DRUMMER CAFE - Community Forum

I thought I'd play this as recorded for a change and am having a bit of a mental block on part of the kick pattern... :)

The bulk of the song appears to have a standard groove with eighth notes on the hihat and snare on 2 and 4. 

The kick is where I'm blanking out on. Part of the time we're on 1 and part of the time were on 1 +...the latter part of the measure is my question.  Is this usually the ah (last 16th) of 2 and the + of 3?

In my lame attempt to map this out which will hopefully look like more than goop:

1 e + a 2 e + a 3 e + a 4 e + a
H   H   H   H   H   H   H   H
    S                   S
K  (K)        K     K


Does this look right?

Has anyone mapped out the tom groove of the bridge?

--David

That looks right for the basic groove.
In the breakdown sections the bass drum replaces the snare on 2 & 4.
The tom section is an expanded version of the Bo Diddley beat.
Kinda like the 'Callin Elvis' Dire Straits song.

Thanks!

After spending some time researching the Bo Diddley beat (I had a misspent youth in computer science, what can I say), it looks like he's only doing the first measure of the beat, eg only the accent on the + of 2 and then 4.  Eight measures with the accents on the toms and then 6 measures with the accents on the snare...the rest of that phrase ending with a fill and a full band stop.

<sigh> Just about the time I think I'm starting to figure out some of this drumming stuff, another layer of the onion peels back.

--David

I'm not an expert on the Brewster track. I listened to it once on YouTube to try and help you. But it's probably a case of taking the basic feel and rhythm of the Bo Diddley beat and orchestrating it around the toms. It sounds like Brewster's drummer is more improvising on the beat than playing a strict part.
The use of the high toms very much reminded me of Porcaro's playing on 'Calling Elvis':
http://www.youtube.com/watch?v=aYEY3Y8CpTU
When I recreated that part for the live show I had the Bo Diddley beat in my mind, but improvised more of a rolling tom rhythm around the Diddley accents.

The basic Diddley beat is:
Accents >     >       >         >    >
.......... 1un+ah 2un+ah 3un+ah 4un+ah

In the Brewster track the drummer plays rolling 16's on the lower toms instead of the halting accents of 3+ and 4.
Here's another reading of the same basic beat, again with the rolling feel rather than stopping on 4:
http://www.youtube.com/watch?v=DvKWUsJ9qoE

FAB - Thunderbirds are Go!

I kind of like the groove on the first video more than what's on the Brewster recording.  (Second video was DOA for some reason.)

We'll have a rehearsal tomorrow afternoon prior to the service...I may shoot for something like that and see if there are smiles or frowns. If it fits and grooves, he'll usually let me do what I want.

'Desire' by U2
check it out on YouTube.

Did you see my Thunderbirds puppet. Shame Straits management snagged it before I could.

I'll run the video down.

I saw your puppet...the video was distracting me from the music since I'm a fan of Gerry Anderson's various shows. :)  That is too bad you didn't end up with it.

Thank you for your help...I appreciate it!

--David

Cool! Now I'll have to try this song out. I have a real weak spot for the Bo Diddley beat. :)

robyn

Hey David--I really liked this song when I heard it, and have talked our music director into doing it sometime this summer, despite how repetitive it is. I sent the link to my drum instructor, who did some searching and listening, and found this Youtube link of the LB drummer playing the song--he also seems happy to answer questions about the drum part in the song.

http://www.youtube.com/watch?v=LUVmXU_sMWE&feature=related

My drum instr. also came up w/ a cool-sounding alternative to Bo Diddley for the bridge:  Play the 8ths on the floor tom, the kick pattern as is, and the snare pattern w/ some ghost notes on the middle rack tom.  It stayed simple and sounded very cool!

robyn

I'm sorry, but it just plain looks like No Fun At All to play behind
one of those plexiglass walls.

That would be a deal breaker for me.    Life's too short.

 ;)

The plague of plexi-glass.

It might be unfair to judge, but the video illustrates the disconnected nature of being behind glass. The drummer is overhitting, certainly the hi-hats and cymbals (I have to stress the words in my humble opinion at this point).
You can't hear anything much of the rest of the band either.

Here's another Hillsong clip.
No plexi-glass, and the drummer sounds beautifully balanced to me, even though he's still a confident and strong hitter.
Did anyone know Hillsong had done these drum instructional bytes?
I'm not into this type of music, but I think these kind of videos are an excellent insight into the mechanics of, and thought process behind pop drumming:
http://www.youtube.com/watch?v=BnJKtKCExbQ&feature=related

Wow.  I definitely wasn't aware of the Hillsong instructional stuff.

That was a good segment.

I had to play behind one at XM Radio in DC when ScribbleMonster did a broadcast from there in 2006.  It was weird.  While the end result sounded great, I felt completely detached from the rest of the band and the audience (pre-schoolers) during the performance.  The eye contact that day was ramped up even more than usual.

(http://home.att.net/~davidandlisa.heim/wsb/media/209769/site1058.jpg)

I'm a big fan of Hillsong.  I have all of their CD's and a handfull of DVD's including the one with that drum lesson on it.  That's quite a talented group.  Very inspiring worship.  They do small tours of the US from time-to-time.  I highly recommend checking them out.  Chrisso - they're right in your backyard man!  Too bad you're not a "churchy" kind of guy. 

Nope.
But I shop at an Italian grocery store next door quite often.  ;)

Great video link--thanks Chris. :)

robyn