Bruce Springsteen once said of Max Weinberg, his impossibly reliable drummer for over four decades, “I ask and he delivers for me night after night.” Leave it to Bruce to come up with the perfect tribute to music’s true working-stiff warriors — the guys way in the back, behind all that stuff, giving the music its spine and drive, its cohesion and contour and a huge chunk of its personality, often without getting the credit they deserve. Ever hear any dumb-guitarist jokes? Exactly.So this is our epic chance to give the drummer some.

In coming up with our list of the 100 Greatest Drummers of All Time, we valued nuance and musicality over chops and flash, celebrating players who knew the value of aiding a great song more than hogging up a show with a silly solo. That means that along with master blasters such as John Bonham, Ginger Baker, Keith Moon and Neil Peart, and athletic soundpainters like Stewart Copeland and Bill Bruford, you’ll find no-frills-brilliant session guys you’ve been loving on the radio for years like Jim Keltner and Steve Gadd, early rock & roll beat definers like Jerry Allison and Fred Below, in-the-cut funk geniuses and brickhouse disco titans like Clyde Stubblefield and Earl Young, and unorthodox punk minimalists like Maureen Tucker and Tommy Ramone.

But Shrieve is also responsible for one of the greatest live drum performances in music history with his solo during Santana's performance of 'Soul Sacrifice' at Woodstock. Don't Edit Freddie.

Bill Berry of R.E.M. Once told Modern Drummer magazine, “I guess I’m not really a Modern Drummer drummer.” But the unshowy contribution he made to the band he played in is worth more than a pile of dusty VHS drum-instruction tapes (not that we couldn’t watch where Jeff Porcaro explains how he came up with the “Rosanna” groove until our eyeballs turn to ash).One important caveat: we used rock and pop as our rubric, so a drummer’s work needed to directly impact that world (as we define it, of course) to make the list. This meant leaving out dozens of essential jazz artists such as Max Roach and Roy Haynes, whose innovations inspired many of the players you’ll read about below. That list is its own monument we hope to build someday soon. For now, let the arguments start. If you want to throw a cymbal at us, please do so in the comments section. Blink-182's Travis Barker is one of the most famous drummers of the new millennium thanks to his hardcore sensibility, skater aesthetic, hip-hop energy, pop appeal and reality TV-ready baby face — not to mention his ease working with EDM superstars or rappers, and DJ-ing in his spare time.

It's a well-rounded attitude towards rhythm that elevates everything he does. 'I can do beats all day long, and that's something that's been moving me. I've never heard of a drummer servicing beats to people like that, getting them to my hip-hop friends,' Barker told. He's an animalistic artist who performs fiercely and is unafraid to go theatrical.

Guns N' Roses' landmark debut, Appetite for Destruction, gets much of its swagger from the tense yet swinging beats of Steven Adler, the band's energetically goofy drummer. 'To Steven's credit, and unbeknownst to most, the feel and energy of Appetite was largely due to him,' Slash wrote in his autobiography. 'He had an inimitable style of drumming that couldn't really be replaced, an almost adolescent levity that gave the band its spark.' Bassist Duff McKagan agreed: 'Without his groove, we wouldn't have come up with a lot of those riffs,' he told The Onion A.V. Club in 2011.

Adler, who was fired from the band in 1990, was replaced by technically advanced drummers like Matt Sorum and Frank Ferrer, but no one can properly capture his exuberant, whiskey-soaked, youth-gone-wild pulse. In 1993, Blackman altered the course of her career, shifting from a Tony Williams–style jazz ace to an arena-playing rock star as a member of Lenny Kravitz's live band. After the singer-songwriter surprised her with an audition, she was suddenly catapulted into his sphere, appearing in the ' video and touring off and on with him ever since. 'My job with Lenny is to play a beat for hours, and make it feel good, and add some exciting fills and exciting colors, when it fits tastefully,' she told, commenting on her dual skill set. 'My job in my band or in a creative situation is a totally different thing. We may start with a groove that feels great — I may play that for hours too, but I'm going to explore and expand and change that, play around with the rhythm and interject with the soloists.'

Blackman's sharp improvisational instincts and formidable intergenre prowess, on display in projects such as the Williams-honoring Spectrum Road, should serve her well in Mega Nova, a new project featuring husband Carlos Santana and jazz greats Herbie Hancock and Wayne Shorter. The only member of U2 that actually resembles a rock star got his start in the late Seventies as a post-punk amateur with low job security: At one point, his bandmates considered kicking him out, a move encouraged at the recording of U2's first demo by a record executive aghast at Mullen's dodgy timekeeping.

