DRUMMER CAFE

I was surprised a few years ago to find out this was actually in 4/4, more or less. Both sections, the riff and the verses are in 4, the thing is when you play them back to back, they displace the backbeat during the verse by an 8th. If you keep a steady 4 pulse between parts you will land in the same place again, so there is an even number of beats throughout, no odd measures thrown in. Can't speak for the middle part, though.

Of course none of this matters to play the thing.

That was totally awesome Steve, thanks.

That is amazing.

You're welcome.

This two bars of 6/4 vs. three bars of 4/4 type of thing comes up often. And, of course, it could be written either way - and could be played exactly the same, but...

My rule of thumb, when deciding which way to write something like that - so I can best get my mind around how to interpret it playing-wise - is to go with only what I hear being played. Meaning in this case - we've got a 6 beat repeating pattern, which by default would be 6/4. If it were a 6 beat repeating pattern across 4/4, where's the audible 4/4? In other words, I would be looking for a hint - from Terry or the bass player - even the smallest little nod that would suggest that one thing is playing against the other.  In this case, I got no sense of that, thus I went with 6/4.

Similar discussions come up about the Sting odd meter tunes that Vinnie sort of "straightens out" on Ten Summoner Tales. As though, by his playing of seven 1/4 note cym bells across two bars of 7/8 that it somehow makes sense to think of  "Saint Augustine in Hell" as being in 7/4 when approaching playing it. When ever part of the song and everything everybody plays - except that ride bell - is clearly in 7/8.

Thinking, counting or other-wise approaching that song as though it is in that slow 7/4 would seriously change the end result feel-wise IMO.

Just as it would if the bar lines were in different places on US Drag.

David

Wow, David. Thanks so much for that transcription and taking the time to post it. It's pretty much how I've transcribed it in my head - except for the verses. I always thought the bass drum was on 2 & 4, not 1 & 3. I'm going to go back and listen with this new perspective and see if it makes sense to my internal time signature. Thanks again!

Agree with this.

I was, however, a little surprised and disappointed to learn that he was playing with Korn. I hope any Korn fans don't take this the wrong way, but I think that's kind of beneath him. Here's a guy that has played with Zappa and has been one of the most innovative drummers of our time....and he's playing with Korn? It's kind of like Dave Weckl wanting to tour with Ashley Simpson. Just seems odd. But that's just my flea bitten opinion.

Yes, great insights.
As a way to identify time signatures I usually check for chord changes or patterns in a vocal part. With pop artists, even if the drums are all over the shop, there is usually an instrument in the backing track changing on the downbeat. If the chord changes are every 7th beat, the time is most likely in 7.
It was hard to hear on this live MP video though.


It's all music. Nothing is beneath Bozzio.
Playing simple music is a challenge. Not only that, but musicians just enjoy working with other musicians sometimes. The complexity or not of the music would rarely be considered.
I actually much prefer Bozzio when he is playing simple rock patterns (Bongo Fury).
He's a tasteful drummer with an immense groove.