October 4, 2020 • 28 mins
In this episode, we interview Russell Gilbrook, a UK Drummer, who started learning the drums when he was only four, he was depping West End shows at the age of 12 and touring Europe with Alan Price (of the Animals) when he was only 18. He performed on pop recordings with the likes of John Farnham, 5 Star, Boy Meets Girl, before joining “Chris Barber’s Jazz and Blues Band". But he’s best known for his hard hitting, high energy Rock drumming, and has been the drummer in legendary British rock band "Uriah Heep" since 2007.
Special thanks to Russell Gilbrook for being our guest in this episode. If you'd like to find out more about Russ then please check out his social links below:
Uriah Heep's Website : http://www.uriah-heep.com
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#RussellGilbrook #UriahHeep #AlanPrice #TheAnimals #JohnFarnham #5Star #BoyMeetsGirl #ChrisBarber #ChrisBarbersJazzandBluesBand #drummer
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Mark (00:02):
Hi, I'm Mark and welcome to Talk to the Band, the podcast
that is passionate aboutcontemporary music. Our guest
this week is a UK drummer, whowas depping in West End shows
when he was only 12 and touringEurope with Alan Price of the
animals when he was just 18.
He's performed on pop recordingswith the likes of John Farnham,
Five Star and Boy Meets Girl,before joining Chris Barber's
(00:22):
Jazz and Blues band. But he'sbest known for his hard hitting,
high energy rock drumming, andhe's been the drummer in the
legendary British rock bandUriah Heep since 2007, a warm
welcome to Russell Gillbrook. H,Russ, thanks for being on the
show today.
Russell Gilbrook (00:41):
Yeah, thanks for asking me Mark.
Mark (00:44):
So you had your first drum lesson when you were only four?
Russell Gilbrook (00:46):
Mm hmm.
Mark (00:47):
How did that come about?
Russell Gilbrook (00:48):
Apparently, I was bornplaying drums. Actually
not a lot of people know this, Iwas actually born with club
feet. My feet were upside down,inside out, so theyt had to be
broken. I was the first personin in the world actually to have
this particular operation by afamous Professor Moncrief that
did my operations. And, sotherefore I was in Great Ormond
(01:09):
Street for two years and I hadto wear what I called White
boots, but plaster cast on myfeet to set them. And I used to
drag myself around, take outplastic bowls, get the spoons
out and play. Obviously, Ididn't know the drum beats, so I
used to play the rhythm to themelodies, the only thing I could
latch on to. And then I used tocrawl over to my dad when he
played the piano and put my handon his foot when keeping time
(01:32):
and then when my mum did thehoovering, I'd go and lay down
and put my head on the hooverfor the vibrations. So they
thought they had a drummer, atyou know, about two years old,
two and a half, three years old.
And then obviously, I've got tofour and my dad decided to take
me to have drum lessons. And dadbeing dad, he seeked out the
best he could. At the time welived in Hornchurch and he
(01:54):
seeked out a guy in Leytonstonecalled Georgie Scott who was
quite a well known Jazz/Big Banddrummer. Went round there and he
said "Yeah, he's a natural" andI just started from there. And
he couldn't teach me any morethan I was six, he said you need
one of these modern day drumteachers. There's a great guy in
your town Hornchurch called BobArmstrong, he's up and coming,
he's fantastic. He said, Go seeBob. So at six, I went to see
(02:16):
Bob and I stayed with Bob untilI was Fourteen. And all I knew
about was the Jazz-thing,because that's what Bob was
into, Jazz, and Jazz Funk, andFusion stuff,
Instrumental...Chuck Mangione,Gap, Mangione, Tom Scott, that
kind of thing. And my dad wasinto Jazz full stop. So I just
sat in with all the Jazz bands,and I got my experiences as a
(02:36):
kid sitting in and playing, withall these great guys and, so
that, stood a real greatfoundation for me. And Bob
wanted to give me of his depwork, I was good enough to do
it. And I'd turn up and thesepeople would start talking to my
dad, "What you talking to mefor? I'm not a drummer". Well
who's the drummer?" And I wastiny. "Him!" And their faces are
(02:57):
sort of like "Oh no!", and thenwhen I played "Oh great, is he
available next week?" and allthat bit. And, so I always was
playing, I was earning money, Iwas earning 30 a week when I
was six. There's a guy calledAdrian Baker, who did Sherry,
Sherry Baby?
His younger brother Ian was twoyears older than me, was a
(03:20):
really good organ player, so meand him used to go around all
Mark (03:21):
Right, so let's talk about you turning pro. So you've
the clubs as The YoungSensationals, playing all the
Pop hits and all that bit. Anthat's how I got all m
experience, started earnig money, and then doing all t
e tours from there. I was playinwith all the comedians and caba
ets and stuff when I was 10/11/2. Sat in, that's when I sat i
for the first time for BobBob put me in for Jesus Chris
(03:43):
Superstar. I was 12 years oland what happened was, the drum
er, don't even know who that drumer was now, but he was ill. B
b couldn't do it, no-one else culd do it, so they went to Bo
and Bob recommended me. And I sot up there within an hour be
ore curtain call and the MDcomes legging out with all th
(04:03):
music and everything, he strts talking to my dad and after
10 minutes my dad says "Whaare you taking to me for, it's
not me, it's him". Turn arounand saw me and went white be
ause we're getting close to curains up, and he started panick
ng "You gotta be joking, you'vbrought a kid, this is a joke
this is". "No, no, no, he cado it, he can do can do it".
(04:25):
nyway, eventually, he did come oer, he said "Nut can you read,
can you..". I said I can red all that. "Well, do you wa
t to have a look at it". I don'twhat do I need to look at it fo
, I'm gonna play it, aren't I?
Don't even want to just go ovr it, I mean there's stuff in
/4 and everything.." No it's aright, I can just read it, becau
e I could read anything. Iwent in there and just sight re
(04:45):
d it. I did, I did the Wiz, I dpped for, Bob Armstrong was doi
g The Wiz in London. Yeah, the Qincy Jones version. I
already been in the West whenyou're 12?
Russell Gilbrook (04:59):
Mmm
Mark (05:00):
You just left school and what happened next?
Russell Gilbrook (05:02):
Straight in! As I said, I did that 16 week
tour, Wizard of Oz. And then, Iwas involved with, the agency
that actually booked that, likedme and so did the MD, so I ended
up doing, dozens and dozens anddozens of, whether it was
cabarets, you know they havethese variety shows. So you got
a comedian on, you might havsomeone like Patty Boulai
(05:23):
, a singer, cabaret singer, Iid Little and Large, Bernie Cl
fton, Tommy Cooper. So I did.
ena Martell, all of those kinof cabaret
Mark (05:31):
Like a Variety Show?
Russell Gilbrook (05:32):
Yeah, all the variety show, because it was, it
was work, and it was anexperience to play with
different musicians. It kept myreading up, and probably for a
good two or three years, I wasjust doing anything. And
sometimes I'd play in a pub tojust the barman and a packet of
peanuts, because I got booked toplay in this Irish band. But
(05:55):
even that's experience because,I don't know if the bass player
is suddenly a top sessionproducer or whatever. Bob
Armstrong said the greatestthing to me, when that phone
rings, there is only one wordyou say, it's yes. If that
opportunity comes your way,you'd better be ready for it
because they don't come everyweek.
Mark (06:12):
Right. So I'm looking down the list of some of the people
you've performed with. AlanPrice?
Russell Gilbrook (06:17):
That's right.
