February 6, 2026 • 20 mins
What does it feel like to carry the legacy of rock royalty while forging your own path in the music world? Join host Buzz Knight as he takes you on a captivating journey in this episode of Taking a Walk. Buzz embarks on a legendary musician conversation with Zak Starkey, the son of iconic Beatles drummer Ringo Starr, who has carved out his own identity as a remarkable musician in his own right. Zak shares his early fascination with music and drumming, inspired not only by his father but also by his godfather, the iconic Keith Moon of The Who. This episode dives deep into Zak's musical journey, revealing how he honed his craft and built a reputation as a talented drummer through relentless dedication and hard work.
As Zak Starkey reflects on his experiences performing with monumental bands like Oasis and The Who, he emphasizes the essential role of sound and rhythm in creating unforgettable music. Listeners will be treated to engaging anecdotes about his family’s rich musical legacy, the ever-evolving music industry, and the excitement surrounding his upcoming performance at the Gramercy Theater in New York City. This conversation highlights the importance of community in music, showcasing how it can unite people during challenging times.
Throughout this episode of Taking a Walk, Zak Starkey expresses his profound passion for music and the adrenaline of performing live, while also candidly discussing the changes in the music landscape over the years. From classic rock history to the emergence of indie music, this episode offers a unique perspective on the music journey of a drummer who is not just living in the shadows of his famous family but stepping into the spotlight with his own artistic vision.
Get ready for an inspiring episode filled with music history insights, storytelling in music, and the emotional healing through music that resonates with audiences everywhere. Whether you’re a fan of rock music, a follower of legendary musicians, or someone curious about the cultural impact of music, this episode is a must-listen. Join us as we explore the creative journeys of music legends like Zak Starkey and celebrate the timeless nature of music in all its forms. Tune in to Takin a Walk and discover how music can inspire, connect, and heal.
#Zak Starkey Interview #best musician interview podcast #beatles #The Who #oasis #drumming legend #Ringo Starr #music history on foot #Keith Moon #Rock Music History #Buzz Knight #beatles history #music podcast #legendary musician conversation #inspiring icon #classic rock stories #music and personal stories #emotional healing through music #inspiring music stories
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Taking a Walk. Welcome to the Taken a Walk Podcast
on Buzznight, and today we have a truly special guest
whose musical lineage is matched only by his own incredible
drumming legacy.
Speaker 2 (00:14):
Zach Starkey needs no introduction to rock fans. As the
son of Beatles legend ringo Star, Zach grew up surrounded
by music royalty, but he's carved out his own remarkable
path behind the kit. Mentored by The Who's Keith Moon
is godfather, Zach has become one of rock's most sought
after drummers, playing with Oasis during their peak years, touring
(00:39):
extensively with The Who for over two decades, and collaborating
with everyone from Johnny mar to Paul Weller. But Zach's
story goes far beyond famous names. He's a drummer's drummer
who's earned every gig through pure talent and dedication. From
his early days learning Moon's explosive style holding down the
(01:01):
beat for one of rock's most legendary bands, Zach has
proven himself time and time again on.
Speaker 1 (01:07):
The world's biggest stages. We're so excited to have him
here as he prepares for his upcoming New York appearance
at the Gramercy Theater on February the twentieth. So grab
your headphone, settle in and let's take a walk down
memory Lane with the one and only Zach Starkey. Next
on Taking a Walk, Taking a Walk, Zach Starky, Welcome
(01:34):
to the Taking a Walk Podcast. It's an honor having
you on. Thanks.
Speaker 3 (01:38):
Does Scots be here?
Speaker 1 (01:40):
So I heard the great Peter Asher made a comment
I wanted to get your reflection on. He said that
a good drumming sound is halfway to a good record.
Give me your reflections on that as an iconic drummer yourself.
Speaker 3 (01:58):
Wow, okay, I never thought it very long that. I
guess it can catch your ear a great drum sound.
You know, I was attracted to the Who by the
drum sound immediately we'll have and a guitar sound. It
were so aggressive. But yeah, I would agree with that. Yeah,
John Bonham, like you know, you're drawn into his drumming.
Speaker 1 (02:18):
That's right.
Speaker 3 (02:20):
Whether you like that band or not, you can't really
fault the Grouse and the sound of the sound of
its flawless.
Speaker 1 (02:29):
But you started first with guitar, is that correct?
Speaker 2 (02:33):
Right?
Speaker 3 (02:34):
Yeah? When I was about seven, I started because I
saw Mark Bolin t Rex or Marke Bowen with t
Rex play live. He used to be called Wembley Pool.
It's called Wembley Arena now. When I was about six
years old, I think, and I immediately wanted to be
Mark and Luway the guitar. I asked my dad for
a guitar, and we we already had something in the
(02:56):
studio upstairs in our house.
Speaker 1 (02:58):
You know, so growing up in the Starkey household certainly
must have been extraordinary. What was your earliest memory then
of being around drums and obviously music, and when did
you realize that this was going to be your career.
