is there a drummer in the house

Is There a Drummer in the House: The Buzzcocks’ John Maher

Feb 212007

I love The Buzzcocks. I’ve loved them since the day in high school when I took a flyer on Singles Going Steady. The fast rush of that midrangey twin-guitar attack, Pete Shelley’s concise way with words…you know what I’m talking about. I will have to say, for a guy whose band has covered a handful of these songs over the years, I’ve always been a bit mystified by the role of drummer John Maher.

For years I thought he was the weak link in the band. Then, one night while standing precisely in the “sweet spot” of my drummer friend Townsman Sethro’s kick-ass stereo system, I began thinking that he was really great. Since then, I find myself creeping back to the thought that I’m not really thrilled about his drumming.

I’m certain of a few things:

He doesn’t play in “my” style.
He never drags the band down, which is a great strength; in fact, he drives the songs with the pedal to the metal, which may be his greatest strength.
Beside the opening fill to “I Don’t Mind” and maybe a few fills during the great, long jam in “Why Can’t I Touch It”, I think his fills sound sloppy and overplayed

To this last point, when we discussed the drumming of Bev Bevan a couple of weeks back, Townsman Andyr said something to the effect of “His fills are never memorable – they don’t make me want to play air drums.” Because of the pace of Maher’s drumming, I sometimes “play along,” but it’s more like the spastic hambone of a child with ADHD.

Over the years, I’ve come to the tentative conclusion that love him or not, John Maher’s drumming perfectly suited the music of The Buzzcocks, but could he have done better?

So I ask, is there a drummer in the house? And I ask whether any drummers in the house can more fully explain the merits of John Maher’s drumming in The Buzzcocks. I also ask whether I am correct in identifying some of his weaknesses. And, finally, I ask whether the music of The Buzzcocks could have been better supported by another type of drummer. Feel free to give it to me good, but responses along the lines of “Jesus Christ, Mr. Moderator, must you pick apart everything that is beautiful and great in the world?” will not be tolerated. Not in this game. I seek education and enlightenment.

I look forward to your responses.

Is There a Drummer in the House: Bev Bevan, Boorish Basher or Basher Extraordinaire?

Posted by Mr. Moderator

Jan 302007

When debate over the alleged ham-fistedness of John Bonham came up the other day, it became clear to me which drummer I would first place on the examining table in a new feature I’d like to call Is There a Drummer in the House? I know we’ve got a couple of drummers checking in regularly, and I know we’ve got a number of self-appointed drum consultants on hand. As much as I value the role of the drummer, I don’t know enough about the instrument to articulate what it is I value without the aid of shooting dirty looks at a drummer and speaking in vague impressionistic terms that few drummers can understand. I’m counting on you to help me articulate what sometimes confuses me in the role and execution of drummers.

Bev Bevan, drummer for The Move and ELO. If you’ve already gotten the impression that Mr. Moderator loves The Move, you’d be right. I also grew up liking the hits of ELO as much as any Beatles-loving, lonely, love-starved teen in the ’70s, although I’m not one to spend much time filling in the paperwork toward a Critical Upgrade of their output.

In both the music of The Move and, as I listen to them with more discerning ears, ELO, I’m frequently perplexed by Bevan’s drumming chops and choices. The guy could bash like a mofo, and his bashing added an element of excitement to the records, but I can never tell exactly where the line is between heavy rock chops and poorly executed, overplayed choices.

Following are three examples of the Bev Bevan style, each of which are from late-period Move albums, that period when Jeff Lynne had joined the band and they’d fully embraced The Power and Glory of Rock, so these factors probably play a part in the resulting arrangements. Nevertheless, see if you can help me out.

The first example is “Chinatown”, a Roy Wood song not out of character with his whimsical pop numbers from the years before he’d fully committed to The Power & Glory of Rock. I love this song, but from the opening fill through the end of the song, Bev Bevan seems like he’s not paying attention to the song’s core vibe. He’s bashing away and laying into the kick drum like he’s in a street fight. Do I love this song, in part, because of or despite Bevan’s drumming?

Next, the original version of “Do Ya”. I’m not sure which version I like better, this one or ELO’s hit, but on both versions, Bevan seems a bit sluggish. It’s almost just right – or is it? Could the song have been even better with a slightly more sympathetic, nimble drummer (eg, the heavy yet not ham-fisted Bonham)?

Finally, a song on which Bevan’s drumming sounds wholly appropriate: “Feels So Good”. This, by the way, is a prime example of The Power & Glory of Rock. See if you agree that it best suits Bevan’s style. Then tell me if this is a good thing or a bad thing. Then tell me what you think of this FACT: Continue reading »

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