I really like all of them, but I immediately think of Giles, Bruford, and Mastelotto. Though, I think Muir has had equal influence (via Bruford, etc.) on the band as a whole.
If you like Giles's drumming, but haven't listened to the McDonald & Giles album, remedy this forthwith. His storytelling from the kit in "Birdman" is without peer.
Wake up to find out that you are the eyes of the world.
The guy on LIZARD is my favorite. I thought Haskell's bass playing was great also, I don't know why people often denigrate it.
I actually know quite a lot of folks wo are of the exact same opinion. Giles was great too, though. While Bruford is an excellent drummer, I never particularly enjoyed his specific style of playing - to the extent that I'm not sure I'd be such a fan of National Health if he'd remained with them.
Interestingly, McCulloch's inputs with Fields and Greenslade are far less compelling to my ears than what he did on Lizard. The latter, however, displays a rare instance where a "symph rock" drummer attains as wildly colourful and versatile an expression as that I heard from my fave UK progressive percussionists of the 70s; Hiseman, Cutler, Wyatt, Pyle.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
His parts with those bands were probably developed in a more traditional rock band way. If Gordon Haskell's sour grapes-filled account of the Lizard sessions can be believed, Fripp dictated parts to the rhythm section players, who had to lay them down without any clear idea of what the finished track was supposed to sound like. Consequently, he "overplayed." This parallels the situation with Barrie Barlow in Jethro Tull, who complained that he wouldn't have come up with such busy parts if he'd known what was going to be dubbed on top. In my opinion, in both cases the results of forcing the drummer out of his comfort zone were much more interesting than what would have happened if the drummer had been allowed to come up with more "appropriate" parts.
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
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No Giles....no McCulloch (as good as he was). Even into Fields and Greenslade, there was no question who his main man was.
Hell, they ain't even old-timey ! - Homer Stokes
all the drummers seemed right for each stage of the band's evolution.
That's the wisest thing I've heard you say around here in awhile.
Can I offer that a drummer is only as good as his rhythm buddy?
If we can accept that, can I also offer the following?
There were never two rhythm buddies on the same Crimson page as much as the Gunn/Mastelotto rhythm section.
I want to dynamite your mind with love tonight.
I want to dynamite your mind with love tonight.
<beavis> P@t and Trey rule...they rule! </beavis>
Death inspires me like a dog inspires a rabbit
I recently bought the New Haven 2003 disc. It seems like he took his intensity up to 11 for that last show. His playing on Red was pretty much saying "you're gonna miss me when I'm gone". I love his synergy with Mastelotto, I'm hoping they do more together in the future.
I agree about his recent activity. Security Project is nice and all and it looks like he's having fun, but I feel like his solo stuff has so much more to offer.
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