Rush’s Alex Lifeson and Geddy Lee are on record stating they aren’t built to sit idle. Further, they signaled the possibility of taking an ace drummer to (gulp) fill Neil’s shoes. Good Luck? Okay, there are many, MANY drummers that cover Rush proficiently. Thing is, some are better than others at different eras of their catalog. Let’s see … ‘70s Classic Riff Rock, later-‘70s Orchestral Prog, the ‘80s Digital Sequenced Man, the later ‘80s synth pop and riff rock, the neoclassical Hard Rockin’ Naughties, finally arriving at the Steam-punky Time Machine era and Clockwork Angels. Who can do it all? Now, I’ve already seen countless social media posts asking
that very question. The majority are quick to finger Mike Portnoy, Danny Carey,
Mike Mangini and several other, let’s say, “contemporary prog legends”. As
incredible as they are, I’d have to wonder if Ged and Al see them with a
fanboy-detector lens. My guess is they’d want someone they’ve always admired
that came up around the same time as themselves. The available drummers in that
category are very few. Some are no longer with us, some are retired (Bruford),
some—like the fanboys—can't do it all, let alone do it Neil-verbatim. Poach a lucky tribute
drummer? Sort of like what Journey did? Hmm… nice gesture. Still,
it might not be rewarding for Geddy and Alex. Subbing for Neil Peart seems all
but an impossible request. Maybe they’ll have to accept a younger jedi to see
the road once more. Maybe not. Bill Bruford? Retired, mostly gone jazz
towards the end, but he is well-versed on the ‘lectrics. As of today, he’s
74. My guess is he’s done and has no intention of joining a band, not even
Rush.
Omar Hakim? Sure, he rehearsed with them and covered a
couple songs. Steady performance, yet not remotely as good as several tribute drummers
I’ve seen on YouTube. He was fun to watch nonetheless. I'd sort of enjoy seeing other masters fight to accurately cover Rush. Won't happen. Might as well get some of the other heavies out of the way while I'm at it: Billy Cobham, Vinnie Colaiuta, Dave Weckl, Steve Gadd, Steve Smith, Manu Katche ... nope! And a couple Holdsworthians: Gary Husband and Chad Wackerman. Jazz regression therapy? Interesting ... but seriously doubtful. Mike Portnoy? He’s gone home to Dream Theater. I know he’d
jump at that opportunity—THE ultimate (and famous) fan of Neil Peart. Missed
his timing, I’d say. Suffice to mention, “the kid” in their eyes. Mike is
pretty much the fan favorite. He loves Neil so unashamedly, even when it wasn’t
cool. Simon Phillips? Maybe beneath him, and maybe mismatched for
the ‘80s electronic era, not that he’s incapable. Simon’s a lotta jazz the past
couple decades, but I did catch him on a hard rock session not too long ago.
Would be an interesting choice. Audition! Stewart Copeland? This is my favorite gut reaction choice,
and he’d definitely change things up to make it interesting. That’s a catch-22
though. Stewart’s drumming persona might be overwhelming to fans looking for
another Peart. I’d love to see the audition tapes of him trying though! (and
Rush covering a Police tune!) Virgil Donati? He’s only slightly younger and totally slams
it when needed. Versatile too. I think he could do it. Right choice? Chemistry
there, mate? Hmm…
Alex Van Halen? You’ve probably seen the above trio meme running
around Facebook, X, Insta, and other places. Snap
reaction has most folks panning the very thought. Not funny! Not good enough.
