Great article, MZ, I was a Rock n' Roll drummer during the majority of my productive years. The toughest critics, drummers in rival bands, said I was the best. No brag, just fact. Now that and 80 cents will get me a cup of coffee. The most valuable asset a drummer can possess is the ability to keep perfect time. (never fluctuate the established tempo). This can be developed to an extent but it is largely innate. One fellow in a rival band told me, "Man, I can set my watch to your playing." I considered that the highest compliment. My favorite drummers were Charlie Watts of the Stones, Mitch Mitchell of the Hendrix Experience, and Keith Moon of the Who. Many said I played like a combination of all three of them. Though the 1960s so-called "Counter-Culture" was a meticulously planned and engineered military & civilian Intel psy-op, undeniably the best bands and music were spawned in that decade. When you heard a song on the radio, you instantly knew who it was as all of the groups had their own unique audial identity, and a visual one as well. For some decades now all popular music has been computer created, totally homogenous and soulless, bereft of emotion. It is irritating trash. This too was planned and engineered years in advance of its coming into fruition.
Tempo is certainly important. What do you think of Steven Wilson's view on clicktracks? I'll paraphrase: with the advent of computer recording software, tempo is strictly regulated. It never wavers, unlike live musicians who naturally accelerate at certain points in a song (like the chorus). It is this subtle, subconscious tempo shifting that gives 60s and 70s music "soul"...unlike music produced today that bears the stamp of digital processing.
I agree with him, I'm totally against click-tracks, always have been. Our hearts do not beat at a steady pace, they fluctuate in accordance with our thoughts and emotions. And the best music strikes you emotionally and viscerally. In one of my bands, I played to a click-track on several recordings though under vehement protest. I did it for my band-mates who were my buddies and they insisted on it. However, most of the recordings I played on, with that band and others, I never used a click-track, including on a French record label which was a 12 inch "Single", produced in NYC and from what I understand did very well in France with great reviews and got a lot of radio play there. Of course me and my band-mates never got a dime for it. In the "Old Days", when the music business was still largely in the hands of musicians, if a record was being made and it wasn't technically perfect but had the right "Feel" to it, they would keep it and run with it. Around the late 1970s, the music business was completely taken over by lawyers and accountants and the rest as they say, is history. It was transmuted into the horrendous abomination it remains today.
Thank you for sharing your story. I enjoy personal accounts of a bygone era--music is essentially dead at this point, because the communal, human element is lacking.
Are any of these recordings available online somewhere? I'd be interested in hearing your work.
You're welcome, MZ. Two more on topic tales. Back in the day on the West coast, U.S., there was a producer for a major label who not only insisted on click-tracks but made the drummers play just one part while recording each song. The first take the drummer could only play his hi-hat. Then the next one just his snare drum. Then again for the kick drum. Then the tom toms, then just the ride cymbal, then the crash cymbal parts etc. He wanted total separation. To me that is psychotic and I would have told him to go to Hell. He can get a robot to do that, that is not how real humans play. In the 80s a black American named Ray Macnair, who alleged to have worked with Berry Gordy of Motown Records, started an independent label called Nang Records. (He said Nang means sunshine in Vietnamese). He wanted my power pop trio, The Masterbeats, to be one of his initial signings. The plan was to make the album and try to market it to a major label. Just prior to signing the contract, he called me and informed me that I would not be playing on the album. Nang's policy was to use drum machines exclusively. (This disgusting policy was commencing even back then.) I argued with him saying I was more than capable of playing on my band's recordings but he wouldn't budge. I told him to go to Hell. On YouTube put, "The Last Men Jimmy Igo" in the search bar. The song will be on, Zetrospective #1 with the image of a young girl wearing a stupid hat. Also, they spelled it wrong, "Gimmy Igo". That was the hit in France circa 1979. Type "The Last Men" in a search bar to see the actual record cover, 4 black & white head shots of me and my band-mates. Also on YouTube type in the search bar, type "Trash Mavericks Hog Wild". That is a video. We are lip syncing the song and when the camera focuses on me I am not in sync because I could not hear it. It was fun just the same. This stuff is pretty gritty, MZ, and I'm sure not to your tastes but you asked for it. You would have probably liked The Masterbeats material as it was more melodic rock, Beatles like, but with more of a punch and rougher edge. Let me say that recording is much harder than playing before a live audience as it demands total and absolute focus and concentration.
