< PreviousModern Drummer November 2021 56 Six Standout Grooves from Dookie Tré Cool’s Explosive Drumming By Lane Sanders O ne day back in 1994, I went to the music store to pick up this album hilariously titled Dookie. I went home as fast as I could, put it in my CD player, and my life proceeded to change. “Burnout,” the opening track, tore through my house like a freight train, and I knew I was in for a raw and energetic experience. This album—especially Tré Cool’s drumming—has had a major influence on me and my musical interests ever since. I’ve actually played in the orchestra pit for local productions of the Green Day musical American Idiot—most recently this past summer—and I’m still discovering nuggets from Cool’s playing from those experiences. The Go-To Groove Cool has a go-to groove that he likes to use in numerous songs across Green Day’s wide-ranging repertoire. You’ll hear variations of this groove from the band’s first album to Revolution Radio [2016]. Next, I’ll highlight some standout grooves on Dookie—the parts Cool doesn’t repeat that live in a space once and aren’t played again. These are the gems—the teachable moments that project Cool’s influences and experiences. “Burnout” This groove isn’t fancy—and there’s nothing much to it—but what makes it stand out is the speed and consistency at which Cool plays it. Clocking in at around 180-beats per minute (bpm), it rounds out the track’s bursting energy as the album’s opening song. It’s played here before the solo break, and after the last chorus—driving to the end. “Chump” There are a few tom-groove moments on the album, and this is the first. Played with just the kick and floor tom—he doesn’t even use his other two toms—it’s simple yet effective. It also gives space to grow to the end of the song, where improvisational fills lead to the next track. “Longview” Here’s another tom groove, but this one is in 6/8. Green Day has a few songs in this meter, but not many. Again, this is simple yet effective. Then, Cool brings back the toms with an added snare backbeat at the bridge, keeping it driving, but presenting a slightly different feel. 1:12 1:25 0:00 1:48"Amazing Rock Drum Set history in one book now for the world to see. Sit back and enjoy!" - Carl Palmer Photographs by Mark Weiss The World’s Greatest Drum Kits are Right Here! If you love drums, you ‘ll love CRASH! ORDER YOUR COPY TODAY!Modern Drummer November 2021 58 “Welcome to Paradise” Here, Cool takes the “Chump” tom groove and expands on it by bringing in the snare and, eventually, the ride-cymbal bell. Here’s the instrumental break from the tom entrance. “In the End” After the second chorus, Cool switches it up for the instrumental section, giving it a sort of Latin feel, and eventually morphing back into a double-time backbeat and full groove when the chorus hits one last time. Cool Grooves! Diving into this material and getting the chance to break down the grooves brought back a lot of nostalgic memories for me, as I’m sure it will for a lot of drummers around my age. The ideas Tré Cool imprinted on this album still stand up, and his grooves and fills continue to be a major influence for a new batch of young Lane Sanders is a prominent drummer, percussionist, and educator in the San Francisco Bay Area who has studied under Mike Johnston, Peter Erskine, and Galen Lemmon. Sanders area of expertise is musical theater, and his recent credits include pre- Broadway engagements of Paradise Square: A New Musical and Ain’t Too Proud: The Life and Times of The Temptations. He has also performed with Symphony Silicon Valley, San Francisco Opera, and the Air Force Band of the Golden West. Sanders is currently the Percussion Caption Head for the San Jose State University Marching Band. lanesanders.com (play 16x total) (ride bell) 2:03 1:00DIGITAL DOWNLOAD CODE INSIDE Buy from your favorite retailer check out more at moderndrummer.com The Carmine Appice Library Collection Presents: DIGITAL DOWNLOAD CODE INSIDE DIGITAL DOWNLOAD CODE INSIDEModern Drummer November 2021 60 Creating Hooks By Stephen Perkins H ow should drums fit into a song, and