In my drumming career there has been many instances where my job was to be what I call a Rhythmic Chameleon on the drums - able to adjust and change to the environment I was playing for, or in.
Initially it developed when I was working in studios. Often a drum machine track that the client had created (and to which they were attached) needed replacing, but on a kit with a human feel. This was my forte as I could do it faster than it would take me or the engineer to reprogram it on a machine.
I soon developed the ability to analyze/learn different styles quickly and emulate them. This skill also led to me what is known as ghost work - anonymously replacing another drummers track that wasn’t working out for a recording project. I was required to play exactly as they had and often without anyone but the songwriter or producer and engineer knowing.
I was paid extra to keep my mouth shut. There is no shame in this for the original drummer. After all, I was emulating their part that they created. I was simply putting it to tape in a more efficient way.
Sometimes my percussionist skills came in handy to “humanize” a drum machine track that sounded too robotic. Often just a shaker or tambourine could give a looser feel. My specialty is congas so that is usually the first thing I tend to suggest – if it is appropriate for the music.
Learning songs that have programmed drums requires different thinking as often they are created by non-drummers that don’t think like me. There are sometimes many layers of percussion and sounds so it is up to me to choose what is important to the song, and achievable by me!
Drop Outs - when something is pulled out of the mix (as if hitting a mute button on the kick) - requires one to think more in layers. Picture any DAW (digital audio workstation) setup with each track on its own horizontal strip and muting and/or soloing any voice you are playing at will.
I find this type of song is not really technically difficult playing wise, but often I need to chart it out so that I can visualize the “orchestration”. For me, this is key to remembering it.
In my opinion when playing in a cover band it is best to serve the music as much as possible.
There is a reason these hit songs have been so popular so I try to honor the greats and get the sounds and parts as accurate as possible.
It not only makes it a better experience for the audience to hear their favorite song performed so accurately, it also gives your band mates great pleasure when you give them the right foundation to do their magic upon.
Someone once said:
“I don’t play the drums – I play the song”.
Words I live by…
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