Podcasts about Drumming

Welcome back to Drummers on Drumming, powered by Big Fat Snare Drum. Today, I'm joined by my co-host Eric Urrea (Marina City, La Armada) and returning guest Zack Albetta (Broadway's & Juliet , Working Drummer Podcast) for another installment of The Drum Panel. In this episode: Angine de Poitrine and the rise of microtonal math-rock weirdness Masks, costumes, performance art, and the word “gimmick” Why musicians can be so quick to dismiss what they don't understand Cynicism as both a shield and a trap The danger of bonding through negativity How touring can breed complaints if you let it Choosing to be positive without being fake Why “I don't get it” is sometimes enough Art, context, and the death of context Whether success in music is ever really linear --- Get Your Copy of the Drummers on Drumming Book Today

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.Jared Shaw has held the drum chair on national tours of Beautiful: The Carole King Musical and The Book of Mormon. He's subbed on Broadway including Tommy, one of the most demanding drum books out there. He's performed at the Kennedy Center and Ghana's National Theater, and he plays groove percussion, orchestral, African percussion, and programs electronics.In this episode, Jared breaks down what it actually took to build a career like that.We cover:* How he approached learning difficult drum books* What touring taught him about preparation and professionalism* How electronic drumming and programming fit into his toolkit* Subbing on Broadway and staying ready for the call* Studying with James Saporito, Shawn Pelton, and Valerie Naranjo* Building a sustainable career as a working musician in New York CityIf you're serious about Broadway, touring, or becoming a more complete drummer, this conversation is for you.Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Unwind with two hours of steady rain tapping across a rooftop in the calm of the night. The gentle rhythm of falling rain creates a peaceful soundscape that helps quiet the mind and ease stress away. Perfect for sleeping, studying, relaxing, meditation, reading, and deep focus, this soothing rain ambience brings the comforting feeling of shelter during a long nighttime storm.Become a supporter of this podcast: https://www.spreaker.com/podcast/asmr-rain-recordings--5347561/support.Lose the AD intros by becoming a subscriber!https://www.spreaker.com/podcast/asmr-rain-recordings--5347561/support

Tribal drumming heard from a distance in the large Georgengarten park in Hannover, getting louder as we follow our microphone, identify the source of the sound and follow it. The sound stops before we get all the way to the source, but then we hear footsteps on the gravel path and birdsong. Recorded by Cities and Memory. 

"This is my second attempt at producing a piece of music using the source sample. The original sample contains a clean, distinct loop of tribal drumming, and at first I constructed a piece based on that loop, with rhythmic and melodic elements stacked, and arranged into an EDM piece. "That was a bit too obvious, so instead I took the loop, deconstructed it, and applied pitch-shifting, filtering and other processing to elements to come up with the low-frequency sounds (at 52s, and later in the track) as well as the various bleeps and glitches that run through the track (the original loop - in a processed form - is also in there, reversed and pushed back in the mix). "The other elements, sections and movements grew out of those treated sounds organically; I didn't plan in any great detail how I wanted it to sound, and serendipity definitely played a part in how it turned out, but it is influenced to a degree by the book Underland by Robert MacFarlane (hence the title) - I wanted to convey some of the imagery and concepts in that work (deep time, and the physical heaviness of the world beneath our feet), and used low-frequency and heavily reverbed sounds, as well as a slow tempo (55bpm) to create a sense of drama, depth and space. "More of my music can be found here: https://filmclub1.bandcamp.com." Drumming in a park in Hannover reimagined by Mark Gordon (Film Club).

Craig Krolicki is a versatile and musical drummer playing a wide variety of styles. He is a graduate of Youngstown State University (The Dana School of Music), with a BA in Music Education. In 1997 Craig moved to Nashville TN, and has toured as a drummer with artist such as Curb Recording Artist Jeff Carson, Hank III, Sony Recording Artist Tammy Cochran, Singer/Songwriter/Producer Gail Davies, Singer/Songwriter Billy Yates, BNA Recording Artist Kellie Coffey. From 2006-2020, Craig drum teched for the country band Rascal Flatts. In recent years, Craig has been teching for Kent Slucher of Luke Bryan. Craig continues to freelance as a drummer in and around Nashville and has even started a new fitness coaching program. In this episode, Craig talks about: Unique tech challenges during CMA week in Nashville Essential gear for playing on Lower Broadway in nashville What a drum tech actually does Being the glue between the drummer and the engineer From Pennsylvania to Nashville Staying in shape on the drums in between performances His new fitness program Coach Craig Fitness (coachcraigfit@gmail.com) ⁠⁠⁠Here's our Patreon⁠⁠⁠ ⁠⁠⁠Here's our Youtube⁠⁠⁠ ⁠⁠⁠Here's our Homepage Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to Drummers on Drumming, powered by Big Fat Snare Drum. Today, I'm joined by my trusty co-host Eric Urrea, and one of my best friends, Kris Mazzarisi, owner and founder of Big Fat Snare Drum, and drummer for Winnetka Bowling League. Over on the Big Fat Snare Drum Instagram page, we asked our followers to name their favorite worst-sounding snare drum. What does that even mean? Who the hell knows. But people had opinions. Strong ones. So I took the most popular and most repeated answers, made a list of the top 16 picks, and today, we're going to talk through them. --- Get Your Copy of the Drummers on Drumming Book Today

2001 haben die amerikanischen Punkrocker von Blink-182 ihr Album "Take Off Your Pants And Jacket" herausgebracht, auf dem auch Hits wie "The Rock Show" oder "First Date" sind. Nach ihrem internationalen Durchbruch mit dem Album "Enema Of The State" hatten sich die Möglichkeiten für Mark Hoppus, Tom DeLonge und Travis Barker vervielfacht, was die (finanzielle) Umsetzung ihres nächsten Albums betraf. Über die musikalische Ausrichtung war die Band sich jedoch nicht immer ganz einig. Sänger und Bassist Mark Hoppus wollte im Grunde genommen nochmal ein zweites "Enema Of The State" schreiben, während Tom DeLonge sich zumindest in Teilen eine musikalische Weiterentwicklung erhoffte. Musikalisch durfte es für DeLonge etwas ernsthafter und düsterer werden. Damit wurden die Spannungen innerhalb der Band größer, aber das Album "Take Off Your Pants and Jacket" auch deutlich vielfältiger. Inhaltlich beschäftigen sich Blink-182 auf "Take Off Your Pants and Jacket" wie auch schon auf dem Vorgängeralbum hauptsächlich mit pubertärem Humor. Es finden sich aber auch Themen des Erwachsenwerdens auf der Platte. Als Beispiele seien hier Themen wie jugendliche Unsicherheit, Einsamkeit oder eben auch traumatische Erlebnisse genannt, wie die Scheidung der Eltern – ein sehr persönlicher Song von Sänger und Gitarrist Tom DeLonge. Blink-182 gelten heute oft als die Band, die wie keine zweite das Genre des Pop-Punk definiert hat. Dabei haben sie mit ihren persönlichen Einflüssen aus legendären Punkbands wie NOFX, The Descendents, Bad Religion sowie Bands wie The Cure ihren Sound geschaffen. Dafür haben sie eben die Energie und das Tempo des Punks mit der Melancholie und Eingängigkeit von Popmusik vereint. Das Rückgrat der Musik – und wenn man so will auch des Erfolgs – von Blink-182 ist das Schlagzeugspiel von Travis Barker. Der begleitet die Band mit seinem Drumming nicht einfach, sondern er spielt so ausgefeilt und kreativ, dass die Drums nicht nur der Pulsschlag der schnellen Songs sind, sondern auch gleichzeitig Leadinstrument. Das Timing bei "Take Off Your Pants And Jacket" war perfekt für Blink-182. MTV war groß, Skateboards und Highschool-Komödien hatten ihre Hochzeit, und für all das konnten Blink mit ihrer Musik sozusagen den Soundtrack liefern. Damit konnten sie genau diese Generation von Jugendlichen und jungen Erwachsenen so stark prägen, denn sie haben mit ihrer Musik ein Lebensgefühl eingefangen. __________ Über diese Songs vom Album "Take Off Your Pants And Jacket" sprechen wir im Podcast • (11:25) – "Anthem Part Two" • (40:03) – "First Date" • (42:41) – "The Rock Show" • (48:11) – "Stay Together For The Kids" __________ Alle Shownotes und weiterführenden Links zur Folge "Take Off Your Pants And Jacket" findet ihr hier: https://x.swr.de/s/link182akeffourants __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an meilensteine@swr.de

An impressive busker outside the Hannover 96 stadium, playing the didgeridoo and hand drums at a high pace, while high-fiving anyone who leaves him some cash (including your Cities and Memory recordist). Wearing a Hannover 96 shirt, his music is much appreciated by the thousands of fans walking past him to go to the match.Recorded in May 2025 by Cities and Memory. 