So when I did a show in the WestEnd, it was the first the first
and only show that was mine. Hewrote a musical called Andy cap,
right. We did it in Manchesterat teh Royal Exchange and then
it got moved to London. And TomCourtney, the famous actor was
in it. Alan price wrote all themusic. Well, I was the guy, that
was in there playing drumsglockenspiel, ratchet, cowbell
(06:38):
and, he quite liked my drumming.
Well, unfortunately, he was dueto do a tour after the musical
stopped. And his drummer got introuble, with drugs
unfortunately. So he was goinginside for six months. So he
asked me would I mind doing it?
Well I was 18. And it was like,hang on a minute, this is a
(07:00):
famous musician. You know, I'dnever really, not at that
league, I've never really comeacross anything like that. So I
said yes, and he, invited me up.
He said right, we're gonna haveabout three or four weeks
rehearsals, I got a brand newband. So I didn't know anybody.
And we're going to Easy Hire,which was a famous studio in
London and I turned up at thisrehearsal beer studio. I walked
(07:24):
in, and my mouth hit theflipping floor, I'd never seen a
room so flippin big in all mylife. The rehearsal I'm used to
are like 10 by 10, this was likeflipping 50 by 50, with drum
risers and speakers and thewhole band. God this is
amazing!. And he'd given me backthen, he'd given me a tape, he
said just learn that set. And Iremember, ringing him, up after
about listening to it for acouple of days. And I was trying
(07:49):
to ask, which bits he liked, andwhich bits.... "Russ, I booked
you to play the drums, just playthe drums". I said Yeah, I know.
"No buts, not buts, just playthe drums". Because up until
that point I got taught you gotto be as accommodating as
possible. Not to be yourself100%, he wanted me to be myself.
So we turned up, set the kit up,played 16 bars, he stops. "You
(08:11):
gonna play the drums Russ orwhat?" I am. He said "I can't
hear anything!". did it again,he stopped me again. I won't use
the language but, "Can you hitthem hard Russ please? Can you
hit them hard, I want to feelyour energy!" I'd never come
across that in my life. So itwas great because now I had to
tweak my technique, I suddenlyhad a different way of thinking,
(08:33):
I was being myself, and havingto project my energy and
everything to please him to do afantastic... you know, we were
doing 120 days a year. And itwas great, so I owe him a lot,
because he really did, bringout, Russell Gillbrook, in my
playing. Fantastic!
Mark (08:49):
What a great experience though?
Russell Gilbrook (08:50):
Amazing. What a great player! Flippin eck!.
Mark (08:53):
And I was gonna say, you're not known for quiet
playing anyway.
Russell Gilbrook (08:56):
No.
Mark (08:56):
Although you can. (Laugh)
Russell Gilbrook (08:57):
Yeah, I know it's funny how people perceive
me. Obviously my career's gonedown that road of hard hitting,
but you know I was on tour withChris Barbers Jazz band for six
years. Yes, they were ferociousat times, but I to play Snake
Rag and stuff like that, justlike Baby Dodds. I can play
quiet, it's just that, peopleknow me, not to be quiet just
simply because my career's gonedown that road, and you're not
(09:18):
going to play Enter the Sandmanas a Bossa Nova are you?
Mark (09:22):
No (laugh) I wouldn't mind hearing that though! (laughs)
Russell Gilbrook (09:23):
Well yeah.
(laughing)
Mark (09:25):
Right, let's talk about a few of the others...Van
Morrison, John Farnham, FiveStar, and Boy Meets Gir. So was
some of this recording
Russell Gilbrook (09:33):
Yes. So, John Farnham, Five Star, Boy Meets
Girl, because the band AlanPrice got together, had a really
good keybaord player, who wasthe MD for Blood Brothers for
donkey's years in Londonm, a mancalled Dave Rose. Really good
keyboard player. Well he was inwith RCA Records, and, the guy
from RCA Records, if there's anysessions, bits and pieces ging,
(09:55):
would ring Dave and say "Get aband in, we're gonna do it" and
so because Dave was with AlanPrice, it's one of them things
again, right? He liked the waySteve Grant played and his
brother on bass, Pete Grant, andme, so he just booked us all to
do all of these things. So itwas 1987, and a great time for
me because it, it was the sideof the business, that is
(10:15):
completely separate, to what Iwas doing. I did Helen Shapiro
as well for two years.
Mark (10:20):
Oh OK
Russell Gilbrook (10:21):
Also her MD, when Bob Cranham didn't want to
do it, I became her MD, went toAustralia with her, sacked three
bass players, because theycouldn't read and then - all
this whole bit like that. Sothat was another new, I was 21
years old, and an MD, and it wasa different thing for me, but
still great fun. And the VanMorrison thing only came about
because I was with LonnieDonegan for a few years (laugh),
(10:43):
and Lonnie Donegan came outthrough Chris barber. Because
Alan Price's booking agent inEngland is the same as Chris
Barber's. So when I left AlanPrice, the agent who had seen
me, recommended me to Chris.
Chris Barber rung me up. My dadnearly freaked out. Because he's
got all his records andeverything. And I actually
turned round and said, I, Idon't think I'm the drummer for
you. I said, I'm, yeah, I'mplaying more, sort of rock
(11:05):
fusion and like Billy Cobham.
"Billy who? Billy who?" he'sgoing. My dad's going "Take the
gig, take the gig" and I'm goingno, no, no, I don't want to do
that, don't want to do that.
Well, I ended up, he flew me toHolland to watch it. I thought,
you know, this is actually quitegood., old Orleans Jazz, where
are you gonna get to learn thatproperly? So I got all the old
records out. I got Baby Doddsout. I studied some of the old
(11:27):
Ziggy side drumming thing forsyncopated. And, I had a flamin
ball, and some of the guests wehad were phenomenal. I played
with, Duke Ellington's saxplayer was a guest for three
weeks, and obviously they'dleave the stage and there'd be
just a quartet left there forhim to do his little feature for
two songs. And there, there I amplaying Honeysuckle Rose with,
(11:47):
Howard Ashby, one of DukeEllington's sax players.
Mark (11:52):
So how old were you when you were playing with Chris
Russell Gilbrook (11:54):
I gotta think now, about 27, did about five
Barber?
years, yeah. And I, again,again, I have to... everyone
I've worked with you know, I dohave to say, whether it's good,
bad, indifferent, it doesn'tmatter what it is, they've been
a massive help in portraying whoI am now. Alan Price brought out
me. I hadn't played that loudbefore, I had to work out how to
(12:18):
do it. With, Chris Barber, who'sgonna play New Orleans Jazz and
Dixieland Jazz, and with some ofthe greatest Jazz musicians in
the world. Who's gonna do thatgig? Those gigs aren't about,
and I absorbed all that I want.
I sat down with a drink and Ijust kept, he didn't mind.Kept
asking him questions about, whatis it? What is it that makes a
great jazz drummer? I want toknow from you, what you listen
(12:40):
for in a great jazz, because Iwanted to learn. I wanted to
have those special magic things.
Chris Barber, happened becauseof, Vic Harris, which was the
agent for Alan Price. And whenit was their 40th anniversary,
Chris Barber took out, what hecould of the original band. Well
in the original band on banjowas Lonnie Donegan. He started
(13:01):
off in the Chris Barber Jazzband. And me and Lonnie got on
really well. He said to me"Look, I've got a drummer, Chris
Hunt is very good". He said"but, I need you in my band,
play percussion and on backingvocals". So I was with him for
two years, .and when Chriscouldn't do it, I went on drums.
When poor, Lonnie died, in factbefore he died, we did some
(13:22):
shows and he had Van Morrisonguest because Van, says, Lonnie
is the guy who made me happen.
And Bill Wyman said the same, wedid a concert, Lonnie and at the
Royal Hall. A lot of people witha lot of respect for Lonnie
Donegan. So through that, wasVan Morrison, I only did a
little while, with Van.
