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[Stephen Perkins] I love drumming.
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When my eyes are closed
and I'm playing the beat,
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it's the same if there's,
you know, 40,000 people
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or if there's 40 people or four.
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It's really just moving the air
with these vibrations
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and getting people to feel
the power of the drum.
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It's punctuating life with rhythm.
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When I play drums at the drum circle
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or big concerts, you feel like
you're connecting with people.
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[drums continue beating]
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Once you start playing,
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nothing else really matters,
you're in the moment.
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It's a great instrument to play.
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When I was young, I saw a show
about Benny Goodman,
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and they had the real
Gene Krupa in the movie.
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And every time they went to Gene,
he was slamming.
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And they go to the audience,
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they were snapping,
and I just thought that it seems like
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the coolest thing in the world to
play and drive a song and turn people on.
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[jazz music playing]
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[audience cheering]
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[kettle whistling]
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[Nicko McBrain] I believe it was a Monday.
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We used to have bath nights
in the house.
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Me dad was there ironing.
Me dad loved to iron.
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Which was great, my mum loved it.
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I think that's why she married him,
you know. [chuckling]
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Anyway, set up near the ironing board.
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And we had a little, like,
black and white TV set.
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So the TV show was on.
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[scatting]
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[mimicking jazz music]
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Off they go, and I've gone… [gasps]
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"Whoa, who's that, Dad?"
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[mumbles]
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[mimics Dad]
"That's, er, Dave Brubeck Quartet, son."
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"No, no. Who's that on the drum set?"
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"Oh, that's Joe Morello, son."
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"Wow! He's good, isn't he?"
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I said, "I just want to be like him."
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"You'll never be as good as Joe Morello,"
goes my dad's report.
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And I'm like, "That's me done."
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The video that changed my life
was Mötley Crüe's "Wild Side",
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{\an8}where I saw Tommy Lee
rolling around in a drum cage
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{\an8}and I thought, "Oh, my God,
that's the job for me."
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I'm done, I need to play drums.
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[heavy rock music playing]
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[cheering]
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I was, like, super shy, like the shyest
girl that you could ever have met, erm,
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and I just…
I went to this drum club and…
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You know, in The Matrix,
when Neo suddenly sees all the code?
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It felt like that.
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Like, I couldn't do it yet,
but I understood it.
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I understood the principles of it.
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[Roger Taylor] It was the sort of drum
break on "Wipeout" by The Surfaris,
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which is one of the first things
I learned, I think.
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And I… "Oh, I can do that,
you know, is it…"
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[drumming]
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And that's great.
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You know, when you suddenly think,
"Oh, I can do that."
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[drums beating]
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[Stewart Copeland] As an 11-year-old,
I was into Sandy Nelson.
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{\an8}The records focused on the sound of the
drums and the sound of what he was doing.
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{\an8}I remember dragging my mother,
"Mom, listen…
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what he's doing there, see, Mom, see.
Hear that 'shh' sound?"
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"That's because he's playing
the drums so fast that it sounds like…"
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"Hey, Mom. No, Mom. No, listen, listen."
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And here, you know,
I sort of have a vague memory
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of harassing my poor old mom
to listen to Sandy Nelson.
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{\an8}[rock music playing]
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[Chad Smith] They just looked so cool.
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[chuckles] You know, when you're young
and impressionable,
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{\an8}everything about it was mysterious
and magical and dangerous.
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You gotta remember, this time,
rarely were people on television.
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And you looked at the records,
the actual albums, and you opened them up,
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so it really left a lot
to your imagination.
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[music playing]
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[musical clinking]
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I had this incredible drum set.
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I mean, it was growing exponentially.
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Every day
there'd be something else in it.
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I went out in the kitchen
and I picked up a pair of knives
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and I beat the living
daylights out my mum's cooker.
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There's all these pieces of enamel
flying off my mum's cooker.
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Dad comes in…
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"What's going on in here?
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What's this confounded racket
you're making?"
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I'm beating it… I ain't stopping.
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I'm Joe, I'm that dark sunglass guy.
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I'm giving it the big one
on the top of the cooker.
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{\an8}I played on pans and pots
and random drums.
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{\an8}And my dad had goalie pads,
he was a hockey player.
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I did that for, like, a year,
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until finally, they were like, "Okay,
I think she's serious,
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we'll buy her a drum set."
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When my first toy drum kit arrived, I had
to be the happiest kid in the universe.
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{\an8}And I'll never forget that little kit
because it was one of those drum kits
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{\an8}that you get from Sears
and Roebucks, you know?
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{\an8}And it was… I call it a Beatles kit
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because it had a picture
of the Beatles on the front,
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you know, and it was made of
cardboard and paper. [laughs]
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{\an8}And it took about a day
for me to tear that up.
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{\an8}Ladies and gentlemen, the Beatles!
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-[cheering]
-["Twist and Shout" playing]
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-♪ Well, shake it up, baby, now ♪
-♪ Shake it up, baby ♪
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[Jim Keltner] The TV is on.
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{\an8}I'm in the other room
and I'm hearing Cynthia say,
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{\an8}"Come on. You got to watch this.
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{\an8}You got to watch this."
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♪ Come on and work it on out ♪
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For people of my generation,
the Beatles on Ed Sullivan in the States
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was a pivotal point,
an epiphany for a lot of people.
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♪ Come on and work it on out ♪
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It was like these guys from who knows
where, from outer space somewhere,
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you know, came down playing
this amazing, you know,
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rock 'n' roll music.
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-[cheers and applause]
-One, two, three, four.
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[McBrain] And there's Ringo,
sitting up there.
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He's, like, 25 yards off the ground,
with a Ludwig Super Classic drum set.
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♪ …way beyond compare ♪
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That hi-hat open. [mimicking drums]
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And he could dance while he played,
which was great.
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I loved him.
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[Abe Laboriel Jr] Looking back at that
early footage again, there's this fire,
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this intensity to the way Ringo played
and would splash the cymbals.
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And he was, you know, up high
and on the edge of his seat.
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[shouting]
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[screams]
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He had a punk energy, the fire with which
he's playing and driving that band.
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And when you remember that
they had a hard time hearing each other,
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but he was laying down the beat
and driving that band.
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To me, there's nobody like him.
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[cheers and applause]
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His main influence
was American, solidly American.
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I mean, from early on…
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[boat horn blowing]
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They were in Liverpool,
so they had the advantage
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of getting the newest records
coming from the sailors.
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{\an8}They were able to hear
the American rock stuff
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{\an8}that was happening at the time,
and they were hugely influenced by that.
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[man on radio] The Mersey Sound.
Yes, Liverpool's selling pop music.
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{\an8}Liverpool kids are proud of the fact
that their city is providing
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{\an8}the world with beat music
and an offbeat cult of fashion.
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00:10:15,160 --> 00:10:16,360
Tune in for a bit.
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[R&B music playing]
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Everyone wanted the same thing.
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They wanted to be an R&B band
because that was cool,
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even though we were playing
all sorts of other nonsense,
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but the ambition was R&B.
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And everyone was listening to,
you know, the old blues records,
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Muddy Waters, Lightnin' Hopkins,
Howlin' Wolf and so on.
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[Bob Henrit] We listened to the music.
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We made it our own.
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We messed around with it and we sent it
back to America and America loved it.
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And they loved it because it was being
made by funny guys with funny haircuts.
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So it didn't matter whether we were
playing it right or playing it wrong,
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they loved it.
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[Smith] Here's these young guys from
England playing it 'cause they dig it.
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Like Charlie Watts would say,
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"The Stones, we just wanted to be
a good, you know, R&B cover band."
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That's what they were
for a while, you know,
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until they started writing
their own songs.
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And that's kind of naturally
the way it goes.
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They packaged it in a way
that us Americans just ate it up.
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[rock music playing]
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00:11:25,760 --> 00:11:27,000
Charlie.
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{\an8}It's about the groove, dude,
Don't… You know, all that other shit?
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{\an8}Doesn't matter.
Just hit that magic sweet spot,
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{\an8}the good foot, the whatever it is.
Of course, they got excellent lyrics
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and wonderful musicianship on the guitar.
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Great, you know,
all kinds of other qualities.
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But it's that ramshackle groove
that's unique that many look for,
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but few can achieve that
sophisticated dishevelment.
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And that's why the Stones are the Stones.
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[indistinct singing]
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00:12:00,800 --> 00:12:06,080
Yeah, Charlie Watts is an English drummer
who plays like no other English drummer.
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He… He just doesn't.
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He didn't… Never smiled.
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You got a couple of them… out of him,
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you know, in the early days.
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He was a jazz drummer.
He was a big band player,
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playing in a pop band.
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He… That was his thing.
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00:12:19,720 --> 00:12:22,160
But he… And he just had this thing
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where… Ringo was this… [playing cymbal]
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And Charlie… [playing cymbal rhythmically]
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00:12:30,560 --> 00:12:31,840
It's like he'd…
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00:12:31,920 --> 00:12:33,760
He'd leave a beat out.
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On his hi-hat.
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00:12:34,920 --> 00:12:38,200
And I thought, "God,
that's fucking brilliant."
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00:12:38,280 --> 00:12:39,400
["Honky Tonk Woman" playing]
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00:12:39,480 --> 00:12:41,680
That's what I'm gonna do.
I wanna be him.
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00:12:51,800 --> 00:12:55,040
If you listen to the beginning
of "Honky Tonk Woman"
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00:12:55,120 --> 00:12:58,240
by the Rolling Stones,
it starts out at a certain tempo.
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00:12:58,640 --> 00:13:03,200
♪ She tried to take me
upstairs for a ride ♪
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00:13:03,320 --> 00:13:07,920
This is the great Charlie Watts,
one of the best all-time drummers ever.
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00:13:08,800 --> 00:13:10,680
And by the end, he's probably like…
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00:13:10,760 --> 00:13:13,360
If it starts at 103,
he's probably at 109 or something.
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00:13:14,720 --> 00:13:19,960
♪ It's a honkey tonk woman ♪
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00:13:20,320 --> 00:13:22,640
[Smith] But you don't sit there and go,
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00:13:22,760 --> 00:13:24,520
"Oh, God,
that song is really speeding up."
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It's just naturally…
That's how they play.
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00:13:29,240 --> 00:13:31,800
-Whoo!
-[song ends]
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00:13:35,760 --> 00:13:37,920
"Merry Christmas, Mommy plus Dad."
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00:13:38,000 --> 00:13:39,720
[man] Well, usually
drumsticks come in pairs.
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00:13:39,840 --> 00:13:41,560
So that's probably what the other part is.
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00:13:41,640 --> 00:13:42,640
Yeah.
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00:13:42,720 --> 00:13:47,680
{\an8}Eventually, after ruining enough
cooking ware, my parents acquiesced
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00:13:47,760 --> 00:13:50,240
{\an8}and got me an actual drum set
when I was four years old.
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00:13:50,320 --> 00:13:51,600
[drums beating]
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00:13:51,680 --> 00:13:53,160
-Yes!
-[child] No!
214
00:13:53,240 --> 00:13:55,080
-Yeah!
-[man chuckling]
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00:13:55,160 --> 00:13:56,400
-[child] No!
-Yeah!
216
00:13:56,480 --> 00:13:59,520
And here's the drumstick. Yeah!
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00:14:00,360 --> 00:14:03,360
[Ben Thatcher] I remember getting
a drum kit at the age of six.
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00:14:03,680 --> 00:14:06,040
I lived in a tiny little house
in a village.
219
00:14:06,240 --> 00:14:12,200
So making noise wasn't a very
popular thing to do down my road.
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00:14:12,560 --> 00:14:14,200
[woman] Okay, open them.
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00:14:14,440 --> 00:14:17,360
[drums playing]
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00:14:17,440 --> 00:14:19,200
[screams in excitement]
223
00:14:19,560 --> 00:14:21,200
My favourite!
224
00:14:21,320 --> 00:14:23,400
Oh, my God, this is a drum set!
