Top 5 Fav Drummers (inspirational to your style)

Bootz

Junior Member
What I want to sound like.
1. Dave Grohl - Every track on that Them Crooked Vultures cd is perfect, nothing too complex but it just fits.
2. John Bonham
3. Benny Greb
4. Jojo Mayer
5. Phil Rudd

What I actually sound like.
A kid in his basement.
 

Jay Christ

Junior Member
Chris Adler - Lamb of God
Brann Dailor - Mastodon
Jason Bittner - Shadows fall
Mike Portnoy - Dream theater
Matt Greiner - August burns red
 

shrink

Senior Member
Steve Gadd (for his sheer groove, and for being one of the nicest guys around)
Joe Morello (as with steve, his playing just gets my feet tapping)
Bernard Purdie (always brings a smile to my face)
John Bonham (although different from the others here, he brought many jazz/fusion elements to modern rock drumming, such as popularising tuned bottom heads)
jojo meyer (just funky)
 

unfunkyfooted

Silver Member
That does it, Unfunky - you're now my official press agent ... your first mission is to get more than two drunks attending my band's gigs :)

if you promise to tune my kit for me, i´ll see what i can do. : )

but you should know, i´m better on the stage than in the press office. : ) : )
..................................................................
 

Pollyanna

Platinum Member
i can totally hear Prairie Prince in your playing. but it´s hard to say exactly what it is i hear -- i think mostly the tuning and yes feel. but not a carbon copy at all. you´re one of the tightest drummers i´ve heard and i would love to play with you one day. you´ve got an unbelievable pocket and i loved the video you posted of your Club Gig.
That does it, Unfunky - you're now my official press agent ... your first mission is to get more than two drunks attending my band's gigs :)

In drumming I'm worthy of tying Prairie's shoelaces ... I think what you're hearing is a mid-70s approach that probably stemmed from players like Bonzo and Ian Paice that found its way into the playing of many rock drummers of my vintage.

IMO the time of our mid-to-late teens and the players we dug then have a huge influence on us. My time was the mid-to-late 70s and since I was always a bit behind the times (eg. I got into King Crimson in 1975, a year after they first broke up) I was most thrilled by the drummers of the late 60s to the mid 70s. I didn't approve of disco and punk.

If you're ever in Sydney, give me a yell and we'll grab a studio. Always keen to jam :)
 
W

wy yung

Guest
Impossible to answer really. I love Bruford but because I love him so much I avoided using his style for fear I'd become a clone. Although many things he does have crept in, but I play them differently.

My list would change daily depending on what I was listening to. People who have been major influences include Porcarro, Mike Clark, Keltner, Jo Jones, Buddy, Morello etc. Impossible to answer. I love too many drummers.
 

tvplaysdrums

Junior Member
My top 5 (in no particular order):

Marco Minnemann
Gavin Harrison
Benny Greb
Simon Phillips
Jojo Mayer

Honorable Mentions:

Mike Portnoy (his playing is what first inspired me to get into drumming)
Chris Coleman ( only very recently did I discover him. He may move into the top 5 soon!)
Adam Deitch (solid SOLID groove guy)
 

beastdrummagirl

Senior Member
Ok. I have many inspirations but here it goes:
1. John Bonham (Led Zeppelin.. you all should know that)<-- Main inspiration for drumming
2. Carter Beauford (Dave Matthews Band)
3. Don Henly (The Eagles)
4. Zac Farro (Paramore)
5. Sam Applebaum (Veil Of Maya)
 

unfunkyfooted

Silver Member
One can only hope :) Are we the only Prairie Prince tragics on the forum? I idolised him in my youth. His drum track on Pimp is such a killer http://www.youtube.com/watch?v=qQqJDFJouYA ... especially his wonderful ideas in the transition at the end of the strings break from about 2:09.
i can totally hear Prairie Prince in your playing. but it´s hard to say exactly what it is i hear -- i think mostly the tuning and yes feel. but not a carbon copy at all. you´re one of the tightest drummers i´ve heard and i would love to play with you one day. you´ve got an unbelievable pocket and i loved the video you posted of your Club Gig.
 

Skitch

Pioneer Member
I always liked Bobby Colomby too and found his feel jazzy feel pretty similar to Danny S's, tho' early Chicago seemed to give Danny more chance to open up. I think of Chicago in a similar way to how I see The Tubes - their early albums were brilliant (with a class drummer in Prairie Prince) but later on they played sooky and bland commercial music - and made some real money. Ai ai ai!
The days of an experimental format - FM radio!