Mark (13:39):
So how did you go from that, to 2007 with Uriah Heep,
because that is a major leap?
Russell Gilbrook (13:45):
Yeah, I, I've been really lucky actually
because you know, to go fromJazz to Metal, I've even, you
know I've worked with Tony Iommifrom Black Sabbath doing some
demo stuff with him. So to gofrom Rock Metal, Jazz, a bit of
the old school sort of bluesyrock thing with Alan Price, and
then the pop thing with FiveStar...so it's great. But how I
(14:08):
went from, from that, was afterChris Barber, I just had enough,
it had run its course with ChrisBarber and, I saw that, them
being a lot older than me atthat time. Where was I going to
go? You know, the Jazz gigsaren't exactly around the corner
everywhere in England not toearn a decent money. Don't
forget we did, I do 220 days ayear with Chris Barber, 160 of
(14:31):
them in Europe. And you know,sometimes 5000 people. I mean,
it was massive, a massive Jazzband and a great experience, but
I'd out, out done that and itcame towards the end. Soon as I
left Chris Barber, I did havesome offers for other Jazz bands
who wanted me and I'd, just hadenough of that. And then I can
find a gig. And you know, itdoesn't matter how good you are.
(14:54):
And it doesn't matter if youavailable. People aren't going
to sack people because you'reabout.
Mark (15:00):
No of course they're not.
Russell Gilbrook (15:01):
And you can't, there's only so much hustling
you can do. And because I'd donethe Alan Price, and the Helen
Shapiro, and Chris Barber, wasbasically 10/11 years of my
life, from 18 to 30 ish. Thatkept me away from this other
scene, even though they weregreat gigs, I'm not knocking
them. But I was away doing thatfor a decade. So I lost out on
(15:23):
that, so when the time I comeout of that, the whole scene
had, I wasn't used to thatscene,
Mark (15:29):
You almost had to start all over again?
Russell Gilbrook (15:31):
Almost had to start all over again. And I got
bits and pieces in, but therewas nothing to satisfy me, I
knew deep down that I hadsomething to offer as a,
musician, within a band. I'dsuddenly found the vision, and I
tried to explore differentavenues, try a few bands, and
then obviously I had to earnmoney, so I did the teaching
(15:52):
thing, did it at BIMM (BrightonInstitute for Modern Music), did
some private teaching, trying totick over. The companies were
fantastic to me, so I was doinglots of drum clinics. One of
these drum Clinics was up inHull, where, Trevor Bolder, bass
player who has sadly died nowbless him, who was in the
original Spiders from Mars withDavid Bowie, phenomenal bass
player. He lived up in Hull, Iused to do a clinic up there,
(16:12):
and the owner of Repercussion upin Hull whose name was Phil,
he's not there anymore. He usedto say to Trevor "You've got to
ome and see this guy lpayrums, he's right up your
treet". Well, Uriah Heep beingery busy, he was always on tour
lways. Well, this onearticular time he wasn't. So
'm up there doing a clinic inront of 250 people and he's
here. And afterwards, he turnedround and went "Oh my God. I
(16:34):
an't believe it. That'shenomenal playing. Absolutely
antastic!", and we becameates. It wasn't until about
even or eight years later, thate, rang me up and said "Russ,
oor Lee Kerslake's health iseteriorating. We've just signed
recording contract, we got aorld tour with it. Would you be
p for joining the band?" Now ase said that, all that happened
(16:55):
n my brain is Uriah Heep,970s, not another old band, I
ant something a bit...so I said,I need, I need to think about
it. He said "Well, I'm sorry toay" he said "I'd have you in
he band now, but the managementave organised auditions, and
he audition process istarting. You'd have to do an
udition. I said I don't mindoing auditions. So I put the
hone down. I think about it. Iid a bit of googling. Hang on a
(17:19):
inute. Recording contract and aorld Tour..hmm. This could be
ctually, really good. Anyway,t turned out to be really good,
Mark (17:26):
240?.
nd there was 240 drummershroughout the world that went
or the audition.
Russell Gilbrook (17:31):
Yeah. And they whittled it down, and it was the
(18:52):
final 40, of which, the producerof the next album they were
Mark (18:56):
Can you remember what they were?
gonna to do, he brought in twoof his favourite drummers, I'm
Russell Gilbrook (18:57):
Yeah. They were Easy Living - double handed
shuffle. My God, the amount ofdrummers they told me that
not gonna name some of them asit's not really fair. And then,
couldn't do the double handedshuffle because their week hand
other ones that have beenrecommended. And I was in the
couldn't do the shuffleproperly.
Mark (19:05):
Do you want explain to some people, what, what a double
running. It was at Terminalstudios, which is sadly gone
Russell Gilbrook (19:07):
Yeah, I'd better (laugh). A double handed
shuffle is basically, you gotone, and two, and three, and
now. So Mick Box rings me upRuss, we're doing the auditions
handed shuffle is? (laugh)four, and one and a two, and a
three, but you play it with bothll week. What can you make?" So
his is all a plan by me. I saidhands. And, for a lot of
drummers as they probably willknow. Your weak side, doesn'
really like doing doublesI could do Thursday'. "Thursday
Okay Yep. What sort of timecertainly shuffles either. So
lot of them failed on that. Anmidday?" 'Yep, I can do midda
', put it down. I left it half h
Mark (19:25):
So did you actually know who Uriah Heep really were,
then there was July Morningwhich is one of their progg
ur and then I called him bak, deliberately. 'Oh Mick, sorry
type of epic songs. There waBetween Two Worlds which i
I can't do Thursday, I made a mitake. I've got something on then
quite fast, and then there wa"Gypsy" which is another, har
. "Can you do Friday?" It'sll a ploy. 'Yeah I can do Frid
hitting one. So they pickedvariant of technicalities tha
y'. "Okay, what sort of time" 'I could only, what time ar
might push a drummer, and therewas some great drummers there,
you there until?' "I think te last audition is 4, half pas
there were some drummers who atually came in and just played
4". I said 'Can I do four oclock? I'll tell you why, I'v
xactly what Lee Karslake dne. And I thought, there's tw
(19:47):
got a couple of sessionin on Friday'. I hadn't, I wa
ways that Heep are going to tae this, they either want som
doing nothing. He said "Yep, tht's no problem". So I'd wang
one, because they feel safe ater having a drummer for 36
ed the last audition. Great.
"Don't worry about a kit Russ,ears, to play exactly what Le
plays or they want a frehere's a kit up there". I said '
o, no, I do worry about the kith. So I took a gamble and went
well this is my time, I'm goecause I destroy them. So I
eed to bring mine. "Oh, well, nng to be Russell Gilbrook, no
Lee Karslake. So I went inone's really bringing...." . '
ut I'm the last audition, itoesn't matter, does it?'. "Oh
yeah, you're right. Yeah,here with double bass drums, the
whole bit. So they gavou can bring your kit". So I
angled the last audition andeveryone five songs. And do you
(20:08):
know, the last 40, apparently,my own drum kit. Now they sent o
t five songs, and theyhere was only about 10 that ha
learned the five songs. How unpre all challenging, obviously,
ecause they want to know wat the drumm
ofessional was that? Oh, thatwas the other thing. I said,
I could only be up there forthe last audition at half pa
t 4, I was up there at nine o'lock in the morning, because I
anted to hear the competitin. And at that time, my other w
(20:29):
fe who was there, we were looing at some of the drummers, th
y had headphones on, they're taping away. I said 'they are
not going to do it. "How do yu know that?" I said 'if they've
got to put the headphones on, ad refresh themselves now....
