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Drum & Drummer:  The following poll conducted my Rhythm magazine lists the 50 albums voted as the top drum albums of all-time.  The poll does leave out many highly innovative and influential drummers, but it still provides a good starting point for drummers looking for albums featuring great drummers.  There are many drummers and recordings missing from this list that I would consider essential listening.

Considering it is a list of only 50 albums, it does a fantastic job of introducing some of the greats of the drumming world.

I have added my comments about selected albums and drummers from the list.  I also give some suggestions for further listening for aspiring drummers and musicians.  Many of the listed albums have been (and continue to be) highly influential to my own development as a drummer/musician.

Poll Source URL: MusicRadar.com

A new poll of the Top 50 Greatest Drum Albums is dominated by Led Zeppelin, who have an impressive five albums in the Top 50.  The list, published by Rhythm magazine, takes into account the votes of the mag’s writers as well as many of the star drummers the magazine has interviewed over the last five years, including Dave Grohl, Nicko McBrain (Iron Maiden), Matt Helders (Arctic Monkeys) and Steve White (Paul Weller).

Top honors go to Led Zeppelin’s fourth album (featuring the drum double-whammy of Stairway To Heaven and When The Levee Breaks), with The Beatles’ Abbey Road coming in second.

There are some notable omissions in this list, though.  There are no albums by Cream featuring Ginger Baker, and the only albums in the Top 10 made in the last 30 years both feature Dave Grohl.

MusicRadar wonders; are they not making truly great drummers any more?

Here’s the Top 50 albums countdown…

• #50 The Who - Live At Leeds (1970)
  Drummer: Keith Moon

D & D:  I consider this to be one of the greatest live recordings of all-time.  “Get Your Ya-Ya’s Out” by the Rolling Stones, “Live at the Fillmore” by the Allman Brothers, “Live at the Royal Albert Hall (1966)” by Bob Dylan, and numerous other classic albums top this list as well (in my opinion).  The energy that pulses through the speakers when “Live at Leeds” is put on is incredible.  Keith Moon is a legendary drummer, and his drumming style is explosive and instantly recognizable.

• #49 Mahavishnu Orchestra – Birds Of Fire (1973)
  Drummer: Billy Cobham

D & D:  I consider Billy Cobham is a lightning fast jazz drummer with a style that blends jazz, fusion, orchestral techniques in a unique way.  Cobham’s drums are tuned very tightly for faster stick response, and this helps give him his signature sound.  I would highly recommend any of Billy Cobham’s albums to drummers looking to learn new ways of expressing themselves on the drum set.

D & D:  John ‘Jabo’ Starks and Clyde Stubblefield hold James Brown’s band together on this funk/soul masterpiece.  They are super-tight with the rhythm section, and their interplay with the horn section is always spot on.  This is a very nice example of how to play funk rhythms that groove in the pocket. Forty-six years later, this album continues to lay the template for funk drummers looking to make their audience dance.

D &D:  When I was first learning drums, I listened to Alex Van Halen’s playing over and over.  He has a very intuitive rock style that complements Eddie’s guitar playing beautifully.  His playing is very creative, but never overly busy. Although highly capable of showing off when needed, Alex tends to play more simply to support the vocals and guitar parts of Van Halen’s songs. Van Halen I & II show drummers how to appropriately play rock music.

• #42 Radiohead – Ok Computer (1997)
  Drummer: Phil Selway

D & D:  I love the musicality of Phil Selway’s playing with Radiohead.  He tends to keep his rhythms repetetive on some songs (when needed), but he really strecthes his legs out on others.  His jazz leanings are also apparent on certain Radiohead tracks.  When listening to Radiohead, I often hear a lot of my personal drumming influences come out in Selway’s nuanced playing.  Some of their later albums are more of an acquired taste, but I have found them to be among my favorites after repeated listenings.

• #41 Tool – Aenima (1996)
  Drummer: Danny Carey

D & D:  Danny Carey’s playing with Tool sets the bar higher for rock drummers. The first time I heard Tool, my jaw dropped wide open.  Danny combines subtle jazz and fusion techniques with metal, and he is an incredibly diverse drummer.  His approach to the drum kit is very balanced, and I love the way he improvises within his grooves, pushing and pulling the music to new climactic moments.  I hear new things in Danny’s playing every time I listen to Tool.

A Perfect Circle with Tool’s singer Maynard Keenan features another of my favorite drummers.  Josh Freese is one of the most sought-after session drummers in the music industry, and one listen to A Perfect Circle will show you why.  Much like Danny Carey, Josh Freese is a master of synchopation. Josh’s style tends to be more reserved than that of Carey, and they both are insanely talented at shifting between odd time signatures with fluid groove and dynamics.  Danny Carey and Josh Freese are both drumming forces to be reckoned with.

