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| The Anton Fig Interview! |
| Anton Fig has been a part of millions of households every weeknight for over 15 years as the highly regarded anchor of The Late Night Orchestra for "The Late Show With David Letterman". Not only has Anton been the rock solid drummer, but he is also an occasional part of many of Dave's hilarious late show skits! But the Late Show isn't Anton's only gig by any means. He is also a much-in-demand session drummer all around the world, and when a big gig calls for a major-league drummer, Anton is at the top of the "A list". He has played with the likes of Bob Dylan, Mick Jagger, Paul Simon, KISS, and countless others. Now Anton has decided to spread his wings even further as he has just finished his own solo album "Figments" which feature countless musical guests. Anton was able to answer some questions via his website message board for Me and is a very intelligent and kind Man to his fans. You will no doubt enjoy this interview! |
| Q: How has the promotion been going for Your new album? Has Dave plugged it on the show yet? A: Dave has heard the record and really likes it (ed. note: Anton is to appear as Dave's musical guest on the May 24 show to promote "Figments") Q: After so many years of playing with Paul Shaffer on the Late Show, is there anything that Paul likes to do to "challenge" the band or to keep things fresh? A: Every day there are challenges because it is a different show. We are never quite sure what we are going to walk into and we have very little time to get it done. Paul is constantly updating stuff and working on getting things sounding right, so we are always on our toes. It all comes with the gig. Q: How difficult was it for the entire Late Show staff to come back for the first time after the September 11 incident and carry on with the show? Did it put Dave and the staff in the quandry of "What can we joke about?" or what was right or wrong to talk about? A: The show happened to be off during the week of the attack. On Sunday, I ran into the producer of the show outside a firehouse, and he had said that Dave had decided to go back the following day, although he was not sure of what kind of a show he was going to do. We did not play the opening theme of the show for over a week and very slowly the show moved towards getting back to how it had been before the tragedy. Dave made a brilliant and impassioned talk at the top of the show which was very serious except for the last segment, when it allowed itself some levity. No one knew what was going to happen during the show or how much comedy to add. It was a very hard show for Dave to do, but he came through brilliantly, displaying all the emotions a catastrophe of this magnitude would ellicit. Q: I fondly recall one night on the Late Show when apparently Dave had a bit that was going badly and he finally turned to You and asked You to play an impromptu drum solo, which was really great and had the crowd going. Are You ever on "standby" to do things like that when a situation arises? A: ... and then he asked Me to do it again the next day! Sometimes when we record the theme at the end of the show, we have to do it a bit longer for timing issues, and so I'll get to play a bit longer before the final chord. Q: I was wondering what techniques You used to warm up Your limbs before gigs or the Late Show? Do You practice with a pad or anything like that? A: Sometimes I'll practice on a pad or a pillow before a gig, but I don't warm up before the Late Show. Q: Anton, I know You get beaten to death with these kind of questions, but since it has become public knowledge that You played on a majority of the KISS "Dynasty" album, I was just wondering if You were ever in the studio at the same time as Peter Criss, and if so, what was his reaction to being replaced on most of the drum tracks? A: No, we were never in the studio at the same time, so I can't answer that question. Q: Were You told to play in a specific way on the album as far as "It has to sound like Peter Criss" or were You allowed to play the way that You wanted? I ask this because it is very apparent that your sound was totally different to Peter's. A: I was allowed to play in my own way. I'm sure Vinnie Poncia (the album's producer) and the band made some suggestions, but no different from any other recording situation. Q: On Ace Frehley's first solo album, you got the opportunity to work with legendary producer and engineer Eddie Kramer. After listening to lots of records that Eddie has produced or engineered, your drum sound on Ace's album is like no other. How did You acheive that great compressed punchy sound of the tom toms? A: You are going to have to ask him that! But Eddie taught Me that You have to get the drums sounding good from Your perspective, ie tuning up and resonating well. That way, it is up to the engineer to enhance your sound rather than manufacture it from a deficient sound. Eddie did his thing once I had the drums sounding good in the room. Actually I was set up on the landing of stairs, something for which he is legendary. Q: How much of a culture shock was it when You arrived in America from Your hometown of Cape Town, South Africa? A: Believe it or not, the hardest thing was not understanding the humor. I would watch TV and not have a clue as to why people were laughing, even though it was in English, more or less. I guess I was shocked for about a year or two and I just immersed myself in my work and studies at school to get by. Q: Did You have the chance to hear very much American music growing up in Cape Town? A: We heard African music on the local radio and had to pick up songs from overseas on shortwave radio from Lorenco Marques (now Mozambique). There were very little touring acts down there, so we had to rely mainly on records. Q: I know that you have been playing Yamaha drums since 1987 and you are now amongst the great drummers to have your own signature snare. I was wondering what drew You to the endorsement with Yamaha? A: Yamaha are very consistent drums. They are well made and sound good to Me, and I know what I am going to get. There are other excellent manufacturers out there and I own some other kits , but I end up using the Yamaha's almost all the time. Q: Knowing that You have just formed your own label, Planula Records, to promote Your new "Figments" CD, have You entertained the thought of possibly taking on any other bands or performers under Your label? A: At present, I am just working on my record, but it is something I may do in the near future. |
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