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$5.99 US $5.99 CAN October 2010 Issue1

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! Bonham performing with Led in , June 1973. STILL The

ONJohn Bonham definedE rock drumming like no one before or Since. On the 30th anniversary of his passing, Bonzo’s friends and fans pay tribute. onzo’s gone. Zeppelin is finished.” It’s been 30 years since the tragic news

broke from ’s Mill House, in Pangbourne, Berkshire. The memory “B of , fuelled by fact and fantasy, has since grown to become legend. But the reality is, Bonham was every bit as good as they say. He was the man with

the golden groove, the sensational chops, and that great, big sound. Friends and fans

remember the loud but loveable bloke from with gratitude and respect.

by wayne blanchard

Photo: Jeffrey Mayer/WireImage/getty images 44 DRUM! October 2010 drummagazine.com drummagazine.com October 2010 DRUM! 45 John Bonham

To them, he defined and dignified rock drumming. And This wasn’t about redefining something old. Bonham was Rich, , Davey Tough — the American rudiments and healthy in the music of the day.” But Ward all these years later he remains The One. Yes, there have about defining something new. Rock drumming had never greats — were their heroes, so the “ting-ting-a-ting” swing has an admission. “In 1964/’65, I didn’t understand what been faster, louder, and more technical players, but in the sounded so good. Some may argue, it never has again. ride pattern ruled, drum tunings were high, and tone and John was doing. Often, on the many occasions I watched end, they all bow to Bonham. touch were among the prerequisites. him play, I thought he was ruining the , like maybe From the slam-down intro of “Good Times, Bad Times,” By 1964, session king and ’ he’d lost his 1. Uncannily, however, after several bars, he’d ’s debut kicked square in were two of the most rocking players on the bring his beats into alignment with whomever he was play- the face. With funky fills, groove-pushing , triplet Putting It All In Context radio, with Graham’s slamming beats on Dave Clark Five kick work, and sheer attitude, its drumming was stun- Let’s first step back to the early ’60s to see how Bonham stompers “Glad All Over” and “Do You Love Me,” as well ningly fresh and devastatingly powerful. Thanks to Jimmy survived a decade of musical transition to become the right as hits “” and “All Day And Page’s , the drums were showcased in spa- drummer in the right place at the right time. 1950s Britain All Of The Night,” signaling an increasingly aggressive ap- cious yet intense settings. So when that wide-open ride saw traditional jazz and dance bands give way to Ameri- proach. More importantly, these hits highlighted the shift “His grooves were roared in “,” or those through- can rock and roll and rhythm and , with and from swing-style ride playing to straight eighths while also the-bar fills pulled you deeper into “Dazed And Confused,” the hits of setting the stage for pushing aside the obligatory “boom -ta ta – boom ta” pop always in there was a palpable sense of drama. It was no longer “rock Beatlemania and the Swinging ’60s. beat of the day. But Bonham? “I’m not sure John was a fan and roll.” This was rock. . Heavy metal, even. and Brian Bennett, both of The Shadows, of British , though he must have been influenced And before Zeppelin’s debut even left the turntable, the were the British drum heroes, while Charlie Watts, Keef by Tony Meehan and Brian Bennett, and ’s spot, and he filled hottest new band on the planet was back with Led Zeppelin Hartley, , , Mickey Waller, session work,” says , drummer with legendary II, featuring tunes that veered from the storming groove , , and were ’60s chart toppers , then ELO, and for a while, of “” to the show-stopping drum solo of young “jazzers” who would move into the blues and — in . “John and I generally shared musical tastes, the emptiness between “,” and that raucous -o-rama “.” some cases — on to rock. , Elvin Jones, Buddy all of them American.” Any jazz? “I don’t recall him being a jazzer, though I’d do a 5/4 drum solo in an adaptation of Dave Brubeck’s ‘Take 5,’ and he liked that.” the fours of the snare According to Jon Hiseman — who