• #40 Metallica - …And Justice For All (1988 )
  Drummer: Lars Ulrich

D & D:  My first band played a lot of Metallica covers, and this album has a lot of ideas for musicians who are into metal that switches between melodic and thrash.  I personally find James Hetfield’s rhythm guitar parts just as inspiring as Lars’ drumming. Kirk Hammet’s lead guitar is also blistering on “…And Justice For All.”

• #39 Jimi Hendrix – Axis: Bold As Love (1967)
  Drummer: Mitch Mitchell

D & D:  I have listened to this Jimi Hendrix album more than any other, and listening to Mitch Mitchell play with Hendrix has taught me an incalculable amount about the art of drumming.  “Axis: Bold as Love” varies between nuanced jazz playing and full-out driving rock drumming.  This 1967 classic has been a prized part of my CD collection since I very first heard it.

Mitch Mitchell effectively did for the drumming world what Jimi Hendrix did for the guitar playing community.  Fusing jazz with rock and blues in a bombastic, unapologetic way - they both paved the way for future musicians looking to push the envelope with their musical expression.

Mitch Mitchell and Jimi Hendrix collaborated in the studio together to write almost all of the music for The Jimi Hendrix Experience, recording their parts together live before adding bass, vocals, and additional instrumentation.  Listening to the progression of Jimi’s playing with the Jimi Hendrix Experience, it is obvious how Mitch Mitchell’s improvisational drumming style was key in helping form the sound Jimi’s guitar parts (and vice versa).

If you love great music, listen to “Axis: Bold as Love” immediately (if not sooner).

• #38 Fleetwood Mac – Rumours (1977)
  Drummer:  Mick Fleetwood
• #37 Mastodon – Leviathan (2004)
  Drummer:  Brann Dailor
• #36 Jeff Buckley – Grace (1994)
  Drummer:  Matt Johnson
• #35 The Beatles – Sergeant Pepper’s Lonely Hearts Club Band (1967)
  Drummer:  Ringo Starr
• #34 Buddy Rich Big Band – Big Swing Face (1967)
  Drummer:  Buddy Rich

• #33 Pantera – Far Beyond Driven (1994)
  Drummer:  Vinnie Paul

D & D:  Pantera has helped define metal music since the early ’90’s. Vinnie Paul’s double bass style has definitely influenced my own playing. Pantera’s later albums became increasingly heavy and complex.

I would also recommend singer Phil Anselmo’s work with DOWN to fans of heavier music.  The sound of DOWN is more Southern rock-tinged, and the heavy-handed drums flow perfectly with their chugging, grinding guitar work.

• #32 Chick Corea – Now He Sings, Now He Sobs (1968 )
  Drummer:  Roy Haynes

D & D:  Roy Hanes drumming influenced artists such as Tony Williams (Miles Davis), Elvin Jones (John Coltrane), and countless others.

Read more about Roy Haynes by clicking this link: The Influence of Roy Haynes

• #31 The Police - Ghost In The Machine (1981)
  Drummer:  Stewart Copeland
• #30 Sting – Ten Summoner’s Tales (1993)
  Drummer:  Vinnie Colaiuta
• #29 Sly And The Family Stone – Fresh (1973)
  Drummer:  Andy Newmark
• #28 Led Zeppelin – Houses Of The Holy (1973)
  Drummer:  John Bonham
• #27 Metallica – Master Of Puppets (1986)
  Drummer:  Lars Ulrich
• #26 Mahavishnu Orchestra – The Inner Mounting Flame (1971)
  Drummer:  Billy Cobham

D & D: There is a very good reason that Billy Cobham shows up on this list repeatedly. Listen to any album with Cobham for examples of stellar progressive fusion jazz drumming. Even non-drummers will ask who is playing when they hear Cobham’s music.

• #25 Frank Zappa – Joe’s Garage: Act 1 (1979)
  Drummer:  Vinnie Colaiuta

• #24 Buddy Rich – Swingin’ New Big Band (1966)
  Drummer:  Buddy Rich

D & D:  If you have never listened to Buddy Rich, you need to. Rich was a jazz pioneer and innovator. Listen to this if you want to hear the definition of swing. Drummers of every style can learn an immense amount from the master of swing.

• #23 Billy Cobham – Spectrum (1973)
  Drummer:  Billy Cobham
• #22 The Police – Outlandos D’Amour (1978 )
  Drummer:  Stewart Copeland
• #21 Stevie Wonder – Songs In The Key Of Life (1976)
  Drummers:  Stevie Wonder, Greg Brown and Raymond Lee Pounds
• #20 Slayer – Reign In Blood (1986)
  Drummer:  Dave Lombardo
• #19 Soundgarden – Superunknown (1994)
  Drummer:  Matt Cameron

D & D: Matt Cammeron, to me, is the perfect example of a song-oriented rock drummer. I saw him play with Soundgarden (shortly before they broke up) at Lollapalooza ‘96 at the Gorge Ampitheatre in George, WA, and I was absolutely amazed with him as a musician. Later, in November of 2000, I was able to see Matt perform with Pearl Jam on the last leg of their tour in Portland, Oregon. I will never forget either experience, and Matt’s drumming always drove the song and supported the other musicians on the stage.