225
00:14:24,520 --> 00:14:27,960
[squealing] It's a drum set!
226
00:14:28,040 --> 00:14:30,360
It's a drum set!
227
00:14:31,000 --> 00:14:32,080
[woman laughing]
228
00:14:32,200 --> 00:14:34,360
It's a drum set!
229
00:14:34,440 --> 00:14:37,600
Yay! [laughs]
230
00:14:38,800 --> 00:14:39,720
[woman] You okay?
231
00:14:40,040 --> 00:14:41,440
Mmm-hmm.
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00:14:42,600 --> 00:14:46,960
For Christmas, I got an acoustic kit,
and I remember, like,
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00:14:47,040 --> 00:14:50,480
falling against the wall
because I was so overwhelmed
234
00:14:50,560 --> 00:14:54,720
and excited, and just…
Like, this was it.
235
00:14:54,840 --> 00:14:58,840
I mean, it was like giving me
a lifetime supply of gold
236
00:14:58,960 --> 00:15:00,840
or… I don't know, it was just like,
237
00:15:01,080 --> 00:15:04,280
this is the most incredible
moment of my life.
238
00:15:09,520 --> 00:15:12,120
It was a sign,
that my parents were going,
239
00:15:12,200 --> 00:15:14,280
"We believe you can do this, too."
240
00:15:17,640 --> 00:15:20,320
But what that meant was
I could go and do live gigs.
241
00:15:20,640 --> 00:15:23,040
That was the big thing
about having my own drum kit.
242
00:15:23,120 --> 00:15:24,720
I was like, "I can actually…"
243
00:15:24,800 --> 00:15:26,400
"I could be a professional now."
244
00:15:38,360 --> 00:15:41,080
So my father would sit down
and show me a beat.
245
00:15:41,400 --> 00:15:44,560
I'd play it and then he would
pick up the bass and we'd jam.
246
00:15:44,960 --> 00:15:48,440
That's what playing the drums
has always been for me,
247
00:15:49,040 --> 00:15:52,400
is an opportunity
to play with other musicians.
248
00:15:52,880 --> 00:15:55,560
And, uh, to listen to what they're doing.
249
00:15:57,040 --> 00:15:58,400
Yeah!
250
00:16:00,520 --> 00:16:02,440
Yeah!
251
00:16:16,120 --> 00:16:20,040
[yelling indistinctly]
252
00:16:24,240 --> 00:16:26,440
[Nick "Topper" Headon]
I was introduced to drums,
253
00:16:26,520 --> 00:16:28,600
so I started playing the drums
when I was 13.
254
00:16:29,040 --> 00:16:31,000
I'd seen Keith Moon on Top of the Pops.
255
00:16:36,120 --> 00:16:41,360
-♪ People try to put us down ♪
-♪ Talkin' 'bout my generation ♪
256
00:16:41,440 --> 00:16:43,440
All of a sudden,
this band came and they were louder
257
00:16:43,520 --> 00:16:45,720
than anything you'd ever heard,
and they were violent,
258
00:16:46,040 --> 00:16:48,240
and had great songs and charisma.
259
00:16:48,880 --> 00:16:53,400
-♪ Why don't you all fade away ♪
-♪ Talkin' 'bout my generation ♪
260
00:16:53,480 --> 00:16:55,160
[Taylor] The Who were phenomenal.
261
00:16:55,280 --> 00:16:57,760
And Keith Moon, a drummer
like nobody had ever seen.
262
00:16:57,840 --> 00:17:02,920
From this sort of seeming chaos,
er, beautiful to watch, erm,
263
00:17:03,760 --> 00:17:06,920
came this great…
came these great drum parts.
264
00:17:20,160 --> 00:17:21,400
[Headon] And I got it all wrong.
265
00:17:21,560 --> 00:17:24,400
I thought, he's the best looking
in the group.
266
00:17:24,720 --> 00:17:25,960
He's right at the front.
267
00:17:26,120 --> 00:17:27,120
It's all about him.
268
00:17:27,200 --> 00:17:29,200
All the cameras were shots of him.
269
00:17:29,560 --> 00:17:31,600
I want to be Keith Moon.
I want to play the drums.
270
00:17:31,880 --> 00:17:33,600
{\an8}Of course, I started playing the drums,
271
00:17:33,720 --> 00:17:37,360
{\an8}and by the time I realised
that drummers sat at the back
272
00:17:37,440 --> 00:17:39,560
{\an8}and just kept the beat,
it was a bit too late.
273
00:17:39,640 --> 00:17:43,280
But he was why I started wanting
to play the drums, Keith Moon.
274
00:17:49,160 --> 00:17:52,480
[Smith] There, to me, was a guy
who has a natural sense of time.
275
00:17:52,960 --> 00:17:57,160
He's not just keeping a straight beat,
although he could do that.
276
00:17:57,280 --> 00:18:02,200
But the way that he expressed himself
on his instrument was very unique.
277
00:18:02,280 --> 00:18:05,960
♪ Yeah, my generation ♪
278
00:18:06,040 --> 00:18:09,200
[Smith] I think that the really
great drummers have that.
279
00:18:17,080 --> 00:18:19,920
My brother was the coolest kid on campus,
280
00:18:20,120 --> 00:18:23,680
and there was a band in the school
as well, The Black Knights.
281
00:18:24,120 --> 00:18:27,320
So Ian, obviously, as the coolest guy
in Beirut,
282
00:18:27,400 --> 00:18:31,680
should be the drummer in the band.
So Ian had the drums in his bedroom
283
00:18:32,080 --> 00:18:33,600
and he was trying to figure them out.
284
00:18:33,760 --> 00:18:36,440
But he couldn't really,
and when he would leave,
285
00:18:36,960 --> 00:18:40,680
I would sneak into his room
on pain of death.
286
00:18:41,200 --> 00:18:43,680
I would sneak into his room
and get on there
287
00:18:43,800 --> 00:18:45,960
and try and do what he was doing,
and actually…
288
00:18:47,080 --> 00:18:48,440
But I can do it.
289
00:18:48,880 --> 00:18:50,080
This can't be right.
290
00:18:50,280 --> 00:18:51,920
I must be doing it wrong.
291
00:18:52,200 --> 00:18:57,000
I picked up my dad's sticks
and I got my sister in,
292
00:18:57,520 --> 00:19:00,880
and I told her to bring a spoon in,
a tablespoon.
293
00:19:00,960 --> 00:19:02,440
So she brought the spoon in.
294
00:19:02,520 --> 00:19:04,720
So I said, "Do this, just hit it. One…"
295
00:19:04,800 --> 00:19:07,640
"And count to yourself,
'one, two, three, four.'"
296
00:19:07,720 --> 00:19:13,520
And so I played against that.
And that was the thrill of my lifetime.
297
00:19:13,600 --> 00:19:15,520
That's when I knew…
298
00:19:16,440 --> 00:19:21,480
what syncopation was all about,
what it was like to groove.
299
00:19:22,200 --> 00:19:24,800
I had a neighbour named Kent Kleeder
300
00:19:25,160 --> 00:19:30,760
who had a drum set, a really bad drum set.
301
00:19:31,600 --> 00:19:34,800
So he said,
"Sit on this drum set, Taylor."
302
00:19:34,880 --> 00:19:36,560
"And you do this. You go,
303
00:19:36,640 --> 00:19:39,040
'One, two, three, four.
One, two, three, four.'"
304
00:19:39,120 --> 00:19:42,360
"And on one, you put your foot,
and that's called a kick drum."
305
00:19:42,440 --> 00:19:45,080
"So you go, 'One, two, three, four.
One, two…'"
306
00:19:45,160 --> 00:19:48,120
And I was like, "Okay."
[mimicking drums]
307
00:19:48,200 --> 00:19:49,680
And then he goes, "On three…"
308
00:19:49,760 --> 00:19:51,240
"This is a snare drum."
309
00:19:51,320 --> 00:19:54,280
"You cross your hands
and you hit the snare drum on three."
310
00:19:54,360 --> 00:19:56,560
-I went…
-[drums playing and mimicking drums]
311
00:19:58,440 --> 00:19:59,520
And he goes, "Stop."
312
00:19:59,960 --> 00:20:02,960
I'm like, "What?" He's like, [sighs]
313
00:20:03,400 --> 00:20:05,320
"You're a fucking drummer, dude."
314
00:20:05,680 --> 00:20:09,800
And it was, like, literally
like a lightning bolt.
315
00:20:10,000 --> 00:20:11,600
And I'll remember…
316
00:20:12,960 --> 00:20:16,240
everything about that moment
317
00:20:16,520 --> 00:20:19,840
for the rest of my life
'cause everything changed.
318
00:20:50,920 --> 00:20:54,240
Well, my dad was a drummer
and I didn't want to play drums
319
00:20:54,320 --> 00:20:56,320
{\an8}'cause I was like,
"I want to be different and unique."
320
00:20:56,400 --> 00:20:58,000
{\an8}"I don't wanna be the drummer as well."
321
00:20:58,080 --> 00:21:01,520
{\an8}So, uh, my dad was like,
"I'll buy you a guitar
322
00:21:01,600 --> 00:21:04,680
if you play drums
for just a year in the school band."
323
00:21:05,040 --> 00:21:06,560
So I joined the school band.
324
00:21:06,880 --> 00:21:08,240
I did a whole year.
325
00:21:08,320 --> 00:21:10,880
And then, even till now,
he never bought me a guitar,
326
00:21:10,960 --> 00:21:14,120
so it felt like a little bit
of a bribe, but it worked.
327
00:21:19,040 --> 00:21:24,560
I am going to go pick out a drum kit
from Ross, the Drum Doctor.
328
00:21:24,640 --> 00:21:26,600
So I'm going drum shopping today,
329
00:21:26,680 --> 00:21:29,880
which is my favourite
kind of shopping to do.
330
00:21:31,240 --> 00:21:35,040
I'm picking out a kit to
do a little jam with
331
00:21:35,400 --> 00:21:39,080
some drummer idols of mine, actually.
332
00:21:39,160 --> 00:21:40,840
These are people
that I totally look up to.
333
00:21:40,920 --> 00:21:43,840
I can't believe I'm going to be
in the same room as them
334
00:21:44,000 --> 00:21:45,800
and then also playing drums with them.
335
00:21:45,920 --> 00:21:51,480
Um, I feel like that's such an honour,
but I'm very excited to do it.
336
00:21:58,520 --> 00:21:59,840
[whispers] Wow.
337
00:22:01,120 --> 00:22:02,040
Whoa.
338
00:22:03,320 --> 00:22:04,320
-[Ross Garfield] How's it going?
-Pretty good.
339
00:22:04,440 --> 00:22:05,480
-How are you doing?
-I'm good.
340
00:22:05,560 --> 00:22:07,400
This is awesome.
341
00:22:07,680 --> 00:22:09,720
I love this. I want everything. [laughs]
342
00:22:09,800 --> 00:22:11,560
Welcome to my temple of drums.
343
00:22:11,680 --> 00:22:12,640
Yeah, this is amazing.
344
00:22:12,720 --> 00:22:14,520
-Thank you for having me.
-Yeah, it's my pleasure.
345
00:22:14,600 --> 00:22:16,440
-Glad you could make it.
-Yeah. Thank you.
346
00:22:16,520 --> 00:22:20,640
Feel free to tap on them
and, uh, figure out what works for you.
347
00:22:20,720 --> 00:22:21,600
Yeah.
348
00:22:21,920 --> 00:22:22,960
You got a lot of choices.
349
00:22:23,040 --> 00:22:27,400
Looks like you have plenty of choices,
so it might take me a while to pick one.
350
00:22:30,640 --> 00:22:34,320
[Garfield talking indistinctly]
351
00:22:44,720 --> 00:22:47,640
[Garfield] When I started
Drum Doctors, I had, uh…
352
00:22:47,720 --> 00:22:51,360
I think I had five drum sets
and twelve snares.
