With all due respect to most of the writers who contributed, Stylus’ recent 50 Greatest Rock Drummers list was hands-down the most laughably absurd and crudely presented feature I think I’ve ever read on the site. Not only is there is no apparent logic at all behind the placement of each candidate (the list seems to disregard credentials, influence, and, you know, talent for criteria such as record sales and off-stage notoriety), more importantly, it served to further establish the idea that the umbrella of “rock” has expanded into so many sub-genres and styles that comparing Clyde Stubblefield (apples) and Igor Cavalera (oranges) on the same list is not only hopelessly naïve, it’s flat-out ignorant. That and any list that places Moe Tucker some dozen slots above Neil Peart is immediately discredited on principle alone. Regardless, Stylus contributer Cosmo Lee’s Invisible Oranges inspired me to compile my own drummer list, only within the dark realms of metal and hard rock. The following ten individuals are ranked not according to speed, timing, or any other technical ability, but simply by how much I enjoy listening to their playing.
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10. Mike Bordin Faith No More, Ozzy Ozbourne |
Undoubtedly my first pick in the left-handed drummer category, Mike “Puffy” Bordin’s friendly, down-to-earth nature belied the tremendous force that he applied to the drum kit. Not only did his drums sound phenomenal (perhaps he tuned them to actual pitches?), but Bordin was just at ease ripping through blistering thrash patterns as he was locking into a peppy bossa rhythm, country stomp, circus waltz, or whatever Mike Patton had planned for that day’s rehearsal. And hell, I could never hold it against him that he single-handedly caused the dissolution of Faith No More by accepting the drum throne position for the Ozzfest headliner; the band was on its way out by ‘97 anyway. What Bordin left behind is a solid and tasteful body of work that any young drummer would be proud to aspire to.
“Stripsearch” – Faith No More 4:29 (Album of the Year, Slash/Reprise 1997)
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09. Brann Dailor Today Is the Day, Mastodon |
Although his drumming style has now matured into something resembling controlled chaos, Brann Dailor’s one-time stint with Steve Austin’s Today Is the Day and his early work with Mastodon is the musical equivalent of an ADD-riddled caffeine overdose. Purists scoffed at Dailor’s octopus-like flailing, which sounded like a Billy Cobham solo filtered through Damon Che’s technical faculty, with a heapful of drum ‘n bass skittering for good measure. On the surface, what appeared to be reckless self-indulgence of the worst order actually made perfect sense in the context of the music; Dailor’s drumming was the breath of life to those lumbering, monolithic riffs the other members threw his way. He began to tone down the level of frenzy on Leviathan (2004) and especially last year’s Blood Mountain (2006), but Dailor can still navigate through the knottiest time signature with ease, and just his snare chops alone are a wonder to behold. His energy has always been infectious, and it’s difficult to imagine another drummer who could fill his shoes in one of the most popular metal bands working today.
“Workhorse” – Mastodon 3:45 (Remission, Relapse 2002)
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08. Gene Hoglan Dark Angel, Death, Strapping Young Lad |
The first time I heard Gene Hoglan’s drumming, on Death’s Individual Thought Patterns (1993), I was in a state of denial. Nimble 70’s fusion, hyper-technical prog rock, and thunderous death metal were somehow combined into one singular way of playing, embodied by a dude who couldn’t be human. What’s so remarkable about Hoglan’s approach is how surprisingly musical it is, whether it was his ’80s work with LA thrashers Dark Angel or his current gig with Strapping Young Lad. Sure, he can rumble along with the heaviest of them, but there is an innate musicality in the way he provides texture and little splashes of color to liven up his drum parts. Focus solely on his ride cymbal and hi-hat accents on “Zero Tolerance” for an insight into his genius, as well as proof that it’s nearly impossible to air-drum along to the guy with any sort of accuracy.