Cameron’s adept use of odd time signatures, ghost strokes, and pounding rhythms with Soundgarden drew them comparisons with Led Zeppelin. Listen to any of Soundgarden’s recordings and “Binaural” or “Riot Act” by Pearl Jam for samples of his driving drumming style.

• #18 Miles Davis – Four And More (1964)
  Drummer:  Tony Williams
• #17 Deep Purple – Made In Japan (1972)
  Drummer:  Ian Paice
• #16 Stevie Wonder – Innervisions (1973)
  Drummer:  Stevie Wonder
• #15 AC/DC – Back In Black (1980)
  Drummer:  Phil Rudd
• #14 Led Zeppelin – Led Zeppelin (1969)
  Drummer:  John Bonham
• #13 Rush – Moving Pictures (1981)
  Drummer:  Neil Peart
• #12 The Beatles – Revolver (1966)
  Drummer:  Ringo Starr
• #11 The Police – Regatta De Blanc (1979 )
  Drummer:  Stewart Copeland
• #10 Jimi Hendrix – Are You Experienced (1967)
  Drummer:  Mitch Mitchell
• #9 John Coltrane – A Love Supreme (1964)
  Drummer:  Elvin Jones
• #8 Queens Of The Stone Age – Songs For The Deaf (2002)
  Drummer:  Dave Grohl
  Here’s QOTSA at Glastonbury 2002 with DG on drums
• #7 Steely Dan – Aja (1977)
  Drummers:  Purdie, Gadd, Greene, Humphrey, Keltner and Marotta
• #6 Led Zeppelin – Led Zeppelin II (1969)
  Drummer:  John Bonham
• #5 Miles Davis – Nefertiti (1967)
  Drummer:  Tony Williams
• #4 Nirvana – Nevermind (1991)
  Drummer:  Dave Grohl

D & D:  Dave Grohl massively solidified Nirvana’s sound and drove their songs as they alternated between extreme loud and soft dynamic changes.  Their music is melodic like the Beatles and bomastically fuzzed out all at once.  Dave’s style owes much to John Bonham, one of his biggest influences.  Grohl was (and is) an inspiration to rock drummers who want to play with powerfully, solidly, and distinctively.

• #3 Led Zeppelin – Physical Graffiti (1975)
  Drummer: John Bonham
• #2 The Beatles – Abbey Road (1969)
  Drummer: Ringo Starr

D & D: Ringo Starr’s understated, economical drumming technique continues to set the standard for drummers seeking to play for the song. He was a left-handed drummer that played like a right-handed drummer, which helped make his fill intros even more unique.

Never a fan of extended flashy drum fills, Ringo instead concentrated on supporting the other musicians in The Beatles with his intuitively brilliant and consistent drumming. To discover why Ringo’s work with the Beatles is often unjustly underrated, click here for the article 13 Reasons to Give Ringo Some Respect.

• #1 Led Zeppelin – Led Zeppelin IV (1971)
  Drummer: John Bonham - ‘Bonzo’
  See Stairway To Heaven

D &D: At a very young age, before I even knew who John Bonham was, I recognized that the drum parts of Led Zeppelin songs stood apart from other music on the radio. Bonham’s raw power, sense of feel, precision, aggressively thundering attack, and musicality attracted me to Led Zeppelin’s music before I even understood why. The feel of the drum part that transitions the soft and loud passages of “Stairway to Heaven” still gives me goose bumps after the bajillionth listen. Bonham’s signature style always stood out (in the best way possible) even with Jimmy Page’s virtuosic guitar playing and Robert Plant’s distinctive vocal style.

John Bonham tops the list of most drummers’ influences for very good reason. His playing was always original, passionate, and he cared much more about feel than mere technique. His playing, of course, displayed astonishing hand and foot technique. But it was the powerful musicality and pure feeling expressed by his playing that made him truly original.

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DRUM & DRUMMER Comments:

This is an excellent list of thirteen reasons given by John Bryant (a session drummer who has played with artists such as Ray Charles) why Ringo Starr was much more than “an average drummer,” as he is often labelled by music critics.

Always serving the song without showing off, Ringo was an integral and indipensible part of The Beatles. Ringo’s intuitive feel and creative big beat style continues to be hugely influential to contemporary musicians of diverse musical genres, whether they realize it or not.  His feel was so consistent and solid that even the drum parts he played for songs in odd time signatures seem simpler than they truly are.  Many technically great drummers could never hope to reproduce Ringo’s distinctive style.

Ringo Starr is one of the most consistent, song-oriented drummers of all time.  He is the perfect example of a drummer playing economically (without ever overplaying) to make each song as powerful as possible.  He has a relaxed, dynamic, and solid feel that even more technically advanced drummers should strive for. His drumming was consistently in-the-pocket, emotive, creative, and musical.