353
00:22:57,240 --> 00:23:00,680
I had good taste back then
because that stuff is still renting today.
354
00:23:00,760 --> 00:23:04,760
And this is, you know,
this was 1981 that I started it.
355
00:23:06,440 --> 00:23:09,040
[Bowen] Do you know how many kits
you have total in here?
356
00:23:09,160 --> 00:23:10,400
Honestly, I don't.
357
00:23:10,480 --> 00:23:13,040
Yeah, it's never-ending. [chuckles]
358
00:23:15,800 --> 00:23:18,040
[Garfield] I felt that because
I had been the drummer
359
00:23:18,120 --> 00:23:19,920
and I saw what a drummer needed,
360
00:23:20,200 --> 00:23:23,120
that I could be better
at taking care of them
361
00:23:23,320 --> 00:23:27,280
than a roadie who was just basically
a guy who is moving stuff,
362
00:23:27,360 --> 00:23:29,840
who really didn't understand
how to tune a drum or
363
00:23:29,920 --> 00:23:31,520
really how to set up a drum or,
364
00:23:31,680 --> 00:23:33,680
you know, all the little intricacies.
365
00:23:33,760 --> 00:23:34,720
[Garfield talking indistinctly]
366
00:23:34,800 --> 00:23:36,680
[Bowen] I like big sounding drums.
367
00:23:36,760 --> 00:23:38,400
-[Garfield] Mmm-hmm.
-[Bowen] Like the deep tones.
368
00:23:38,600 --> 00:23:41,360
I feel like I look like
I'm a delicate, fragile person,
369
00:23:41,440 --> 00:23:43,640
but when I get behind the kit
I want it to sound big.
370
00:23:43,720 --> 00:23:45,560
-Yeah, with the right combinations…
-Yeah.
371
00:23:45,680 --> 00:23:47,960
…and the tunings and stuff we could make
you sound as big as you want,
372
00:23:48,080 --> 00:23:49,800
without giving away
too many of my secrets.
373
00:23:49,880 --> 00:23:51,280
Yeah. [laughs]
374
00:23:52,880 --> 00:23:56,360
[hard rock music playing]
375
00:24:04,120 --> 00:24:06,320
♪ Little monster ♪
376
00:24:06,440 --> 00:24:10,640
♪ I got my eye on you ♪
377
00:24:11,200 --> 00:24:13,280
[Thatcher] Music doesn't have
to be that serious.
378
00:24:14,800 --> 00:24:16,320
Let's just go and have fun.
379
00:24:16,400 --> 00:24:18,360
♪ Tell me what's on your mind ♪
380
00:24:18,440 --> 00:24:20,400
And, well, I'm in the
best job in the world.
381
00:24:20,880 --> 00:24:22,640
I'm having the best time of my life.
382
00:24:22,760 --> 00:24:25,520
[hard rock music playing]
383
00:24:29,480 --> 00:24:32,000
My mentality is you have come here
384
00:24:32,200 --> 00:24:36,520
for an hour and a half to forget about
everything else going on in the world.
385
00:24:37,200 --> 00:24:39,680
Those moments are so precious in life.
386
00:24:42,000 --> 00:24:43,600
And it's a privilege
387
00:24:43,680 --> 00:24:47,920
to be able to walk on stage
and put on that show for people.
388
00:24:49,280 --> 00:24:51,520
[crowd cheering]
389
00:24:57,440 --> 00:24:58,600
[Hawkins] Ben from Royal Blood.
390
00:24:58,720 --> 00:25:00,800
He's got great time, great feel.
391
00:25:01,040 --> 00:25:03,320
And he gets it, you know?
392
00:25:03,400 --> 00:25:05,800
And they get it,
as far as being a live band.
393
00:25:12,560 --> 00:25:13,840
[Smith] It's a thing.
394
00:25:13,920 --> 00:25:16,560
When I go see players, I want to see guys
395
00:25:16,640 --> 00:25:18,160
with intent,
396
00:25:18,520 --> 00:25:21,480
that are doing it with conviction
397
00:25:21,560 --> 00:25:24,960
and doing it because…
'Cause you fucking mean it.
398
00:25:25,280 --> 00:25:28,640
If not, go flip hamburgers.
399
00:25:43,080 --> 00:25:45,120
[crowd cheering]
400
00:25:49,440 --> 00:25:51,920
[Thatcher] All my favourite drummers
are American
401
00:25:52,000 --> 00:25:53,880
who have learnt from English drummers,
402
00:25:53,960 --> 00:25:56,200
who have probably learnt
from American drummers.
403
00:25:57,440 --> 00:25:59,080
But it all comes back
to England, doesn't it?
404
00:25:59,160 --> 00:26:00,920
Obviously, 'cause we started it.
405
00:26:03,320 --> 00:26:05,640
My dad, when I first started playing,
here's a tip.
406
00:26:05,720 --> 00:26:07,920
He said to me, "Son, this is your feet.
407
00:26:08,640 --> 00:26:10,720
So this is your left foot on the hi-hat.
408
00:26:10,880 --> 00:26:12,360
[mimicking drum beats]
409
00:26:12,440 --> 00:26:15,080
So that left foot will go
backwards and forwards and rock.
410
00:26:15,160 --> 00:26:18,680
If you look at a lot of the old
jazz drummers from the '60s, '50s,
411
00:26:18,880 --> 00:26:20,120
that's how they play.
412
00:26:20,200 --> 00:26:22,600
And that left foot is their timekeeper."
413
00:26:23,960 --> 00:26:25,480
Right?
414
00:26:31,200 --> 00:26:33,840
[tapping foot]
415
00:26:34,760 --> 00:26:36,280
And that's all it's doing,
backwards and forwards.
416
00:26:36,360 --> 00:26:38,080
My old man says, "Son…
417
00:26:38,280 --> 00:26:41,480
I want you to sit there and do the same
on the right foot, but the other way."
418
00:26:41,560 --> 00:26:42,920
[tapping feet rhythmically]
419
00:26:44,800 --> 00:26:45,800
So…
420
00:26:49,040 --> 00:26:52,120
So, erm…
421
00:26:52,200 --> 00:26:54,400
What was the question? [laughs]
422
00:27:01,960 --> 00:27:04,360
There's a theme here,
and there's a theme for a reason
423
00:27:04,440 --> 00:27:07,600
as to why these drummers liked
jazz drummers and liked jazz.
424
00:27:08,240 --> 00:27:10,600
Well, at the beginning,
it was all about jazz drummers
425
00:27:10,680 --> 00:27:12,880
'cause of the conversation. Elvin Jones.
426
00:27:13,000 --> 00:27:15,600
[jazz music playing]
427
00:27:20,680 --> 00:27:21,560
Art Blakey.
428
00:27:28,160 --> 00:27:31,960
Buddy "The God" Rich,
because it doesn't get better.
429
00:27:43,880 --> 00:27:45,960
[Blackman Santana]
There's a big difference
430
00:27:46,080 --> 00:27:48,920
between playing rock and playing jazz.
431
00:27:53,440 --> 00:27:57,120
You're able to make the music move
and change and grow.
432
00:27:57,720 --> 00:28:01,360
{\an8}You're able to interject
your ideas and your opinions.
433
00:28:01,440 --> 00:28:05,040
{\an8}You're able to play around the form,
434
00:28:05,920 --> 00:28:08,720
you're able to play
across the bar line,
435
00:28:09,120 --> 00:28:11,360
able to change directions real quick.
436
00:28:29,160 --> 00:28:33,800
Playing in most rock situations
or in pop rock situations,
437
00:28:34,120 --> 00:28:38,240
um, the goal is to play a groove.
438
00:28:44,360 --> 00:28:47,760
There's a beauty in that,
to being able to lay down something
439
00:28:47,840 --> 00:28:52,240
that just feels great, you know,
and allows the music to float.
440
00:28:53,800 --> 00:28:56,200
♪ I want to get away ♪
441
00:28:56,760 --> 00:29:01,840
♪ I want to fly away
Yeah ♪
442
00:29:01,920 --> 00:29:03,760
And it makes people want to dance.
443
00:29:03,840 --> 00:29:04,840
You know, you play a nice…
444
00:29:05,600 --> 00:29:08,800
[scatting]
445
00:29:12,000 --> 00:29:14,280
It's going to make somebody
feel a certain way.
446
00:29:14,520 --> 00:29:16,360
You know, when
somebody starts tapping their foot,
447
00:29:16,440 --> 00:29:17,960
you know you're in there.
448
00:29:18,080 --> 00:29:21,360
The difference between playing that
and playing jazz…
449
00:29:21,440 --> 00:29:24,960
[mimics soft drum playing]
450
00:29:26,760 --> 00:29:28,320
You know, you want that to feel good.
451
00:29:28,400 --> 00:29:29,800
Until rock 'n' roll came along
452
00:29:29,920 --> 00:29:32,080
in the '50s, very, very few
pieces of popular music
453
00:29:32,200 --> 00:29:34,400
had a straight eight…
[mimics drum beating]
454
00:29:34,480 --> 00:29:36,480
It was all… [scatting]
455
00:29:36,560 --> 00:29:38,680
So everything I heard had that in it.
456
00:29:38,840 --> 00:29:40,120
And when I started to play,
457
00:29:40,360 --> 00:29:43,880
even if the basis of the song
was [mimics beat],
458
00:29:43,960 --> 00:29:48,160
in my head I'd still be feeling,
where does the swing come in it?
459
00:29:48,360 --> 00:29:51,640
And even if I wasn't playing
the note, I'd be thinking it.
460
00:30:13,440 --> 00:30:14,320
[mouthing]
461
00:30:19,720 --> 00:30:21,640
The sort of grace note.
462
00:30:21,760 --> 00:30:25,760
Grace note is a tiny little
touch on the drum,
463
00:30:25,840 --> 00:30:27,800
which influences the next note.
464
00:30:28,680 --> 00:30:31,360
And without that, the feel
you're trying to achieve
465
00:30:31,440 --> 00:30:34,760
is impossible because all you
end up hearing is "do, da, do, da."
466
00:30:34,840 --> 00:30:39,760
But you get… [mimics beat]
That little… changes everything.
467
00:30:40,880 --> 00:30:44,120
And sometimes you don't have to play them,
but you got to think them.
468
00:30:44,200 --> 00:30:45,840
[man] One of the remarkable things
about your playing
469
00:30:45,920 --> 00:30:47,480
is the way you manage
to get a kind of dialogue
470
00:30:47,560 --> 00:30:48,960
going between your feet and your hands.
471
00:30:49,040 --> 00:30:50,680
Not only are your feet each playing
different rhythms,
472
00:30:50,760 --> 00:30:51,760
but so are your hands.
473
00:30:51,840 --> 00:30:54,640
And that, of course, doesn't account for
cymbals, it's like a one-man orchestra.
474
00:30:54,920 --> 00:30:57,160
{\an8}Yeah, you can get good tings on a cymbal.
475
00:30:58,880 --> 00:31:01,600
{\an8}Can you give us an example
of this kind of instrumental conversation?
476
00:31:21,440 --> 00:31:27,280
The great Ginger Baker,
who is a jazz drummer
477
00:31:27,400 --> 00:31:30,040
trapped in a rock man's body.
478
00:31:39,280 --> 00:31:41,600
When I saw Ginger Baker
with his double bass drums
479
00:31:41,680 --> 00:31:46,000
and right in the middle
and playing, I think, "N.S.U."
480
00:31:46,400 --> 00:31:49,880
and just thinking, "Now
that is what I'd like to be."
481
00:31:50,760 --> 00:31:51,880
He wasn't at the back.
482
00:31:51,960 --> 00:31:53,920
He was actually part of the band
483
00:31:54,000 --> 00:31:57,800
and actually interacting
with Jack or Eric, or whatever.
484
00:31:58,360 --> 00:32:04,960
It was a very different dynamic to Ringo
being 15 feet behind on a riser.