“Zero Tolerance” – Death 4:48 (Symbolic, Roadrunner 1995)
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07. Ted Parsons Swans, Prong, Godflesh, Jesu |
While Ted Parsons‘ metronomic timekeeping is one of his greater claims to fame, he deserves a spot on this list because of one critical weapon that should be in every drummer’s arsenal: taste. There has never been a moment in his career where he overplayed his role, vied for the spotlight, or just flat-out butchered his drum part. The descriptor “questionable” just doesn’t apply to Parsons, not only because of his reliability and utter deference to the music, but more due to his impeccable grasp of what makes a drum pattern so satisfying, from his hip hop-influenced grooves to blindingly fast thrash attacks. On Prong’s mid-’90s releases (Cleansing [1994] and Rude Awakening [1996]) it was almost as if Parsons had transformed into a machine, his mind and limbs replaced by microchips and robotic mechanisms. He’s been working with Justin Broadrick since the turn of the century, and continues to show up at the occasional drum clinic or recording session. A generous part of Parsons’ appeal lies in his versatility, to say nothing of his shotgun-like snare on those early Prong records.
“Irrelevant Thoughts” – Prong 2:37 (Prove You Wrong, Epic 1991)
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06. Igor Cavalera Sepultura |
I remember when metalheads around the world acted as if it were the second coming of Christ when, upon the release of Chaos A.D. (1993), Sepultura’s Igor Cavalera began incorporating Brazilian tribal drumming into his playing. Who would have thought that those exotic rhythms would have worked so well underneath detuned thrash riffs? Since the age of fourteen, Cavalera has been providing the rhythmic foundation for one of the most popular international metal bands in the world, and his playing has influenced countless young drummers. His work on the band’s earlier records was somewhat chaotic (remember, he was still in his teens), but by the time of Beneath the Remains (1989), his authoritative, no-bullshit approach had become the backbone of the band and often the most interesting element of the music. After a twenty-year spell Cavalera left Sepultura last year (”artistic incompatibility”), but he left behind a legacy that most drummers could only dream of, not to mention one of the top ten most memorable drum performances in metal, on the group’s biggest hit “Territory.”
“Cut-Throat” – Sepultura 2:44 (Roots, Roadrunner 1996)
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05. Dale Crover Melvins |
It’s hard to believe that the career of the Melvins has extended beyond two decades, but here they are in 2007, still experimenting with variations on their sludge-metal formula, still capable of raw and uncompromising heaviness, and still batshit insane. Dale Crover’s thundering, heavy-handed approach to the kit has contributed to the band’s trajectory perhaps more than his alter ego King Buzzo, and certainly more than whatever poor soul happens to be filling in the bassist’s slot at the moment. Crover has always operated under his own labyrinthine logic, attacking each component of the modern drum kit with a furious determination that alternates between shocking and straight-up bizarre; and if one suddenly finds him slipping into a standard 4/4 rock pattern, it’s probably for his own ironic amusement. Stylistically, there simply isn’t another drummer in existence that could be compared to him, a crushing, brute force that propels the music forward with an almost violent momentum. Crover’s secret weapon is the element of surprise, as he always opts for playing something that one would never expect any drummer to play, whether it’s imitating a clumsy six-year-old on his first two-piece setup or conjuring sheets of white-noise cymbal soundscapes. He looks scary as hell to boot and I’d venture to guess that he’s clinically deranged on some level, but God bless the dude for keeping me entertained some fifteen years now.
“Manky” – Melvins 4:36 (The Maggot, Ipecac 1999)
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04. John Stanier Helmet, Tomahawk, Battles |
Few drummers hold such an air-drum addiction as John Stanier. Let’s put aside the fact that one could write an entire musical dissertation on the ability of his right foot and focus on his hip hop-influenced approach, his often-overlooked speed, and the direct and raw brutality of his playing. Plus, the guy has the best snare fills of anyone I’ve ever heard. Stanier’s greatest contribution to the modern drum manual is that it’s perfectly acceptable to inject a little groove underneath a riff, and the lack of double bass drums doesn’t have to necessarily hinder one’s style; just listen to the number of pinched kick hits during the verses of “FBLA” to glean some insight into his revolutionary approach. I was afraid when Helmet disbanded back in the late ’90s that I’d never hear from him again, but Stanier has only refined his playing, returning to challenge himself with Mike Patton’s Tomahawk and his current outfit Battles. Then again, he could sit in with The Roots and still move the crowd just as effectively as ?uestlove. His shit just bumps like that.
