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In Reply to: Stanton Moore is a master posted by markrohr on March 14, 2007 at 04:06:38:
"Give the man a bass drum, hi-hat, and snare drum and he'll keep you more interested in the drums than Neil Peart."I presume you mean a variety in style that keeps the sound from getting monotonous. If that's the case, I have to kindly disagree.....
The "variety in style", or at least a sense of it, is the very element that I think separates Neil Peart from the rest.... The good ones keep my attention for two minutes, the great ones keep my attention for five minutes. And those I think are the best seem to be able to do so indefinitely.
There are not many younger artists who I think have this quality, but the link is to one I think who does.....
Follow Ups:
Via the Steve Kimock Band. That YouTube video was of a Kimock song and it sure sounded like Kimock on guitar. If you like that kind of music, get on over to Archive.org, Kimock (and Rodney) has a huge number of FREE shows available for download.Look for ones done by Charlie Miller and Ariel Phares, those two *really* know their stuff!
These guys are plowing different fields.Moore is playing a different style, that's all. Second-line drumming and second-line-influenced funk is perhaps an acquired taste. It's very much about subtleties of tone, ghost-notes, and the subtle bending of time.
I would never disparage Peart. Within his own style he's amazing. Ultra-precise, thoughtful, powerful. (Alas, I can't really listen to Rush for long because I can't abide the singer.)
But the point I was trying to make but didn't make very well was that drummers like Moore can pull more sounds out of a single snare drum than drummers like Peart/Portnoy/insert-favorite-here ordinarily achieve with mammoth kits. Which is no knock on them--these different drummers achieve their sounds in different ways.
Also, Peart tends to work out very interesting (and wicked hard!) parts for the songs, then play them the same way every night. Whereas Moore is working the jam band scene, which is all about improvisation.
To me this is one of the great things about music: both are great at what they do, and what they do is utterly different.
"But the point I was trying to make but didn't make very well was that drummers like Moore can pull more sounds out of a single snare drum than drummers like Peart/Portnoy/insert-favorite-here ordinarily achieve with mammoth kits."Ah, I think I get your point....
But....
I *still* disagree.... [-;
And....
Thanks for that. I've seen/heard a number of things from the BR tributes. I think it's fascinating to hear these great drummers sounding just like themselves while emulating BR. ;-)Peart was brilliant--I don't know anyone else who can play with such precision and still sound human rather than machine-like.
BR himself played with more abandon, taking more risks, and using about 49 kinds of stroke to coax even more sounds out of the snare drum. (NP would do well to use a coated batter head at these tributes!) I actually think Peart sounded most BR-like in the ensemble parts of the clip--his setups were set in stone. Fantastic.
I love all these guys. Each has his own drum personality and is bringing that to his own kind of music. I don't think either BR or NP could possibly lay down a groove that sounds as sleazy as one of Stanton Moore's, or one with as much color in the snare drum. But I don't care--I enjoy them all for what they are.
To Ziggy Modeliste, the late but very great Ed Blackwell and Earl Palmer. Three fabulous but rather different drummers that all have that second-line feel.
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