150 Greatest Rock Drummers

Classic Rock Junkie · **Joined:** Wed Oct 13, 2010 2:05 am **Posts:** 1893

So I guess Aldridge is good where he is? I know he's also very influential in metal. I trust a lot of The Jew's placements on this list so unless anyone has complaints it sounds like he's fine for now.

gminer · **Joined:** Mon Oct 11, 2010 5:17 pm **Posts:** 2453

Negative Creep wrote:

Sherick wrote:

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 :lol:

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

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

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.

... as a note of trivia Paice borrowed one of Moon`s bass drums to put along side his for the recording of the tune Fireball ... both Purple and the Who were recording in the same studio at the time ....Take care

Jazz fusion time - Dustbins and Paicesetter ... you will not be disappointed ... Ian Paice (drums), Miller Anderson (guitar) and Colin Hodgkinson (bass)..... Take care

Sherick · **Posted:** Sun Apr 15, 2012 12:23 pm

Negative Creep wrote:

Sherick wrote:

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 :lol:

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

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

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.

He's massively influential in metal, and probably most hard rock as well. He basically came up with every double bass fill, from continuous sixteenths underneath hand fills, to triplet flans between hand rolls, to alternating rolls, to sporadic 32nds and some I don't even have names for. Metal guys like to point to Bonham and Peart and Ward, but it's actually Aldridge most of them are emulating.

Classic Rock Junkie · **Joined:** Wed Oct 13, 2010 2:05 am **Posts:** 1893

Sherick wrote:

Negative Creep wrote:

Sherick wrote:

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 :lol:

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

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

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.

He's massively influential in metal, and probably most hard rock as well. He basically came up with every double bass fill, from continuous sixteenths underneath hand fills, to triplet flans between hand rolls, to alternating rolls, to sporadic 32nds and some I don't even have names for. Metal guys like to point to Bonham and Peart and Ward, but it's actually Aldridge most of them are emulating.

Would you argue then for Aldrigde to swap with Ward or is he fine where he is? I will look into him more but what you say sounds correct as far as I know.

I have to say though, I don't know anyone who was playing like this around 73: http://www.youtube.com/watch?v=zPGI_nh133U

Sherick · **Posted:** Sun Apr 15, 2012 1:29 pm

I actually would. Aldridge beats him handily in innovation, creativity, originality and skill I believe. If Ward beats or ties him in influence its only because of the Sabbath factor.

Negative Creep · **Joined:** Tue Oct 12, 2010 5:21 pm **Posts:** 11747

Honestly, Aldridge takes Ward in everything but influence.

Did Ward innovate anything of note? I dont think his style was all that original either, even though Sabbath were the first legitimate metal band.

Classic Rock Junkie · **Joined:** Wed Oct 13, 2010 2:05 am **Posts:** 1893

Sounds good to me, I'm perfectly fine completely flipping them actually. I could make a case for Mitchell beating Ward I guess....but for now I'll just flop Aldridge and Ward. I'm still pretty sure Copeland beats Aldridge though, but if you have reasons saying otherwise I'm glad to listen.

Classic Rock Junkie · **Joined:** Wed Oct 13, 2010 2:05 am **Posts:** 1893

Gavin Harrison needs to move da fuck up honestly, he scores well in nearly all criteria except influence to an astounding degree, and is right now working on changing the world of drumming as a whole with his studies on moving through parallel meters.

Negative Creep · **Joined:** Tue Oct 12, 2010 5:21 pm **Posts:** 11747

Classic Rock Junkie wrote:

Sounds good to me, I'm perfectly fine completely flipping them actually. I could make a case for Mitchell beating Ward I guess....but for now I'll just flop Aldridge and Ward. I'm still pretty sure Copeland beats Aldridge though, but if you have reasons saying otherwise I'm glad to listen.