“FBLA” – Helmet 2:40 (Strap It On, Amphetamine Reptile 1990)
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03. Martin Lopez Opeth |
As one of the few who was utterly disillusioned with Opeth’s Ghost Reveries (2005) upon its release, I figured that if anyone could pull the band out of the keyboard-laced wankery of their new direction, it would be drummer Martin Lopez. When I heard of his departure from the group earlier last year, I could only hang my head in frustration as I watched my favorite active metal band slowly unravel (guitarist Peter Lindgren’s withdrawal back in May was yet another nail in the coffin). I’m unsure of his future plans, but Lopez could man the kit for a power-pop band led by some mascara-scarred emo brat and I’d still buy their record. Since his opening percussive slaughter on “April Ethereal” from My Arms, Your Hearse (1998) (his debut with the band), his versatility and fluidity have been absolutely critical to the development of Opeth’s sound. Through beautiful twelve-minute epics of mysterious complexity, countless variations in tempo and feel, and head-spinning time signatures, perhaps Lopez’s greatest skill lies in the fact that he makes it all seem so easy. I’m struggling to think of another drummer who has displayed such proficiency over the course of six full-length albums for any band, metal or otherwise. Martin Lopez, you will be sorely, sorely, missed.
“Godhead’s Lament” – Opeth 9:47 (Still Life, KOCH 1999)
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02. Dave Lombardo Slayer, Grip Inc., Fantomas |
He’s Dave Lombardo. Of course he’s going to be on this list. Feel that subterranean roar ripping through your chest? That’s just Dave Lombardo’s double bass drum work. Or how about that crackling explosion in your neck that’s now surging down your spine? That’s just Dave Lombardo executing a descending tom fill with perfect accuracy and timing. Hear every note that your favorite metal drummer just played? That’s because of Dave Lombardo and his massive influence on modern metal. An old friend and I used to play this game where we’d construct various “calling cards” with his name, like: Dave “Other Drummers Are Just Lesser Deities” Lombardo. Or Dave “My Floor Tom Just Crushed Your Skull” Lombardo. Go ahead, say his name out loud. Chant it like a mantra. Then take a look at his résumé, now nearing the 30-year mark, and tell me that there is another individual out there whose drum throne sits higher than that of the king of metal drumming.
“Hostage to Heaven” – Grip Inc. 3:57 (Power of Inner Strength, Metal Blade 1995)
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01. Ken Owen Carcass, Blackstar |
I know, I know – it seems like I’m incapable of discussing any aspect of metal without bringing up Carcass or their masterpiece Heartwork (1993), but precious few records have resonated as much within me, and it strongly remains my favorite metal album of all time these many years later. See, like most folks, I have this mental list of things to do before I die: skydiving from 13,000 feet above the earth, hiking the Andes, lolling for a month in some Mediterranean villa, transcribing every note of Ken Owen’s drum work on Heartwork to study and cherish. Not to slight the band’s earlier grindcore material (or the less popular country-fried stoner metal of their later stuff), but had Owen never played another note of music besides Heartwork, he would still be at the top of this list. The term “thinking man’s drummer” would be applicable were it not such a tired cliché, because every pattern Owen blesses with his ridiculously skillful chops seems honed to perfection after months of contemplation. Lightning-fast blastbeats, mid-tempo grooves, stomping tom patterns, militaristic snare rolls – Owen did it all, with equal parts savage and elegance that no drummer to date has been able to match.
“Carnal Forge” – Carcass 3:55 (Heartwork, Earache 1993)
14 Comments so far
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really nice post man. nice to see you show some love to drummers - they do play the most important musical intrument, after all.
and helmet - shit, I’d forgotten bout them!
cheers!
j
Incredibly accurate and well-thought list. Crover, Bordin, Hoglan….you nailed it. Hoglan’s got a cool Myspace blog where he talks a lot about the specifics of his studio recording, if that’s your thing.