replaced Ginger Baker when he quit the Graham Bond Organization for Cream, took Mitch Mitchell’s spot with Georgie with triplets and Drums:* Ludwig Fame when Mitchell joined Hendrix, and then put jazz 1 26" x 14" into ’s Bluesbreakers before launching his – Bonzo’s VistaLite Kit 2 14" x 6.5" Supra-Phonic 402 Alloy groundbreaking jazz-rock unit, Colosseum — many jazz- polyrhythms” 3 14" x 10" Tom ers weren’t so generous with Zeppelin or Bonham. “The 4 16" x 16" Floor Tom diehards just didn’t get it, and to a certain extent never ing with. At last, I realized what he’d done. He was always B 5 18" x 16" Floor Tom did. But the blues-rock musos I knew were all great fans in his 1, even when it sounded like he wasn’t.” 6 29" Machine of Led Zeppelin and John’s big, open sound. As for me, The recollections of Trapeze and bassist/ 7 30" Universal Timpani I always felt the problem with the jazz beat was that it vocalist , whose new project, Black Coun- 3 was bound up in a kind of convention, and jazz musicians try Communion, has John’s son drum- Cymbals: E judged you on how well you ‘re-created’ the feels of the ming, are also heartfelt. “I first saw John play in 1968. He A 15" Sound Edge Hi-Hat C established masters. As I began to explore the eighth-note jumped on stage with my baby band, Finders Keepers, at B 16" Medium Crash feel, I felt free. I felt I was in unexplored territory.” the Rum Runner in Birmingham, and pretty much de- A F D C 24" Ride (bass drum–mounted) molished the . I’d heard stories of the big bloke 2 D 18" Ride (played as a crash) 1 from with the big ’ands. A couple years later he 7 4 Percussion joined me and Trapeze on many shows. He was the dog’s E Ralph Kester Ching-Ring Birmingham Beginnings bollocks … amazing!” F Ludwig Gold Tone Cow Bell Black Sabbath’s Bill Ward speaks fondly of his friend. “My Ward recalls that while often loud, and at times seem- G Paiste 36" Symphonic earliest recollection of meeting John Bonham was at The ing to almost maul his drums, Bonham’s talent lay in that 5 *The configuration of Bonham’s Ludwig drum set Wharf Pub in Ombersley, , about 1964. He he was a natural and a very learned student. “Behind his remained remarkably consistent throughout Zep- was with The Crawling King Snakes, playing popular almost brutish and chaotic appearance he was an endear- pelin’s 10-year recording career, with the exception of that era, plus blues and R&B. His rhythms were immacu- ing man, studious, and a hopelessly caught-up-in-drums- of his shell finishes. Circa 1969–’70, the drummer late, making each song his own, turning it into something and-drummers man. His knowledge of drumming was 6 sported a Natural Maple (Blonde) kit. In 1970–’73 superb. A great example was “.” Of all the ver- overflowing. This was the Bonham I knew.” he switched to Sparkle Green. Sometime in 1973 he unveiled the VistaLite Amber acrylic kit (shown) sions I heard, including the original, none compared to the which remains the most iconic. In 1975 the kit wore King Snakes’, with John Bonham leading the pack.” G a Sparkle Silver finish. From 1977 until his death in Ward recalls that, “Sometimes on trips to Drum City, 1980 the drums were Stainless Steel. the Birmingham city-center shop owned by BBC Light Bluesbusting In 1969, Bonham experimented with two Jazz Orchestra drummer Mike Evans, I’d bump into Bon- By ’66/’67, the and Jimmy Page–driven psy- to the left of his hats but these were replaced per- manently by two timpani shortly after 1970. Some- ham, along with other fine drummers — offshoots of the chedelia of ’ single “Happenings Ten Years time between 1970 and 1973 he used both Ludwig cosmopolitan hordes who’d chosen Birmingham as home. Time Ago,” The Beatles’ mind-expanding Revolver, and the and heads instead of just Ludwig heads. Some visits turned into mini-clinics. I’d watch Mike do his success of Cream and Hendrix highlighted the real poten- ov Another small but significant change in 1973 was the ‘Purdie.’ I think he turned everyone on to Bernard Purdie, tial for power in British pop and rock. But now Brit blues switch from Paiste Giant Beat to Paiste 2002 series whose hi-hat work was incomparable. Bonham would sit in bands Chicken Shack, John Mayall’s Bluesbreakers, and

