Podcasts about Drumming

Enjoy 2 hours of rain drumming across the roof in a steady, natural rhythm. The continuous sound of rainfall creates calming white noise that helps cover distracting sounds, making it ideal for sleeping, studying, reading, working, relaxing, and concentrating. Let the repeating sound of raindrops on the roof surround you as you settle into deep rest or focused work.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

What happens when you discover a hidden 1960s love poem written by Johnny Cash? You put it to music. In this episode, we sit down with veteran drummer and songwriter Alex Orbison to discuss the release of his incredible debut solo album, Love And Loss.   Alex takes us behind the scenes of his standout new track, "Let's Put It To Music," revealing how he collaborated with John Carter Cash at the historic Cash Cabin to finish a lost piece of country music history written for June Carter Cash. We also dive deep into his life on the road as the powerhouse drummer for The Allman Betts Band, exploring how he locks down the rhythm section for one of the premier roots and Southern rock outfits touring today.    In this episode, you'll discover: The incredible story behind turning an unreleased Johnny Cash poem into a brand-new song. What it's like recording at the legendary Cash Cabin with John Carter Cash. Alex's experiences stepping behind the kit to tour with The Allman Betts Band. The raw creative process and roots-rock influences behind his new solo album, Love And Loss. Stream Alex Orbison's latest music on all major platforms today!

On this episode of The Bandwich Tapes, I sit down with drummer and educator Nate Morton for a wide-ranging conversation about musicianship, preparation, versatility, listening, and the skills that build a career long after you leave the practice room.Nate is best known to many listeners as the drummer for NBC's The Voice, a gig that requires him to move effortlessly between rock, pop, country, R&B, blues, and just about anything else that lands on the music stand. We talk about how a childhood filled with everything from KISS and Michael Jackson to George Clinton, the Beatles, the O'Jays, the Temptations, Barry White, and Booker T. & the M.G.'s helped build that musical vocabulary. Nate explains why his goal was never to become the “rock guy” or the “jazz guy.” He wanted to become the always-employed guy.But much of our conversation is about what happens beyond the notes. Nate and I dig into preparation, organization, punctuality, adaptability, and musicians' responsibility to the people around them. He shares lessons from his time at Berklee College of Music, including the realization that learning what not to play can be just as important as developing the ability to play. A story about watching Abraham Laboriel Jr. take a four-bar solo becomes a lesson in confidence, restraint, and musical maturity.We also delve deeply into the relationship among drums, bass, singers, and the rest of the band. Nate explains how he adjusts his playing to different vocalists, why listening matters more than showing off, and how his relationship with bassist Sasha Krivtsov on The Voice allows the rhythm section to constantly react and adapt to one another. His philosophy is simple: the band only sounds good when everyone sounds good.Along the way, we talk about teaching, technology, learning music before everything was a click away, the value of relationships, and why small interactions can have an enormous impact on another musician. This one became much more than a conversation about drumming. It's about professionalism, curiosity, generosity, and what it actually takes to build a life in music.Key TakeawaysPreparation extends far beyond practicing your instrument. Being on time, organized, dependable, adaptable, and respectful of other people's time can be as important to a career as technical ability.Versatility creates opportunity. Nate intentionally developed enough vocabulary across multiple styles to walk into different musical situations comfortably. His goal was to become the “always-employed guy.”Listening is one of the most important skills on the bandstand. Whether working with a singer, bassist, guitarist, or an entire ensemble, Nate constantly adjusts his playing according to what everyone else is doing.Great musicians know when not to play. Nate's story about Abraham Laboriel Jr. at Berklee illustrates how confidence and restraint can communicate more than filling every available space.Adaptability matters more than perfect circumstances. From forgotten floor tom legs to unfamiliar backline setups, Nate learned that sometimes you simply have to “sit down and make music.”Music school can give you tools, but the real world teaches you where to use them. Berklee gave Nate technical vocabulary and a safe environment to make mistakes, while professional gigs taught him context, restraint, and musical judgment.Relationships matter. Nate sees genuine human interaction as one of the central principles of both his career and his life, whether he is working with another musician, teaching a student, or answering a question from someone who reaches out online.Music from the EpisodeI Think I Just Said That - Fraud ProphetsScrubs - Fraud ProphetsHomer's Journey - Fraud ProphetsMoths and Mosquitoes - Fraud ProphetsAbout the PodcastThe Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. I sit down with musicians, songwriters, producers, engineers, and other creative people for thoughtful conversations about craft, collaboration, careers, influences, and the realities of making music. The goal is simple: get beyond the résumé and talk about how music actually gets made.Connect with the ShowQuestions, comments, guest suggestions, or just want to say hello?contact@thebandwichtapes.com

Hard News on Friday with Tara Green and Rama Arjuna Mayan Calendar Reading, Kryon's Merkabah Teaching and a Healing Meditation with Patricia Cota-Robles Hosts Springbird, Tara Green and Rama Arjuna open with a Mayan calendar reading for the turn into October, follow Rama's field reports on Gaza and Lebanon, sit in on a channeled Kryon teaching from Lee Carroll and a Mother dialogue on NESARA, and close with a recorded healing meditation from guest Patricia Cota-Robles. Opening Meditation and Mayan Calendar Reading Springbird opens the broadcast with a guided breathing exercise, inviting listeners into their heart space to gather with guides, guardians, totems and ancestors around a virtual council fire. Drumming with a Kimi drum, he calls in the seven galactic directions of the Mayan tradition, chanting "Ah Yum, Hunab Ku, Evam Maya, E Ma Ho" and "In Lak'ech Ala K'in." He then reads the Mayan day-count for the week, opening with today's White Self-Existing Dog, a 4 Oc tied to love, loyalty and heart, and moving through Saturday's Blue Overtone Monkey, Sunday's Yellow Rhythmic Human, Monday's Red Resonant Skywalker, Tuesday's White Galactic Wizard, and Wednesday's Blue Solar Eagle. He notes the calendar rolling into October on Thursday with the Yellow Planetary Warrior, and closes the week with Friday's Red Spectral Earth. For each glyph he offers a keyword mantra and urges listeners to release fear, mistrust or dissociation while embracing loyalty, clarity and planetary harmony, also noting a full moon at 12:49 p.m. Eastern on Saturday. Listener Support and Weekly Needs Springbird shifts into the weekly funding appeal, explaining that BBS Radio needs $184 for the Friday program's slot on Station One and directing listeners to bbsradio.com, where the show is listed under the Hard News heading at the 8:00 hour. He promotes Saturday's program on Station Two, The True History, at the 3:30 hour. He says Tara and Rama need $200 for living expenses plus $450 toward rent this week, a total of $650, and gives the PayPal address koran9999@hotmail.com, confirmed under the name Rainbow Roundtable and Rama Berkowitz, along with a mailing address for Ram D. Berkowitz at a post office box in Santa Cruz, New Mexico. He points listeners to rainbowroundtable.net for NESARA information and Rama's travel notes, and mentions a GoFundMe covering Tara and Rama's medical expenses. Calling it harvest season under a full moon, he thanks the audience repeatedly before ceremonially passing a talking stick to Tara and Rama, who greet the commanders, eagles and angels listening. Rama's Field Reports and Gaza-Lebanon Dispatches Rama reads a string of dated dispatches from earlier in the week, describing visits to Moon Mountain and Sun Mountain where he sits and walks in circles with deer, crows, cats and, on Wednesday, a hungry coyote he feeds popcorn and kitty food, using the Adi Shakti mantra each time. He recounts text messages he says arrive from the crew stationed over Gaza, describing an emerald-green and sapphire-blue ray that forms a protective force field and knocks out Israeli forces who try to cross it, and from Lady Nada, who says she addressed the UN Security Council about Lebanon and Hezbollah, and later reports that the Lebanese prime minister called for the withdrawal of all Israeli forces from Lebanon while dozens of delegates walked out during a speech by Netanyahu. Rama says the moment is a choice between an old timeline and a new one, invoking a figure he calls Mel Lawson. Tara then raises news that the Republicans are, in her words, "in deep trouble," and Rama predicts the party is ceasing to exist. Kryon's Merkabah Teaching via Lee Carroll Rama passes the talking stick to a segment titled The New Human Merkabah Interface, in which Lee Carroll channels an entity he calls Kryon of Magnetic Service. Kryon tells listeners that the changing energy of the planet may be altering the very purpose of old souls on Earth, moving them beyond individual paths toward something new. He describes the Merkabah as a double tetrahedron, one shape pointing down and one pointing up, sitting within the body's double helix and forming, together with human DNA, what he calls an antenna tuned to a shared field of collective consciousness. Kryon says humanity has long used that antenna only to receive intuition, but explains that the upward-pointing half is now being activated so that people can also transmit their inner divinity outward. He calls this new capacity a way of pushing "a grander truth" into the field, something he says is done automatically through joy and compassion rather than effort, promising more teaching, and perhaps a better word for it, next time. Star Lore, AI Worries and the Mother Dialogue Tara describes the nighttime view from their bay window, tracing the star Sirius, a craft she calls the New Jerusalem, and the three stars of Orion's Belt, which she names El, An and Ra, up to the Pleiades and its seven suns. Rama says one of those stars, Atlas, hosts twelve to fourteen planets, a number he links to Barack Obama's past comments about the solar system and to the Star of Bethlehem, which the pair identify as Sirius. They turn to news of the Pope's visit to Paris, with Rama recounting a speech along the Champs-Élysées warning that artificial intelligence is leading humanity toward what he calls the Borg. Tara and Rama then give out the conference-call number before inviting a channeled presence they call Mother, who speaks of NESARA nearing announcement, warns that detention centers are killing people, calls the GOP the "grand old pedophile party," and cites General Wesley Clark, the Bosnian war, journalist David Pakman, the book Solara An-Ra, and the destruction of Maldek. Patricia Cota-Robles's Healing Meditation and Sign-Off Rama says he briefly visited what he describes as Lady Master Athena's ship before passing the talking stick to a twenty-three-minute recorded segment from Patricia Cota-Robles. Cota-Robles tells listeners that recent influxes of light and a purging of the elemental kingdom, evident in record-breaking weather, are part of Mother Earth's ascension, building since the August 8 Lionsgate and the late-August eclipse series toward an accelerated ascension window running from the November 11 gateway to the December solstice. She leads a guided, first-person invocation calling in beings from the Grand Central Sun and an emerald-green and violet flame of "infinite transmutation," walking listeners breath by breath through their brain, eyes, ears, lungs, digestive system, endocrine glands, circulatory system, reproductive organs, and skeletal structure, asking for every trace of disease to be instantaneously removed and each system restored to perfect health. She closes declaring the healing "God-victoriously accomplished." Tara thanks Rama, the talking stick returns to Springbird, who thanks Mother, Cota-Robles and the audience, and the hosts sign off with "Namaste."