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.Gary Seligson: The Grammy-Winning Broadway Drummer Phil Collins Refused to Work WithoutPhil Collins snuck into a performance of Wicked one night without telling Gary Seligson he was coming.The next morning, he walked into Tarzan rehearsal and told the producers he didn't care who else they put in the band. There was one guy he wanted on drums. Not Chuck Burgi — who had literally replaced Phil Collins in Brand X and was calling in every favor he had to get the gig. Gary Seligson. The one he heard play in the theater when nobody knew he was watching.That's the kind of reputation you build over a career that most Broadway musicians would trade anything for.I chatted with Gary on August 24, 2021. The video is on the Broadway Drumming 101 YouTube channel. Now the audio is available everywhere you get your podcasts — Apple Podcasts, Spotify, wherever you listen.Gary is a Grammy Award winner who originated the drum books and recorded the cast albums for Aida, Wicked, Tarzan, A Little Princess, School of Rock, and Soft Power. He held the drum chair on Billy Elliot for over three years. He's on the Motown: The Musical cast recording playing percussion. His Broadway credits span more than two decades — from The Gershwins' Fascinating Rhythm in 1999 through Bob Fosse's Dancin' and Harmony in 2023. In 2025, he headed back out on the road with the Beauty and the Beast revival. He's also subbed on more than 20 Broadway productions, including Chicago, The Lion King, Les Misérables, Miss Saigon, Cats, and Rent.Gary grew up in West Orange, New Jersey, banging on his mother's pots and pans before his father bought him a tiny metal snare drum at age three. He studied with the same teacher from second grade through twelfth grade. He went to the Hartt School of Music in Hartford. He found his way to Gary Chester in New York, who completely rewired how he thought about the instrument, and then told him flat out: never leave town for more than four weeks.Gary took a touring gig anyway.Nine years on the road followed. And the moment he pulled into his mother's driveway after finally deciding to come home, the phone rang. It was Bob Billig calling about Chicago. That's how this business works when you've done the groundwork.We get into his first Broadway subbing experience at The King and I — walking into the pit two hours before curtain, sitting down at a drum set that felt completely foreign, getting thrown out by the stage manager before the show even started, then spending an hour and forty-five minutes walking around Midtown getting more nervous with every step. Trial by fire. He made the cut, and word traveled fast.We talk about what it felt like to play alongside Elton John in an Aida rehearsal room. We talk about Phil Collins tapping a pencil on a desk during Tarzan rehearsals — not even playing, just tapping — and how the groove was so wide the entire room felt it. And we talk about the moment Gary flew himself to San Francisco on JetBlue just to watch Wicked out of town, because he needed to know for himself whether to leave Aida for it.He knew by the first number.Gary is a Pearl Drums, Sabian Cymbals, Pro-Mark Sticks, Grover Percussion, and Remo Heads endorser, and has been featured in Modern Drummer and DRUM magazine multiple times.Press play. And if this episode gives you something, please leave us a glowing five-star review wherever you're listening. It takes 30 seconds and it means everything to the show.If you're serious about your own path in this industry, pick up Broadway Bound and Beyond at broadwayboundbook.com. Signed copies at signaturebrandworks.com.Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Welcome back to Drummers on Drumming, powered by Big Fat Snare Drum. This episode is a new installment of The Drum Panel, and it's Part TWO of TWO of diving into Chick Corea's Cheap But Good Advice For Playing Music in a Group. I'm joined by good friend of mine ⁠Rafa Vidal⁠, who also plays with the band Almost Monday, who are currently killing it, and of course ⁠Eric Somers-Urrea ⁠is back on the panel. In Part One, we covered numbers 1 through 6. Today, we're finishing the list with numbers 7 through 16, which get into some really good stuff: balance, intention, taste, space, relaxation, ego, and what it actually means to serve the music. As always with The Drum Panel, we're not pretending to have all the answers. We're just using these ideas as a jumping-off point to talk about playing music, being in bands, staying creative, and trying to become better musicians without losing our minds. ——— Chick Corea's Cheap But Good Advice For Playing Music in a Group. Play only what you hear. If you don't hear anything, don't play anything. Don't let your fingers and limbs wander. Place them intentionally. Don't improvise on endlessly. Play something with intention, develop it or not, then end off and take a break. Leave space. Create space. Intentionally create places where you don't play. Make your sound blend. Listen to your sound and adjust it to the rest of the band and the room. If you play more than one instrument at a time, like a drum kit or multiple keyboards, make sure they are balanced with one another. Don't make any of your music mechanically or just through patterns of habit. Create each sound, phrase, and piece with choice, deliberately. Guide your choice of what to play by what you like, not by what someone else will think. Use contrast and balance the elements: high/low, fast/slow, loud/soft, tense/relaxed, dense/sparse. Play to make the other musicians sound good. Play things that will make the overall music sound good. Play with a relaxed body. Always release whatever tension you create. Create space. Begin, develop, and end phrases with intention. Never beat or pound your instrument. Play it easily and gracefully. Create space, then place something in it. Use mimicry sparsely. Mostly create phrases that contrast with and develop the phrases of the other players. We also get into a Rafa's new endeavor called Touch Grooves. Check out more information on that ⁠HERE⁠ --- Get Your Copy of the Drummers on Drumming Book Today

