Isolated Drum Tracks From Six of Rock’s Greatest: Bonham, Moon, Peart, Copeland, Grohl & Starr

“Drums, eh,” says Kei­th Richards in answer to a fan ques­tion on the sub­ject. “With­out it you’re kin­da nowhere.” He’s got a point. An ace drum­mer can be the spine, mus­cle, and even soul of a great band. Pound­ing, swing­ing, and smash­ing away behind showy gui­tarists and flam­boy­ant front­men, drum­mers some­times have prob­lems being seen, but nev­er heard. But while John Bon­ham or Kei­th Moon nev­er got lost in the mix, it’s a rare thing to hear them out of it. The pro­lif­er­a­tion of rock band video games and iso­lat­ed tracks post­ed to Youtube allow us to lis­ten to the nuances of drum grooves we may feel we know by heart, such as Bonham’s dri­ving beat behind Led Zeppelin’s “Whole Lot­ta Love.”

In a pre­vi­ous post, we brought you a rough mix of the song and Jim­my Page describ­ing its cre­ation. Page want­ed Bonham’s drum track to “real­ly stand out, so that every stick stroke sound­ed clear and you could real­ly feel them.” It cer­tain­ly does that. The drum track above is all about feel­ing. As a result of the record­ing tech­niques of the time, writes producer/engineer Bob­by Owin­s­ki, drum tracks tend­ed to sound “like a sin­gle instru­ment,” since they were record­ed with only two or three mics cap­tur­ing the space around the kit, rather than the sound of indi­vid­ual pieces. “Still,” Owin­s­ki writes of this track, “there’s plen­ty of pow­er in [Bonham’s] kick and snare, because he played them hard!” In addi­tion to his pow­er, Bon­ham is known for his laid-back groove, due to his ten­den­cy for play­ing slight­ly behind the beat, a qual­i­ty Youtube drum instruc­tor Ter­ry Keat­ing of Bon­zoleum ascribes to “tem­pera­ment.”

Bonham’s style con­sist­ed main­ly of cre­ative uses of triplets, so much so that McSweeny’s had a good laugh about his con­stant use a sim­i­lar pat­tern. One of my favorite drummers—crankiest man in rock Gin­ger Baker—also dis­par­ages Bonham’s play­ing, as well as that of anoth­er alco­holic drum star, Kei­th Moon. But Gin­ger Bak­er doesn’t tend to like any­one, and Moon’s play­ing, while maybe not vir­tu­osic or espe­cial­ly dis­ci­plined, was, like his per­sona, insane. Drum Mag­a­zine describes Moon’s style as “trib­al, prim­i­tive, and impul­sive, with him often stomp­ing the bass drums and pound­ing his wall of toms like a mad­man” (clear­ly Moon inspired the Mup­pets’ Ani­mal). Moon’s many kits often con­sist­ed of dou­ble bass drums and dou­ble rows of toms, and he played them as hard as pos­si­ble almost all the time. Hear him above thrash­ing with aban­don through “Won’t Get Fooled Again.”

Seem­ing­ly miles away from the mad­ness of Kei­th Moon, Rush’s Neil Peart is a high­ly tech­ni­cal drum­mer with impec­ca­ble on-the-beat tim­ing and a drum set­up that has grown so exten­sive and com­pli­cat­ed over the years that he almost dis­ap­pears into its depths. Peart’s play­ing com­bines the pow­er and sta­mi­na of Bon­ham with com­plex pat­terns whose rhyth­mic dynam­ics shift sub­tly sev­er­al times through­out each song. Check out the iso­lat­ed drum track for “Tom Sawyer” above as a clas­sic exam­ple of Peart’s tech­nique and you may see why he’s classed as one of the all-time best rock drum­mers (though I wouldn’t class him as one of rock’s great­est lyri­cists).