485
00:32:10,560 --> 00:32:15,480
[Paice] He was an amazing
Jazz bebop fusion-type drummer.
486
00:32:16,160 --> 00:32:18,280
When Cream came along,
he just changed it all round.
487
00:32:18,680 --> 00:32:20,360
It's like they said, "Okay,
that's enough of that.
488
00:32:20,440 --> 00:32:21,440
I'm going to do this now."
489
00:32:24,960 --> 00:32:27,360
And when you hear Ginger
playing with Cream…
490
00:32:27,440 --> 00:32:29,640
[mimics beat]
491
00:32:29,720 --> 00:32:32,400
…all of a sudden,
it's not that jazzy thing any more.
492
00:32:33,040 --> 00:32:35,280
He's made a new statement
in rock 'n' roll.
493
00:32:46,880 --> 00:32:49,560
-[man] Ginger Baker on drums!
-[crowd cheering]
494
00:32:53,280 --> 00:32:54,680
[Maloney] I don't care about Ringo.
495
00:32:54,800 --> 00:32:56,120
I don't care about Charlie.
496
00:32:56,200 --> 00:32:57,280
I'm sorry.
497
00:32:57,520 --> 00:32:58,720
It's all about John Bonham.
498
00:33:06,960 --> 00:33:07,880
Led Zeppelin.
499
00:33:08,720 --> 00:33:10,840
Led Zeppelin, Led Zeppelin, that's it.
500
00:33:14,800 --> 00:33:16,480
What is that?
501
00:33:17,360 --> 00:33:19,040
Check this shit out, motherfucker!
502
00:33:19,440 --> 00:33:22,280
Every drummer in America in 1975
503
00:33:22,440 --> 00:33:26,360
wanted to sound like John Bonham,
because he was the best.
504
00:33:27,160 --> 00:33:28,520
He got the best drum sound.
505
00:33:28,960 --> 00:33:30,640
His drums were tuned the best.
506
00:33:31,840 --> 00:33:34,440
He was in the biggest band,
he was the best.
507
00:33:39,800 --> 00:33:42,960
[Smith] You got to remember,
Robert Plant and Bonham were, like,
508
00:33:43,040 --> 00:33:45,920
19 or 20 when they joined the band.
Something like that.
509
00:33:46,000 --> 00:33:47,480
Like, that's young, man.
510
00:33:47,560 --> 00:33:50,560
And here's a guy who comes out
511
00:33:50,640 --> 00:33:54,600
a fully realised musician,
like the first Zeppelin album,
512
00:33:55,280 --> 00:33:56,800
he's doing his doubles.
513
00:33:56,880 --> 00:33:58,840
The first song, "Good Times, Bad Times."
514
00:33:58,920 --> 00:34:03,240
He's doing his John Bonham thing
from the very get-go.
515
00:34:04,040 --> 00:34:06,880
[Taylor] I think Freddie saw them
at the Marquee before I did,
516
00:34:06,960 --> 00:34:09,600
and then he said, "Well, come on, you've
got to see this band, they're great."
517
00:34:09,680 --> 00:34:12,400
We went to the Lyceum in the Strand.
518
00:34:12,520 --> 00:34:14,640
They sort of shuffled on,
519
00:34:14,760 --> 00:34:17,680
and Bonzo just sort of did
a little warm-up.
520
00:34:18,600 --> 00:34:20,320
And we both sort of… Wow!
521
00:34:20,840 --> 00:34:23,880
You know, most drummers
didn't sound like that.
522
00:34:35,760 --> 00:34:37,760
Tremendous power and speed.
523
00:34:38,360 --> 00:34:40,680
And he was technically brilliant.
524
00:34:50,360 --> 00:34:52,880
[Keltner] I didn't know
what Led Zeppelin was.
525
00:34:53,320 --> 00:34:57,000
We were kind of tripping backstage
and I tapped on the bass drum,
526
00:34:57,080 --> 00:35:01,160
Bonham's bass drum,
and it just went "boing!"
527
00:35:01,360 --> 00:35:03,480
{\an8}Like, what?
Like, there was no…
528
00:35:03,560 --> 00:35:07,400
{\an8}Like, my bass drum was, you know,
Hollywood recording ready
529
00:35:07,480 --> 00:35:09,760
with the blanket in it
and the front head off,
530
00:35:10,240 --> 00:35:12,360
and his was just exactly the opposite.
531
00:35:12,440 --> 00:35:15,120
Both heads on, nothing inside.
532
00:35:15,200 --> 00:35:17,160
You could tell, it just went "boing!"
533
00:35:23,560 --> 00:35:27,000
And I said, "Maybe it's kind of like
a Salvation Army kind of thing."
534
00:35:27,080 --> 00:35:31,200
You know, I was thinking, like, maybe some
big marching bass drum kind of sound.
535
00:35:36,360 --> 00:35:40,200
That night, to watch them was incredible.
536
00:35:45,800 --> 00:35:47,720
[Maloney] I had a rough childhood,
537
00:35:47,960 --> 00:35:50,400
and I think that as a girl,
like, you're supposed
538
00:35:50,480 --> 00:35:52,320
to keep your feelings in or whatever.
539
00:35:53,080 --> 00:35:56,320
{\an8}But for me, I got behind the drum set
540
00:35:56,400 --> 00:35:59,000
{\an8}and I beat the shit out of it,
and it was my release.
541
00:35:59,080 --> 00:36:02,760
I wanted to take
the beater of the kick drum
542
00:36:02,840 --> 00:36:08,160
and just smash it through and just
crack my snare as hard as I could.
543
00:36:08,240 --> 00:36:11,760
And that's what I
could learn along to Bonham's playing.
544
00:36:13,400 --> 00:36:15,520
Everything you need to know as a drummer,
545
00:36:15,600 --> 00:36:18,920
just listen to Led Zeppelin
and you'll learn it.
546
00:36:23,840 --> 00:36:26,400
[Hawkins] When you're that age,
fifth grade,
547
00:36:26,680 --> 00:36:30,400
you need something to kind of
hang your hat on.
548
00:36:30,680 --> 00:36:33,760
If you're not a great athlete
or you're not, like…
549
00:36:33,840 --> 00:36:36,680
the best-looking kid
in the world or whatever,
550
00:36:36,760 --> 00:36:37,880
you need something.
551
00:36:37,960 --> 00:36:41,960
And once I found drums,
it kind of became my coat of armour.
552
00:36:48,680 --> 00:36:50,800
We started playing these clubs in Detroit,
553
00:36:50,880 --> 00:36:54,040
and we would play three sets a night,
six nights a week,
554
00:36:54,520 --> 00:36:56,520
and it was like,
555
00:36:57,400 --> 00:37:02,080
{\an8}"This is it, I've made it.
This is the greatest thing ever."
556
00:37:02,160 --> 00:37:06,160
I'm walking around in my bare feet
in these, you know,
557
00:37:06,240 --> 00:37:10,520
beer-soaked clubs in Detroit
and playing music, and girls,
558
00:37:10,600 --> 00:37:12,960
and everything that went with that,
559
00:37:13,040 --> 00:37:15,880
and it was like,
"Wow, this is really something."
560
00:37:15,960 --> 00:37:21,000
"I'm a professional musician,
making $165 a week." [chuckles]
561
00:37:21,080 --> 00:37:25,240
But I was doing what I wanted to do,
what I loved.
562
00:37:25,560 --> 00:37:27,440
I got paid 20 quid
to be in the house band
563
00:37:27,520 --> 00:37:31,680
when I was like 14, and I was like,
"I'm a professional!" [chuckles]
564
00:37:32,800 --> 00:37:34,280
That was the overriding feeling.
565
00:37:34,360 --> 00:37:38,640
It was like, "I'm doing it.
And I'm…" It just felt right.
566
00:37:38,720 --> 00:37:39,920
I was… I was…
567
00:37:40,000 --> 00:37:44,760
I was on my path and I was heading
exactly where I wanted to go.
568
00:37:44,840 --> 00:37:47,280
Telling your parents
you want to drop out of college
569
00:37:47,360 --> 00:37:50,720
{\an8}to be in a rock band
and tour with a bunch of boys,
570
00:37:50,800 --> 00:37:52,880
{\an8}my parents were a little bit
iffy about that.
571
00:37:54,360 --> 00:37:55,720
It was funny. They gave me a year.
572
00:37:55,920 --> 00:37:58,680
They said, "We'll give you a year
to do that, and then, you know,
573
00:37:58,760 --> 00:38:01,040
go back to school
and go back to your plan."
574
00:38:07,280 --> 00:38:11,800
The first tour we did, our parents closing
that van door. It was a 15-passenger van,
575
00:38:11,880 --> 00:38:15,400
they closed it for us and they're all
in their driveway waving at us.
576
00:38:15,520 --> 00:38:18,560
And I remember we all looked around,
we were like, "Are we really doing this?"
577
00:38:18,640 --> 00:38:21,120
We were so excited, no parents with us,
you know what I mean?
578
00:38:21,200 --> 00:38:25,160
It was just a bunch of 18-year-olds
in a van travelling around the US.
579
00:38:26,640 --> 00:38:28,720
You know, I was playing music every night.
580
00:38:34,040 --> 00:38:35,280
We weren't making any money.
581
00:38:35,400 --> 00:38:37,040
We were sleeping on people's floors.
582
00:38:37,120 --> 00:38:40,400
If we couldn't sleep on people's floors,
we would just sleep in the van.
583
00:38:42,040 --> 00:38:43,280
[singing]
584
00:38:44,840 --> 00:38:48,560
You know, I think I was just so happy
to be doing what other people,
585
00:38:48,640 --> 00:38:50,520
I think, had always, like,
dreamed of doing.
586
00:39:01,440 --> 00:39:04,160
[Taylor] The dream was, you know,
to achieve success in America.
587
00:39:04,760 --> 00:39:06,720
So you go there, all very wide-eyed
588
00:39:06,800 --> 00:39:11,400
and everything's very big
and the distances are huge.
589
00:39:11,600 --> 00:39:13,320
The touring really was hard work.
590
00:39:15,760 --> 00:39:19,320
[Hawkins] I mean, there was the
lightning bolt at Kent Kleeder's house.
591
00:39:19,520 --> 00:39:23,640
The second thing, a couple months later,
was the Queen concert.
592
00:39:32,240 --> 00:39:35,440
[Perkins] My first concert ever was Queen,
593
00:39:35,520 --> 00:39:39,760
and Roger Taylor was like
a garage punk rock drummer
594
00:39:40,640 --> 00:39:43,920
in this glorious orchestral band.
595
00:39:44,520 --> 00:39:47,720
And his parts were orchestral,
but his attitude was just…
596
00:39:59,240 --> 00:40:03,320
That was my first experience
of seeing a band, and I still feel it,
597
00:40:03,400 --> 00:40:04,880
smell it, taste it, hear it.
598
00:40:11,480 --> 00:40:12,640
[Hawkins] And Roger Taylor,
599
00:40:12,720 --> 00:40:16,160
he played the whole drum set, like,
it was kind of like an orchestra.
600
00:40:16,240 --> 00:40:19,440
He played such perfect parts for songs,
601
00:40:19,600 --> 00:40:21,960
but yet would let you know
he's there, too.
602
00:40:22,200 --> 00:40:24,560
It wasn't just timekeeping.
603
00:40:24,840 --> 00:40:30,240
Every once in a while, some flashy,
perfectly placed fill would happen.
604
00:40:44,520 --> 00:40:46,240
That to me was like, that's how you…
605
00:40:46,360 --> 00:40:48,600
That's an arena band,
that's what you want to be.
606
00:40:49,040 --> 00:40:50,920
[audience cheering]
607
00:41:03,920 --> 00:41:07,760
In the first half, we saw how rock stars
have become more and more distant
608
00:41:07,840 --> 00:41:12,920
from their audiences. Some are tax exiles
and live abroad in California or Europe.