. "Well you know it don't you?"'Yeah I know it' and I was real
y confident. So they come atlunchtime, and their faces are d
(20:50):
ained, they've had a whole wek of it. "Oh, well, there are
few good ones, but my God, we'rstruggling". So it comes my tur
and of course Trevor knows meI'm in there setting the kit
up and I'm just finishing, ad, Mick says: "So you've learne
(21:11):
the five songs then?" I went 'o'. Well, you could have a pin d
op. "What?" I said no, I hven't learnt the five songs,.
I've learned your whole live setI can do it now. And they were
like "What?" I said, yeah, I'e learnt your whole live set, w
can play it now. And talk abouI probably got the gig just
for that alone. And I said 'Thewhole live set and of cour
(21:32):
e they were "Whey! What do wnt to play?" I said 'What do yo
want to play?' "Well no we'llet you play it". I said "Ok
y", I'll count them, count themn. We did "Between Two Wo
lds first, do a nice rocker anget it going. I said 'You'd b
tter turn your amp up Mick, he's had a
(21:53):
before you went for thataudition, before you got
offered?
Russell Gilbrook (21:54):
A little bit.
Because I've got a buddy, mateof mine who's obsessed with
Heep, obsessed, and he always, Iwent to three concerts and never
really grabbed me. I wasn'treally that. Yeah, I enjoyed it,
but it was like, it's probablybecause, I don't know, it wasn't
something, that I'd been into,so I wasn't really paying as
(22:16):
much attention as probably Icould have. But when Trevor said
about it, and when I okayed it,I delved more into it. I
thought, I didn't realise thatthey had that song, I didn't
realise they had that song. Iknew them here in the back of my
mind. I just didn't realise howmany songs they had.
Mark (22:32):
They're one of those bands that, kind of, don't seem to
have got the recognition in theUK that they probably deserved.
Russell Gilbrook (22:37):
No because, they, it was the big four. You
had Led Zeppelin, Black Sabbath,Deep Purple and Uriah Heep. And
when Uriah Heep came out,unfortunately, the press decided
to choose them as the bad boys.
So they went "Well, bye then, wecan play in all the other
countries", which is whathappened?
Hmmm
Mark (22:55):
I mean, let's talk about them. I mean, some of the stats,
That is pretty amazing.
And of course in 2019, finallyare pretty amazing. Toured in
over 53 countries.
Russell Gilbrook (23:00):
Well 63 now
Mark (23:01):
63?
Russell Gilbrook (23:02):
63 countries yeah
Mark (23:04):
In 2011, they toured 23 countries in 229 days, that's
going some? They've sold over 40million albums, two European
Grammy Awards. They've released25 studio albums, 18 live albums
inducted into the Hall of HeavyMetal Fame.
and 39 compilation albums, and12 of the band's studio albums
have actually made the UK chart.
Russell Gilbrook (23:29):
Yeah, I know.
It's quite, and, it's, it's fellike for the band, whether it'
the time I've been with them othe time before, because I'v
had loads of chats with thguys, Mick especially. It's bee
an uphill struggle since daone. They've had manage
ial problems they've had reord company problems, and it's a
most like every bit of bad luckthat stops you accelerating i
(23:53):
this business has fallen Urah Heep's way, which is a sha
e, but what an iconic band. Youtalk to a lot of the rock band
of the world now, and they'd aways say about, oh heavy influ
nces (24:03):
Uriah Heep, or Blac Sabbath, or Led Zeppelin. St
ll one of the big four and it'just great to be, involved in s
ch
Mark (24:12):
It's time for the final five. If you were to recommend
one album or song, old or new,that you feel everybody should
listen to at least once in theirlifetime, what would it be and
why?
Russell Gilbrook (24:26):
The Driver album by Buddy Rich is just mind
blowing.
Mark (24:29):
Okay
Russell Gilbrook (24:29):
The playing on it, the, just the, whole thing
of it, the organic way in whichit's recorded. It's just raw as
anything with unbelievableplaying, or Drum Spectacular
that's got Ronnie Stevenson andKenny Clare on it. And he's got
all the greatest, Jazz trumpetsand saxophone players. I'd have
(24:51):
to say The Driver then.
Mark (24:52):
Okay
Russell Gilbrook (24:53):
Because that's the earliest, biggest, wow
moment. I tried my hardest toplay The Driver, the song
itself, because it's so flippinfast, it's. unbelievable and,
whoever's playing the vibe solo.
You've got to check it out. It'sunbelievable.
Mark (25:08):
What artists and albums are you currently listening to
Russell Gilbrook (25:11):
Alter Bridge, I like Alter Bridge.
Mark (25:13):
Okay.
Russell Gilbrook (25:14):
Great melodic songwriting, he's such a, such a
great singer as well. And, Ilike Disturbed, I think they're
very unique - this is a rockymetal side now. But I'll still
go back to things that HarveyMason's Earthmover. I mean, that
was another one that will comesecond to The Driver. When I
heard Earthmover by Harvey Masonbecause, I'd gone from the Jazz
(25:36):
into the Funk and I enjoyedthat, real good musicians
playing grooves, that were, niceand funky. And Earthmover came
up, and when he played thatthree whistle, that percussion
thing, I said to Bob Armstrong,I said I've got to get one of
them whistles. He said I've gotone of them. I said I want one,
I've got to get one, got to getone just so I can go (whistling
sound). That was all, I couldn'tdo anything else with it. I just
(26:00):
wanted one of those whistlesbecause of the Earthmover.
Fantastic!
Mark (26:04):
Name a musician or artist who has had a profound effect on
you and tell us why
Russell Gilbrook (26:08):
Well, it would be Billy Cobham.
Mark (26:09):
Okay
Russell Gilbrook (26:10):
Because I'd never heard anything like it,
the way, you know the speed ofthose, strokes and everything,
and his sense of timing, andthat particular album just had
phenomenal playing on it. Yeah,it just took me by surprise
really. Buddy Rich, and BillyCobham, but I did listen to a
(26:32):
hell of a lot, it was, GeneKrupa with Teddy Wilson on
keyboards, Lionel Hampton onvibes. My God Almighty did they
wing? I'd never heard swinginlike it. And at one point
hen you take the chorus round agin, you know? At one point, Gene
Krupa's hitting the ride soerociously, he is almost obli
(26:55):
erating the other musicians,because the way in which he
et up. But do you know whatThe magic of
Mark (27:04):
If it was possible for you to speak to your younger self,
when you were first setting out,what advice would you give to
yourself then?
Russell Gilbrook (27:11):
I'd do exactly what I did back then.
Mark (27:14):
You wouldn't change a thing?
Russell Gilbrook (27:15):
I wouldn't change a thing. Because the
advice given to me by my dad andcertainly Bob Armstrong, about
the phone rings, just say yes.
You got to take every gig,forget the money, because you
need contacts, experience and tofail, and hopefully that sets
the platform for you for thefuture.
Mark (27:38):
Right, last one. Of all the times over the years you
performed. Can you tell us onegig or show that is really
memorable.
Russell Gilbrook (27:48):
Probably San Paolo in Brazil, with Uriah
Heep. We played to 120,000people. Can't say any more than
that. It's six kilometres itwent back, all you saw was just
a sea of heads of crazy,craziness. And to be on stage,
playing in front of that, youknow, I mean I've done Hell Fest
which is like 60,000 people,we've done Download. Yeah, we've
(28:10):
done the big ones, between25,000 up to 80,000, but 120,000
in Brazil was, incredible.
Mark (28:20):
Well, I'm afraid that's all we've got time for today.