Speaker 3 (03:14):
My oldest memory of all of it is, like, you know,
so early that I'm not sure. There was always like drums,
and there's always been a studio or something or a
guitar around, mainly from like the late sixties. There was
definitely studios in the houses, and I got really used
to being in the studio and I got used to
seeing my dad and his friends jamming in the studio.
(03:35):
And then and then as I progressed as a musician
or I was involved in all that in them.
Speaker 1 (03:41):
Your godfather, Keith Moon became your mentor he taught you
to play drums.
Speaker 3 (03:47):
But no, I don't teach me to play the drums.
My dad taught me to play the drums. My dad
gave me one drum lesson and then said you're on
your own now, son. But Keith mentored me and encouraged
me and talk to me about other stuff like surfing
and the beach boys and girls and things.
Speaker 1 (04:05):
You know, what was his sense of humor like it.
Speaker 3 (04:08):
Was just like a really great guy who's like on
our level as kids.
Speaker 1 (04:12):
You know.
Speaker 3 (04:12):
I did once seeing him my brother in the back
of his car and he did his Hitler impression standing
up in the front on the open top car down
soundset strip, which me and my little brother were thrilled
in the back of the car that he was doing.
Speaker 1 (04:30):
What an incredible opportunity to be around, to be around greatness,
for sure. I know though, there was an important time
for you and your life where you got to spend
time with the All Star Band on a couple of occasions.
Certainly there was the ninety two tour and ninety five tour,
but there was also I think you were around in
(04:52):
the eighty nine tour as well. Can you talk about
that experience and what it was like being with your dad.
Speaker 3 (04:58):
Yeah, that was great. I mean I think it's me
and my dad would always any given moment, like if
I was playing the drums, he would at home. He
would get on the floors on, you know, and join in.
Speaker 1 (05:09):
You know.
Speaker 3 (05:09):
So it's always just been a sort of communal musical
family really.
Speaker 1 (05:15):
You know.
Speaker 3 (05:15):
My brother was a drummer, my sister played drums in
a band. Now and like now all my nephews of drummers,
you know, and my grandsons a drummer, and just everyone's
a drummer. You know. We really need to work on
some other some other instruments. But yeah, so my dad
and me and who had played together before, we played
together on a record called Some City as well, where
(05:37):
we set two kids up next to each other, you know.
But yeah, I flew out to New York with my
mum in eighty nine and I got up and guested
on the last couple of songs Photograph and Little Help,
sitting between Jim Counton and leave On Helm, which is
pretty cool.
Speaker 1 (05:54):
Thank god. How did that feel? I mean, you obviously
had followed their career as somebody who was watching drummers.
Speaker 3 (06:02):
Yeah, I mean, I mean I've known obviously all my
life and leave On pretty much since I was at
least nine or ten, And when we started to go
to America to stay with my dad, I've got to
know all the guys in the band really, apart from Robbie,
I mean, leave On and Rick and Garth and Rich
would be at my dad's house regularly in Los Angeles.
Speaker 1 (06:25):
You know, when we first discovered the band and leave
On and Company, what we loved about them was you
really couldn't put them in a genre. You know, they
were a style of music that we really hadn't heard before.
Is that how you felt when you first heard the
band sound? It really didn't it defied the genre.
Speaker 3 (06:47):
Well, I wasn't thinking in this genre. I didn't start
to get genre till I mean quite recently. When you know,
music saw against segregated, you know, into charts, you know,
where people only listen to one. I find that really weird.
I don't know what you call the bands like Americana
me he's had his own genre, probably Canadiana. I don't know.
Speaker 1 (07:08):
I like that. I like that. I want to talk
more about history, obviously, but let's set the scene. What
folks are going to be able to experience when they
come to see you at the Gramercy Theater on February
the twentieth in New York City. It sounds like it's
going to be a fantastic experience for your fans.
Speaker 3 (07:28):
Yeah, thanks, Buzzy.
Speaker 1 (07:28):
It's what is.
Speaker 3 (07:30):
I made a film that that is an overview of everything,
almost everything I've done and manage to find. So if
anyone who doesn't know they're going to they'll get to
know what's gone on. It's also got a lot of
family stuff in it, and yeah, just an overview of
life really. And then I'm going to come out and
do a little short piece of very recognizable drums, and
(07:50):
then I hope to start a Q and A right
after that when the film is fresh in everyone's minds,
you know, and then explain to the audience what what
else I have is, Because what I'm doing is with AI.
Now you can take you can get a film of
a performance that say I've been involved in, and you
can you can take the drums out of it. So
(08:13):
I'm going to play the drums live with everybody else
on the screen from the same performance.
Speaker 1 (08:17):
Yep, that's going to be cool, Yeah, fix all.