Although I’m an admir­er of Neil Peart’s drum­ming, I can’t say I’m much of a Rush fan. Police drum­mer Stew­art Copeland feels the same. In an inter­view with Music Radar, he jokes about “pull[ing] Neil’s chain at every pos­si­ble oppor­tu­ni­ty” for the self-indul­gent excess of drum solos (though Copeland game­ly played one dur­ing David Letterman’s “Drum Solo Week” in 2011). Copeland talks about “a time when bands like Rush were the epit­o­me of what The Police were the­o­ret­i­cal­ly against, which was an overem­pha­sis on musi­cal­i­ty.” Nonethe­less, Copeland is one of the most musi­cal of drum­mers, mak­ing use of odd time sig­na­tures and polyrhyth­mic syn­co­pa­tion to cre­ate a thor­ough­ly unique and instant­ly rec­og­niz­able style (which has even inspired neu­ro­science stud­ies). The drum track above comes from “Next to You,” a song on the band’s debut album, dur­ing their decid­ed­ly anti-Rush phase. While the song itself is uptem­po punk rock, Copeland’s Gene Kru­pa-like drum­ming, heard in iso­la­tion, presages the unusu­al quirks to come as the band stretched out into jazz and reg­gae ter­ri­to­ry.

The sheer num­ber of bands Foo Fight­ers front­man and for­mer Nir­vana drum­mer Dave Grohl has drummed for is impres­sive, and a tes­ta­ment to his machine-like speed and tim­ing. Drum­mer and Port­landia star Fred Armisen may be Grohl’s biggest fan. “Every drum part he does is a mas­ter­piece,” says Armisen, “He’s nev­er just heavy for heavy’s sake or rock for rock’s sake—it’s all so musi­cal, with an incred­i­ble sense of dynam­ics. Every gen­er­a­tion has their drum­ming guy, and Dave is ours.” Even Kurt Cobain, nev­er one to over­praise, once called Grohl “the best drum­mer in the world.” Maybe a bit of hyper­bole, but Grohl’s damned good, even at his most straight­for­ward, as above in his pound­ing drum­beat for “Smells Like Teen Spir­it.” Grohl’s pow­er­house play­ing isn’t the most ver­sa­tile. He had some trou­ble adjust­ing to qui­eter envi­rons, and Cobain near­ly banned him from the band’s leg­endary “Unplugged” per­for­mance for his too-aggres­sive play­ing in rehearsals. Nonethe­less, when it comes to punk, hard­core, and seri­ous rock, Grohl’s the man.

I can’t resist end­ing with the iso­lat­ed track of what maybe be my all-time favorite drum part, Ringo Starr’s wild­ly funky busi­ness at the end of “Straw­ber­ry Fields For­ev­er.” Some of the drums here are over­dubbed, with sev­er­al dif­fer­ent per­cus­sion parts blend­ed with Starr’s full-kit freak out. Starr has tak­en a lot of com­plete­ly unde­served flak for his sup­posed lim­i­ta­tions as a drum­mer, but as Samuel Belkin writes at The Exam­in­er, “his lat­ter day drum pat­terns are […] often sophis­ti­cat­ed, and always idio­syn­crat­ic […] nobody has ever been able to sound quite like Ringo.” Ulti­mate­ly, in my book, what dis­tin­guish­es a tru­ly great drum­mer from thou­sands of tech­ni­cal­ly pro­fi­cient play­ers is a qual­i­ty no one can teach or emu­late: Per­son­al­i­ty.

Relat­ed Con­tent:

7 Female Bass Play­ers Who Helped Shape Mod­ern Music: Kim Gor­don, Tina Wey­mouth, Kim Deal & More

Lis­ten to The John Bon­ham Sto­ry, a Radio Show Host­ed by Dave Grohl

Kei­th Moon’s Final Per­for­mance with The Who (1978)

Hear the Iso­lat­ed Vocal Tracks for The Bea­t­les’ Cli­mac­tic 16-Minute Med­ley on Abbey Road

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness.

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Comments (64)
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  • Jason M says:

    Dave Grohl? Huh. Okay…

    Wish you could’ve found “Dri­ven to Tears” rather than “Next to You,” but Copeland is excel­lent nonethe­less.

    Shame about his feel­ings towards Peart. It’s like Keanu Reeves pulling Jack Nichol­son’s chain.

    And.…Dave Grohl?

  • Kutch says:

    Great post!

  • John Hell says:

    How about adding some of funks great­est hit­ters, such as Bernard Pur­die, and Clyde Stub­ble­field?

  • Steven B Kurtz says:

    Guess I’ve been spoiled by jazz drum­mers. Check out solos by:

    Max Roach, Bud­dy Rich, Gene Kru­pa, Chico Hamil­ton, Art Blakey, Ken­ny Clarke,..many oth­ers

  • VCM says:

    Uhh­hh Starr gets men­tioned but not Gin­ger Bak­er. Keep study­ing, one day you’ll actu­al­ly know some­thing. Idiot.