cymbals, in addition to a Ching-Ring on his hats and Josh Suk narrowing his head selection to Ludwig Clear Silver and out, his bass drum playing that language everyone ’s were also part of the mix. Dots and Remo Clear CS batter heads. Through- seemed to be speaking but still not applying as well as he “Bonham was an inspiration when playing half-time out his career, Bonham used Ludwig and Rogers did. Many different drumming styles existed, and somehow blues,” remembers Ward. “His grooves were always in the hardware, Ludwig Speed King pedal, and Promuco they all ended up in Mike’s drum shop. We were rich in sweet spot, and he filled the emptiness between the fours sticks, among others. Infographic by

46 DRUM! October 2010 drummagazine.com drummagazine.com October 2010 DRUM! 47 John Bonham

of the snare with triplets and polyrhythms, astonishing the As Vocalist; Harry James And Big Band Arrive In Britain.” took a heavier approach, with songs like “Dazed contemporary players of ’67/’68.” listener and gathering delighted applause for each splen- That’s not to say things were perfect, but with The And Confused” taking shape. One contemporary was Rob Henrit, of pre–British did execution of what seemed the impossible.” As Hise- Beatles obliterating virtually everything that came before, When he needed a new singer and drummer, Page went Invasion popsters Adam Faith & The Roulettes, ’70s prog man notes, musicianship in the ’60s mattered. “Musicians the music was serious stuff. Meanwhile, in studios around to Birmingham, where dull skies shrouded a once-glorious rockers Argent, the incarnation of The Kinks, and is were seen as worthy of attention in their own right. Media , Jimmy Page and John Paul Jones were first-call industrial past and the gigging world was the hundreds of now back on stage with Argent in 2010. “I was on TV a lot interest was not in lifestyle, but in the playing skills that session players on records with everyone from The Kinks smoky pubs and clubs across the rough-and-tumble city and with Adam Faith, and was a flamboyant player as the mu- produced the music. I just bought a [music and to and before surrounding Black Country of England’s Midlands. He chose paper] from 1970, with three items on the front page: Jimi Page joined The Yardbirds. While that group flourished the hippy-blues-wailing as his singer, and Plant Hendrix Dead; Colosseum (my band) Sign with Beck, with Page they floundered, though onstage the recommended the raucous Bonham. Page was hooked. “Bonzo’s sound came Something’s Happening from a combination In the October 12, 1968 issue of Melody Maker, a headline stated “Only Jimmy Left To Form The New Yardbirds.” Of his new band, the young guitarist commented, “It’s blues, of brute power, subtle The zeppelin core Catalog basically, but not Fleetwood Mac–style. [That band at the time, with guitarist Peter Green, was strictly a blues band.] eleased in Janu- songs that drew lawsuits from Sonny in the sweeping “Battle For Evermore,” wanted to go, and ’s I hate the term ‘progressive blues,’ but it’s more or less ary of 1969, Led Boy Williamson and over the strongest acoustic contribution 90-minute running time surely had finesse, and impeccable r Zeppelin was artistic infringements), Led Zeppelin II yet with “,” and the something for everyone. what The Yardbirds were playing at the end. It’s great to a lesson to the rock remains the most strictly bluesy of all instant classic “,” know that today you can form a group to play music you set in blending power the band’s offerings. which, despite its debut on this 1976’s Presence sees like and people will listen.” groove. John Bonham is the band returning with subtlety and sophistication. “stealth” album, becomes arguably the Earlier in the year, , with the late, Even the hardest songs contained If II is the soundtrack most recognizable song in the Zeppelin to a straight-ahead great Mickey Waller drumming, laid the template for a level of emotional punch beyond of a band grinding out repertoire. IV has since become one rock sensibility, albeit anything that had come before. From nonstop rock on a busy of the top four best-selling in with a looser, funkier heavy blues-rock with its debut, Truth, on which Jimmy the only one who could the opening few bars of “Good Times touring schedule, then U.S. history. feel, as exemplified by “Royal Orleans” Page, John Paul Jones, and The Who’s Led Zeppelin III is the Bad Times,” the world was introduced and “Hots On For Nowhere.” A slew of guested. The raucously heavy follow-up, Beck-Ola, saw sound of a band in repose. Recorded at Having pumped out interesting drum breaks in “Nobody’s to the fluttering agility of Bonham’s Tony Newman introduce a fearsome funkiness, with ever truly sound like now-infamous right foot, while the an estate cottage in Wales known as four wildly success- Fault But Mine” establishes Bonham’s Led-heavy renditions of ’s “Jailhouse Rock” operatic drama of “Babe I’m Gonna Bron-Yr-Aur, III saw the band balanc- ful albums in just evolving musicianship, even as the rest Leave You” set up what would be- ing heavier tendencies with earthier, under three years, the of the bandmembers appear to be set- and “All Shook Up.” Ever astute, Page was onto the con- – contemplative sounds pulled from the band took some time tling down into what they know best. All John Bonham.” come a dominant Zeppelin aesthetic: cept. “When the ‘New Yardbirds’ came back from their pastoral surroundings of Bron-Yr-Aur. delicate, bluesy acoustic segments recording , finally told, Presence lacks the creative focus first dates in Europe,” Newman says, “there was a real Even the album artwork is more play- releasing it in 1973. The album makes of the other albums, and the result is — punctuated by Robert Plant’s hyp- buzz around London. It put a shiver up your spine, be- sic allowed me to show off. I heard Bonham liked that and notic, tortured wailing — suddenly ful and whimsical. Gone is the flaming it clear Zeppelin was both maturing that it’s arguably the least memorable cause we knew something radical was happening.” [Beck said he’d learned a great deal from me.” rocketed to dizzying heights by mas- Hindenburg motif that graced the other as a band and reflecting elements of offering in the Zeppelin catalog. The sive, electrified choruses. And while two albums. In its place, a colorful the changing musical landscape, with only song that made a real impact from and Zep manager] Peter Grant brought the Zeppelin Liberty DeVitto, whose drumming propelled Billy Joel’s the ’60s psychedelia-inspired “Dazed butterfly theme. The estate’s namesake “D’Yer Mak’er” and “Over The Hills And the standpoint of posterity is the epic guys along to see the Beck Group on many occasions, many hits, feels “John Bonham was an R&B drummer in anthem, the Celtic and bluegrass- And Confused” seemed to nod in the Far Away” hinting at a funkier, more opener, “Achilles Last Stand,” a refer- saying, ‘Come look at this lot, because this is a band that a heavy metal band. He had the heavy sound and attack of inspired “Bron-Yr-Aur Stomp,” is swing-oriented feel. The album was ence to the broken ankle Plant suffered direction of Cream and Hendrix, the isn’t going to last.’ [laughs] But our group — three play- Carmine with ‘D’yer Maker,’ the R&B fills and feel of Roger straight-ahead, blistering energy of actually a remake of ’s “The also referential for the band down the in a car accident and nursed throughout ers and a singer doing heavy — was a concept Hawkins on ‘What Is And What Should Never Be,’ and as “Communication Breakdown” made Waggoner’s Lad.” But this, as well as road. “The Song Remains The Same,” the album’s recording. the mandolin-driven “Gallows Pole,” would pop up three years later to Peter knew could be expanded on.” he developed he added jazz feels or more swing, like the it clear Zeppelin intended to take this The final installment style into a new and heavier direction. showcases Bonham’s ability to adapt become the title track on the psy- One of Zep’s earliest performances was on a bill with Purdie-style shuffle for ‘.’” his heavy-hitting technique to dif- before Bonham’s tragic chedelic film of the same name, while Buddy Miles, , , and Jon Hiseman’s Appice says, “John liked the great Motown, Atlantic, Riding the crest of the ferent styles. The dynamic snare rolls “The Ocean” features a riff in death in September wave the debut cre- and bouncing, four-on-the-floor kick the middle that’s a clear precursor 1980 was 1979’s In Colosseum. “For me,” says Hiseman, “Led Zeppelin was and Stax artists, and rock and roll like , Bo ated, the band set off patterns in these two songs still come to the weirder and more completely Through The Out Door. another band who I perceived would be more successful Diddley.” Both Bonham and Bevan loved American rock on extended Ameri- across as intensely powerful, while the realized “Kashmir,” which shows up The album is not without its strong than Colosseum because it had showmanship and relatively and roll. “I remember John and I agreeing that the two best points, most notably the “Kashmir”- can tours, recording drumming in the elegant “Tangerine,” on the next album. simple songs. Colosseum came from a different planet, but rock and roll drummers were Earl Palmer and Hal Blaine,” a follow-up album along the way though commanding, melts into the esque “All My Love,” and the brilliantly that meant I was able to appreciate John and the band all says Bevan. “Palmer’s drumming on Eddie Cochran’s and releasing it as quickly as pos- melody until it’s more felt than heard. After a two-year funky “Fool In The Rain.” But as much sible. The touring mind-set is obvious break — an eternity as any album could, it signaled the the more — I was a fan. I bought the records. But I never ‘Somethin’ Else’ obviously inspired Bonzo’s intro to Zep’s here, with songs like “Whole Lotta Despite leading off for fans — the band end of an era, both for Bonham and saw it as anything I would want to do.” ‘Rock And Roll’ [even if did establish the Love” and “Heartbreaker” serving as the fourth album released a generous for the organic ’70s rock sound that beat two years earlier. See pg. 53].” But even more reveal- with “Black Dog” and two-disc compila- Zeppelin had pioneered. Ironically, this hard-charging encapsulations of the ing, “We loved that huge drum sound Phil Spector achieved sound, complete with extended “Rock And Roll,” which tion in 1975 titled Physical Graffiti. is the only album on which Bonham on his productions.” So is that where the idea for Zeppelin’s solos. The most significant of these is promise a return to II’s In retrospect, the album stands as a received no writing credits, as he was the four-and-a-half minute version straightforward, blues-rock roots, Led perfect stylistic bridge at the center unhappy with the band’s softer, more Bonham’s Influences big drum sound came from? “My guess,” says Hiseman, of “Moby Dick,” a simple blues/rock Zeppelin IV was another attempt at im- of the band’s career, referencing pop-oriented direction. Indeed, “In The Recalling their times on tour together, ’s “is that Bonham had a natural ear for what was going number that in time would evolve into age rejuvenation. Zeppelin released the earlier offerings, as on the acoustic Evening” feels like a precursor to the was impressed: “John was new and fresh, on around him. I learned a long time ago not to play the album untitled and unattributed, re- folk ballad “Bron-Yr-Aur” and the early ’80s contributions of a concert staple and a showcase for with plenty of aggression and energy. I was blown away drums but to play the band. I think that’s what John did.” Bonham’s 20- to 30-minute drum portedly in response to a media intent aforementioned “Kashmir,” while or The Cars, while the jarring synthe- by his sixteenth-note right-foot triplet. He said he got that But Bonham also had the power of the straight eighth- solos. On “Ramble On” Robert Plant’s on labeling the band as “over-hyped,” throwing out some evocative experi- sizer experiment in “Carouselambra” long-running preoccupation with even though the Zeppelin sound by mental pieces like “,” with suggests what might have been had from the first Vanilla Fudge album, which confused me, note. And drummer themes of mysticism and the this time was so recognizable that the its long, haunting intro, and the epic Zeppelin been forced to weather the as I didn’t remember doing it. So he showed me where I makes the point that, “As far as the dotted ride pattern to surfaces for the first time in lyrics that album’s credits were never in question. “” that reveal a soul-wrenching transition into the played it — once! He took that lick and created his trade- the straight-eighth note, that would be the late, great Earl Commonly referred to as Four Symbols, distinct maturation of the Zeppelin ’80s that laid so many other great rock include Lord Of The Rings references. mark triplet thing. He had great hands, feet, and feel, and Palmer. He was the first.” So Bonham got more than the But with its clear tributes to American Zoso, or simply IV, the album sees the sound. But by this time Zeppelin fans bands to waste. said his idols were the same as mine. But he also listened to “Rock And Roll” intro from the American session king. blues masters (including a couple of expansion of Plant’s dark mystical bent would follow the band wherever they By dave constantin