Speaker 3 (08:20):
The bits so fucked up before hopefully right, I hope to,
and it'd be like the first time I ever played
with the who I know what's going to happen, right,
He's never knew before, But this how I'm going to know.
So I'll be able to, like, you know, be the
leader for months, which should be fun, you know. And
(08:41):
there's other other other things that have been I mean,
I don't like blow it all, but you know, there's
Toots and the Matel stuff and stuff I do with
Slime Robbie. There's stuff I did with Johnny more in
it and stuff I do with Oasis, you know. And
then in the films there's a lot of unseen footage.
I didn't realize what for a lot of years on
the road I was filming, you know. And I've got
(09:03):
I've got some really there's nothing like you know, mind blowing,
like you know, revelatory, but it's more like, you know,
there's some stuff where I've got footage of Peat doing
his podcast taking the pits out of me really, and
me and Roger and Rabbit and me having meetings about
song structure and things like that. And it's already lighthearted
(09:25):
I've got some footage of Roger's very first orchestra tour
that I was on in ninety four that I don't
think anyone's ever seen any of that.
Speaker 1 (09:32):
You know, that's fantastic.
Speaker 3 (09:34):
Well, stuff with me and john hanging out because we
used to hang out a lot, you know, that no
one's ever seen, and a lot of stuff from me
and Johnny my hanging out and being really stupid and
stuff and just not so it's how much fun of
everything has been, really because it really hats in it.
Speaker 1 (09:51):
It's an amazing legacy that you continue to have, you know,
playing with Pete towns In and Roger Daltrey. That experience
certainly ships as a musician. Yeah, what do you think
there was the most important aspect that you learned to
be part of such an iconic band.
Speaker 3 (10:10):
I don't fear anything musically now. I'm not afraid of music.
I think when I started with them, I really didn't
know what music was. Really. I knew what rehearsing was
and how songs went and how to reproduce that live,
but didn't know how to play music. And so I
started working with Pete Roger because they're playing music and
(10:32):
it's not a set structure. It's where it goes, it goes,
and that's music.
Speaker 1 (10:37):
Well, the Who's music obviously you know firsthand physically very
demanding and it requires your version of that explosive you know,
Keith Moon influenced style. What was your preparation regimen for
getting ready for those marathon tours?
Speaker 3 (11:01):
Not well playing. I always used to if we were
going to do Quadrophenia, I would play to Tommy super
Practice at home, or if we were going to do Tommy,
I'll played to Cordrafenia, because it was I knew that
whatever you learn on the record wouldn't happen when you
got there. It would always be Pete would always play
it differently the world. You would always phrase it differently,
(11:23):
or it would be difference. There's no point, you know,
learning records by rope, because when you got out there
wasn't going to be like that. It was going to
be like those two guys trying not to be bored
with the music they've been playing for so long, which
means they'll change it up all the time. So there
was I would always go okay with doing Ordena. I
played to Tommy or I'll played to like you know
(11:46):
who sent out or something like that, just to get
in the mood really, or to get in the vibe
of the Who. You know, I never played him live
at Leeds. That that's a moment, that that album is
a moment. You can't if you've follow it, then you're
just copying. The thing about playing the Who is I
learned to play with the Who with like a boombox
behind me, and I can only really hear Pete and Roger, right,
(12:09):
And I kind of like made up what I thought
Keith would be doing because I couldn't really hear it,
and I don't. I mean, I've copied certain signature things
that he's done, and a few of those turned out
that Pete wrote them drum things. But I don't think
anyone can copy Keith from me. I don't mean Keith
Moon can copy Keith Moon. Really two times in a row.
(12:30):
I think you're talking about a personality that's transmitted, transmitted
to the drums so perfectly. I think anyone would be
foolish to try to copy Keith Moon. You could try
and catch the vibe, which is what I've done. I
think that's what I did to do.
Speaker 1 (12:45):
Can you take us through some of your mount Rushmore
of other drummers that we haven't really talked about, because
I'm sure stylistically there's others that you just look at
and either you know or fond or learned from. Who
are some of those other drummers when.
Speaker 3 (13:04):
You're talking about the band? You know, Levon was great,
wasn't he? Leve On was fantastic drama. But then when
I watched I watched some documentaries on the band, and
a lot of the time Richard would play drums, and
the feel on those sums is incredible.
Speaker 1 (13:16):
You know, I would say, yeah, you.
Speaker 3 (13:18):
Know, I love that drumming. I love a guy called
Jim Gordon who was a session drama around the same
time that Jim Kardner was coming up in the sixties.
You know, Jim and the two gyms kind of beat
down hal Blaine's door and stole it.
Speaker 1 (13:33):
You know, I'm so glad you mentioned Jim Gordon. What
a story that is. What a player he was. But
what an absolute tragic ending to a guy's amazing career.
Speaker 3 (13:46):
Truly, But what a funky man, What a funky drama you.
Speaker 1 (13:51):
Know, versatile beyond belief, right.