Only a rocker. Yadda yadda … Besides, he’s pretty much retired after the loss
of his brother. One and done. And, I’d agree. What most of those people don’t
know is that Alex is a huge fan of prog, jazz, reggae—same as Peart—and
greatly admires Billy Cobham, John Bonham, Keith Moon, Ginger Baker, Tony
Williams, Mitch Mitchell, and Buddy Rich, among others. Yes … same as Neil Peart. In fact, Alex
liked Billy Cobham's grooves so much, he appropriated Billy's famous double bass shuffle on
Spectrum’s Quadrant 4 for VH's Hot for Teacher. And guess what? He’s also the same
age as Geddy and Alex, came up the same as them, and a one-band-man. Go back
and listen to some of VH’s earlier material. A few are borderline progressive,
although the grand guardians of the genre would surely raise the drawbridge. Now,
it’s fair to say I don’t quite see Van Halen learning and performing Rush’s
back catalog. I could hear him on some new material, however. His sound would fit Lifeson’s harder riffs quite well. Never say never! Thomas Lang? He could pull it off, I’m sure. He’s got the
same problem as Mike Portnoy, Tim Alexander, Todd Sucherman, and so many
others. That lens, you see. Terry Bozzio? He’s 73. Could he do it? I think so, but why
would he? Is he a good fit? Overkill? Again, I’d love to see his audition/rehearsal
tapes! What about one of metal's legendary hitmen, Tommy Aldridge? Could you see him covering Mystic Rhythms? That'd make for an entertaining audition vid, for sure. Destroying Simmons pads with his bare hands ... Matt Cameron? Here’s another name frequently tossed around. It’s unfortunate that Matt has little if any recordings that demonstrate a clear ability in progressive rock. He’s a huge fan of the genre, of Neil, and of Neil’s influences. I don’t doubt he could manage a large portion of the catalog. All of it? Better for new material? If it’s a multiple audition scenario, similar to Dream Theater’s a dozen years ago, I don’t see why Matt shouldn’t have a go. Unless, he simply not keen on it. Anyone bother asking these people? Chad Smith? I’m seeing double. Chad’s great. Solid player.
Can he pull Rush off – all of it? You know, I never play someone short.
True professionals are often surprising when a real challenge arises. Chad’s proven.
Would be an interesting audition tape. Matt Sorum? Chalk him down ala Chad Smith. Small kit rocker. Solid. Kenny Aronoff too. Good match? Mike Hetzel? Who’s that, you say? Sticks for YYNOT—probably
one of the best Rush tribute bands around. Obviously up to the task. Would Rush
do the Journey thing, though? What about new material. There’s a wrinkle. Out
of all the drummers already listed, who’d you want to hear with Alex and Geddy? Of course, there's another guy from a successful Toronto trio. Also famous on the big kits back in the day. Longtime friends of the guys, too. What's Gil Moore of Triumph been up to? My last mention is, to me, the most intriguing: Rod
Morganstein. /T (1/12/2024) Probably best.
|
Friday, December 8, 2023
Who Could Possibly Replace Neil Peart?
Monday, October 2, 2023
A Farewell to Dom
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| That's the look! |
The mid and late ‘80s were full of such clinics: Chester
Thompson, Vinnie Colaiuta, Rod Morgenstein, Tommy Aldridge … I made the
75-minute trip at every opportunity, even if I didn’t know the drummer. Hey,
if he’s doing a clinic at Atlanta Pro, he must be pretty good, right? I
just happened to catch Dom after a couple of those clinics. The guys at Atlanta Pro Percussion (APP) talked about him and his crazy fast feet. I was really into that at the time,
so I made a point to be there and ask questions when that time came.
Dom ran a clinic like no other. Yeah, sure, they all start and end with a solo,
but Dom explained everything in the technique, including his encyclopedic
referencing to where it all emanated. No term for a chop’s etymology, so … hmm …
maybe invent a word for it? Anyway, Dom also spent one-on-one time with anyone
who queued after the clinic. Signed photos and picture ops (we didn’t call them
selfies back then – someone else took the photo). Kinda regret it now, but I was
never queued for the photo after the first. I was more interested in a couple
quick pointers and a shake of his hand. That was quite enough.
I saw Dom another four times after that first round. Always insightful. He wasn’t
always alone either. Kenny Aronoff joined for one of those. As fantastic as Kenny
was, and generous to teach us his famous Jack and Diane fill, Dom … umm …
dominated. (couldn’t help it, sorry). Another clinic coincided with Buddy Rich’s
passing. APP received the news as it happened. We were
all pretty bummed, you can imagine. It was BUDDY, every drummer’s #1.
Nonetheless, there was a clinic to do. I don’t believe anyone else could have
crafted a tribute solo on the fly. I’ll never forget the opening heartbeat on
kick drum, and the fury of Buddy-esque chops that would ensue. He left the
store floored. Moreso than any other time.
Dom always encouraged his students and exuded positive vibes. Sounds all
California hippie surfer, I know, yet was more professorial in demeanor—maybe
the nun with a ruler at times, yet quick to overcome anyone’s personal barriers.
Egos had NO place in his court. Dom was the destroyer of arrogance. And this
leads me to my most-repeated anecdote.
