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Author: Subject: Animal vs. Rich

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  posted on 11/18/2007 at 06:58 PM
http://www.youtube.com/watch?v=uhbxN4NO38k&feature=related


 
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Zen Peach



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  posted on 11/18/2007 at 07:12 PM
LOL!! That's fantastic!!

 

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  posted on 11/18/2007 at 07:28 PM
AWESOME!
 

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  posted on 11/18/2007 at 07:29 PM
Animal is so fast that I can't even see his sticks hitting the drums! Buddy beat the stuffing out of him!
Seeing this clip did my heart good! Seeing Buddy Rich ... that brought a huge smile to my face!

 

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  posted on 11/18/2007 at 07:52 PM
Classic

 

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  posted on 11/18/2007 at 08:07 PM
Buddy Rich was always bad to the bone. I met Buddy many years ago at the Gillies Jazz Club in Dayton, Ohio, a club where you could easily meet all of the performers that played there, McCoy Tyner, Mose Allison, Ron Carter, and many more. Buddy was a short man with soft hands and cool as can be, but man, could he b*tch his band out. He b*tched out his sax player after a solo DURING a song when I was there. His face was beat red and he was playing the drums while screaming at this guy. Has any of you heard the secret tour bus tapes where Buddy reams his band?? Hilarious stuff.

The classic "Roach Versus Rich" record album of the battle of the drums with Buddy and Max Roach is a classic. It was a great use of hi-fi stereo seperation, with Roach's drums in one speaker and Buddy's in the other speaker. We use to listen to it over and over again without looking at the back of the album so we could get to where we could tell one from the other by their styles. Good stuff.

DH

 

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  posted on 11/18/2007 at 08:45 PM
Members of Buddy's band would sneak a cassette player on the buss and tape his tirades. Great stuff. Here is both transcript and audio links;

quote:
Act One


Click To Play - http://www.carrothers.com/actone.htm

Follow along as you listen to the audio with that madcap Buddy. It's fun!

(In a dressing room for the band)

Buddy Rich (BR)-
You think I'm runnin' fifteen **** in'...Close that door. (musician slams door) What kind of playing is being played here the past two nights? What is this? New phrasing, new bending, new sounds, no time! What the **** do you think I'm running here? What kind of playing do you call this? What kinda **** is going on in the **** in'...(turns to the bass player) What kinda, what kinda setting do you got on the bass tonight?

Bass Player-
Setting?

BR-
I feel that's fairly much English.

Bass Player-
It's the same as I've always had out there.

BR-
What's with this, what's with the bending?

Bass Player-
I decided...

BR-(interrupting)
Who decided?

Bass Player-
I did.

BR-
Your deciding is wrong!

Bass Player-
I didn't do it on purpose. I...

BR-(interrupting again)
You're deciding what kind of phrasing. You're deciding who and what the leader is. You're gonna watch who you wanna watch...(turns to the rest of the band). Everybody's on two weeks notice tonight. I'm telling you, everybody gets two weeks notice tonight. I can't handle this anymore. You all...(pauses thoughtfully) you're not my kind of people, at all. I don't understand this f*ckin' kind of music at all. I don't understand what anybody is doing up there. I'm workin' my f*ckin' ass off...(turns to a trumpet player) You put that **** in' mouthpiece into that bell again, I'm gonna take your f*ckin' horn and break it across my knee! Do you understand that?

Trumpet Player-
I'll stay away, you can't hear a note though.

BR-
I can hear everything! I don't give a f*ck what you hear. I hear it, and all I know is that you're blowin' my f*ckin' eardrum out! (turns to the saxophones) The saxophones, you can play the flute, there's no sound in flutes. All I hear is noise. If you get any f*ckin' closer you'll electrocute yourselves. What do you think I got a man with a sound system out there for? Sit down and play some f*ckin' music! You afraid you won't be heard, is that it? I'll turn the motherf*cker off all of you, then see what kind of a band you got up there, without all the assistance. You can't play sh*t! I'm accustomed to working with number one musicians. I'm not accustomed to working with half-assed f*ckin' kids who think they wrote the f*ckin' music business. You got a long way to go. You got a long way to go. Every one of you got a long f*ckin' way to go. Do you understand what I'm sayin'? You can't play sh*t up there for me. What the f*ck you're doin' up there doesn't deserve to be called a "name" band. The f*ckin' kids out at the park there, they sounded fifty times better than any one of you! And that's without a rhythm section. Maybe they enjoy what they are doin' here. If you don't enjoy it here, f*ck you! And get off my band. Or we can find other ways to settle it.