  • Josh Jones says:

    @VCM: I do men­tion Gin­ger Bak­er. Twice in the third para­graph. There just don’t hap­pen to be any iso­lat­ed drum tracks of his float­ing around the inter­net. Also, the sub­ject of the post is 6 *of* rock­’s great­est, not *the* 6 great­est. Read­ing com­pre­hen­sion is a use­ful skill.

  • Phil Grabar says:

    One of my favorite videos — Char­lie Watts doing his rock steady thing —

  • chazzo says:

    I am not sure these are the best tracks from these drum­mers, but it is a cool arti­cle. Def­i­nite picks: Copeland Regat­ta de Blanc (song). Ringo on She Said. Bon­ham on When the Lev­ee Breaks. As far as oth­er drum­mers go (as per the thread), I always liked Mitch Mitchell. He car­ried so much.

  • Steven Groom says:

    I think that per­haps the best exam­ple of Ringo Star­r’s work would be “Rain”, hon­est­ly.

  • Dave Juliette says:

    For the life of me, I just don’t under­stand this site’s pen­chant for these “iso­lat­ed” tracks, in which music is bro­ken down into one of its ele­ments. Of course, dig­i­tal tech­nol­o­gy makes such things easy for non-pro­fes­sion­als to pull off, but just because we have the tools to do such things, does that mean we should be break­ing down art into its indi­vid­ual pieces and obses­sive­ly study­ing them? What next, “A Star­ry Night” with just the yel­low?

    It all brings to mind what E. B. White said (and yes, it was White, not Car­son) about the dis­sec­tion of a frog being pos­si­ble, but “the frog tends to die in the process”. These exer­cis­es in decon­struc­tion are anti-art. They serve lit­tle pur­pose, oth­er than to pro­vide per­haps some minor insight into process. But the pro­ba­tive val­ue is clear­ly out­weighed by the loss of that thing which is greater than the sum of the parts which you are so keen to iso­late.

    And before any­one tells me, “oh, light­en up”, I would remind you that this is art we’re talk­ing about. If you need to break it into pieces in order to under­stand it, then you’re not even in the room.

  • David says:

    These are enjoy­able to hear and add major insight.

    I under­stand the pen­chant for iso­lat­ed tracks. The music does­n’t get bro­ken, and not being a frog, the music also does­n’t get killed in the process, and is released unharmed. It’s playable again, as a whole, even more enjoy­ably. The sep­a­ra­tion into dis­creet tracks is not anti-art, but pro-art. Musi­cians record in stereo, sep­a­rat­ing instru­ments and putting them in dif­fer­ent spaces. Is that anti-art? They orches­trate dif­fer­ent parts for dif­fer­ent instru­ments. And then peo­ple seek­ing to under­stand and enjoy the art more ana­lyze, iso­late, focus. Noth­ing is lost at all. It’s frankly just stu­pid to make the claim that the art has been dam­aged or killed, the expe­ri­ence reduced, or the total­i­ty less­ened. Not only is noth­ing lost by this iso­la­tion for study and enjoy­ment, in fact the expe­ri­ence is height­ened.

    It’s not a mat­ter of light­en­ing up. It’s that the view that iso­lat­ing tracks (or col­ors in a paint­ing, yes) some­how crip­ples the expe­ri­ence of the work is frankly stu­pid and thought­less. Even those who pose such a claim can­not live by it. If you think that you can’t gain increase enjoy­ment and under­stand­ing of art by ana­lyz­ing artis­tic ele­ments, then you’re not even in the room. I would remind you that this is art we’re talk­ing about.

  • Dave Juliette says:

    Indeed. Well, I’m cer­tain­ly not going to lose any sleep at being called “stu­pid and thought­less” by some­one who appar­ent­ly does­n’t even have the courage to back up his vit­ri­ol with his full name.

    Way to be a man, mis­sy …

  • Stevr Macc says:

    Thanx a bil­lion for shat­ing these cool drum tracks by six amaz­ing play­ers. Tis in dead a plea­sure to hear the heart beat­ing so clear­ly. Love frogs and ZAZZ !!! mac

  • Stevr Macc says:

    Apolo­gies for typos above…bloody sausage fingers…im sure you get the gyst of what om saying.…love drums and the oppor­tu­ni­ty to hear them in isolation…intriguing…LF & Z…mac

  • Danny Carey says:

    No men­tion of Dan­ny Carey? Hard to believe.