Mike

http://www.mikemccraw.com
http://www.dominoretroplate.com
http://www.patentcoachmike.com
http://www.youtube.com/drummermikemccraw
http://www.myspace.com/drummermikemccraw
http://www.facebook.com/mike.mccraw
http://www.linkedin.com/in/mikemccraw
http://twitter.com/mikemccraw
 

unfunkyfooted

Silver Member
One can only hope :) Are we the only Prairie Prince tragics on the forum? I idolised him in my youth. His drum track on Pimp is such a killer http://www.youtube.com/watch?v=qQqJDFJouYA ... especially his wonderful ideas in the transition at the end of the strings break from about 2:09.




Unfunky - I think I see what you mean by the ba-doom thing now. I use that one at times to make up for my rusty, slow unfunky footwork. Hot drummers usually play those 16ths as doo-doom on the kick rather than the snare/kick ba-doom, although the ba-doom has a special flavour and sounded great when played with conviction a la the MFSB track. Love the sax and the vibe of the backing in that track too.

If this forum and my keyboard could allow for typed drum notation, some of these conversations would be easier :)
hee hee...yes. one day everyone will know the term The Funk Hump.

a:¨You know that lick at 4:50 ?¨
b: ¨Oh you mean The Funk Hump¨ ?
a: Ummmm....the one that goes ¨Ba-Dooomp"?
b. Yes, that´s called ¨The Funk Hump¨.
a. I see....tell me more...
b: Well, there´s all sorts of licks....The Money Beat, The Monkey Beat, The Purdie Shuffle, The Funk Hump....Ringo Fills....all sorts of licks...The Disco Beat....The Wipe Out....The Monie Monie....The Bo Diddley....

: )

i know what you mean about substituting the snare hit for one of the bass hits. i used to do that on the intro to ¨Walk This Way¨ and now that i can (barely) play all three licks on the bass drum, i must admit that it still sounds better with the snare as the first hit. provided i don´t hit the snare so hard that it´s painfully obvious that it´s the snare.

a: You know .....tssss bop / ba - boomp booomp bop.
b. Oh yes...the Walk This Way....

: )
 
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Pollyanna

Platinum Member
KIS got ya thinkin' huh?
One can only hope :) Are we the only Prairie Prince tragics on the forum? I idolised him in my youth. His drum track on Pimp is such a killer http://www.youtube.com/watch?v=qQqJDFJouYA ... especially his wonderful ideas in the transition at the end of the strings break from about 2:09.


Unfunkyffoted said:
in the MSFB song, the Ba-Dooomp is playing in the ride out starting at 4:50. it is also played on the previous sections at/ or after about 1:50 2:50 and 3:50. i´m not sure if that is the C section of the song, but alot of the song´s solos are played over that section. 1-2-3-4 Ba-Dooomp-2-3-4. MFSB were the house band of Philadelphia International Records.
Unfunky - I think I see what you mean by the ba-doom thing now. I use that one at times to make up for my rusty, slow unfunky footwork. Hot drummers usually play those 16ths as doo-doom on the kick rather than the snare/kick ba-doom, although the ba-doom has a special flavour and sounded great when played with conviction a la the MFSB track. Love the sax and the vibe of the backing in that track too.

If this forum and my keyboard could allow for typed drum notation, some of these conversations would be easier :)
 

keep it simple

Platinum Member
I always liked Bobby Colomby too and found his feel jazzy feel pretty similar to Danny S's, tho' early Chicago seemed to give Danny more chance to open up. I think of Chicago in a similar way to how I see The Tubes - their early albums were brilliant (with a class drummer in Prairie Prince) but later on they played sooky and bland commercial music - and made some real money. Ai ai ai!
Ha, funny how this thread's discussing 2 of my five choices, Prince & Seraphine. KIS got ya thinkin' huh?
 
G

gf2564

Guest
re: Carnegie Hall---I agree that Seraphine was really good on the whole thing and many of the other points you made. But I think by the time this box set came out, the genre these guys helped create had evolved to an entirely higher level performance wise, especially when BS&T, Tower of Power and Chase were using famous world class studio horn players who were performing both creatively and cleanly with uniformly consistent performances even with all the drugs.