I'm just so f*ckin' tired of having to go through speeches with you guys. You're all a bunch of f*ckin' children. There's not a man among you, not one man who can go out there and play the job like a man. You're all up there, f*ckin' high school, bull **** jive artists. You jived me for the last f*ckin' time. You got two sets to make up your f*ckin' mind or I get me an all L.A. band tomorrow night. Don't think that's not impossible. It's very f*ckin' possible. I've had it with you guys. I ought to give each one of you **** s a cut in salary before I get out of this f*ckin' room!

(Exit Buddy, slamming the door behind him)

Act Two

Click To Play - http://www.carrothers.com/acttwo.htm

Pay attention! Buddy's just getting warm...

(In the bus between sets)

BR-
You guys are gonna be back in New York on the bread line so fast you won't even know that you were on this f*ckin' band. How dare you play a f*ckin' set like that. Since when did the f*ckin' trumpet players become the leader of this f*ckin' band and decide how long they're gonna hold a chord? What the f*ck do you think your doin'? You think you're playin' with some kid up there? I expect one-hundred-and-ten percent f*cking perfection every f*ckin' tune, you got that? If you can't do it, get off my f*ckin' band to-NIGHT! You had a day off yesterday and you come back like this and you suck! What the f*ck kind of music do you think you're playing here anyhow? And who do you think you're playing for? You think I'll tolerate that sh*t? You're worse than any f*ckin' high school band I ever heard. You come in wrong because you leave one f*ckin' beat out, you can't find one!? I don't know what kind of drummers you think you're playin' with, but you'll play with me or you'll get out! And I mean NOW! I don't need this **** . I have a home in Palm Springs and I can go sit on my ass the rest of my life and not worry about a f*ckin' thing...and don't have to meet your f*ckin' payroll, and pay you for playin' like a f*ckin' high school dropout! How dare you do that! ASSH*LES!! You can't play a simple f*ckin' tune; you can't hold a chord; you can't play time when you play solos. What kind of solos am I hearing tonight? (as he turns to the Trombonist) You want to rehearse and practice, get a f*ckin' band in Sydney and play the kind of **** you want. Over here you play TIME!!

(all are frozen stiff in a freeze frame as stage darkens)

Act Three

Click To Play - http://www.carrothers.com/actthree.htm

Grab your umbrella. The storm clouds are gathering...

(In the tour bus between sets)

BR-(screaming)
What the f*ck do you think is goin' on here? You had too many f*ckin' days off and you think this is a game!? You think I'm the only one that's gonna work up there while you motherf*ckers sit out there and clam all over this f*ckin' joint!? What do you think this is anyhow? What kind of playing do you think this is? What kinda miscues do you call this? What f*ckin' band do you think you're playin' on, motherf*ckers? You wanna f*ck with me on the bandstand?...Shut that f*ckin' door! I'm up there working my balls off, trying to do somebody a favor, and you motherf*ckers are suckin' all over this joint. What kind of trumpet section do you call this tonight? And saxophones...you've gotta f*ckin' be kidding me! How dare you call yourselves professionals. Assh*les! You're playin' like f*cking children up there. You got your fuc...(distracted momentarily) where the f*ck are you? That's marvelous. (turns to the Trombonist) You've got your f*ckin' horn so far deep in the f*ckin' bell, we don't need to have a band here tonight. You afraid you won't be heard? Everybody can hear your f*ckin' clams out there. You don't need a mic for that. You're takin' up too much f*ckin' time blowin' what? Sh*t!! You stand out here all night tryin' to blow your f*ckin' brains out... when it comes time to play, what do you play? Clams!! You got nowhere to f*ckin' go tonight the next set because if I hear one f*ckin' clam from anybody, you've had it! One clam and this whole f*ckin' band is through...tonight!! Try me! You got some f*ckin' nerve. Nights off, nothin' to do, and you come in and play this kind of sh*t for me...F*ck all of you!! You're not doin' me any f*ckin' favors, you're breakin' my heart up there. I gotta go up there and be embarrassed by you motherf*ckers? I've played with the greatest f*ckin' musicians in the world. How dare you play like that for me! How dare you try to play like that for me. Assh*les!! I get fifteen f*ckin' kids in rehearsal. The f*ckin' time in this band is incredible! We don't play two f*ckin' bars in one f*ckin' tempo. Not one! You can't keep f*ckin' time and play, there's too many things to do, isn't there? You can't pat your f*ckin' foot and play. You're all over the f*ckin' place. Miscue after miscue...You try one f*ck up the next set, and when you get back to New York you'll need another f*ckin' job. Count on it! Now get out of my f*ckin' bus! Right now! (Band members shuffle out in a daze)

Act Four

Click To Play - http://www.carrothers.com/actfour.htm

In the opinion of this critic, Act Four is his great, epic poem.