He turned things around, however, to become one of the most influential skinsmen in rock. Technologically savvy and surprisingly funky, Mullen keeps U2's grooves pushing forward towards the future — from the martial snare blasts announcing 'Sunday Bloody Sunday,' to finding the human heartbeat amidst Achtung Baby's clubby electronics. He argued to producer Brian Eno that a click track was a fraction of a beat off of the band — after the drummer left the studio, Eno discovered it was askew by six milliseconds. 'The thing is,' Eno, 'when we were adjusting it I once had it two milliseconds to the wrong side of the beat, and he said, 'No, you’ve got to come back a bit.'

Which I think is absolutely staggering.' 'My worst nightmare Chris Dave is his drummer,' Questlove told an interviewer in advance of D'Angelo's 2012 live comeback. 'You need the most dangerous drummer alive on that tour.' While not a household name, the unassuming 42-year-old R&B specialist known as Daddy is legendary among those in the know. Much like a Cadillac hood ornament or a Tiffany logo, a Chris Dave credit on a session is a mark of pure class; he appears on some of contemporary pop's most high-profile albums, including Adele's 21 and D'Angelo's Black Messiah.

Though he came up idolizing jazz greats like Tony Williams — and, later, channeling those inspirations in his astonishing work alongside improv aces such as Robert Glasper — he has made his deepest impact as a drummer acutely attuned to the stutters and hiccups of sample-based hip-hop. Dave's great gift is for creating ear-bending beats, often realized on a tricked-out kit with as many as five snare drums, that still blend in beautifully with an ensemble texture. Meg White's idiosyncratic, primal take on drumming was fundamental to the appeal of the White Stripes, who rode their candy-colored outfits and stripped-down blues to rock stardom in the early Aughts.

Tracks like 'Dead Leaves and the Dirty Ground' and 'Blue Orchid' were jolted to life by her deceptively simple backbeat bashing, which helped define the Stripes' stomp. 'I would often look at her onstage and say, 'I can't believe she's up here.'

I don't think she understood how important she was to the band, and to me and to music,' Jack White told Rolling Stone in 2014. 'She was the antithesis of a modern drummer. So childlike and incredible and inspiring. All the not-talking didn't matter, because onstage? Nothing I do will top that.' Neil Young has played with a lot of drummers during the past 50 years, but he always comes back to Ralph Molina, whom he first met during the Buffalo Springfield days, when Molina was a member of the Rockets.

Like his Crazy Horse compadres, Molina is the furthest thing imaginable from a cookie-cutter virtuoso. 'I can start playin' the guitar, and Ralph can pick it up on the wrong beat and play it backwards,' Young told biographer Jimmy McDonough. 'That happens all the time.

Never happens with professional groups.' He doesn't mean that as an insult. It's that kind of raw, from-gut-playing — and a knack for earthy backbeats that lope along with elemental grace underneath Young's signature fuzz-toned flights — that helped Molina lay the foundation of 'Down by the River,' 'Cinnamon Girl' and other timeless classics. “We don’t know the songs; we don’t have charts,' Molina said of in 2011 of his work with Young. 'We just start playing. The magic just seems to happen ' The proof is clear on any Crazy Horse recording from 1969's Everybody Knows This Is Nowhere to 2012's Psychedelic Pill. 'Janet made up a drum part, fierce and solid, we could practically bang our heads against it,'about how Janet Weiss came to join Sleater-Kinney.

'Then we were three.' Since teaming with Tucker and Carrie Brownstein in 1996, Janet Weiss has been the ferocious foundation of the alt-rock institution as well as contributing her biting talents to Bright Eyes, the Jicks, the Shins and more.

But her work with Sleater-Kinney has proven the most influential, providing a constant balance of song-serving and primal aggression. 'Music, to me, is the most immediate of all art forms. Maybe because I'm physical. I bang on things. There's a physicality to our music. We're using every part of our body,' in an interview about her supergroup Wild Flag.

'Women aren't often allowed to be animals. Bill Stevenson provided the raging backbeat for two strains of groundbreaking SoCal punk. In 1977, as a pimply 14-year-old, Stevenson co-founded the Descendents, whose heartbreaking proto-emo anthems — tattooed with Stevenson's signature machine-gun snare rolls, and often written and produced by him too — laid the groundwork for the likes of Green Day, Blink-182, Fall Out Boy and Weezer. And starting in the early Eighties, he served as the drummer for iconic L.A. Punk brutalists Black Flag during the band's arguably most creative phase; as heard on albums such as My War and Slip It In, his steady yet mutable pulse fueled guitarist Greg Ginn's exploration of everything from monolithic art metal to spastic punk-gone-jazz. Stevenson, who maintains a busy touring with Descendents, their offshoot band All and the Black Flag tribute project Flag, attributes the hyperactive character of his playing to an everyday influence: caffeine.