Beyond that, he was always the egoless grounding force of The Beatles, even during the band’s most tumultuous times.  John Lennon referred to Ringo as the heart of The Beatles.  I honestly do not believe The Beatles would have developed into as musically innovative a band if they had played with any other drummer.

THIRTEEN REASONS TO GIVE RINGO SOME RESPECT

by John Bryant (drummer for Ray Charles, producer, session drummer)

Source URL: http://web2.airmail.net/gshultz

Ringo Starr, the luckiest no-talent on earth.  All he had to do was smile and bob his head.  Oh yes, and keep a beat for three of the most talented musicians/songwriters of this century.  What other impression could one have when judging the role that Ringo played in the success of the Beatles?  

Did Ringo really make a difference?  Upon listening to the latest release by The Beatles, Anthology 1, you get a chance to listen to Pete Best and two other drummers play on over twenty songs.  Was Ringo simply in the right place at the right time?  The following items may help in going beyond the image:

(1)  Ringo was the first true rock drummer to be seen on TV.  All the Rock & Roll drummers featured with Elvis, Bill Haley, Little Richard, Fats Domino and Jerry Lee Lewis were mostly R&B drummers that were making the transition from a swing drumming style of the 40’s and 50’s toward the louder and more “rocking” sound that is associated with “I Want To Hold Your Hand”.  They were dressed in tuxedos and suits and held the drumsticks in the “traditional” manner of military, orchestra, and jazz drummers.  Ringo showed the world that power was needed to put the emphasis on the “rock” in Rock & Roll music, so he gripped both sticks like hammers and proceeded to build a foundation for rock music.

(2)  Ringo changed the way drummers hold their sticks by making popular the “matched” grip of holding drumsticks.  Nearly all drummers in the Western World prior to Ringo held their sticks in what is termed the “traditional” grip, with the left hand stick held like a chopstick.  This grip was originally developed by military drummers to accomodate the angle of the drum when strapped over the shoulder.  Ringo’s grip changes the odd left hand to match the right hand, so that both sticks are held like a flyswatter.  Rock drummers along with marching band and orchestral percussionists now mostly play with a “matched” grip, and drum companies have developed straps and accessories to accomodate them.

(3)  Ringo started a trend of placing drummers on high risers so that they would be as visible as the other musicians.  When Ringo appeared on the Ed Sullivan Show in 1964, he immediately caught the attention of thousands of “drummers to be” by towering over the other three Beatles.  Elvis’s drummer was looking at a collection of backs.

(4)  These same “wannabe” drummers also noticed that Ringo was playing Ludwig drums and they immediately went out and bought thousands of these drumsets, thus establishing Ludwig as the definitive name in Rock & Roll drums at that time.

(5)  Ringo changed the sound of recorded drums. About the time of Rubber Soul (released Dec. 6,1965), the sound of the drumset started to become more distinct.  Along with help from the engineers at Abbey Road studios, Ringo popularized a new sound for the drums by tuning them lower, deadening the tonal ring with muffling materials, and making them sound “closer” by putting a microphone on each drum.

(6)   Ringo has nearly perfect tempo.  This allowed the Beatles to record a song 50 or 60 times, and then be able to edit together different parts of numerous takes of the same song for the best possible version. Today an electronic metronome is used for the same purpose, but the Beatles had to depend on Ringo to keep the tempo consistant throughout the dozens of takes of the songs that you know and love so well.  Had he not had this ability, the Beatles recordings would sound completely different today.

(7)  Ringo’s “feel” for the beat serves as a standard for pop-rock record producers and drummers alike.  It is relaxed, but never dragging.  Solid, yet always breathing. And yes, there is a great amount of musical taste in his decisions of what to play and when to play it.  In most recording sessions, the drummer’s performance acts as a barometer for the rest of the musicians.  The stylistic direction, dynamics, and emotions are filtered through the drummer.  He is the catcher to whom the pitcher/songwriter is throwing.  If the drumming doesn’t feel good, the performance of any additional musicians is doomed from the start.  The Beatles rarely if ever had this problem with Ringo.

(8 )  Ringo hated drum solos, which should win points with quite a few people.  He only took one solo while with the Beatles.  His eight measure solo appears during “The End” on the “B” side of Abbey Road.  Some might say that it is not a great display of technical virtuosity, but they would be at least partially mistaken.  You can set an electronic metronome to a perfect 126 beats per minute, then play it along with Ringo’s solo and the two will stay exactly together.

(9)  Ringo’s ability to play odd time signatures helped to push popular songwriting into uncharted areas.  Two examples are “All you Need is Love” in 7/4 time, and “Here Comes the Sun” with repeating 11/8, 4/4, and 7/8 passages in the chorus.

(10)  Ringo’s proficiency in many differen styles such as two beat swing (”When I’m Sixty-Four”), ballads (”Something”), R&B (”Leave My Kitten Alone” and “Taxman”) and country (the Rubber Soul album) helped the Beatles to explore many musical directions with ease.  His pre-Beatle experience as a versatile and hard working nightclub musician served him well.

