Zitat des Tages über Trommler / Drummers:
Art was carrying me a lot of the time. When you're accustomed to playing with Art, and you play with other drummers, it's as if the bottom dropped out.
The closest things to an influence would be people like Charlie Watts or Al Jackson. But I didn't really listen to drummers; I basically played what I thought was needed for the Ramones.
I've talked to some drummers who seem to have a very hard time staying in shape on the road, including some drummers touring with high-profile acts that don't have to live on fast food every night.
Historically, musicians know what it is like to be outside the norm - walking the high wire without a safety net. Our experience is not so different from those who march to the beat of different drummers.
I like to be one of those drummers who actually add to the music, not one of those guys who sit in a room 24/7 trying to outwit or outplay another drummer.
I want to keep pushing the limits for drummers and expressing myself.
Just to be around that, to feel a part of it and be able to integrate the experience while I was with the Messengers, of going and playing gigs with other drummers, gave me the chance to realize that it was not just me that was making it happen.
I was a beginner again. I practiced hard and used to listen very closely to recordings of American jazz drummers such as Tony Williams and Kenny Clarke.
Almost the moment he died, they put him in Playboy as one of the greatest drummers, which he was - there's no doubt about it. There's never been anybody since. He's one of the greatest drummers that ever lived.
I think at one time every drummer wanted to play like Krupa or wanted to win a Gene Krupa drum contest. This is the big inspiration for drummers and naturally it has to be the same way for me.
Drummers are conductors - we set the pace for the music - so if you're not relaxed and feeling right, the whole thing goes out the window.
Michael Sunday and I are the original members of the band. We first did it just for charities and benefit concerts. It was very ad-hoc, and before we knew it, we were really a band. We went through several drummers and guitarists before we were happy with the line up.
Most studios in Memphis had a house set of drums; the drummers just brought their own sticks.
Almost everything I've done, I've done through my own creativity. I don't think I ever had to listen to anyone else to learn how to play drums. I wish I could say that for about ten thousand other drummers.
Drummers don't write - or at least, that's what everybody believes.
When I speak of natural drummers I'm talking about guys that are playing with the talent God gave 'em.
I do like to look at female drummers, because I am one.
Everyone knows deep in their hearts that the drums are the coolest instrument, and that a band is only as good as its drummer. So I'm all for drum solos. I'm all for drummers hamming it up. I'm all for drummers standing up and kicking over the kit.
And, well of course, Count Basie, and I think all of the black bands of the late thirties and early forties, bands with real players. They had an influence on everybody, not just drummers.
As regards my feelings about drummers - there's Buddy Rich, and then there's everybody else.
Hendrix rehearsed different drummers, before we met Mitch Mitchell.
I can understand why some of these drummers and bass players become cult figures with all of their equipment and the incredible amount of technique they have. But there's very little that I think satisfies you intellectually or emotionally.
When I watch drummers, I always want to see energy. It's not about the proficiency of the musicianship; I'm just into the vibe and excitement of it. With drums, it's such a primeval thing.
To have everything written for you... It's not really creating. That's why I think symphony drummers are so limited. They 're limited to exactly what was played a hundred years before them by a thousand other drummers.
Plus I am being hounded by all the fabulous new drummers, Bill Stewart at the head of the pack.
Most drummers are covered with a million drums, and everyone is like, 'What are you doing back there?'
I think female drummers are great. I think there should more of them.
Both my brothers are drummers.
The records that I grew up listening to had feel, and the drummers that inspired me - like Stewart Copeland, Neil Peart, Phil Collins and Roger Taylor - all had their own voice and individual style.
It's much easier to have a diversified career as an electronic musician than it is as a drummer. Nothing against drummers. If you're a drummer, you just wait around for people to ask you to play drums. But if you have your own studio and can make music, you have the ability to approach music a lot differently.
I had trouble fitting in, in a musical sense. A lot of drummers get sidetracked by the instrument. It can engulf you.
I was always very aware of drummers. My oldest brother Henry was a drummer, and he drummed on everything in the house from the kitchen sink to stovepipes. He was the first drummer in the Gil Evans Orchestra, so you've got to know how great he was.
The advice I like to give to drummers is that there's no right or wrong way of playing the drums. I think the drumming community can be very antiquated and very stuck in the past of, like, this Neil Peart style, technical Guitar Center drum video kind of approach. That you need to have played for 15 years before you ever do anything worthwhile.
I'm very influenced by jazz drummers. I always liked drummers like Roger Taylor, Keith Moon, Ian Paice, John Densmore. I just learned from playing to those drummers.
The drummer is stereotypically the dumb guy. Maybe that's why I always respect drummers who do more than drum.