Speaker 3 (13:54):
It's just funky. He's got he's got it. He's got funk,
you like, he's really funky. It looks it looks like
he's done not doing anything right, don Jim Kelder looks
like he's doing a slow motion is not?
Speaker 1 (14:05):
Yeah? Your work with Oasis, how did you end up
behind the kit for them? And what was that like
being part of that cultural phenomenon.
Speaker 3 (14:15):
They were my favorite group of my generation, and I
knew the two brothers a little bit and they called
me up and asked me to play in their band.
And I have been so buzzed in my time, I
don't think.
Speaker 1 (14:28):
And you mentioned earlier your work with Johnny Marr and
Paul Weller and so many other British rock legends. What
draws you to certain collaborations and how do you approach
playing with different artists.
Speaker 3 (14:43):
Well, they called me, they called me really, I mean
me and Johnny Matt in an elevator in New York
in nineteen ninety six and we hung out a little
bit because obviously got on really well, you know, as friends,
and Johnny said, you know, when you get and I'll
give you a call and let's let's play, you know,
(15:04):
And I didn't think he would, but the day after
I got Homi called me, I think two days later.
When started jamming with Johnny in ninety six, and we
slowly built our record from from when we weren't both
working with other artists. We'd always be together working on helus,
you know, and then it finally came out and we
toured the world in two thousand and three, so by
(15:27):
which some one we knew his other really well.
Speaker 1 (15:30):
So let's talk about drum sounds, which is so key obviously.
Can you maybe take us a little bit inside about
your setup and how you get that zach starky particular tone.
What's your philosophy on drum tuning?
Speaker 3 (15:46):
Well, honestly, I don't think I have one. I think
you like when you go into a studio, it's really
what what what the song is and what the the
yst is. And you know, some people are really specific
about where they're after. I makes this in particular, really specific,
thick about how the drums should sound on each song,
right to the point where one song we ended up using,
you know, I played it on a box of whetos
(16:09):
with wooden spoons and that sounded like Buddy Oli is
great me. It really works, you know, But they're very
very specific about everything. So we'd have three two or
three drum kits set up all times so you can
move quickly between them. If one of them didn't sound right,
one would be a bit liveer, wan to be a
bit deader, you know, very specific those guys with John
(16:33):
Johnny's record, that's kind of my sound really that which
were just the drums I had at the time, just
tune them, tune them into the room and then tune
and then address them a little bit for each song
and recorded with the who. It would depend sometimes I
was tuning the drums. Other times the would bring a
drum doctor, which is really great actually because you can
(16:54):
go and like hang out of the band and you
don't have to tune them yourselves. Everyone's staying for the window.
You like, going what come on?
Speaker 1 (17:04):
You know?
Speaker 3 (17:05):
Ye more pressure doing that and there is getting the
bloody take a lot of the time, you know.
Speaker 1 (17:10):
Yeah, Zach, you've witnessed the music industry from multiple angles,
as as Ringo's son, as a session musician, as a
touring member of major bands. How do you think the
industry has changed from your perspective.
Speaker 3 (17:25):
There aren't as many places to play now. It's a
lot harder for bands to get out and play, I think,
you know, and that's how it's changed. And obviously streaming
has changed. The only way for bands to make money
is like merchandise and merchant touring or physical vinyl. You know,
you know, here a single still going to pay fucking anything.
Speaker 1 (17:47):
What's your take on the current state of rock music.
Speaker 3 (17:51):
It doesn't concern me. Make a lot of music, and
that music for myself really and sometimes how other people
like it. But you know, eventually it'll come around, something
will happen. That's great, you know, the moment has gone on.
I don't know, it seems a bit miserable or miserable.
Speaker 1 (18:08):
List When you look back at your career from those
the early lessons, the stadium tours, are there certain moments
and events that stand out to you as really really
you know, just these pinnacle moments for a great career.
Speaker 3 (18:25):
Well, It's moment is the concept for New York though
in two thousand and one. But because it was an
emotional thing as well as a musical thing, you know,
and we slammed it in the front rows where the
with the people that we're trying to save their oards.
Between towns, you know, it was really an emotional I
(18:46):
think we kicked the ship out of all the other
bang on that bill already. We really picked it up
and we kicked it out. And as I say, it
was John Interests performance particularly amazing. And the whole the
whole event is you know, I live together.
Speaker 1 (19:01):
And when you think about that event, you think about
what community means and how music and community draws us together.
As someone who experienced that firsthand, how special is it
for community to come together around music at a pivotal
time in our life?
Speaker 3 (19:21):
And what's music's always been about. How is in the
community bringing people together, whether it's different sort of areas
of youth culture or or woodstock or whatever. You know,
I think it's I think it's very important thing. It's
very important to start groups. You know, I'm not live
in the world where it's and I think it summarized
are great and everything. I but garage bands are fucking
(19:43):
amazing loud guitars. You know, kids that can't wait to
get a guitar and can't wait to get on the stage,
can't wait to get their brand out there and make
people listen to it. You know, I think that's great,
and I hope they're still out there.
