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Post by jk on Oct 9, 2021 4:26:52 GMT -5
I just launched this thread at BBT and it struck me as a likely means of enticing you Beach Boys-focused folks into this section of the forum. (Needless to say, it can be a Beach Boys moment.) The thread title comes from a 1990 UK #3 hit by Chad Jackson.
Now, everyone must have a favourite moment or moments when the drummer does something that really makes their ears prick up. One of mine is the fill in Led Zeppelin's "When The Levee Breaks". Bonham's drumming on this track bludgeons the listener into submission and that fill (here shortly after 5:09) supplies the coup de grâce:
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Post by Al S on Oct 10, 2021 0:55:50 GMT -5
So many to choose from from this band's drummer, but one of my favourite Kit Moments, is in fact his entire performance here!
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Post by Al S on Oct 10, 2021 1:00:35 GMT -5
Love this fill just after 1.43! Then go back and watch the whole thing, kick-ass:
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Post by jk on Oct 11, 2021 2:28:20 GMT -5
Moving into jazz (whose bug still refuses to bite me), this for me is the ultimate track with the ultimate climax. I first heard John Coltrane's "Afro Blue" on a French radio station one evening in early '64. Everyone's playing is stunning throughout but drummer Elvin Jones's all-out assault in the coda (here just after the ten-minute mark) is surely in a field of one: en.wikipedia.org/wiki/Live_at_Birdland_(John_Coltrane_album) |
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Post by Al S on Oct 11, 2021 2:42:46 GMT -5
Love this fill just after 1.43! Then go back and watch the whole thing, kick-ass: Thanks for saving this thread, A. I understand the BB-focused thing -- obviously! -- but there's room for them here as well.  The Muffs (great name!) are a new band to me, although the name Kim Shattuck (R.I.P.) rings a small bell. Nice work there from Roy McDonald throughout. Same holds for Keith on "Bargain" -- and just about every Who song.  Thought of this one this morning. There's a lovely little drum break (care of Pretty Purdie) in Steely Dan's "Green Earrings" (here just after the two-minute mark), to say nothing of the way the guitar takes over: Kim replaced Kim Deal in a revived Pixies line-up for a year or so. |
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Post by Al S on Oct 11, 2021 2:45:24 GMT -5
Here's another nifty use of cute little fills that pep up an otherwise okay song.
Pretty heavily processed sound tho', I'm unsure if it's a drum machine or a real human on the recording.
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Post by jk on Oct 11, 2021 3:15:21 GMT -5
Here's another nifty use of cute little fills that pep up an otherwise okay song. Pretty heavily processed sound tho', I'm unsure if it's a drum machine or a real human on the recording. "Freeway Of Love"! According to the parent album's wiki page, it's the great Narada Michael Walden on drums. Looks like him in the video too. en.wikipedia.org/wiki/Who%27s_Zoomin%27_Who%3F |
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Post by lizzielooziani on Oct 11, 2021 8:37:26 GMT -5
Love Joe Morello of the classic Dave Brubeck Quartet.
Have never figured out how to post links from my tablet. But Morello performs a drum clinic during the great Castilian Drums number on their Live at Carnegie Hall album.
Read from more than a few that he influenced Bonham.