(11)  The idea that Ringo was a lucky Johnny-on-the-spot-with-a-showbiz-stage-name is wrong.  In fact, when Beatle producer George Martin expressed his unhappiness after the first session with original drummer Pete Best, the decision was made by Paul, George, and John to hire who they considered to be the best drummer in Liverpool - Ringo Starr.  His personality was a bonus.

(12)  The rumors that Ringo did not play on many of the Beatle songs because he was not good enough are also false.  In fact, he played on every released Beatles recording (not including Anthology 1) that include drums except for the following:  “Back In The USSR” and “Dear Prudence”, on which Paul played drums due to Ringo temporarily quitting the band, “The Ballad of John and Yoko”, again featuring Paul on drums because Ringo was off making a movie, and a 1962 release of “Love Me Do” featuring session drummer Andy White.

(13)  When the Beatles broke up and they were all trying to get away from each other, John Lennon chose Ringo to play drums on his first solo record.  As John once said, “If I get a thing going Ringo knows where to go, just like that…”  A great songwriter could ask no more of a drummer. Except maybe to smile and bob his head.
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John Bryant is a 43-year-old session drummer and producer in Dallas, Texas.  He has recorded and toured with Ray Charles, the Paul Winter Consort, and currently is a member of the percussion ensemble, D’Drum. In 1976, Mr. Bryant played a rehearsal with Paul McCartney and Wings when regular drummer Joe English became ill and could not make it.  Mr. Bryant started playing drums after seeing Ringo Starr on the Ed Sullivan Show in 1964.
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JOHN BRYANT NOTES:  This story was written in reply to a previous story for The Dallas Morning News which described Ringo as an average drummer who got lucky.  It is written within the context of modern Pop music, not to compare Ringo with jazz drummers of the 30’s, 40’s, and 50’s. Certainly Ringo was not the first drummer on a riser, but his visibilty did proclaim him to be an equal member of the band.  This is significant because the earlier drummers were sidemen.  Ringo was not the “first” drummer to play matched grip or to muffle his drums, but his exposure as a Beatle made him the leader to the masses.

url source: http://web2.airmail.net/gshultz/
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Quotes from Ringo’s bandmates in The Beatles:

“Ringo is Ringo, that’s all there is to it. And he’s every bloody bit as warm, unassuming, funny, and kind as he seems. He was quite simply the heart of the Beatles.” - John Lennon

“Ringo’s just a lad. Everybody always loved him. And now that he’s all dried out, he’s just a lovable, interesting, intelligent bloke.” - Paul McCartney

“I didn’t like the look of Rory’s drummer myself. He looked the nasty one, with his little grey streak of hair. But the nastier one turned out to be Ringo, the nicest of them all. Playing without Ringo is like driving a car on three wheels.” - George Harrison

http://www.drummersrepublic.com/drummers/ringo-starr-biography-the-beatles-drummer/

http://home.att.net/~chuckayoub/ringo_starr_biography.html

“Ultimately what’s most impressive about Ringo Starr isn’t what he’s been, but rather who he is,” wrote Rolling Stone rock critic David Wild.  ”The man’s great heart and soul, his wit and wisdom.” 

“When I was thirteen I only wanted to be a drummer“, remembers Ringo, and four years later at age seventeen, he joined the Eddie Clayton Skiffle Band.  In 1959, Ringo hooked up with the Raving Texans, which later became Rory Storm and the Hurricanes.  In 1962, while playing a summer gig with Rory, Ringo was asked to join the Beatles.  Worried that he might cost his bandmates the summer gig if he left, Ringo delayed his departure until after they found themselves a replacement, and on August 18, 1962, Ringo Starr officially became a Beatle.

Of all the Beatles, he did the least songwriting.  The Beatles explained that when he would present a song as a contender for an album cut, the song would (to them) be a clear knockoff of another popular song, but Ringo would not recognize the similarities until they pointed it out.  Ringo did, however, write “Octopus’s Garden” (on the album Abbey Road) and “Don’t Pass Me By” (on The White Album), as well as a few others.  Ringo generally sang at least one song on each studio album; in some cases John Lennon or Paul McCartney would write the lyrics and melody especially for him, as Lennon did with “With a Little Help from My Friends“, from Sgt. Pepper’s Lonely Hearts Club Band.  Often these melodies would be deliberately limited to take into account Starr’s vocal range—most of With A Little Help From My Friends is sung within the space of five notes.

Starr did however contribute a number of lyric ideas and song titles to Lennon and McCartney, although usually unintentionally.  One of the most famous examples of this was the title for the band’s first motion picture, A Hard Day’s Night.  Starr had emerged from the studio after a long day of work and commented to the others that it had been a “hard day’s…” - before he finished his sentence, Starr noticed that it was now night time and added “night”.  Lennon and McCartney liked the twisted phrase enough that they decided to use it as the title for the still untitled movie the band had been filming.  Another example is the title to “Tomorrow Never Knows”.