Links For The Occult Rejectshttps://linktr.ee/theoccultrejectsOccult Research Institutehttps://www.occultresearchinstitute.org/Substackhttps://substack.com/@theoccultrejects?r=7auau0&utm_campaign=profile&utm_medium=profile-pageCash Apphttps://cash.app/$theoccultrejectsVenmo@TheOccultRejectsBuy Me A Coffeebuymeacoffee.com/TheOccultRejectsPatreonhttps://www.patreon.com/TheOccultRejectsPart 1: The Road of RhythmPart 1 focuses on the drum as an ancient technology of altered consciousness. The argument is not that every beat causes trance, or that neuroscience has proven spirits. The stronger argument is that rhythm enters the human organism through hearing, motor prediction, breath, movement, attention, emotion, expectation, culture, and social synchrony. The drum becomes powerful when sound, body, group, ritual frame, and meaning converge. These sources support the archaeology, neuroscience, EEG research, shamanic studies, possession studies, Indigenous and culturally specific drum traditions, ritual theory, placebo and meaning-response research, ceremonial magic, and modern witchcraft material used in the episode.Core Academic and Scientific SourcesHuels, Emma R., Hyoungkyu Kim, UnCheol Lee, Tirsa Bel-Bahar, Ana V. Colmenero, Alexandra Nelson, Stefanie Blain-Moraes, George A. Mashour, and Richard E. Harris. “Neural Correlates of the Shamanic State of Consciousness.” Frontiers in Human Neuroscience 15 (2021): 610466. Use for the strongest modern EEG anchor. This study used high-density EEG with shamanic practitioners and controls during rest, shamanic drumming, and classical music listening. It assessed altered-state reports alongside brain measures such as power, connectivity, signal diversity, and criticality. Use carefully: the study does not prove spirits or show that drumming mechanically causes trance in everyone. It supports the more careful claim that trained practitioners entering shamanic states with drumming show measurable brain-state differences.Gordon, Yoel, Golan Karvat, Noa Dagan, and Ayelet N. Landau. “Neural Tracking at Theta Predicts Drumming-Induced Altered States of Consciousness.” Scientific Reports 16, no. 1 (2026): Article 10204. Use for the strongest updated drumming/theta/neural-tracking source. This study tested drumming at theta, delta, and alpha-rate rhythms while recording EEG, and found that stronger rhythmic neural tracking at theta was linked to stronger altered-experience reports. Use carefully: this does not mean theta equals the spirit world or that one frequency opens a portal. The serious point is that altered experience may depend partly on how strongly the nervous system tracks rhythmic stimulation.Aparicio-Terrés, R., et al. “The Neurobiology of Altered States of Consciousness Induced by Drumming and Other Rhythmic Sound Patterns.” Annals of the New York Academy of Sciences, 2025. Use for the newer review literature showing that rhythmic sound is now a serious altered-consciousness research topic. This supports the opening claim that modern academia is examining drumming, rhythmic sound, absorption, relaxation, cognition, and neural activity without reducing the subject to one simple “trance frequency.” The review is especially useful for framing the field as promising but still complex.Neher, Andrew. “Auditory Driving Observed with Scalp Electrodes in Normal Subjects.” Electroencephalography and Clinical Neurophysiology 13 (1961): 449–451. Use for the historical bridge between repetitive sound, EEG, auditory driving, and early scientific interest in rhythmic stimulation.Neher, Andrew. “A Physiological Explanation of Unusual Behavior in Ceremonies Involving Drums.” Human Biology 34, no. 2 (1962): 151–160. Use carefully. This is useful as an early attempt to connect ceremonial drumming and physiology, but it should be balanced with Rouget because the “drum simply causes trance” argument is too mechanical.Maurer, R., V. K. Kumar, L. Woodside, and R. J. Pekala. “Phenomenological Experience in Response to Monotonous Drumming and Hypnotizability.” American Journal of Clinical Hypnosis 40, no. 2 (1997): 130–145. Use for monotonous drumming, subjective altered experience, imagery, absorption, and hypnotizability.Maxfield, Melinda C. “Effects of Rhythmic Drumming on EEG and Subjective Experience.” PhD diss., Institute of Transpersonal Psychology, 1990. Use as older supporting context on drumming, EEG, imagery, body-image changes, and subjective altered experience. Do not make this the main scientific proof; use it as background.Nozaradan, Sylvie, Isabelle Peretz, and André Mouraux. “Tagging the Neuronal Entrainment to Beat and Meter.” The Journal of Neuroscience 31, no. 28 (2011): 10234–10240. Use for EEG evidence that the brain can track beat and meter. This supports the claim that the brain does not merely hear rhythm as background sound; it can represent rhythmic structure in measurable ways.Nozaradan, Sylvie. “Exploring How Musical Rhythm Entrains Brain Activity with Electroencephalogram Frequency-Tagging.” Philosophical Transactions of the Royal Society B 369, no. 1658 (2014). Use as broader rhythm/EEG entrainment support. This helps explain frequency-tagging, beat tracking, meter, neural entrainment, and the measurable relationship between rhythmic structure and brain activity.Thaut, Michael H., Gerald C. McIntosh, and Volker Hoemberg. “Neurobiological Foundations of Neurologic Music Therapy: Rhythmic Entrainment and the Motor System.” Frontiers in Psychology 5 (2015). Use for rhythm as motor-system timing information. This supports the claim that a beat can become bodily instruction, not just sound for the ear. Especially useful when discussing rhythmic auditory stimulation, motor planning, gait, entrainment, and the auditory-motor bridge.Ross, Jessica M., John R. Iversen, and Ramesh Balasubramaniam. “Time Perception for Musical Rhythms: Sensorimotor Perspectives on Entrainment, Simulation, and Prediction.” 2022. Use for rhythm, timing, prediction, sensorimotor entrainment, and the way musical rhythm interacts with time perception.Hove, Michael J., and Jane L. Risen. “It's All in the Timing: Interpersonal Synchrony Increases Affiliation.” Social Cognition 27, no. 6 (2009): 949–960. Use for synchrony and social bonding. This helps support the group-body argument: moving or acting in time with others can increase affiliation.Wiltermuth, Scott S., and Chip Heath. “Synchrony and Cooperation.” Psychological Science 20, no. 1 (2009): 1–5. Use for the claim that synchronized movement can increase cooperation and attachment among participants.Tarr, Bronwyn, Jacques Launay, and Robin I. M. Dunbar. “Music and Social Bonding: ‘Self-Other' Merging and Neurohormonal Mechanisms.” Frontiers in Psychology 5 (2014): 1096. Use for music, synchrony, bonding, endorphin/social mechanisms, and why group rhythm can feel like more than private listening.Fancourt, Daisy, Rosie Perkins, Sara Ascenso, Louise Atkins, Fatima Kilfeather, and Aaron Williamon. “Effects of Group Drumming Interventions on Anxiety, Depression, Social Resilience and Inflammatory Immune Response among Mental Health Service Users.” PLOS ONE 11, no. 3 (2016): e0151136. Use for modern group-drumming research showing psychological and physiological effects, including anxiety, depression, social resilience, wellbeing, and inflammatory immune response. Use carefully: this does not make group drumming a cure-all. It supports the more grounded claim that embodied rhythm and group participation can affect mood, social connection, and body chemistry.Bittman, Barry B., et al. “Composite Effects of Group Drumming Music Therapy on Modulation of Neuroendocrine-Immune Parameters in Normal Subjects.” Alternative Therapies in Health and Medicine 7, no. 1 (2001): 38–47. Use as older supporting material on group drumming and neuroendocrine-immune measures. Keep secondary. Fancourt is cleaner for the main script body.Archaeology and Deep History of DrumsLawergren, Bo. “Neolithic Drums in China.” In Music Archaeology in China. 2006. Use for clay drums in Neolithic China and the deep-history claim that drums are not just poetic symbols of antiquity. They appear in the archaeological record as instruments tied to early sound-making, ceremony, and social order.Both, Arnd Adje. “Music Archaeology: Some Methodological and Theoretical Considerations.” Use as general support for why ancient instruments should be treated as ritual and social evidence, not merely decorative objects.Anthropology, Ethnomusicology, Ritual, and TranceRouget, Gilbert. Music and Trance: A Theory of the Relations Between Music and Possession. Translated by Brunhilde Biebuyck. Chicago: University of Chicago Press, 1985. Essential source. Use for the caution that music does not mechanically or universally cause trance. Rouget helps keep the argument academically serious by emphasizing culture, ritual frame, meaning, and expectation.Becker, Judith. Deep Listeners: MAlso want to remind people about the website, if you're into reading we have tons of information by multiple contributors, and we got t-shirts up on the site if you're interested. Fun fact, the art is all based on the eyeball. A