Mitchell/Ward is a toughie...
Influence - Ward
Originality - Tied
Creativity - Ward
Innovation - Tied (neither innovated anything I'm aware of)
Skill - Ward?
Stylistic versatility - Ward

Copeland/Aldridge is much tougher. I think they tie in everything except for skill, which goes to Aldridge.

Sherick · **Posted:** Sun Apr 15, 2012 10:37 pm

I don't know enough about Copeland to say, aside from his introduction of reggae and island beats into pop/rock.

Classic Rock Junkie · **Joined:** Wed Oct 13, 2010 2:05 am **Posts:** 1893

Negative Creep wrote:

Classic Rock Junkie wrote:

Sounds good to me, I'm perfectly fine completely flipping them actually. I could make a case for Mitchell beating Ward I guess....but for now I'll just flop Aldridge and Ward. I'm still pretty sure Copeland beats Aldridge though, but if you have reasons saying otherwise I'm glad to listen.

Mitchell/Ward is a toughie...
Influence - Ward
Originality - Tied
Creativity - Ward
Innovation - Tied (neither innovated anything I'm aware of)
Skill - Ward?
Stylistic versatility - Ward

Copeland/Aldridge is much tougher. I think they tie in everything except for skill, which goes to Aldridge.

Copeland is more skilled than Aldridge...Copeland can do mad jazz.

I'd give Mitchell creativity and probably skill, but that's all. So I guess Ward wins by Influence, unless Mitchell gets Stylistic Versatility, what says you guys? Then it would be Aldridge-Ward-Benjamin-Mitchell.

Negative Creep · **Joined:** Tue Oct 12, 2010 5:21 pm **Posts:** 11747

gminer wrote:

Negative Creep wrote:

Sherick wrote:

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 :lol:

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

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

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.

... as a note of trivia Paice borrowed one of Moon`s bass drums to put along side his for the recording of the tune Fireball ... both Purple and the Who were recording in the same studio at the time ....Take care

Jazz fusion time - Dustbins and Paicesetter ... you will not be disappointed ... Ian Paice (drums), Miller Anderson (guitar) and Colin Hodgkinson (bass)..... Take care

Those were fanstastic!

Negative Creep · **Joined:** Tue Oct 12, 2010 5:21 pm **Posts:** 11747

Classic Rock Junkie wrote:

Negative Creep wrote:

Classic Rock Junkie wrote:

Sounds good to me, I'm perfectly fine completely flipping them actually. I could make a case for Mitchell beating Ward I guess....but for now I'll just flop Aldridge and Ward. I'm still pretty sure Copeland beats Aldridge though, but if you have reasons saying otherwise I'm glad to listen.

Mitchell/Ward is a toughie...
Influence - Ward
Originality - Tied
Creativity - Ward
Innovation - Tied (neither innovated anything I'm aware of)
Skill - Ward?
Stylistic versatility - Ward

Copeland/Aldridge is much tougher. I think they tie in everything except for skill, which goes to Aldridge.

Copeland is more skilled than Aldridge...Copeland can do mad jazz.

I'd give Mitchell creativity and probably skill, but that's all. So I guess Ward wins by Influence, unless Mitchell gets Stylistic Versatility, what says you guys? Then it would be Aldridge-Ward-Benjamin-Mitchell.

I actually think it should go Aldridge-Benjamin-Ward-Mitchell.

Classic Rock Junkie · **Joined:** Wed Oct 13, 2010 2:05 am **Posts:** 1893

that's fine by me too

Negative Creep · **Joined:** Tue Oct 12, 2010 5:21 pm **Posts:** 11747

Classic Rock Junkie wrote:

I have to say though, I don't know anyone who was playing like this around 73: http://www.youtube.com/watch?v=zPGI_nh133U

That was just....not of this earth.
Jesus H. Christ.

I would agree, I don't know if anyone else was playing like that at the time. The playing with the hands at the end was brilliant, he took that idea way farther than Bonham did.

GOD DAMN.
Sherick, what would we do without you?

150 Greatest Rock Drummers

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