Speaker 1 (19:59):
Zach. We do call this podcast Taking a Walk, and
I do have to ask you, is there somebody you
could take a walk with, living or dead? Who would
you take a walk with?
Speaker 3 (20:10):
Well? Them?
Speaker 1 (20:12):
Oh yeah, Thank you so much for sharing that. I
really appreciate it. So everybody who's listening, head to the
Gramercy Theater on February the twenty at seven pm, New
York City. Is going to be an amazing experience. I
know you're excited about it, your fans are excited about it,
and I'm so grateful that you took the time to
(20:33):
come on Taking a Walk. Zach Starky, thank you so much.
Speaker 3 (20:37):
Thanks bos for being a pleasure.
Speaker 1 (20:40):
Thanks for listening to this episode of the Taking a
Walk podcast. Share this and other episodes with your friends
and follow us so you never miss an episode. Taking
a Walk is available on the iHeartRadio app, Apple Podcasts,
and wherever you get your podcasts.
Taking a Walk. Welcome to the Taken a Walk Podcast
on Buzznight, and today we have a truly special guest
whose musical lineage is matched only by his own incredible
drumming legacy.
Speaker 2 (00:14):
Zach Starkey needs no introduction to rock fans. As the
son of Beatles legend ringo Star, Zach grew up surrounded
by music royalty, but he's carved out his own remarkable
path behind the kit. Mentored by The Who's Keith Moon
is godfather, Zach has become one of rock's most sought
after drummers, playing with Oasis during their peak years, touring
(00:39):
extensively with The Who for over two decades, and collaborating
with everyone from Johnny mar to Paul Weller. But Zach's
story goes far beyond famous names. He's a drummer's drummer
who's earned every gig through pure talent and dedication. From
his early days learning Moon's explosive style holding down the
(01:01):
beat for one of rock's most legendary bands, Zach has
proven himself time and time again on.
Speaker 1 (01:07):
The world's biggest stages. We're so excited to have him
here as he prepares for his upcoming New York appearance
at the Gramercy Theater on February the twentieth. So grab
your headphone, settle in and let's take a walk down
memory Lane with the one and only Zach Starkey. Next
on Taking a Walk, Taking a Walk, Zach Starky, Welcome
(01:34):
to the Taking a Walk Podcast. It's an honor having
you on. Thanks.
Speaker 3 (01:38):
Does Scots be here?
Speaker 1 (01:40):
So I heard the great Peter Asher made a comment
I wanted to get your reflection on. He said that
a good drumming sound is halfway to a good record.
Give me your reflections on that as an iconic drummer yourself.
Speaker 3 (01:58):
Wow, okay, I never thought it very long that. I
guess it can catch your ear a great drum sound.
You know, I was attracted to the Who by the
drum sound immediately we'll have and a guitar sound. It
were so aggressive. But yeah, I would agree with that. Yeah,
John Bonham, like you know, you're drawn into his drumming.
Speaker 1 (02:18):
That's right.
Speaker 3 (02:20):
Whether you like that band or not, you can't really
fault the Grouse and the sound of the sound of
its flawless.
Speaker 1 (02:29):
But you started first with guitar, is that correct?
Speaker 2 (02:33):
Right?
Speaker 3 (02:34):
Yeah? When I was about seven, I started because I
saw Mark Bolin t Rex or Marke Bowen with t
Rex play live. He used to be called Wembley Pool.
It's called Wembley Arena now. When I was about six
years old, I think, and I immediately wanted to be
Mark and Luway the guitar. I asked my dad for
a guitar, and we we already had something in the
(02:56):
studio upstairs in our house.
Speaker 1 (02:58):
You know, so growing up in the Starkey household certainly
must have been extraordinary. What was your earliest memory then
of being around drums and obviously music, and when did
you realize that this was going to be your career.
Speaker 3 (03:14):
My oldest memory of all of it is, like, you know,
so early that I'm not sure. There was always like drums,
and there's always been a studio or something or a
guitar around, mainly from like the late sixties. There was
definitely studios in the houses, and I got really used
to being in the studio and I got used to
seeing my dad and his friends jamming in the studio.
(03:35):
And then and then as I progressed as a musician
or I was involved in all that in them.
Speaker 1 (03:41):
Your godfather, Keith Moon became your mentor he taught you
to play drums.
Speaker 3 (03:47):
But no, I don't teach me to play the drums.
My dad taught me to play the drums. My dad
gave me one drum lesson and then said you're on
your own now, son. But Keith mentored me and encouraged
me and talk to me about other stuff like surfing
and the beach boys and girls and things.
Speaker 1 (04:05):
You know, what was his sense of humor like it.
Speaker 3 (04:08):
Was just like a really great guy who's like on
our level as kids.
Speaker 1 (04:12):
You know.