Russ, thank you so much forbeing on the show. It's been an
absolute pleasure. And ofcourse, a big thank you to you,
our listeners. Our guest thisweek is a bass player and
vocalist. His performance andrecording credits include Sir
Cliff Richard, Mary Wilson'sSupremes, The Foundations, Jimmy
James and the Vagabonds, Plan Band many, many more. He's also
(28:43):
played on West End and touringshows such as Mamma Mia, Grease,
Dancing in the Streets. NeverForget, I Love You Because, and
The Carpenter's Story. If you'dlike to find out more, you're
gonna have to join us next week.
Take care
Hi, I'm Mark and welcome to Talk to the Band, the podcast
that is passionate aboutcontemporary music. Our guest
this week is a UK drummer, whowas depping in West End shows
when he was only 12 and touringEurope with Alan Price of the
animals when he was just 18.
He's performed on pop recordingswith the likes of John Farnham,
Five Star and Boy Meets Girl,before joining Chris Barber's
(00:22):
Jazz and Blues band. But he'sbest known for his hard hitting,
high energy rock drumming, andhe's been the drummer in the
legendary British rock bandUriah Heep since 2007, a warm
welcome to Russell Gillbrook. H,Russ, thanks for being on the
show today.
Russell Gilbrook (00:41):
Yeah, thanks for asking me Mark.
Mark (00:44):
So you had your first drum lesson when you were only four?
Russell Gilbrook (00:46):
Mm hmm.
Mark (00:47):
How did that come about?
Russell Gilbrook (00:48):
Apparently, I was bornplaying drums. Actually
not a lot of people know this, Iwas actually born with club
feet. My feet were upside down,inside out, so theyt had to be
broken. I was the first personin in the world actually to have
this particular operation by afamous Professor Moncrief that
did my operations. And, sotherefore I was in Great Ormond
(01:09):
Street for two years and I hadto wear what I called White
boots, but plaster cast on myfeet to set them. And I used to
drag myself around, take outplastic bowls, get the spoons
out and play. Obviously, Ididn't know the drum beats, so I
used to play the rhythm to themelodies, the only thing I could
latch on to. And then I used tocrawl over to my dad when he
played the piano and put my handon his foot when keeping time
(01:32):
and then when my mum did thehoovering, I'd go and lay down
and put my head on the hooverfor the vibrations. So they
thought they had a drummer, atyou know, about two years old,
two and a half, three years old.
And then obviously, I've got tofour and my dad decided to take
me to have drum lessons. And dadbeing dad, he seeked out the
best he could. At the time welived in Hornchurch and he
(01:54):
seeked out a guy in Leytonstonecalled Georgie Scott who was
quite a well known Jazz/Big Banddrummer. Went round there and he
said "Yeah, he's a natural" andI just started from there. And
he couldn't teach me any morethan I was six, he said you need
one of these modern day drumteachers. There's a great guy in
your town Hornchurch called BobArmstrong, he's up and coming,
he's fantastic. He said, Go seeBob. So at six, I went to see
(02:16):
Bob and I stayed with Bob untilI was Fourteen. And all I knew
about was the Jazz-thing,because that's what Bob was
into, Jazz, and Jazz Funk, andFusion stuff,
Instrumental...Chuck Mangione,Gap, Mangione, Tom Scott, that
kind of thing. And my dad wasinto Jazz full stop. So I just
sat in with all the Jazz bands,and I got my experiences as a
(02:36):
kid sitting in and playing, withall these great guys and, so
that, stood a real greatfoundation for me. And Bob
wanted to give me of his depwork, I was good enough to do
it. And I'd turn up and thesepeople would start talking to my
dad, "What you talking to mefor? I'm not a drummer". Well
who's the drummer?" And I wastiny. "Him!" And their faces are
(02:57):
sort of like "Oh no!", and thenwhen I played "Oh great, is he
available next week?" and allthat bit. And, so I always was
playing, I was earning money, Iwas earning 30 a week when I
was six. There's a guy calledAdrian Baker, who did Sherry,
Sherry Baby?
His younger brother Ian was twoyears older than me, was a
(03:20):
really good organ player, so meand him used to go around all
Mark (03:21):
Right, so let's talk about you turning pro. So you've
the clubs as The YoungSensationals, playing all the
Pop hits and all that bit. Anthat's how I got all m
experience, started earnig money, and then doing all t
e tours from there. I was playinwith all the comedians and caba
ets and stuff when I was 10/11/2. Sat in, that's when I sat i
for the first time for BobBob put me in for Jesus Chris
(03:43):
Superstar. I was 12 years oland what happened was, the drum
er, don't even know who that drumer was now, but he was ill. B
b couldn't do it, no-one else culd do it, so they went to Bo
and Bob recommended me. And I sot up there within an hour be
ore curtain call and the MDcomes legging out with all th
(04:03):
music and everything, he strts talking to my dad and after
10 minutes my dad says "Whaare you taking to me for, it's
not me, it's him". Turn arounand saw me and went white be
ause we're getting close to curains up, and he started panick
ng "You gotta be joking, you'vbrought a kid, this is a joke
this is". "No, no, no, he cado it, he can do can do it".
(04:25):
nyway, eventually, he did come oer, he said "Nut can you read,
can you..". I said I can red all that. "Well, do you wa
t to have a look at it". I don'twhat do I need to look at it fo
, I'm gonna play it, aren't I?
Don't even want to just go ovr it, I mean there's stuff in
/4 and everything.." No it's aright, I can just read it, becau
e I could read anything. Iwent in there and just sight re
(04:45):
d it. I did, I did the Wiz, I dpped for, Bob Armstrong was doi
g The Wiz in London. Yeah, the Qincy Jones version. I
already been in the West whenyou're 12?
Russell Gilbrook (04:59):
Mmm
Mark (05:00):
You just left school and what happened next?
Russell Gilbrook (05:02):
Straight in! As I said, I did that 16 week
tour, Wizard of Oz. And then, Iwas involved with, the agency
that actually booked that, likedme and so did the MD, so I ended
up doing, dozens and dozens anddozens of, whether it was
cabarets, you know they havethese variety shows. So you got
a comedian on, you might havsomeone like Patty Boulai
(05:23):
, a singer, cabaret singer, Iid Little and Large, Bernie Cl
fton, Tommy Cooper. So I did.
ena Martell, all of those kinof cabaret
Mark (05:31):
Like a Variety Show?
Russell Gilbrook (05:32):
Yeah, all the variety show, because it was, it
was work, and it was anexperience to play with
different musicians. It kept myreading up, and probably for a
good two or three years, I wasjust doing anything. And
sometimes I'd play in a pub tojust the barman and a packet of
peanuts, because I got booked toplay in this Irish band. But
(05:55):
even that's experience because,I don't know if the bass player
is suddenly a top sessionproducer or whatever. Bob
Armstrong said the greatestthing to me, when that phone
rings, there is only one wordyou say, it's yes. If that
opportunity comes your way,you'd better be ready for it
because they don't come everyweek.
Mark (06:12):
Right. So I'm looking down the list of some of the people
you've performed with. AlanPrice?
Russell Gilbrook (06:17):
That's right.
So when I did a show in the WestEnd, it was the first the first
and only show that was mine. Hewrote a musical called Andy cap,
right. We did it in Manchesterat teh Royal Exchange and then
it got moved to London. And TomCourtney, the famous actor was
in it. Alan price wrote all themusic. Well, I was the guy, that
was in there playing drumsglockenspiel, ratchet, cowbell
(06:38):
and, he quite liked my drumming.
Well, unfortunately, he was dueto do a tour after the musical
stopped. And his drummer got introuble, with drugs
unfortunately. So he was goinginside for six months. So he
asked me would I mind doing it?