This week on Drummers on Drumming, we're back with another installment of The Drum Panel with Eric Urrea and Gunnar Olsen. We're continuing with the new format for the Panel, using a few loose categories to give the conversation some direction without keeping us from going down whatever rabbit holes come up. A lot of this one ended up being about how your relationship with drums changes the longer you do it. In this episode: The gigs you would've killed for ten years ago that you might not take now Separating being busy from actually feeling successful What happens to your playing when you get nervous How much technique actually matters if what you're doing sounds good Knowing when a song actually needs a fill Why constantly recording and analyzing yourself can sometimes take something away from playing Leaving a band when you still love the people in it Drummers we understand completely differently now than we did when we were younger --- Get Your Copy of the Drummers on Drumming Book Today

On this episode of Bounced From The Roadhouse:Special Guests in 4B: Lauren SchadHobbit DayCash Back Controversy Government Branches Crown Vic Surgery TomorrowEmotional Phrase Trend: “Do your toes always touch like that?”Amy's Faverite Subject Fart Felony in Florida Papper Sprayed in Movie TheaterCremated wrong bodyThat's A Great Question Zaccy as Brandon's DrummerLauren - 99 to BeatQuestions? Comments? Leave us a message! 605-343-6161Don't forget to subscribe, leave us a review and some stars Hosted on Acast. See acast.com/privacy for more information.

Clementine Moss reads from the Bliss and Drumming blog about the making of the song "High Desert" from the Stars Turn Me On album "GoldRush" in 2012. What is it like to look back at early work, and who were we then? Looking back, we can't help but see how far we've come.

On this episode of The Bandwich Tapes, I sit down with legendary drummer Joey Baron for one of the most thoughtful conversations I've ever had about what it truly means to make music. Rather than talking about chops or technique, Joey takes us deep into the ideas of touch, tone, sound production, and why a musician's relationship with space is just as important as the notes they choose to play.We explore Joey's remarkable career, from growing up in Richmond, Virginia, to studying briefly at Berklee before learning on the bandstand alongside musicians like Joe Lovano and John Scofield. He shares stories about playing with Carmen McRae, Bill Frisell, John Abercrombie, Jim Hall, David Bowie, Laurie Anderson, Brian Eno, Steve Kuhn, and many more, but what emerges isn't a collection of famous names. It's a philosophy of listening deeply and serving the music above everything else.Our conversation also dives into the pursuit of personal sound. Joey explains how losing all of his cymbals early in his career unexpectedly changed the way he thought about instruments, leading him to focus less on equipment and more on touch, tone, and expression. Along the way, we discuss why great musicians sound like themselves regardless of the instrument they're playing, why the best artists never waste notes, and how silence can often communicate more than virtuosity.It's a conversation about listening, not just to music, but to people, spaces, and the world around us—and why that kind of attention remains one of the greatest gifts a musician can develop.Key TakeawaysJoey explains why touch and sound production matter more than technical ability or expensive instruments.We discuss how tuning drums is influenced by the acoustics of each performance space rather than fixed settings.Joey shares lessons learned from artists including Carmen McRae, Jim Hall, John Abercrombie, Steve Kuhn, Bill Frisell, David Bowie, Brian Eno, and Laurie Anderson.Losing his cymbals early in his career forced him to rethink his relationship with equipment and focus on creating sound from whatever instruments were available.Joey reflects on why great musicians never waste notes and how silence is often one of music's most powerful tools.We explore the value of musical curiosity beyond genres and why listening broadly shaped his artistic voice.Joey discusses his current work in Europe and why creating music that genuinely moves people remains his guiding purpose.Music from the EpisodeFaith in You - Marc JohnsonYou Bet - John ScofieldJust You, Just Me - Joey Baron & MixMonkOutside - David BowieAbout the PodcastThe Bandwich Tapes is a long-form interview podcast where I sit down with musicians, composers, producers, and music industry veterans to explore the creative decisions that shape great music. Together we dig into artistry, collaboration, musical philosophy, and the experiences that define a lifetime of making music.Connect with the ShowEmail: contact@thebandwichtapes.com

Join Pipeman on The Adventures of Pipeman from Louder Than Life festival as he chats with drummer and lead vocalist Billy McNicol. Discover Billy's unique journey in music, how his high-energy trio came together, his deep Louisville roots, and some heartfelt life advice.Main Topics CoveredBilly McNicol's musical background and heritageCollaborations with the University of LouisvilleAssembling a global band in Los AngelesThe art and challenge of drumming while singingThe musical legacy of Louisville, Kentucky and Billy's family historyAdvice for musicians and listenersKey Discussions & StoriesLouder Than Life ExperiencePerforming at Louder Than Life alongside the University of Louisville pep band and managing the set just before a thunderstorm hit 01:03Reflections on perseverance and the "divine" elements of his musical journey, including how his bandmates were brought into his life 01:21Musical Collaborations and AchievementsBeing the first independent rock group to release a single with a Division 1 university and do a halftime show at a NCAA event 01:50, 02:14Co-releasing the single "Real" with the University of Louisville pep band 01:47Band Origins & DiversityMeeting bandmates from India and Alaska at open jams in Los Angeles, including Venice Beach and Musicians InstituteEmbracing diversity within the group's dynamic and their mission to bring people together through music 03:48, 03:53Louisville Musical LegacyFamily history with The Rugbys, the first Kentucky rock group to rank on the Billboard charts in 1969, competing with major acts like Led Zeppelin and Jimi Hendrix 04:44, 05:10Drumming and Singing SimultaneouslyInspired by watching his father, Billy describes teaching himself by observing and emulating technique 05:45Comparing his learning style to the character in "Drumline," observing rather than taking formal lessons 06:19Physical and technical demands: cardio, posture, diaphragm use, and being "graceful" like a marionette while performing 06:55What's NextPlans to finish the current record, release more music, and continue momentum after the festival 07:50Notable Quotes"We brought rock and roll to the NCAA, and yesterday here at Louder Than Life, we brought the NCAA to play the rock and roll." – Billy 02:28"We're in the making people feel special business... bring people together business." – Billy 03:59"My family, my dad, my uncles, they had a group called the Rugbys... the first rock group... out of the state of Kentucky to have a Billboard hit." – Billy 04:44"You have to keep yourself in shape... do a lot of cardio... be mindful about your diaphragm placement and your posture when you're playing." – Billy 06:55"God is good. Today is a new day. Yesterday is gone, so don't worry about it. Tomorrow might not even come, so live in the now. Be present. Love your life." – Billy 08:44Resources & Links MentionedBand Single: "Real" (search on Spotify or Apple Music under Billy McNichol) 08:10Socials/Music: Search "Billy McNicol" on all major platforms 08:10The Rugbys: "UI" (referenced song from 1969)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-adventures-of-pipeman--941822/support.Click Here to Subscribe for PERKS, BONUS Content & FREE GIVEWAYS!Follow @pipemanradio on all socials & Pipeman Radio Requests & Info at www.linktr.ee/pipemanradioStream The Adventures of Pipeman daily & live Mondays, Tuesdays, Wednesdays at 1PM ET on W4CY Radio & Talk 4 TV. Download, Rate & Review the Podcast at The Adventures of Pipeman, Pipeman Radio, Talk 4 Media, iHeartRadio, Apple Podcasts, YouTube & All Podcast Apps.

