I got a copy of Pete Townshend’s White City today on CD. Many of the tracks (actually, the only tracks I really like) feature Simon Phillips on drums, and he plays really well on everything they throw at him. So well it got me to thinking about a certain stream of drummers that Simon belongs to. I feel there is a select group of players that have been able to bring the “monster kit” into pop and rock music with musicality and purpose. By “monster kit” I mean the big double-bass drum kit with generally large-size drums (24″ bass drums, etc.), and lots of cymbals.
A lot of bands feature a drumkit like this onstage or in videos but rarely use it on recordings (Mettallica being one of the most obvious offenders…); but there are some drummers that have really made great pop and rock records using this kind of drumkit. Here’s a short list (certainly not complete):
Larrie Londin (tons of Nashville sessions, including Rosanne Cash; the Steve Perry solo record, many more)
Chester Thompson (Zappa, Weather Report, Genesis & Phil Collins live work)
Simon Phillips (Jeff Beck, Pete Townshend, Toto)
Mark Craney (Gino Vanelli)
Check these guys out. There’s a certain sound they get: muscular and propulsive without being overly bombastic. Londin’s playing on Rosanne Cash’s “It Hasn’t Happened Yet” from the LP Somewhere in the Stars is awesome, very swinging. Mark Craney’s work with GV is almost too much, but in the context of the music (Gino Vanelli is hardly subtle) it works.
I think what gets me with these performances is the tone of their drums, and it’s in the way they hit them and I think being immersed inside the kits as they are (due to their sheer size) influences the playing style. It’s almost like they’re the engine inside a machine, and they have to keep things pumping.
With Simon Phillips, he comes out of Billy Cobham’s style. The influence of BC on him is unmistakable. Cobham’s own recordings should be considered on this list but I am hesitant only because the records he has done are very much made to feature the drum performances, whereas the above drummers are much more simply cutting tracks for singers/songwriters. I am intrigued by how these drummers have brought that sound into a venue where it is not necessarily the first choice for a drum track. Billy did do some sessions with Peter Gabriel for the Last Tempation Of Christ soundtrack, and I heard that he did do a few gigs with PG; but I think that is a partnership that deserves another round. I was not very inspired by PG’s pick for replacing Manu Katche and think that incorporating Cobham (who is not lacking for world-music influences of his own) would have been a fruitful move. Maybe Peter’s reading this…. 
One important exception to this little theory is Neil Peart. I have never heard someone suck the life out of drums more than this guy. I am not saying he can’t play the drums, and if he’s the right guy for the needs of Rush, so be it. But, from a tone/sound point of view is there any drum sound less inspiring and more detached from the physical reality of the drums than this guy?
On another drum rant: I’ve been listening to Jack Dejohnette on the TRIO BEYOND record. It’s really snapping, I think they got it right with this band. What finally dawned on me (maybe this is old news) is how much of Jack’s straight-8th note playing sounds like Mitch Mitchell! Go check it out, you’ll be astonished.