48 DRUM! October 2010 drummagazine.com drummagazine.com October 2010 DRUM! 49 John Bonham

and Peart too technical for some. Yet Bonham’s style was DeVitto considers the options: “If I said he was the best, What About Those Drums? Birmingham Gets Heavier something everyone appreciated, so yes, perhaps he truly I would be putting him above Keith Moon, , A lot has been made of his gear, but Bonham could make Another thing Bonham had going for him was volume. was the ultimate rock drummer.” Bobby Elliott, Micky Waller — but I will say John Bonham any drum set sound huge. “It’s attitude,” says Henrit. “As Bevan thinks he may have influenced that. “He’d come Is there anyone Portnoy feels embraces that Bonham was in there with the best of them.” Lance Armstrong said, ‘It’s not about the bike!’” Dream see me play circa ’63, ’64, but I don’t know if he was aesthetic? “ comes to mind. Although Jason Without hesitation, Ward fondly remembers Bonham as Theater’s Mike Portnoy says, “Bonzo’s sound came from a influenced by my playing or my volume! I was the first Bonham really was the only person for the ’08 Zeppelin The One. “Absolutely! I admired him. I respected him. He combination of brute power, subtle finesse, and impeccable of the noisy drummers from the Birmingham area — reunion. He did an unbelievable job, capturing his dad’s was the groove master. He wrote the bible on rock drum- groove. John Bonham is the only one who could ever truly Bevan, Bonham, Bill Ward, : all loud!” But spirit, fire, and style. It was the ultimate tribute. Nobody ming. To learn the primal basis that will bring a drummer sound like John Bonham. That sound was him — not nec- why were Birmingham bands getting so loud? “Black else should be drumming with Plant, Page, and Jones up to the current era of rock or metal drumming, one has to essarily his drums.” Sabbath,” says Bevan, “were the first really heavy band to other than a Bonham!” listen to John Bonham. He was an institution unto himself. Bill Ward sees it differently. “Bonham was light of foot come out of our area.” He was his own guy. Thank you, Mr. Bonham.” and light in his wrists. It was his dexterity, his touch that For sure, Sabbath turned up to make their doom-laden, seemed to intuitively know how to find the power points on angst-ridden point, but according to Ward, “The biggest each drum.” Page certainly recognized that. After all, he’d challenge was to be heard. When Marshall stacks showed Getting Away played with some of the very best session drummers, and up, as a drummer, I had to triple my energy output. How- Until the end, Bonham continued, al- they sure knew the when, where, and how to hit a drum. ever, playing louder wasn’t always accurate at first. I had to most workman-like, to be Led Zeppe- Obviously, so did Bonham. learn how to be accurate and forceful. And when P.A. sys- lin’s drummer. He escaped the rigors Ward recalls Bonham’s drums back in the day. “They tems and mikes showed up I had to relearn all over again.” of stardom with his family and friends were the same as everyone else’s in the ’60s. He had sev- And therein lies another Bonham quality: the ability to back home, where he seldom touched eral kits before Zeppelin, mostly Ludwig, I think.” When groove as deep as he did and pull out the chops, all while drums, but did enjoy listening to ev- Zeppelin landed in America for the first of two tours with playing at a high volume. erything from Elvis Presley and James Vanilla Fudge, Bonham’s kit was diminutive next to the Brown to the Stylistics and Super- mighty blonde Ludwigs of the headliner. According to Ap- tramp on his jukebox. Open-minded, pice, “He had a 22" x 14", 13" x 9" on the kick, and maybe he evolved with Zeppelin, from a busy two 16" x 16" floor toms with a 14" x 5" Ludwig chrome Fanspeak basher to the groove-oriented, soul- snare, a ride, two crashes, and 14" hats. When he saw my As others influenced Bonham, so did he influence others. inspired player heard on Presence and two 26" maple bass drums, oversized toms, and deep snare, “Hot rock drummers of the ’60s?” laughs Smith. “Ginger, In Through The Out Door. he wanted the same. I called Ludwig: ‘I think this band is Ringo, Charlie, Bonzo, Mitch, Moonie, and Paice-y. Only Though enamored by the techni- going to be really big.’ How’s that for an understatement! the bloody British for me!” UK session great Geoff Dug- cal audacity of fusion pioneers Billy They gave him the same setup as mine, complete with more, who has recorded with Jones and Page, recalls: “As a Cobham, (Narada) Michael Walden, gong. He loved it.” kid, I spent days with Houses Of The Holy, figuring out the and Alphonse Mouzon, he knew Though the second kick — at the insistence of Page groove on ‘.’” their influence had no place in Zep- and Jones — was soon gone, that didn’t hinder his abil- Jones once told Dugmore that the second part of the pelin. All this was a long way from ity to deliver the blistering triplets and offbeat bass shots “Black Dog” riff was modified so the drums could play his earliest rehearsals with The New that personified his audacious — yet always musical — ap- straight through and come out in the same pocket at the Yardbirds, when his overly busy and proach. A few years later Ward saw Bonham on a different other end. “He and Bonham worked parts so the bass extra-loud drumming prompted setup. “I watched him play his son Jason’s kit in the ’70s. It drum and bass guitar didn’t fall together, so each instru- words of warning. Of course, in those was small in comparison to a regular kit, but John sounded ment sounded even bigger.” With Page, Dugmore found early times Bonham was likely trying incredible. Whatever drums he had, he could make them himself at , set up the same way Zep- to ensure he didn’t get overlooked. sound huge and very tonal.” pelin recorded. He needn’t have worried about that! “I’m on a riser with Jimmy’s amps at the other end of the studio. He’s also on the riser, right between my ride cymbal and rack tom, grooving with me. I knew I It’s About The “Air” wasn’t Bonham, so I had to be aware of his expectations. The Last Word Page was quick to integrate Bonham’s sounds and style Both Jimmy and John Paul just wanted me to be me and Forty-two years on from those first into Zep’s compositions: He and Jones often locked in on to feel the groove with them. That brought home to me rehearsals, and exactly 30 years the meter and let the drummer float the time. Today, click how special the Zep unit was. It can only happen when from his demise, how is Bonham tracks and a dependence on the drummer to keep the time everyone is on the same wavelength.” remembered? “John Henry Bonham, inhibit the ability for the music to breathe the way it did Any stipulations? “Yes. No headphones. No click in my humble opinion,” says Smith with Zeppelin. One of Smith’s favorite Bonham tracks is track. And no count-in. We just felt the moment to start, emphatically, “is hands down the “Wanton Song.” “The use of space in the verse is breathtak- and it was amazing how instinctively that came. Jones greatest rock drummer of all time. ing. I also love ‘Since I’ve Been Loving You,’ live at Albert has the most massive fat, round sound and is calm, re- His sound, technique, musicianship, Hall, with its awesome use of dynamics and that famous laxed, and totally in control of his instrument. I’m sure groove, and feel have never been du- footwork on full display.” that assuredness let Bonham have the creativeness and plicated. No one comes close today Yes, it was really all about the “air” — that space that fire he had.” and probably nobody ever will.” made such a difference. “I think his feel was a product Portnoy, whose Hammer Of The Gods, a Zep tribute Hughes agrees: “Everyone, from of his wide-open sound,” says Henrit. “He was arguably band, saw him in a white boiler suit and black bowler rock stars to milkmen, loves Bonham.” the first drummer to have his own room to record in, so hat behind an amber acrylic Bonzo kit, has a unique Hiseman considers the lost po- there was never a problem with leakage, meaning each perspective. “My biggest drum heroes are John Bonham, tential: “Bonham’s reputation was offbeat could be larger than life. I suspect he was the Keith Moon, Ringo Starr, and , but I think built in one band, and because of his first to have echo on the drums in his cans and that let Bonham is the most universally loved. Perhaps Moon untimely death we never heard later him play more sparsely.” was too reckless for some, Ringo too simple for some, developments.”