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Post by jk on Oct 11, 2021 9:06:39 GMT -5
Love Joe Morello of the classic Dave Brubeck Quartet. Have never figured out how to post links from my tablet. But Morello performs a drum clinic during the great Castilian Drums number on their Live at Carnegie Hall album.Read from more than a few that he influenced Bonham. Oh yes. I've always loved Morello's solo in "Take Five". Here you go, Lizzie (I assume this is the one you mean): |
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Post by filledeplage on Oct 11, 2021 12:56:34 GMT -5
Look at this back line! Brilliant cover - with Dhani next to Eric Clapton. 🎹🥁🎶❤️🎸🎷
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Post by jk on Oct 11, 2021 17:13:28 GMT -5
Back in 1963, "Wipe Out" was a cinch for any band to play -- apart from the drumming, that is. Ron Wilson's imitation of a machine gun effectively weeded out the beat-bashers from the musicians:
en.wikipedia.org/wiki/Wipe_Out_(instrumental) |
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Post by jk on Oct 12, 2021 16:07:25 GMT -5
Sting chose the cream of the musical crop for his 1985 debut solo album, The Dream of the Blue Turtles, with Kenny Kirkland (keys), Darryl Jones (bass), Branford Marsalis (saxes) and, on drums, Omar Hakim. I knew someone who saw Sting and this band in concert and was completely blown away by Mr Hakim's drumming. My favourite track on the album is "Children’s Crusade", largely thanks to the fabulous instrumental workout at the centre (it starts just after the two-minute mark). In many ways it reminds me of the instrumental breaks in "Feel Flows" and "Leaving This Town". Like them, its bedrock is a repeating riff used nowhere else in the song. All four musicians shine, but for me Hakim shines the brightest: en.wikipedia.org/wiki/The_Dream_of_the_Blue_Turtles |
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Post by jk on Oct 19, 2021 14:13:33 GMT -5
Just to prove I haven't forgotten the main reason for being on this board, here's "Johnny Carson" with its famous cymbal smash (here at 1:44)...
...followed by Lieutenant Pigeon's 1972 UK #1 "Mouldy Old Dough", with a similar although less aggressive smash at the same place in the song's structure (here at 1:51):
More cymbal stuff another time...
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Post by jk on Oct 20, 2021 6:09:10 GMT -5
Another pair demonstrating comparable unusual placements of a cymbal crash, in this case "on the two" after a drum crescendo in triplets, are Fleetwood Mac's iconic "Don’t Stop" (the crescendo begins here just after 2:30)…
…and Captain Beefheart's "The Spotlight Kid" (the much more protracted crescendo begins here at 2:17):
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Post by jk on Oct 25, 2021 7:18:40 GMT -5
By sheer coincidence, it's onward and upward to Captain Beefheart's next album, 1972's Clear Spot. "Big Eyed Beans From Venus", its penultimate track, features some ferocious drumming from percussionist Art Tripp, who has a Master of Music degree and had previously played with several orchestras (most notably the Cincinnati Symphony Orchestra) as well as with Frank Zappa. In true Beefheart tradition he was renamed Ed Marimba for his tenure with the Magic Band. On that same album's "Circumstances" he manages to sound like a drum machine. Actually, I saw Art in action with the Captain at the legendary concert at London's Albert Hall in 1972 (from the middle seat of the front row of the balcony), wearing a pair of panties on his head as was his wont. But I digress… en.wikipedia.org/wiki/Clear_Spot |
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Post by jk on Nov 25, 2021 13:55:30 GMT -5
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Post by jk on Jan 16, 2022 16:16:16 GMT -5
From the Wikipedia entry on Love's 1966 45, "7 and 7 is":
"It took a great deal of work to record, with Love's drummer, Alban 'Snoopy' Pfisterer, being challenged with its frantic demands after 30 takes or so, and being replaced on drums, intermittently, by Lee himself. In an interview for John Einarson's book Forever Changes (p117), lead guitarist Johnny Echols credits the drumming on the released record to Pfisterer."
(Snoopy was more of a keyboard player and moved to harpsichord and organ when Michael Stuart joined as the band's drummer.)
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dom
Grommet
Posts: 5
Likes: 9 
Favorite Album: Sunflower, tied w/ Friends
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Post by dom on Jan 16, 2022 23:22:15 GMT -5
I've played the drums since I was 6 years old! Which is much longer than I have played any other instrument... This is one of my favorite performances by the ever incredible Bill Bruford. Specifically in this part - previously the verse has been played in 3/4, but now the drums and bass lock into a pattern in 4 OVER the previously established 3 pattern, leading to a glorious over-the-bar geometry that really makes my head spin. Also notice how the guitars (synths?) emphasize every third sixteenth note (like 1e+a 2e&a 3e&a etc) while the kick drum and snare highlight consistently every four sixteenths, so they have this wonderful metric relationship.