And as great as the Chicago horn line was /and still is/ they've never been those kinds of players. Trumpeter Lee Loughnane is central to this point. Back then he was a solid player, but it would be unfair to compare him to a first call NYC studio player like BS&T's Lew Soloff or an immortal lead trumpet player like Bill Chase. The same can be said for Parazader who may have been a gifted classical clarinetist but still would never get anyone to forget Fred Lipsius /BS&T/ or Lennie Pickett /Tower of Power/ as a saxophonist. It's also cool how youtube gives you a chance to compare the live shows of all those late 60s early 70s bands. I think when you do that, the results are clear. Now as rhythm sections go I always liked Chicago more. For my money Kath always sounded great while Cetera was an underrated bass player. And yeah in those early days Seraphine especially, was a beast.

Chicago V-7---I agree there was some good music on those recordings with the emphasis being on some. On the first three everything was good. I just think that with Saturday in the Park, they jumped the shark and the whole thing was never the same musically.

Yeah, you're right this Chicago secondary discussion was a minor derail, but an interesting one that I don't think really hurt anything.
Yeah, for a band that was known as a "rock band with horns" (at least in the beginning), in my opinion, the "weakest" musicians of the group were the horn players by far. Robert Lamn was not very strong on keyboards either, but he was a heck of a song writer during those early years. It is great to see those old youtube videos of various artist of my youth!
 

unfunkyfooted

Silver Member
UFF, you're probably right about Chicago. When they took out the jazzy and edgy bits they poured out the beer and only offered up froth. I don't think losing the personality of Danny's drumming helped either.

But I can't find the "ba-doomp" lick you're referring to in those links. Can you help out an old lady and give me the times when it's done? :)

DED, I always thought Jon played those things as one track rather than overdubbed. It's all do-able (which of course doesn't mean it was done :). But yeah, some of the quirks that really made the song for me were missing live (http://www.youtube.com/watch?v=u_yeVpAVDXs). That ultra-staccato sound in the studio is very unforgiving - your timing has to be spot on (eg. I Send A Message). Michael Urbano was perhaps one of the best drummers of the 80s bands. Tight as a fish's behind but he was never an influence on me.

80s drumming is the style that caused me to quit playing - having to play fat monster backbeats super-clean and to strip out so much of the ghosting and little musical interactions that I pretty well live for when I play. I never played more tightly than I did back then - every note was scripted - and I never found drumming to be such a chore. Once I realised I couldn't "make it" and avoid the dreaded normal 9-to-5 existence and all the family crap there was nothing to hold me.

I consider myself a 60s/70s kind of drummer influenced by people of those times, so every time I play someone a track of my old bands and someone says it sounds 80s I die a little lol
in the MSFB song, the Ba-Dooomp is playing in the ride out starting at 4:50. it is also played on the previous sections at/ or after about 1:50 2:50 and 3:50. i´m not sure if that is the C section of the song, but alot of the song´s solos are played over that section. 1-2-3-4 Ba-Dooomp-2-3-4. MFSB were the house band of Philadelphia International Records.

the same lick is added for emphasis in the INXS song ¨Burn For You¨.

regarding playing overdubs as one part...that´s how we get better. i didn´t know that there are two guitar parts on the intro lick of America´s ¨Ventura Highway¨. i always thought that it was one guitar (and played it that way) til i heard it in stereo one day. one guitar was panned hard left and the other was panned hard right. THEY WERE ACTUALLY PLAYING DUAL HARMONIES !!!!!!!!! when i was growing up, there were no synthesizers or keyboards in local bands, so i had to cover the lead and rhythm guitar parts plus whatever keyboard lines were important to the groove AND whatever incidental fills and farts and bells and whistles might be an integral part of the presentation. i can play the Black Crow´s ¨Twice As Hard¨ with one guitar (3 Parts) as well as Alice In Chains´ ¨Damn That River¨ (also 3 Parts).

regarding Tim Farris live....i was looking through some ¨Don´t Change¨ clips just last week and it doesn´t even sound like the same drummer that´s on the recording. in fact, it seemed that of the 3 or 4 clips i listened to, there were two distictly different drummers even on those live clips...neither of whom sounded like the studio recording.
 
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Pollyanna

Platinum Member
Now as rhythm sections go I always liked Chicago more. For my money Kath always sounded great while Cetera was an underrated bass player. And yeah in those early days Seraphine especially, was a beast.
I always liked Bobby Colomby too and found his feel jazzy feel pretty similar to Danny S's, tho' early Chicago seemed to give Danny more chance to open up. I think of Chicago in a similar way to how I see The Tubes - their early albums were brilliant (with a class drummer in Prairie Prince) but later on they played sooky and bland commercial music - and made some real money. Ai ai ai!
 
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