Led Zeppelin dominate new drum poll

[whyalla]

I can't see this posted anywhere else. Apologies if it has been.

John Bonham of Led Zeppelin

Dominates New Drum Poll: Top 50

Albums/Influential Drummers

Full article at: Drum Poll: Top 50

TOP 10

#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

#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

#3 Led Zeppelin – Physical Graffiti (1975)

Drummer: John Bonham

#2 The Beatles – Abbey Road (1969)

Drummer: Ringo Starr

#1 Led Zeppelin – Led Zeppelin IV (1971)

Drummer: John Bonham

[Mangani]

Nice. Thanks a lot for that. Go Bonzoooooooooooooooooooooooooo!

[Fresh Garbage]

I am not a Neil Pert fan at all......but he should be in here. along with Ginger Baker.

as far as Keith Moon goes. greatest next to Bonzo, but always kept more in the background. which I could never understand

[Pb Derigable]

David Grohl Twice!!

I think this list could be good becuase of Artist like Steely Dan and Miles Davis are on here, and they aren't too mainstream. But David Grohl Twice. I would put Lateralus by Tool (Danny Carey) and

Quadrophenia by The Who (Keith Moon) and Moving Pictures by Rush (Neil Peart) in there somewhere.

[MHD]

Abbey Road is amongst my favourite albums, and I do agree that Ringo has been given a hard time over his drumming skills (remember the old joke? ~ Ringo isn't even the best drummer in The Beatles), but I am astounded that AR has come in ahead of Physical Graffiti! The solo in The End cannot touch IMTOD, Custard Pie or The Wanton Song.

[Zepaholic]

Dave Marsh does not approve of this topic..."But Zeppelin has one insurmountable

flaw and it

mars this album as it has

every one they've made.

Drummer John Bonham is

something like clinically incompetent.

When he and

Page riff together, in their

a-rhythmic fashion, the results

can be effective, if

never truly riveting. When

Page steps away from him,

everything fails apart. Part

of the problem is the lifeless

way that Bonham's drums

are recorded, but a bigger

difficulty is that he just

can't keep time. "

[SunChild]

Dave Marsh does not approve of this topic..."But Zeppelin has one insurmountable

flaw and it

mars this album as it has

every one they've made.

Drummer John Bonham is

something like clinically incompetent.

When he and

Page riff together, in their

a-rhythmic fashion, the results

can be effective, if

never truly riveting. When

Page steps away from him,

everything fails apart. Part

of the problem is the lifeless

way that Bonham's drums

are recorded, but a bigger

difficulty is that he just

can't keep time. "

ROFLMAO...

[The Rover]

Updated Link to the article, as the the original link no longer works:

Music Radar.com Link referecning the UK Rhythm Magazine Article

(From our Friends over at Future Publishing).

http://www.musicradar.com/news/drums/led-z...rum-poll-137310

Blog Link:

http://medisinmusicforthemasses.wordpress....-new-drum-poll/

[Pb Derigable]

Dave Marsh does not approve of this topic..."But Zeppelin has one insurmountable

flaw and it

mars this album as it has

every one they've made.

Drummer John Bonham is

something like clinically incompetent.

When he and

Page riff together, in their

a-rhythmic fashion, the results

can be effective, if

never truly riveting. When

Page steps away from him,

everything fails apart. Part

of the problem is the lifeless

way that Bonham's drums

are recorded, but a bigger

difficulty is that he just

can't keep time. "

I still can't believe somebody put that on paper and actually charge money for it.

[zosodude13]

Keith Moon couldnt keep in time... not John Bonham.

do when the levee breaks and kashmir sound out of time?

[Pb Derigable]

I remeber reading from a JPJ interview, that he and Bonzo would play a tad bit quicker, off beat, to have a sense of a song speeding up, but without really speeding up and killing the music. They built up the anticipation. JPJ they never spoke about doing it, they just did it becasue it felt right.

From Bass player mag. It gets technical but his quote is in bold.

In our early playing years, coming up with bass lines on the spot can be nerve-racking. We may not have the confidence or fingerboard familiarity to relax and listen for what to add—so we stay with the old standbys: playing the roots, and following the guitar riffs and rhythms.