Speaker 3 (04:12):
I did once seeing him my brother in the back
of his car and he did his Hitler impression standing
up in the front on the open top car down
soundset strip, which me and my little brother were thrilled
in the back of the car that he was doing.
Speaker 1 (04:30):
What an incredible opportunity to be around, to be around greatness,
for sure. I know though, there was an important time
for you and your life where you got to spend
time with the All Star Band on a couple of occasions.
Certainly there was the ninety two tour and ninety five tour,
but there was also I think you were around in
(04:52):
the eighty nine tour as well. Can you talk about
that experience and what it was like being with your dad.
Speaker 3 (04:58):
Yeah, that was great. I mean I think it's me
and my dad would always any given moment, like if
I was playing the drums, he would at home. He
would get on the floors on, you know, and join in.
Speaker 1 (05:09):
You know.
Speaker 3 (05:09):
So it's always just been a sort of communal musical
family really.
Speaker 1 (05:15):
You know.
Speaker 3 (05:15):
My brother was a drummer, my sister played drums in
a band. Now and like now all my nephews of drummers,
you know, and my grandsons a drummer, and just everyone's
a drummer. You know. We really need to work on
some other some other instruments. But yeah, so my dad
and me and who had played together before, we played
together on a record called Some City as well, where
(05:37):
we set two kids up next to each other, you know.
But yeah, I flew out to New York with my
mum in eighty nine and I got up and guested
on the last couple of songs Photograph and Little Help,
sitting between Jim Counton and leave On Helm, which is
pretty cool.
Speaker 1 (05:54):
Thank god. How did that feel? I mean, you obviously
had followed their career as somebody who was watching drummers.
Speaker 3 (06:02):
Yeah, I mean, I mean I've known obviously all my
life and leave On pretty much since I was at
least nine or ten, And when we started to go
to America to stay with my dad, I've got to
know all the guys in the band really, apart from Robbie,
I mean, leave On and Rick and Garth and Rich
would be at my dad's house regularly in Los Angeles.
Speaker 1 (06:25):
You know, when we first discovered the band and leave
On and Company, what we loved about them was you
really couldn't put them in a genre. You know, they
were a style of music that we really hadn't heard before.
Is that how you felt when you first heard the
band sound? It really didn't it defied the genre.
Speaker 3 (06:47):
Well, I wasn't thinking in this genre. I didn't start
to get genre till I mean quite recently. When you know,
music saw against segregated, you know, into charts, you know,
where people only listen to one. I find that really weird.
I don't know what you call the bands like Americana
me he's had his own genre, probably Canadiana. I don't know.
Speaker 1 (07:08):
I like that. I like that. I want to talk
more about history, obviously, but let's set the scene. What
folks are going to be able to experience when they
come to see you at the Gramercy Theater on February
the twentieth in New York City. It sounds like it's
going to be a fantastic experience for your fans.
Speaker 3 (07:28):
Yeah, thanks, Buzzy.
Speaker 1 (07:28):
It's what is.
Speaker 3 (07:30):
I made a film that that is an overview of everything,
almost everything I've done and manage to find. So if
anyone who doesn't know they're going to they'll get to
know what's gone on. It's also got a lot of
family stuff in it, and yeah, just an overview of
life really. And then I'm going to come out and
do a little short piece of very recognizable drums, and
(07:50):
then I hope to start a Q and A right
after that when the film is fresh in everyone's minds,
you know, and then explain to the audience what what
else I have is, Because what I'm doing is with AI.
Now you can take you can get a film of
a performance that say I've been involved in, and you
can you can take the drums out of it. So
(08:13):
I'm going to play the drums live with everybody else
on the screen from the same performance.
Speaker 1 (08:17):
Yep, that's going to be cool, Yeah, fix all.
Speaker 3 (08:20):
The bits so fucked up before hopefully right, I hope to,
and it'd be like the first time I ever played
with the who I know what's going to happen, right,
He's never knew before, But this how I'm going to know.
So I'll be able to, like, you know, be the
leader for months, which should be fun, you know. And
(08:41):
there's other other other things that have been I mean,
I don't like blow it all, but you know, there's
Toots and the Matel stuff and stuff I do with
Slime Robbie. There's stuff I did with Johnny more in
it and stuff I do with Oasis, you know. And
then in the films there's a lot of unseen footage.
I didn't realize what for a lot of years on
the road I was filming, you know. And I've got
(09:03):
I've got some really there's nothing like you know, mind blowing,
like you know, revelatory, but it's more like, you know,
there's some stuff where I've got footage of Peat doing
his podcast taking the pits out of me really, and
me and Roger and Rabbit and me having meetings about
song structure and things like that. And it's already lighthearted
(09:25):
I've got some footage of Roger's very first orchestra tour
that I was on in ninety four that I don't
think anyone's ever seen any of that.
Speaker 1 (09:32):
You know, that's fantastic.
