I’d say “Ticks and Leeches.” He incorporates ghost notes into the main groove, which you don’t really hear too often in Tool’s music. Also, the intro is a beast, and the song’s vibe is highly distinguishable from all of the other songs on Lateralus. It’s really fun to play and can help you get more comfortable with 7/4 as well as with odd accent patterns.
“Rosetta Stoned” is truly inspiring for its complexity, yet Carey maintains musicality and perfect interaction with Justin Chancellor’s bass and Adam Jones’ guitar. It’s indeed a masterpiece!
André Sarmento Ferreira
For me it has to be “Lateralus.” That song made me want to play drums every bit as much as John Bonham or Mitch Mitchell did when I was a kid. Carey is on my drumming Mount Rushmore. I’m so thrilled for this new album, which will surely feature historical work from all involved.
During the last half of “Eulogy” [Ænima], Carey plays a three-note 16th hi-hat grouping over a standard rock beat, and the first time I heard that I was blown away. Not only is it an interesting drum part on its own, but it grounds the vocals and guitar with a groove that you can follow. That may have been the moment I decided to learn about polyrhythms and how to apply them musically.
“Forty Six & 2” from Ænima. It’s the first time Tool gave the drummer some on record, and Danny took it way out and back to the crushing riff. Each new section’s variation built on the previous one.
I’d probably choose “The Grudge” from Lateralus. The song starts with a bang and ends with it. Besides, all the odd time signature rhythms are beautifully incorporated with the wonderful chords and vocals. It’s godly.
I’d say “The Grudge” because of Carey’s use of all sorts of different polyrhythms, dynamics, grooves, and orchestrations. He was also being so conscious of the rest of the band. And the killer solo at the end makes this one of the most challenging and musically engaging Tool drum parts.
“Rosetta Stoned” from 10,000 Days has some of the most amazing yet powerful drum patterns I’ve ever heard. The coordination in the interlude is out of this world, which is very fitting for the track. It’s definitely one of his most inspiring drum parts.
On “Parabola” from Lateralus, Carey’s groove, sound, and energy are incredible. There’s no single hit or sound that’s made without purpose. Everything he plays suits the song perfectly.
“Rosetta Stoned” from 10,000 Days. Carey’s genius, power, and attention to detail are on full display here. The five-against-three polyrhythmic groove still blows my mind, and I like how it creates tension in the song.
B. J. Wilson
Thank you so much for your feature on B. J. Wilson [September 2019]. As a young player, B. J. was one of the drummers I admired most. His band Procol Harum was one of those groups in the ’60s that had a definitive sound that was so unique and enhanced by the drummer himself. And you’re right, nobody plays 6/8 like B. J. did on Joe Cocker’s version of “With a Little Help from My Friends.”
I was sorry to hear about how his life ended, and it reminded me of how my sobriety had saved me. Again, thank you so much for bringing B. J. Wilson to the readers of MD. Some will have known him, and I hope many others now do, too.