how can you make the drums become another hook within a song? When you think about the word “hook,” it’s something you get hooked on that you want to have over and over, but it’s also something unpredictable—like when a fish gets hooked. Everything is fine, and suddenly, you’re hooked. Musically, I think of hooks both ways—you want to give listeners something unpredictable, but after they hear it over and over, it becomes predictable and then it’s a hook. I try to find my own hook amongst the hooks of the bass player, the guitar riff, and the poem. That was the magic of “Mountain Song” by Jane’s Addiction [from Nothing’s Shocking, 1988. The groove itself is very tribal. It’s simple, but it’s a complicated idea. One of the great drummers of all time, Kenny Aronoff, called me up because he was doing a gig where they were covering “Mountain Song.” He said, “I’ve got the beat, but it doesn’t sound quite right.” I said, “Think of it as a djembe beat—not a drum set beat.” He got it. For “Mountain Song,” it’s the hand pattern that makes all the difference. With rhythm, it’s not what you do, it’s what you don’t do. There really has to be a feel. I always think of it as an oval shape going down a hill. That egg will get to the bottom, but it has a hump to it, and that’s what this beat has. I always try to find a spot that doesn’t interrupt the tune. Ringo always said that you don’t want to mess with the song, but it’s sometimes hard to figure that out amidst all of the other hooks and production techniques. One of my favorite Ringo beats is “Tomorrow Never Knows.” That’s a feel. That’s a drum hook. I want to write hooks like that. You should, too. I often remember that I was a big fan of heavy metal, and I kind of fell out of it. Then, Pantera showed up with the great Vinnie Paul on drums, and it was the drummer that pulled me back in. It was the same with Slipknot. So, you see, the hooks don’t have to be exclusively tied to the song. The hook can be the drummer. Try out the following grooves from “Tomorrow Never Knows” [Revolver, Beatles, 1966], “Mountain Song” and “Pigs in Zen” [Nothing’s Shocking, Jane’s Addiction, 1988], and “Pets” [Porno for Pyros, 1993], and then start devising your own drum hooks within songs. November 2021 Modern Drummer 61 RRRRLLRLRRRRBRLL RRBRRRRRLRL RRBRRLRLRLRLRLRL BRBRBRBR RRRLRRRRRLLRLRLRLRLLRLRLRL RRRRLLRRLRL / "Mountain Song" Groove > > China "Mountain Song" Chorus / >> 12 / Bass Drum Pattern / Chorus with The Hook >>> 33 34 / Open Side Snare Pet's Groove > / "Tomorrow Never Knows" Beatles Groove > >>> 56 / Pigs In Zen (Cadence) > / Chorus (Cadence) >> 78 / Full Groove (Pigs In Zen) >>>>>>>>>>>>>> 9 / Chorus Groove 10 ¿ œ ¿ œ ¿ œ œ œ ¿ œ œ ¿ œ œ ¿ œ œ œ ¿ œ œ œ ¿ œ œ œ ¿ œœ œ ¿ ¿ œ ¿ ¿ œ ¿ œ j œ ¿ œ ¿ œ œ ¿ œ ¿ œ ¿ œ ™ œ Œ œ ™ œ Œ œ ¿ ¿ œ ¿ œ ¿ œœœœœœœœœœœœ œ œ ¿O œ œ ¿ œ ¿ œ O œ œ œ ¿ œ ¿ œ ¿ œ ¿ œ ¿ œœ ¿ œœœœœœ ≈ œœœœœ œ j œœœœœœœœ ≈ œ j œœœœœœœ œ ¿ œ ¿ œ œ ¿ œ ¿ œ ¿¿ œ œ ¿ œ ¿ œ ¿ œ ¿ œ œ ¿ œ ¿ œ ¿ œ œ ¿ œ œ ¿ œ ¿ œ ¿ œ ¿ œ ¿ œ ¿ œ ¿¿¿ œ œ ¿ œ ¿ œ ¿ œ ¿ œ ¿ œ ¿ œ ¿ œ œ ¿ œ œ ¿ œ œ ¿ œ ¿ œ œ œ œ œ ¿ ≈ œ œ œ œ œ œ œBUY FROM YOUR FAVORITE MUSIC RETAILER CHECK OUT MORE AT MODERNDRUMMER.COM Available In Print and Digital Format DIGITAL DOWNLOAD CODE INSIDE Presents: 80 pages of extensive and new in-depth interviews Exclusive Erskine Recordings Pictorials of Weather Report, Peter And Friends, The Early Years Peter’s analysis and insights on 40 + pages of drum transcriptions Digital Download Component EXCLUSIVE PHOTO SECTIONS! Legends DIGITAL DOWNLOAD CODE INSIDEThe Design Lab is a group of Artists, Engineers and Designers who form the incubator for unique professional instruments exclusively for Mapex Drums by using one of a kind sound inspirations and conceived by the revolutionary "Concept Hybrid Formula.” The Design Lab creates unique voices, each with a combination of the artistry of instrument making and the modern science of drum design. RUSS MILLER BPDLMH4460LPWBPDLMH4650LPWModern Drummer November 2021 64 IN MEMORIAM A ll the greatest bands have memorable drummers: Charlie Watts, Ringo Starr, John Bonham, Keith Moon. They