But there’s a better way, and John Paul Jones proved it on Led Zeppelin’s “Ramble On.” Recorded in 1969 when he was just 23, “Ramble On” has an easy feel in the verses and a soft-to-loud dynamic energy that stands apart from the rocked-out blues songs that dominate Led Zeppelin II. The track starts with Jimmy Page’s quick, 16th-note acoustic strum and John Bonham’s mellow yet persistent percussion. Rather than following his bandmates’ rhythmic frenzy, JPJ generated the relaxed and memorably melodic line in Ex. 1. With the track playing along or a guitarist friend copping Page’s part, play just the first bar. Notice any major difference between what you and your 6-string compadre are playing? In the space that Page’s pick went up and down 16 times, you’ve plucked just two sweet-sounding, syncopated notes! The pacing contrast is similar in bar 2, where the sing-song bass part moves up to the A chord, closing the phrase with off-the-beat accents.

The syncopation continues in bars 3 and 4, but that’s only part of what makes the second phrase rhythmically interesting. When you look at the whole phrase, you can see note values getting shorter and shorter: First there are quarter-notes (including the tied eighths in bar 2), then eighth-notes, then finally a 16th-note turnaround at the end of bar 4. Music theorists call this “rhythmic acceleration.” By moving to smaller note values, the bass line makes the whole song feel like it quickens, adding tension and excitement with each four-bar cycle.

Rhythmic acceleration isn’t shaping only the four-bar verse phrases; it also shapes the whole song. Ex. 2 shows the prechorus bass lick, which has quarter-note-based phrases in bars 1 and 3, and begins to mix in eighth-notes and 16ths. The song climaxes with the chorus’s urgent 16th-note riffs, as in the composite version shown in Ex. 3. For beginners, the chorus may be a little more challenging than the verses, but if you start slowly and gradually work up to tempo, you’ll be rambling on before too long.

The last piece you’ll need to put the song together is the bridge line, shown in Ex. 4, which fits between the second chorus and third verse. Here, while Jimmy Page swaps strummy acoustic playing for twin electric licks, JPJ takes on the rhythmic accents that pulsated through that original 16th-note acoustic part, emphasizing beat one, the “and” of two, and four, seasoning the part with well-placed hammer-ons.

As when practicing the easy-feeling yet rhythmically precise verse and powerfully rockin’ chorus, remember that you’re doing more than just learning a classic bass line. You’re also gradually grasping concepts that can help enhance your creativity and build confidence for making up your own parts. John Paul Jones said it best himself when we spoke to him in July ’03: “When you listen to a certain kind of music a lot, you begin to think that way—you understand why they play what they play, not just what they’re playing, which is the case when you’re simply copying something.”

Push ’n’ Pull

“A lot of younger musicians don’t understand that you can move the beat around against a pulse, but we used to do it all the time—and that would change the tune’s dynamic. Sometimes we knew we were doing it, and we’d have fun seeing exactly how far we could lay back—but generally it was instinctive. We’d know there was a song section that needed a bit more urgency but didn’t want to go any faster, so we’d get just get a little more on top of the beat and push it, but without speeding it up.”

—John Paul Jones, BassPlayer, July ’03

[DBJ]

I would have thought the Presence would have been a better choice for the list.

Yeah LZ II has Moby Dick, and IV has wtlb, but I think the overall performance of Bonham on Presence is perhaps his best.

[Mjolnir]

I would have thought the Presence would have been a better choice for the list.

Yeah LZ II has Moby Dick, and IV has wtlb, but I think the overall performance of Bonham on Presence is perhaps his best.

I agree. Presence was one of Bonzo's best performances.

I also think Peart should have been on the list...and I'm not just saying that because I'm a huge Rush fan. Mike Portnoy from Dream Theater should have made list also. He is an amazing drummer.

[Cav]

Ringo?????????He wasn't even the best drummer in the beatles (John Lennon quote). I think that there is no question that Neil Peart,and Keith Moon should be on this list. This list strikes me the same way that Rolling Stones "100 Greatest Guitars" did. Guys like Kurt Cobain right behind Jimmy Page and ahead of Richie Blackmore.Plain crap.

Regards

Cav