To set the scene, maybe the third or fourth clinic I attended at APP was with a
work acquaintance and new drumming buddy. He was a gospel player at his local
church, could afford the best equipment, and was genuinely interested in
progressing as a player. He was also interested in double-bass playing, so I
put him onto Dom Famularo’s upcoming clinic. Now, to dress the set further, you
must know that Dom is from New York, and he has the cutting, dry accent and
dialect to go with it. Curt by necessity. In contrast, the gospel player grew
up locally in north Georgia, although his drawl was not as slow as most in the
area — quite uptempo, in fact — it was still quite prevalent. For fastest double
bass playing, Dom always instructed to sit low for best balance, and keep the
thighs level. I do this, and yes, it works best for me. My friend had a problem
however.
“Dom, I appreciate your advice to sit low, but if I do that, I can’t be seen by
the congregation.”
Dom smirked while autographing promo photo. He pushed his glasses
back to the top of his nose while handing it over and coldly quipped, “If
your playing sucks, what makes you think you’d want to be seen?”
Crow consumed.
Drumming’s Global Ambassador — a title he would eventually earn after decades of
clinics, camps, and other events across Europe, Central and South America, Africa,
and several Asian countries — crossed paths with tens of thousands of drummers.
I don’t recall my exact amount, but I know of at least two more. One was yet
another Atlanta Pro Clinic, this time with a guitarist friend, shreddin’ Ted Tuck.
Dom was not only packing the room with drummers, but also players of other
instruments! They too were curious of his insights and technique … how they might
apply it within their own domains, as well as to better understand their
counterparts. Of course, Ted, being the kidder he is, answered pan flute when
Dom ask if there were other instrumentalists in the room and what they played.
And, true to Dom’s character, he was not distracted by it. Dry NY Dom. “That’s
nice,” and moved on with the lecture.
My last rendezvous with the Great and Fabulous Famularo was
in the late ‘90s at a Nashville NAMM show. Ted was there, too. We had talked
with many greats that day. Shaking Danny Gatton’s hand is a painful, yet fond
memory. He would be dead two weeks later. It was also the last time we saw Allan
Holdsworth, who would join our little group for a beer at bar off the side of
the convention center. Super down-to-earth guy who always took time for his
fans. Then, at some point that day when we’re out on the floor checking out the
latest gear, or perhaps someone playing at a booth, Dom speeds by looking every
bit the part of a university professor. To be sure, the man kept a fast pace!
Two blocks down, I finally caught up with him to shake his hand and attempt to
get a simple question in. “What’s your book recommendation for developing
freedom with odd time and playing over the click (while not losing it). He
stopped, shook my hand, gave pointers on how to hear it without fully focusing
on it, but also — surprise! — published his own book out on odd time signatures. I of
course ordered it as soon as I returned home, and while it didn’t work as
intended, it accomplished its goal of teaching freedom. The quick of that
being: After checking out these crazy time signatures were simply divisions of
the clock, you quickly learn the feel of them, i.e. how to fit any number of
strokes within any given number of clicks at any tempo set. Sounds complicated,
yet it isn’t. You can count it, or you can feel it and know. I think the point
is to develop the feel so you don’t have to count, or even think; it’s
automatic.
Thanks Again, Dom.
Like many, the internet soon replaced the need for in-person reboots — as useful
as they remain. I was over the star-power draw. NAMM show exposures tends to satisfy
those needs. Celebrity overload! There’s so much incredible technique out there
now, on full display, every stroke broken down for the curious. There’s no end
to it; new content published every second of every day! Dom adapted, even
embracing the tech for wider reach. And soon I was seeing Dom on a daily basis,
a follower from afar and witness to his journey for the better part of 40
years. I share the pain of mourning with tens if not hundreds of thousands of
drummers and other instrumentalists in his untimely passing. He still had much
to share, as new drummers were born every day. They too would know Dom eventually — his
vast knowledge, his cutting wit, his love for the instrument, his empowering
encouragement, and his pure joy in drumming expression. He will live on in his
books, his videos, and best of all the legacy imbued within all of us — his
students. A tough and painful loss, yes, but a life well-lived that won’t ever
be forgotten. In the world of drums, Dom Famularo joins the immortals.
Godspeed,
/T
Saturday, July 15, 2023
Lukather’s Word … Today?