(In a tour bus traveling to the next gig. Buddy is pacing up and down the aisle of the bus, searching for a victim)

Buddy Rich-
Two f*ckin' weeks to make up your mind whether you want a beard or you want a job. I'll not have this trouble with this band. This is not the g*ddamn House of David f*ckin' baseball team. This is the Buddy Rich Band; young people...with faces! No more f*ckin' beards. That's out! If you decide to do it, you're through. Right now! This is the last time I make this announcement. No more f*cking beards. I don't want to see it. If you guys don't want to shave it off, I'll treat you just like they treat you in the f*ckin' Marine Corps. This is the way I want my band to look. If you don't like it, get out! You've got two weeks to make up your mind. This is no idle request. I'm telling you how my band is gonna look. You're not telling me how you're gonna look, I'm telling you. You've got two weeks to make up your f*cking mind, if you have any mind. There's too much freedom in this band. It's taken away. You're not going to do what you want to do, but what I want to do, as long as you're takin' my f*ckin' money. I'm presenting my kind of band. The image I present is what I want, not what you want (turns to Dave Peneke, one of the trombonists). You seem to be giving me more trouble than anybody else. Do you want to do something about it? It's up to you. Do you want to do something about it?

Trombonist-(Dave Peneke, in an Australian accent)
I would definitely not suggest you touch me.

BR-
Then I definitely tell you one thing. You keep your f*ckin' mouth shut, get the f*ckin' beard off, or get off the band, right now. Now what do you think about that? Now that's a definite suggestion. When you go to work tonight, if I catch the f*ckin' beard on you, I'll throw you off the f*ckin' bandstand, O.K.?

Trombonist-
I'm not taking it off.

BR-
You're what?

Trombonist-
I'm not taking it off.

BR-
You're through.

Trombonist-
O.K.

BR-
Right now. You don't tell me what to do, I tell you. You don't like it, get off.

Trombonist-
When and where?

BR-
Get off! Get your f*ckin' clothes and get off! Right now! (to the bus driver) Pull the f*ckin' bus over!

Trombonist-
Have you got two weeks pay for me?

BR-
Have I got what?

Trombonist-
Two weeks pay for me.

BR-
I got nothin' for you. I got a right hand to your f*ckin' brain if you want it. I'll give you two weeks...two weeks for what? You learn the rules of my band. You don't like it, that's it. You get off. And try to take me to the f*ckin' union. I'd love it. I'd love it. You get no two weeks pay, you get two weeks time. Get off. (aside) He was waiting for this for a long f*ckin' time.

Trombonist-
No I haven't.

BR-
Yes you have...

Trombonist-
No I haven't at all.

BR-(continuing)
...ever since you opened your f*ckin' mouth because I don't like the way you write...(pausing), and I still play your f*ckin' charts, for you. You understand that...not for me.

Trombonist-
I think you play my charts becau...

BR-
Because what?

Trombonist-
...because, in particular, "Manhattan" is the best chart in the book.

BR-
It is?

Trombonist-
Yes.

BR-
Then take "Manhattan" and get off. I'm a success without you and without your writing.

Trombonist-
I know that. I know that.

BR-
Alright. So don't tell me what the best chart in my book is.

Trombonist-
Well, it certainly goes over the best.

BR-
Goes over the best?

Trombonist-
Sure it does. People appreciate...

BR-(interrupting)
Go back to Sydney and, uh, whatever you do over there, good luck. Not over here. You're through. (to others in the area) I want him off my f*ckin' bus right now.

Trombonist-
It's a pleasure to be off.

BR-
Keep talkin'...keep talkin'. (Buddy's voice begins to tremble with rage) You wanna, you wanna start some sh*t with me? Hmm? Keep talkin'...

Trombonist-
Not particularly.

BR-
Then keep your f*ckin' mouth shut! Right now! Or I'll close it for you. Keep it shut...or try me!

Trombonist-
I don't need to try you, Buddy.

BR-
Then shut up!

Trombonist-
Well, I'd just appreciate, you know, being talked to like a human being.

BR-
I try to talk to you like a human being and you talk back all the time...

Trombonist-
I don't think you do.

BR-
...now keep your f*ckin' mouth shut or I'll show you what it's like! That's all!

Trombonist-
O.K., but you have no right to threaten me.

BR-
I'm not threatening you, I'm telling you. You don't want to do what I want in my band. I'm telling you!

Trombonist-
O.K.

BR-
Then shut up!

Trombonist-
I will.

BR-
Alright.(turns to the rest of the band) Let's get that understood by everybody. I want him off. I don't want him on the bandstand tonight. Two bones...(Buddy resumes cruising the aisle, looking for other targets of opportunity) I'm warning you for the last time. You wanna...right now...anytime you're ready...Close your f*ckin' eyes. I've done had it with you. Sit down and keep your f*ckin' eyes and your mouth to yourself. Grow up. You're not a tough guy so why don't you just sit down. You better start learning to act like one. (Eyes the trombonist) I am one, you are not. So shut up!

Trombonist-
Don't threaten me.

