hmmm...yes...experienced drummers don´t need to physically bash their drums to get a loud sound...but i was thinking more of the last two licks of ¨Hot Stuff¨ (album version), the intro cracks of ¨Beast Of Burden¨ and ¨Tumbling Dice¨ (before the drums are lowered in the mix.
then again, maybe it was Martin Chambers i was thinking of....lol.
¨All Down The Line¨, ¨Heartbreaker¨" and ¨Bitch¨ are examples of the PUSH i was referring to.
regarding INXS - ¨Don´t Change¨ is some FINE drumming and is next on my list of Licks To Get.
you don't have to listen to Meg to hear simplicity!
I always forget about those two...lol
I think his best album with them was either Ghost Reveries, Blackwater Park, or Still Life.
They're all great though
He was amazing to watch play. But he was really arrogant, I guess thats just part of the Chicago way though
I always saw him as a nice guy too. Actually I think the break was more about him trying to take over the day to day responsibilities of the band seeing as how most of the other guys were having bad habit problems that were getting in the way of the business. During all that time Seraphine was supposedly the straight arrow guy. They resented him for trying to in their eyes take over the band, so they sacked him and dissed him in public. The declining chops crack was pushed out there to be especially hurtful because it was a surreal accusation. No less than Buddy Rich himself had praised Seraphine's chops.You must have caught him on a really bad night! I have followed his entire career; from the early jamming days of Chicago (late '60's, early '70's) when he was incredible fast, creative, but appropriately "reserved" as someone said. Mid to late '70's when he really matured as a player and incorporated more jazz into his playing. During the '80's with the ballads was really a waste of his talents. His recent re-entry into playing shows that, like most of us old farts, he came to realize sometimes less is more.
He maybe can't do some of the things of his youth, be he still is a great, creative drummer. Never bought or understood Chicago firing him for his "declining chops". I saw him on his last tour with them in '89/'90; he could still cook!
I was fortunate enough to see him with his then new band, CTA, a few years back on a trip up north. They are a super tight, great group of musicians! I spoke with Danny at two different gigs back then and he could not have been nicer and more humble! We continue to exchange emails occasionally and he comes across as just a great guy. He has a new book out called "Street Player; My Chicago Story". An interesting/easy read. CTA also has a new cd coming out and Danny has a new instructional dvd.
By far, he was most influential in my playing. Gadd, Steve Smith, Ritchie Hayward and Rich being the others. Sorry you had a bad experience with him; that doesn't appear to be the type of person he is, at least now days.
Yeah, Hot Stuff is great. My fave Stones and Charlie track is Can't You Hear me Knocking. Very tasty stuff.
For Jon Farris, may I recommend Burn for You.
you may indeed. i checked it out, but didn´t want to derail the thread anymore than we already have (if indeed we have : ) ).
ahhh sweet pontification.
we can continue with these and other thoughts if you like. name the time and place.
Yah i know what you mean. Orchid and Morningrise almost seem like they're from a completely different band (I like them, but not at the level that I'm obsessed with the rest of them).
Still Life was the 1st Opeth album I checked out and has always been my favorite (which is probably obvious from my avatar).
Yah i know what you mean. Orchid and Morningrise almost seem like they're from a completely different band (I like them, but not at the level that I'm obsessed with the rest of them).
Still Life was the 1st Opeth album I checked out and has always been my favorite (which is probably obvious from my avatar).
i checked it out, but didn´t want to derail the thread anymore than we already have (if indeed we have : ) ).
ahhh sweet pontification.
we can continue with these and other thoughts if you like. name the time and place.
Never mind, it's just a bunch of lists and a chat about Danny Seraphine's personality BTW, I loved Danny's style on Chicago's early albums, especially the debut album. Was never much of a fan of their songs but the raves they'd go on mid-song when the band would open up were well worth the price of admission. Really enjoyed Terry Kath's raw SG sound too ... poor guy only made it to his 30s.
Listening back to Job Farris's playing in INXS it struck me what a bizarre time the 80s was ... if you didn't have that weird ultra-gated, super-compressed sound (or synth drums) you were considered dated. Some good pop came out of the 80s but it seems like only Larry Mullen Jr and Stewart Copeland are regulars in these lists from that era. I relate to that because I always preferred the more organic styles from the 60s and early/mid 70s.
Farris was (is) an interesting drummer. Totally different approach then really anyone. He wasn't much into playing the drum set in a normal fashion. He loved to layer tracks and using odd sounds. He was almost more a percussion composer than a drum set player. But then he could surprise you with totally tasty normal drumming on "Never tear Us Apart."Listening back to Job Farris's playing in INXS it struck me what a bizarre time the 80s was ... .
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.
l
I never meant to imply everything was over dubbed. The One Thing and such are doable.
But on Kick, songs like "Need You Tonight" have two parts going on at the same time. There has to be overdub unless he grew a 3rd arm.. "Devil Inside" is a mix of loops and real drums. "Mystify" is interesting. Was it all e-pads, or layers? I'm not sure.
The only point was he was never afraid to experiment. It's clear the idea of "I'll do this to impress other drummers" never crossed his mind. Heck, "Mediate" is just a drum machine, and even in the live version, John just plays a shaker over the machine part.