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| credit: wikipedia |
Steve Lukather spoke his mind about the state of the
recording industry 11 years ago. Music’s digital economy had fully taken root,
transitioned from physical mediums (CDs mostly) to shareable files and
streaming. Industry gatekeepers took full advantage. More for them, less for
you — the artist, I mean. We became awash in content. As well, consumer attitudes
shifted. After years of sharing and YouTube, we pretty much expect to summon
any song from anyone, at any time, at zero cost. Professional recording
incomes imploded and became loss leaders for lucrative tours and glacially
increasing stream incomes — the new economy. (I’m NOT going to say paradigm
because I loathe kitschy biz-speak!) Unfortunately, artists like Steve
Lukather and tons of other A-listers, former and remaining as previously exposéd
on this blog, are experiencing the absolute worst time in adjusting. I’d go
further and say a fair number haven’t adjusted at all, still clutching to the
idea that an excellent, expensive recording by the industry’s top professionals
should mean a decent financial return. Rock star millions for gold and platinum
sales …
Um, no.
This was one of Steve’s gripes within his epic rant so many years ago. His words have apparently undergone rebranding and are now recirculating on the social networks with this photo.
Lots of truth, no doubt, but how well do they hold up today? Sour grapes or truth bombs?
Maybe both.
He begins with derisions over the top streaming sites of
that era, Spotify and iTunes. At the time, streaming income thumbscrews were
exceptionally tight. Since 2012, more artists have spread themselves to more
lucrative monetization ala YouTube and others, where incomes are based on
traffic and ad sales, live event contributions (Super Chats), influencer links, licensing,
and other endorsement opportunities. The number of available monetized platforms are spreading too … Rumble, Twitter. This is in addition to Spotify and Apple.
“I’ve been rich and I’ve been poor. Rich was better, totally better.”
~ David Lee
Roth, Van Halen
Steve’s 35-year recording catalogue income pretty much dried
up in 2011. Dreadful travesty. He was not alone. If you weren’t a major touring
act, or merely a hired gun, odds are you weren’t making nearly the coin to
which you’d grown accustomed. Rock star millionaires became over-worked stiffs,
just like that.
Respectable streaming incomes are difficult to attain, to say the least. Only
the top-level artists generate enough clicks. Breakouts are rare, but not unheard
of, and the marketing behind that is another subject worthy of its own blog. Now
for some harsh truth …
“TOO many people can make records. Period.”
This was also an often-repeated gripe in the ‘60s. Anyone
with enough talent and cash could mosey up to a mic and let the cutting needle
drop. True, there weren’t many places to do this, and it wasn’t exactly cheap
either, but if you had the talent, generally, you could be on a recording. And
if you knew the right people, you could be on the radio. Again — gatekeepers.
Remember payola? Same story, different methods now. Leverage.
But let me get back to Steve’s assertion. Fantastic recording gear is everywhere now.
Relative pricing for astounding-level productions is peanuts. Everyone's got a
studio, or at least, the ability to record their own parts with a modest level
of competence. Don't know how? Watch YouTube! What very few of them possess is the knowledge to record at the
top professional level. Without sounding homogenized, I mean. Now, I realize that part’s become subjective these
days given popular consumer demands and futurecasting AI — new concerns entirely.
Steve’s on point here. Way too many people flooding the market.
Anyone can make a record. Not everyone can make a good record. Fewer still can
make an honestly unique recording. We’re awash with oversupply. Doesn’t matter
how good it is, chances are it will go unnoticed in the noise.
“Now it’s beats and how many Facebook hits or YouTube hits you get.”
Truer today than ever, except this next line …
“ALL which either make NO money or short-term dog-shit money with no real way
to account for it and truly suck for the most part. “
No longer true. Clicks can make one fabulously wealthy. Trending is king now — period.
Chances are though, it won’t be as a music artist unless you’ve got that aforementioned
marketing beast at your six … and the favor of the gatekeepers and copyright defenders, who will sap
your earnings in turn. Steve’s not wrong about that, either. There's a hefty price for the help. [Cue devil at the crossroads scene]
Don’t be naïve about the business side of music. How many times does
someone need to say “It’s a BUSINESS” before it sinks in?
“People want to be famous NOT good!
It is TOO easy to play 'pretend pop star’ now. With all the fakery and auto
tune-time correction -cut and paste etc.. fuck most young people don’t know how
to play a song from top to bottom in a studio in tune and in time and with
feeling??”
Might be a grand generalization on Steve’s part. I see tons of kids practicing
their asses off to be incredible on their instruments. It’s all over the net.
There are more fantastic players — at astounding technical levels — due to the notoriety
competition created by platforms such as YouTube, Facebook, etc. This was true
in 2011 too, so maybe sour grapes? Thing is, yeah
sure, some 5-year old kid can rip scales, or tap bass better than Victor
Wooten. Some 8 year old girl can play Tom Sawyer. We’re drowning in kid wonder
covers, to be honest. Suffice to add thousands of technical wizards at every
age. What hits have any of them written? Do they sound ORIGINAL?
