A Quote by Matt Cameron

I love the way Pharell is laying down great drum tracks. He is a great drummer. — © Matt Cameron
I love the way Pharell is laying down great drum tracks. He is a great drummer.
To me, a great drummer isn't always about somebody with chops who can shred. A great drummer is someone who is part of a great band.
While I absolutely love a great drummer and get tunnel vision listening to drums at a show, a lot of the time I feel like drum machine-driven music tethers you to a genre.
Drums isn't my one thing anymore. I love to produce. I love to make tracks, write tracks, produce tracks, and I can't just sit back as a drummer anymore.
My dad was a kind of semiprofessional Dixieland-type drummer, and I learned the drums from him. When I was about twelve, we bought our first Ludwig drum set from a pawnshop - a marching-band bass drum, great big tom-toms, and big, deep snare drums.
The Showdown is a great way to bring attention to these historic Virginia tracks where many NASCAR drivers cut their teeth in stock car racing, including myself. Tracks like South Boston and Langley are the heart of the sport and draw a great crowd to our Showdown events.
I try to keep my ear to the streets without sacrificing who I am as an artist. If a song needs a drum machine I'll use a drum machine. If it needs a drummer, I'll use a real drummer.
I was listening to a lot of really early house music tracks. Like Chicago house and Detroit. And Marshall Jefferson has a track probably from 1980 - somewhere around there - that doesn't actually have any electronic instruments, no drum machines, nothing. Just a drummer and a piano player and they're playing this house music, but they're actually playing it. I really love that aesthetic and wanted to bring that into the album.
I never professed to be a great drummer but I was a very heavy drummer.
My drummer right now, who was also the first drummer in Weeping Tile, Jon McCann, told me that [Hip drummer] Johnny Fay took drum lessons from [McCann's] dad, who taught a lot of the drummers in Kingston. He said that when he was in Grade 9, the Hip were the model; the goal was to get an agent and gig as much as possible.
But, I don't think any arranger should ever write a drum part for a drummer because if a drummer can't create his own Interpretation of the chart and he plays everything that's written, he becomes mechanical; he has no freedom.
In the late '80s and early '90s, there was a slightly retro drum sound that was popular in hip-hop music called the 808 bass drum sound. It was the bass drum sound on the 808 drum machine, and it's very deep and very resonant, and was used as the backbone as a lot of classic hip-hop tracks.
When I say I had a cosmic confidence that we were capable of writing good music, I'm speaking about that time when we met Sam [Fogarino]. Greg [ex-drummer] is actually a really great drummer and a great guy. I never want to sound like I am belittling his contributions in the early days, but when Sam joined, there was an immediacy of, like, "Here we go."
That's the thing that we said about the horn before: it's a focus issue. It's like a singer versus a drummer. If a drummer's playing a drum beat, and a singer starts singing, what do you think the audience is going to do?
It is not great talents or great learning or great preachers that God needs, but men great in holiness, great in faith, great in love, great in fidelity, great for God.
I was very impressed with Hanson's performance. I thought that little drummer was a kick-ass drummer, and uh, that they sang great, I mean I didn't know either, y'know, that these little boys, y'know, I was very impressed. I think they'll probably be around in 20 years writing good songs, and being a great band.
It's hard to sing really well when you're playing an instrument, but it'd be great to try and sing really well and have vocal effects and one drummer on a real drum-kit, and one on an electronic kit.
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