Drum Fills Quotes

Playing well with others is important - not being too flashy, just keeping good time and of course coming up with cool beats. A good snare drum, kick drum, high hat. Just getting good at the hand feet coordination.

Rudimental snare work is something I've always loved.

I look up to a lot of old school drummers from the '70s, '80s, and '90s.

John Bonham, probably the greatest drummer ever - all of us wanted to play drums like him.

I have all the rhythm in my left hand, and I use the rhythms that Gene Krupa did on his drums.

I think if there's any one band that every member of Sons of Apollo has been influenced by, I think Van Halen is the common ground for all five of us.

If drummers are 'anti-solo,' that's up to them. They're musicians, and they can play whatever they want. But my inspirations early on were people like Buddy Rich, seeing him on 'The Tonight Show', or Gene Krupa.

I knew I had to have a hit. I would get no more chances. Analyzing what they had in common I discovered they had many similar elements: harmonic rhythm, placement of the chord changes, choice of harmonic progressions, similar instrumentation, vocal phrases, drum fills, content, even the timbre of the lead solo voice. I decided to write a song that incorporated all these elements in one record.

My drum parts are a song within the song; that's the way I look at writing my drum parts. They follow patterns, and they're written to interact with the rest of the band. There's quite a bit of thought that goes into it.

I was a beginner again. I practiced hard and used to listen very closely to recordings of American jazz drummers such as Tony Williams and Kenny Clarke.

If you come in like a typical modern drummer who is used to playing only with tricks and double kick and, like, big, big, big, fast rolls, but you can't play a swinging shuffle, then you can't play in Ghost whatsoever.

Probably some of the most impressive drumming I've done is on the 'Far Beyond Driven' record.

It's always been my dream to have a monster rhythm section that's just all groove and pocket.

I never professed to be a great drummer but I was a very heavy drummer.

In the Foo Fighters, my main job is to be the drummer, and that's enough.

I've played with the best drummers in rock, ranging from Josh Freese to Brooks Wackerman to even Dave Lombardo.

Being a drummer, I'm always like, 'Oh, that's got a funky beat. That's cool,' and I like to dance.

I think that the rhythm sections, drummers in particular, are the unsuing heroes of the music. It's the rhythm section that has changed the styles from one period to the other.

I'm very influenced by jazz drummers. I always liked drummers like Roger Taylor, Keith Moon, Ian Paice, John Densmore. I just learned from playing to those drummers.

Phil is a real drummer's drummer.

Listening to John Bonham is just a sheer celebration of his playing - it can't help but fill you with so much joy.

Listen to the Beatles' 'Things We Said Today.' Ringo Starr does not play a fill in the entire song. It doesn't need it. 'A Day In the Life' has gorgeous fills, but there, the song needs it. When I play on any record, I'm striving to get where Ringo is. You play what doesn't take you out of the song.

A great way to get your rhythm playing together is to work with a drummer, preferably someone that has a good groove and plays solidly in time.

Bill Ward, when you hear his beats, he's not just playing a straight 4/4 beat; he's doing almost a hip-hop beat. There's a song called 'Sweet Leaf.' The drum beat that he's playing, he's trying to kind of swing and funkify it. Now, is he doing a great job of it? Maybe not. Maybe.

A band is as solid as its drummer is.