50 DRUM! October 2010 drummagazine.com drummagazine.com October 2010 DRUM! 51 John Bonham

GROOVE ANALYSIS By Brad Schlueter Led Zeppelin JohnLed ZeppelinBonham John Bonham John Bonham Rock and Roll Few drummers leave their mark The Bonhamisms ThatPr Shapedesence Rock Drumming about midway through it. Maintaining the “Rock And Roll” Rock and Roll on a style of music as definitively as , then, can become a challenge, John Bonham did on rock. It’s impos- Achilles Last Stand q = 162 especially if your band counts the song off q = 162 sible to imagine where rock drumming “Achilles Last Stand” qIntr = 162o a little too fast. No double pedals allowed! Intro would be without him. That’s not to say Using a double pedal on a Zeppelin song Intro many of us play like him, just that his > > > > > 137 would be like farting in the presence of >Y Y Y >Y Y Y Y Y >Y Y Y >Y Y Y Y Y >Y Y Y style of drumming has made an impres- Intro / Verse the Pope. You could die from the shame >Yœ Yœ Yœ >Yœ Yœ Yœ Yœ Yœ >Yœ Yœ Yœ >Yœ Yœ Yœ Yœ Yœ >Yœ Yœ Yœ sion on every drummer who’s ever Ú 4 Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ of it! The only subtleties to this punishing ã44 Ó ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ heard him. How often have we identi- groove are the ghosted snare notes on ã4Ó ‰ fied a drum sound; a groove or fill; or y y y y y y y y y y y y y y y y y y y y y y y y y y > > > > > > the ah of 2 and 4. even a laid-back, slightly swung feel as œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > > > > > a Bonhamism? His massive sound, in- ÷cœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ >Yœ Yœ Yœ Yœ >Yœ Yœ Yœ >Yœ Yœ >Yœ Yœ >Yœ >Yœ >Yœ >Yœ >Yœ credible feel, and innovative drum parts “Rock And Roll” ã Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ Yœ are the benchmark against which other Led Zeppelin IV (1971) ã rock drummers are invariably mea- ã sured. In fact, the only thing we might This is one of the most recognizable y y y y y y y y Outro freely selfishly hold against him is that he died y y y y y y y y y y y y y y y y y y y y drum intros ever recorded. From the first Outro freely œ œ œ œ œ œ œ œ œ œ Outro freely so prematurely, even foolishly, denying ÷ 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 sloshy hi-hat note to the last, this drum > > > > > > > > > > > > > > > us many more years of brilliant drum- part is instantly recognizable to drum- >j > > >œ > >œ > > > >œ >œ >œ >œ >œ >œ >œj œ œœœ œ œ œ >œ >œ >œ œ œ œ œ œ œ œ œ œ œ ming. Fortunately, he and Led Zeppelin mers and non-drummers alike. It has Ó Œ‰œj œ. œœœ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ left us a lot of great music to enjoy. been featured in movies, commercials, ã Ó Œ‰ . œ œ œ œ œ œ œ œ and is the choice of thousands of bands ã y y y y y y y y y y y y y y y y y y y y y y y y y y y y y y y y for the last song of the night. So let’s “Achilles Last Stand” œ œ œ œ œ œ œ œ œ give credit where credit is long overdue, 3 5 3 3 3 > ÷ œ œ œ œ œ œ œ œ œ œ œ œ 3 > 4 to the great Charles Connor. Er, what? 3 3 3 U> Presence (1976) Metric Modulation > > 3 3 3 > > >>> U That’s right, Bonham didn’t create the > > 3 > > > > > >>> Uy 3 œ œ œ œ > > > > > >>œ>> y Choosing songs that showcase Bonham’s intro to this song; he borrowed it, note œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ >œ >œ >œ œœœ> y abilities is easy: Just pick any Zeppelin = 1, 2, 3 4 for note and almost accent for accent, ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ>œ Œ œ ŒŒŒ e q 3 3 3 3 3 ã œ œ œ œ œ œ œ œ œ œœ Œ œ ŒŒŒ song. “Achilles Last Stand” is a particular- from Connor’s drum intro to Little Rich- ã œ œ œ œ John Bonham œ Œ œ ŒŒŒ ly good example, though. In this song, he œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ard’s 1958 hit song “Keep A Knockin’.” Fool In The Rain plays a driving groove that served as the ÷ 5 . Ó . Œ . Don’t be shocked. Led Zeppelin got most In Through The Out Door inspiration for Michael DeRosier’s groove 4 of their inspiration from early rock