Botham’s solo on “Moby Dick”, perhaps more than any other track, allowed him to explore a broad landscape of percussive textures. However, it’s Neil Part’s drumming that was able to handle the depth of their compositions with precision and power.
Part’s ability to mix technical prowess with taste has been nearly unmatched in the realm of popular music. Quick playing with small, fast flourishes made this solo incredibly danceable.
Alex Van Helen is one of the few drummers who could keep up with his brother Eddie’s superlative playing in one of the greatest rock outfits of all time. Jon Theodore, the drummer for post-rock wizards The Mars Volta, taught us what it meant to drum with terrifying power.
It’s rife with flange that gives the drums a psychedelic, dreamy sound while also pulsing with pure, raw power. Mitch Mitchell’s drum solo intro brought a fiery energy to the Hendrix Experience sound.
Quick and decisive licks with expert work on the hi-hat and toms create textures that will take a couple of listens to decipher. Double bass factors in a major way with this drum solo from Scott Travis, who replaced former drummer Dave Holland for the album of the same name in 1990.
The song opens with the double-bass assault setting the tone for insanely acrobatic guitar riffs with impossible speed and intensity. One of the first instances where a jazz drummer took center stage over the headliner was a solo on the recording of Benny Goodman’s 1938 concert at Carnegie Hall.
It’s natural to assume that most were there to see Benny Goodman, so to hear a group of non-drummers losing their minds for Krupp’s tasteful delivery is testament enough to his solo’s enduring quality. A quickie for you: I was in the drum room the other day and was enjoying listening to a band playing some familiar covers one of which was the Ventures’ surf classic, Wipe out.
Definition of a gentleman:A drummer who can play Wipe out, but chooses not to. Get a click going and play no matter how slow play it correct and clean and then slowly raise the demo may take weeks, but you will get there and play it faster and cleaner than you need to. Then start over and do it with you feet.
Keep the tips of your sticks as close to the head as you can to get the volume you need. Don't play both hands near the same side of the drum. Maybe tighten the batter head.
It's big around this group to knock it, but Wipe out “'s a real crowd pleaser. I do time with “The Dentures”, a surf band, no avoiding it. We combine it with Johnny b Good.
Been playing it since High School, I get so bored I mess with it a lot. Invite other drummers to join me, go out and play on a tabletop, etc.
Even switch places with the singer, after trading 4's, and finish it up playing ukulele on it. The classic song in the sixties that separated the fledgling drummer from the wannabees! This has accents all on one hand.
You can slow the progression down to half time and do triplets with accents alternating on both left and right. I used to play triplets (rrlrrlrrl etc) until I saw it done at a summer camp I attended.
Jimmy Thrall taught it to me in seventh grade, but I didn't start playing the drums until 36 years later. Amazingly I could still play it when I finally did pick up the sticks.
It was originally done in para diddles and para-diddle-diddles. Ron Wilson's drum riff on “Wipe Out” was so striking that “the yardstick for every aspiring young drummer in the early 60s was to be able to play a drum solo called 'Wipe Out'. Wilson played for a high school surf band in Glenda, California in 1962.
It was recorded at Pal Studios in Cuyahoga in January 1963. The band needed a B-side and Wilson played a drummer's practice exercise called a para diddle.
Wilson added stresses to what had been a rhythm he played in his school marching band and the guitarists followed. The opening sound of a surfer falling is a plasterboard broken close to the microphone.
The studio owner, Dale Smaller, laughed and screamed “Wipe out” and the song was recorded in two takes. One of the band members, Bob Berry hill, said: Ronnie loved Scottish marches and played with our high school Tartan marching band.
I thought I had read Ron Wilson stating that at one time as it based around an old high school cadence, and he should know what he played!! In fact here is what I just found searching' around: “To fill the other side of the “Surfer Joe” single, a song called “Wipe Out” was cooked up in about 15 minutes.
Seems like every drummer tried to play it in strict straight 16th note/accent form. All Wipe out does is put four para diddles in front of that exercise.
Of course Chain adds one more accent in the double para diddle. The thundering drum solo from the song Wipe Out is one of the most famous instrumentals in music history.
The song was famously never supposed to be a hit and was, as noted, improvised in less time than it takes to squeeze out a particularly troublesome turd. The story goes that the band (who were all teenagers at the time) turned up to a studio to record the song ‘Surfer Joe’ and were told at the last minute that they needed a B-side for the single.
After hearing Wilson beat the piss out of his drum set for a few minutes, the band decided to just make that the b-side, playing an improvised guitar solo over the top of it so that it wasn’t just a dick-shatteringly awesome drum solo. As for the breaking sound heard at the start of the song, that was made by guitarists' dad snapping a piece of plywood they found outside.
The voice you hear screaming “wipe out” and laughing meanwhile was provided by the guy who owned the studio. The song quickly eclipsed the one the band intended to be a hit in popularity and before long kids up and down the country were slapping out Wilson’s drum solo on the tables of malt shops and classrooms.
In fact, it annoyed him so much it became a staple of Surface concerts to call those people out and ask them to prove it on stage. The Who’s Keith Moon is largely regarded as one of the greatest drummers of all time, and it is moments like this which prove he deserves his credentials.
Moon is thought to even be the inspiration behind The Muppets character Animal, with the furry fiend emulating his raucous and crazed playing style. Perhaps as a homage to his animalistic ways, when Keith Moon appeared on the TV show Wide World in Concert: Midnight Special with his face painted like a cat.
The drummer rumbles through an entrancing fill and creates a passionate power that seemingly compels the crowd to start dancing. While we wouldn’t dare to contend such a title here, we would suggest that the furious firepower and yet undeniable flair with which Moon approaches this solo proves he’s certainly in contention.
So while other drummers could easily be called the best, Ginger Baker and John Botham to name the obvious two, Moon is utterly unique. I’ve seen drum solos by jazz geniuses and rock legends, and they all blew me away.
I saw them do that at a concert in Paris, TX, a long time ago, but I never got to see the rotating drum riser for myself. Of course, the bestdrumsolo is probably Led Zeppelin’s ‘Moby Dick’ from the live album The Song Remains the Same, but this one’s pretty good, too.
When most people think about Tommy Lee, the first thing that comes to their minds islet always music related. Ill admit that I owned the Methods of Mayhem album when it came out while I was in high school, but I didn buy it myself.
I spent some time listening to it while driving too fast down rural back roads. Playing with Manila Crane, Lee ruled the L.A./’80s-rock scene with a sweaty, whiskey-soaked fist.
Usually Lee would do so on a huge rotating shifting extending (keep the dick jokes in your brain) and light-up monstrosity of a set-rig. He usually gave some just fantastic and articulate stage banter to start and then launched into some decently fast and moderately skilled solo.
One of the better solos I have seen was recently shown to me by a friend who is a drummer himself, as well as a fan of the over-the-top extravagance that was ’80s rock (the guy LOVES Kiss). You can hear the fantastic flange effect that is put through the mikes on his cymbals throughout the video.
The video ends in typical Tommy Lee fashion: a threat of violence to a crowd member. One that, in 1987, was a mere five years away from being blown away by some punk grunge kids from, oddly enough, Washington state.
If you enjoy ridiculous, fairly decent drum solos, or just like watching something that should have been in This Is Spinal Tap, this video is definitely for you.