Of course not, and there’s another dissertation-length rant waiting for ink …
not necessary, perhaps. We all know it.
I want to touch on the recording acumen though. Is it really
that important for one to be able to play a song in the recording studio from
beginning to end? (feeling aside)
With today’s technology, I’d say no. It’s inefficient. Sounds cold, I know. Most
artists don’t have the financial flexibility to take weeks or months for their
records. Sad, and this is likely the reason for creative absence. It’s
a Content-Now economy. Throw the dung on the wall, see what sticks. Repeat. That’s
how it is unless you do have the finances … and that usually means the
gatekeepers again. Your talent and your ideas equal dollar signs. At their risk,
so they call the shots. Business. <sigh>
“They make 'McRecords’ for people who don’t even really listen.”
Again, truth. Blame modern lo-fi
consumption (phones) and lo-fi streaming. Steve’s words are crystal to this
end. Yet I know a good many kids who appreciate the records from the golden
era – 60s through ‘90s. And vinyl’s making a notable comeback if you hadn’t
noticed. Of all people, Lars Ulrich and Metallica are major players now.
So maybe there’s a glimmer of hope. Records are selling, trending streams pay, good shows sell. Maybe we’ll experience a renaissance in originality as the competition heats up. Artwork is making a return (yay!). Maybe too, with all these incredible ubiquitous recording tools at our disposal, great music may make its return. Will no one sound alike? I think part of that ship has sailed. There are only 12 notes, so many guitar sounds, so many drum sounds, bass sounds, horns, strings, keyboards, exotic and traditional world instruments … words and phrases.
At some point we’ll have heard it all and done quite well in
immersive sonic luxury.
Then what?
Wednesday, June 7, 2023
The Business of Music and Sheila E.
Check this out ...
https://www.facebook.com/reel/1625197391322693
(unfortunately, Blogger doesn't embed Fb reels -- DOH!)
I beg you, don’t misunderstand me here—I love me some Sheila E.—monumental star talent whose accolades speak volumes. On that note, when she does speak it’s wise to listen.
Here, she’s interviewed by one of my all-time favorite clinicians
and distanced-mentors, Dom Famularo, about the business of music. Pretty
standard stuff here; all perfect advice. Love it!
One thing though, the reel focuses mainly from the viewpoint of a contract hitman—a session or
touring player—not necessarily a band-oriented endeavor. Maybe a small miss in the editing?
Okay, here’s my take on it …
Part of today’s creativity lag stems around this very subservient mindset. “Check your ego at the door if you want to be called back often,” etc. I’d much rather become part of a group of shared mindsets, talents, and goals—musically compatible, and accepted primarily for our signature sound. Yes, of course we should all be punctual, friendly, positive, and know what we’re doing. That’s called being professional. Goes without saying. But if you want originality, band together for what the artists bring to the table, besides professionalism and ability.
Not that I could now, but I stopped taking sessions long ago for someone merely needing a drummer, especially if they didn’t want my style or sound (to a certain degree of flexibility, mind you). I’d rather stay home in that case; there’s nothing in it for me. Let the drum ho play it or use loops, you’ll get exactly what you want. But, if you want me for me, and the goals are shared, I’m all-in.
Think about this: Stewart Copeland never gets called for drums
sessions where any skilled drummer would suffice. Not Alex Van Halen, Neil
Peart, (RIP), Phil Collins, or any drummer who played for a successful band where
the drums were a signature part of their overall sound. If they played on someone
else’s record it was for their sound. So, to that end, it really depends on
your personal goals in contrast or compliance with the band’s goals. If session
work and being part of a band where you’re easily replaceable is your thing,
that’s quite all right. Kenny Aronoff, Simon Phillips, and a gazillion others
have major successful careers even though you’d never know it was them behind the
kit on most of their sessions. They're not complaining, I know.
Sheila E.’s advice reminds of Thelonious Monk’s “25 Tips” some 60 years ago.
All good stuff. Chick Corea also posted some nuggets. What they can’t tell you
is how to be original. It’s simple: don’t sound like anyone else, and find others that also don't sound or play like anyone else. The world is awash with copies.
But yes, definitely take their advice on every other topic. Gold!
Here's Sheila E.'s full Sessions Panel interview:
Thanks Dom, and Get Well :)
/T