Hard News on Friday with Tara Green and Rama Arjuna Mayan Calendar Rituals, the 1999 MLK Trial and a New Beginnings Meditation with Tori Hosts Rainbird, Tara Green and Rama Arjuna mark the autumn equinox with a Mayan calendar reading, revisit the 1999 civil trial over Martin Luther King Jr.'s death, and close with a channeled dialogue and a recorded new-beginnings meditation from guest Tori. Opening Meditation and Mayan Calendar Reading Rainbird opens the broadcast with a slow breathing exercise, inviting listeners into their heart space to gather guides, guardians, totems and ancestors around a virtual council fire. Drumming with a Cimi drum, she calls in the seven galactic directions of the Mayan tradition, chanting "Ah Yum Hunab Ku, Evam Maya, E Ma Ho" and "In Lak'ech Ala K'in." She then reads the Mayan day-count for the coming week, starting with today's Blue Planetary Night, a 10 Akbal, Saturday's Yellow Spectral Seed, Sunday's Red Crystal Serpent, Monday's White Cosmic World-Bridger, and Tuesday's autumn equinox, which opens a new thirteen-day wave of Manik'. She continues through Wednesday's Yellow Lunar Star and Thursday's Red Electric Moon before closing the week with next Friday's White Self-Existing Dog. For each glyph she offers a mantra and urges listeners to release fear, self-doubt, insecurity or stagnation while embracing healing, intuition and unconditional love. She notes a first-quarter moon at 4:44 p.m. Eastern. Listener Support and Weekly Needs Rainbird shifts into the weekly funding appeal, explaining that BBS Radio needs $184 for the Friday program's slot on Station One and directing listeners to bbsradio.com, where the show is listed under the Hard News heading at the 8:00 hour. She promotes Saturday's program on Station Two, The True History/Earth's Destiny of NESARA and Galactic Origins, at the 3:30 hour. She says Tara and Rama need $200 a week for living expenses, plus $510 toward rent due at the start of next month, and gives the PayPal address koran9999@hotmail.com, Rama's email koran999@comcast.net, and a mailing address for Ram D. Berkowitz at a post office box in Santa Cruz, New Mexico. She points listeners to rainbowroundtable.net for updates and a GoFundMe covering Tara and Rama's medical needs. Calling it a season of harvest and fall equinox, she thanks the audience before ceremonially passing a talking stick to Tara and Rama, who greet the "commanders, eagles and angels" listening in. Rama and Tara Open With Palestine, Trump and Mars Rama takes the talking stick and reports sitting in silence with twelve deer, nine crows and two cats at a bird sanctuary before leading a Gayatri mantra for world peace, saying he is closely watching solar flares and the Schumann resonance. He relays a message he attributes to a contact called Rosa from Palestine, describing the story of the twelve tribes, the Lion of Judah and Yeshua's teachings, and asserting that King David and King Solomon were Black. Tara raises news of protests over Donald Trump's actions against the Kennedy Center, and Rama predicts bureaucratic obstacles will stop him tearing it down. He connects the moment to what he calls systemic racism rooted in colonization, comparing it to Elon Musk's plan to colonize Mars, which he says the Galactic Federation will not permit, and recounts a story that Noah was "an amphibious starship captain." The pair also discuss Trump's invitation to Chinese President Xi Jinping to visit Washington, with Rama speculating Xi has contact with "the galactics." Rama's Week of Field Reports Rama reads a string of dated dispatches from September 11 through 17, describing daily visits to Sun Mountain, Abiquiu, the I Am Sanctuary, Aspen Meadows and Moon Mountain, where he sits and walks in circles with deer, crows, ravens, a bobcat and, once, an elk, using the Adi Shakti or Gayatri mantras. He recounts text messages he says arrive from figures he calls the crew, Tom, Mr. X, Lady Nada and Darby O'Dowd, describing a glowing Glastonbury Tor, tectonic and magnetic shifts, and singing stones at Orkney in Scotland. Reports attributed to the poppy lady and Rosa from Palestine describe a collapsing healthcare system in Gaza and unverified claims that Benjamin Netanyahu received bribes from Jeffrey Epstein. The dispatches also mention an International Peace Tower due to be lit in Reykjavik, Iceland on October 8, John Lennon's birthday, and Darby O'Dowd's line that he gets his news "from the stars." Each entry closes with the phrase "blaze the violet fire." Tara's Look Back at the King Assassination Trial Tara turns to a report on what she calls the only trial ever held over the death of Martin Luther King Jr., a civil case decided in Memphis in December 1999 that she says mainstream media covered only briefly. She describes Coretta Scott King saying she felt vindicated by the jury's finding that her husband was killed as part of a conspiracy rather than by a lone gunman, and quotes King family attorney William Pepper, author of The Plot to Kill King, saying the jury heard evidence that "exonerated James Earl Ray." Tara also reads comments attributed to the couple's son, Dexter King, calling the verdict bittersweet but ultimately liberating. She stresses that the verdict does not, in her telling, implicate Ray in the killing, pushing back on what she calls competing spins. As the segment closes, Tara and Rama read out the conference-call number and PIN for listeners who want to continue the conversation off air. Channeling Mother and Tori's New Beginnings Meditation Tara and Rama invoke Saint Germain and the violet flame to open a channeled dialogue with a presence they address as Mother, voiced through Rama. Mother touches on Martin Luther King's "promised land," the depths of the Mariana Trench, beluga whales lost to fishing nets, and people she says are "going over the rainbow" as their bodies adjust to incoming energies, while warning that Congress may soon be recalled over unfinished business. Rama and Tara close the invocation with a chant of "Kadosh, Kadosh, Kadosh, Adonai Tzva'ot." They then introduce a recorded guided meditation from a presenter named Tori, titled Releasing What Has Been, Receiving What Is Coming, built around the recent eclipse series, the violet flame and the "I Am" presence, leading listeners through breathing and visualization to release old patterns and open to new beginnings. Afterward, Tara and Rama thank their audience and pass the talking stick back to Rainbird, who closes the broadcast with thanks to Mother and Tori.

Drumming, recording, tuning and production secrets from multi-platinum producer, composer and multi-instrumentalist Anthony J. Resta. Decades of hands-on-studio experience, with a passion for the power, groove, experimentation and visceral imperfection that make a performance human, Learn more about your ad choices. Visit megaphone.fm/adchoices

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This week on Drummers on Drumming, we're back with another installment of The Drum Panel with Eric Urrea and Cain Daniel. This episode is also a test run for a new format for the Panel. After going through the listener survey, I wanted to give these conversations a little more structure while still leaving plenty of room for us to go wherever the conversation takes us. In this episode: What actually makes you recommend another drummer for a gig What we're listening to while we play that has nothing to do with the drums How we choose the right gear for different gigs Taking a gig you really want when the money sucks Famous drum parts we might not understand the hype around Horrible gigs that somehow led to something good Having your own voice versus being adaptable enough to make a living Whether you actually need to read music to be a professional drummer A few Hot Takes to finish things off --- Get Your Copy of the Drummers on Drumming Book Today

Clementine Moss reads from the Bliss and Drumming blog about the making of the song "Slow Glow" from the album "Conversation with Francis Bakin" in 2008, remixed for "The Collection" in 2014. What is it like to look back at early work, and who were we then? Looking back, we can't help but see how far we've come.