Well I was 18. And it was like,hang on a minute, this is a
(07:00):
famous musician. You know, I'dnever really, not at that
league, I've never really comeacross anything like that. So I
said yes, and he, invited me up.
He said right, we're gonna haveabout three or four weeks
rehearsals, I got a brand newband. So I didn't know anybody.
And we're going to Easy Hire,which was a famous studio in
London and I turned up at thisrehearsal beer studio. I walked
(07:24):
in, and my mouth hit theflipping floor, I'd never seen a
room so flippin big in all mylife. The rehearsal I'm used to
are like 10 by 10, this was likeflipping 50 by 50, with drum
risers and speakers and thewhole band. God this is
amazing!. And he'd given me backthen, he'd given me a tape, he
said just learn that set. And Iremember, ringing him, up after
about listening to it for acouple of days. And I was trying
(07:49):
to ask, which bits he liked, andwhich bits.... "Russ, I booked
you to play the drums, just playthe drums". I said Yeah, I know.
"No buts, not buts, just playthe drums". Because up until
that point I got taught you gotto be as accommodating as
possible. Not to be yourself100%, he wanted me to be myself.
So we turned up, set the kit up,played 16 bars, he stops. "You
(08:11):
gonna play the drums Russ orwhat?" I am. He said "I can't
hear anything!". did it again,he stopped me again. I won't use
the language but, "Can you hitthem hard Russ please? Can you
hit them hard, I want to feelyour energy!" I'd never come
across that in my life. So itwas great because now I had to
tweak my technique, I suddenlyhad a different way of thinking,
(08:33):
I was being myself, and havingto project my energy and
everything to please him to do afantastic... you know, we were
doing 120 days a year. And itwas great, so I owe him a lot,
because he really did, bringout, Russell Gillbrook, in my
playing. Fantastic!
Mark (08:49):
What a great experience though?
Russell Gilbrook (08:50):
Amazing. What a great player! Flippin eck!.
Mark (08:53):
And I was gonna say, you're not known for quiet
playing anyway.
Russell Gilbrook (08:56):
No.
Mark (08:56):
Although you can. (Laugh)
Russell Gilbrook (08:57):
Yeah, I know it's funny how people perceive
me. Obviously my career's gonedown that road of hard hitting,
but you know I was on tour withChris Barbers Jazz band for six
years. Yes, they were ferociousat times, but I to play Snake
Rag and stuff like that, justlike Baby Dodds. I can play
quiet, it's just that, peopleknow me, not to be quiet just
simply because my career's gonedown that road, and you're not
(09:18):
going to play Enter the Sandmanas a Bossa Nova are you?
Mark (09:22):
No (laugh) I wouldn't mind hearing that though! (laughs)
Russell Gilbrook (09:23):
Well yeah.
(laughing)
Mark (09:25):
Right, let's talk about a few of the others...Van
Morrison, John Farnham, FiveStar, and Boy Meets Gir. So was
some of this recording
Russell Gilbrook (09:33):
Yes. So, John Farnham, Five Star, Boy Meets
Girl, because the band AlanPrice got together, had a really
good keybaord player, who wasthe MD for Blood Brothers for
donkey's years in Londonm, a mancalled Dave Rose. Really good
keyboard player. Well he was inwith RCA Records, and, the guy
from RCA Records, if there's anysessions, bits and pieces ging,
(09:55):
would ring Dave and say "Get aband in, we're gonna do it" and
so because Dave was with AlanPrice, it's one of them things
again, right? He liked the waySteve Grant played and his
brother on bass, Pete Grant, andme, so he just booked us all to
do all of these things. So itwas 1987, and a great time for
me because it, it was the sideof the business, that is
(10:15):
completely separate, to what Iwas doing. I did Helen Shapiro
as well for two years.
Mark (10:20):
Oh OK
Russell Gilbrook (10:21):
Also her MD, when Bob Cranham didn't want to
do it, I became her MD, went toAustralia with her, sacked three
bass players, because theycouldn't read and then - all
this whole bit like that. Sothat was another new, I was 21
years old, and an MD, and it wasa different thing for me, but
still great fun. And the VanMorrison thing only came about
because I was with LonnieDonegan for a few years (laugh),
(10:43):
and Lonnie Donegan came outthrough Chris barber. Because
Alan Price's booking agent inEngland is the same as Chris
Barber's. So when I left AlanPrice, the agent who had seen
me, recommended me to Chris.
Chris Barber rung me up. My dadnearly freaked out. Because he's
got all his records andeverything. And I actually
turned round and said, I, Idon't think I'm the drummer for
you. I said, I'm, yeah, I'mplaying more, sort of rock
(11:05):
fusion and like Billy Cobham.
"Billy who? Billy who?" he'sgoing. My dad's going "Take the
gig, take the gig" and I'm goingno, no, no, I don't want to do
that, don't want to do that.
Well, I ended up, he flew me toHolland to watch it. I thought,
you know, this is actually quitegood., old Orleans Jazz, where
are you gonna get to learn thatproperly? So I got all the old
records out. I got Baby Doddsout. I studied some of the old
(11:27):
Ziggy side drumming thing forsyncopated. And, I had a flamin
ball, and some of the guests wehad were phenomenal. I played
with, Duke Ellington's saxplayer was a guest for three
weeks, and obviously they'dleave the stage and there'd be
just a quartet left there forhim to do his little feature for
two songs. And there, there I amplaying Honeysuckle Rose with,
(11:47):
Howard Ashby, one of DukeEllington's sax players.
Mark (11:52):
So how old were you when you were playing with Chris
Russell Gilbrook (11:54):
I gotta think now, about 27, did about five
Barber?
years, yeah. And I, again,again, I have to... everyone
I've worked with you know, I dohave to say, whether it's good,
bad, indifferent, it doesn'tmatter what it is, they've been
a massive help in portraying whoI am now. Alan Price brought out
me. I hadn't played that loudbefore, I had to work out how to
(12:18):
do it. With, Chris Barber, who'sgonna play New Orleans Jazz and
Dixieland Jazz, and with some ofthe greatest Jazz musicians in
the world. Who's gonna do thatgig? Those gigs aren't about,
and I absorbed all that I want.
I sat down with a drink and Ijust kept, he didn't mind.Kept
asking him questions about, whatis it? What is it that makes a
great jazz drummer? I want toknow from you, what you listen
(12:40):
for in a great jazz, because Iwanted to learn. I wanted to
have those special magic things.
Chris Barber, happened becauseof, Vic Harris, which was the
agent for Alan Price. And whenit was their 40th anniversary,
Chris Barber took out, what hecould of the original band. Well
in the original band on banjowas Lonnie Donegan. He started
(13:01):
off in the Chris Barber Jazzband. And me and Lonnie got on
really well. He said to me"Look, I've got a drummer, Chris
Hunt is very good". He said"but, I need you in my band,
play percussion and on backingvocals". So I was with him for
two years, .and when Chriscouldn't do it, I went on drums.
When poor, Lonnie died, in factbefore he died, we did some
(13:22):
shows and he had Van Morrisonguest because Van, says, Lonnie
is the guy who made me happen.
And Bill Wyman said the same, wedid a concert, Lonnie and at the
Royal Hall. A lot of people witha lot of respect for Lonnie
Donegan. So through that, wasVan Morrison, I only did a
little while, with Van.
Mark (13:39):
So how did you go from that, to 2007 with Uriah Heep,
because that is a major leap?
