Gregory wrote:
I agree about reading the mind, but can we not read the spirit? A deadpan player may be highly focussed, but the musical intensity will transmit. A very active player may be all over the stage but leave one musically cold. I'm not advocating acrobatics; I move very little when I play, as little as possible, because motion, for me, gets in the way of rather than promotes feel.
Didn't realize that Peart was doing a Buddy Rich thing here. That would explain a lot, but does not explain the lackluster performance on Letterman - which was quite theatrical but without much evidence of a musical spirit.
What I really don't get is the sound of Peart's drums. How can you play an extended solo on such a dead sounding kit? Seems to me that to make a solo interesting, the kit has got to be a participant, making sounds that are greater than the sum of its parts. Just a thought.
Greg - Excellent points. I think Peart has become somewhat of a caricature of himself. Much the same way that I feel Carlos Santana has been sort of recycling the same guitar riffs for the past 10 years, I'm not really sure Peart has much new to say these days. And for those of us who like to hear great "fresh" drumming of many styles, I'm not sure there is much to interest us there. I think many of his fans would probably be happy if he just played "Moving Pictures" for the next 20 years!
And I agree... for a guy who supposedly spend an entire year testing every pro drum out there before he switched endorsements to Ludwig? or DW? his drums just sound dead. And you have to really work hard to make a modern drum shell sound dead.
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