music matters

MUSIC MATTERS.

             Why
                DOWN AT THE JETTY
                                CHANGED MY LIFE

To the truth - any one of a number of albums could be here. - PINK FLAG (Wire)- GIANT STEPS
(Coltrane)- KEYNSHAM (Bonzo dog)-METAL BOX (P.I.L.)
I could go on. So why Dr Feelgood?
1976, and I, just like thousands of others had become rather fed up with rock. After listening to one too many turgid offerings from the likes of Led Zeppelin, and Paul McCartney as well as progressive nonsense from those such as E.L.P. (a previous fave, I may add), I was now desperately searching for something, how shall we say, a little more exciting.
Now I like drum solos as much as the next skin tickler, but these heavy and progressive lads just had no finesse. Most of these rock workouts sounded like 6 pairs of plimsolls in a washing machine. (Check out Ginger Bakers - Toad - for a classic example). Guitar solos had become as predictable, boring and long as the M.1. Something had to give. Punk was just around the corner, but the Feelgoods got there first.
Having spent years looking at pictures of rock stars, dressed in what can only be described as a cross between Elizabethan period costume and ladies underwear, it was a shock to see the cover of - Down By the Jetty. These guys looked like they had just got out of prison, after a five stretch for car theft and threatening behavior. And the sound within that monochrome sleeve? Monotone audio. - For authenticity or budget? Who cares. Short, sharp songs (yes, songs) delivered with power and verve. Featuring a guitarist whose idea of a solo, was to just play louder (Wilko Johnson). Lee Brilleauxs voice had no heart rending, soul ripping, honey velvet overtones, he just growled, (his influence was Howlin Wolf), and behind them both was The Big Figure (drums) whose timekeeping was as accurate as a Swiss watch and John B Sparks who eschewed fannying about on a four string in favour of good solid and driving low end.
Suddenly everything became clear. Music did not have to be about Mythical prehistoric monsters, on wheels, or an exercise in complicated chord structures recorded over 3 years on a 102 channel multitrack. - 1 (small) drumkit, 1 guitar, 1 bass and a vocalist who frightened you in to having a good time. Rhythm and Blues classics mixed with sharp originals and all wrapped up in 35 minutes.
A week after I had first listened to this album I knew I wanted to play drums, and play like The Big Figure. Not Phil Collins, Not Carl Palmer and not Billy Cobham, who needs THAT MANY drums anyway. Even Keith Moons sound was flabby by comparison.
This album was also the trigger for me to investigate Blues, R n B and classic Rock And Roll. A journey that I am still navigating and still enjoying immensely to this day. From that, sprung my love of Jazz and these musical idioms now dominate my record, c.d. and tape collection. My lady friend fears me winning the lottery, because she knows that not only would I fill the house with CHESS records but that I would probably buy CHESS RECORD INC. I still experiment with many other forms of music for my listening pleasure but once the Blues has you by the balls, it wont let go.
I have only ever cried at the passing of 1 Rock n Roll star and thats Lee Brilleaux.
I have never seen any band live as much as Dr Feelgood.
No album I own has the longevity of - Down By The Jetty - it still gets played.
A few years later I had taken a darker corridor towards the inner light of music’s soul, (copyright The N.M.E., probably), - Joy Division, Echo and The Bunnymen et al, but when it became clear that manic depressiveness was not an attractive lifestyle, which was the album That I turned to, to find my way back? - You’re a good guesser, my friend.
Down By the Jetty -, the sound of people having a good time and making sure that you do to. And I did, and I do.

Be seeing you, Down by the jetty. ...........Neil.