Russell Gilbrook (13:45):
Yeah, I, I've been really lucky actually
because you know, to go fromJazz to Metal, I've even, you
know I've worked with Tony Iommifrom Black Sabbath doing some
demo stuff with him. So to gofrom Rock Metal, Jazz, a bit of
the old school sort of bluesyrock thing with Alan Price, and
then the pop thing with FiveStar...so it's great. But how I
(14:08):
went from, from that, was afterChris Barber, I just had enough,
it had run its course with ChrisBarber and, I saw that, them
being a lot older than me atthat time. Where was I going to
go? You know, the Jazz gigsaren't exactly around the corner
everywhere in England not toearn a decent money. Don't
forget we did, I do 220 days ayear with Chris Barber, 160 of
(14:31):
them in Europe. And you know,sometimes 5000 people. I mean,
it was massive, a massive Jazzband and a great experience, but
I'd out, out done that and itcame towards the end. Soon as I
left Chris Barber, I did havesome offers for other Jazz bands
who wanted me and I'd, just hadenough of that. And then I can
find a gig. And you know, itdoesn't matter how good you are.
(14:54):
And it doesn't matter if youavailable. People aren't going
to sack people because you'reabout.
Mark (15:00):
No of course they're not.
Russell Gilbrook (15:01):
And you can't, there's only so much hustling
you can do. And because I'd donethe Alan Price, and the Helen
Shapiro, and Chris Barber, wasbasically 10/11 years of my
life, from 18 to 30 ish. Thatkept me away from this other
scene, even though they weregreat gigs, I'm not knocking
them. But I was away doing thatfor a decade. So I lost out on
(15:23):
that, so when the time I comeout of that, the whole scene
had, I wasn't used to thatscene,
Mark (15:29):
You almost had to start all over again?
Russell Gilbrook (15:31):
Almost had to start all over again. And I got
bits and pieces in, but therewas nothing to satisfy me, I
knew deep down that I hadsomething to offer as a,
musician, within a band. I'dsuddenly found the vision, and I
tried to explore differentavenues, try a few bands, and
then obviously I had to earnmoney, so I did the teaching
(15:52):
thing, did it at BIMM (BrightonInstitute for Modern Music), did
some private teaching, trying totick over. The companies were
fantastic to me, so I was doinglots of drum clinics. One of
these drum Clinics was up inHull, where, Trevor Bolder, bass
player who has sadly died nowbless him, who was in the
original Spiders from Mars withDavid Bowie, phenomenal bass
player. He lived up in Hull, Iused to do a clinic up there,
(16:12):
and the owner of Repercussion upin Hull whose name was Phil,
he's not there anymore. He usedto say to Trevor "You've got to
ome and see this guy lpayrums, he's right up your
treet". Well, Uriah Heep beingery busy, he was always on tour
lways. Well, this onearticular time he wasn't. So
'm up there doing a clinic inront of 250 people and he's
here. And afterwards, he turnedround and went "Oh my God. I
(16:34):
an't believe it. That'shenomenal playing. Absolutely
antastic!", and we becameates. It wasn't until about
even or eight years later, thate, rang me up and said "Russ,
oor Lee Kerslake's health iseteriorating. We've just signed
recording contract, we got aorld tour with it. Would you be
p for joining the band?" Now ase said that, all that happened
(16:55):
n my brain is Uriah Heep,970s, not another old band, I
ant something a bit...so I said,I need, I need to think about
it. He said "Well, I'm sorry toay" he said "I'd have you in
he band now, but the managementave organised auditions, and
he audition process istarting. You'd have to do an
udition. I said I don't mindoing auditions. So I put the
hone down. I think about it. Iid a bit of googling. Hang on a
(17:19):
inute. Recording contract and aorld Tour..hmm. This could be
ctually, really good. Anyway,t turned out to be really good,
Mark (17:26):
240?.
nd there was 240 drummershroughout the world that went
or the audition.
Russell Gilbrook (17:31):
Yeah. And they whittled it down, and it was the
(18:52):
final 40, of which, the producerof the next album they were
Mark (18:56):
Can you remember what they were?
gonna to do, he brought in twoof his favourite drummers, I'm
Russell Gilbrook (18:57):
Yeah. They were Easy Living - double handed
shuffle. My God, the amount ofdrummers they told me that
not gonna name some of them asit's not really fair. And then,
couldn't do the double handedshuffle because their week hand
other ones that have beenrecommended. And I was in the
couldn't do the shuffleproperly.
Mark (19:05):
Do you want explain to some people, what, what a double
running. It was at Terminalstudios, which is sadly gone
Russell Gilbrook (19:07):
Yeah, I'd better (laugh). A double handed
shuffle is basically, you gotone, and two, and three, and
now. So Mick Box rings me upRuss, we're doing the auditions
handed shuffle is? (laugh)four, and one and a two, and a
three, but you play it with bothll week. What can you make?" So
his is all a plan by me. I saidhands. And, for a lot of
drummers as they probably willknow. Your weak side, doesn'
really like doing doublesI could do Thursday'. "Thursday
Okay Yep. What sort of timecertainly shuffles either. So
lot of them failed on that. Anmidday?" 'Yep, I can do midda
', put it down. I left it half h
Mark (19:25):
So did you actually know who Uriah Heep really were,
then there was July Morningwhich is one of their progg
ur and then I called him bak, deliberately. 'Oh Mick, sorry
type of epic songs. There waBetween Two Worlds which i
I can't do Thursday, I made a mitake. I've got something on then
quite fast, and then there wa"Gypsy" which is another, har
. "Can you do Friday?" It'sll a ploy. 'Yeah I can do Frid
hitting one. So they pickedvariant of technicalities tha
y'. "Okay, what sort of time" 'I could only, what time ar
might push a drummer, and therewas some great drummers there,
you there until?' "I think te last audition is 4, half pas
there were some drummers who atually came in and just played
4". I said 'Can I do four oclock? I'll tell you why, I'v
xactly what Lee Karslake dne. And I thought, there's tw
(19:47):
got a couple of sessionin on Friday'. I hadn't, I wa
ways that Heep are going to tae this, they either want som
doing nothing. He said "Yep, tht's no problem". So I'd wang
one, because they feel safe ater having a drummer for 36
ed the last audition. Great.
"Don't worry about a kit Russ,ears, to play exactly what Le
plays or they want a frehere's a kit up there". I said '
o, no, I do worry about the kith. So I took a gamble and went
well this is my time, I'm goecause I destroy them. So I
eed to bring mine. "Oh, well, nng to be Russell Gilbrook, no
Lee Karslake. So I went inone's really bringing...." . '
ut I'm the last audition, itoesn't matter, does it?'. "Oh
yeah, you're right. Yeah,here with double bass drums, the
whole bit. So they gavou can bring your kit". So I
angled the last audition andeveryone five songs. And do you
(20:08):
know, the last 40, apparently,my own drum kit. Now they sent o
t five songs, and theyhere was only about 10 that ha
learned the five songs. How unpre all challenging, obviously,
ecause they want to know wat the drumm
ofessional was that? Oh, thatwas the other thing. I said,
I could only be up there forthe last audition at half pa
t 4, I was up there at nine o'lock in the morning, because I
anted to hear the competitin. And at that time, my other w
(20:29):
fe who was there, we were looing at some of the drummers, th
y had headphones on, they're taping away. I said 'they are
not going to do it. "How do yu know that?" I said 'if they've
got to put the headphones on, ad refresh themselves now....
. "Well you know it don't you?"'Yeah I know it' and I was real
y confident. So they come atlunchtime, and their faces are d
(20:50):
ained, they've had a whole wek of it. "Oh, well, there are
few good ones, but my God, we'rstruggling". So it comes my tur
and of course Trevor knows meI'm in there setting the kit
up and I'm just finishing, ad, Mick says: "So you've learne
(21:11):
the five songs then?" I went 'o'. Well, you could have a pin d
op. "What?" I said no, I hven't learnt the five songs,.