Speaker 3 (09:34):
Well, stuff with me and john hanging out because we
used to hang out a lot, you know, that no
one's ever seen, and a lot of stuff from me
and Johnny my hanging out and being really stupid and
stuff and just not so it's how much fun of
everything has been, really because it really hats in it.
Speaker 1 (09:51):
It's an amazing legacy that you continue to have, you know,
playing with Pete towns In and Roger Daltrey. That experience
certainly ships as a musician. Yeah, what do you think
there was the most important aspect that you learned to
be part of such an iconic band.
Speaker 3 (10:10):
I don't fear anything musically now. I'm not afraid of music.
I think when I started with them, I really didn't
know what music was. Really. I knew what rehearsing was
and how songs went and how to reproduce that live,
but didn't know how to play music. And so I
started working with Pete Roger because they're playing music and
(10:32):
it's not a set structure. It's where it goes, it goes,
and that's music.
Speaker 1 (10:37):
Well, the Who's music obviously you know firsthand physically very
demanding and it requires your version of that explosive you know,
Keith Moon influenced style. What was your preparation regimen for
getting ready for those marathon tours?
Speaker 3 (11:01):
Not well playing. I always used to if we were
going to do Quadrophenia, I would play to Tommy super
Practice at home, or if we were going to do Tommy,
I'll played to Cordrafenia, because it was I knew that
whatever you learn on the record wouldn't happen when you
got there. It would always be Pete would always play
it differently the world. You would always phrase it differently,
(11:23):
or it would be difference. There's no point, you know,
learning records by rope, because when you got out there
wasn't going to be like that. It was going to
be like those two guys trying not to be bored
with the music they've been playing for so long, which
means they'll change it up all the time. So there
was I would always go okay with doing Ordena. I
played to Tommy or I'll played to like you know
(11:46):
who sent out or something like that, just to get
in the mood really, or to get in the vibe
of the Who. You know, I never played him live
at Leeds. That that's a moment, that that album is
a moment. You can't if you've follow it, then you're
just copying. The thing about playing the Who is I
learned to play with the Who with like a boombox
behind me, and I can only really hear Pete and Roger, right,
(12:09):
And I kind of like made up what I thought
Keith would be doing because I couldn't really hear it,
and I don't. I mean, I've copied certain signature things
that he's done, and a few of those turned out
that Pete wrote them drum things. But I don't think
anyone can copy Keith from me. I don't mean Keith
Moon can copy Keith Moon. Really two times in a row.
(12:30):
I think you're talking about a personality that's transmitted, transmitted
to the drums so perfectly. I think anyone would be
foolish to try to copy Keith Moon. You could try
and catch the vibe, which is what I've done. I
think that's what I did to do.
Speaker 1 (12:45):
Can you take us through some of your mount Rushmore
of other drummers that we haven't really talked about, because
I'm sure stylistically there's others that you just look at
and either you know or fond or learned from. Who
are some of those other drummers when.
Speaker 3 (13:04):
You're talking about the band? You know, Levon was great,
wasn't he? Leve On was fantastic drama. But then when
I watched I watched some documentaries on the band, and
a lot of the time Richard would play drums, and
the feel on those sums is incredible.
Speaker 1 (13:16):
You know, I would say, yeah, you.
Speaker 3 (13:18):
Know, I love that drumming. I love a guy called
Jim Gordon who was a session drama around the same
time that Jim Kardner was coming up in the sixties.
You know, Jim and the two gyms kind of beat
down hal Blaine's door and stole it.
Speaker 1 (13:33):
You know, I'm so glad you mentioned Jim Gordon. What
a story that is. What a player he was. But
what an absolute tragic ending to a guy's amazing career.
Speaker 3 (13:46):
Truly, But what a funky man, What a funky drama you.
Speaker 1 (13:51):
Know, versatile beyond belief, right.
Speaker 3 (13:54):
It's just funky. He's got he's got it. He's got funk,
you like, he's really funky. It looks it looks like
he's done not doing anything right, don Jim Kelder looks
like he's doing a slow motion is not?
Speaker 1 (14:05):
Yeah? Your work with Oasis, how did you end up
behind the kit for them? And what was that like
being part of that cultural phenomenon.
Speaker 3 (14:15):
They were my favorite group of my generation, and I
knew the two brothers a little bit and they called
me up and asked me to play in their band.
And I have been so buzzed in my time, I
don't think.
Speaker 1 (14:28):
And you mentioned earlier your work with Johnny Marr and
Paul Weller and so many other British rock legends. What
draws you to certain collaborations and how do you approach
playing with different artists.
Speaker 3 (14:43):
Well, they called me, they called me really, I mean
me and Johnny Matt in an elevator in New York
in nineteen ninety six and we hung out a little
bit because obviously got on really well, you know, as friends,
and Johnny said, you know, when you get and I'll
give you a call and let's let's play, you know,
(15:04):
And I didn't think he would, but the day after
I got Homi called me, I think two days later.
