Re: John Bonham
Most of what is said about Bonham focuses on his power, triplet fills and right foot, and rightfully so, they are the most recognizable parts of his playing, but some of my favorite Bonham tracks are the ones where he either leaves something out or changes something just to throw you off a little bit. Here are a few:
Out On The Tiles: At 1:45 of the song he turns the established groove inside out so that the bass drum triplets are played later in the groove. I also love the string of triplets he throws in at the end when the song is fading out, I always crank it to hear them better.
When The Levee Breaks: Right before the end guitar solo, at 5:02 Bonham leaves a single snare note out that he normally plays in other parts of the song. It's kind of like a cue that the song is almost over. Love it.
The Song Remains The Same: At 2:50, he takes the groove he's been playing and hits the snare one beat late, creating the perfect amount of tension for the guitar that follows. I also think his open hi-hat slosh sound in this tune is the best I've ever heard, well maybe right behind Rock and Roll.
No Quarter/Hey Hey What Can I Do: I just really like his crash cymbal placement in these songs, like the crashes he puts at 5:23 in NQ and 1:24 in HHWCID. So simple, but really enhances the songs.
Kashmir: The two bass drum triplets he throws in at 2:51.
Trampled Under Foot: If you listen closely to the 6 funky open hi-hat barks he starts at 5:04, the first 3 he deliberately leaves the hi-hat open longer than the last 3, and then he goes to that ride for just one measure.
The Wanton Song: At 3:33, instead of playing a straight 16th note snare fill that most people would have, he leaves one beat out, so that for a split second the band is completely silent. Just awesome.
Fool In The Rain: At 5:12 he adds a single ride bell beat to the groove which is easy to miss, but I've always enjoyed.
Anybody else agree that some of his best stuff is subtlety in the groove like above?