Although some have tried to downplay his contributions to the band, Starr’s unique drumming style played a major role in the overall sound of The Beatles.  To this day, many drummers list Starr as a major influence including Max Weinberg of The E Street Band, Liberty DeVitto of Billy Joel’s band, Phil Collins, Andy Sturmer of Jellyfish, and many, many others. 

According to Collins, Ringo is “vastly underrated.  The drum fills on “A Day In The Life” are very complex things.  You could take a great drummer today and say, ‘I want it like that.’  They wouldn’t know what to do.”  Lennon, McCartney, and Harrison have all said that Ringo was the best rock and roll drummer in the world. 

As everyone knows, the Beatles went on to become the world’s most popular band, but it wasn’t until that chapter of Ringo’s life was ending that his transcendence to the beloved artist he is today - was just beginning. 

In 1970, Ringo released his first solo record, entitled Sentimental Journey, which was exactly that - a sentimental record capturing the music he grew up with (he later said “I did it for my Mum”).  The following year Ringo released Beacoups of Blues, a country and western album that he recorded with Pete Drake in Nashville in just 2 days.  That same year, the Beatles broke up.

Ringo’s passion for creating music continued to propel him forward, and in 1971 he began his unprecedented run as the first solo Beatle to score 7 consecutive Top 10 singles starting with the release of It Don’t Come Easy, with a B side of Early 1970.  His second hit single, Back Off Boogaloo/Blindman followed in 1972, and was written with and inspired by T Rex frontman Marc Bolan. Then, in 1973, Ringo released his self titled smash hit Ringo, which yielded 3 Top 10 singles, including the number one hits, Photograph/Down and Out, and You’re Sixteen/Devil Woman.  

Ringo also marked the first time since the breakup that all the Beatles participated in the same project, though not at the same time.  Between the years 1974-1978 Ringo continued to release more hits, including the top ten singles, Only You/Call Me, and No No Song/Snookeroo, and the albums: Goodnight Vienna 1974; Blast From Your Past 75; Rotogravure 76; Ringo The 4th 77; and in 1978 Bad Boy which included a television special with Art Carney and Carrie Fisher.

In 1981 Starr recorded Stop and Smell the Roses, his most critically acclaimed record since Ringo, followed by Old Wave in 1983 where he teamed up with producer Joe Walsh. Ringo’s greatest hits collection; Starr Struck - Best Of Ringo Starr Vol. 2 - was released in 1989.

The 90’s saw Starr release some of the best records of his career, and he also found consistent success as a live act with his revolving All Starr Band. The concept for the All Starr Band was first presented in 1989.  ”I got a message from a guy named David Fishof asking if I’d be interested in putting a band together.  I had been thinking the same thing - and so I went through my phone book rang up a few friends and asked them if they’d like to have fun in the summer.”  Those friends included Eagle Joe Walsh; E-Streeters Clarence Clemmons and Nils Lofgren; former Band members Rick Danko and Levon Helm; Dr. John, Billy Preston, and Jim Keltner.

The tour met with great success and yielded Ringo’s first live album, released on Rykodisc in 1990 titled simply, Ringo and His All Starr Band.  ”I’ve said this over and over again, but I love being in a band”, says Ringo.

In 1992 Ringo Starr released Time Takes Time (Private Music) and the New York Times hailed it as “Starrs best: more consistently pleasing than Ringo, it shows him as an assured performer and songwriter.”   Later that same year Ringo put together his second All Starr Band which featured Burton Cummings, Dave Edmunds, Nils Lofgren, Todd Rundgren, Timothy B Schmidt, Zak Starkey, and Joe Walsh.  This line up also featured Ringo’s son Zak, who joined him on drums, and was the first time Ringo had toured Europe since the Beatles.  The 2nd All Starr Band also yielded the release; Ringo Starr And His All Starr Band - Live From Montreaux.

Ringo’s 3rd All Starr Band in 1995 toured the US and Japan, and again featured Zak Starkey as well as John Entwistle, Felix Cavaliere, Mark Farner, Billy Preston, Mark Rivera and Randy Bachman.  In 1997 he released Ringo Starr And His Third All Starr Band Vol. 1 - and also assembled his 4th All Starr band:  Gary Brooker,  Jack Bruce, Peter Frampton, Simon Kirke, Mark River.  

They toured the US, Europe, and in 1998 joined Ringo as he became the first former Beatle to play in Russia.  1998 heralded the release of Vertical Man (Mercury), which was recorded with Mark Hudson, and marked the first collaboration with Ringo and “the Roundheads”.  It was one of Starr’s strongest records - due largely to his deep involvement as drummer, singer, co-writer and co-producer.  This was followed by an appearance at New York’s Bottom Line and then on VH1’s StoryTellers, which saw Ringo and the Roundheads performing an assortment of his greatest hits including It Don’t Come Easy; Photograph; Back off Boogaloo and Don’t Pass Me By. The performance was later released as a CD of the same title, StoryTellers (Mercury).

