An Editor’s Overview
A teaser of the momentous drumming from 1969 that our October issue explores—and a chat with the Flaming Lips' Steven Drozd about some of his favorite music from the era.
Features Mastodon’s Brann Dailor on the Band’s Heavenly “Stairway to Nick John” Features Robert Plant and the Sensational Space Shifters’ John Blease: Fearless with Intention An Editor's Overview Talking About Our Generations Readers' Platform What's Your Favorite Hal Blaine Track? Out Now Sam Durkes on Ezra Furman’s Twelve Nudes On Tour Sheridan Riley with Alvvays […]
Mastodon’s Brann Dailor recently talked to MD to discuss the band’s heartfelt tribute to their longtime friend and manager.
When you search the internet for drummer John Blease, his website’s tagline, “professionally hitting things,” serves as a rather humble summation of his well-established career.
As artists developed increasingly ambitious musical concepts, the challenges for instrument designers, engineers, composers, and instrumentalists increased as well.
In the fifty years since Led Zeppelin roared onto the scene, much has been made of their being ground zero for “heavy rock.”
Given the breakneck pace at which CCR operated in 1969, it’s a wonder Doug Clifford and bassist Stu Cook are still out on the road fifty years later.
During his years with Miles Davis, beginning in 1963 at age seventeen, Tony Williams radically changed jazz drumming.
Bruce Rowland racked up numerous recording and touring credits through his extensive work in the pop, folk, blues-rock, and rock worlds.
To most, Corky Laing’s drumming is synonymous with the great heavy-rock band Mountain, and vice versa.
As an iconic piece of rock ’n’ roll history, this kit has since been archived, documented, and refurbished, and it currently resides in custom road cases.
He helped pave the way for every great studio musician who came out of L.A., and his influence extends to this very day.
Mentored by Dallas-area drummers like Robert “Sput” Searight, Mike Mitchell, and Cleon Edwards, JD Beck has crafted a style of crooked beats and patterns mixed with over-the-barline fluidity.