  • Dave C says:

    Ian Paice. Lis­ten to ‘Burn’ and tell me he’s not every bit of Bon­ham’s equal. Grohl? please

  • Clint says:

    How about Tom­my Aldritch.

  • Roy Carelson says:

    Folks be glad to have these tracks and hope­ful­ly more. I have seen 4 of these 6 live and I can tell you they are all awe­some­ly dif­fer­ent play­ers. When there was no youtube you had to study on your own or with a teacher. Music is not a con­test or is drum­ming. If drum­ming was a con­test we would all be Thomas Lang and that would seri­ous­ly lim­it the amount of art at our dis­pos­al. Thanks again for the tracks and arti­cle.

  • Jesus says:

    You must be a TV baby w/ this dri­v­el. Stuff that’s been said 100 times & putting Foo in there proves it .. Wake up man.

  • David Whitelock says:

    Dan­ny Carey.…there I said it!

  • Peter says:

    WOW… What a ter­ri­ble list.
    NO GINGER BAKER?!?!?!?
    He rev­o­lu­tion­ized drums and with­out Gin­ger we would­n’t have any of these guys.
    No com­par­i­son between bonham/moon to Gin­ger. He is hands down the great­est drum­mer.
    Please people…UNREAL

  • Lance says:

    Guess you can’t read either. The author already stat­ed that he men­tioned Gin­ger Bak­er, but there is no video for him because he can’t find an iso­lat­ed drum track for Bak­er.

  • Jon says:

    Oh, boy. Here come all the drum­mer snobs, think­ing that Ringo Starr and Dave Grohl aren’t “cool enough” for their lit­tle club. Give us all a break. Both of those dudes were extreme­ly influ­en­tial to their respec­tive decades and gen­res. Extreme­ly.

  • lord koos says:

    Dave Grohl?

  • Jamie says:

    Bill Bru­ford is amaz­ing too.

  • Stefan K says:

    am i the only one who thinks the drums on smells like teen­spir­it sound like sam­ples? Espe­cial­ly the cym­bals… Hmmm

  • Christopher says:

    Nir­vana might not real­ly be the best indi­ca­tor of Grohl’s tal­ent, but Dave Grohl is plen­ty tal­ent­ed. Lis­ten to Foo Fight­ers “Ever­long” for some real­ly cre­ative and blis­ter­ing beats and fills. And yes, even though Tay­lor Hawkins is the Foo Fight­er’s drum­mer, Grohl actu­al­ly came up with it and played it on the album record­ing. It’s not easy to play some­thing that fast and play it as relaxed as he does. Tay­lor Hawkins is a real­ly good drum­mer and nev­er quite does it jus­tice…

    Any­way, to the peo­ple com­plain­ing about iso­lat­ed tracks, con­sid­er that we all prac­tice at some point by our­selves. Being able to hear how “good drum­ming” sounds stand­ing alone is an inte­gral part of that process, and in my opin­ion if you do not under­stand that, maybe you should recon­sid­er whether you are a “good drum­mer”.

  • Ralph S says:

    Gin­ger Bak­er always sound­ed like he was play­ing on plas­tic garbage cans. Over­rat­ed.

  • Ralph S says:

    Where’s Ian Paice?

  • Tex Shelters says:

    Grohl and Starr? You’re kid­ding, right? And the choic­es of songs you picked are pedes­tri­an.

    Pop­u­lar­i­ty does­n’t make you a good drum­mer. I have no prob­lem with the oth­ers list­ed.

    There are bet­ter drum­mers for the list than Grohl and Starr.

    See Palmer and Bru­ford for starters. PTxS

  • Ben Rodgers says:

    Putting Dave “Horse­face” Grohl on this list is a com­plete insult to the rest of the list. The oth­er musi­cians are incred­i­ble rhyth­mic vision­ar­ies (minus Starr, of course), while Grohl is a com­plete­ly gener­ic, style-less media whore. It would take more than 10,000 Grohls to = some­one like Bon­ham or Peart.

  • soulcrusher says:

    As a fan of met­al, these come across as quaint. Even Moon and his “hard” bash­ing as I believe the author called it. But not unin­ter­est­ing. Good to see Grohl get­ting the cred­it he should in these com­ments. Queens of the Stone Age were on a roll until they hock­ey up with him, then it seems to have gone down hill.

