Biggest problem with Not For You live is that Matt drums it nearly identically to Light Years. There's no sense of urgency in the drums, mid-tempo slush.
Ike Winston wrote:
Just thought of a new non-Matt example for anyone who still cares: Low Light. For the people who are trying to figure out this time signature stuff, it's pretty easy to pick up on the extra beat at the end of each measure in the verses.
Ike Winston wrote:
By the way, no one's said anything about 1/2 Full yet. Does anyone know if he's doing anything "unusual" at the end there?
The easiest way to figure out time signatures is by counting the cymbal hits.
And, I agree with enharmonic, they (pj) dont do anything really out there. Try listening to some Meshuggah or Candiria and try to figure that shit out! LOL
Good looking out on Candiria. Kenny's a friend of mine. I'll let him know that he's getting props on a PJ thread about Matt Cameron. He'll get a kick out of that
Ike Winston wrote:
Today when I listened to Riot Act for the first time in awhile, I noticed for the first time that not only Cropduster (which I already knew about) but also You Are and Get Right are played in unconventional time signatures (which, to me, means anything other than 4/4, 3/4, or 6/8). This means that every Matt Cameron-composed Pearl Jam song is in a "weird meter" with the possible exception of Evacuation--which, metrically speaking, I can't remember the sound of right now. Does anyone remember or know the time sig for that tune?
Aside from that, can anyone think of non-Cameron-composed PJ songs in which Cameron does "metrically weird" things with his drum performance, like play 3-against-4 and that kind of thing? There seemed to be something metrically unusual in the drumming at the end of 1/2 Full but I couldn't tell for sure. And while we're at it, can anyone think of any non-Cameron PJ songs written in unusual meters? From what I remember it sounding like, I think the coda of Stone's All Those Yesterdays is in 6/4 or something of the like. But that's all I can think of off the top of my head, and I might even be wrong about that one.
In any case, thanks for discussing. I should mention that I'm a bassist/guitarist and not a drummer, so I apologize to the drummers if some of my terminology is a bit off. Looking forward to hear any examples anyone can think of.
If you really want to hurt your brain, listen to Dream Theater or Tool.
I've been listening to Superunknown, tapping to all of their songs. What's the signature of Spoonman, The Day I Tried to Live, and Half? It seems, in both songs, that he's not just providing the groove, but he's actually playing alongside the melody.
Just Like Suicide sounds to me like it's missing a half note somewhere. Sometimes, I think he's drumming a typical 4/4, except the embellishments he puts on the songs make them sound odd.
Most of his technical skill are lost to listeners who are not too keen on rhythm.
spoon man is 4/4 (chorus) and in 7/4 verse.
some of day i tried to live is in 15/4 which usually breaks down to 4/4, 4/4, 4/4, 3/4 but doesn't have to.
modern drummer in the mid 90's did a good article on him and had some of the above songs transcribed with the funky signatures. wooden jesus, pushin forward back, limo wreck.
With soundgarden, matt helped reinforce the rhythm of the guitar much more than establish a groove as most of PJ's songs are. The drums are trickier in SG b/c of the approach of that band.
There's nothing unconventional about it if you dig jazz. It's a different way of thinking and playing though for sure
Check out Matt's band, Wellwater Conspiracy. Plenty of sick drumming
I'm tapping to Day I Tried to Live with the song in my head and the order sounds like 4/4, 3/4, 4/4, 4/4.
Wooden Jesus is 6/4 then 3/4 for the chorus... you wouldn't have that modern drummer article would you? I'd like to give it a read.
Pearl Jam and toast wrote:
In The Moonlight is probably the weirdest time sig. in his Pearl Jam catalouge..
I have it at home, I'll try to post tonight.....
If I remember correctly Wooden Jesus is in 12/8, at least the "main" groove.
one thign i dotn like about drummers, and the production of drums either studio, live recorded, or live in general, they never think about tone! drums have tone, and it can be tweaked post microphones. Matt (and his tech) are GENIOUSES at achieving great drum tones through microphones. Forget his gear, i'd like to know what they are running for mic's and processers in the studio and on stage. They are GREAT
Oh, Jimmy wrote:
Danny Carey always has the best drum sound possible. The sound itself wouldnt fit alotta bands, but its always perfect with TOOL. He takes tons of time and care to get his recorded sound just so.
on the first album he tuned every drum head to the key of the song which def helped with the recording sound.