609
00:41:13,200 --> 00:41:17,640
Others only appear on stage
in vast stadiums where tickets cost plenty
610
00:41:17,840 --> 00:41:20,240
and they appear as small dots
on the horizon.
611
00:41:30,680 --> 00:41:33,800
All the people in punk bands,
we didn't really have a choice.
612
00:41:42,120 --> 00:41:45,840
We weren't ever going to be
in a prog rock band.
613
00:41:45,920 --> 00:41:47,880
We weren't ever going to be able to play
614
00:41:48,200 --> 00:41:51,880
sophisticated time signatures
and have flute solos,
615
00:41:51,960 --> 00:41:54,120
that just wasn't what we wanted.
616
00:41:55,040 --> 00:41:57,320
♪ I got a feeling inside of me ♪
617
00:41:57,400 --> 00:41:59,840
♪ It's kind of strange
Like a stormy sea ♪
618
00:41:59,920 --> 00:42:01,960
♪ I don't know why… ♪
619
00:42:02,040 --> 00:42:03,640
[Scabies] High energy, fast tunes,
620
00:42:03,720 --> 00:42:06,200
that's where I was comfortable.
That's what felt good.
621
00:42:06,280 --> 00:42:09,320
It was something with adrenaline,
you know, rush.
622
00:42:09,520 --> 00:42:13,000
And that was exactly
what the rest of the band wanted.
623
00:42:13,760 --> 00:42:17,040
♪ I got a new rose, I got her good ♪
624
00:42:17,120 --> 00:42:18,800
♪ I guess I knew that I always would ♪
625
00:42:18,920 --> 00:42:21,400
If they are singing,
don't bash too many drums.
626
00:42:21,480 --> 00:42:24,040
When the singing stops,
do whatever you like
627
00:42:24,120 --> 00:42:25,560
to bring in the next bit.
628
00:42:25,920 --> 00:42:30,560
♪ I never thought
This could happen to me ♪
629
00:42:30,920 --> 00:42:32,840
[Scabies] You watch a guitar player
play a solo, and they go,
630
00:42:32,920 --> 00:42:37,640
"Oh, I'm tearing every note from my soul.
631
00:42:37,880 --> 00:42:40,240
Oh, I'm in tears." And I'm gonna go…
632
00:42:40,360 --> 00:42:42,000
The drummer's like,
633
00:42:42,080 --> 00:42:43,840
"Yeah, get a load of this.
634
00:42:43,920 --> 00:42:45,440
I'm here, I can do."
635
00:42:47,720 --> 00:42:48,840
I'll never work again.
636
00:42:49,640 --> 00:42:52,560
{\an8}If I came off stage
with half an ounce of energy,
637
00:42:52,640 --> 00:42:53,520
{\an8}it was a poor gig.
638
00:42:53,600 --> 00:42:57,200
{\an8}It was play as fast as you could,
I'd be gasping for breath.
639
00:42:57,320 --> 00:42:58,360
It's just like sprinting.
640
00:42:58,440 --> 00:43:00,640
You just sprint
and you give it everything you can.
641
00:43:15,960 --> 00:43:18,480
The punk rock discipline,
it's real discipline.
642
00:43:19,080 --> 00:43:20,120
It's not jamming.
643
00:43:20,240 --> 00:43:25,160
You don't jam, you know, you play your
part and you work hard to write that part.
644
00:43:25,240 --> 00:43:27,520
And you work hard to have
the endurance so you can play it.
645
00:43:27,680 --> 00:43:30,240
The four of us would come off
and just collapse on the floor.
646
00:43:30,320 --> 00:43:34,120
It was 100% we put in,
100% to everything.
647
00:43:34,600 --> 00:43:37,800
♪ Tommy gun ♪
648
00:43:37,920 --> 00:43:40,960
♪ You ain't happy unless you got one ♪
649
00:43:41,040 --> 00:43:43,480
♪ Tommy gun ♪
650
00:43:43,600 --> 00:43:46,160
♪ Ain't gonna shoot the place up
Just for fun ♪
651
00:43:46,240 --> 00:43:48,840
My role on stage really was just
to anchor it.
652
00:43:49,280 --> 00:43:51,800
And they'd all run around,
like three Eddie Cochrans,
653
00:43:51,880 --> 00:43:55,520
making brilliant noise and stuff
and looking amazing.
654
00:43:55,920 --> 00:43:58,640
And then if they got lost,
they'd turn to me.
655
00:43:58,960 --> 00:43:59,880
And I'd go…
656
00:44:00,160 --> 00:44:02,640
♪ Tommy gun ♪
657
00:44:02,720 --> 00:44:04,800
And that became my role in The Clash.
658
00:44:05,960 --> 00:44:07,880
♪ Tommy gun… ♪
659
00:44:08,560 --> 00:44:10,840
A rule of rock 'n' roll, it says,
660
00:44:10,920 --> 00:44:15,040
{\an8}you're only as good as your drummer,
and that is really true,
661
00:44:15,120 --> 00:44:19,640
{\an8}because if you try and imagine a group
and the drummer is falling apart,
662
00:44:19,920 --> 00:44:23,120
then no matter what you're putting on top,
it's going to fall apart.
663
00:44:23,240 --> 00:44:26,120
♪ Okay, so let's agree ♪
664
00:44:27,800 --> 00:44:29,120
♪ About the price ♪
665
00:44:29,720 --> 00:44:32,920
♪ And make it one jet airliner… ♪
666
00:44:33,000 --> 00:44:35,040
[Headon] I basically just taught myself.
667
00:44:35,120 --> 00:44:38,000
I used to watch Top of the Pops,
and I'd watch how drummers play.
668
00:44:38,120 --> 00:44:40,640
I realised they sat like this
and they played the hi-hat.
669
00:44:41,120 --> 00:44:45,240
You know, if you've got a brain,
it's quite easy to figure it all out.
670
00:44:45,520 --> 00:44:48,120
Then I'd buy an album,
and I'd know they sat like that,
671
00:44:48,200 --> 00:44:50,000
and I'd listen to it and I'd copy it.
672
00:44:50,120 --> 00:44:55,240
Finding someone who not only had the chops
but the strength and the stamina to do it,
673
00:44:56,040 --> 00:44:59,280
was just the breakthrough for us.
If we hadn't have found Topper Headon,
674
00:44:59,360 --> 00:45:03,120
we'd have never, ever got anywhere.
675
00:45:05,880 --> 00:45:10,280
Every now and then,
even punks on amyl nitrate got to chill.
676
00:45:10,960 --> 00:45:14,640
{\an8}There's only… Sniffing glue
will only get you so far
677
00:45:14,720 --> 00:45:18,440
{\an8}into the evening.
And, so they gotta chill.
678
00:45:18,520 --> 00:45:21,600
But there's no chill punk music,
'cause it ain't punk if it's chill.
679
00:45:22,560 --> 00:45:25,760
But Don Letts, the DJ of the time,
680
00:45:25,840 --> 00:45:29,800
figured out that dub reggae
would fit the bill perfectly.
681
00:45:29,880 --> 00:45:32,080
It's hostile, it's dark.
682
00:45:32,280 --> 00:45:35,560
It's really pissed off, but chill.
683
00:45:39,000 --> 00:45:41,480
And it was The Clash,
credit must be given,
684
00:45:41,560 --> 00:45:43,280
who first had the inkling of an idea.
685
00:45:43,360 --> 00:45:46,680
"Hey, why don't us white boys
try to play some of that?"
686
00:45:47,280 --> 00:45:50,320
[Perkins] And as the things progressed
and the music started to get
687
00:45:50,400 --> 00:45:56,120
a little more dynamic, you really heard
the drummer become more aware
688
00:45:56,200 --> 00:46:02,120
of this Jamaican, African drumbeats
that he was throwing in.
689
00:46:02,200 --> 00:46:03,840
It was organic. Nothing was…
690
00:46:03,920 --> 00:46:06,080
Nothing was contrived or planned.
691
00:46:06,480 --> 00:46:08,720
As I played with the group
and we started rehearsing
692
00:46:08,840 --> 00:46:12,480
some more numbers,
a few funk influences crept in.
693
00:46:12,560 --> 00:46:16,840
Er… "(White Man) In Hammersmith Palais."
[mimics beat] Came in as a fill.
694
00:46:16,920 --> 00:46:21,240
A few other bits and pieces.
We went and saw Taj Mahal at the…
695
00:46:21,320 --> 00:46:23,520
I think it was
at the Venue in Victoria.
696
00:46:24,040 --> 00:46:27,960
And I nicked a few bits off Taj Mahal.
It just became like a melting pot.
697
00:46:28,040 --> 00:46:31,440
Like, my philosophy of drumming
became the philosophy,
698
00:46:31,960 --> 00:46:33,400
or was the philosophy of The Clash.
699
00:46:33,520 --> 00:46:36,440
I'm not saying I made it, it just
became the philosophy of The Clash.
700
00:46:36,560 --> 00:46:38,080
We'd try and play everything.
701
00:46:38,200 --> 00:46:40,240
I had been listening
to a lot of reggae anyway,
702
00:46:40,320 --> 00:46:41,880
and was already trying to figure out
703
00:46:42,000 --> 00:46:46,560
that it's totally wrong, the way that
that guy… drummer is doing on the drums.
704
00:46:46,760 --> 00:46:48,440
Wrong, wrong, wrong!
705
00:46:48,560 --> 00:46:51,360
No, no! But it's kinda right.
706
00:46:51,840 --> 00:46:54,280
And so figuring out
that you play the backbeat
707
00:46:54,360 --> 00:46:56,960
and the downbeat at the same time…
708
00:46:57,280 --> 00:47:01,160
Well, what are the other beats for?
You listen again and check it out.
709
00:47:01,240 --> 00:47:02,960
Geez, really? Really?
710
00:47:05,320 --> 00:47:07,520
And it's hard to do on your own
because it doesn't work,
711
00:47:07,800 --> 00:47:09,760
unless the uptick is there on the guitar.
712
00:47:15,880 --> 00:47:21,560
You know, it's very much his personality,
and then there's a great unconventionality
713
00:47:21,640 --> 00:47:26,600
to how, where he places the beats. You can
hear the world, the global influence.
714
00:47:26,680 --> 00:47:29,200
You can hear the areas that he grew up in
715
00:47:29,280 --> 00:47:32,080
in the way he plays,
the way he offsets the beat,
716
00:47:32,560 --> 00:47:35,360
the way he accents things,
the way he doesn't always have
717
00:47:35,440 --> 00:47:38,360
to rely on playing two and four again.
718
00:47:38,440 --> 00:47:41,600
And I think, again,
it's inspired by the melody
719
00:47:41,680 --> 00:47:43,640
and the bass and guitar lines.
720
00:47:43,720 --> 00:47:48,080
And he's… You can tell
he's equal with the variations
721
00:47:48,160 --> 00:47:50,520
that the other guys in the band play.
722
00:48:03,200 --> 00:48:05,960
And he was always just
turning the beat around,
723
00:48:06,800 --> 00:48:10,360
and putting stuff on upbeats
and doing…
724
00:48:10,480 --> 00:48:13,560
And constantly surprising you
throughout a pop song.
725
00:48:13,680 --> 00:48:15,400
Throwing fireworks.
726
00:48:15,720 --> 00:48:17,680
That's really what he was doing, you know?
727
00:48:18,640 --> 00:48:19,520
You hear 'em
728
00:48:19,600 --> 00:48:22,080
and you see 'em go out,
but they don't blow exactly
729
00:48:22,160 --> 00:48:24,160
when you think they're gonna, you know?
730
00:48:25,080 --> 00:48:26,880
And then they blow.
And then another one blows
731
00:48:26,960 --> 00:48:28,600
a little later and then a third one.
732
00:48:28,960 --> 00:48:31,760
He's very…unpredictable.
733
00:48:35,160 --> 00:48:36,240
And that's really hard
734
00:48:36,320 --> 00:48:40,720
as a drummer, because people feel
comfortable when they can predict
735
00:48:40,800 --> 00:48:43,360
what's happening with the drum part,
and it's repetitive.