'In our band, we would drink a bunch of coffee, or I'd eat 50 Snickers bars, before we played,' he said in 2014.

Gtr evolution pc. Learn how to play Soul Sacrifice, one of the classic hits from the 1969 Woodstock Festival, and the song that turned Santana into an instant success.This is the start of a new series of articles in which we choose a song and then break it down harmonically to look at the theory behind it. Though we will show you how to play the song, and there will be tabs and music notation, these are not meant to be note-for-note tabs of the songs.

These articles are meant to show you how to play the song, introduce you to music theory, and show you how you might apply it to your own music. This series might also be good for guitarists who are in a cover band and need to play these songs, but want to do it while retaining their own identity and originality. This time we are going to look at the song Soul Sacrifice by Santana.Written in 1969, Soul Sacrifice was one of the band’s first songs. They performed it the same year at the Woodstock festival in Bethel NY and it was considered by many to be one of the highlights of the entire three day festival. The live performance of this song turned Santana into an instant success.

This is an instrumental song loaded with powerful drums and guitars. We are going to look at the studio version of Soul Sacrifice from their debut album “Santana.” Key and ScaleSoul Sacrifice is in A Minor Dorian, which is a mode of the G Major scale. Santana uses the Dorian mode quite a lot, and it can also be heard in “Oye Como Va,” “Evil Ways,” and many others.A Minor Dorian = A,B,C,D,E,F#,GG Major = G,A,B,C,D,E,F# Soul Sacrifice song parts and analysisThis song has a few sections that repeat. Let’s take a look at them in more detail.Part 1The song starts out with 10 measures of drums and percussion, after which the bass guitar enters, along with some ringing guitar chords in A Minor. The bass part repeats four times (Fig 1), for a total of eight measures.Figure 1Here is another look at that A Minor chord. Play this one in the fifth position and try to let the notes ring out as much as possible (Fig 2)Figure 2Part 2The next part is an eight bar section that acts as the main sort of “hook” to the song and sets up the melodic guitar/keyboard solo.

(Fig 3)Figure 3Here is another look at the chords. We use the same A Minor chord that we have already been using, along with a C Major chord and a D Major chord. (Fig 4)Figure 4Part 3The third part of Soul Sacrifice is a 24 bar section in which a call and response guitar solo begins with the keyboard. This is where the main melody is introduced and it is played over the following bass line. (Fig 5)Figure 5Part 4The fourth part of the song is a return to a long drum solo for 40 bars.Part 5The fifth part of the song is a return to the eight bars of Part 2. (Fig 3 and Fig 4)Figure 3Figure 4Part 6The sixth part of Soul Sacrifice is 32 bars that are very similar to the third part with the guitar/keyboard melody, but this time they use a slightly different bass line.

(Fig 6)Figure 6Part 7The seventh part of the song is 48 bars of mainly keyboard solo. It returns to the same repeating bass as Part 3, but adds a rhythm guitar part that goes under the keyboard. The rhythm guitar part alternates between an A Minor chord and a D Major 13 chord. (Fig 7)Figure 7Taking another look at those chords, we can see the regular A Minor 7 chord, followed by a D Major 13 chord. (Fig 8)Figure 8Part 8The eighth part of the song is 12 bars with a slight variation, but is still quite similar to Part 7. This is where the song begins to come to a close and as these 12 bars play through, the song fades out (but we’re not finished yet ).

(Fig 9)Figure 9As you can see, this part uses the same chords that we use in Part 7. (Fig 8)Figure 8Part 9After the fade out, we get a nice A Minor Dorian run over an A Minor chord for four bars, and then four bars of a staccato A Minor chord, to bring the song back into full gear one last time. (Fig 10)Figure 10Taking another look at the chords above, we can see that we are playing an A Minor chord followed by four bars of staccato A5 Power chords (only two bars are pictured above). (Fig 11)Figure 11Part 10Part 10 is the final return to the hook of Soul Sacrifice in Part 2, for the first six bars.

(Fig 12)Figure 12After those six bars, we get three bars of the following guitar fill.