The Genius of Simon Phillips

Simon Hospitalized!

2007-09-18T09:56:00.000-07:00

According to Totonetwork.com, Simon Phillips is in the hospital in Anaheim.

A post by the lead singer from Toto says he is feeling better.

" Hi everyone. I spoke with Simon and he sends his love and thanks to all of you who responded to my post about hm. He's in a very good mood today, and is feeling very well at the moment. I think it really made him feel great that so many of you sent in posts, but he doesn't have a computer with him, so I'm speaking for him to say, "THANK YOU SO MUCH". It's very kind of you to take the time to share your feelings about him, and I'm certain the whold band sends you the very same thanks for doing so. I'll do my best to keep you updated about when he's back in the saddle again. Meanwhile, keep those cards and letters coming."

Go to www.totonetwork.com to leave a note at Bobby's blog. He says he will pass on any wishes to Simon.

Rhythmic Illusions part 1

2007-09-05T06:43:00.000-07:00

Today's track is from Simon's 'Toto stage'. I always have mixed feelings about that band. On one hand they are superb musicians who know their craft. On the other hand, the genre of their music is sometimes a bit dated. Even though they played a big part in actually creating the sound, it often sounds cliche. Hearing men in their 50's singing about "girl" this and "girl" that sounds a little oogey; the pulsing eighth-note bass lines are so 'Dangerzone' 80's--- and that scream at the beginning of this song is just horrendous.

That being said, I am glad Simon joined Toto, as it gives him a steady outlet for his drumming so we don't run the risk of losing him to the worlds of producing or auto racing. It does seem a little strange having one of the most British of drummers playing with such a stereotypical "L.A. band", and we can definitely hear some stylistic changes in Simon's playing during his time in L.A.

Simon is extremely good at "rhythmic illusions", meaning laying one rhythm on top of another so smoothly that it tricks the brain into interpreting the over all rhythm in two or more different ways.

In today's track, he takes a rhythmic cue from the guitar (quarter note triplets played at 4:50) and builds on the triplets, eventually making the triplets sound as if they were the 'beat' instead of the quarter notes. The rest of the band picks up on this, some playing the triplets with him with him, some maintaining the original quarter notes. Then, precisely and effortlessly, he and the band immediately 'snap out' of the illusion at 5:08 for a great effect.

It takes very good musicianship, as well as a band who has played together for a while to be able to pull off moments like that. If you listen, the keyboard and bass are firmly playing the original tempo/beat against the guitar and drums. It would be easy to fall in between these two 'tempos'.

* At 3:43 - a Phillps-ian 'anticiptory fill'

Listen here:
White Sister

Great Song, Sloppy Edits.

2007-08-23T09:21:00.000-07:00

I was not planning on commenting on two songs from the same album so early (There's a LOT to choose from), but since there was interest in the Mike Oldfield album, "Discovery", I will post another track from this album. In this case, the focus is not really on the drumming, but the producing/engineering. This is ok, though, since Simon Phillips is listed as a co-producer in the credits.

In an earlier post, I mentioned the spotty engineering on parts of this album. Sharp Mike Oldfield fans pointed me to more information about this album, and to an interview with Simon about how his collaboration with Mike came about. (In a meeting Tony Roma's while on tour with Al DiMeola?!).

"Discovery" is Simon's second collaboration with Mike. One often never knows all the steps and compromises that led to a final recording, and why they had to happen. In most of my experiences, it has to do with time or money. Sometimes things are just overlooked. Simon (and Mike too, I think) is quite a perfectionist, so I doubt the latter is the case.

The track in question is "Talk About Your Life", and it's a beautiful song. Sung beautifully, played nicely, and kind of bitterweet. But just listen:

Spot one: 1:43 At "....what's the reason for *stutterstutter* hiding, and.." (tap your feet, notice the the extra "16th note" added in there by a sloppy punch.

Spot two: 1:50 Another punch-in that is so early, even the cymbal decays are cut off. (One reason I don't think Simon is responsible (!) )

Spot three: 3:02 At "...going where no one goes,*glitch* and no one knows...."

There are a few more in there as well. I know this is on the master, as I have heard it on both vinyl and CD. I wonder how this passed quality control at the record company.

I know this is amazingly trivial, the discussion of minutia about a track from an album over 20 years old that not many people listened to in the first place. However, isn't that what the internet is for?

The next post will be back to the drumming....

Listen here:

Talk About Your Life

Drums that sound like DRUMS!

2007-08-21T08:08:00.000-07:00

The Simon Phillips drum sound. It's gone through changes over the years, but for the most part, I think we can be assured that the drums have a sound that is deliberate and consciously decided by Simon. There are always sessions where the drum sound is altered or even ruined by an engineer or producer. As a studio drummer myself, I know this for a fact. These days, especially, the drummer has very little control over his sound as it ultimately is heard on the final mix. Even when you feel that everything is set, you often later discover little things that happened that you didn't notice before - a microphone is hit, a drum is knocked out of tune, a song form isn't framed properly. Even in the track below, you can hear one tom has been knocked out of tune (at 1:41, the small tom).

I think that Simon's use of his large drums, made possible by a long-standing Tama endorsement really made it possible to personalize his sound sonically. I can't imagine how he worked with a kit like that before he was famous in his own right. If I were to show up at a gig or recording with a kit like that, I would be shown the exit pretty quickly.

I think of his kit (and the use of large drums) sort of like a high-performance sports car. A Ferrari drives better than almost every other car - but only in the hands of a skilled driver. To all others it drives worse, and it's harder to control. Much the same with a kit like Simon's. In recent years small tom kits have become fashionable. In addition to being easier to transport, they are seductively easier to play and tune. They also sometimes sound better from the drummer's perspective; by the time the sound reaches the audience, it oftentimes is muted and overly stacatto.