736
00:48:44,040 --> 00:48:47,280
And I guess that's the magic of him,
is Stewart Copeland
737
00:48:47,640 --> 00:48:50,080
would make you feel comfortable
in the most uncomfortable drum part.
738
00:48:50,800 --> 00:48:53,320
♪ Roxanne! ♪
739
00:48:53,720 --> 00:48:57,200
♪ Yeah, Roxanne! Roxanne! ♪
740
00:49:05,920 --> 00:49:07,880
Let's talk about events.
741
00:49:08,600 --> 00:49:11,440
Keith Moon has many events in his playing,
742
00:49:11,760 --> 00:49:16,040
and he takes cues from the music,
from the lyrics, from the topic.
743
00:49:16,120 --> 00:49:17,080
The subject matter.
744
00:49:17,640 --> 00:49:22,000
And so he is this orchestral drummer
with great chops,
745
00:49:22,360 --> 00:49:24,840
and he picks and chooses
these events to happen.
746
00:49:25,320 --> 00:49:26,640
And people, when they hear Moon,
747
00:49:26,720 --> 00:49:30,320
they think maybe it's just chaos
and he's all over the place.
748
00:49:30,480 --> 00:49:34,400
And if you'd listen to this track, he's
got different themes, different ideas.
749
00:49:34,960 --> 00:49:38,640
And he uses them
and takes the song to another level.
750
00:49:38,840 --> 00:49:41,640
Dynamics, peaks and valleys,
the beginning.
751
00:49:41,880 --> 00:49:47,600
♪ Who are you?
Who, who, who, who? ♪
752
00:49:47,680 --> 00:49:49,320
♪ Who are you? ♪
753
00:49:49,520 --> 00:49:52,160
[Perkins] The hi-hat intro,
where he's working with the vocals.
754
00:49:52,280 --> 00:49:55,400
He's having a good time
and disco was big back then.
755
00:49:55,480 --> 00:49:57,760
I think he was
nodding his hat to disco.
756
00:49:57,840 --> 00:50:01,360
And then to see that he took this
hi-hat part and made it special.
757
00:50:01,600 --> 00:50:06,040
As the song grows into the first verse,
he reacts off the lyrics.
758
00:50:06,640 --> 00:50:08,920
♪ I woke up in a Soho doorway ♪
759
00:50:09,160 --> 00:50:11,760
♪ A policeman knew my name ♪
760
00:50:11,840 --> 00:50:14,760
♪ He said, "You can go
Sleep at home tonight ♪
761
00:50:14,920 --> 00:50:17,560
♪ If you can get up and walk away" ♪
762
00:50:20,000 --> 00:50:21,320
[Perkins] Say, "Yes, I'm with you."
763
00:50:21,400 --> 00:50:24,200
"I'm exactly connected to the lyrics
764
00:50:24,280 --> 00:50:27,040
and the music,
and the subtleties of the story."
765
00:50:27,720 --> 00:50:32,120
And I think that's the brilliance
of Keith Moon is his storytelling.
766
00:50:32,720 --> 00:50:36,520
♪ Who are you? ♪
767
00:50:36,600 --> 00:50:39,320
♪ Who, who, who, who? ♪
768
00:50:40,440 --> 00:50:42,960
♪ Who are you? ♪
769
00:50:43,040 --> 00:50:46,320
♪ Who, who, who, who? ♪
770
00:50:53,240 --> 00:50:55,600
Always unpredictable.
771
00:50:56,080 --> 00:50:58,080
Even when I play to the song, I remember,
772
00:50:58,160 --> 00:51:03,560
"Oh, he starts the fill on the one,
not one and." And it always reminds me
773
00:51:03,640 --> 00:51:06,080
of how different he is and how he thinks.
774
00:51:07,840 --> 00:51:10,080
So I love the challenge of the song
775
00:51:10,160 --> 00:51:12,800
because of these great themes,
we have the hi-hat intro,
776
00:51:13,120 --> 00:51:15,800
the pocket verse with the big fills,
777
00:51:15,920 --> 00:51:20,520
the choruses, which go from hat
to ride, but very reactive.
778
00:51:34,000 --> 00:51:35,000
Then, of course, the big…
779
00:51:36,280 --> 00:51:38,720
I call it the timpani part,
but it's mallets on toms,
780
00:51:40,640 --> 00:51:44,280
which he brings that orchestral event
like I was talking about.
781
00:51:55,360 --> 00:51:58,400
I love going to see a symphony.
And I think Keith
782
00:51:58,480 --> 00:52:01,760
would watch and listen to that
and bring it all into his playing.
783
00:52:02,680 --> 00:52:06,160
And he would take these moments
and bring them to life.
784
00:52:21,960 --> 00:52:26,960
♪ Who are you?
Who, who, who, who? ♪
785
00:52:28,280 --> 00:52:32,960
♪ Who are you?
Who, who, who, who? ♪
786
00:52:34,440 --> 00:52:37,280
♪ Who are you? ♪
787
00:52:37,360 --> 00:52:41,960
And I think the energy
that Keith brings to it
788
00:52:42,040 --> 00:52:45,680
and the sense of humour…
that's so English.
789
00:52:46,080 --> 00:52:48,040
♪ I really want to know ♪
790
00:52:48,160 --> 00:52:51,720
♪ Who are you?
Who, who, who, who? ♪
791
00:52:51,840 --> 00:52:53,640
♪ I really want to know ♪
792
00:52:53,840 --> 00:52:57,600
♪ Who are you?
Who, who, who, who? ♪
793
00:52:59,480 --> 00:53:03,280
♪ Who are you? Who, who… ♪
794
00:53:03,360 --> 00:53:05,800
I have such respect for Keith Moon,
795
00:53:06,320 --> 00:53:11,400
but it was just… It was so crazy
and, like, out of control.
796
00:53:12,000 --> 00:53:15,040
Go right ahead, Keith,
make a scene again.
797
00:53:15,160 --> 00:53:16,920
[indistinct shouting]
798
00:53:17,000 --> 00:53:19,200
You know, a lot of you young
rock 'n' roll musicians
799
00:53:19,280 --> 00:53:21,760
are going to be big stars someday.
800
00:53:21,840 --> 00:53:23,000
Just like Keith here.
801
00:53:23,280 --> 00:53:24,720
We know what it's like to be on tour,
802
00:53:24,840 --> 00:53:28,920
going from town to town, ending up in
some crummy hotel like this one.
803
00:53:29,040 --> 00:53:33,560
Let's face it. When you get to your room,
the first thing you want to do
804
00:53:33,680 --> 00:53:34,520
is destroy it.
805
00:53:36,320 --> 00:53:38,640
♪ Who are you? ♪
806
00:53:40,120 --> 00:53:41,920
[Henrit] Moonie was often very dangerous.
807
00:53:42,120 --> 00:53:44,840
He wouldn't just send
the television out of the window,
808
00:53:44,960 --> 00:53:47,120
he would make sure it was
working all the way down.
809
00:53:47,400 --> 00:53:51,920
So he would get coax for the aerial,
and he'd get an extension lead
810
00:53:52,000 --> 00:53:54,160
so it was working, and he'd chuck it out.
811
00:53:54,400 --> 00:53:55,520
Right out the window, Keith.
812
00:53:58,080 --> 00:54:01,280
[Henrit] If you didn't laugh immediately,
he wouldn't stop.
813
00:54:01,360 --> 00:54:03,160
He'd just keep going until you laughed.
814
00:54:03,840 --> 00:54:04,760
It could take hours.
815
00:54:07,600 --> 00:54:09,440
He was a fantastic drummer.
816
00:54:09,560 --> 00:54:11,720
No other drummers played like Keith Moon.
817
00:54:12,600 --> 00:54:13,480
It was all about him.
818
00:54:13,560 --> 00:54:17,600
I loved his personality. It was just wild
and he just stood out.
819
00:54:18,680 --> 00:54:21,640
[Paice] I got to meet him a couple times
and he was a sweetheart.
820
00:54:22,120 --> 00:54:23,480
But you could look into his eyes and say,
821
00:54:23,560 --> 00:54:25,800
"This man will never get
to be 40 years old."
822
00:54:28,800 --> 00:54:30,520
[Henrit] Somebody should have
taken Moonie aside and said,
823
00:54:30,600 --> 00:54:31,840
"You know, you're gonna kill yourself."
824
00:54:32,600 --> 00:54:35,280
And he would have said, "Yeah."
And that would have been probably
825
00:54:35,360 --> 00:54:36,960
the end of that particular conversation.
826
00:54:39,200 --> 00:54:42,480
You can't party 30 hours a day,
28 days a week.
827
00:55:07,000 --> 00:55:10,280
♪ Sweet dreams are made of this ♪
828
00:55:10,360 --> 00:55:14,280
♪ Who am I do disagree? ♪
829
00:55:14,360 --> 00:55:18,120
♪ I travel the world and the seven seas ♪
830
00:55:18,200 --> 00:55:21,320
♪ Everybody is looking for something ♪
831
00:55:21,400 --> 00:55:22,960
[Andy Gray] When you're playing
with synthesizers,
832
00:55:23,040 --> 00:55:24,720
they are basically electronic signals.
833
00:55:24,800 --> 00:55:26,960
So now instead of having
a really organic thing,
834
00:55:27,040 --> 00:55:30,600
which would be a drum and a snare
and a skin moving,
835
00:55:30,880 --> 00:55:32,440
instead of having that,
you've now got something
836
00:55:32,520 --> 00:55:34,320
{\an8}that's as punchy as a synth,
and that is the other
837
00:55:34,400 --> 00:55:38,680
{\an8}big thing about a drum machine,
it's a really punchy sound.
838
00:55:39,800 --> 00:55:42,600
[vocalising]
839
00:55:49,360 --> 00:55:52,640
The LinnDrum was a drum machine
that became a classic, first of all,
840
00:55:52,720 --> 00:55:55,600
because it sounded a bit
like a drummer.
841
00:55:55,680 --> 00:55:56,760
It was a computer
842
00:55:56,840 --> 00:55:59,880
with the ideal drum sound stored,
and it was ready to go.
843
00:55:59,960 --> 00:56:01,800
You just hit play and record, and boom,
you were off.
844
00:56:01,880 --> 00:56:03,960
And it always come back as you put it in.
845
00:56:04,080 --> 00:56:05,240
So it's a big change.
846
00:56:05,640 --> 00:56:08,360
Well, this is the LinnDrum
known as the Linn 2.
847
00:56:08,680 --> 00:56:09,600
You can put it in record.
848
00:56:09,720 --> 00:56:13,520
See this clip going round,
when it gets to the beginning hi-hat…
849
00:56:15,000 --> 00:56:16,760
[clicking]
850
00:56:19,600 --> 00:56:20,960
Then you can put the kick and snare.
851
00:56:21,280 --> 00:56:24,120
[beat playing]
852
00:56:26,720 --> 00:56:27,840
Turn the click down.
853
00:56:35,040 --> 00:56:38,800
So, great stories of the Human League
replacing all their drums on Dare
854
00:56:38,880 --> 00:56:43,000
once the LinnDrum came along.
It suddenly gave this album this sound
855
00:56:43,080 --> 00:56:44,360
like no one else.
856
00:56:44,880 --> 00:56:49,960
♪ You were working as a waitress
In a cocktail bar ♪
857
00:56:50,600 --> 00:56:52,760
♪ When I met you ♪
858
00:56:52,960 --> 00:56:55,880
[Perkins] In the '80s,
when the electric drum sound
859
00:56:56,080 --> 00:57:00,240
became so important in the music,
there was a sense that the drummer
860
00:57:00,680 --> 00:57:05,480
and the opinion of the drummer
and all the backstory of the drummer
861
00:57:05,640 --> 00:57:09,400
wasn't needed any more, and was like
putting on a drum machine on an organ.
