(Continued, still quoting ‘The New Yorker’) He did keep the beat, and very well, but he did it by every method except the traditional one. … Moon clearly found repetition dull… Everyone else in the band gets to improvise, so why should the drummer be nothing more than a condemned metronome? … It follows from this that the drummer will be playing a line of music, just as, say, the guitarist does, with undulations and crescendos and leaps." quote ends.
(Continued, still quoting ‘The New Yorker’) The filler is the fun stuff, and it could be said, without much exaggeration, that nearly all the fun stuff in drumming takes place in those two empty beats between the end of one phrase and the start of another…Keith Moon ripped all this up. There is no time-out in his drumming…It’s all fun stuff. The first principle of Moon’s drumming was that drummers do not exist to keep the beat. (To be continued)
(Continued, still quoting ‘The New Yorker’) This results in the familiar ‘boom-DA, boom-boom-DA’ sound of most rock drumming. A standard-issue drummer…would keep his 4/4 bet steady …until the end of the …musical …phrase, where …a wordless, two-beat half-bar readies itself for the repeated chorus. In that half-bar, there might be space for a quick roll, or a roll and a triplet, or something fancy with snare and high hat…. (to be continued)
From ‘The New Yorker’ Nov 29, 2010, by James Wood - well worth reading:
“Most rock drummers, ever very good and inventive ones, are timekeepers. There is a space for a fill or a roll ant the end of a musical phrase, but the beat has primacy over the curlicues. In a regular 4/4 bar, the bass drum sounds the first beat, the snare the second, the bass drum again hits the third (often with two eighth notes at this point), and then the snare hits the bar’s final beat. (to be continued)
Hahahaha...yeah, he was prone to that...and the occasional scream LOL!
You ought to hear Beck's Bolero (on Jeff Beck's album Truth). Keith played drums on that, and he does this enormous scream when the drums come in full tilt about half way through.
Jeff Beck said he went so crazy he knocked loads of the drum mics over LOL!
Keith was pretty stout when they recorded this song. It was probably a bit more of a struggle to drum like he used to. He still played like a maniac, though.
But by this time, Keith was an absolute mess, and this was recorded not long before his untimely death. Try listening to anything from Live at Leeds to see how good he REALLY was. And to see just how well The Who played as an ensemble, because that was what it was all about for them - playing as a group, a cohesive unit, and I think they did that better than anyone else out there, and with more passion.
@lexy67flc i agree with you except i don't think keith was an absolute mess by this time and he drummed pretty good on this song. nothing compared to live at leeds but hey that was back in 1970 they were practicaly at the top of their career with shitloads of energy to give, as they were still young.
Keith wasn't, say, like Larry Mullen Jr., or even Al Jackson. His style was way more organic and completely improvised and, if you listen closely, he usually'd drum based on vocals, guitar and bass lines. The album version of "Behind Blue Eyes" is a good example of his style.
This is Townshend's writing Keith's playing. It's not ment to showcase his talents, but to fit well with the song. It's an isolated track, not a drum solo.
I never said Lamb of God was bad, just that they depend on The Who and classic rock bands, which is why they cannot ever be as good in the sense that I was talking about. They didn't leave a big impact or influence on other bands or music. And I doubt they ever will. Go on and contradict me. I'm all ears.
Fueled on Brandy and cocaine.
drummer78 2 months ago
A good drummer knows when to drum and when to keep silent. He also knows how to get many tones out of his drums. Keith was beyond a good drummer!
nedmarc 3 months ago
Young man blues isolated drums
timwho72 6 months ago
These Premier drums sound GREAT. Nice match w the pAisTe cymbals
check6ii 1 year ago
This isolated track illustrates ‘Keith Moon style drummer’ perfectly. Thanks so much for posting it!
Rownolds77 1 year ago
(Continued, still quoting ‘The New Yorker’) He did keep the beat, and very well, but he did it by every method except the traditional one. … Moon clearly found repetition dull… Everyone else in the band gets to improvise, so why should the drummer be nothing more than a condemned metronome? … It follows from this that the drummer will be playing a line of music, just as, say, the guitarist does, with undulations and crescendos and leaps." quote ends.