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.When I recorded this in February of 2022, Rodney was in his drum room. Blue Pearl kit behind him. Meshell Ndegeocello shirt on — second album, Peace Beyond Passion. We both agreed it's her best record. If you've never heard it, fix that before you do anything else today.Now he's the percussionist on The Lost Boys at the Palace Theatre. Twelve Tony nominations. Best Musical on the table. If there was ever a time to bring this one back in full, it's now.He came up in a town in North Carolina with no stoplight. His dad couldn't buy him brushes, so he put mini broomsticks in his hands and showed him what a brush sweep sounds like on a picnic table. That's the foundation. He started on saxophone. Switched to drums at 17. Moved to New York not thinking about Broadway at all. Jeff Campbell put his name in front of Chris Parker. The rest followed.The conversation goes deep on what it actually costs to stack your deck in this business. Playing Diana in La Jolla, then jumping on a plane to Japan with Avril Lavigne, then folding Mrs. Doubtfire in because his wife asked one simple question: what's the worst that can happen?Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Today, we're putting The Tonearm's needle on George Grella, one of the sharpest music critics working today.George is the music editor of The Brooklyn Rail and has written for The Wire, the New York Times, and, luckily for us, The Tonearm.George just published Minimalist Music, part of Bloomsbury's 33⅓ Genre series. His central argument is that minimalism isn't defined by sparse materials or specific harmonies; it's defined by how it uses time. Understanding that distinction impacts how we approach and hear the music, and what happens to this music when its originators are gone.We talk about that thesis, the line between minimalism and post-minimalism, and what it takes to build a life in music writing. We also take a detour into John Zorn's visual art.The musical excerpts heard in the interview are Terry Riley - “In C” (performed by Bang on a Can All-Stars on the album In C ), Philip Glass - "Music in Twelve Parts: Part 1" (performed by The Philip Glass Ensemble on the album Music in Twelve Parts), and Steve Reich - “Drumming: Pt III” (performed by Steve Reich and Musicians on the album Drumming).—Dig DeeperGuest and BookVisit George Grella Jr. at The Brooklyn Rail where he serves as music editor, and on The Tonearm, where he is a contributorSubscribe to his Substack newsletter, Kill Yr Idols,, and follow him on BlueskyPurchase Minimalist Music (Bloomsbury Academic, 2026) from Bloomsbury, Bookshop.org, Powell's Books, Barnes & Noble, Amazon, or your other retailer of choiceRead Grella's Substack post "Minimalism at the End" — the piece discussed in this episodeGeorge Grella Jr.'s previous book: Miles Davis' Bitches Brew (Bloomsbury, 2015) — part of the 33⅓ seriesKey ComposersSteve Reich — official websitePhilip Glass — official websiteMeredith Monk — official websiteMorton Feldman — WikipediaLa Monte Young — WikipediaArvo Pärt — official websiteLouis Andriessen — WikipediaJohn Zorn — Tzadik websiteKey Works DiscussedMusic for 18 Musicians — Steve ReichElectric Counterpoint — Steve ReichDrumming — Steve ReichDifferent Trains — Steve ReichEinstein on the Beach — Ictus, Suzanne Vega, Collegium Vocale Gent (VLEK, 2025) — the recording discussed in this episodeGlassworks — Philip GlassPanthalassa: The Music of Miles Davis 1969–1974 — reconstructed and mixed by Bill Laswell (Sony, 1998)Kind of Blue — Miles DavisEnsembles and OrganizationsBang on a Can — including the Bang on a Can All-Stars and the annual Long Play FestivalSō Percussion — Grammy-winning percussion quartetIctus Ensemble — Brussels-based contemporary music ensembleReferenced BooksOn Minimalism: Documenting a Musical Movement — Kerry O'Brien and William Robin (University of California Press, 2023)Kerry O'Brien and William Robin on The Tonearm PodcastThe Rest Is Noise: Listening to the Twentieth Century — Alex Ross (Farrar, Straus and Giroux, 2007)ExhibitionJohn Zorn: Hermetic Cartography — The Drawing Center, New York (February 7–May 11, 2025). The exhibition featured drawings, graphic scores, and visual works spanning seven decades of Zorn's practice.—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on George Grella, one of the sharpest music critics working today.George is the music editor of The Brooklyn Rail and has written for The Wire, the New York Times, and, luckily for us, The Tonearm.George just published Minimalist Music, part of Bloomsbury's 33⅓ Genre series. His central argument is that minimalism isn't defined by sparse materials or specific harmonies; it's defined by how it uses time. Understanding that distinction impacts how we approach and hear the music, and what happens to this music when its originators are gone.We talk about that thesis, the line between minimalism and post-minimalism, and what it takes to build a life in music writing. We also take a detour into John Zorn's visual art.The musical excerpts heard in the interview are Terry Riley - “In C” (performed by Bang on a Can All-Stars on the album In C ), Philip Glass - "Music in Twelve Parts: Part 1" (performed by The Philip Glass Ensemble on the album Music in Twelve Parts), and Steve Reich - “Drumming: Pt III” (performed by Steve Reich and Musicians on the album Drumming).—Dig DeeperGuest and BookVisit George Grella Jr. at The Brooklyn Rail where he serves as music editor, and on The Tonearm, where he is a contributorSubscribe to his Substack newsletter, Kill Yr Idols,, and follow him on BlueskyPurchase Minimalist Music (Bloomsbury Academic, 2026) from Bloomsbury, Bookshop.org, Powell's Books, Barnes & Noble, Amazon, or your other retailer of choiceRead Grella's Substack post "Minimalism at the End" — the piece discussed in this episodeGeorge Grella Jr.'s previous book: Miles Davis' Bitches Brew (Bloomsbury, 2015) — part of the 33⅓ seriesKey ComposersSteve Reich — official websitePhilip Glass — official websiteMeredith Monk — official websiteMorton Feldman — WikipediaLa Monte Young — WikipediaArvo Pärt — official websiteLouis Andriessen — WikipediaJohn Zorn — Tzadik websiteKey Works DiscussedMusic for 18 Musicians — Steve ReichElectric Counterpoint — Steve ReichDrumming — Steve ReichDifferent Trains — Steve ReichEinstein on the Beach — Ictus, Suzanne Vega, Collegium Vocale Gent (VLEK, 2025) — the recording discussed in this episodeGlassworks — Philip GlassPanthalassa: The Music of Miles Davis 1969–1974 — reconstructed and mixed by Bill Laswell (Sony, 1998)Kind of Blue — Miles DavisEnsembles and OrganizationsBang on a Can — including the Bang on a Can All-Stars and the annual Long Play FestivalSō Percussion — Grammy-winning percussion quartetIctus Ensemble — Brussels-based contemporary music ensembleReferenced BooksOn Minimalism: Documenting a Musical Movement — Kerry O'Brien and William Robin (University of California Press, 2023)Kerry O'Brien and William Robin on The Tonearm PodcastThe Rest Is Noise: Listening to the Twentieth Century — Alex Ross (Farrar, Straus and Giroux, 2007)ExhibitionJohn Zorn: Hermetic Cartography — The Drawing Center, New York (February 7–May 11, 2025). The exhibition featured drawings, graphic scores, and visual works spanning seven decades of Zorn's practice.—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Steve Misamore has been drumming since he was 11 years old. He has been the drummer in Dierks Bentley's band since 2002. Steve moved to Nashville in 1993 from Houston TX. Before he met Dierks, he did all sorts of gigs in town from bars to studio work, to private gigs and everything in between. Steve met Dierks playing the bars in Nashville in 1999 and helped him open some doors at Sony/ATV. Steve has been working with Dierks ever since. Steve played on some of the early stuff like "Free and Easy" "Feel That Fire" as well as a few others. In this episode, Steve talks about: Creative ways to stay engaged with drumming when not touring The evolution of the Dierks Bentley gig Working with Dierks from the very beginning Recreating the drum parts from Dierks' records Translating the studio performance into a live performance Getting his pilots license The parody group Hot Country Knights The early influence of Herman Matthews ⁠⁠⁠Here's our Patreon⁠⁠⁠ ⁠⁠⁠Here's our Youtube⁠⁠⁠ ⁠⁠⁠Here's our Homepage Learn more about your ad choices. Visit megaphone.fm/adchoices

For Hour 1 of the show Jon gives an update on the negotiations with Iran. Then, the conversation transitions to talking about a terrorist group threating Ivanka Trump.See omnystudio.com/listener for privacy information.

Welcome back to Drummers on Drumming, powered by Big Fat Snare Drum. This week on The Drum Panel, I'm joined by my co-host Eric Urrea, an independent drummer from Chicago who plays with Marina City and La Armada, and Steve Durham, who is new to The Drum Panel but returning from Big Fat Five. Steve has worked with artists like Louis Tomlinson, Mumford & Sons, Foals, Wolf Alice, Aurora and a bunch of others. But the reason I wanted him in this conversation is because we'd recently been talking about that voice in your head when you're playing. The one that judges your ideas before they even come out. So that became the jumping-off point. We got into the inner critic, why creativity can feel scary when there's no structure, what changes when you stop trying so hard, how tension shows up in your body, playing to a click without becoming stiff, and whether being in a band is still worth it. It's a good one. Very Drum Panel. --- Get Your Copy of the Drummers on Drumming Book Today!

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.I chatted with Rodney Howard in February of 2022. He was in his drum room — blue kit behind him, Meshell Ndegeocello shirt on — and what started as a podcast felt more like a conversation between two guys who just happened to both live in this world.I had a great time revisiting this one.The Lost Boys is now running at the Palace Theatre with 12 Tony nominations, including Best Musical. It's the most Tony-nominated musical of 2026. Rodney is the percussionist on that show. Before that, he held the drum chair at Mrs. Doubtfire, subbed some of the hardest chairs on Broadway, and spent years on the road with Avril Lavigne, Gavin DeGraw, and Regina Spektor.This episode is about how you build that kind of career. He started on saxophone. Switched to drums at 17. Moved to New York not thinking about Broadway at all. Then Jeff Campbell put his name in front of Chris Parker, and the rest is a masterclass in being ready when the call comes.Two things from this conversation I almost forgot about that were really important. First, he said, take notes literally and broadly, but not too literally. He learned that the hard way at Lion King, following a sub-conductor's shaky conducting because Tommy told him to follow the conductor. The notes you get points you somewhere, but it doesn't replace your judgment.Second, when you sub, use what the drummer uses for monitoring. Not your nice headphones. Not your in-ears. Whatever they use. The mix was built around that. He said he's personally tanked a sub gig because he didn't. Said it like a man who doesn't enjoy repeating the experience.The video drops this Friday. Go listen.Originally released February 2022 on the Broadway Drumming 101 Podcast.Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

On episode one hundred and seventy three of Holy Ghost Notes, Matt adjusts to life back home after returning from tour, and Tim struggles with some back issues. The guys talk about their drumming goals/plans for the summer and Matt shares a few exciting projects in the works. Matt then talks about the juxtaposition of being vocal about your faith versus keeping it personal. This spurs on a conversation about "deconstruction" and the importance of knowing what you believe and why.