Music Matters
Album; The Inner Mounting Flame
Artist; The Mahavishnu Orchestra

Now that Neil has broken the ice with his fab feature on Dr Feelgood’s superb debut long player, ‘Down By The Jetty’, an album I also bought as soon as it came out. I thought that I should try my hand at jotting down a few thoughts on albums that have twisted my melons and caught me an uppercut to the solar plexus when I wasn’t looking.
To try and whittle the short list down to even a number like 25 is hard enough, my record shelves sag with albums that I would, if need be, run into the house to save if it were on fire. First thing I would do, would be to heave the wife out the window then at least the albums would have something soft to land on!
I have been buying records since I was eleven and seriously spending money on them since my teens, only now am I managing to buy less then I ever used to. A mixture of finally owning pretty much everything that you can track down over the years of certain artists and a general disinterest in most new music (yes, I know that’s a sad thing to say but as Bob Dylan said on one of his recent radio shows, truth is, there’s just more old music then new music.). But even though my tastes have become a little jaded over the years there are still plenty of records that still set my hair (???) on end, send quivers down my back bone and put the shakes in my knee bone. Here’s one for starters. Randomly chosen for you, dear readers (That’s you Neil and you Andy).

Having an elder brother was incredibly useful in kick starting my musical journey. Strange that now he still only listens to Old School Reggae and Funk and I have a Magpie’s ear for all sorts of sounds, the more obscure the better. But there was a time when he brought some fantastic albums home that ended up being taken over by me, playing them long after he had lost interest in talking about them or listening to them.
One such LP was ‘The Inner Mounting Flame’ by The Mahavishnu Orchestra with John McLaughlin. Released 1972 and heard by me pretty soon after.
First thing was the sleeve. Great stuff, the band seated and staring at the camera in a meditative state, so, not a rock band then, all surrounded by a burning candle flame. So far so good, a bit pretentious but not too stuffy, kind of laid back. Flip it over and there are 25 colour photos, 5 of the instruments and the balance are the band, plenty of shafts of light flaring the pictures, just so you get the message that they are a kind of spiritual band. They all look quite earnest but seem to be having fun recording the album you are about to listen to. The violinist has really long hair but the rest of the band look like a fairly respectable, dependable bunch. The only slightly strange looking one is the guitar player. He’s got a Medieval Monks pudding basin of a cut.
Drop the needle down on Track One, Side One and any cool, mellow vibes that you might have picked up from the sleeve are kicked out of you within the first 30 seconds. This lot are hooligans!

‘Meeting Of The Spirits’ starts off with a crescendo and builds up to a shit storm. A huge swirling riff circles around and around and McLaughlin is straight in with a blinder of a solo, notes flying all over the place. Now, I am not a man who really likes too many fast notes, they just become a blur after a while. But I do like McLaughlin. His early years were spent playing R’n’B with the Graham Bond Organization and Georgie Fames Blue Flames so his solos are still shot through with that Rock n’ Roll feel. That combined with some serious Jazz chops honed whilst working for Miles Davis put him on top of his game for this album.
The band are unbelievable, Billy Cobham on drums playing fast, tight and funky. Jan Hammer on Fender Rhodes underpinning the melodies and Jerry Goodman on violin, that rarest of instruments in rock but certainly keeping up with his jazz buddies.
The album contains one nose bleed after another, heavy riffs, twisted time signatures, funky rhythms and then at the end of side one a quiet pastoral piece. Its like being duffed up by a busload of drunk Chelsea fans and then them sitting you up and asking if you are all right and do you want a lift to the hospital.
Side 2 kicks off with ‘Vital Transformation’, insanely funky drumming and then a visceral riff from the band and you are off again. This is not an album to drive to, its just too dangerous. ‘The Dance of Maya’ is taken in 10/7 time, God knows what that means but it’s a catchy tune and you can whistle it!

The original Mahavishnu Orchestra were a flash in the pan of a band. Formed in late 1971 they had split by mid 73, burnt out from too much touring, riven internally by jalousies over song writing credits and acknowledgement of who had done what to the tunes. Ultimately it was McLaughlin’s band and he went on to form the MO2. A band not fit to hold the name of their predecessors. But for three albums they defined that most obscure genre of music, the dreaded ‘Jazz Rock’. For me they were the only band that ever managed to bottle the lightning that JR should have been. Miles started it off with Bitches Brew, Weather Report BJ (that’s Before Jaco) had a dabble at it but the Mahavishnus cracked it. Rock riffs, played at the volume of a rock band but drenched in jazz skills, musicians with great ears that decided to listen and play together.

