What motivated you to decide to play the drums?
It was 1973 really when I was living in the house I was talking about earlier. There were actors living there, there were musicians who lived there and there was a dedicated music room and I just wanted to play. And once I started I just loved it. With a drum kit you can just sit down and start playing. You don’t have to mess around with electricity and leads. It was an easy choice for me.
Obviously I started having lessons and there was a drummer who lived in the house, Lyndzee Arnold, (who now lives in Hobart, Australia), and he was an old jazzer and he had a profound effect on me.
Lindy Morrison performs with the Go-Betweens at the 1987 Roskilde festival. Photograph: Sven Niecheol
Were there any women drummers who influenced you?
Yes, Karen Carpenter was the only women drummer I was aware of in the beginning. Later on there was Mo Tucker, but I really loved Karen Carpenter and I always thought it was a real shame that she moved off the drums towards singing. But she did have a pretty sad time of it.
Once you commit to the drums does that mean committing to a high level of practise?
I think a high level of practise came later. In both theatre companies I worked in we were always trying to incorporate the drums, but I didn’t really start working practising hard until 1978.
It takes years to get your chops together. It really is so much work. You have to work at it every day and while I am one of those people who likes playing on the practise pads, I think it is a good idea to work around the kit as well, especially to work your feet. I have just spent the last two years getting my chops together again, getting myself to a fast efficient skilled level.
For more information regarding the work of Lindy Morrison see the links below
