.... Take care

Cozy Powell - Rainbow live in Munich 1977 with Tchaikovsky`s 1812 Overture in all its bombastic drumming glory .... generally performed iive in the middle of the tune Still I Am Sad ...

He did something similar later with the Brian May Band:

before his passing, he certainly was a drummer in great demand by some of rock`s finest musicians ... Take care

Excellent ... from Paice to CRJ .. a wonderful drummers tune ... Speed King the full version ... Take care

Yeah I absolutely love that song, I have most Purple albums, well their earlier stuff. Paice is definitely one of my all time favorite rock drummers, easy top 10 fav.

Thanks for keeping Paice in top 10

Anyway, BENNY...

Stu posted this link a while back in another thread in this subforum:

http://www.youtube.com/watch?v=GD2aTQXy ... ata_player

(page 2 of the all genre drummers thread)

And here's Stu's longer explanation on Benny from that same thread/page:



Not seeing the argument for Benny being 'mostly outside of rock' at all.

Lastly...if you don't mind CRJ could you explain Porcaro's influence? I'm kinda a noob lol

Very interesting stuff: http://en.wikipedia.org/wiki/Benny_Benjamin

Check this shizz out

http://www.youtube.com/watch?v=0uqCocIh3_o

very creative no?

http://www.youtube.com/watch?v=PV97roslmt0

amazing

http://rockhall.com/inductees/benny-benjamin/bio/

This is actually really interesting

http://www.youtube.com/watch?v=R-Tfm70dL5s

absolutely fantastic imo

http://www.musicradar.com/news/drums/10 ... -432429/24

(they're wrong about Heat Wave which wasn't Benny on drums, also can't find evidence Tracks of My Tears necessarily had Benny)

Funk Brothers significance in general (basic stuff):

"The Funk Brothers have received three Grammy awards:
Lifetime Achievement Award in 2004
Best Traditional R&B Performance for "What's Going On" with Chaka Khan, 2002
Best Compilation Soundtrack Album For A Motion Picture, Television Or Other Visual Media for Standing in the Shadows of Motown, 2002.
Bassist James Jamerson was inducted into the Rock and Roll Hall of Fame in 2000, and drummer Benny Benjamin in 2003. In 2003, surviving members were invited to the White House to meet President George W. Bush, Secretary of State Colin Powell, and National Security Advisor Condoleezza Rice, in an event tied to Black History Month.[1] In 2010, the Funk Brothers were voted into the Michigan Rock and Roll Legends online Hall of Fame.[2]"

(wiki...http://en.wikipedia.org/wiki/The_Funk_B ... ecognition)

Bear in mind that the Funks had like 3 drummers plus a percussionist and would frequently overdub with two drummers on a track or whatever: "The band used innovative techniques. For example, most Motown records feature two drummers, playing together or overdubbing one another—Marvin Gaye's "I Heard It Through the Grapevine" used three drummers." (http://en.wikipedia.org/wiki/The_Funk_Brothers)

http://en.wikipedia.org/wiki/Jack_Ashford

http://en.wikipedia.org/wiki/Eddie_%22Bongo%22_Brown

http://en.wikipedia.org/wiki/Uriel_Jones

http://en.wikipedia.org/wiki/Richard_%22Pistol%22_Allen

To be clear though Benny was THE Funk Brother drummer, the top guy, the one the others took inspiration from and looked up to musically, the most talented and the one who gave Motown drums their signature style primarily. He is one of only two Funk Brothers who has been inducted in the Rock Hall, the other being Jamerson

Also read:

http://en.wikipedia.org/wiki/The_Funk_B ... le_members

Bob Olhsson (who worked at Motown) posts:

"Benny was the glue that made a lot of the Funk Brothers tracks work. Turning his track off could often result in a train wreck.

We went quite a while without any hits after Benny died. Finally the combination of Uriel, Pistol and Jack Ashford playing the tambourine along with the other Funks tightening up their act was able to equal what Benny had brought to the table.

James [Jamerson] got the notoriety but I've always felt Benny was actually the key to the original Motown sound."

Also

"I was told one of his favorite tricks was to pawn the drum kit after each session. A producer needed to know where to go pay and get it out of hock before their session! Then Benny'd show up late with one of his infamous excuses.

The fact that he could get away with that kind of stuff speaks volumes about how important he was."

(Source: http://faac.us/adf/messages/131452/1474 ... 1182672316)

Oh and everything I've just posted can be read in less than 5 minutes altogether...despite the many links it's short...lol

Yeah the version I have is the U.S. version, where the intro is cut off.
I think the intro adds a little something 'extra' to the song....the way Lord's organ quietly leads into the explosion of Glover, Paice and Gillan joining in.