and Variation “Fool In The Rain” on Heart’s “Barracuda.” No wonder why, roll and blues artists. it just feels great. This song is about ten- Repeat 4 Times Despite this intro’s popularity, most and-a-half minutes long, and proves 3 3 3 3 drummers still don’t play it right. Here q = 133 Bonham had one hell of a right foot, with are two tricks to playing it correctly: The Intro œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 endurance that makes him hard to follow. ÷ . . first is to recognize that it begins on the 3 3 3 3 3 3 3 The interesting part of this song happens . / / / / / / / / / / / / / / / . & of beat 3. Second, both Connor and > > during Jimmy Page’s great guitar solo. ‰ Bonham used both hands simultaneously y y y y y y y y y Y y y y y y y 3 3 3 J 3 3 3 œ œ œ œ œ The band executes a metric modulation Led Zeppelin throughout, making it very powerful, ÷cœ ‰ œ œ ‰ ‰ œ œ ‰ œ œ ‰ œ to a slower tempo, and changes to 5/4 Original eighth note is a quarter triplet in the new tempo John Bonham and that much more challenging. y meter, at which point the eighth-note shifts to the value of a quarter-note trip- “When The Levee Breaks” 3 3 3 3 3 3 3 3 let. Bonham plays a series of triplets in “Fool In The Rain” > > > 5/4 at the new tempo. In the transcription q = 70 In Through The Out Door y Y y y y y y y y y y y y y y y of the pattern’s variation, I’ve indicated œ œ œ œ œ œ Intro (1979) where the original tempo lies in relation to ÷ œ ‰ œ y œ ‰ œ œ ‰ œ œ ‰ ‰ œ the new one to help you understand the This tune is one of the best examples of 1:12 complexity of this modulation. Bonham’s impeccable sense of groove. y y y y y y y y 2 3 3 3 3 œ œ Here he plays a funky half-time shuffle for 3 3 4 œ e œ œ œ > 3 3 ã4 ‘« the intro and verses that just feels great. > > > > > > > 1:04 1. 2. t t t t t t “When The Levee Breaks” He opens the hi-hat on the ah of beat 1 y œ œ œ œ œ œ œ œ œ œ œ œ Led Zeppelin IV (1971) > > > > > > > > > and uses ghost notes to perfectly set up ÷ œ ‰ œy ‰ œ y œ y ‰ y œ y y y y y y y y y the accented snare hit on beat 3. He plays This simple groove has it all: great feel and y y y y y y y y y y y y y y y . . œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ a great fill that sets up the change into 1:24 an absolutely massive sound captured . . ã œe œ œœ . œ œ œ œœ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ and out of the chorus, where he moves to 3 3 3 3 3 3 with just two . At 5:22 or so 5:22 . . 3 quarter-note triplets on his ride, making 3 we find a classic “Bonhamism,” single- 33333 > > > > > the groove feel faster than the verse. t t t t t t t t t footed bass drum triplets played between > y This beat is a variation on the infa- œ œ œ œ œ œ œ œ hi-hat notes. y y y y y y y y y y y y y y y ÷ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ mous “Purdie Shuffle,” which the great y y y y Steely yDan y ã œ œ œ œ œ œ œ œLedœ Zeppelinœ œ œ œ œ œ œ œ œ œ œ œ Bernard Purdie first laid to tape on the Bernard Purdie “The ” John Bonham song “Home At Last” from Steely Dan’s Immigrant Song 1977 album, Aja. Both grooves are half- Home At Last Led Zeppelin III (1970) “The Immigrant Song” time shuffles and use ghost notes for “Purdie Shuffle” (By Bernard Purdie) This song is fairly repetitive, which makes added motion. Incidentally, learning the drum part easier. However, q = 109 pulled inspiration from Bonham’s “Fool q = 124 In The Rain” beat (and, by implica- 2:27 there is a downside to this. The tempo Intro is just bright enough that the repetitive tion, Purdie’s shuffle), as well as the Bo 33333 333 bass drum pattern can begin to feel like > Diddley beat, when he created his great > > you’re running a one-legged marathon y y y y y y y y y y y y y y y y groove for the Toto song “Rosanna.” y Y y Y y Y y Y y Y y Y y Y y Y œ e œ e œ e œ e 4 e e œ ‰ e e e œ ‰ e ã44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‘‘ ã4œ œ œ œ œ œ œ

52 DRUM! October 2010 drummagazine.com drummagazine.com October 2010 DRUM! 52 drummagazine.com October 2010 DRUM! 53