What is up? Welcome back to Drummers on Drumming, a podcast powered by Big Fat Snare Drum. This week I'm re-airing a classic Big Fat Five episode with Tosh Peterson. Long before playing with Lady Gaga and Alkaline Trio, Tosh sat down with me to break down the records, mentors, and moments that shaped his drumming voice. We talk about discovering Thomas Pridgen at 10 years old, learning how to command a stage from Tommy Lee, what Snoop grooves taught him about making people move, and the lessons he learned touring with Nick West at just 16 years old. Inside this episode: Meeting Thomas Pridgen for the first time and eventually studying with him for years Why groove and making people dance mattered more than playing perfectly Learning confidence, leadership, and stage presence on tour with Nick West Tommy Lee, pyrotechnics, and why Tosh believes drummers should steal the spotlight The influence of Tosh's dad and the roots of his playing style --- Get Your Copy of the Drummers on Drumming Book Today!

It was great to connect with the legendary Mikkey Dee. This guy has been the backbeat of bands from King Diamond to Don Dokken, to Motorhead, to the Scorpions. Now you can add his latest band, Lex Legion, to that list. Made up of guys he played with in King Diamond's band, Andy LaRocque, Pete Blakk, and Hal Patino, then throw in vocalist Nils K. Rue, and you've got a band that delivers heavy-hitting, old-school rock/metal.The Motorhead YearsWe talked about his time in Motorhead, which lasted 25 years. He said if Lemmy were still alive, he'd still be in that band. He compared it to a tight family unit. He also said Lem was the kind of guy to stick to his guns. "And as frustrating as that was sometimes, because he did not know everything best, you know? We were a total democracy in this band. We voted him down many times, me and Phil. I was maybe a little bit more involved with the business as well. You know, they, we all made decisions. That's, that's now where I'm trying to get, get out. But I'm actually interested in numbers and, and, you know, the business side of it. And they were just like more, oh, what the hell, you deal with it, kind of." Mikkey went on, "You know, and he, he made me look in a different angle about it. And, he was right, you know, a lot of times about this, not compromising the band or selling out. And, you know, I learned a lot from him there."Lex LegionThe new self-titled album drops on June 12th. It's short, clocking in at around 35 minutes. Mikkey said they did that so the vinyl release wouldn't sound too compressed. It consists of 9 songs.Mikkey said he enjoyed making this album. "A hundred percent, you know, because a lot of people, rightfully so, compare us now to the old Diamond Records that we did. But that's how we wrote music those days. And we continue writing this way. We are probably a nightmare for a more regular producer who will tear his or her hair off. Because why is this part over here? Why are you doing a double solo there? Or why do you have guitar harmonies after there?And it doesn't make any sense. But that's how we wrote those days. And that's the whole point of this, you know. We continue doing this on this record. It's not just verse, chorus, verse, chorus, solo, verse, double chorus ending."He did tell me that they're already working on the next record! "We're riffing away already. And as I said, I'll be very busy with Scorpions at least up till October. The last thing we do, as far as I know right now, is the residency in Vegas."Playing With The ScorpionsMikkey has been in the Scorpions for the better part of ten years now. They have an upcoming residency in Las Vegas coming up again this fall. "We love it. And we have so many friends in Vegas. And what a great city. Great people. Great venue." As far as the setlist for that band is concerned, he said it's close to last years celbration of the band's 60th anniversary. "But this year is an extension of last year's 60th anniversary show. And it's really, really good. I mean, we have a great 70s medley in there. And the set works really fine. Because I was asking the guys before we actually started this year, what are we going to take out? What are we going to add about rehearsal and stuff? And they said they want us to continue doing the 60th anniversary show. And it's great!"The new Lex Legion record drops on June 12th. Go grab it!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

► Start Your FREE StephensDrumShed Drum School Trial Here: https://www.stephensdrumshed.com/sign-up/ Subscribe to The Drum Show podcast or I will steal your cymbals: https://tinyurl.com/36z96tnr Come to an SDS in-person Drum Camp: https://www.stephensdrumshed.com/sds-drum-camps/  Check out The Drum Show on your favorite podcasting platform: https://linktr.ee/stephensdrumshed Subscribe to my main drum lesson You Tube channel here: https://bit.ly/2AyH1Fb

This is the video of last week's podcast — and another one in the Broadway Drumming 101 Classic Episode Series.This episode takes us back to January 2022 with one of the most respected drummers in both Broadway and jazz, Jared Schonig.Since we recorded this conversation, Jared has moved into the drum chair for Just in Time at Circle in the Square Theatre, but this episode still holds up because Jared drops a lot of real information about what it actually takes to survive in this business.We talked about:* How he went from jazz gigs and working at Apple to Broadway* Subbing on shows like Grease, American Idiot, and Next to Normal* Building Moulin Rouge from the ground up* Getting orchestration credit as a drummer* Broadway pit life, injuries, setups, pressure, and preparation* Why relationships and reputation matter more than people thinkJared has played with artists including Nicholas Payton, Chris Potter, John Patitucci, Cynthia Erivo, Kristin Chenoweth, and many others. He's originated seven Broadway drum books and built one of the most versatile careers out there.One thing I always appreciated about Jared is that he's honest about the work. The preparation. The pressure. The physical demands. The stuff people don't always talk about publicly.It's still one of my favorite conversations I've had on Broadway Drumming 101.Upcoming performances for Jared include shows at Sultan Room, Birdland, Zinc Bar, The Gin Mill, and dates with Brass Against.I may go and check out this show! Let me know and we can all connect there:Check out his site for more info! Click HERE https://www.jaredschonig.comClayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Was Steven Adler the greatest drummer in 1980s rock 'n' roll? Maybe not the flashiest. But listen to Appetite for Destruction and you'll hear something no technically perfect player could replicate: a groove that breathes, swaggers, and feels like it's one beat away from flying off the rails. When Adler left, something walked out that never came back. Drummer Andrew Rooney joins us to break down exactly why.Send us Fan MailSupport the show

► Start Your FREE StephensDrumShed Drum School Trial Here: https://www.stephensdrumshed.com/sign-up/ Subscribe to The Drum Show podcast or I will steal your cymbals: https://tinyurl.com/36z96tnr Come to an SDS in-person Drum Camp: https://www.stephensdrumshed.com/sds-drum-camps/  Check out The Drum Show on your favorite podcasting platform: https://linktr.ee/stephensdrumshed Subscribe to my main drum lesson You Tube channel here: https://bit.ly/2AyH1Fb

What is up? Ben here. Another Drum Panel this week powered by Big Fat Snare Drum. This one's with Eric Urrea and E-MAN. We got into studio vs live drumming, why some players obsess over the grid, and whether modern editing has actually made people more musical…or just safer. E-Man had a great point about how at a certain level, everybody can already play close to the click. What actually separates people is sound. The way the drums feel in the room. The way the snare reacts in the verse versus the chorus. The weird little details that actually make a performance feel human. We also talked about: Why a little ugliness in drumming can actually make things feel better Punching in takes vs forcing full performances The reality that basically everybody is getting “fixed” in modern recordings The one cymbal E-MAN would steal from jazz history if he could Goosebumps moments from Nicole Scherzinger, Blink-182, and Dagny Whether any of us ever really stop trying to sound like our heroes Kenny Aronoff's weird tom setup and the chaos of panning it in the studio --- Get Your Copy of the Drummers on Drumming Book Today!

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.This is another one in the Broadway Drumming 101 Classic Episode Series.This episode takes us back to January 2022 with one of the most respected drummers in both Broadway and jazz, Jared Schonig.Since we recorded this conversation, Jared has moved into the drum chair for Just in Time at Circle in the Square Theatre, but this episode still holds up because Jared drops a lot of real information about what it actually takes to survive in this business.We talked about:• How he went from jazz gigs and working at Apple to Broadway• Subbing on shows like Grease, American Idiot, and Next to Normal• Building Moulin Rouge from the ground up• Getting orchestration credit as a drummer• Broadway pit life, injuries, setups, pressure, and preparation• Why relationships and reputation matter more than people thinkJared has played with artists including Nicholas Payton, Chris Potter, John Patitucci, Cynthia Erivo, Kristin Chenowethand many others. He's originated seven Broadway drum books and built one of the most versatile careers out there.One thing I always appreciated about Jared is that he's honest about the work. The preparation. The pressure. The physical demands. The stuff people don't always talk about publicly.It's still one of my favorite conversations I've had on Broadway Drumming 101.Upcoming performances for Jared include shows at Sultan Room, Birdland, Zinc Bar, The Gin Mill, and dates with Brass Against.Check out his site for more info! Click HEREhttps://www.jaredschonig.comSUBSCRIBE to be notifed when the video of this episode will be released.Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Ben here. On this week's episode of Drummers on Drumming (powered by Big Fat Snare Drum), we're back with another round of The Drum Panel. Joining me: Gunnar Olsen: Currently out with Puscifer Eric Urrea: One of my favorite drummers to talk shop with because he somehow makes existential drum conversations feel practical. This episode starts with Gunnar talking about completely losing the plot during a fill in 5… accidentally playing it in 6… then having to find his way back into the song in real time while thousands of people watched. From there, things spiraled beautifully. We talked about: Why messing up live might actually make a show feel more human The weird pressure of trying not to visibly “count” on stage when you're hearing a click track The difference between “giving” a great show and actually having a great show Whether your real musical voice only shows up when you're alone The strange mental game of joining an established artist and figuring out how much of “you” should show up in the parts Why some of the best gigs happen when nobody notices the drummer at all --- Get Your Copy of the Drummers on Drumming Book Today!