Simon is also a sports car enthusiast. I think it's an appropriate analogy.

Today's track is from the Jeff Beck album, "There and Back". Just listen to the kick drum - you can feel it in your gut. Listen to the floor toms - you can almost see the membranes moving. Drums! Pushing air! At 1:29 - the floor tom roll. Distinctively Phillipsian anticipation of the fill (more on that later)

Also interesting is the hihat - when he plays it open, it's ALL the way open, unlike many drummers. Also distinctively Phillips.

LISTEN HERE:
Too Much To Lose

.mp3 2:59

Influenced by Billy Cobham?

2007-08-19T13:12:00.000-07:00

I have read several interviews where Simon mentions his admiration for Billy Cobham. It's easy to see and hear Mr. Cobham's influences throughout Simon's career. Of course, there's the large drum set with double bass drums, the open hand playing, and (I believe) a similar stick-grip (thumbs almost up). It's not surprising that he was influenced by Billy Cobham; during the 1970's, there had been nothing like him ever before. Billy is still an amazing drummer, and is actually much more visible in Europe, where he currently lives. (Switzerland, I believe.)

In today's track, from Stanley Clarke's, "Rocks, Pebbles and Sand", I hear the big Cobham influence. In fact, I think in may even have been intentional, as the song itself sounds similar to another Stanley Clarke song, "Life is Just a Game", on which Billy Cobham plays. Both tracks and both drummers are sensational.

See if you can hear the stylistic similarities:

The Story of a Man and a Woman Part 3
.mp3 format

Big, wide, EXPANSIVE drumming.

2007-08-18T14:03:00.001-07:00

Simon is exceptional when it comes to BIG. Not only the size of his kit, but in the manner of his playing. Especially in the '80s, there was this sense of grandeur that came with his sound. You would hear a solid foundation with large bass drums. A wide tonal range, from octoban to Gong drum. Open, beautifully tuned drums that rumble - you can almost visualize the membranes moving after they were struck.

This "large-ness" will be a theme of discussion throughout, since it is a unique characteristic of his playing... and damn, wouldn't you like to figure out how he DOES some of that stuff?

Today's audio example is from the Mike Oldfield record, 'Discovery'. Even though I loved Mike Oldfield in the 80's, I agree with most of humanity that he is pretty cheesy. His recordings are a great vehicle for Simon, especially when we talk about 'large', and many of Mike Oldfield's later recordings are produced, engineered, or co-produced by Simon Phillips. (I don't know if this record is or not. I hope not, as some of the tracks have edits that are so obvious and so sloppy it would make just about any producer shudder)

This track, 'Saved by the Bell" has FOUR moments worth noting:

First moment: at 1:07 Ahh.. listen to that beautiful sounding kit. Clean triplets all the way down.

Second Moment: at 2:42 Same place in the second verse. Same place. Same fill..... but 'bumped' up from eighth-note triplets to sixteenth-note triplets with bass drum polyrhythmically placed. WOW! (transcription anyone?)

Third moment: 3:28 Over-the-bar-line, folks! The beginning of many Simon Phillips experiments in rhythmic illusions. Over the bar fills, rhythmic displacement, polyrhythms... most drummers do them, and it sounds annoying and indulgent. Simon uses them to build a song. By 1989 when he was playing with The Who tour, he had it DOWN, and placed them very gracefully.

Fourth Moment 3:42 Another take on an over-the-bar fill, and it also works.

Listen to the track here:
Saved By A Bell

.mp3, 128Kbps, 4:39

First Post! - Romeo

2007-08-17T10:23:00.000-07:00

Welcome! I was just listening to a very old track with Simon playing on it, and was inspired to put up a blog to see if there are others out there that have also been inspired by the masterful playing of Simon Phillips.

We all know he is a master technician, and can has the chops to essentially "floor' anyone. What I really love about Simon's drumming is his unique compositional sense and his sense of drama. He can simultaneously be quite busy and strong while firmly supporting a song. He can 'zoom out' to see and feel the 'wide view' of a song, and build tension and excitement proportionately over a long section. He has a firm sense of style and appropriateness, but nonethless leaves a signature 'stamp' on almost all the tracks. It's not easy to have the skills to do this, especially over such a wide range of styles. I think only a rare few do this. Within a few seconds, one can tell who's drumming. Who else does this? Stewart Copeland comes to mind. Steve Gadd comes to mind. Not many others.

I will post some gems for analysis, enjoyment and discussion. I hope no one complains (if they do, I'll remove the full tracks and just use excerpts).

In the meantime, enjoy, comment, and share!
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First bonus - an OLD find from "Mr. Big", a UK band I know little about. I found the LP at a flea market. It's from 1977. The most "Simon-esque" track is below, "Romeo". I will talk more about this track later, but it's always interesting to hear a young Simon, and to hear elements of his playing that were developed and kept throughout his career.

The drum sounds were characteristically cardboard-sounding, 1970's engineering. His drums were pretty high in the mix at points, and the toms are panned far left and right, which makes some of his fills sound very nice. I wonder if he was using his Tama set yet? I would guess he is using the Tama FibreStar at this point.

Simon's groove on this track sort of reminds me of his playing on 'And I Moved' , from Pete Townshend's 'Empty Glass' album.

As for the song-- It almost sounds like they are going to move into the chorus of 'Age of Aquarius', with a Jon Anderson-sounding singer.

Listen to the track here:
Romeo
.mp3 format