The sign of a classic record must be that as you grow older the music still has something to offer you, not just the memories of when you first heard it but it must unveil something fresh and reveal something to you now. Its 35 years since I first heard the record and I still love it today. How many records from 1937 were people listening to in 1972 and still thriving on them? We are a lucky bunch!

Graham Goldwater

Here's one for your cool new 'Music Matters' page.

Electric Light Orchestra: Out Of The Blue.

I wonder how many people can honestly remember the first album they listened to, let alone the first song they ever heard? Well I’ve always remembered the first time I heard real music at (I think the age of 3 or 4) back when all I knew were damn nursery rhymes and it really was a great moment which I remember clearly and set me on my musical journey which brings me to this day! Basically I was up late one night being a hyper 5 year old and bugging the parents when I watched what was on the TV. ‘Top of the pops 2’ (yes that’s right) and the song “Wild West Hero” played and I found it exciting and incredible with its booming instruments and exciting riffs. Dad blared on about the band and explained about albums etc and that he had the song on a vinyl and I insisted that I wanted to listen to it ASAP. Soon I reached the stage where I would wait for dad to come home so he would put it on the record player and I could listen again and again while staring at the cover art which featured a huge space station with spacemen and shuttles. Eventually I started listening to the rest of the album and figured out how to use the record player on my own and the rest is history.

The beautiful melodic album seems to subconsciously go through several themes and styles. Apparently each song features the word ‘blue’ at least once and the songs are indeed emotional and I can always listen to the album when Im feeling down and go back to it when I tire of the latest band craze I go through (right now it’s The Police as many probably know!). The best part of the album is probably the part entitled ‘Concerto for a rainy day’ which features the well-known ‘Mr. Blue Sky’. These songs feature interesting rain and thunderstorm effects and many enchanting organ playing and overdubs. Overall the album is a pinnacle of musical achievement with seven talented people bringing classical instruments together with guitars and drums and the ensuing result is an incredible assault on the audio senses, which for me personally has never been bettered. It is my opinion that my openness to music (except a few dank modern genres…) from reggae to classical, blues to ambience, and soul to jazz stemmed from having a high expectation of music after the first style of music I heard happened to be so complex and incredible. I don’t care or understand why so many people seem to hate the band with a passion but my dad always said people were too ‘cool’ to admit they liked them (!) Well for me good music never dies and music is so spiritually and emotionally important that such things do not come into the equation. Peace out.

