John Bonham

Jason Bonham is the Son of legendary Led Zeppelin drummer, John Bonham. Jason first began playing drums at the age of 4. His first solo album, “The Disregard of Timekeeping,” appeared in 1989 and the single "Wait for You" was a major success. Bonham drummed for Paul Rodgers on the Grammy winning “Muddy Water Blues: A Tribute to Muddy Waters” project. A year later, with Slash and Paul Rodgers, he appeared at Woodstock II in 1994, followed by a stint with “Motherload” on their “Peace 4 Me” album. At the Rock and Roll Hall of Fame, Jason represented his father when Led Zeppelin was inducted during 1996. Bonham soon put together another solo project which culminated in the “In The Name of the Father: The ZepSet,” featuring the songs of Led Zeppelin. Proceeds from the album went to charity. The album followed up with “When You See the Sun.” Bonham drummed for Healing Sixes in 2000 and appeared in the film Rock Star, starring Mark Wahlberg. Following an album and tour with Debbie Bonham, younger sister of John Bonham, Jason was invited to drum for hard rock group, UFO. Bonham married Jan Charteris In May, 1990 and had a son named Jazz Bonham.
 
In my opion one of the greatest drummers of all time, Fool In The Rain, When The Levee Breaks, Poor Tom all great grooves. Moby Dick...out of this world and Good Times Bad Times with all the triplets and his lightning fast foot. And D'yer Maker the very first Zeppelin song i could play. One thing i loved about John Bonham is that all his drums seem to fit in the song. Any other comments on John Bonham


p.s. My first post :)

I would of loved to see JB's interpretation of RUSH songs. His drum sound was as much a signature of LZ as Plant's voice. I wonder what Distant Early Warnung would sound like with the JB touch. Both NP and JB are influenced by great jazz drumming, but they each went to opposite ends of the spectrum with their own developed style. Are there any Bonham clones out there that could put a Bonham type feel to a RUSH song. If so, I think it would be awesome.

What would Neil do with Matchbox by the Beatles??
 
i don't think they could trade spots because bonham ( to me anyway) played a little behind the beat where neil is more metronomic. that and the double bass aspect which i'm sure bonham could learn,if he didn't already know,would sound different.i think it boils down to a diffence of time feel.
 
Neil WAS a perfect time keeper, he learned how to play drums around the Test for Echo years when his instructor told him how most of drumming was done "in the air" in circles and the drum hit was at the end of a circular stroke. This was to trick him into changing his timing up a bit so he wouldn't sound so robotic.

Bonham fooled around with the time by being a bit later than expected giving you a latent sexy feel (kind of like sex), waiting in anticipation for the beat made the music exotic and alluring.

I don't think you could really have each other play the others stuff in the same stylee and patton, nor would you want to introduce someone like Stewart Copeland in that experiment either.

The results would be dissapointing in my opinion.
 
Guys, help me out please....

I've searched on this forum and I'm looking to see if there is an actual transcript of Bonzo's intro to Rock & Roll??

Can anyone help? Thanks...

I need it to resolve an "issue" with our 'sit-in' bass player....thanks
 
Hi fussion - here's is my interpretation of it. There are a few different opinions on this (as you know), but I think this is super close to - maybe exactly - what he plays.

Playing it as it is written below at the proper volume, up to tempo, and with the proper expression and such, it comes as close to the original as anything I've heard. If you play it as below and record it, play it back and compare it to the recording on Zeppelin IV, I think you'll be very happy with the comparison.

RockandRollIntro.JPG


In addition to the notes being pretty correct, I also would say as this is written, it is (imo) how the intro is counted by Bonham and the band. Very simply, it's a four bar intro (in 4/4 time), that comes in on the upbeat of 3 in the first measure - nothing more, nothing less.

What's the "issue" with the bass player (just curious)?

In case the JPG is a little messy to read/print off, here it is as a PDF:
 

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Sorry to sound like a putz, ....but.....what is ....."comes in on the upbeat of 3?"
 
Sorry to sound like a putz, ....but.....what is ....."comes in on the upbeat of 3?"

If you count 8th notes in time as "1-and 2-and 3-and 4-and", the downbeats are the numbers (when you say "1", "2", "3", "4"); the upbeats are when you say "and".

Alot of people count this way. Then they might count 16th notes in time as "1-e-and-uh 2-e-and-uh" etc.

It that example above, the intro phrase starts on the upbeat of 3 (or the "and" of 3). The first accented downbeat is on "1" of the second mesure of the phrase. Of course, when you're playing, you're not counting "1-e-and-uh, 2-and 3-and, 4-e-and-uh" necessarily, but while you're working something out, it might help to know where it falls with respect to time, placement in the phrase (which measure), etc. If for no other reason, it gives you some info to talk about if you need to relay info to the band (especially if the "you'll just hear it" method of communication isn't working).