This episode features my conversation with drummer Aubrey Dayle. Based in Toronto, Aubrey's career has spanned jazz, blues, funk, and rock. Born in Kingston, Jamaica and raised in Montreal, he started on accordion at age five before turning to percussion, eventually earning a Bachelor of Music in classical percussion performance from McGill University, then continuing his studies at the Manhattan School of Music in New York. From there, he built a career as a first-call sideman, touring and recording with James "Blood" Ulmer, Hassan Hakmoun and Zahar, God Street Wine, and the John Popper Band, among many others. He recently held the drum chair for the North American premiere of the musical "It's a Good Life If You Don't Weaken," based on the music of The Tragically Hip. Aubrey is a composer and leader of his own project, My id, and is also a longtime collaborator with Living Colour guitarist Vernon Reid. He is the author of the book "Narada Michael Walden: Drumming, Spirit and Music," an in-depth analysis and tribute to the music icon. In this episode, we discuss the importance of formal education, the mentors who helped him establish his career, his approach to composition, and how his exploration and style analysis of Narada Michael Walden led to him writing his book and developing a friendship with the icon. Follow Aubrey: https://aubreydayle.com https://www.aubreydrumlessons.com/ Instagram Facebook Narada Michael Walden - Drumming, Spirit and Music Book

Christopher Williams was born to be a drummer. Throughout high school, Williams drummed for several rock, jazz, metal, funk and blues groups, as well as the Greenville South Carolina youth orchestra. In 2004 he toured the United States as a member of the Carolina Gold Drum & Bugle corps. Christopher won a gold medal during the annual individual & ensemble competition and retained the title until 2006. Since 2008 he has been based in Nashville, Tennessee where he has built a strong reputation within the music community. During his school years, Williams was able to study with Paul Riddle of the Marshall Tucker band, Dr. Gary Robinson, Brian Tinkle of the cavaliers drum & bugle corps, Ed Shaughnessy, Jim Chapin, and Elvin Jones. During April of 2015 it was announced that Christopher would join the legendary heavy metal band Accept. Since then the group has played hundreds of shows in more than fifty countries around the world. Christopher has received global media attention, being featured in magazines and press since joining the band. When possible he performs, records, and tours with other artists & bands in a variety of genres. Some of the artists/groups he has worked with include: Gene Simmons Ace, Frehley, Accept, Andrew W.K,. Rex Brown, Derek St Holmes, John Corabi, Kaato, Mick Mars, Blackfoot, Lee Greenwood, Kid Rock, Peter Stroud, Her, A Thousand Horses, members of: Parliament Funkadelic, the Rolling Stones, Kiss, Slaughter, Cinderella, David Bowie, Rod Stewart, Alice Cooper, Steppenwolf. In this episode, Christopher talks about: The origins of his woodworking skills Managing life with a newborn son Drumming for the legendary band Accept How Christopher plans for recordings The importance of being able to read & write notation Inspiring experiences early in life How he spends his time between tours  The financial realities of touring with a legendary band ⁠⁠⁠Here's our Patreon⁠⁠⁠ ⁠⁠⁠Here's our Youtube⁠⁠⁠ ⁠⁠⁠Here's our Homepage Learn more about your ad choices. Visit megaphone.fm/adchoices

T-Shirts $32Venmo @Scott-Switzer-1Cash App $SwitzThorIn Memo put NameAddressSizePresenting Sponsor Thirdzy!  https://thirdzy.com/JAZZYPromotion Code for 15% off: JAZZYEveryday we take a break from the busy work day to catch our breath, hang out with friends and talk about the world of Sports, Entertainment and specifically CrossFit. Today we talk about the 25th anniversay of 9/11, AI music ruining new musicians, wodapalooza socal rosters, brute camp rosters, Crazy CrossFit Trends, the best Hollywood Quarterback and drumming!

This week on Drummers on Drumming, we're back with another installment of The Drum Panel. I'm joined by Eric Urrea, an independent drummer from Chicago who plays with Marina City and La Armada, and Adam Christgau, who has toured and recorded with artists like LP, Troye Sivan, MARINA, Sia, Miley Cyrus, Angel Olsen, Kacey Musgraves, Tegan and Sara, and more. I had just finished a week of rehearsals where we were recording everything, listening back, and picking apart what was actually working. So I came into this one with a bunch of thoughts I wanted to throw at Eric and Adam. In this episode: Why the best-sounding snare might not be the most fun one to play Tuning drums for the microphone versus the room Shells vs plugins Why dynamics might matter just as much as timing The painful importance of recording and listening back to yourself Why a great-feeling show doesn't always sound great the next day Whether you can actually practice having better taste Learning the difference between what you think you're playing and what's actually coming out --- Get Your Copy of the Drummers on Drumming Book Today

Drumming, recording, tuning and production secrets from multi-platinum producer, composer and multi-instrumentalist Anthony J. Resta. Decades of hands-on-studio experience, with a passion for the power, groove, experimentation and visceral imperfection that make a performance human, Learn more about your ad choices. Visit megaphone.fm/adchoices

Sometimes growing a business is just really freaking fun.Last week, I took a discovery call from the airport while waiting for my flight to Florida. A woman sitting two seats down overheard my conversation, and what happened next was pretty magical.One totally random interaction turned into new connections, new leads, and a really good reminder that you never know where your next opportunity is going to come from.Growing a business isn't always about having the perfect marketing strategy. Sometimes it's simply about showing up, talking about what you do, and letting people see you shine.This week on the Becoming a Sleep Consultant podcast, I'm sharing the whole story.You really never know who's listening. If you'd like to learn more about becoming a Sleep Consultant, please join our Facebook Group https://www.facebook.com/groups/becomeasleepconsultantCPSM website: https://thecpsm.com/Book a free discovery call to learn how you can become a Certified Sleep Consultant here: https://jaynehavens.as.me/CPSM-Inquiry

Clementine Moss reads from the Bliss and Drumming blog about the making of the song "Wonderful U." from the album "The Collection" from 2014. What is it like to look back at early work, and who were we then? Looking back, we can't help but see how far we've come.

On this episode of The Bandwich Tapes, I sit down with drummer Pat Steward for a wide-ranging conversation about groove, feel, listening, and the experiences that shape a musician over a lifetime. Pat has spent decades behind the kit, including a long history with Bryan Adams, and I had the chance to see him perform in St. Louis shortly before we recorded this conversation. Watching him play reinforced something I have always admired about his drumming: there are no wasted notes. Everything serves the song, the singer, and the musicians around him.We talk about the current Bryan Adams tour and what allows a highly produced arena show to feel still spontaneous and alive. Pat explains his evolving relationship with playing to a click, the importance of supporting a singer, and why feel can be difficult to reduce to a technical formula. We also get into the band's current four-piece configuration, with Bryan handling much of the bass playing himself, and how that change has created a different rhythm-section dynamic.Pat takes me back to his beginnings as a young drummer, from hearing The Beatles and Creedence Clearwater Revival to learning songs by playing along with the radio and records. We talk about Bad Company, Linda Ronstadt, KISS, Rush, AC/DC, jazz education, school bands, and the value of learning to function in as many different musical situations as possible. That curiosity has never left him. Our conversation moves naturally through Tony Williams, Steve Gadd, Jim Keltner, Elvin Jones, Vinnie Colaiuta, David Garibaldi, Bill Stewart, and the drummers and records that continue to inspire him.We also spend a lot of time talking about recording: drum tuning, microphones, engineers, producers, and the difference between capturing music and overworking it. Pat shares stories about recording with Bob Rock, discusses the influence and meticulous approach of Mutt Lange, and makes a compelling case for trusting musicians, listening to the drum kit as a complete instrument, and recognizing when the best performance may already have happened in the first couple of takes.Ultimately, this is a conversation about experience. Pat and I talk about knowing when to use the pencil and when to use the eraser, how songs change after decades of performing them, and why great musicianship often comes down to listening carefully enough to understand what the music actually needs.Key TakeawaysPat approaches drumming by putting groove, feel, and the singer first, with every part designed to support the song rather than draw unnecessary attention to the drums.Playing with a click became less about restricting feel and more about creating a dependable framework in which Pat can still push, pull, and shape the music.The current Bryan Adams band has developed a different rhythmic identity with Bryan playing bass on portions of the show and keyboardist Gary Breit covering other bass parts.Pat's musical vocabulary grew from playing along with radio and records, studying everything from Bad Company, AC/DC, KISS, and Rush to bebop, jazz ensembles, and big-band music.His early experiences in rock bands, concert bands, stage bands, and jazz education taught him to adapt his playing to the music around him rather than force a single approach on every situation.Pat sees live performance and studio recording as related but distinct disciplines: live music benefits from energy and spontaneity, while recording often demands patience, restraint, and attention to the larger sonic picture.Decades of experience have reinforced the importance of trusting musicians, preserving the energy of early takes, and knowing when additional notes—or additional production—actually help the music.Music from the EpisodeCuts Like a Knife - Bryan AdamsTruth Untold - OddsI Thought I'd Seen Everything - Bryan AdamsInto the Mystic - Colin JamesAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams, featuring thoughtful conversations with musicians, songwriters, producers, engineers, and other creative people. Each episode explores the experiences, decisions, collaborations, and musical ideas behind a life spent making music.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

