Discuss --------

I would disagree on the grounds that we're comparing it to Paul doing it live. Live, that song is on a whole different level entirely, its unreal. The studio recording? Anemic by comparison, and I can understand thinking the GnR version is better.
 
Speaking of McCartney, I love 'Let Em In'. This is a song where the original still sounds fantastic, but so do a couple of cover versions. Billy Paul does a great version, more upbeat than the original. But has anyone heard Kirk Whalum's cover? It's my favourite. Awesome laid back groove.

https://www.youtube.com/watch?v=KWYyejcHqIg
 
Late to the party. Listening now. After reading through the thread I knew what
to expect...

The song or the music doesn't move me or speak to me really, and I can't really
say whether I like the song or not. But actually I'm not getting many of the posts
in this thread. Maybe when two or three guys start to write their opinion, others
automatically follow their footsteps, and that one direction becomes kind of hip...?

Musicality oftentimes is a matter of taste, but to me a big part of it is being able
to understand play and communicate structure, dynamics, groove, tension and
release, and the "big picture" of a song and its arrangement. Well you can't
honestly say those cats don't know any of this, can you!? I perfectly understand
it's a matter of taste, and this kind of music is quite polarizing, but come on -
no groove? No musicality at all? Ridiculous! I'm sure they knew very well
what they wanted to to.

Being a big Vinnie fan: Comparing other drummers to Vinnie is mostly kind of
unfair, and most drummers look pale next to Vinnie. But they're not the crappiest
crap because of this automatically.

Hadrien Feraud is a monster bass player, and I think he did well here - he totally
grooved (come on) and played cool and - to me - very "out of the way" parts.

Discuss. :)
 
Late to the party. Listening now. After reading through the thread I knew what
to expect...

The song or the music doesn't move me or speak to me really, and I can't really
say whether I like the song or not. But actually I'm not getting many of the posts
in this thread. Maybe when two or three guys start to write their opinion, others
automatically follow their footsteps, and that one direction becomes kind of hip...?

Musicality oftentimes is a matter of taste, but to me a big part of it is being able
to understand play and communicate structure, dynamics, groove, tension and
release, and the "big picture" of a song and its arrangement. Well you can't
honestly say those cats don't know any of this, can you!? I perfectly understand
it's a matter of taste, and this kind of music is quite polarizing, but come on -
no groove? No musicality at all? Ridiculous! I'm sure they knew very well
what they wanted to to.

Being a big Vinnie fan: Comparing other drummers to Vinnie is mostly kind of
unfair, and most drummers look pale next to Vinnie. But they're not the crappiest
crap because of this automatically.

Hadrien Feraud is a monster bass player, and I think he did well here - he totally
grooved (come on) and played cool and - to me - very "out of the way" parts.

Discuss. :)

Cobblers, there are hundreds of drummers better than Vinnie. Copeland and Paice for two. Get up to speed, just cos someone is your particular favorite is meaningless to others.
 
I think you got me wrong here. Vinnie is not my actual favourite drummer. But
it's not the point: It's just that Vinnie gets mentioned in several posts here (as
usual in this kind of discussions) as the example of a drummer who can play in an
extremely busily manner and still get away with it as being perfectly musical. And
while I agree with this (and wanted to back my opinion up with the fact that I love
Vinnie's playing, too), I think Vinnie is that good that a comparison to him
concerning busy (fusion) playing results in kind of a disadvantage to most
drummers :).
 
By the way, someone ask: It looks like Damien plays a Meinl Byzance Extra Dry ride, most probably medium.

Thanks, yep, it was me asking. That makes sense, because not only do I like that ride but I like this one too, https://www.youtube.com/watch?v=xTwYvEuMF1s

and they're both Byzance Extra Dry. This one is 22". Damien's is probably 22" too.





I'm not keen on having 22" inch rides, I prefer 18 and 20s, but the sound of the 20 extra dry doesn't quite cut it for me. I think I'm going to sell my 21" special dry ride and maybe another ride and get a 22" extra dry medium. The Byzance is damn expensive though, over £400.

Oh, 21" Transition Ride is also awesome, very similar and another consideration for me.
 
Last edited:
I don't know if it is a Hip_hop thing, a rap thing, a gospel thing, just what, but when did all of this over playing begin? These are drummers with obvious skills, that are going so far beyond being a drummer and keeping the rhythm section in tow, that to me they are very distracting.


He may have some obvious skills, but playing in time isn't one of em'.





I think you got me wrong here. Vinnie is not my actual favourite drummer. But
it's not the point: It's just that Vinnie gets mentioned in several posts here (as
usual in this kind of discussions) as the example of a drummer who can play in an
extremely busily manner and still get away with it as being perfectly musical. And
while I agree with this (and wanted to back my opinion up with the fact that I love
Vinnie's playing, too), I think Vinnie is that good that a comparison to him
concerning busy (fusion) playing results in kind of a disadvantage to most
drummers :).



In defense of VC, 'being perfectly musical (or even musical)' is subjective. VC plays his parts in time with precision at will, something all drummers struggle with, he's simply in the highest percentile of accuracy when it comes to timing, that's why ppl hire him... the really odd time, crazy, over the top fills stuff is just a bonus.

Playing in time is not a subjective issue in music, you either can (and do it well), or you struggle, as in its noticeable (on a pro level) to experienced ears.



The singer girl has issues with range, she's flat with the higher notes. Her head voice is not developed and from a pro singers perspective she's straining at the edge of her chest/mid voice capabilities, she's transitioning from them to nothing, hence the flatness.


This band would IMO be challenged to record in separate tracks.
 
Back
Top