1999 began with the creation of the 5th All Starr Band (February 12th - March 29th) which consisted of Gary Brooker, Jack Bruce, Timmy Cappello, Simon Kirke, Todd Rundgren.

In October 1999 Ringo released the irrepressibly festive, I Want To Be Santa Claus (Mercury), which was a mix of classics (The Little Drummer Boy) and originals (I Wanna Be Santa Claus).

The 6th All Starr Band was launched in 2000, and was made up of Jack Bruce, Eric Carmen, Dave Edmunds, Simon Kirke, Mark Rivera.  They toured the States May 12th - July 1st. The following Spring, (2001), Ringo put together the 7th All Starr Band, which featured the first female All Starr - Sheila E - as well as Greg Lake, Roger Hodgson, Ian Hunter, Howard Jones, Mark Rivera. Then on July 24 2001, Ringo celebrated over a decade of All Starr Tours with the release of Ringo and His All Starr Band The Anthology, So Far…(Koch).

In March 2003 The Roundheads launched the release of Ringo Rama (Koch) with another impromptu performance at New York’s Bottom Line. 

“There is a lot of me in these songs,” Starr told rock critic David Wild. “As time goes on, my personality is coming out more and more in the music.  That’s just what happens.  On this album my drumming is more dynamic, I’m more to the front, I think I’m singing better and I believe we’re writing better songs.  All the touring helps because then you’re keeping your chops up. I suppose I had a long time off and now I’ve had a long time on.”

David goes on to describe Ringo Rama as “a grown-up thrill ride, (it) lovingly and at times movingly celebrates yesterday and today.  This is a song cycle that appropriately acknowledges the former Beatle’s illustrious past but at the same time powerfully insists on the paramount importance of living and loving here and now. Ringo Rama would be a fine album without any of its back story.  Yet coming from Starr, it feels in a sense like the album of a lifetime.”

Later that same year Ringo and Mark Hudson announced the formation of their label Pumkinhead Records, and signed their first artist, Liam Lynch.  Finally, 2003’s 8th All Starr Band hit the road with Paul Carrack, Sheila E., Colin Hay, Mark Rivera, John Waite.  This tour resulted in another live CD, Tour 2003 (Koch), and a soon to be released DVD.

“For me it works as a great formula, it’s just really a great way for me to do it,” Ringo said about the All Starr experience.  ”If you look at all the bands I’ve put together, its an incredible array of musicians, all these different people. Everyone has hit records, hit songs.  The show consists of me upfront and then I go back behind the kit and support the others. It’s just good music and I’m having a lot of fun and that’s what it all about - great music and fun.”

In 2004 Genesis books announced a limited edition print run of Postcards From The Boys, the proceeds of which went to the Lotus Foundation Charity.  Ringo described the book as a “presentation of postcards John, Paul and George have sent me over the years.  What’s incredible about them is that some are actual art pieces that would only ever have been sent to Ringo.”

To date Ringo has released 23 solo records, which includes 14 studio albums, and continues to tour regularly with his All Starr Band. Ringo’s music, as a solo artist and as a Beatle, is permeated with his personality - his warmth and humor, his exceptional musicianship - have given us songs we all know and love:  With A Little Help From My Friends; Don’t Pass Me By; Octopus’ Garden; Photograph; It Don’t Come Easy; Don’t Go Where the Road Don’t Go; La De Da; Memphis in Your Mind; Never Without You.  Fans will be happy to know that Ringo is currently back in the studio with The Roundheads, and they can expect a new record and another All Starr Tour in 2008.

Nintendo Wii Rock Band:  Mushroom Drum Pads

“If thine enemy wrong thee, buy each of his children a drum.”
(Ancient Chinese proverb on revenge)

Super Mario Bros. Mushroom drum pads for Nintendo Wii

Scheduled Release Date:  June 22, 2008

Customized pads designed to improve durability and stick response may be here:

RockBandDrumSoft.com

RockBandDrumPads.com

Drum Pad Comparison Chart

http://www.rockbanddrumsoft.com/chart.html

Available Drum Pad Materials & Features:

• Gum rubber:  dampens extraneous stick noise, improved sensitivity, improved durability (dual-layer pads dampen more and are less sensitive)
• Closed-Cell Foam:  soft feel, dampens stick noise, less sensitive,
• Single-Layer Micro-Cellular Polyurethane Pads:  highest sensitivity, best stick response, less noise dampening, more likely to trigger false hits 
• Dual-Layer Neoprene/Micro-Cellular Polyurethane:  polyurethane layered over a harder neoprene layer for improved durability, higher sensitivity, improved sensitivity over stock pads

The Nintendo Wii Rock Star game allows groups of Wii gamers to:

• Sing through a wireless microphone
• Play a wireless guitar
• Play on the newly designed white or mushroom-themed drum kit. 