In this episode of the Free Radical Podcast, we're joined by Catholic priest, pastor, and acclaimed drummer Father Hyacinth Cordell—a man where philosophy meets pulse, and theology meets rhythm. With training in philosophy, theology, and pastoral ministry, Father Hyacinth carries a rare integration of intellectual depth and lived spirituality. Alongside his priestly vocation, he has also cultivated a global following as a drummer, where rhythm itself becomes prayer—an embodied offering, a language beyond words, a direct line to the sacred. Our conversation moves fluidly through music, spirituality, and the many surprising ways art can become devotion. We explore drumming, poetry, and embodied expression as portals into something larger than language—spaces where celebration, transcendence, and intimacy with the divine naturally arise. We also enter into his personal journey: the unexpected call to priesthood, the shaping force of discipline and devotion, and the everyday practices—running, veganism, contemplative living—that quietly structure a life oriented toward meaning. Along the way, we touch questions of vocation, celibacy, longing, and what it means to live a life sincerely given over to something greater than oneself. This is a rich, human, and often surprising dialogue—where rhythm and reverence meet, and where spirituality is not just believed, but lived, breathed, and played.

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This recording captures a rare early-morning moment on Mt. Nokogiri in June, where multiple Grey-headed woodpeckers drum simultaneously, their distinct rhythms responding to one another and forming an emergent chorus across the forested slopes. The mountain's steep rock faces, softened by light drizzle and humid dawn air, shape the sound through natural reverberation, revealing how weather and topography actively participate in the soundscape.Recorded in Chiba, Japan by Miduno.

Tim Schweiger talks about his early days with Yesterday's Kids — how a homemade Everly Brothers pop-punk tape landed them a deal on Ben Weasel's Panic Button Records — and the lessons learned from years of grinding tours, before finding his footing as a solo artist and frequent collaborator with Tommy Stinson of The Replacements.Tim digs into the realities of the modern music industry, the rotating cast of musicians that make up the Middlemen, the joy of slipping covers (Madonna's "Borderline," The Beatles' "Hey Bulldog") into live sets, and talks about an unreleased track featuring Dan McMahon. He also opens up about raising a musically gifted daughter, his 75 voice memos worth of songs waiting to be recorded, upcoming shows in Milwaukee and Madison, and a summer run of dates back on the road with Tommy Stinson.Plus: the Fox Cities band Tim wishes would reunite and what he says makes a show — or a song — truly successful.https://timschweigerandthemiddlemen.bandcamp.com0:00 Introduction & Tim's Background1:11 Coming Out of Hibernation Post-COVID2:14 Yesterday's Kids & The Obsoletes: Are They Done?4:02 Panic Button Records & the Realities of Early Touring4:33 Has Touring Changed? Playing with Artists Who Have Hits5:19 Justin Perkins: Still in Touch?6:18 Early Songwriting with Justin — Learning from Records7:05 The Mission Statement: Ramones Meet the Everly Brothers8:04 How an Everly Brothers Tribute Tape Got Them Signed9:03 Throwing Covers into the Set — Madonna's "Borderline"10:02 Tribute to Dan McMahon10:27 Owning the Covers: "Hey Bulldog" & Slide Guitar11:06 Getting Ready for a Show — Vocal & Finger Warmups11:50 Can You Tell If a Show Will Be Good Before It Starts?12:36 Watching Other Bands (Or Not) & Musician Egos14:10 Daughter Beatrix — Saxophone State Competition15:15 Growing Up in the Fox Cities Music Scene16:48 Meeting Justin Perkins & Learning First Chords17:24 Collaborating with His Daughter & Horn Arrangements18:16 Analog vs. Digital Recording Through the Years20:28 The Upside of Being an Independent Musician on Bandcamp22:01 Tim Schweiger & the Middlemen — A Rotating Cast of Friends23:47 Recording at Smart Studios & the Blueheels24:43 Drumming for Walt Hamburger: Guitar vs. Drums26:13 The Year He Played 100+ Shows & Needed to Decompress27:23 Music His Daughter Introduced Him To — DJO & Mitski28:44 The Fox Cities Band Tim Wishes Would Reunite: Vesicular Basalt31:17 What Makes a Song Last? The Legacy of Good Art31:34 How Tim Writes a Power Pop Song — The Voice Memo Process33:37 How Long Should a Song Be? Hey Jude vs. Bohemian Rhapsody34:20 One Song to Nuke Forever: Mustang Sally34:51 Upcoming Shows in Milwaukee & Madison36:03 The June Tour with Tommy Stinson37:37 Merch Plans for the Tommy Tour — CDs, Shirts & Tote Bags45:24 Playing with Tommy — His Work Ethic & Calling Audibles47:01 Tommy Stinson's Fanatic Fans on the Road47:37 Were You a Replacements Fan Growing Up?48:45 Dream Collab: Tim Picks Jack Black50:20 Actors Who Make Music — Keanu Reeves, Kevin Bacon & Dave Grohl52:14 Reigniting the Creative Spark — 75 Voice Memos & New Music53:13 What Does Success Look Like to Tim?54:19 Will New Music Sound Different from the Power Pop Days?55:47 Where to Find Tim & the Tommy Stinson Tour Dates57:15 Final Words & Sign-Off

Welcome back to Drummers on Drumming, a podcast powered by Big Fat Snare Drum. I'm Ben Hilzinger, and this is another segment of The Drum Panel. Joining me: Jessica Burdeaux (@jburdsbeats) Touring drummer (Covet, City Mouth) and content creator balancing real-world gigs with online presence. George Martinez (@skinnygeorge) Former full-time studio drummer turned educator, content creator, and all-around thoughtful voice on longevity. In this episode: “It's complicated” — how your relationship with drums changes over time The weird shift from loving music more than drumming itself Why chasing constant growth can actually burn you out Letting students (or bandmates) make their own mistakes The difference between chaos on tour vs. stability later in life Content creation vs. real life: what actually matters The pressure of the algorithm and why it messes with your head Posting what you should vs. posting what's actually real Why documenting your own growth beats chasing views The moment Instagram stopped making sense for everyone Touring, playing live, and why that still beats the internet The balance between being a musician and being a human Saying no to gigs, content, or work that drains you Why stepping away actually makes you better when you come back The quiet insecurity of band feedback (trash can endings, anyone?) Being your own worst critic… and why that never really goes away What each of us is secretly proud of in our playing right now Groove, touch, and making simple parts feel really good Being easy to work with vs. being flashy Why feel, energy, and stage presence still get you hired --- Get Your Copy of the Drummers on Drumming Book Today!

Welcome back to Drummers on Drumming, a podcast powered by Big Fat Snare Drum. I'm Ben Hilzinger, and this is another segment of The Drum Panel. This week I'm joined by Eric Urrea (La Armada, Marina City) and Matt Crouse (Working Drummer podcast). In this episode: Why doing less with your podcast might be the only way to keep it alive The quiet way a podcast can land you real gigs years later Craigslist vs. Nashville vs. “just being in someone's brain” The real thing bandleaders notice that has nothing to do with chops Caring vs. coasting, and why people can feel it instantly The weird mental spiral of over-practicing and then freezing on stage Why taking a break might fix something faster than grinding it The shift from loving drums to needing them, and what that cost We re-address whether drummers deserve songwriting credit… and why it's still messy Why some songs wouldn't exist without the drum part, even if no one admits it --- Get Your Copy of the Drummers on Drumming Book Today!

