When I was five years old, my parents gave me a drum set for Christmas. My mom played the piano, and Dad played the saxophone badly. But that Christmas morning, I remember we all played together, and I thought it was the greatest day ever.
Led Zeppelin was pretty much what made me pick up drum sticks.
Dad bought me a toy drum one Christmas, and I eventually destroyed it. I wanted a real drum and he bought me a snare drum. Dad continued to buy me one drum after the other.
I used to have friends come on tour and work as my drum tech, but they get bummed out when I have to tell them what to do. This time I'm just going to fly them out and let them hang. It's all good.
I don't mean to beat a made-in-America drum, but I would be lying if I said it doesn't feel somehow right to be printing books in the U.S.
For better or worse, I've always tried to march to my own drum and tell it like it is, while preserving some integrity and style. God, I'm fabulous!
When you write, it's making a certain kind of music in your head. There's a rhythm to it, a pulse, and on the whole, I'm writing to that drum rather than the psychological process.
I remember in the early days when we played six nights a week for a month and I was doing my long drum solo every night. My hands were covered in blisters.
Just the same way I'd say a prayer before going onstage, taking that even further and using the drum to inspire people. And using that as a vehicle for the intention.
I love pop music. I love drum and bass, Calvin Harris, all these electronic things, but it's nice to have something organic as well.
I love electronic music, and I love drum and bass.
In the morning on Sunday, a drum is sounded at about 8 o'clock.
It's been years and years and years I've been playing the drums, and they're still a challenge. I still enjoy using drumsticks and a snare drum.
Somebody gave me this drum machine and somebody else asked me to program something for a project. I really liked programming and I was really interested in using the drum machine.
The quad toms are a completely different animal than the standard drum set/trap kit. Playing wise and stylistically, they are two different beasts.
Playing along with records is key. And as far as equipment goes it has gotten so much more affordable and the drum sets are of great quality. I play Pearl; their Export Series is great for a beginner.
I'm super serious about that stuff. I mean, it's rare that I sit down at a drum set when I'm not touring, because we tour so much.
When I write in the studio, I tend to gravitate toward the ability to play really loud, aggressive, post-punk stuff, with big, heavy guitars and a big rock drum sound.
As soon as war is declared it will be impossible to hold the poets back. Rhyme is still the most effective drum.
Yeah, my drum programming especially is based on my knowledge of playing a drum kit. For the bass too, definitely. It was the first thing that I translated any sort of ideas through. It must have shaped it somehow.
My favorite instrument is the snare drum. In Scotland, the snare drum is very prominent in Highland bands. The Scottish style of playing is in my blood. It's a very powerful instrument, but it can also be soothing, like velvet. It's a real challenge for composers.
My son's taking drum lessons, and my daughter's taking piano lessons. One day they're going to start a band.
I've always loved the mixture of crushing live drums with a programmed groove, that really cool blend, like in the verse there's a really funky drum beat that is programmed then it comes in to the chorus; you've got that enormous human feel where the band kicks in.
I'm a freak, everything has to be totally flat when I play. Ed Will, my jazz teacher, set up everything completely flat, and then you'd tilt your snare drum away from you, so I do that too. So my snare tilts away from me.
DeNiro did a good job playing a catcher in 'Bang the Drum Slowly,' but he's great in everything he does.
If you've got a problem, take it out on a drum.
I've always liked a very dry snare and, like everyone else, a very dry bass drum.
I quit my band in New York City in 1969 and I got really angry at them. I got angry at one of my guitar players and I dove over the drum set and we got into a fight.
Every film for every actor is a make-or-break film. I believe every film has the power to break you or make you. So, an actor will treat every film like his last film. That's the way we need to work, and that's the way you can drum up that passion needed to do good work.
I tour a lot and interview a lot. I'm on the Internet and doing stuff. I go out and promote. I've got a bass drum and a sandwich sign and a washboard. You just have to shout louder and louder that you're still alive.
My place in Scotland is in the middle of nowhere, so you've just got a keyboard, guitar, a little drum machine and you know if you can work stuff out like that, if you can hammer out songs that sound good just with those three things and a voice, you're on your way.
I wish it was possible to do the work and not have to talk about it, but it is traditional in the theater to go into the village square and bang the drum and say, 'Come see this show, come see this show.'
I grew up watching Gregory Hines banging out rhythms like drum beats, and Jimmy Slyde dancing these melodies, you know, bop-bah-be-do-bap, not just tap-tap-tap. Everyone else was dancing in monotone, but I could hear the hoofers in stereo, and they influenced me to have this musical approach towards tap.
For live you need a microphone for the snare and the high hat, the kick drum, a nice stereo overhead and one for the toms - you can get away with using four mikes.
Black holes can bang against space-time as mallets on a drum and have a very characteristic song.
The thing I find frustrating about rock music is, how different can you make an acoustic drum kit sound, an electric guitar and vocals?