I've learned your whole live setI can do it now. And they were
like "What?" I said, yeah, I'e learnt your whole live set, w
can play it now. And talk abouI probably got the gig just
for that alone. And I said 'Thewhole live set and of cour
(21:32):
e they were "Whey! What do wnt to play?" I said 'What do yo
want to play?' "Well no we'llet you play it". I said "Ok
y", I'll count them, count themn. We did "Between Two Wo
lds first, do a nice rocker anget it going. I said 'You'd b
tter turn your amp up Mick, he's had a
(21:53):
before you went for thataudition, before you got
offered?
Russell Gilbrook (21:54):
A little bit.
Because I've got a buddy, mateof mine who's obsessed with
Heep, obsessed, and he always, Iwent to three concerts and never
really grabbed me. I wasn'treally that. Yeah, I enjoyed it,
but it was like, it's probablybecause, I don't know, it wasn't
something, that I'd been into,so I wasn't really paying as
(22:16):
much attention as probably Icould have. But when Trevor said
about it, and when I okayed it,I delved more into it. I
thought, I didn't realise thatthey had that song, I didn't
realise they had that song. Iknew them here in the back of my
mind. I just didn't realise howmany songs they had.
Mark (22:32):
They're one of those bands that, kind of, don't seem to
have got the recognition in theUK that they probably deserved.
Russell Gilbrook (22:37):
No because, they, it was the big four. You
had Led Zeppelin, Black Sabbath,Deep Purple and Uriah Heep. And
when Uriah Heep came out,unfortunately, the press decided
to choose them as the bad boys.
So they went "Well, bye then, wecan play in all the other
countries", which is whathappened?
Hmmm
Mark (22:55):
I mean, let's talk about them. I mean, some of the stats,
That is pretty amazing.
And of course in 2019, finallyare pretty amazing. Toured in
over 53 countries.
Russell Gilbrook (23:00):
Well 63 now
Mark (23:01):
63?
Russell Gilbrook (23:02):
63 countries yeah
Mark (23:04):
In 2011, they toured 23 countries in 229 days, that's
going some? They've sold over 40million albums, two European
Grammy Awards. They've released25 studio albums, 18 live albums
inducted into the Hall of HeavyMetal Fame.
and 39 compilation albums, and12 of the band's studio albums
have actually made the UK chart.
Russell Gilbrook (23:29):
Yeah, I know.
It's quite, and, it's, it's fellike for the band, whether it'
the time I've been with them othe time before, because I'v
had loads of chats with thguys, Mick especially. It's bee
an uphill struggle since daone. They've had manage
ial problems they've had reord company problems, and it's a
most like every bit of bad luckthat stops you accelerating i
(23:53):
this business has fallen Urah Heep's way, which is a sha
e, but what an iconic band. Youtalk to a lot of the rock band
of the world now, and they'd aways say about, oh heavy influ
nces (24:03):
Uriah Heep, or Blac Sabbath, or Led Zeppelin. St
ll one of the big four and it'just great to be, involved in s
ch
Mark (24:12):
It's time for the final five. If you were to recommend
one album or song, old or new,that you feel everybody should
listen to at least once in theirlifetime, what would it be and
why?
Russell Gilbrook (24:26):
The Driver album by Buddy Rich is just mind
blowing.
Mark (24:29):
Okay
Russell Gilbrook (24:29):
The playing on it, the, just the, whole thing
of it, the organic way in whichit's recorded. It's just raw as
anything with unbelievableplaying, or Drum Spectacular
that's got Ronnie Stevenson andKenny Clare on it. And he's got
all the greatest, Jazz trumpetsand saxophone players. I'd have
(24:51):
to say The Driver then.
Mark (24:52):
Okay
Russell Gilbrook (24:53):
Because that's the earliest, biggest, wow
moment. I tried my hardest toplay The Driver, the song
itself, because it's so flippinfast, it's. unbelievable and,
whoever's playing the vibe solo.
You've got to check it out. It'sunbelievable.
Mark (25:08):
What artists and albums are you currently listening to
Russell Gilbrook (25:11):
Alter Bridge, I like Alter Bridge.
Mark (25:13):
Okay.
Russell Gilbrook (25:14):
Great melodic songwriting, he's such a, such a
great singer as well. And, Ilike Disturbed, I think they're
very unique - this is a rockymetal side now. But I'll still
go back to things that HarveyMason's Earthmover. I mean, that
was another one that will comesecond to The Driver. When I
heard Earthmover by Harvey Masonbecause, I'd gone from the Jazz
(25:36):
into the Funk and I enjoyedthat, real good musicians
playing grooves, that were, niceand funky. And Earthmover came
up, and when he played thatthree whistle, that percussion
thing, I said to Bob Armstrong,I said I've got to get one of
them whistles. He said I've gotone of them. I said I want one,
I've got to get one, got to getone just so I can go (whistling
sound). That was all, I couldn'tdo anything else with it. I just
(26:00):
wanted one of those whistlesbecause of the Earthmover.
Fantastic!
Mark (26:04):
Name a musician or artist who has had a profound effect on
you and tell us why
Russell Gilbrook (26:08):
Well, it would be Billy Cobham.
Mark (26:09):
Okay
Russell Gilbrook (26:10):
Because I'd never heard anything like it,
the way, you know the speed ofthose, strokes and everything,
and his sense of timing, andthat particular album just had
phenomenal playing on it. Yeah,it just took me by surprise
really. Buddy Rich, and BillyCobham, but I did listen to a
(26:32):
hell of a lot, it was, GeneKrupa with Teddy Wilson on
keyboards, Lionel Hampton onvibes. My God Almighty did they
wing? I'd never heard swinginlike it. And at one point
hen you take the chorus round agin, you know? At one point, Gene
Krupa's hitting the ride soerociously, he is almost obli
(26:55):
erating the other musicians,because the way in which he
et up. But do you know whatThe magic of
Mark (27:04):
If it was possible for you to speak to your younger self,
when you were first setting out,what advice would you give to
yourself then?
Russell Gilbrook (27:11):
I'd do exactly what I did back then.
Mark (27:14):
You wouldn't change a thing?
Russell Gilbrook (27:15):
I wouldn't change a thing. Because the
advice given to me by my dad andcertainly Bob Armstrong, about
the phone rings, just say yes.
You got to take every gig,forget the money, because you
need contacts, experience and tofail, and hopefully that sets
the platform for you for thefuture.
Mark (27:38):
Right, last one. Of all the times over the years you
performed. Can you tell us onegig or show that is really
memorable.
Russell Gilbrook (27:48):
Probably San Paolo in Brazil, with Uriah
Heep. We played to 120,000people. Can't say any more than
that. It's six kilometres itwent back, all you saw was just
a sea of heads of crazy,craziness. And to be on stage,
playing in front of that, youknow, I mean I've done Hell Fest
which is like 60,000 people,we've done Download. Yeah, we've
(28:10):
done the big ones, between25,000 up to 80,000, but 120,000
in Brazil was, incredible.
Mark (28:20):
Well, I'm afraid that's all we've got time for today.
Russ, thank you so much forbeing on the show. It's been an
absolute pleasure. And ofcourse, a big thank you to you,
our listeners. Our guest thisweek is a bass player and
vocalist. His performance andrecording credits include Sir
Cliff Richard, Mary Wilson'sSupremes, The Foundations, Jimmy
James and the Vagabonds, Plan Band many, many more. He's also
(28:43):
played on West End and touringshows such as Mamma Mia, Grease,
Dancing in the Streets. NeverForget, I Love You Because, and
The Carpenter's Story. If you'dlike to find out more, you're
gonna have to join us next week.
Take care
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