Thanks again for filling out the survey! --- Get Your Copy of the Drummers on Drumming Book Today

This week on Drummers on Drumming, I'm bringing back a re-edited 2021 conversation with my friend Anthony Fung. The premise was simple: five-ish records and drummers that might finally get you into jazz. Anthony explains what makes each drummer distinct, from Tony Williams's fearless choices to Roy Haynes's light touch, Elvin Jones's rolling feel, and Billy Higgins's unmistakable swing. We also talk about Anthony's path from discovering drums through Drumline to studying at Berklee and the Herbie Hancock Institute. If jazz has ever felt hard to enter, this episode offers a great place to start. Artist - The New Tony Williams LifetimeAlbum - Believe ItRelease Year - 1975Key Track - “Fred”Drummer - Tony Williams Artist - Miles DavisAlbum - My Funny Valentine: Miles Davis in ConcertRelease Year - 1965Key Track - “Stella by Starlight”Drummer - Tony Williams Artist - Miles DavisAlbum - ‘Four' & More: Recorded Live in ConcertRelease Year - 1966Key Track - “Walkin'”Drummer - Tony Williams Artist - Chick CoreaAlbum - Now He Sings, Now He SobsRelease Year - 1968Key Tracks - “Steps–What Was,” “Matrix,” “Windows”Drummer - Roy Haynes Artist - John ColtraneAlbum - A Love SupremeRelease Year - 1965Key Track - “Part I: Acknowledgement”Drummer - Elvin Jones Artist - McCoy TynerAlbum - SupertriosRelease Year - 1977Key Tracks - “Moment's Notice,” “Blues for Ball”Drummers - Tony Williams and Jack DeJohnette Tony Williams plays on “Moment's Notice.” Jack DeJohnette plays on “Blues for Ball.” Artist - Lee MorganAlbum - CornbreadRelease Year - 1967Key Tracks - “Cornbread,” “Ceora”Drummer - Billy Higgins The album was recorded in 1965, which explains the year mentioned during the conversation. It was released in 1967. Artist - Max RoachAlbum - We Insist! Max Roach's Freedom Now SuiteRelease Year - 1960Key Track - No individual track namedDrummer - Max Roach Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of The Bandwich Tapes, I sit down with multi-instrumentalist and recording artist Erik Hall to talk about his evolving relationship with minimalist music. We begin with his large-ensemble interpretation of Simeon ten Holt's Canto Ostinato, created in collaboration with Metropolis Ensemble and Sandbox Percussion following a performance at the Brooklyn Botanic Garden.Erik takes me inside the challenges of moving from a solitary, multitracked recording process to an ensemble filled with individual players, instincts, and senses of time. We talk about tempo, repetition, concentration, and how a piece changes when musicians must listen, respond, and move through it together.We also trace Erik's path from childhood classical piano lessons through jazz drumming, rock bands, touring, and record-making. That wide musical background eventually brought him back to the piano and to solo interpretations of works by Steve Reich, Simeon ten Holt, Glenn Branca, Charlemagne Palestine, and Laurie Spiegel.  Along the way, Erik explains how microphone placement and instrumentation helped him build the sonic world of Music for 18 Musicians. He also reflects on the balance between honoring a score and giving himself enough freedom to discover something personal inside it.We close with Erik's return to original composition, the creative discipline of working every day, and the surprising power of writing music that can stand on its own in a single performance. We also talk about his recent time playing drums with Natalie Bergman—and why, behind the kit, feel matters far more than complexity.Key TakeawaysErik's large-ensemble version of Canto Ostinato grew from his 2023 solo recording and an invitation from Andrew Cyr of Metropolis Ensemble.The project began with a 52-musician performance at the Brooklyn Botanic Garden before being refined into a studio recording with Metropolis Ensemble and Sandbox Percussion.Playing repetitive music with an ensemble requires a different kind of attention than building it alone through overdubs, especially when navigating cues, repeats, tempo, and transitions.Erik's background in classical piano, percussion, jazz drumming, guitar, touring, and studio recording all informs the way he approaches minimalist music.While recording Music for 18 Musicians, Erik used instrumentation and microphone placement to preserve the behavior of Steve Reich's arrangement while creating a distinct sonic identity.Years of working on Canto Ostinato have transformed Erik's piano playing and reconnected him with the patient, incremental process of learning music.Erik is now developing original material, including music conceived for solo piano or Fender Rhodes, while also working on a film score and considering future interpretive recordings.Music from the EpisodeMusic for 18 Musicians (Pulses) - Erik HallCanto Ostinato - Erik HallStrumming Music - Erik HallMusic for a Large Ensemble - Erik HallThe Temple of Venus - Erik HallAbout the PodcastThe Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape their creative lives. Hosted by musician Brad Williams, each episode offers an honest, thoughtful conversation with artists, producers, engineers, and other members of the musical community.Connect with the ShowEmail: contact@thebandwichtapes.com

Italian DrummingGuest: Salvatore GuglielmoHost: Anna Harsh Salvatore will explore the rhythms, traditions, and heartbeat of Italian drumming and the powerful way they bring people together on the dance floor. Sal will be performing with Allegro on Sat September 26@ 3pm for the Washington PA Italian festival sponsored by Primo Italiano Lodge #2800 Main Stage along with the amazing company members and a few other surprise guests that will be joining us too.Visit:www.SalvatoreGuglielmo.com www.AllegroDanceCompany.net#Tarantella #Drumming #Tarantula #SpiderDance #Italy #ItalianFestival

PLEASE LISTEN TO THIS SHORT LIL EPISODE: Click HERE for the Listener Survey. Or HERE. Or even HERE. What about HERE you ask? Hell yeah HERE too. --- Get Your Copy of the Drummers on Drumming Book Today

Clementine Moss reads from the Bliss and Drumming blog about the making of the song "BellLike" from the Stars Turn Me On album "GoldRush" from 2012. What is it like to look back at early work, and who were we then? Looking back, we can't help but see how far we've come.