MUSIC MATTERS

TEN GREAT BOOKS ON MUSIC

(1) Revolution in the head - Ian McDonald
Surely this needs no introduction. If you love The Beatles and you do not have this book. GET IT. And fall in love with them again, only twice as deep.
The ultimate way to make sense of their music.
(2) The Penguin book of Jazz on C.D. - Richard cook & Brian Morton.
My Bible. No kidding. Perfect collection of reviews, opinion and hard fact. Check out before you buy or just read about your favourites. Absolute bliss.
(3) Boogie Man - Charles Shaar Murray.
The adventures of John Lee Hooker, and what an adventure. The Authors love of the man shines through in every chapter and if you own a lot of J L H platters (and I do), you will be playing them all the way to the end.
(4) Bessie - Chris Albertson.
The slim biog of a very large woman, and I am not just talking of her physical frame. More interesting than you could ever imagine. Bessie Smiths voice, personae, and musical style is way beyond inspirational. I found an original in a junk shop and I will never part with it.
(5) Strange Fruit - David Margolick.
The whole story behind the most sorrowful song ever written. Who wrote it, how it came to be written and its massive cultural and musical influence, that is still just as powerful today. Hear the song, listen to the song, read the book.
(6) Lives of the great songs - Edited by Tim De Lisle.
The book of - The Independent - Newspaper series. This should have been the first of many but sadly it was not popular. Shame. All the great songs, pored over, explained, dissected and detailed. One you keep coming back to.
(7) A kind of Blue/A love Supreme - Ashley Kahn.
Two for one, here. Magnificent tomes on two of the greatest jazz albums ever. Fabulous, loving text. Beautiful pictures and full of insight and revelation, that makes you dig out the originals. Or better still, the deluxe version of - A Love Supreme -.
(8)No sleep till Canvey Island - Will Birch.
The mid seventies Pub Rock revolution, written by someone who was there. Will was the drummer in The Kursaal Flyers, (I didn’t know drummers could write), and saw it all happen around him. The glory that was Ian Dury, Brinsley Schwartz, Dr Feelgood, Larry Wallis, etc, etc, that directly or indirectly led to Punk. Only, where Punk was full of angst, these guys were full of beer. Read it and wonder what happened to the wonderful pub music scene that was.
(9) The Blues, Album Cover Art - Graham Marsh & Barrie Lewis.
O.K. just pictures really, but I am a drummer. And WHAT PICTURES! Never mind Floyd and Zeppelin this is what album covers should look like.
(10) Elevator Music - Joseph Lanza.
The history of muzak and why we just cannot escape it. Read this before going to The Kings Head.

Cheers and good reading ............Neil.

Music Matters.

                IS IT RIGHT TO PLAY
                 THE DEVILS MUSIC
                IN THE HOUSE OF GOD?

On Sat 30 June, The Kings Head House Band, Blue Beyond, played their first gig outside of their home. Before you switch off I will just say that I am not here to comment on our performance. First of all because that is for someone else to do, and secondly I have not the faintest idea what we sounded like. You see, the venue was St Paul’s church in Grove Park Chiswick as part of the - Grovestock - music festival and if the Devil has the best music, then I am convinced that he also has the best acoustics. God, for sure, does not. Not for a 4 piece Blues Rock Band, anyway. Some of the earlier performers had struggled for clarity and some came out of it well, a church being quite suitable for a classical woodwind trio, or a solo Blues artist using Resonator steel guitars. That was Papa George and he played a very good acoustic set of Blues standards.
However, if you add full on Drums and electric Bass, not to mention 2 gritty guitarists who like to put it out, things happen to the sound.
Now I have to say, at this point that, I know we went down well, from comments made afterwards, and the audience was very appreciative, and I also know everybody played to their best, calmly and professionally dealing with the problems that faced us. So, really this is just my view, or insight, in to what it felt like at the back trying to get a feeling for what the other guys were playing.
Sitting behind everybody else and also behind the amps and P.A. speakers, as I was, Andy sounded, to me like he was singing in a tunnel. The Channel tunnel, and he was in France. The guitars were barely audible, and yet I could see the guys were giving it some, Jovans Bass was the only thing I could hang on to and without doubt we were working together, but it was HARD work. I have never had to listen so hard for every note of music, just to keep in touch. Try to imagine, if you can, playing a song without knowing where you are and having to rely on timing and intuition. Normal clues such as a guitar phrase or lyric were out of the question. I couldn’t hear any.
This was not The Kings Head, and the first thing you notice, apart from the lack of a bar, was the enormous height of the roof. The sound, to me, went straight up. I was not only getting no feel for the Band, I was completely without feedback from the Bass Drum, and the Hi Hat sounded like I was hitting it with a stick of celery.
I have yet to discuss with the other 3, how exactly it felt for them, but we were assured afterwards that out in the audience, the sound was great.
I know we went well, and it was a great day all round, and fantastic for the community. The photos of course, are fantastic. Playing in a church looks magnificent but I am not sure it is something I would want to do too often. The Blues, of course, belongs in sweaty clubs with low ceilings and I not sure that I like being the last to know how we played. One thing is for sure, rehearsing certainly gets a band to know one another and we helped each other out with plenty of nods and glances. It was great to feel that nobody was going to let you down and we were all together.
My best wishes to St Paul’s Church and the charitable causes they highlight, and thanks for giving us the chance to perform there. I just hope that next time they lower the roof.