  • Jeff says:

    You guys are angry. I think Dave Grohl is an amaz­ing drum­mer, but agree­ing with some oth­er com­menter that Nir­vana is by no means where you would hear it.

  • Switzman says:

    RE: Neil Peart “(though I wouldn’t class him as one of rock’s great­est lyri­cists).”

    Why is it crit­ics ALWAYS have to add a com­ment like this? This col­umn is about DRUMMING and Peart is con­sid­ered one of the greats for good rea­son.

    Nobody cares what you, some idi­ot­ic writer (who has nei­ther the abil­i­ty or the suc­cess of the sub­ject) thinks about his lyrics!

  • Jeff says:

    Great piece. Thanks. Eff the crit­ics.

  • Rob says:

    Tony Thomp­son (RIP) of Chic and Pow­er Sta­tion is missed, as well as Cozy Pow­ell (RIP) (Jeff Beck, Rain­bow, Whites­nake, et al) deserves a men­tion as well.

  • finitemonkey says:

    I think dave grohl is more on the list not because of pop­u­lar­i­ty, but because of cre­ativ­i­ty and i do under­stand that he is not as great as some, i’ve spent a lot of time lis­ten­ing to his dif­fer­ent bands (that he was a drum­mer) and i think he’s a nat­ur­al drum­mer with very spe­cif­ic ideas of a good beat that loves to rock his ass off, and to me that makes him a great drum­mer.

  • Keith says:

    The ill-humoured nay-say­ers on these forums are real­ly dis­ap­point­ing. It’s just an opin­ion folks.Nowhere does Josh Jones say that this is the defin­i­tive or final list of drum­mers or per­for­mances. There real­ly is not a “best”, it’s just a mat­ter of what moves you (and what hap­pens to be avail­able track-wise). He could have cre­at­ed dozens of groups of six and been just as right or wrong as far as opin­ion and per­son­al taste goes.I under­stand the idea that break­ing down a musi­cal mas­ter­piece can poten­tial­ly take some of the mag­ic out of it but it real­ly does­n’t. It’s always there as a whole. I agree that it’s not only help­ful to lis­ten to iso­lat­ed tracks, it’s just plain fun. One way or another,we are lis­ten­ing to a per­for­mance. A few moments frozen in time.
    Drum­mers love to hear the tun­ing and tim­ber of the drums, the buzzing of the snare and the odd stick click, along with the sub­tle­ty, pow­er and feel. At the end of the day its just entertainment.Combine that with drums and it’s all the better.I real­ly enjoyed it. Thanks Josh.

  • Corey says:

    @Ben Rodgers

    Dave “horse­face” Grohl? Way to set the tone for how seri­ous­ly we should take your opin­ion, you child.

    As for Starr, it’s gen­er­al­ly the peo­ple who know noth­ing about drum­ming that mind­less­ly par­rot the myth that Ringo was a ter­ri­ble drum­mer.

  • jm says:

    @John Hell Bernard Pur­die has all but said direct­ly that he stood in for Ringo many times on the albums (check the Red Bull Music Acad­e­my inter­view for the lat­est time). So in a way Bernard Pur­die is in the list…

  • Joaquim Duarte says:

    Ringo is clear­ly the best of them. For many this is hard to under­stand as they tend to favour vir­tu­osi or their favourite band’s drum­mer. But one must analyse inven­tive­ness, per­son­al­i­ty and, above all, ade­qua­cy. Ringo’s drum­ming was every bit (or beat) ade­quate to his mates’ com­po­si­tions. This alone will grant him a place in the his­to­ry of music.

  • Bongo Martinez says:

    Ringo is the best drum­mer on here. As in, the ideas he expressed are the best, most pow­er­ful, and most mean­ing­ful, musi­cal­ly and tim­bral­ly speak­ing. Tech­ni­cal­ly he does­n’t even belong with­in 10 miles of the list, but tech­nique is very over­rat­ed to every­body out there who’s not a prog-rock fan­boy. He had every unfair advan­tage, of course, from his lumi­nous band­mates, clas­sic songs writ­ten around him, and bril­liant pro­duc­tion. His envi­ron­ment allowed him to be the best. His lop­ing, idio­syn­crat­ic beat is, in its own pre­pos­ter­ous­ly imper­fect way, per­fect. Any of these oth­er mon­ster metronomes would have utter­ly ruined the Bea­t­les’ clas­sic songs. I agree that Grohl may have brought thrash­ing to its pin­na­cle in Nir­vana and I would rate him as a *very* good drum­mer but there’s some­thing pedes­tri­an and ade­quate about his ideas, which per­me­ate to his singing, gui­tar play­ing and song­writ­ing as well…