Welcome North Carolina native, Kyle Wilkerson! Kyle is the touring drummer for multi-platinum, award-winning country artist Jordan Davis. We dive straight into Kyle's career, discussing family life, golf-centered touring routines, and memorable courses and markets like Europe and Australia. Kyle recounts moving to Nashville in 2010 after Appalachian State, leaving education and classical percussion plans to focus on drum set, beginning his Nashville career through radio tour with Maddie & Tae, later joining Michael Ray, and subbing for Jordan Davis in 2020 before joining full-time in 2021. He shares pragmatic advice on evaluating gigs, professionalism, and relationships, plus views on Broadway, changing Nashville, and the importance of learning Ableton/playback. He outlines gear, endorsements, and emphasizes staying healthy, present as a parent, and taking action without waiting. We hope you enjoy!Chapters:0:00 Intro 1:06 Welcome, Kyle! 1:17 Morning Routines 2:41 Golf and Drumming 5:02 Favorite Courses 6:01 Move to Nashville in 2010 7:46 Jordan Davis Early Years 9:39 COVID-Era Gigs 10:44 "Buy Dirt" Breakthrough 12:19 Maddie & Tae Radio Tour 19:53 Switching Gigs 28:52 Drum Box (Sponsor) 29:34 Touring Europe and Australia 32:10 Linkin Park Night Off 33:05 Band Life and Festival Season 34:03 Playback, Tech, & Ableton 45:24 Low Boy Beaters (Sponsor) 46:05 Early Influences and Jazz 51:11 Finding Your Passion 54:21 Drum Supply (Sponsor) 55:18 Classical Percussion Carryover 59:56 Nashville Then vs Now 1:13:19 Family Doubts and Validation 1:15:08 Raising a Family 1:20:41 Rezo Custom Drum Heads (Sponsor) 1:21:45 Career Milestones and Venues 1:24:30 Relationships and Rates 1:27:25 Keeping the Show Fresh 1:31:42 Festival Sets & Country Covers 1:34:51 Endorsements 1:40:57 Career Longevity 1:43:40 Rapid Fire Food Talk 1:45:27 Spurs Fandom and Soccer 1:47:29 IG Handle Story 1:49:50 OutroThank you to our Episode Sponsors:Drum Boxhttps://drumbox.spaceDrum Supplyhttps://www.drumsupply.comLow Boy Beatershttps://lowboybeaters.comRezo Custom Drum Headshttps://rezoheads.comConnect with Kyle:Instagram: https://www.instagram.com/flatbillionaireFacebook: https://www.facebook.com/kyle.wilkerson.395Music Featured in this Episode:"Tucson Too Late" - Jordan Davis & NEEDTOBREATHE (Live at CMT Crossroads)"Next Thing You Know" - Jordan Davis (Live at CMA Fest 2024)Support the showConnect with us:WebsiteInstagramTikTokYouTubeFacebookRecorded at Garden Groove Recording Space, Nashville, TNPodcast Artwork: GENUINE CREATIVE ART ⓒ 2026 Nashville Drummers Podcast, LLC

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 cymbal intros. Here are the results plus a few honorable mentions from the peanut gallery. --- Get Your Copy of the Drummers on Drumming Book Today

From singing and dancing to drumming with a solo number, Casey Trotter electrifies the screen with his performance as Cliff in Camp Rock 3, the newest installment in the Camp Rock franchise. We had a chance to chat about his early beginnings, learning how to drum, and what his film preparation was like. All this and more on Hard NOC Life! Watch it on your screen, hit "play," and check this. Subscribe to all of the podcasts in the Hard NOC Media family on Apple Podcasts, Google Play, NPR One, and Spotify! Support us on GoFundMe and Patreon! Buy merch on TeePublic! Subscribe to our YouTube channel! As always, our official theme music is brought to you by the super team of Adam WarRock and Chops.

On this episode of The Bandwich Tapes, I sit down with percussionist, composer, educator, and Sō Percussion member Josh Quillen for a wide-ranging conversation about teaching, ensemble life, steel pan, podcasting, grief, musical history, and the value of listening closely.Josh joined Sō Percussion in 2006 and has spent nearly two decades helping the ensemble develop its distinctive approach to contemporary chamber music. We talk about how the group has evolved from a model built around four percussionists playing similar setups into one that more openly reflects the individual musical identities of its members. Josh shares how composers such as Steven Mackey helped the group recognize the value of those differences, from steel pan and drum set to marimba, electronics, singing, and synthesizers.We also spend time discussing the Sō Percussion Summer Institute, which Josh describes as one of the most demanding and rewarding parts of his year. He explains how the institute asks young musicians to learn an enormous amount of music with unfamiliar collaborators, confront insecurity, and discover that missing a note is rarely the most important problem in the room.The conversation becomes deeply personal as Josh talks about losing his father to ALS, preserving one of the final recordings of his voice, and how that experience helped shape his podcast, Concert Honesty. We discuss the importance of documenting artists as full human beings, the danger of turning musical heroes into myths, and what Josh has learned from speaking with musicians such as Russ Hartenberger, Bob Becker, Joan Tower, Steve Reich, and others.Along the way, Josh reflects on growing up in rural Ohio, learning discipline from his father's work at a bottling warehouse, discovering steel band in high school, traveling to Trinidad without a phone, and learning that musical development often comes from curiosity, failure, repetition, and the freedom to make mistakes without having every moment permanently documented.Key Takeaways• The Sō Percussion Summer Institute is designed to give young musicians an intensive taste of professional ensemble life, including uncertainty, limited rehearsal time, unfamiliar collaborators, and ambitious repertoire.• Josh believes strong teaching requires precision, empathy, and the ability to give honest criticism without stripping students of their confidence.• Sō Percussion's musical identity has gradually shifted from four players demonstrating similar technical skills toward a model that embraces each member's individual musical interests.• Steven Mackey's It Is Time became an important turning point by highlighting Josh's steel pan background and the distinct musical personalities of the Sō Percussion members.• Josh's approach to Steve Reich's music is rooted in chamber music precision, shared pulse, groove, and a clearly defined ensemble identity.• Concert Honesty began partly as a way to preserve the voices, experiences, and humanity of musicians beyond their résumés and major accomplishments.• Losing his father to ALS shaped Josh's understanding of memory, grief, recorded sound, and the importance of preserving a person's voice.Music from the EpisodeMusic for Wood and Strings (Part 1) - Bryce Dessner (Sō Percussion)To the Sky - Caroline Shaw (Sō Percussion)Let the Soil Play Its Simple Part - Caroline Shaw (Sō Percussion)Rectangles and Circumstance - Caroline Shaw (Sō Percussion)About the PodcastThe Bandwich Tapes is a podcast about how music gets made and the people who make it. Hosted by musician Brad Williams, the show features thoughtful, musician-to-musician conversations about craft, collaboration, creative process, artistic growth, and life in music.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

The Adam Wolfe Interview — Now on VideoThis is the video version of a Broadway Drumming 101 classic, first published back in 2022.Adam Wolfe made his Broadway debut on Frank Wildhorn's Wonderland after playing its out-of-town tryout at Houston's Alley Theatre. From there he built one of the most versatile résumés in the city, subbing on Rent, Evita, Matilda, Cats, Hello Dolly, Anastasia, The Prom, West Side Story, and more, plus chairs on Bandstand, Jerry Springer the Opera, and Clueless the Musical. A classically trained percussionist with serious drum set chops, Adam is the kind of hybrid player who can walk into almost any pit and hold it down.In this conversation, Adam talks about what it actually took to build that career: the prep, the trust-building, and the versatility that keeps the calls coming.This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.If you want the roadmap for building a career like this, grab a copy of Broadway Bound and Beyond. It's the book I wish I had when I started, and it lays out the actual sequence: how to build the reputation, the relationships, and the readiness that get you in the pit and keep you there. Get it at broadwayboundbook.com.And if you're already working toward sub gigs, check out The Broadway Sub Playbook. It's a short, direct four-week guide covering pit prep, etiquette, and the habits that get you called back. Get it at signaturebrandworks.com.Watch the full interview, then go get both. Nobody hands you a career in this business. You build it.Clayton Craddock was most recently 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 this episode of The Bandwich Tapes, I sit down with Tropidelic drummer Rex Larkman to talk about the band's new album, First Light, and the musical evolution behind it. Rex joined the Cleveland group in 2018, bringing the intensity of his punk and metal background into Tropidelic's blend of reggae, rock, ska, funk, and hip-hop.We dig into Rex's growth as a drummer—from wanting to play everything to recognizing the beauty and difficulty of playing exactly what a song needs. He explains why pocket, restraint, and a strong connection with the bass player matter so much in rhythm-driven music, and why listeners often move more when the drummer leaves space.Rex also takes us inside the making of First Light. Ideas emerged at soundchecks and on the road before being developed with producer Craig Broadhead in Cleveland. Live performances, programmed beats, layered snares, keyboards, and studio experimentation all became part of an album in which every song was allowed to find its own sound.We talk about the danger of quantizing the life out of a drum performance and the importance of allowing music to breathe. Rex describes how Tropidelic transforms its studio recordings for the stage by changing tempos, rearranging sections, adding horn solos, and adjusting set lists from one night to the next.We also discuss Tropidelic's touring community, the band's Everwild festival, and the positive message running through the new music. For Rex, the goal is straightforward: work hard, connect with the audience, support the people around you, and give every room a high-energy show that still feels human.Key TakeawaysRex joined Tropidelic in 2018 after becoming part of Cleveland's local punk and independent music community.His early influences included classic rock, Metallica, Avenged Sevenfold, punk, metal, ska, Sublime, Streetlight Manifesto, and Less Than Jake.Playing with Tropidelic taught Rex that restraint can be more challenging—and more musical—than filling every available space.Much of First Light began with short ideas created at soundchecks and developed later with producer Craig Broadhead.The album combines live drums, programmed elements, layered snare sounds, keyboards, effects, and production created in several locations.Rex believes precise editing can remove the natural movement from a performance; everything should feel in time without necessarily sitting perfectly on a grid.Tropidelic regularly reshapes its songs for the stage, changing tempos, shortening arrangements, adding solos, and responding to each audience.Music from the EpisodeSignals - TropidelicAbout the PodcastThe Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape their creative lives. Hosted by musician Brad Williams, each episode offers an honest, thoughtful conversation with artists, producers, engineers, and other members of the musical community.Connect with the ShowEmail: contact@thebandwichtapes.com