Neil.

Ten songs that got me through / I associate with secondary school:

1. Pink Floyd - Another Brick In The Wall:

The ultimate anti-hypocritical grim teachers who stand by watching you get beat up in class song.

2. U2 - Sunday Bloody Sunday:

Heard it in the second from last year when i was at a low end and made me pick up several U2 albums which i went on to listen to many times through classes while the teachers were shouting at students and students yelling at each other and punching each other etc.

3. Jefferson Airplane - White Rabbit:

Listened to this song for the first time right before my final English Literature exam. The question was \"Describe a dream world\". I wrote a Trippy inspired answer and got near full marks. Enough said!

4. The Who - Listening To You:

The truly uplifting climax to the Tommy album which filled me with power and hope each time i heard it.

5. Monty Python - Always Look On The Bright Side Of Life:

The song to cheer you up after a hard day of school when you’re trudging home in the rain!

6. Hawkwind - Silver Machine:

Our caretaker was infact Terry Ollis a dreg haired old rocker who nearly made it big as a drummer with Hawkwind before they chucked him. He had been there and done it all. Twice. And he lent me a Hawkwind album - great stuff it is!

7. The Beatles - A Day In The Life:

Just a great song from a great album I listened to many times during School. Emotional and technical it drilled into my head how good music can be and made all the Rap crap seem ridiculously bad (thank g …rock!).

8. Iggy Pop - Im Bored:

A very cool song which really spoke to me - I was very bored with school and all the crap!

9. Queen - Bohemian Rhapsody:

A passion pouring classic to sing along to while drunk at a party - I would normally grab some stick object and lead the air-guitar-solo which was one of the good things that would happen back then!

10. Mike Oldfield - Hergest Ridge:

A great beautifully melodic masterpiece from a single man. Assured me music was the future for me and that I had to start soon - Picked up a bass guitar and now 2 years later here we are!

Alex (AKA Junior)

MUSIC MATTERS.

Where have I heard that before?

How many times have you listened to a piece of music and thought, that sounds familiar. Stealing riffs, lyrics and whole tunes is an art and it is often down to luck as to whether you will get away with it or end up in court.
Claims against George Harrison for stealing the first line of - Something - from James Taylor were ambitious and doomed to failure, but when Georgie chanced his arm and walked off with the main body of The Chiffons - He\'s so fine - for - My sweet lord - it cost him dearly, despite his protestations of innocence.
Better to stick to pilfering riffs. Its not they are harder to prove, more a case of somebody not being bothered to chase it.

Sex and drugs and rock n roll.
You know the riff, - well it comes from John Coltrane and Don Cherrys Avant Garde sessions and Dury and Jankell thought they could use it. And they did. (My thanks to Guitar G for that info, and the inspiration for this article).
Ball of confusion - The Temptations.
According to the writers and producers in a fairly recent interview, the powerfull Bass line for the song came from - American Woman - by - The Guess Who. Clever, eh?
Lady Madonna - The Beatles.
That piano, very distinctive isnt it? Macca must have thought so after hearing Humphrey Lyttletons -Bad Penny Blues -. Whos gonna notice?
Fame - Bowie.
Doesnt sound too much like James Brown does it?
Well, it did when Brown came up with the original riff, rhythm and song structure in the late sixties on a song that must have made quite an impression on The Thin White Duke.*
Of course, John Lee Hooker used to do it with some style. A song like - One scotch, one bourbon, one beer - would sudenly become - One bourbon, one scotch, one beer and be relabelled as a J.L.H. original. But then his - Shake, Holler and Run - did become a big hit for Bill Haley as - Shake, rattle and roll - so I guess what comes around, etc.
Manc miserablists The Smiths have a sound all of their own, but doesnt - Panic (Hang the D.J.), sound a little too reminiscent of T Rex - Metal Guru? I knew you would agree.
I knew the bride, when she used to Rock n Roll.
Didnt Chuck Berry write that as - You never can tell. But then again, Nick Lowe is a seasoned offender, known as the chameleon of pop for his ability to write to all sorts of styles. Check out his genius in re-writing The Jackson 5s - I want you back - in to the sublime and ridiculous - Nutted by reality - you just gotta love him.
Some of the best fun I can think of is going through the Amy Winehouse album and playing spot that tune. If you stop at twenty then you aint really trying.
And if anyone can tell me the name of the Oasis tune that closely resembled Neil Innes - How sweet to be an idiot - I would be very grateful. It would save me the displeasure of actually having to listen to their stuff. Ironic really as Mr Innes made a nice career out of Beatles pastiches that were just one step away from the originals.