Garza sits down in-person with drummer, painter & songwriter Jay Weinberg. Best known as the former drummer of Slipknot, Madball, Against Me! Bruce Springsteen's E Street Band & the list goes on. Debut singles “Drone Operator / Sandstone” out now! https://instagram.com/jayweinbergSPONSORS: DistroKid - https://distrokid.com00:00 - Theme Parks04:39 - Early Shows08:29 - Musical Roots12:35 - Voodoo Child14:29 - Impact of Classical Music16:29 - First Concert & The Who18:47 - Hockey20:50 - Deciding to Pursue Music23:53 - Goalies & Drummers27:06 - Getting Into Drums29:59 - Advice for Drummers32:25 - CBGBs & H2033:47 - The Bouncing Souls44:30 - First Band // Sadie Mae46:37 - Playing w/ Bruce Springsteen's E Street Band54:00 - What Bruce Springsteen Taught Jay57:49 - Joining Madball & Recording Empire1:17:31 - New Music w/ Fuming Mouth, Deafheaven & Code Orange1:25:39 - Kurt Ballou1:27:58 - King Gizzard and the Lizard Wizard1:33:34 - New Band Portraits of an Apparition1:36:48 - Against Me!1:48:34 - Slipknot, Pressure & Regrets2:12:43 - Marriage2:20:11 - Art Galleries2:22:13 - Hip Surgery2:32:04 - LASIK2:35:35 - Punk Rock Museum2:37:59 - 3 Albums to Check Out

Send me a text and please visit www.livefrommydrumroom.com A special episode of Live From My Drum Room! on location at Cymbal Craftsman By Paul Francis. I sit down with my old friend, former Zildjian colleague, and master cymbal smith, Paul Francis. We do a deep dive into cymbal making, his relaunched and rebranded "Cymbal Craftsman By Paul Francis," and Paul shares his knowledge and expertise of over 37 years of making cymbals. Paul and I also share stories of our time working together at Zildjian, and much more! So come along for the ride with legendary cymbal smith, Paul Francis! Contact Paul: info@cymbalcraftsmancymbals.comWebsite: https://cymbalcraftsmancymbals.comLive From My Drum Room™ T-shirts and Hoodies are now available! 100% of the proceeds go toward my PAS scholarship. Visit https://livefrommydrumroom.com for details!     Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!https://livefrommydrumroom.comwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Matthew Atkins is a celebrated veteran of the music industry. An honours graduate of the renowned Musician's Institute in Hollywood CA, Matthew has worked in a wide array of genres and situations. Matthew is equally at home on a stage playing pop-country to a festival audience, jazz to an intimate venue, or top 40 dance music at a high-end corporate event, as he is playing as part of a drum line at a world class sporting event.With a large catalogue of recording sessions to his credit, Matthew is known to be a diverse, creative professional. Matthew has been recognized with honours and awards from groups such as the Alberta Recording Industries Association and the Canadian Country Music Association.Having lived and worked in Asia, Mexico, and most recently Vancouver, Matthew now makes his home in St Albert, Alberta. In this episode, Matthew talks about: Understanding the importance of motion when playing His gig as a house drummer at The Mayfield Theatre Using drum charts on a pro level The power of being prepared Chart writing techniques Tapping into the most musical performances in the studio Taking direction with grace

Welcome back to Drummers on Drumming ...a podcast powered by Big Fat Snare Drum... In this episode of The Drum Panel, I'm joined by Jared Shavelson (Joyce Manor, The Bronx, Seal) and Mike Robinson (Say Anything, Slayyter, Oliver Tree).  We discuss: Playing festivals - yay nay or meh The pefectly “sized” tour The backline details that matter most when you're trying to play your best How each of us thinks about success, growth, money, and career momentum Why big milestones can feel surreal in the moment and strangely empty right after The pressure of chasing goals in music when the target keeps moving What really makes a gig feel worth it, beyond the size of the stage --- Get Your Copy of the Drummers on Drumming Book Today!

In this episode, William Lyon breaks down the subtle details that make the difference, including one overlooked sound that can completely change the outcome of a hunt. This is not surface-level advice. It's decades of experience, hard lessons, and real stories from the woods. If you've ever had a gobbler stall just out of range… this one matters. In this episode, we cover: Why gobblers hang up—and what they're actually doing The role of drumming and why it can pull birds in when calling won't When to call, when to stay quiet, and how to use curiosity against a gobbler How turkeys pinpoint your exact location (and how that affects your setup) The patience factor: why sitting longer kills more birds How to choose the right setup for stationary hunts Using terrain, shadows, and conditions to your advantage Wind, weather, and how they impact turkey movement and sound Roosting strategies and how to plan your next morning hunt Midday loafing areas and where birds go when they disappear Real-world stories (including one of the wildest doubles you'll ever hear) Lessons learned from decades of turkey hunting experience If you're serious about becoming a better turkey hunter, this episode will change how you think about calling—and when not to call. Got a question for the show? Submit a listener Q&A form - https://l.linklyhq.com/l/1uMXP Get a discount on your Poncho Outdoors shirts here - https://linkly.link/2bfPZ Grab some Southern Outdoorsmen merch here - https://l.linklyhq.com/l/1u4aK Join Woodsman Wire - https://l.linklyhq.com/l/1u4aR Use the promo code “southern” for a discount on your OnX Hunt membership here - https://l.linklyhq.com/l/1tyfm Check out Latitude Outdoors for your mobile hunting gear - https://2ly.link/1zVDI Use code TSOP15 for a discount on Mossy Oak - https://linkly.link/2ERb8 Save 10% on your next Vortex Optics order at eurooptic.com using the Promo Code “southern10” - https://2ly.link/1wyYO Use code SOUTHERN20 for a discount on all Vortex apparel, including eyewear Have you tagged a deer using something you heard on the show? Submit your listener success story here - Share Your Story Here Come chat with us on our Thursday Hunter Hangouts! Join our Patreon - https://l.linklyhq.com/l/1uMXU NOTE: Not all advertisements run on this show are endorsed by The Southern Outdoorsmen Podcast unless an ad is read by one of the hosts.  Learn more about your ad choices. Visit megaphone.fm/adchoices

The Daisies discuss episodes 17-20 of MAFS AU (series 13). They chat about Stargate and how Juliette getting the ick led to her becoming another of this series' villains. They also discuss Sam and Chris's heartwarming approach to the baby conversation, and the drama around Scott's ex.Watch this full episode on our Youtube here!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome back to When Words Fail, Music Speaks—the show that explores how melody, rhythm, and raw expression become lifelines for those wrestling with anxiety, depression, and everyday struggles. I'm your host, James Cox, and today we've got a truly legendary guest: Lee Harrison, the relentless “rhythm engine” behind Florida death‑metal pioneers Monstrosity.For over three decades, Lee has been the driving force in a genre that many dismiss as noise, yet he sees it as a powerful release of negative energy—a therapeutic outlet that keeps him—and countless fans—grounded. From a seven‑year‑old Kiss‑obsessed kid to a veteran drummer who still practices daily, Lee shares the habits, philosophies, and sheer patience that have helped him survive endless lineup changes, grueling tours, and the physical demands of extreme metal.In this conversation we'll hear how Lee's songwriting process flips between drum skeletons and guitar riffs, why lyrics always arrive “last,” and the way his music mirrors both personal psyche and apocalyptic imagination. He'll also spill the beans on Monstrosity's brand‑new record Screams from Beneath the Surface, dropping March 13, 2026, plus upcoming European and U.S. tour dates—including Death Fest stops and the Brutal Assault Festival in the Czech Republic.We close with a rapid‑fire “lightning round” that reveals Lee's favorite non‑metal influence (yes, Buckethead), his preferred double‑bass technique, and the single word that defines Monstrosity today: Perseverance.So, whether you're a die‑hard death‑metal head, a drumming enthusiast, or someone seeking the healing power of sound, stay tuned. Lee Harrison is about to prove that, when words fail, the beat never does.

This week's episode is a special one. In light of James Gadson's passing, I wanted to bring this conversation back to the top of the feed. James was one of the all-time greats, and getting to talk with him was a real honor. The audio is a little raw, he was on his phone, moving around, doing his thing, but the stories are gold, and honestly, that's part of what makes it feel like James.  Back when Big Fat Five was still the main format of the show, I asked James to bring in five records that shaped him. Instead, he flipped it and brought in songs he played on that shaped his career. That turned out to be even better.  We get into the grooves behind Charles Wright and the Watts 103rd Street Rhythm Band's "Express Yourself," Dyke and the Blazers, "Dancing Machine" by the Jackson 5, Bill Withers classics like "Use Me" and "Kissing My Love," Cheryl Lynn's "Got to Be Real," and even Beck's "Paper Tiger." Along the way, James talks about jazz, Motown charts, studio instinct, restraint, feel, pocket, practicing with intention, and why the hi-hat has to talk.  This one is a reminder that a simple groove is not simple. It's deep. And James Gadson was one of the deepest to ever do it. --- Get Your Copy of the Drummers on Drumming Book Today!