  • Jeff says:

    And the rule of punk con­tin­ues, plainly–strangely mar­ried (as usu­al) to the notion of “right­ness”. Right­ness is impor­tant, but hav­ing good tech­nique is, too. You can like Ringo Starr unashamed­ly, but I like Neil Peart’s drum­ming (which is, after, all, quite per­son­al and creative–no one else sound like him) unashamed­ly, too, and it makes less sense to have to say that about Peart than to say it about Ringo.

  • Pâül Dëåñ says:

    These are great.. Stew­art’s quick flams sound amaz­ing. If only you guys could find some of Dan­ny Car­ry’s iso­lat­ed tracks. After see­ing the end of the Grudge, Ticks & Leech­es and Tri­ad, I’m con­vinced that dude has brought quite a bit to the table in the drum­ming world :D

  • Chuck says:

    Obvi­ous­ly any of you clowns have not seen Grohl play. Buy a com­put­er and check out this tal­ent on Youtube.

  • Danny says:

    Mike Port­noy? Any­one?

  • Tim Suliman says:

    “Bon­ham’s style was just triplets” is like say­ing Ein­stein was just good at using a chalk board. Drum­mers who talk about him admire his amaz­ing touch, which you fail to under­stand. I’m guess­ing you are a gui­tar play­er or some such frip­pery. Also, Ringo was­n’t even the best drum­mer in the Bea­t­les.

  • Nathan Hall says:

    This was absolute­ly fas­ci­nat­ing, a rev­e­la­tion. I’d love to see more of this, much more.

  • Mike Romano says:

    “…Cran­ber­ry sauce…”

  • Chase says:

    You’ve got the right per­spec­tive. You’re right in that’s it’s cool to hear raw drums tracks. Some­times they sound so thin you’re amazed at the final prod­uct. It’s so cool to hear Bon­ham’s noisy hi-hat ped­al.

  • nico says:

    great arti­cle. The dif­fer­ences are huge. Ringo sucks hard although samuel bs.

  • BT says:

    How about Matt Cameron?
    Could­n’t find any from Soundgar­den, but here are two from Pearl Jam:

  • dan says:

    Where is Pete Thomas?

  • David Zedd says:

    Opin­ions are like ass­holes. Every­one has one.

  • Dan Dude says:

    Tim Sul­li­van, only a moron would believe that made up sto­ry that Lennon nev­er said. What he did say was that Ringo was a damn good drum­mer. John did­n’t give out praise light­ly.

  • Yvette says:

    Shame Ian Paice isn’t in there…

  • Jonathan Valente says:

    No Pro Tools kids!

  • Seamus says:

    Bon­ham on “No Quar­ter”.
    Moon on “Love Reign O’er Me”.
    Bru­ford while with Yes, and on Chris Squire’s “Lucky Sev­en”.

    Also like Peart, Palmer and Copeland among oth­ers.

  • Thomas Anselmi says:

    You are say­ing that Stew­art Copeland is like Keanu to Neil Peart’s Jack Nichol­son?

    And, I guess in your mind, Jack Nichol­son rep­re­sents a seri­ous actor?

    Which goes along with your taste in drum­ming. Neil Peart could­n’t play a groove to save his life.

  • Kurt Gibbons says:

    Dave Grohl’s time­keeep­ing was the best of all of them.

  • Joe Falco says:

    Seems you share a sim­i­lar per­son­al­i­ty with Gin­ger Bak­er

  • Little Alex says:

    Opps, that’s Paul play­ing on Back in the USSR and Dear Pru­dence. Ringo quit the band for a week and Paul filled in.

  • Gpohl says:

    Llars Ulrich was influ­en­tial as well because of the mas­sive fame of the band he was in. That did NOT make him even an elad­e­quate drum­mer. Ringo was a Bea­t­le. He was a lucky man and he knows it. This insis­tence on try­ing tk make him a repurable, gasp, revered drum­mer is redicu­lous Nd I tire if it.

  • Chris Pederson says:

    I love it when tracks are all about feel­ing. I can play a lot of instru­ments but I have nev­er tried play­ing the drums before. Maybe I can give it a try and learn some of these tracks that help you feel more.

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