Side note - I was obssessed with this album when I first got it back in 2000 (I was 16). And I do mean OBSSESSED. Certainly the best Purple album of all time for me, no hesitation.

Probably the most important session man in rock after the three above him, I don't know a single modern drummer in the genre today that wasn't influenced by him in some way. You could say the whole sound of pop/rock drumming throughout the whole 80's to late 90's is attributed directly to Porcaro's sound. He was the most in demand and respected session drummer till the early-mid 90's and played on hundreds of tracks, possibly thousands. Here's just some of who he played with: Besides his work with Toto, he also performed as a session musician with artists such as Paul McCartney, Dire Straits, Willy DeVille, Jackson Browne, Donald Fagen, Steely Dan, Rickie Lee Jones, Michael Jackson, Go West, Nik Kershaw, Love and Money, Paul Simon, Don Henley, Madonna, Airplay, Al Jarreau, George Benson, the Manhattan Transfer, America, Peter Frampton, the Bee Gees, Tom Scott, Michael McDonald, Amy Holland, Joe Cocker, Stan Getz, Sérgio Mendes, Lee Ritenour, Christopher Cross, James Newton-Howard, Timothy B. Schmit, Joe Walsh, Jim Messina, Poco, Exile, the Four Tops, Barbra Streisand, Diana Ross, Natalie Cole, Les Dudek, Warren Zevon, Bonnie Raitt, David Gilmour, Roger Waters, Pink Floyd, Roger Hodgson, Paul Anka, Eric Carmen, Eric Clapton, Miles Davis, Bruce Springsteen, Elton John, Tommy Bolin, Larry Carlton, Mari Iijima and Seals & Crofts.

these are just a very small selection of names of who he played with I copypasted from wikipedia, but you can find the endless list of who he played for, you'd be looking at hundreds of albums and artists though.

He also played on MJ's thriller album specifically, which MJ also wrote songs for him after his death, MJ wanted him more than any other drummer, along with Macca and many other artists at the time.

You could say he played on nearly all the biggest pop/rock albums of the 80's, or at least on a good amount of them. He was also very skilled and innovative, made lots of grooves and shuffle's as well as expanding upon previous drummers techniques.

That is absolutely epic. Definitely understand his position now. Thanks.

That said I can't help but feel like the whole stretch on this list from 17 to 20 is largely interchangeable/all of them are very close in greatness

Oh and gminer that 'Speed King'...absolutely epic drumming (and song in general)

Oh and CRJ...please note that I did update that big post on Benny a couple times...please refer to the final version when/if you respond! Sorry lol

Should Aldridge really be that high? I've never heard anyone make a big deal about him really. Seems to me like Shrieve and Powell could replace him.

Ariel, that's all very interesting stuff. Know lots of mowtown songs (and all the ones you posted) so I'm familiar with a good amount of his stuff. A very creative drummer indeed. And very popular and influential.

However I think he's fine where he is, the question comes down to 17-20 are all somewhat interchangeable. Does Benny's creativity overshadow Ward's innovation and originality? Both of which I'd give him over Benny, and maybe even Influence. Benny wouldn't take Copeland, who wins IMO in everything, maybe Benny ties or takes Influence, but I still say Copeland takes everything, maybe a tie for influence but it doesn't matter since Copeland wins anyways. So really it's either he switches with Ward or he stays at 20. I think Ward is right at 19 and Benny is a great top 20 round off.

I know very little if nothing about Aldridge except he's very influential in metal and very popular/acclaimed. I know little about his innovations and as far as I know he does okay in creativity and skill, though I haven't heard enough of him to say. I don't even know how original he is...

Aldridge was very creative with his double kick grooves, for which he would also have to get plenty of innovation points. Not so sure about originality, though I would have to guess he does well there too. I mean sure, Baker and Moon were using double bass before him, but nothing like "Hot n Nasty" or "Up" so far as I know. He was also pretty innovative when it comes to playing with his hands, though I don't think that contributed a terrible lot

http://www.youtube.com/watch?v=CiWMerkLpwE

What...the...fuck? I've always liked BOR but I never knew Aldridge played for them.

Anyway, I take back my statement because THAT CLIP WAS WICKED.

I'd say he scores massively on creativity, originality and skill. He can't be given too high a score for innovation though, even if he did 'expand' on the technique after Baker and Moon introduced it in rock (imo that would fall more under creativity). But like I said, creativity, originality and skill are a given for this guy. Not sure about influence or stylistic versatility...
Was anyone using double bass that fast before 1973? The only one I can think of is Ian Paice on Fireaball, but even that isn't as fast or controlled as what Aldridge does here.