Nintendo Wii vs. Playstation 3 and XBox 360 versions:

• Cheaper price for entire system
• Drum kit playability may (possibly) be improved
• The Wii version has no online mode
• Incapable of downloading new songs
• Users also cannot create their own characters
• No Guitar Hero 3 controller compatibility

Click Here for “John Bonham Dominates New Drum Poll: Top 50 Albums / Influential Drummers”

The restored Ludwig Vistalite “Jelly Bean” drum kit in the first picture is the rarest of the Vistalite Acrylic kits made in the ’60’s and ’70’s.  The 2nd picture shows a beautiful Ludwig Vistalite “Tequila Sunrise” kit.  I am personally a fan of acrylic drums because of their incredible projection and great tone.  Acrylic snares have the crack of wood drums and even more projection than brass snares.  I typically use a Pork Pie maple snare, but acrylic drums are perfect for louder playing situations with or without mics.

John Bonham made Ludwig Vistalite drums hugely popular when he used an orange double bass Vistalite kit on tour with Led Zeppelin.  He combined acrylic shell bass and toms with a 6.5″ X 14″ Ludwig Supraphonic snare drum. 

Original Black Beauty snares now cost an arm and a leg, but the Black Beauty is still the snare of choice for many touring and studio drummers.  The Pork Pie BOB “Big Black Brass” snare drum is a much more reasonably priced alternative, and they are hand-built by master drum crafter Bill Detamore.  Pork Pie drums also offers a nice line of clear and orange “Pig Lite” acrylic snares based on the original Ludwig Vistalites.

The last two pictures are of a restored clear Ludwig Vistalite site with Roland electronics (notice the Animal doll on the bass drum).

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Stinkfist Solo:

Danny Carey - Lateralus:

Drumming Along to Super Mario Bros. 2:  Vadrum

Andrea Vadrucci (of Cosmica) plays the drums along to the Super Mario Bros. 2 theme music.  To see more of Vadrucci’s unique and fun drumming style, click on “Drums Played Along to Popular Music” under the PAGES heading (in the Sidebar on Right).

This is a video by Something to Burn from their album Transitions (Softdrive/Sony 2008).  They are a very tight band, and I love the energetic interplay between all the musicians.  Something to Burn has opened up for bands such as Velvet Revolver.  

Something to Burn is almost done recording, mixing, and finalizing Transitions.

• Transitions was produced by:  Something to Burn and Dave Jerden (Producer of recordings by Jane’s Addiction, Social Distortion, Alice In Chains, The Offspring, etc.) 
• Mixed by Ryan Adams (Mixing Engineer for bands such as Deftones, Velvet Revolver, and Linkin Park)
• Scott Weiland (Stone Temple Pilots & Velvet Revolver) helped with the recording process.

Greg Wayne, the singer for Something to Burn, used to live in my hometown while attending high school.  Greg is an incredibly talented musician who taught me quite a bit about playing the drums back when I was first starting out.  He is also an accomplished actor, and one of the nicest, down-to-earth guys you could ever hope to meet.  Greg Wayne replaced Toryn Green, who is currently the singer for Fuel. 

Interview with Something to Burn

Look for Something to Burn’s amazing soon-to-be-released new CD, Transitions.

• A gorilla plays “In The Air Tonight” by Phil Collins for a Cadbury advertisement. 

• Garon Michael is the drummer wearing the Gorilla suit in the video. 

• This was voted as the “Most Popular Commercial of 2007″. 

• However, the commercial has approximately zilch to do with chocolate.

The Cadbury marketing team’s thought process boiled down to the following equation:

(Gorilla playing drums to a Phil Collins power ballad)

= (Pure Advertising Genius + Record Cadbury Chocolate Sales)

Two of my All-Time Favorite Concert-Going Experiences: 

1. Matt Cameron performing with Soundgarden at Lollapalooza ’96 at The Gorge in Washington.
2. Matt Cameron performing with Pearl Jam in 2000 in Portland, Oregon.

Matt’s in-depth understanding and execution of odd time signatures and his talent as an all-around musician is simply awe inspiring, to say the least…

While not as frequent as the other members’ written contributions, Cameron’s are held in high regard by the band, as are his performances.  In the liner notes of the Lost Dogs compilation, Pearl Jam vocalist Eddie Vedder says:

Source URL:  http://en.wikipedia.org/wiki/Matt_Cameron 

Matt Cameron has played and collaborated with:

• Pearl Jam
• Soundgarden
• Temple of the Dog
• Wellwater Conspiracy
• Skin Yard
• Chris Cornell
• Ben Shepard
• Our Lady Peace
• Queens of the Stone Age
• The Smashing Pumpkins
• Hater
• Tony Iommi
• Geddy Lee
• Peter Frampton
• Seaweed
• The Walkabouts
• M.A.C.C.
• Stegosaurus
• The Smashing Pumpkins
• The Walkabouts
• Amy Denio
• Burden Brothers

Pearl Jam Songs Written by MATT CAMERON:

Soundgarden Songs Written by MATT CAMERON:

Photo Source URL:  http://www.drummerworld.com/drummers/Matt_Cameron.html