Best way to avoid appearing before the judge is to copy your own songs again and again and again. Just ask Coldplay.
So, get writing, theres gold in them thar pop hills. Just dont get caught. ..........Neil.

*(The J B track, by the way, I have heard, but cant recall the name. It is shockingly similar).

DRUMMERS SPECIAL EDITION.

Hi all you jammers, I hope that you will indulge me but I thought that for a Christmas special I would do a small feature on our regular sticksmen. When I first thought of the idea, I realised that Chris martin was away for 4 weeks, and as the longest serving occupant of the drum stool he needed to be in here. No matter, due to the miracle of phone technology I caught up with Chris at his family home in Germany where he gave me some insight in to his world of rhythm.

N.P. "So, tell me Chris, what kit do you have at the moment".
C.M. " I have my 1970'S, white marine pearl Slingerland kit and a 1980's Gretsch, bought from new. The Slingerland has a couple of '60's pieces, such as one of the floor toms, but it is chiefly a 70's kit. Oh and of course, I have the 1930's Radio King snare. You have to mention, though, that the badge is a brass 'cloud' badge for Slingerland Chicago, and the Gretsch has an octagonal badge. These things are important"
N.P. "I will. Can you tell me, who was your biggest influence?
C.M. "Yes, obviously Buddy Rich, but I did not know of him until later. Originally, Ringo Starr was my influence for playing the drums"
N.P. "And who would you most want to play like, overall".
C.M. "Well I have to say that Buddy’s playing is what I aim for, but you have to be yourself. You can use elements of other drummer’s styles but you have to use your own handwriting. You have to have your own sound. If you try to emulate one person’s style alone, then you will just be a fake of that person, that style. If you like good watches, you shouldn't accept a fake Rolex. Have the real thing. I feel the same about playing. I don't copy, but there is influence.
N.P. "Chris, thank you for your input, see in you the New Year".
C.M. "Thank you".
As I said, Chris has been behind the kit longer than anyone else at Global Jam, and he still manages to spring a few surprises in his playing. He can play Swing,Bop,Shuffle,Funk,Rock,Soul,Country, and Latin American styles. He is as adept with brushes, as well as sticks and I have even seem him play a whole number one handed, which caused some controversy. He's also a very friendly and encouraging person, but just don't give him bullshit because he will say what he thinks. Some like his drum solos and there are some who are not so keen, but when he is on form there is a pure artistry to be viewed and it is undeniably fascinating to see someone who can do it properly. Most of us are drummers, but Chris can PLAY the drums.

