also had a band with Andrew Scott, who also played in a number of groups, including the Sadies.  In 1998, Scott left to commit to Sloan full-time.  He recommended Belitsky to replace him.

Barely a year into The Sadies’ gig, he already faced situations that might scare off most drummers.  They teamed up to record some raw soul with the brazen Andre Williams.  A high profile tour followed.  “There was a particular show we did with Andre at Roskilde Music Festival,” he recalls.  “That was an early highlight.  You look out and its just a sea of people.  Everything just clicked.”

Whether it’s a sea of people at Roskilde or 200 sweaty shoulders packed into Chicago’s Hideout, they do more than “just show up.”  Their tenacity has many artists lining up to collaborate.  That has resulted in atmospheric country with Neko Case, high-stepping honky-tonk with John Doe, and even impromptu jam sessions with Neil Young.

And now the payoff with the Darker Circles is greater than ever.  “The whole process of writing and recording this album was really rewarding,” he says.  Working with founding Jayhawk Gary Louris again, they continued to swirl a broad palette of influences into a signature sound.

Darker Circles’ hard-won maturity results from dedication and communication.  The new album was born from an environment of honesty and humility.  “We’ve gotten into picking apart each other’s work,” says Belitsky.  “Once you open yourself up to that, it has to be a two-way street.”  In fact, some of his proudest contributions to the album are guitar licks he came up with.  “We’ve been perfecting the process of how we work together.”

You can catch The Sadies’ ever-perfecting process when they support Darker Circles with a Northeast/Midwest tour in August.

Most of us have a network of friends or trusted sources who turn us on to new music.

When you interview drummers you dig in bands you dig you get the bonus of getting turned on to the bands these guys dig enough to take on the road with them.  So there’s a good chance you (I) will end up liking the opening band.

In the case of  The Golden Dogs from Toronto, I loved this band. They were absolutely amazing live. Sloan drummer Andrew Scott told me I had to interview their drummer because he was incredible. Understatement. Taylor Knox is an amazing drummer, and he calls himself a songwriter.

I swear, those songwriters make the best drummers.

The record Big Eye Little Eye was one of my most listened to records of the year. I hate to compare bands to other bands (mostly because I hate being compared to other bands) but if the Strokes are considered a “big” band, The Golden Dogs should be as big as U2.

Here’s their video for the catchiest song you’re going to hear today.

I edited the talk we had about where our families have cottages in Canada right down the road from each other, but we talk about the band, so here you go.

I grew up in Windsor, Ontario, right across the boarder from Detroit.

When I was a kid, I didn’t even know that America was a seperate country. My best friend John’s parents worked in Detroit and I remember one day when they were talking about crossing the border each day to go to work, and how the customs officials were getting tougher. I thought “What the hell? Customs? Is America a different country??? I thought The Beatles already conquered America?” I was totally confused.

So, in a vain attempt to conquer the world myself, I moved to “The States” to be a “Rock-Starr, like Ringo Starr, get it?)

This concept of conquering America is not new for aspiring musicians. But as I age, it seems more and more misguided a goal.

How about making great music? How about having an enduring career? How about doing something you believe in?

I think I was hoodwinked by the alure of KISS Alive! Damn you Gene Simmons.

But not Sloan.

Sure, they had theire big American hit song with Underwhelmed.

But then they got called “The Nirvana of The North”. An underwhelming title in itself.

I won’t pretend to know all about what they went through or what decisions they made. Or if they ever fought about “moving to The States to become Rock-Starrs” But one thing is obvious….

They decided to continue on and make great music they were proud of.

If you’re a “typical american” (that’s what they call us up in Canada) Then you may not even know who Sloan are. Urgh. Here’s a video for the un-informed.

Plus, this song has a line about living in Canada

So it is with this confused background that I sat down with Sloan drummer Andrew Scott.

Sloan are one of my favorite bands and this is one of the best drummers you may have never heard of.

My love for Power Pop songcraft is obvious and, first and foremost Sloan write great songs. Great harmonies and every guy in the band writes.

The reason I think this band is so important is a) they write great songs b) they’re super tight and super pro live. But there’s a secret weapon in Andrew Scott and here’s why;

He makes the case for the “Keith Moon Factor”

If you’re a drummer and you love Keith Moon, you know that he is the ultimate “outside the box” drummer. He doesn’t play a hi-hat. He pretty much solos all the time. Listen to I can See For Miles if you don’t know what I’m talking about.

And, if you’ve ever played in a band where the guitar player says the famous “you’re overplaying” . Then you have an ally in Andrew Scott.

He’s the only drummer I know in the straigt ahead rock genre that secretly sneaks in Keith Moon style fills at every turn.

In this interview I get him to admit it:

For more infor check out www.sloanmusic.com