If I may geek out a little more, each verse section (3:54...) does a wonderful job of blurring the line between being measures of 4/4 subdivided into triplets (12 triplets per bar), or being measures of 3/4 subdivided into sixteenth notes (12 sixteenth notes per bar). The guitar (synth?) emphasizing threes pleads to the case of 4/4, while the drums and bass emphasizing patterns of four lends itself to 3/4. That's NOT EVEN TO MENTION this section with the 4 over 3. It's not even a polyrhythm, it's literally 2 completely different grooves superimposed on top of each other, and it works magnificently! I could go on forever!
The whole song is absolutely worth a full listen, as long as it may be...
This is a song by The Mars Volta, with Jon Theodore who is now a member of Queens of the Stone Age. The grove on this song is so fantastic!
I could go on for a while about the many wonderful Mars Volta moments, so here's one more for good measure. Also notice the incredible soaring and slicing vocals of Cedric Bixler-Zavala!
edit: making this post has reminded me how in love I was with that Yes album.... time to obsess all over again! such is life...
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Post by jk on Jan 17, 2022 8:20:11 GMT -5
I've played the drums since I was 6 years old! Which is much longer than I have played any other instrument... This is one of my favorite performances by the ever incredible Bill Bruford. Specifically in this part - previously the verse has been played in 3/4, but now the drums and bass lock into a pattern in 4 OVER the previously established 3 pattern, leading to a glorious over-the-bar geometry that really makes my head spin. Also notice how the guitars (synths?) emphasize every third sixteenth note (like 1e+ a 2e &a 3 e&a etc) while the kick drum and snare highlight consistently every four sixteenths, so they have this wonderful metric relationship. If I may geek out a little more, each verse section (3:54...) does a wonderful job of blurring the line between being measures of 4/4 subdivided into triplets (12 triplets per bar), or being measures of 3/4 subdivided into sixteenth notes (12 sixteenth notes per bar). The guitar (synth?) emphasizing threes pleads to the case of 4/4, while the drums and bass emphasizing patterns of four lends itself to 3/4. That's NOT EVEN TO MENTION this section with the 4 over 3. It's not even a polyrhythm, it's literally 2 completely different grooves superimposed on top of each other, and it works magnificently! I could go on forever! The whole song is absolutely worth a full listen, as long as it may be... edit: making this post has reminded me how in love I was with that Yes album.... time to obsess all over again! such is life... Ah, so you drum. So does nts1drums, if he's still around -- and Joshilyn H, of course. Maybe others... Well I've been lucky enough to catch Bill B with King Crimson on two joyous occasions, once in the early '70s during the Larks' Tongues period (with Jamie Muir in attendance) and ten years later in the Fripp-Belew-Levin-Bruford configuration. I have that Yes album. In fact I was one of the first people ever to hear it! While loitering on the fringes of the music business in '69-'72, I knew this bloke who wrote out sheet music for Dick James Music. He had a brand-new acetate of Close to the Edge (imagine organizing the sheet music for that!!!) which he kindly lent me for a day.  Mars Volta sound stupendous! Thanks for sharing those. I found another epic track by them, which I dedicate to my friend of that name (well, the first part anyway): |
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alankard
Dude/Dudette
Module-Assembly Smile Hobbyist (MASH)
Posts: 52
Likes: 53
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Post by alankard on Jan 4, 2024 15:28:13 GMT -5
Ian Paice: Any Fule Kno That -- pretty much the whole thing, but especially the post-chorus bridge (twice!).
John Bonham: Candy Store Rock -- pretty much the whole thing, but especially "oooh, baby, it's all right..." (twice!).
Bill Ward: Trashed -- the "oooh, Mr. Miracle..." chorus (twice!). Surely this is what it feels like to be in a plane going down, with parts flying off the airframe, just before you jump into the sky and (you hope) manage to pull the ripcord.
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