Rownolds77 1 year ago
(Continued, still quoting ‘The New Yorker’) The filler is the fun stuff, and it could be said, without much exaggeration, that nearly all the fun stuff in drumming takes place in those two empty beats between the end of one phrase and the start of another…Keith Moon ripped all this up. There is no time-out in his drumming…It’s all fun stuff. The first principle of Moon’s drumming was that drummers do not exist to keep the beat. (To be continued)
Rownolds77 1 year ago
(Continued, still quoting ‘The New Yorker’) This results in the familiar ‘boom-DA, boom-boom-DA’ sound of most rock drumming. A standard-issue drummer…would keep his 4/4 bet steady …until the end of the …musical …phrase, where …a wordless, two-beat half-bar readies itself for the repeated chorus. In that half-bar, there might be space for a quick roll, or a roll and a triplet, or something fancy with snare and high hat…. (to be continued)
Rownolds77 1 year ago
From ‘The New Yorker’ Nov 29, 2010, by James Wood - well worth reading:
“Most rock drummers, ever very good and inventive ones, are timekeepers. There is a space for a fill or a roll ant the end of a musical phrase, but the beat has primacy over the curlicues. In a regular 4/4 bar, the bass drum sounds the first beat, the snare the second, the bass drum again hits the third (often with two eighth notes at this point), and then the snare hits the bar’s final beat. (to be continued)
Rownolds77 1 year ago
has any got the orgnial version isloated of who are you for all the instruments
kingsofleonfan09 1 year ago
love the shouts - more more!!!
benabz 1 year ago 2
Drum machines have no soul. This is what it's supposed to sound like!!
tbeez 1 year ago 3
anyone notice the moaning at 1:54 and 2:19
Leftyguitarplayer123 2 years ago 4
It's all throughout the track. It's just Keith...being "the greatest "Keith Moon Type" drummer in the fucking world!
thankyoupourlavideo 2 years ago 12
Hahahaha...yeah, he was prone to that...and the occasional scream LOL!
You ought to hear Beck's Bolero (on Jeff Beck's album Truth). Keith played drums on that, and he does this enormous scream when the drums come in full tilt about half way through.
Jeff Beck said he went so crazy he knocked loads of the drum mics over LOL!
lexy67flc 2 years ago 3
@Leftyguitarplayer123
Keith was pretty stout when they recorded this song. It was probably a bit more of a struggle to drum like he used to. He still played like a maniac, though.
DElasee 1 year ago
@Leftyguitarplayer123
we was pretty extrovert while playing.
AKA he would scream while doing fills because his fills are nearly impossible to play
Seitzy411 1 year ago
To all people who viewed the shortened version of this drum track (which was from RockBand) and thought it wasn't Keith, this IS Keith playing.
crlaw75 2 years ago 12
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wow it really makes you wonder why people consider keith one of the greatest rock players of all time. sounds pretty freakin sloppy to me.
TheKickdiesel 2 years ago
Fuck you.
chrian31410 2 years ago
But by this time, Keith was an absolute mess, and this was recorded not long before his untimely death. Try listening to anything from Live at Leeds to see how good he REALLY was. And to see just how well The Who played as an ensemble, because that was what it was all about for them - playing as a group, a cohesive unit, and I think they did that better than anyone else out there, and with more passion.
lexy67flc 2 years ago 14
@lexy67flc i agree with you except i don't think keith was an absolute mess by this time and he drummed pretty good on this song. nothing compared to live at leeds but hey that was back in 1970 they were practicaly at the top of their career with shitloads of energy to give, as they were still young.
jnuno999 7 months ago
lick a retard's cock!
DKVillain 2 years ago
Keith wasn't, say, like Larry Mullen Jr., or even Al Jackson. His style was way more organic and completely improvised and, if you listen closely, he usually'd drum based on vocals, guitar and bass lines. The album version of "Behind Blue Eyes" is a good example of his style.
johnflaherty 2 years ago
@TheKickdiesel Well it isn't sloppy. Not at all.
Listen to the song as a whole. This drumming fits it perfectly.
I wonder why everybody who calls Keith sloppy always turn out to have a bad ear for music... (Not just you, Kickdiesel).
Shitfuckerino 1 year ago 2
I was waiting for the whole thing. Thank you! Keith Moon was the best!
TheDirectorofFoo 2 years ago 3
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It sounds like a fucking 10 year old using the most simple beats in his inventory.
KakeInMyEyes 2 years ago
This is Townshend's writing Keith's playing. It's not ment to showcase his talents, but to fit well with the song. It's an isolated track, not a drum solo.
I never said Lamb of God was bad, just that they depend on The Who and classic rock bands, which is why they cannot ever be as good in the sense that I was talking about. They didn't leave a big impact or influence on other bands or music. And I doubt they ever will. Go on and contradict me. I'm all ears.
thankyoupourlavideo 2 years ago 3