More info than you wanted:

Like if I were playing this and the bass playing didn't hit with me right on "1" when I finished the intro - because this intro phrase is deceptive (it tricks your ear a little at first), I might hand him/her the phrase written out so he/she could check it out while I play it and get comfortable with it. If the bassists can accept a verbal rundown with no paper (which would be excellent), then I might just say something like "OK, I got a four bar intro. I'm going to count off and be coming in on the upbeat (or and) of 3 before bar 2 of the phrase. If your ear is tricking you on when to come in, just count 4 bars of time with me while I'm playing and come in."

I'd probably count the tune off until the bass player and the band were comfortable. It could be short, just 1-2-3 and then you're in on the upbeat.

This is off topic a little, but for me, I wish everyone could communicate a little better sometimes. It's hard to pick up things from people when they can't articulate what they mean - especially if your a drummer and they're talking about time or rhythm or something. As drummers, I think most of the time, we have pretty specific language about what things mean and when someone (like maybe a bass player) asks me to play a triplet before a break and what they actually mean is three quarter notes in a row, it's kinda a bummer - especially if you're playing a gig and haven't rehearsed.

Being able to talk a tune down in musical terms so everyone can understand what's going on before the tune starts isn't a trivial skill (imo), but one to hone - it just makes things alot easier.
 
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If you count 8th notes in time as "1-and 2-and 3-and 4-and", the downbeats are the numbers (when you say "1", "2", "3", "4"); the upbeats are when you say "and".

Alot of people count this way. Then they might count 16th notes in time as "1-e-and-uh 2-e-and-uh" etc.

It that example above, the intro phrase starts on the upbeat of 3 (or the "and" of 3).


Ok,...so the first snare hit is AND 3 and 4 .....or is it.....AND 4 and 1 ....

neither one counts right for me...I just can't count that?! I cant' hear it! I CAN PLAY IT....but I can't count it.....story of my freakin' life!
 
Ok,...so the first snare hit is AND 3 and 4 .....or is it.....AND 4 and 1 ....

neither one counts right for me...I just can't count that?! I cant' hear it! I CAN PLAY IT....but I can't count it.....story of my freakin' life!

I'd just count (in time): "1 2 3". Then you're in immediately.

Example: You could say, in time: 1 2 3, but think: 1-and 2-and- 3-play - the "play" is where you start playing - the "and of 3". Does that help?
 
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Hi again fusssion - if that explanation above doesn't clear up the counting, maybe the below jpg of the first two bars will:

RockandRollIntro-Counted.JPG
 
Re: John Bonham (Bonzo)

i respect bonham but i didnt like moby dick solo i didtn like anything.


I respect your opinion, but watch what you say. That solo, live or studio, is one of the best ever played and recorded in the history of drumming.
 
Hi again fusssion - if that explanation above doesn't clear up the counting, maybe the below jpg of the first two bars will:

RockandRollIntro-Counted.JPG

I've tried counting this every which way and I can't end on the right time when the band comes in.......I'll look at the above and go again.

btw, I found out that my bass player was NOT listening to the original recording (he was listening to a freinds band do the tune) ....so that's why he was off !!! Jeeeezzz....go figure eh?? He's on the right track now....NO PUN! :)
 
how's this?

rock 'n roll intro...

Very cool - That's pretty much what I come up with too. Only thing I hear differently is that I don't think Bonham articulates every 8th on the HH during that intro. I can hear the HH breathing a little here and there (basically by listening real close with headphones on). I think I can here where stick articulations on the HH are not present in the phrase.

I know that sounds totally weird that someone would even be that picky about it, but that's one of the small spices I think he uses to get the particular character in the line that he does. At least when I play the entire phrase with locked hands (both hands articulating all the 8ths), it doesn't sound quite right. When I add space as I think I'm hearing in the recording, it sounds extremely close to the original.

It's not really any harder to play it locked hands or leave a little space here or there, so probably whatever way someone prefers is the best anyway.

BTW, I'm totally not trying to start any arguments or anything - just explaining why I'm coming up with a little different interpretation that Nutha.
 
how's this?

rock 'n roll intro...

OK!! For me, this one is easier to read, ...no offense Chu....however,...I don't hear 4 ghost notes before the accents,...I'm only hearing 3....but....that's it no doubt...

Thanks Jason
 
OK!! For me, this one is easier to read, ...no offense Chu....however,...I don't hear 4 ghost notes before the accents,...I'm only hearing 3....but....that's it no doubt...

Thanks Jason

Cool - glad you got one way or another.
 
Bonham was a genius, his tuning technique his creative choice of what to play and what not to play and above all his natural 'swing'. No one comes close in all 3 areas of drum mastery. Ian Paice, Ginger Baker and Stuart Copeland are amazing, but Bonzo is out of this world. The outtake tracks of Bonham's playing in the 1978 sessions are absolutely authentic. Are there any other 'bootlegs' where the authenticity is dubious...?
Let me know....a drummer from Sussex, UK
 
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