Best. Drummer. List. Ever.
Laundro - Regarding Mike Bordin, I’m not sure about that, or he’s a switch-hitter. Check this vid:
http://www.youtube.com/watch?v=c4f5kYNO7GI
He’s clearly playing the snare with his right and the hi-hats on his left - but that was in ‘92. Perhaps in recent years he’s switched? And yeah, the drum sounds on The Real Thing are amazing.
John - I’ve always had a mild obsession with drummers, probably illustrated best in my post on air-drumming a few months back. Thanks for the kind words.
B - Thanks for the head’s up on that Hoglan blog! I’ll definitely check that out.
Comment by floodwatch 08.18.07 @Man, I guess I remember incorrectly.
Holy god I forget how great of a band they were!
Comment by Laundro 08.19.07 @converge’s drummer, Ben Koller, makes my brain hurt.
their ‘06 album ‘no heroes’ is a must-have. true brutality at it’s best!
nice post.
Comment by duff 08.19.07 @A fine, fine, list and post. Glad to see Ted Parsons and John Stanier get some love. Dale Crover looks like Tom G. Warrior in that picture.
Comment by Invisible Oranges 08.25.07 @Where is Carter Beauford of Dave Matthews Band, or Danny Carey of Tool? Try listening to “Ticks and Leeches” off Lateralus… or anything Carter plays really.
And you’re right, I clicked your link to the top 50 of Stylus… wow. I do like Stewart Copeland and others mentioned. All great drummers, but I feel the likes of Niel Peart should be higher than Grohl and others mentioned and the two drummers I mention aren’t even on the list.
Thanks for the post.
This is nuts! I have to agree w/ Joey, why isn’t Danny Carey on ether one of the lists? and I know he’s mellowed out quite a bit over the past but have people forgot about Lars Ulrich? In my opinion Lars should be in the TOP 5 of any list ever made of all time drummers! Other than that, I thought your list was pretty good but, one mans opinion is another mans shit.
Comment by Nikolaos 09.16.07 @You can’t talk about drummers without mentioning Danny Carey.
My god, man. We’re talking about [I]the[/I] Danny Carey…
Comment by Leland 09.28.07 @Joey, Nikolaos & Leland: I hear you on Danny Carey. I lost a few hours of sleep figuring out his placement on the list, but ultimately he lost out to Bordin, so consider him #11.
Comment by floodwatch 09.30.07 @hi
I really love helmet and John Stanier he as the best metal beat
I also love questlove, but I don’t think you could switch them like that.
questlove could not match stanier power, and stanier could not match questlove laidback.
Though I think both have one of the more solid and locked beats you can hear on rock/funk drums
both are my favorites drummers, anyway :p
see you
Comment by mirak63 04.22.08 @Man. It’s true. This list rocks. And the thing I like most is that we share a love for Ken Owen’s drumming. He is not much praised but he should. One of the better non-poseur drummers. I can feel every note he plays, he never puts too much. He’s just right. Like you said, he does it all. Too bad he had to quit.
Comment by alleyghost 07.19.08 @Leave a comment
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While Mike Bordin is left handed. He does play his snare with his left hand and his hihats with his right hand crossed over. To me, that’s considered right handed playing. He may have a lot of cymbals on his left side and may lead with his left hand, but, still, he’s (in my opinion) a right handed drummer. But right on with his playing. He is right on. RIGHT ON. And The Real Thing’s drum sounds are in my Top 20 of all time. That record on vinyl is to die for.
Right on with Dave Crover and John Stanier.
And that Stylus list you linked to is completely written by legit morons. My favorite is this line about Billy Cobham, “Fusion drumming—a mix of Army boom-bah and jazz finesse—is Billy Cobham’s stock in trade.” What a load of shit. Talk about the epitome of a “music critic” knowing nothing about nothing. Boom-bah and jazz finesse!
Comment by Laundro 08.18.07 @