Relax as the steady sound of rain falls softly on the fabric of a cozy camping tent. Each drop creates a calm and rhythmic pattern that fills the night with peaceful atmosphere. This two hour rain soundscape is perfect for deep sleep, focused study, meditation, or quiet reading. Imagine resting safely inside a warm tent while the rain gently taps above you and the outside world fades away. The natural white noise of rainfall helps block distractions, calm the mind, and create a soothing environment for relaxation and concentration. Let the peaceful rain carry you into a state of comfort, stillness, and deep rest.Become a supporter of this podcast: https://www.spreaker.com/podcast/asmr-rain-recordings--5347561/support.Lose the AD intros by becoming a subscriber!https://www.spreaker.com/podcast/asmr-rain-recordings--5347561/support

John Spittle has been the long-time drummer with Country icon Trace Adkins. John began his career on the drums in Southern California playing in bands and recording sessions since the age of 15. Since moving to Nashville, TN, in 1997, John has toured and recorded with various artists, including Sara Evans, Aaron Tippin, Chris Cagle, Kellie Coffey, Matt King, Paul Brandt, and more. When not on the road, John has a studio where he records drums on over 100 songs a year for producers/artists all over the world. TV credits include The Tonight Show with Jay Leno, Conan O Brien Show, Jimmy Kimmel, Jimmy Fallon, The Today Show, ACM Awards, CMT Awards, Craig Ferguson Show, NYC New Year's Eve Bash, Ellen DeGeneres Show, NBC Country Christmas, Grand Ol Opry Live, Emeril Live, Miss America USA, and many more. In this episode, John talks about:     Home studio work     From John's father to his son: Three generations of drummers     Moving to Nashville from Southern California and the expectations     Developing a pocket and good time feel     Experiences before the Trace Adkins     What Trace expects from his band members     John's new endorsement with Sonor drums ⁠⁠⁠Here's our Patreon⁠⁠⁠ ⁠⁠⁠Here's our Youtube⁠⁠⁠ ⁠⁠⁠Here's our Homepage

Welcome back to Drummers on Drumming, a podcast powered by Big Fat Snare Drum. In this episode of The Drum Panel, I'm joined by Eric Urrea (Marina City, La Armada) and Kris Mazzarisi (Founder of BFSD / Winnetka Bowling League) - In this episode: Why prep pay still is not standard, even though most drummers are expected to show up overprepared The weird state of touring right now, from DIY scenes disappearing to arena tours barely breaking even The last breakthroughs we've each had in our own playing, from posture to vocabulary to control Easy things that make a drummer more effective on stage The difference between playing quietly with sticks and changing the whole sound of the kit Whether traditional grip has any real practical use in modern drumming --- Get Your Copy of the Drummers on Drumming Book Today!

Welcome back to Drummers on Drumming, powered by Big Fat Snare Drum. We're here with another segment of Big Fat Five and today's guest is John Stanier of Battles, and if you know anything about powerful, creative, unmistakable drumming, you already know why I was excited for this one. John was also a founding member of Helmet, has played with Tomahawk, and has built one of the most unique voices on the instrument over the last few decades. I saw him play once in Seattle and honestly felt bad for his snare. He hits with so much force, but there's also so much thought behind it. He's a powerhouse, but he's also super articulate, deeply creative, and clearly hears the instrument in his own way. I've known about John for a long time, so getting to finally sit down with him was a real treat, and he did not disappoint. He was kind, energetic, sharp, and just really fun to talk to. JOHN'S BIG FAT FIVE: Artist - Rush Album - Permanent Waves Release Year - 1980 Drummer - Neil Peart - Artist - Siouxsie and the Banshees Album - Juju Release Year - 1981 Key Track - "Arabian Knights" Drummer - Budgie - Artist - Return to Forever Album - No Mystery Release Year - 1975 Key Track - "Sophistifunk" Drummer - Lenny White - Artist - D.O.A. Album - Bloodied But Unbowed Release Year - 1983 Key Tracks - "The Prisoner," "Slumlord," "Waiting For You" Drummer - Chuck Biscuits - Artist - Yes Album - Fragile Release Year - 1972 Key Track - "South Side of the Sky" Drummer - Bill Bruford - HONORABLE MENTIONS: Artist - Led Zeppelin Album - Houses of the Holy Drummer - John Bonham - Artist - Billy Cobham Album - Spectrum Drummer - Billy Cobham --- Get Your Copy of the Drummers on Drumming Book Today!

3. Headline: The Innovation and Controversy of Voodoo MacbethGuest Author: James Shapiro Orson Welles modernized *Macbeth* by setting it in 19th-century Haiti, substituting traditional witches for voodoo drumming and chanting. This "Voodoo Macbeth"became a national sensation, touring cities like Dallas and breaking local Jim Crow laws. Despite its success, the production faced scrutiny; Langston Hughesexpressed ambivalence, questioning whether the project truly represented the Black experience or merely used Black performers to tell white stories for white audiences. The play's impact on interracial performance remains a subject of cultural discussion regarding representation and voice. (3)1938 ILLINOIS

Originally from Merrick, NY, Marc Slutsky built his reputation as both a touring and studio drummer, working with a wide range of internationally recognized artists.

Marc first gained broader visibility performing with Splender, a late-1990s/early-2000s alternative rock band signed to Columbia Records. The bands first album “Halfway Down The Sky” was produced by Todd Rundgren. The group achieved chart success with their singles “Yeah, Whatever” and “I Think God Can Explain,” helping establish Marc as a solid and expressive drummer. Splender made a second album on Clive Davis's J records “To Whom It May Concern” which featured Slutsky's drumming further.

After Splender, Slutsky became a highly in-demand touring and session musician. Over the years he has performed, recorded, or toured with artists including: Peter Murphy, Bauhaus, Adam Ant, Puddle Of Mudd, Kylie Minogue, Delta Goodrem, The Calling, Sons Of Silver, Alexa Ray Joel, Tom Morello (RATM), Terri Nunn (Berlin), Lou Gramm (Foreigner), Hugo, Gavin Degraw In addition, Slutsky has appeared extensively on TV including shows such as X-Factor, The View, Good Morning America, Queen Latifah Show, The Tonight Show with Jay Leno, Last Call with Carson Daily, Late Show with David Letterman, Wendy Williams Show, 2010 Rockefeller Center Christmas Tree Lighting (NBC) with Kylie Minogue, and Jimmy Kimmel Live. In this episode, Marc talks about:     Unique challenges to touring internationally     Making sure to play great every time, every gig     Staying curious and always learning     Practicing on things at the micro level     Drumming for the legend Peter Murphy (Bauhaus)     Playing as a member of the band Splender when he was young             Working with Todd Rundgren as a producer     Learning how to record from your peers ⁠⁠⁠Here's our Patreon⁠⁠⁠ ⁠⁠⁠Here's our Youtube⁠⁠⁠ ⁠⁠⁠Here's our Homepage

#600 Yuri Ruley on Drumming and more.   Fixing our Hospitality Rider Van's Warped Tour stories Yuri's Pre and mid show mindset Early days of MxPx and going a band New MxPx Album Merch: mxpx.com Any questions or comments 1-360-830-6660 MXPX is coming! MAR with The Ataris -Thursday March 26 - Washington DC at 9:30 Club -Friday March 27 - Norfolk, VA at The Norva -Saturday March 28 - Charlotte, NC at The Fillmore -Sunday March 29 - Charleston, SC at Charleston Music Hall APRIL Saturday April 11 - Denver, CO at Mission Ballroom w/Goldfinger, Zebrahead and Home Grown SEPT -Saturday September 5 - Milan, Italy at Punkadeka Festival https://linktr.ee/Mikeherrerapodcast Leave a voicemail- 360-830-6660 --------------------- Check out the new MxPx album 'Find A Way Home' at MxPx.com and streaming everywhere now! Sterling By Music Man Mike Herrera Signature StingRay Electric Bass Guitar - Orange Creamsicle MIKE HERRERA SIGNATURE SERIES BASS OG Listen or watch "Linoleum" here MXPX - Self Titled Deluxe Edition If you like the podcast- Subscribe, rate and review on Apple. Support what I do at MXPX.com and also add MXPX and Mike Herrera to your music libraries on whatever streaming platfrom you use. Producing and editing by Bob McKnight. @Producer_Bob