Thank you, MZ, I always liked the martial feel to that song. As for the lyrics, Paul obviously meant what he did to his lover as metaphor but a few music critics were too dense to see that and screeched we were advocating necrophilia. There is a tactic in the music business known as "Song Shifting" which means that artists are always ripping each other off, taking melodies, harmonics and rhythms from songs not their own. Sometimes lawsuits are filed over it but it usually goes on unchecked. (George Harrison of the Beatles was sued by the Chiffons management for stealing from, "He's So Fine" for his hit, "My Sweet Lord." Harrison lost the suit.) Circa 1979, the Rolling Stones came out with their own record label, "Rolling Stone Records." The CEO of the label, Earl McGrath, wanted to sign The Last Men for an album deal. Our manager told us that when he played, "Jimmy Igo" for him during a meeting in his office, McGrath got up from his desk and was dancing to it. He absolutely loved it and couldn't wait to see us live. Shortly thereafter we played at what was at that time the premier showcase club for original bands in Manhattan, NYC, "Hurrahs". He came to that gig. It was packed and we exploded our set with 3 back to back songs and the crowd went crazy. Then, disaster. The Clash from England were slated to play there the following night and our mentally unstable, egomaniac, lead vocalist/lyricist, Paul, started yelling into his microphone how they sucked and were nothing compared to us. It was like sticking a knife into a balloon. We lost the crowd as well as our pending record deal with Rolling Stone Records. I could just visualize McGrath thinking, "No way I'm going to sign that asshole." I couldn't believe it. Anyway, not very long thereafter the Stones released their hit song, "Start Me Up." Very similar to "Jimmy Igo" in feel, rhythm, and tempo. It has the same main "Lick" as we musicians used to say. Another example of "Song Shifting." I couldn't conceive of us suing the Rolling Stones over it. Their resources were without limit compared to ours. Thinking back, I console myself laughing about a line from the excellent flick, "Babette's Feast." The gentleman said, "What is fame? The grave awaits us all."
I paused Megadeth to listen to your video. This guy looks like Miles Teller from Whiplash.
Edit: You might like the drumming from prog-metal like Dream Theater or Tool, or even the crazy stuff from System of a Down, perhaps something like "Ddevil," but to your point, I have not had an easy time coming up with drumming I've noticed.
Great article, MZ, I was a Rock n' Roll drummer during the majority of my productive years. The toughest critics, drummers in rival bands, said I was the best. No brag, just fact. Now that and 80 cents will get me a cup of coffee. The most valuable asset a drummer can possess is the ability to keep perfect time. (never fluctuate the established tempo). This can be developed to an extent but it is largely innate. One fellow in a rival band told me, "Man, I can set my watch to your playing." I considered that the highest compliment. My favorite drummers were Charlie Watts of the Stones, Mitch Mitchell of the Hendrix Experience, and Keith Moon of the Who. Many said I played like a combination of all three of them. Though the 1960s so-called "Counter-Culture" was a meticulously planned and engineered military & civilian Intel psy-op, undeniably the best bands and music were spawned in that decade. When you heard a song on the radio, you instantly knew who it was as all of the groups had their own unique audial identity, and a visual one as well. For some decades now all popular music has been computer created, totally homogenous and soulless, bereft of emotion. It is irritating trash. This too was planned and engineered years in advance of its coming into fruition.
Tempo is certainly important. What do you think of Steven Wilson's view on clicktracks? I'll paraphrase: with the advent of computer recording software, tempo is strictly regulated. It never wavers, unlike live musicians who naturally accelerate at certain points in a song (like the chorus). It is this subtle, subconscious tempo shifting that gives 60s and 70s music "soul"...unlike music produced today that bears the stamp of digital processing.
I agree with him, I'm totally against click-tracks, always have been. Our hearts do not beat at a steady pace, they fluctuate in accordance with our thoughts and emotions. And the best music strikes you emotionally and viscerally. In one of my bands, I played to a click-track on several recordings though under vehement protest. I did it for my band-mates who were my buddies and they insisted on it. However, most of the recordings I played on, with that band and others, I never used a click-track, including on a French record label which was a 12 inch "Single", produced in NYC and from what I understand did very well in France with great reviews and got a lot of radio play there. Of course me and my band-mates never got a dime for it. In the "Old Days", when the music business was still largely in the hands of musicians, if a record was being made and it wasn't technically perfect but had the right "Feel" to it, they would keep it and run with it. Around the late 1970s, the music business was completely taken over by lawyers and accountants and the rest as they say, is history. It was transmuted into the horrendous abomination it remains today.
Thank you for sharing your story. I enjoy personal accounts of a bygone era--music is essentially dead at this point, because the communal, human element is lacking.
Are any of these recordings available online somewhere? I'd be interested in hearing your work.