This week on Drummers on Drumming, we're jumping back into part two of my conversation with Brendan Buckley, Zack Albetta, and Eric Urrea. In this episode: How much production a live show actually needs The modern skills working drummers are expected to have Keeping your identity while adapting to the gig Why space can sound bigger than layers Whether a live show is for the artist or the audience Why a quiet crowd doesn't always mean a bad show Winning over a room that didn't come to see you Stories involving Rage Against the Machine, Van Halen, Damien Rice, and bucket percussion If you haven't heard part one yet, I'd recommend starting there. --- Get Your Copy of the Drummers on Drumming Book Today

Welcome to The Big Rab Show Podcast.  In this our 500th Episode we gather The Big Rab Show Team, and attempt to predict the potential winners for the 2026 World Pipe Band Championships.  Please keep in mind that this is not to be taken seriously, but rather a discussion on those bands and Drum Majors we're excited to see.  We are so excited for the biggest weekend in Piping and Drumming, and we want to wish you all the best of luck for the Big Yin ! Don't forget we have lots of amazing backstage videos, and audio recordings, exclusive interviews, episodes of Big Rab Show Plus! and loads more to share with you on there, so click support and get your hands on all this extra stuff!! Email us now - bigrabshow@gmail.com Support us  www.patreon.com/BigRabShow We are the show for the piping folk, reflecting everything to do with the bag piping world. Feel free to message us on Facebook and on Twitter and let us know what you would like to hear on the show, as well just to let us know that you're listening. Our live show continues to broadcast live every week on Fuse FM Ballymoney on Tuesday nights 7pm-9pm (uk time) be sure to check it out. Thank you to our very kind sponsors, G1 Reeds. If you would be interested in sponsoring the show, please do get in touch.  Or help support us via our Patreon page.   www.thebigrabshow.com www.facebook.com/TheBigRabShow www.twitter.com/bigrabshow bigrabshow@gmail.com

Clementine Moss reads from the Bliss and Drumming blog about the making of the song "Holiday of Love" from the Beaux Cheveux album "Ro Sham Bo" from 2018. What is it like to look back at early work, and who were we then? Looking back, we can't help but see how far we've come.

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.Based in NYC since 2011, Adam came to New York by way of Houston, TX, where he completed his Master's Degree at Rice University's Shepherd School of Music (2008). Adam grew up in Northeast Ohio, where he attended Cleveland State University (2006). Formally studying classical percussion throughout his education, Adam also actively performed as a freelancer on drum set — his classical background combined with his drum set skills gave him a unique blend that turned out to be very well-suited for musical theater.After playing its out-of-town tryout at Houston's Alley Theatre, Adam had his Broadway debut as the drummer on Frank Wildhorn's WONDERLAND when it transferred to Broadway (Spring 2011). OBCR on Sony Masterworks.With his foot in the door from his first Broadway show, Adam set about the work of subbing and building a reputation in and around the city. Subbing on NYC productions as diverse as RENT, EVITA, MATILDA the Musical, AVENUE Q, CATS, HELLO DOLLY, ANASTASIA, THE PROM, WEST SIDE STORY, COME FROM AWAY, and LITTLE SHOP OF HORRORS — and many more — Adam routinely demonstrates a wide-ranging versatility. A unique hybrid player, Adam is equally at home on drum set and percussion, excelling in situations that demand both contemporary drum set styles and legit classical/orchestral sensibilities.Adam's most recent NYC chairs include 2017's BANDSTAND on Broadway (TONY Nomination for Best Orchestrations, TONY WINNER for Best Choreography), Jerry Springer the Opera, and Between the Lines with acclaimed writers Samsel & Anderson — where Adam not only played drums and percussion but helped create the percussive mix elements. Adam is often found developing new works in NYC's rehearsal studios, working with established and new writing teams whenever possible. Most recently, Adam subbed on CATS: The Jellicle Ball.Adam has supported many of NYC's finest singers, including Caroline Bowman, Austin Colby, Jordan Dobson, Natalie Weiss, Justin Guarini, Sierra Boggess, Laura Osnes, Josh Young, Orfeh, Andy Karl, Patti LuPone, Jeremy Jordan, Ben Fankhauser, Brian Justin Crumm, Jenna Ushkowitz, Jay Armstrong Johnson, Kacey Velazquez, Loren Allred, Andy Mientus, and Crystal Monee Hall, among many others.When not in the theater, Adam is often found in NYC recording studios playing for singer/songwriters and composers like Desi Oakley, The Jack Mosbacher Band, Michael Mott, and David Mallamud — playing cabaret spots like Feinstein's 54 Below, performing at Lincoln Center, and downtown venues such as Rockwood Music Hall, Piano's, and The Bitter End. Adam also records drum tracks and produces at his studio in Midtown Manhattan.Recordings Adam Has Played On:* Between the Lines Original Cast Recording* BANDSTAND Original Broadway Cast Recording* Desi Oakley, “Repeat”* Michael Mott, “Abandoned Heart” (Released on Broadway Records, September 15, 2017)* A Rockin' Midsummer Night's Dream – World Premiere Recording* You're a Good Man, Charlie Brown (2016 Off-Broadway Cast Recording) — available on iTunes, Amazon, and Barnes & NobleCollaborators featured on these recordings include David Mallamud, Nat Zegree, The Jack Mosbacher Band, and Desi Oakley.Connect with Adam:Facebook | Twitter | Instagram | Contact form for bookings and inquiries.Site: home | about | media | recording/programmingClayton Craddock was most recently 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

Drumming x Worship Music x 1 Corinthians 12:12Your daily crossover of faith and fandom! Experience daily Biblical encouragement from nerdy Christian podcasters, bloggers, and content creators. Join the Nerd of Godcast community at www.NOGSquad.com

This week on Drummers on Drumming, we're back with another installment of The Drum Panel. I'm joined by Brendan Buckley, drummer and producer for artists like Shakira and Tegan and Sara; Zack Albetta, Broadway drummer and co-host of the Working Drummer podcast; and Eric Urrea, an independent drummer from Chicago who plays with Marina City and La Armada. This is part one of our two-part conversation. In this episode: Why changing your mind can be a good thing Getting through creative slumps How making drums your job changes your relationship with playing Vulnerability in music and performance Backing tracks and modern live shows When polish starts removing the human element Strong opinions, disagreements, and plenty of gray area If you enjoy the show, please rate and review it wherever you listen. --- Get Your Copy of the Drummers on Drumming Book Today