862
00:57:09,600 --> 00:57:11,440
[mimics beat]
863
00:57:11,560 --> 00:57:14,360
{\an8}And you can write a song to that,
but there's no reaction.
864
00:57:14,760 --> 00:57:17,920
{\an8}♪ Don't, don't you want me? ♪
865
00:57:18,960 --> 00:57:22,600
{\an8}♪ You know I can't believe it
When I hear that you won't see me ♪
866
00:57:23,240 --> 00:57:27,760
{\an8}There was a sense of what's next
for a drum set player?
867
00:57:28,240 --> 00:57:31,400
And as a young man, I loved
hearing those sounds,
868
00:57:31,800 --> 00:57:35,320
but I wanted a real drummer in my life
and still have those sounds.
869
00:57:35,440 --> 00:57:39,360
♪ You'd better change it back
Or we will both be sorry ♪
870
00:57:39,440 --> 00:57:42,560
♪ Don't you want me, baby? ♪
871
00:57:44,800 --> 00:57:48,400
The impact of the drum machine
has affected music in a lot of ways.
872
00:57:48,520 --> 00:57:51,200
It became very regimented, you know.
873
00:57:51,320 --> 00:57:56,640
And the human element of the feel
was taken out, you know,
874
00:57:56,720 --> 00:58:02,160
and I like the human element,
because I'm a human being.
875
00:58:22,240 --> 00:58:24,720
{\an8}I look back at the '80s
and think about MTV.
876
00:58:29,680 --> 00:58:33,080
And what you saw on TV
was what you wanted to replicate.
877
00:58:33,520 --> 00:58:35,880
"Oh, this looks cool."
878
00:58:36,000 --> 00:58:38,000
[mimics drum beating]
879
00:58:41,880 --> 00:58:45,800
[Perkins] And the drummer's got a big
drum set, and there was a spectacle,
880
00:58:45,880 --> 00:58:50,360
the camera and the playfulness the drummer
gets with the camera and the attitude.
881
00:58:50,600 --> 00:58:52,680
And nothing's better
than watching a drummer move.
882
00:58:53,400 --> 00:58:57,120
And so people get a chance to kinda
tune in to what drummers can do,
883
00:58:57,200 --> 00:58:58,160
what's possible.
884
00:58:58,360 --> 00:59:03,800
I remember seeing it on MTV, erm,
and I remember throwing all the cushions
885
00:59:03,880 --> 00:59:09,200
off my sofa, and jumping around
and doing roly polys on them,
886
00:59:09,280 --> 00:59:14,280
and just had… It was fun again,
it was just crazy.
887
00:59:15,000 --> 00:59:16,920
You know, even that video
and watching all the kids
888
00:59:17,000 --> 00:59:20,640
moshing and crowd surfing,
and that's what I wanted to do.
889
00:59:21,320 --> 00:59:25,280
♪ With the lights out
It's less dangerous ♪
890
00:59:25,440 --> 00:59:29,000
♪ Here we are now, entertain us ♪
891
00:59:29,280 --> 00:59:33,560
♪ I feel stupid and contagious ♪
892
00:59:33,680 --> 00:59:37,320
♪ Here we are now, entertain us ♪
893
00:59:38,800 --> 00:59:41,920
[Thatcher] Dave Grohl, the way
you never saw his face.
894
00:59:42,000 --> 00:59:45,080
And he was just so in the music.
895
00:59:45,600 --> 00:59:51,680
And so just going for it that he had
no idea what was going on around him.
896
00:59:51,760 --> 00:59:53,320
He was in his own world.
897
00:59:53,440 --> 01:00:00,160
♪ A denial, a denial, a denial, a denial ♪
898
01:00:00,680 --> 01:00:04,240
[Thatcher] And it's such a force
of music coming at you.
899
01:00:04,880 --> 01:00:05,800
You just enjoy it.
900
01:00:06,160 --> 01:00:09,680
And as a kid growing up,
listening to that just made me excited.
901
01:00:27,080 --> 01:00:29,640
[Bowen] I think I'm leaning towards…
902
01:00:29,720 --> 01:00:31,800
-probably this kit.
-The gold sparkle?
903
01:00:31,880 --> 01:00:34,200
-The gold sparkle.
-Okay, 22 or 24?
904
01:00:34,280 --> 01:00:36,440
[Bowen] I think 24 would be cool,
905
01:00:36,960 --> 01:00:40,360
'cause I like the way it looks and
I definitely know you could make it sound…
906
01:00:40,440 --> 01:00:41,360
really good.
907
01:00:41,640 --> 01:00:43,680
-Pretty classy looking set.
-Yeah.
908
01:01:05,120 --> 01:01:06,840
[Garfield] First of all,
I want to make sure
909
01:01:06,920 --> 01:01:09,000
that they're happy
with the kick drum sound.
910
01:01:10,800 --> 01:01:12,760
[indistinct talking]
911
01:01:12,840 --> 01:01:15,640
I want to make sure they're happy
with the snare drum that we have.
912
01:01:15,720 --> 01:01:18,040
And we'll change snare drums
as many times as we need to
913
01:01:18,120 --> 01:01:19,960
to get it right.
914
01:01:22,120 --> 01:01:25,520
The snare drum is the main voice
of the drum set.
915
01:01:28,360 --> 01:01:30,400
And everybody has different ways
of describing it.
916
01:01:30,800 --> 01:01:35,600
I want it to be more of a thump,
or a thud or, you know, more crack.
917
01:01:36,280 --> 01:01:38,160
So that's always a lot of fun for me.
918
01:01:40,040 --> 01:01:42,800
Get these drums sounding big for her.
919
01:01:42,880 --> 01:01:45,280
But then the toms need
to have the character
920
01:01:45,360 --> 01:01:48,080
that's complimentary
to the kick and the snare.
921
01:01:52,680 --> 01:01:56,760
A lot of times I get someone asking for
a retro sound, they want a '60s sound.
922
01:01:57,200 --> 01:02:03,080
And I'll bring 'em a '60s drum set
as well as '60s cymbals to go with it.
923
01:02:05,160 --> 01:02:07,120
It gives me a chance to really kind of,
924
01:02:07,800 --> 01:02:10,800
you know, do my art,
and that's a big part of it for me.
925
01:02:15,400 --> 01:02:17,920
She ought to like that.
Good place to start.
926
01:02:18,840 --> 01:02:21,440
I'll put the final tuning on 'em
once we get into the studio.
927
01:02:30,240 --> 01:02:32,560
[Smith] I auditioned for
the Red Hot Chili Peppers.
928
01:02:33,400 --> 01:02:36,880
I knew who they were, you know,
"Oh, the guys with socks on their dicks,"
929
01:02:36,960 --> 01:02:39,680
but I wasn't that familiar
with their music.
930
01:02:41,760 --> 01:02:45,120
♪ If you're sick-a-sick and tired
Of being sick and tired ♪
931
01:02:48,760 --> 01:02:52,960
So at the time,
the guys were, like, very much
932
01:02:53,040 --> 01:02:55,240
what kind of funny haircut did you have,
933
01:02:55,320 --> 01:02:59,000
and what kind of tattoos do you have,
the aesthetic, and what you look like.
934
01:02:59,520 --> 01:03:00,680
And I'd come from Detroit.
935
01:03:00,760 --> 01:03:04,480
I had long hair, bandanna,
cutoff shirt, and they looked at me,
936
01:03:04,560 --> 01:03:06,440
"Oh, God, get this guy out of here."
937
01:03:07,080 --> 01:03:12,560
So for me, it was really like,
"I'm gonna kick these guys' asses.
938
01:03:12,640 --> 01:03:16,000
I'm gonna, like…
And then go to, like, double time
939
01:03:16,080 --> 01:03:18,760
and see if they can, like,
go there to the next level."
940
01:03:18,840 --> 01:03:20,760
And later they talked about it, like,
941
01:03:20,840 --> 01:03:22,480
"You were the first guy that really
took over on the audition.
942
01:03:22,560 --> 01:03:23,680
Everyone kind of just played along."
943
01:03:27,280 --> 01:03:29,240
It's an intangible thing,
that chemistry.
944
01:03:29,320 --> 01:03:31,200
And I've been fortunate to be in groups
945
01:03:31,280 --> 01:03:33,680
that have had it, and certainly
Red Hot Chili Peppers do.
946
01:03:37,360 --> 01:03:40,120
[audience cheering]
947
01:03:44,840 --> 01:03:47,440
[McBrain]
So you get together, and you jam.
948
01:03:48,240 --> 01:03:50,200
[scatting]
949
01:03:56,240 --> 01:03:58,440
Key of A, key of G, whatever.
950
01:03:58,520 --> 01:04:00,400
Somebody starts it. You all just jam.
951
01:04:00,520 --> 01:04:05,560
Right? When I sat in that room
and played and jammed with the band,
952
01:04:07,360 --> 01:04:09,520
there was a magic. There…
953
01:04:09,600 --> 01:04:12,560
I knew that I was where I should be.
954
01:04:12,640 --> 01:04:15,840
And it took me almost ten years
of my professional career
955
01:04:15,920 --> 01:04:21,520
to find the same like-minded
four other guys that were there
956
01:04:21,600 --> 01:04:25,840
for the same reasons, to make that
great music that we all made in that room.
957
01:04:27,840 --> 01:04:32,240
♪ Run to the hills ♪
958
01:04:33,360 --> 01:04:38,200
♪ Run for your lives ♪
959
01:04:39,040 --> 01:04:42,120
♪ Run to the hills ♪
960
01:04:44,000 --> 01:04:47,360
♪ Run for your lives ♪
961
01:04:49,160 --> 01:04:53,280
{\an8}When I was 22,
I auditioned for the band Hole,
962
01:04:53,720 --> 01:04:59,640
{\an8}and I was one of 22, 23 drummers,
and I got the gig that day.
963
01:04:59,880 --> 01:05:02,720
I always say, you know, you say it
and it happens,
964
01:05:02,800 --> 01:05:04,000
like, you just put it out there.
965
01:05:04,080 --> 01:05:07,080
So a couple of months later,
Hole is on hiatus,
966
01:05:07,160 --> 01:05:09,480
and I get a phone call
one morning at 7:00 a.m.
967
01:05:09,600 --> 01:05:12,160
"Nikki Sixx is looking
for your phone number,"
968
01:05:12,280 --> 01:05:14,040
and I seriously thought I was sleeping.
969
01:05:14,120 --> 01:05:16,880
I thought I was dreaming
and I was like, "What?"
970
01:05:17,000 --> 01:05:19,200
She's like, "Their drummer's ill."
971
01:05:19,280 --> 01:05:21,680
And so Nikki called me
and asked if I would be
972
01:05:21,800 --> 01:05:23,440
interested in playing Mötley Crüe.
973
01:05:23,960 --> 01:05:25,760
And I was like, "Are you serious?
974
01:05:25,840 --> 01:05:29,240
If you're serious,
I'll fly out right now."
975
01:05:33,120 --> 01:05:36,040
So I was on a plane that day.
976
01:05:36,280 --> 01:05:41,200
I had notation paper and I was listening
to all the songs notating them.
977
01:05:41,280 --> 01:05:45,560
And I was like, "I don't even need this.
I know every song by heart."
978
01:05:46,680 --> 01:05:48,280
Now, I don't know if you've
noticed tonight,
979
01:05:48,440 --> 01:05:50,920
but we got a girl playing drums tonight.
980
01:05:54,360 --> 01:05:56,520
[Maloney] I thought it was going
to be a few days,
981
01:05:56,600 --> 01:05:58,720
and it wound up being six months
982
01:05:58,800 --> 01:06:05,320
that I was working with the band and,
you know, it was the dream of my life.
983
01:06:05,400 --> 01:06:07,880
My, you know, 12-year-old self
984
01:06:07,960 --> 01:06:11,960
was watching them on MTV,
and now I'm playing in the band.