You're welcome, MZ. Two more on topic tales. Back in the day on the West coast, U.S., there was a producer for a major label who not only insisted on click-tracks but made the drummers play just one part while recording each song. The first take the drummer could only play his hi-hat. Then the next one just his snare drum. Then again for the kick drum. Then the tom toms, then just the ride cymbal, then the crash cymbal parts etc. He wanted total separation. To me that is psychotic and I would have told him to go to Hell. He can get a robot to do that, that is not how real humans play. In the 80s a black American named Ray Macnair, who alleged to have worked with Berry Gordy of Motown Records, started an independent label called Nang Records. (He said Nang means sunshine in Vietnamese). He wanted my power pop trio, The Masterbeats, to be one of his initial signings. The plan was to make the album and try to market it to a major label. Just prior to signing the contract, he called me and informed me that I would not be playing on the album. Nang's policy was to use drum machines exclusively. (This disgusting policy was commencing even back then.) I argued with him saying I was more than capable of playing on my band's recordings but he wouldn't budge. I told him to go to Hell. On YouTube put, "The Last Men Jimmy Igo" in the search bar. The song will be on, Zetrospective #1 with the image of a young girl wearing a stupid hat. Also, they spelled it wrong, "Gimmy Igo". That was the hit in France circa 1979. Type "The Last Men" in a search bar to see the actual record cover, 4 black & white head shots of me and my band-mates. Also on YouTube type in the search bar, type "Trash Mavericks Hog Wild". That is a video. We are lip syncing the song and when the camera focuses on me I am not in sync because I could not hear it. It was fun just the same. This stuff is pretty gritty, MZ, and I'm sure not to your tastes but you asked for it. You would have probably liked The Masterbeats material as it was more melodic rock, Beatles like, but with more of a punch and rougher edge. Let me say that recording is much harder than playing before a live audience as it demands total and absolute focus and concentration.
I enjoyed this song in particular! I found myself tapping my foot to the beat. Of course, the lyrics are amusing.
https://www.youtube.com/watch?v=EOwGrTEiNss
Thank you, MZ, I always liked the martial feel to that song. As for the lyrics, Paul obviously meant what he did to his lover as metaphor but a few music critics were too dense to see that and screeched we were advocating necrophilia. There is a tactic in the music business known as "Song Shifting" which means that artists are always ripping each other off, taking melodies, harmonics and rhythms from songs not their own. Sometimes lawsuits are filed over it but it usually goes on unchecked. (George Harrison of the Beatles was sued by the Chiffons management for stealing from, "He's So Fine" for his hit, "My Sweet Lord." Harrison lost the suit.) Circa 1979, the Rolling Stones came out with their own record label, "Rolling Stone Records." The CEO of the label, Earl McGrath, wanted to sign The Last Men for an album deal. Our manager told us that when he played, "Jimmy Igo" for him during a meeting in his office, McGrath got up from his desk and was dancing to it. He absolutely loved it and couldn't wait to see us live. Shortly thereafter we played at what was at that time the premier showcase club for original bands in Manhattan, NYC, "Hurrahs". He came to that gig. It was packed and we exploded our set with 3 back to back songs and the crowd went crazy. Then, disaster. The Clash from England were slated to play there the following night and our mentally unstable, egomaniac, lead vocalist/lyricist, Paul, started yelling into his microphone how they sucked and were nothing compared to us. It was like sticking a knife into a balloon. We lost the crowd as well as our pending record deal with Rolling Stone Records. I could just visualize McGrath thinking, "No way I'm going to sign that asshole." I couldn't believe it. Anyway, not very long thereafter the Stones released their hit song, "Start Me Up." Very similar to "Jimmy Igo" in feel, rhythm, and tempo. It has the same main "Lick" as we musicians used to say. Another example of "Song Shifting." I couldn't conceive of us suing the Rolling Stones over it. Their resources were without limit compared to ours. Thinking back, I console myself laughing about a line from the excellent flick, "Babette's Feast." The gentleman said, "What is fame? The grave awaits us all."
Well done.
Great point, I make music and we are indeed inundated by thudding 4/4 beats. I blame drum machines.
I paused Megadeth to listen to your video. This guy looks like Miles Teller from Whiplash.
Edit: You might like the drumming from prog-metal like Dream Theater or Tool, or even the crazy stuff from System of a Down, perhaps something like "Ddevil," but to your point, I have not had an easy time coming up with drumming I've noticed.
Edit 2: Actually, I picked the right one. If you want drumming, look no further: https://www.youtube.com/watch?v=iHf8iF9Mhpc. Starts right at the beginning.
Edit Final: Also, this live video of "Shoot Me Again" by Metallica has the drummer effing *crying* by the end of it. Lars is not seen as a good drummer, but here he is: https://www.youtube.com/watch?v=yEPthIDOw6M&pp=ygUYc2hvb3QgbWUgYWdhaW4gbWV0YWxsaWNh.
Oh, and Imperial Triumphant: https://www.youtube.com/watch?v=ywcshfrpO3A.