When started jamming with Johnny in ninety six, and we
slowly built our record from from when we weren't both
working with other artists. We'd always be together working on helus,
you know, and then it finally came out and we
toured the world in two thousand and three, so by
(15:27):
which some one we knew his other really well.
Speaker 1 (15:30):
So let's talk about drum sounds, which is so key obviously.
Can you maybe take us a little bit inside about
your setup and how you get that zach starky particular tone.
What's your philosophy on drum tuning?
Speaker 3 (15:46):
Well, honestly, I don't think I have one. I think
you like when you go into a studio, it's really
what what what the song is and what the the
yst is. And you know, some people are really specific
about where they're after. I makes this in particular, really specific,
thick about how the drums should sound on each song,
right to the point where one song we ended up using,
you know, I played it on a box of whetos
(16:09):
with wooden spoons and that sounded like Buddy Oli is
great me. It really works, you know, But they're very
very specific about everything. So we'd have three two or
three drum kits set up all times so you can
move quickly between them. If one of them didn't sound right,
one would be a bit liveer, wan to be a
bit deader, you know, very specific those guys with John
(16:33):
Johnny's record, that's kind of my sound really that which
were just the drums I had at the time, just
tune them, tune them into the room and then tune
and then address them a little bit for each song
and recorded with the who. It would depend sometimes I
was tuning the drums. Other times the would bring a
drum doctor, which is really great actually because you can
(16:54):
go and like hang out of the band and you
don't have to tune them yourselves. Everyone's staying for the window.
You like, going what come on?
Speaker 1 (17:04):
You know?
Speaker 3 (17:05):
Ye more pressure doing that and there is getting the
bloody take a lot of the time, you know.
Speaker 1 (17:10):
Yeah, Zach, you've witnessed the music industry from multiple angles,
as as Ringo's son, as a session musician, as a
touring member of major bands. How do you think the
industry has changed from your perspective.
Speaker 3 (17:25):
There aren't as many places to play now. It's a
lot harder for bands to get out and play, I think,
you know, and that's how it's changed. And obviously streaming
has changed. The only way for bands to make money
is like merchandise and merchant touring or physical vinyl. You know,
you know, here a single still going to pay fucking anything.
Speaker 1 (17:47):
What's your take on the current state of rock music.
Speaker 3 (17:51):
It doesn't concern me. Make a lot of music, and
that music for myself really and sometimes how other people
like it. But you know, eventually it'll come around, something
will happen. That's great, you know, the moment has gone on.
I don't know, it seems a bit miserable or miserable.
Speaker 1 (18:08):
List When you look back at your career from those
the early lessons, the stadium tours, are there certain moments
and events that stand out to you as really really
you know, just these pinnacle moments for a great career.
Speaker 3 (18:25):
Well, It's moment is the concept for New York though
in two thousand and one. But because it was an
emotional thing as well as a musical thing, you know,
and we slammed it in the front rows where the
with the people that we're trying to save their oards.
Between towns, you know, it was really an emotional I
(18:46):
think we kicked the ship out of all the other
bang on that bill already. We really picked it up
and we kicked it out. And as I say, it
was John Interests performance particularly amazing. And the whole the
whole event is you know, I live together.
Speaker 1 (19:01):
And when you think about that event, you think about
what community means and how music and community draws us together.
As someone who experienced that firsthand, how special is it
for community to come together around music at a pivotal
time in our life?
Speaker 3 (19:21):
And what's music's always been about. How is in the
community bringing people together, whether it's different sort of areas
of youth culture or or woodstock or whatever. You know,
I think it's I think it's very important thing. It's
very important to start groups. You know, I'm not live
in the world where it's and I think it summarized
are great and everything. I but garage bands are fucking
(19:43):
amazing loud guitars. You know, kids that can't wait to
get a guitar and can't wait to get on the stage,
can't wait to get their brand out there and make
people listen to it. You know, I think that's great,
and I hope they're still out there.
Speaker 1 (19:59):
Zach. We do call this podcast Taking a Walk, and
I do have to ask you, is there somebody you
could take a walk with, living or dead? Who would
you take a walk with?
Speaker 3 (20:10):
Well? Them?
Speaker 1 (20:12):
Oh yeah, Thank you so much for sharing that. I
really appreciate it. So everybody who's listening, head to the
Gramercy Theater on February the twenty at seven pm, New
York City. Is going to be an amazing experience. I
know you're excited about it, your fans are excited about it,
and I'm so grateful that you took the time to
(20:33):
come on Taking a Walk. Zach Starky, thank you so much.
Speaker 3 (20:37):
Thanks bos for being a pleasure.
Speaker 1 (20:40):
Thanks for listening to this episode of the Taking a
Walk podcast. Share this and other episodes with your friends
and follow us so you never miss an episode. Taking
a Walk is available on the iHeartRadio app, Apple Podcasts,
and wherever you get your podcasts.
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