985
01:06:12,080 --> 01:06:15,080
Unfortunately, I didn't
have the drum cage.
986
01:06:15,160 --> 01:06:19,640
No, but I did have some
rock 'n' roll stories from that time.
987
01:06:26,200 --> 01:06:27,880
[singing]
988
01:06:36,840 --> 01:06:40,000
There are people, like,
"Are you kidding me?"
989
01:06:40,360 --> 01:06:41,880
"I'm not going to this concert."
990
01:06:41,960 --> 01:06:44,960
"Hell, no.
A girl drummer, Mötley Crüe, what?"
991
01:06:45,120 --> 01:06:49,880
And then by the end of the concert,
they would see the same people,
992
01:06:49,960 --> 01:06:52,760
and they would be like,
"She blew my mind!"
993
01:06:52,960 --> 01:06:54,360
"Oh, my God."
994
01:06:54,440 --> 01:07:00,280
So, watching the fans' reaction,
of them just wanting to hate me so bad,
995
01:07:00,360 --> 01:07:02,760
and by the end of the night,
I won the entire crowd over.
996
01:07:02,840 --> 01:07:05,880
-[woman] Hell, yeah, Sam, you rock.
-[Maloney] Thank you so much.
997
01:07:05,960 --> 01:07:07,600
-Thank you.
-Thank you.
998
01:07:07,680 --> 01:07:09,640
This is what it's about.
999
01:07:10,000 --> 01:07:11,960
Future drummers of America, right here.
1000
01:07:17,960 --> 01:07:21,120
♪ I got another confession to make ♪
1001
01:07:22,000 --> 01:07:24,160
[Blackman Santana]
You get a bunch of drunken idiots,
1002
01:07:24,240 --> 01:07:26,760
there's going to be someone
making a stupid comment.
1003
01:07:26,880 --> 01:07:29,160
"You're a girl, what are you doing
playing drums? You're a little girl."
1004
01:07:30,200 --> 01:07:32,080
[Bowen] I would be kicked out
of my own dressing room
1005
01:07:32,160 --> 01:07:35,680
because, you know, the security guard
thought that I was just a random fan
1006
01:07:35,760 --> 01:07:37,520
that was backstage trying
to hang out with the band,
1007
01:07:37,640 --> 01:07:40,400
or, you know, I wasn't allowed
into the venue.
1008
01:07:41,560 --> 01:07:45,760
[Davies] In sound check,
always was the feeling of the other bands,
1009
01:07:45,880 --> 01:07:48,160
who were generally sort of
like, older blokes,
1010
01:07:48,240 --> 01:07:50,520
looking at me like, "What is this joke?"
1011
01:07:50,800 --> 01:07:56,120
Until I got on stage and then I would
literally see their mouths drop.
1012
01:07:56,200 --> 01:08:00,200
{\an8}And I was like… "I love that feeling
'cause I don't need to say anything."
1013
01:08:00,280 --> 01:08:03,280
{\an8}You know, all I need to do
is let my playing do the talking.
1014
01:08:03,720 --> 01:08:07,680
{\an8}♪ I needed somewhere to hang my head ♪
1015
01:08:07,800 --> 01:08:10,480
{\an8}♪ Without your noose ♪
1016
01:08:11,200 --> 01:08:14,360
{\an8}♪ You gave me something
that I didn't have ♪
1017
01:08:16,160 --> 01:08:20,320
{\an8}It was, and it is great
to have a sense of who you are,
1018
01:08:20,720 --> 01:08:24,600
{\an8}because when you know
who you are and you're solid in that,
1019
01:08:24,680 --> 01:08:27,760
{\an8}nobody can tip you,
you know, they can't push you over.
1020
01:08:27,840 --> 01:08:32,160
♪ …under arrest again
But I'll break loose ♪
1021
01:08:32,240 --> 01:08:34,360
[Bowen] The sound engineer at the venue
1022
01:08:34,440 --> 01:08:36,200
came up on stage
while I was setting up my drums,
1023
01:08:36,280 --> 01:08:38,840
and he said, "Give me your sticks,
I'll sound check for you."
1024
01:08:38,920 --> 01:08:41,240
"But don't worry,
I'll hit them like a girl."
1025
01:08:41,320 --> 01:08:43,560
{\an8}And, again, was laughing and stuff.
1026
01:08:43,640 --> 01:08:46,040
{\an8}So I was like, "I'm just
going to laugh with you. That's fine."
1027
01:08:46,120 --> 01:08:48,800
{\an8}And when I got on stage
later that night and played,
1028
01:08:48,880 --> 01:08:51,800
I broke, I think, three or four drumsticks
'cause I was so mad.
1029
01:08:51,880 --> 01:08:53,280
I was like, "Oh, you want
to see me hit like a girl?
1030
01:08:53,360 --> 01:08:55,040
I'll show you. I'll show you how."
1031
01:08:55,600 --> 01:09:01,520
♪ Is someone getting the best
The best, the best, the best of you? ♪
1032
01:09:02,600 --> 01:09:08,560
♪ Is someone getting the best
The best, the best, the best of you? ♪
1033
01:09:11,480 --> 01:09:14,000
[Maloney] Like,
guys pick up a guitar to get laid,
1034
01:09:14,080 --> 01:09:16,880
but girls play drums because they want to.
1035
01:09:18,360 --> 01:09:21,320
You don't pick up the drums
because, like, you think
1036
01:09:21,400 --> 01:09:25,320
you're going to be a star, you pick it up
because you fucking love it.
1037
01:09:52,240 --> 01:09:58,200
[Garfield] You know what? I think that
drummers are more down-to-earth.
1038
01:09:58,280 --> 01:10:03,120
I think that they're more primitive,
just where they come from.
1039
01:10:03,960 --> 01:10:07,520
They come from rhythm,
they're all about rhythm.
1040
01:10:08,240 --> 01:10:14,840
And I find that the drumming community
is a very warm and inclusive group.
1041
01:10:15,800 --> 01:10:17,320
They really are a good bunch.
1042
01:10:20,920 --> 01:10:22,920
-[host] This is Jess.
-Hi. How are you?
1043
01:10:23,080 --> 01:10:25,360
-Nice to meet you. How are you?
-Nice to meet you as well.
1044
01:10:25,480 --> 01:10:27,600
-I'm okay, I'm a little nervous, but…
-Nervous?
1045
01:10:27,680 --> 01:10:29,000
[Bowen laughs]
1046
01:10:30,280 --> 01:10:33,240
[indistinct chatter]
1047
01:10:48,520 --> 01:10:52,280
[indistinct chatter, laughing]
1048
01:11:02,120 --> 01:11:03,960
[imperceptible]
1049
01:11:09,640 --> 01:11:11,600
[drums beating]
1050
01:14:41,160 --> 01:14:43,800
[Smith] And I look forward to just trying
to continue to be better
1051
01:14:43,880 --> 01:14:45,640
and a better bandmate,
a better musician,
1052
01:14:45,720 --> 01:14:49,880
a better songwriter, uh, and just
play as well as I can all the time.
1053
01:14:49,960 --> 01:14:52,400
And I fucking love it and it's fun.
1054
01:14:52,920 --> 01:14:54,920
Playing the drums is fun.
1055
01:14:55,000 --> 01:14:56,320
[mimics drum beating]
1056
01:14:58,080 --> 01:15:00,200
[scatting]
1057
01:15:00,280 --> 01:15:01,440
[mimics drum beating]
1058
01:15:01,640 --> 01:15:03,360
[mimics drum beating]
1059
01:15:04,680 --> 01:15:06,960
[mimics drum beating]
1060
01:15:11,560 --> 01:15:15,160
[Blackman Santana] And I can play my drums
all day, all night and I love it.
1061
01:15:15,480 --> 01:15:20,920
You know, I don't know if that's
a fault… [laughs] I'm not really sure.
1062
01:15:21,040 --> 01:15:22,920
I've gotten into a little
bit of trouble with that,
1063
01:15:23,040 --> 01:15:24,240
you know, over the years.
1064
01:15:25,200 --> 01:15:26,760
[Davies] I'm from North London.
1065
01:15:26,880 --> 01:15:29,000
I didn't grow up with anything, really,
1066
01:15:29,600 --> 01:15:32,840
apart from just this mad sort of,
like, obsession and love.
1067
01:15:34,600 --> 01:15:36,120
[Headon] The best thing
about being a drummer
1068
01:15:36,200 --> 01:15:39,000
is I saw the world doing the job I love.
1069
01:15:39,080 --> 01:15:40,280
You can't get better than that.
1070
01:15:42,120 --> 01:15:43,560
[Maloney] It's the best feeling
in the world.
1071
01:15:43,640 --> 01:15:47,440
I'm controlling the way this crowd
is moving, it's just me
1072
01:15:47,600 --> 01:15:49,600
and 80,000 people in the stadium.
1073
01:15:50,000 --> 01:15:53,880
And this is the coolest
fucking time of my life.
1074
01:15:55,280 --> 01:15:58,200
[Perkins] If the guitar plug goes out
during a Rage show,
1075
01:15:58,440 --> 01:16:01,240
it would be a bummer, but if
the kick drum pedal breaks,
1076
01:16:01,320 --> 01:16:02,240
that's a problem.
1077
01:16:02,360 --> 01:16:05,520
You have 100,000 people, like,
"Now what?" You know?
1078
01:16:10,200 --> 01:16:12,400
[Bowen] I don't know what my life
would be without drums.
1079
01:16:12,960 --> 01:16:15,600
Everything that has come along
with me playing drums
1080
01:16:15,680 --> 01:16:18,880
has been so rewarding,
I would never trade any of it.
1081
01:16:30,240 --> 01:16:32,800
[Perkins] You feel like you're connecting
with people, you don't know them,
1082
01:16:33,160 --> 01:16:37,120
and you feel like you can raise
the level of happiness.
1083
01:16:41,760 --> 01:16:45,840
That's my thrill, is to inspire
more people to be creative.
1084
01:16:51,600 --> 01:16:55,560
Just play music because you love it.
And dream big.
1085
01:16:56,840 --> 01:17:00,000
And if it happens, fucking A, man.
1086
01:17:03,040 --> 01:17:05,480
Dreams do come true.
1087
01:17:11,800 --> 01:17:15,000
♪ Ah, the irresistible force ♪
1088
01:17:15,080 --> 01:17:19,280
♪ Met the immovable object ♪
1089
01:17:19,800 --> 01:17:22,680
♪ Oh ♪
1090
01:17:22,800 --> 01:17:26,360
♪ Ah, the irresistible force ♪
1091
01:17:26,440 --> 01:17:31,120
♪ Met the immovable object ♪
1092
01:17:31,200 --> 01:17:33,320
♪ Banging and banging
And banging and banging ♪
1093
01:17:33,440 --> 01:17:36,160
{\an8}♪ And banging together ♪
1094
01:18:23,320 --> 01:18:26,800
♪ Ah, the irresistible force ♪
1095
01:18:26,880 --> 01:18:30,880
♪ Met the immovable object ♪
1096
01:18:31,840 --> 01:18:34,560
♪ Oh ♪
1097
01:18:34,640 --> 01:18:39,080
♪ Ah, some may call me a lucky shot ♪
1098
01:18:39,200 --> 01:18:42,440
♪ No, no, no, but it was not ♪
1099
01:18:43,040 --> 01:18:44,960
♪ Banging and banging
And banging and banging ♪
1100
01:18:45,040 --> 01:18:47,000
♪ And banging
Banging and banging ♪
1101
01:18:47,120 --> 01:18:50,840
♪ And banging and banging
And banging together ♪
1102
01:21:26,800 --> 01:21:29,600
I hope that that's how I go out,
man, just, you know…
1103
01:21:30,200 --> 01:21:32,280
[drums beating]
1104
01:21:33,400 --> 01:21:34,360
[body thuds]
1105
01:21:37,920 --> 01:21:41,440
Wait, I'm not dead yet!
Wait! I'm coming back to life!