are the furnace that powers a band’s engine. We have to add Graeme Edge to that list, as he was that furnace for the Moody Blues. Graeme was a father, grandfather, husband, musician, songwriter, poet, hellraiser, and my “tour buddy” for more than 25 years. He was also my dear friend. There will be lots of people writing about Graeme. This is my small contribution. Whilst this is one of the saddest things I can remember writing in a very long time, Graeme’s life was all about celebration. He ate life raw. It has been said, “You can take Graeme out of rock and roll, but you can’t take the rock and roll out of Graeme.” I would walk away from a single conversation with Graeme feeling as though I had been in the presence of Apollo, my oldest brother, a president I wanted to impress, a friend that always got me into trouble, old father time, someone who once had a martini with the devil, and all the best bits of the British Library. Being in conversation with Graeme gave you the feeling that you had been gifted something you were not sure you deserved. As part of the Moody Blues, he appeared to live the equivalent of five stupendous lives to my ordinary one. He sold out Madison Square Garden twice in one day, was immortalised on The Simpsons, and his drumming and lyrics were recorded onto some 70 million albums. He was awarded 14 platinum and gold discs, presented with an Ivor Novello Award, played every single show with the band for 50 years, and was inducted into the Rock and Roll Hall of Fame in 2018. He sailed the Atlantic, flew microlights, and was known in the band for crashing more than one car. It didn’t matter if he was eating, drinking, playing the drums, or just living another day—he was fearless. I’m proud to say we sat next to each other behind two huge drum kits on countless stages around the globe, and we played our hearts out on every single Moody Blues world tour for 25 years. It’s rare to have two drummers in a band, but it became second nature to Graeme and me. This was more than a meeting of souls. It was also a dream come true for this younger drummer. Very early on in my tenure with the Moody Blues, Graeme and I secured the back room of our Prevost tour bus and spent the following decades there—laughing and drinking as we toured America for what felt like an indefinite period. It was known as the Bad Boys Lounge. What mostly happened back there were tea and sandwiches— maybe an occasional bottle of wine—with acco¬mpanying conversations about family, friends, politics, and life with uncontrollable laughter. Always with uncontrollable laughter. However, we did indeed have many riotous times together. Even though Graeme was 20 years my senior, I would still often have to leave him in a restaurant or bar after a show—drinking wine or deep in conversation with someone he’d just met—just so I could function the next day. Nevertheless, he was always there the next morning, restored to his normal good humor, ready for us to blast another show, and leave our souls on the stage. Plus, he loved every minute of it. As did I. As Graeme would have told you, being a musician in a touring rock band is, hands down, the best friggin’ job in the world. Graeme was my inspiration, a force of nature, and a humorous, overly generous, and loyal friend. To give you an idea of his philosophy, we were once sitting at the back of the tour bus driving out of Denver, Colorado. We were buzzing after a show at Red Rocks Amphitheatre—freshly showered and in our pajamas—holding two small goldfish bowls containing ice-cold delicious white wine. I asked him if he believed in heaven. He tugged on his goatee and wryly said “Yes. We’re living there now.” You will be terribly missed by many Graeme—especially me. Rest in peace my dear friend. Graeme Edge March 30, 1941 - November 11, 2021 By Gordy MarshallTHE MASSIVELY-POPULAR MICRO KIT is now offered up in every Brooklyn Series finish. All of That Gretsch Gretsch Sound in one gig-friendly package. Customize your Micro today—made to order in Ridgeland, South Carolina. Mark Guiliana #GretschMicro gretschdrums.comNext >