Untitled Document

Linda Pitmon

New York City

Steve Wynn Quartet, Amy Rigby

Zu Zu's Petals, Splendora, Fauna, The Mean Reds, John Wesley Harding, and a host of others

Email address- Pitmonster@aol.com
Website- http://www.stevewynn.net

Kirk Swan, Blessing in Disguise (Blue Rose Records, 1998)
Dana and Karen Kletter, Dear Enemy (Rykodisc, 1998)
Russ Tolman, City Lights (Blue Rose Records, 1998)
Splendora, theme song to MTV's animated show, "Daria" (1997)
Chris Cavacas, Anonymous (Normal Records, 1997)
Steve Wynn, Sweetness and Light (Zero Hour Records, 1997)
The Drovers, High Sky Show (Tantrum Records, 1995)
Zu Zu's Petals, The Music of Your Life (Restless Records, 1994)
Zu Zu's Petals, When No One's Looking (Restless Records, 1992)

I don't know if my love of drums was inspired by American Indians … but there is no doubt that from an early age I firmly believed that I was an Indian and had been born into the wrong family. I bought a toy drum for a dollar while on vacation at age 4 and proceeded to torture my parents by cranking "Hound Dog" by Elvis Presley all day while I watched myself play it in the mirror.

I am as right-handed as the day is long.

I started learning rudiments and how to read music in school at age 8 but never had the opportunity to play a drum kit until I was 21. After that I hung around a lot of moldy basements waiting for the guys to finish band practice so that I could hog the drums and bang for a while. I listened to my favorite records to guide my taste…

My first drum kit was a rather unique number consisting of Tupperware, Folger's coffee cans, and Quaker Oats containers played with the purple sticks in the Tinker Toy set or standard No. 2 pencils. This was a great-sounding kit.

I now own a 5-piece (I play a 4-piece, however) Pearl Export kit with a metallic silver finish. It looks great under the lights and soundmen love it, but sometimes I long for the coffee cans.

Mostly rock, but in my session work I've played folk, country, funk and fake jazz. You name it, and I'll bastardize it.

My influences are many and varied but I'll name a few here for you: Ringo Starr (The Beatles), for making the most eccentric parts seem like a logical choice and f or the sense of humor in his playing. He seems to be completely underrated by many musicians. Dave Mattacks (Fairport Convention/Richard Thompson), for his restraint and use of space. He says more with what he doesn't play. I also like his glasses. Kenny Jones (The Small Faces/The Faces/The Who), for embodying the abandon and passion of mod drumming. It's too bad The Who decided to rein him in after he replaced Keith Moon. Perhaps they thought his style would be irreplaceable. I would've let him have a go. Zigaboo Modelist (The Meters), for making my booty move and making me hungry. Georgia Hubley (Yo La Tengo), for knowing how to propel song, play a groove and sing great while looking really cool.

Whatever doesn't break..

Begrudgingly.

No, I'm the one with the credit card and "Prospective Commission" written on my forehead. If I don't like the way they treat me, I leave.

I learned stick control and tempo at such an early age that it's pretty much ingrained in my playing. I never wanted to be a "Berkelee College of Music" kind of player, though, so I just try to follow my instincts and allow myself to play the weird things that I love and leave my head out of it.

See #7.

You mean besides drinking the bass player's beer? I always appreciate a drummer that propels a band and that doesn't get in the way of the groove.

The locker-room talk.

I didn't give it but it's the most satisfying one I've seen yet. Coleen (the fabulous bass player in my old band, Zuzu's Petals) was approached by an obnoxious drunk at a show around 1989 who said, "You know what the best thing about your band is?", to which she replied, "No". "Your tits" was the last thing he said on his feet. She punched him square on the jaw and put him on his ass in full view of our biggest supporter at the time, Dave Pirner, who laughed and applauded loudly. Those were the days.

"Lift with your knees. I'd hate to see you strain your back."

I never used to think about it much, and I guess that's why I'd have to say "neither." I was sort of oblivious to the idea that a girl drummer might be considered an oddity because I was more interested in the attention of being in a punk rock band. In the late '80s an "all-chick" punk/pop band could still have an incendiary effect in some places of the world.

Yes, the second surgery on my left elbow put me out for about 3 weeks.

I knew when I was 4 years old. Kids are good at knowing what makes them tick, it's only as an adult that I sometimes have to remind myself.

Four days -- four days to learn how to play drums AND a 20-song set. It was a disaster enacted upon 300 paying audience members TWICE in one day. I had to be carried back kicking and screaming for the evening set.

Yes, but I prefer the Sunday "Times."

Jack of all trades, master of none.

Lessons are always good if you're not familiar with the rudiments of your instrument. There are one-on-one lessons (usually the most expensive) or group for drum kit or hand percussion. Many communities have women-only classes and groups, which might appeal to some people. I've found that once you know the basics, the best way to learn is to listen carefully to your record collection and to go see live music to figure out the method to their madness.

Probably the same one everyone likes to hear: "You inspired me to learn to play."

There is so much to know about how music works, how the pieces fit together and what one tiny change can create. I just want to keep playing with great musicians like I have been lucky to do over the past few years and to learn from them.

Having flowers thrown at me in Italy. Having bottles thrown at me in Albany.

Paying my bills.