At the other end of the spectrum is BHAVESH, one of the more recent additions to our Global Jam set up, coming in at the tail end of The Kings Head Days. Bhav is probably our youngest drummer and would be the first to admit that he istill learning his trade. Mixing with and watching guys like Chris can only be a help and I know that he is very keen to pick up as many tricks and hints as possible. His biggest influence is Steve Jordan and he won't go far wrong if he aims for that level and style. Jordan is a rock solid drummer with his own personality and has been around for some time, backing many great musicians. Bhavesh plays a Pearl Export kit at present and is a popular guy at Global Jam.
My own start in music came with a couple of friends who played early eighties "Indie" type music such as Smiths and Aztec camera covers and it took me a long time to get away from the fey, limp wristed type style that I had fallen into. Which is why I have always been fascinated by the "Power Drummer" type such as Tim or Paul. PAUL has undoubtedly the loudest Snare drum technique that I have ever heard. Often using the same drum as everyone else, at The Jam, and with very little uplift of his left arm he manages to recreate the sound of a handgun in an empty room. He will often play with "Hot Rods", a sort of cross between brushes and sticks, otherwise he would just be too loud. Paul plays a Tama "Royal Star" 5 piece kit with Zildjan cymbals and he tells me that his major influence was Phil Collins, "before the bad stuff", and he would like to emulate Stewart Copeland. Well, wouldn't we all. Fitting the right drummer with the right guitarists can be a bit tricky during Jam sessions but Paul fits right in with everyone.
Recently I had the pleasure to sit in with a little supper club type Jazz group at "The Rose and Crown" in Ealing and it was an unusual experience. Even more unusual was watching TIM take his turn at "The traps", and watching him make a good go of it. Although, I think he rather frightened some of the older players when he really let loose, On "Tea for Two". Tim is a perfect example of a "Powerhouse drummer" and is also a complete obsessive when it comes to the world of drummers’ tools. Every time I see him he tells me of another addition the already stuffed and chaotic order of his flat. He currently plays a Ludwig Vistalite kit and insists on Paiste cymbals, and seems to spend as much of his spare time as possible on the Internet in search of more lovely drums. Or cymbals. His biggest influence is Neil Peart of Rush.
In anybody’s book, the top end of drumming technique has to be the Jazz style, and Chris is not the only swinger in town. Some of the most pleasurable moments that I have enjoyed at The Jam this year have been when CHAO has been seated on the drum stool. Technique, power, finesse, and drive have all been on view when he is playing. His group, with Stephanos and Alex are not to everyones taste, (a tricky subject, is Jazz Fusion), but no one could deny the absolute skill with which it is played by these three. They sure know how to warm up a room. Every solo from Chao is correct and he never lets go of the original rhythm, so when the band comes back in it feels and sounds seam less. I would just like to hear him JAMMIN' more. That’s what we are about after all.
Two more from the Jazz stable are Nikola and Stan. NIKOLA has not yet appeared at The Drayton but was a regular at The Kings Head. I spoke to him recently at The Tune Inn and he let me know that he was about to go on tour in The States.Nik is another drummer who is absolutely correct, (I have never heard him make a mistake), he can be an inspiration to those who watch him closely. STAN is our resident enigma. Never seen him smile, never seen him frown. Complete poker face. I'd love to know if he was enjoying himself. He comes across like the original drum machine. If Kraftwerk ever need a drummer..........
Lastly, I would like a word about Drum solos. Not so long ago I was at The Tune Inn, enthusing to any one who would listen, about a certain drummer there. (Not one of our regulars). I was saying that I thought he was incredibly talented and a rock solid musician. Flawless was a word I think I used. Then he played a DRUM SOLO. Well,......myself and a certain Mr Falconer looked at one another, not sure if we could believe what we were hearing. It sounded like someone had pushed a trolley full of empty tin cans down a stair well. Truly awful. Rule of thumb, ... if your not sure, or you have not worked one out, don't do it. There is nothing better than a good Drum solo, nothing worse than a bad one. Better to be a backbeat hero than someone likely to empty a room in ten seconds. Or, be like NICK CASH. Forego Drum solos for a couple of C.D.s of experimental soundtrack music. And very good they are too.
I'm off now to play "Little Drummer Boy", look forward to meeting up in the New Year. Happy Christmas and be seeing you .............Neil, (Premier Drums, or anything that I can find in the local Oxfam), Pearce.