BR-
F*ckin' assh*le, f*ckin' with me. I've got one for you. I own this f*ckin' band. (Stage darkens while Buddy contemplates his power)


 

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  posted on 11/18/2007 at 08:50 PM
I think Animal hung out too much with Beaker

 

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  posted on 11/18/2007 at 08:59 PM
quote:
Has any of you heard the secret tour bus tapes where Buddy reams his band?? Hilarious stuff.

I had a good friend in Columbus who had some of those tapes. If you weren't perfect - in Buddy's eyes - he'd call you everything under the sun.

And think about his perspective. Here's a guy who played with all the best that ever were, then as he tries to keep the big band jazz thing going into the 60's, 70's and beyond, he ends up playing with a lot of younger musicians who just couldn't compare. It had to be frustrating for him - he was a perfectionist.

And an SOB. Read Mel Torme's book about him. Mel adored Buddy, and Buddy treated him badly at times. He regularly told fans and autograph seekers "f**k off".

For my money though, while Buddy is unquestionably the greatest ever, of his peers, I preferred Louie Bellson. I liked the precision of Louie's snare work better than Buddy's. Got to meet Louie in Columbus once, when Columbus Percussion had a big drummers event with Louie, Billy Cobham, Tommy Campbell, and others. Louie has a smile and a nice word for everyone who wanted to talk to him. What a gentleman.

My favorite Buddy anecdote: we was brought in to a hospital emergency room after one of his heart attacks. A nurse asks; "Mr. Rich. are you allergic to anything?". Buddy replies; "only country and western music".

 

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  posted on 11/18/2007 at 09:04 PM
quote:
http://www.dornpub.com/JazzpPDF/gibbs.pdf#search='terry%20gibbs'

Interview with jazz vibist Terry Gibbs;

I know you were good friends with the late Buddy Rich. How about a Buddy Rich story?


“Buddy Rich has always been known to be very hard. Everybody knows that he could be nasty. But there was another side of Buddy Rich. My son, Gerry, when he was 7 years old, idolized Buddy Rich. I kept telling Buddy how talented my son was. One time Buddy calls me and says, ’I’m doing the Tonight Show tonight, why don’t you bring your son over.’ So I did. Eddie Shaughnessy gave Gerry some sticks and we went into Buddy’s dressing room. Buddy says to my son, ’Your dad tells me you play the drums. Play something.’ And he gave him a chair. Now, if my son, who had good chops at the time, went over to the chair and played a bunch of noise, Buddy would’ve patted him on the head and said, ’That’s nice,’ and that would’ve been the end of that, because at two years old Buddy did that. But Gerry sat down and went ding dinga-ding dinga-ding and that knocked Buddy out. Time! Buddy was a time freak. Buddy looked at my son and says ’Can you play what you just did, then play me four bars of a drum solo?’ This was on a chair now, so once again Gerry played the ding dinga-ding for the four bars and when it came to the four bar drum solo, Gerry played a drum solo like a tap dancer, and Buddy loved that. So Buddy called the band boy and said, ‘Get me some sticks,’ and they both sat there, playing fours, and Buddy’s trying to hang up Gerry with all the time things he could do, and Gerry played with him. So then he says to Gerry, ’Hey, that’s great. It’s coming Christmas time. I want to buy you something. What can I buy you for Christmas?’ And Gerry looked at him and said, ‘I’d like to have your drums.’ All of a sudden the horns came out on Buddy’s head, ‘MY DRUMS!? Are you kidding, I’ve got $50 million dollars worth of drums. What can I buy you for Christmas?’ And Gerry says ’I’d like to have your drums.’ Buddy looked at me and he says, ’We close tomorrow night, come pick up the drums.’ The next night when Buddy finished the last tune, we picked up that whole drumset, and took it home.”

 

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  posted on 11/18/2007 at 09:07 PM
I have to agree with you about Louie Bellson. His appearances on the Ed Sullivan Show when I was a kid turned my head around to jazz and the drums nefore Buddy Rich did. If I remember right, Bellson had the double bass drums going before anyone else did it.

 

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  posted on 11/18/2007 at 09:15 PM
Animal effin ROCKED

 

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  posted on 11/19/2007 at 12:50 AM
Some great old clips from the masters -

Louie and Lionel Hampton: http://www.youtube.com/watch?v=B09cED1_gvk

Louie doing some great, subtle brush and stick work at the beginning of this: http://www.youtube.com/watch?v=iG4Y0N9bi10

From 1989, Louie letting it all hang out in one of the greatest solos I've ever seen: http://www.youtube.com/watch?v=o7O4nmeL7hg

I always loved when Buddy was on Carson. Here's a interview and a little number with the band: http://www.youtube.com/watch?v=iFnDXBUaCQg

You watch these guys - and no disrespect to today's musicians - but no one even comes close any more.

 
 


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