Hope he is OK, my favorite drummer for a large period in my life. Loved ELP
I managed to get a discounted price on the CP snare as most dealers can't advertise for less than Minimum Advertised Price (MAPS)($359).oh I gotta look then.
But, when and if he comes back to Arlington again, I'll have him sign the inside of the shell.
I'm rather envious of all you folks who actually met E, L or P. The closest I ever actually got to meeting any of them was in the early 90s when ELP came to Albuquerque for their Black Moon tour. It was the first time I ever saw the guys live (I didn't discover the group till '75 or '76- well after their wave had crested). I was standing in the lobby waiting for the doors to open when a side door- which opened from the lobby to a hallway leading directly back stage- opened up and there stood Carl, taking a look at the size of the group waiting to see the performance. I was maybe 10 feet away and I shouted. "Hey Carl!" He looked at me for a moment and replied, "Hey, how're ya doing?" and disappeared back through the door. That was the extent of my contact with any of the members. Oh, also: Hours before the show actually started, I went into the Convention Center where they were to be playing with the intent of figuring out where I'd be sitting in relation to the stage. I actually didn't expect the doors to the theater to be unlocked, but to my surprise, they were. Much to my delight, ELP were there doing their soundchecks! I sat hiding in plain sight in the darkened theater for maybe 30 minutes before one of the security guys with the band busted me and gently but firmly insisted that I leave until showtime.
Oh, and Delta: Peart did, in an interview I read in Modern Drummer some years ago, unashamedly cite Palmer as one of his influences. I agree that Palmer was/is more than a little sloppy but to me personally, that sloppiness puts a very human sound on his playing which Peart's inhuman perfection lacks. That's why I said Peart's incredible technique can sometimes wear on me. He's so damn perfect that I sometimes have to remind myself that I'm not listening to a well-programmed drum sequencer...
Palmer will always have a special place in my heart because it was Carl, and Carl alone who inspired me to pick up a pair of sticks in the first place. I had seen the likes of the awesome Buddy Rich, Louis Bellson et al throughout my childhood but never considered the possibility of becoming a musician. I was always the nerdy kid with my head in a book, or my hands in the guts of a TV or radio tinkering with some sort of electronic project or gadget. Everything changed when I first sat down at a drumset in a music store (after air-drumming to ELP with a pair of Regal 5B sticks someone gave to me years before) and I literally discovered at that moment that I could actually carry a beat... I could play drums! Soon afterwards, I convinced my folks to co-sign an agreement with a local music store who offered a rent-to-own deal on a beginner's CB700 5 piece. The shells were tissue-paper thin, the hardware was wobbly and rickety, but it was a drum set and it was mine! (at least the cymbals were good; 14" A. Zildjian new beat HH, and one 18" A Zildjian crash/ride) It took less than a year of almost constant practicing before I was in a paying band and for almost 20 years I never looked back.
When I listen to "Heat of the Moment" or " Only Time will Tell" , it seems that Carl tends to play almost in front of the beat for more momentum in the song. Has anyone else noticed this?
Well that's his thing, playing in front of the beat, in order to add excitement I think he said at some point. I like the way he played in the past, before he got into double bass drums, but one has to take him for what he is and not compare him with "pocket drummers".