On 04/15/2013 11:32 AM, salyavin808 wrote: > > --- In FairfieldLife@yahoogroups.com, Bhairitu <noozguru@...> wrote: >> On 04/15/2013 09:50 AM, salyavin808 wrote: >>> --- In FairfieldLife@yahoogroups.com, Bhairitu <noozguru@> wrote: >>>> On 04/14/2013 11:04 PM, salyavin808 wrote: >>>>> --- In FairfieldLife@yahoogroups.com, Bhairitu <noozguru@> wrote: >>>>>> On 04/14/2013 02:45 PM, card wrote: >>>>>>> --- In FairfieldLife@yahoogroups.com, "salyavin808" <fintlewoodlewix@> >>>>>>> wrote: >>>>>>>> --- In FairfieldLife@yahoogroups.com, "card" <cardemaister@> wrote: >>>>>>>>> --- In FairfieldLife@yahoogroups.com, "salyavin808" >>>>>>>>> <fintlewoodlewix@> wrote: >>>>>>>>>> http://www.telegraph.co.uk/news/newsvideo/weirdnewsvideo/9791039/Robot-band-performs-heavy-rock-classic-Ace-of-Spades.html >>>>>>>>>> >>>>>>>>> Just listened to the original tune. The drummer is as "awful" as >>>>>>>>> that robot! (Perhaps that "awfulness" is part of that band's style??) >>>>>>>> The drummer on the original Ace of Spades track was Philthy animal >>>>>>>> Taylor, who is one of my fave drummers. I saw Motorhead many times >>>>>>>> and they rocked. >>>>>>>> >>>>>>>> http://www.youtube.com/watch?v=5kdu2GoagU0 >>>>>>>> >>>>>>>> http://www.youtube.com/watch?v=xWiVY9nxCZs >>>>>>>> >>>>>>> People obviously like different aspects of drumming, too. >>>>>>> >>>>>>> I seem to recall Bhairitu once mentioned Elvin Jones and >>>>>>> Max Roach as some of his favorite drummers. I don't like >>>>>>> their styles at all, but many people apparently do! >>>>>> It's not about styles, it's about musicianship. There's show >>>>>> performance and musical performance. But there will definitely be a gap >>>>>> in understanding between a professional musician with over 50 years of >>>>>> professional experience and a listener or amateur. ;-) >>>>> Sure, you've got to be able to *actually* play but on top of >>>>> that some drummers seem to have a layer of panache that most >>>>> struggle to attain. >>>>> >>>>> I always thought it was unfair that even the great drummers >>>>> wouldn't get a dime of song writing royalties even though >>>>> the band wouldn't be anywhere near as good without them. >>>>> >>>>> Can you imagine Zeppelin without Bonham? Or the Police >>>>> without Copeland? Or anyone without Vinnie Coliutta? >>>>> Most are just functional these days and don't dazzle in >>>>> their own right. >>>> Song writing royalties usually go to the writers themselves. You don't >>>> see Ringo on Beatles song credits do you? >>> Yes I know, but the point I'm making is that the drumming on say, >>> When the levee breaks by Zeppelin is as much part of the song as >>> the tune and lyrics but he wouldn't have got any extra for writing >>> what is not just a kick ass beat but also the most sampled beat in >>> the whole of music. >> That's not the way song copyrighting works. It's about the words and >> melodies not solos by that artists. It's always been that way. And even >> then I would highly doubt that Bonham played the same solo every time >> (boring, boring, boring). He got his bucks off the album royalties and >> concert profits. Unfortunately for some of these artists those bucks >> went up their nose. > Zeppelin made a fortune, they had a much better record deal > than The Beatles, their manager was a terrifying ex-Hells Angel > and would beat the shit out of anyone who didn't pay up, which Brian Epstein > probably never even have thought of. > > They did make excessive powder consumption part of their lives > though, it finished off John Bonham, he died of rock and roll and > that was that. Best rock group with the best rock drummer. Whereas > an awful lot of musicians are interchangeable, JB was irreplaceable.
Small story, my rock group opened for the Yardbirds summer 1967 at a concert in Richmond, BC. Jeff Beck had left the group and I recall the two sorta shy guys who had just joined backstage. Of course one was Jimmy Page. Drummers develop styles in very idiosyncratic ways. Sometimes it is because of a lack of formal or fragmented training. These days they're likely to have not only a set background but serious percussion training too. When I was in high school I studied with the Archer-Epler world champion who had a lot of technique, Del Blake from Spokane, Washington. I made a monthly trip to Spokane to study with him. He went on to play drums in Sammy Davis's orchestra as well as Merv Griffin's band (run by bassist Ray Brown). Rudimental drumming was all about having chops back then. It was also not very conducive to set playing at the time and we talked about methods of doing that. Billy Cobham was one who solved that. In college, as a music major, my instructor frowned on rudimental drumming and we focused on the techniques of Fred Hinger, principal persussionist of the Philadelphia Philharmonic. That was all about phrasing and musicianship as well as playing "out of the drum." Later I had a former New York drummer who had studied show drumming and taught using a wide range of styles. Nothing was verboten.