Send us Fan Mail“Right now the most invaluable resource (besides water) is empathy.”This quote from EN'B definitely sets the tone for this episode of Dem Bois Podcast. Today, EN'B shares their journey through music, their cultural identity, and the significance of drumming as a form of meditation and community connection. We also discuss the impact of colonization on cultural practices, humor as a survival mechanism, and the intersections of diaspora and cultural trauma. We talk:10:02 - Growing up Korean American in Arkansas21:19 - The spiritual significance of drumming39:46 - Exploring diaspora blues and ancestral connections54:07 - Remembering life before colonization01:06:03 - Self-love and body awarenessEpisode References:Fulfillment Through Authenticity and Art as Self-Discovery with Wen NealeHaving Faith and Knowing That You're Worthy with Alexander Rey Simon-PerezRead more about EN'B in their bio below:EN'B 은비 they/he is a Korean American non-binary transmasc producer, singer-songwriter, Korean traditional percussionist, and actor. Their work channels Han 한—collective grief and unavenged injustice—alongside heung 흥, the joy found in resilience. Born in LA, raised in Arkansas, and shaped by their studies in Baltimore, EN'B navigates the intersections of diaspora and dysphoria to express what they call their “diaspora blues.” They've performed across the U.S., including the Kennedy Center, Broadwater Theater stages, with a mission to ancestral dreams through performance and mediaIG - @Littlegiant.enbCelebrate 10 years of Dem Bois Inc.!2026 marks ten years of Dem Bois Inc. To honor this milestone, we invite you to join our 10 for 10 campaign by giving $10 a month to help sustain the care, leadership, and visibility that trans men of color deserve.Your support helps build a future rooted in care, visibility, and possibility.Donate today!Donate today to support Transmasc Gender Affirming Grants and Community Wellness Packages for Trans Men of Color!The  Visibility = Possibility™️ Merch is here! - Not just merch, but a movement! Dem Bois Community Voices Facebook Group is a safe, moderated sanctuary where trans men of color can connect authentically, discuss podcast episodes, share powerful experiences, and build support networks. Dem Bois YouTube Channel! - @demboisinc - Exclusive content you won't find anywhere else!

Clementine Moss reads from the Bliss and Drumming blog about the making of the song "The World and You" from the Stars Turn Me On album "GoldRush" from 2012. What is it like to look back at early work, and who were we then? Looking back, we can't help but see how far we've come.

It's COOL Summer—our season of coloring outside of the lines! Every Sunday brings a different interactive experience designed to deepen connection, inspire growth, and make spirituality something we don't just hear about, but practice together. This week, we'll discover the power of shared rhythm and sacred sound. Through simple chants and drumming, we'll experience the joy, presence, and deep connection that arise when we lift our voices and move as one. No musical experience is needed—just an open mind, an open heart, and a willingness to join the rhythm. Feel free to play along at home! Website: https://unityfortworth.org Facebook: https://facebook.com/unityfw YouTube: https://youtube.com/unityfortworth

Join us for an inspiring journey through the world of music as host Buzz Knight welcomes Nic Collins, the talented drummer and son of the legendary Phil Collins, to this week's encore episode of takin' a walk. Nic opens up about his musical evolution, sharing how iconic drummers like John Bonham and Taylor Hawkins have shaped his style and approach to drumming. The conversation dives deep into the vast resources available today, especially on platforms like YouTube, that have become invaluable for aspiring musicians. Buzz Knight, known for his engaging storytelling, guides Nic Collins through a heartfelt discussion about his father's retirement and the lasting impact of Phil Collins' music on his own career. As Nic introduces his new band at the time of this recording in 2024, The Effect, he reveals the collaborative songwriting process that fuels their creativity. This episode is rich with insights about the dual drumming tradition in bands like Genesis and the unique dynamics that come into play within The Effect. Nic Collins emphasizes the importance of physical fitness in sustaining drumming performance, sharing personal anecdotes and techniques that have influenced his journey. Listeners will find themselves captivated by Nic's passion for music and his growth as an artist, as he reflects on his aspirations and the resilience required to navigate the music industry. This episode of takin' a walk not only highlights the rich tapestry of music history but also serves as a reminder of the power of creativity and collaboration in shaping one's career. Whether you're a fan of classic rock stories, interested in the Nashville music scene, or simply love inspiring music stories, this episode is a must-listen. Tune in to hear Buzz Knight and Nic Collins explore the depths of musical artistry, resilience, and the stories that connect us all through the universal language of music. Don't miss out on this incredible conversation that embodies the spirit of takin' a walk with Buzz Knight—a podcast that celebrates the journey of musicians and the stories behind the sounds. Join us as we walk through music history, one inspiring story at a time! Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Spencer Inch is one of those musicians who makes you realize how wide this career can actually be. We talked about his path from Wilton, Connecticut to the national touring circuit, and I kept thinking: this is exactly what Broadway Bound and Beyond is about.Here's what we got into:* Spencer started on drums at age six when his parents bought him a CB700 from a neighbor — he still talks about that kit like it was a Stradivarius* He studied classical percussion at Penn State, then pivoted to jazz drum set at the University of Miami's Frost School — going from big fish to small pond overnight, and what he did about it* He did multiple contracts on cruise ships right out of grad school, playing everything from waltzes to Glenn Miller to German polka with no internet and no time to prepare — and why he says he learned more there than in six years of school* He toured the country opening for the Counting Crows with singer-songwriter Seán Barna — playing to amphitheater crowds of 3,000 to 7,000 people, and the moment the Counting Crows' drummer handed him the sticks to close out a show* He spent a year and a half on the Come From Away national tour playing bodhran — on stage, in the action, 467 shows — after saying yes to an instrument he'd never played before* He's now on the Water for Elephants national tour, a gig that came directly through the music director he built a relationship with on Come From AwayThe throughline in Spencer's story isn't talent. It's relationships, saying yes, and taking every single gig seriously — no matter what it is. The polka gig. The Les Mis at a children's theater. All of it.Watch the full episode above!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

This week on Drummers on Drumming, we're revisiting a conversation with Richard Spaven, originally recorded in early 2021. Richard has worked with artists including José James, Flying Lotus, Gang Starr, The Cinematic Orchestra, and Jameszoo. His solo work blends acoustic drums with the feel and texture of hip-hop, drum and bass, dubstep, and electronic music. In this episode: Teaching with honesty and helping students find their own voice Treating dynamics as another layer of coordination Creating programmed precision on an acoustic drum kit Keeping complex grooves soulful and easy to feel How the Amen break changed modern music Living inside a music scene instead of simply studying it online Learning from electronic beats without separating machines from musicians Why smaller, higher-pitched kick drums can leave more space for the bass If you enjoy the show, please rate and review it wherever you listen. Richard also has a chapter in Volume One of the Drummers on Drumming book, where he goes deeper into several of the records discussed here. --- Get Your Copy of the Drummers on Drumming Book Today

Clementine Moss reads from the Bliss and Drumming blog about the making of the song "River Now" from her solo album "Conversation with Francis Bakin" from 2008. What is it like to look back at early work, and who were we then? Looking back, we can't help but see how far we've come.

Send me a text and please visit www.livefrommydrumroom.com My guest is veteran session and touring drummer, Michael White. We do a deep-dive into Michael's incredible 40 plus year career including Curtis Mayfield, Steely Dan, George Duke, George Benson, Frankie Beverly & Maze, Luther Vandross, Vanessa Williams and over 60 movie and film credits. Michael stresses the importance of not just "getting the gig" but "getting called back" and much more! So come along for the ride with Michael White! Live 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

This week on Drummers on Drumming, we're back with another installment of The Drum Panel. This is part two of a two-part conversation with myself (⁠Ben⁠) ⁠Eric Urrea⁠, and ⁠Kyle Adams⁠. Kyle plays drums for Cartel and does a ton of session work from his studio outside of Seattle. In this episode: Posting from purpose instead of chasing likes Building a small, loyal audience over going viral Where a drummer's sound truly comes from How different gear can change the way you play Removing the small barriers that kill creative momentum Balancing music, family, work, and social media Making your career goals clear to the people around you How genuine connections led Kyle to Cartel and Gretsch Drums If you enjoy the show, please rate and review it wherever you listen. --- Get Your Copy of the Drummers on Drumming Book Today

This week on Drummers on Drumming, we're back with another installment of The Drum Panel. This is part one of a two-part conversation with myself (Ben) Eric Urrea, and Kyle Adams. Kyle plays drums for Cartel and does a ton of session work from his studio outside of Seattle. In this episode: Why tempo can feel different on stage Trusting, and questioning, your internal clock Big cymbals, smaller cymbals, and changing taste Shedding old influences Mike Portnoy, Elon Rubin, Josh Freese, and Taylor Hawkins Drumming identity and imposter syndrome Fitness and longevity behind the kit Posting from purpose versus pressure If you enjoy the show, please rate and review it wherever you listen. --- Get Your Copy of the Drummers on Drumming Book Today