Gorillaz and Madonna, "Feel Good Inc. Beyonce and Tina Turner, "Proud Mary" Grammys performances are famous for bringing together the biggest artists in the industry for unforgettable performances, including a collaboration between Tina Turner and Beyonce that brought down the house. Pink, "Glitter in the Air" These days, the true test of a pop star seems to sadly be singing live while stripping down. Pink did one better at the 52nd annual Grammy Awards when she stripped her white robe to reveal a skin-tight bodysuit -- while spinning gracefully through the air Cirque du Soleil-style.
Are you taking notes, Miley Cyrus? Lady Gaga, "Born This Way" By the time Lady Gaga took the Grammys stage in , the world was already used to her crazy antics, but no one was expecting her to roll down the red carpet in a giant plastic egg. The pop star didn't emerge until she was on stage to sing and dance her heart out in a theatrical performance of the equality anthem "Born This Way.
To make her return to the stage even sweeter, the singer won all six Grammy Awards she was nominated for. Jennifer Hudson, "I Will Always Love You" Just 24 hours after news of Houston's death broke, the Grammys brought Jennifer Hudson on stage for a pitch-perfect tribute to the late legend, proving that her legacy will live on forever.
Kendrick Lamar and Imagine Dragons, "M.
One of the more curious combos was Kendrick Lamar and Imagine Dragons. Lamar fit an explosive political statement about black people being killed within the band's head-banging performance. Beyonce, "Love Drought" and "Sandcastles" This glittering gold performance of two tracks from "Lemonade" is spellbinding in its choreography and its stage design. I do that and it works. With the exception of the large bass drum he uses for live shows, his live and studio set-ups are identical. All his drums are 9-ply Rosewood, except his snares, which are metal.
Zildjians tend to be a little bit like bits of metal. I keep my cymbals polished a lot. Every night, those cymbals are polished and if I leave them more than two or three nights, the tonal difference is amazing. What I do with them is take off all the veneer, except the actual center piece, where the stick hits the rim for rimshots. You get cramps trying to hold on really tight and your hands should be really loose. Something else Fleetwood is very particular about is his drum heads. His drums are double-headed and he uses heavy heads on the tops and lights on the bottoms.
He uses a medium Canasonic on the top of his snare, which he swears by for live playing. I change the bottoms every ten days and the difference in that care is amazing. I change the snares and everything. Another luxury is that Richard Dashut has been touring with the band.
Dashut, along with Ken Caillat, engineered, as well as helped the band to produce their last couple of albums, Rumours and Tusk. Whatever sounds good. My father was in the Royal Air Force and we were never in one place for more than three years, anyhow. So I have no problem with the road. Some people do. Lindsay would instantly choose to be in the studio his whole life. With me, I can quite honestly say that I like doing both—a lot.
Their most recent critically acclaimed Tusk album took a year and a half to record and Fleetwood was present every inch of the way. Lindsay loves it, John hates it, Chris is pretty alright and Stevie comes in when she needs to.
I love all that fiddling around in the studio. We produce ourselves and we grow a lot as a band in the studio. Not necessarily learning how to get more technical, but perhaps less and less technical, using very sophisticated machinery in the proper way without letting it use you. We do write a lot and reconstruct a lot of stuff in the studio. So, that can be time consuming. We may suddenly choose, as an exercise, to make an album really quick and that album, because we make it quick, again, will be a different type of album.
Really, there should be no restrictions, artistically. We had the studio booked out for a year, and I would imagine that really, eight months of that year was absolutely solid in the studio. In addition to the music, Fleetwood also manages the band.
- Quick Facts.
- commodore 64 emulator mac 10.7.
- escribir acentos en teclado mac.
- screen color picker mac os x.
That is not my ambition, to be a businessman. I am a musician in Fleetwood Mac. I just play the drums and the other useful part is that it just seems to be a certain section of my personality, for all its faults, that I tend to bind things together and if something is falling apart, I just seem to be the one who gets off his ass and does something about it. I meet with the record company and lawyers and all of that.
I was involved professionally, but mainly as a friend, getting them record deals and things like that.
I really am sort of glad I have that off my shoulders now, because, quite honestly, I was spending extra energy I should have been putting into Fleetwood Mac. Not as of now, no.
I get unhappy when I get stuck at home. The gypsy part of this business is in me.
Is mick fleetwood using a back-up drummer on this tour?
Being at home is not what you do. It is hard, I suppose. If you really enjoy the emotional experience of playing and being creative through playing drums, do it. Otherwise, do it on weekends or something. I always wanted to play the drums. I knew that I wanted to be a drummer and I was determined that I was going to be a drummer and I was, and because I felt that way, whether I made money or not, absolutely did not matter at all. I went through hell, but I loved every minute of it—freezing vans coming back from Newcastle with frost on the inside, sleeping in the back of the vans.
You have to work hard just to play, not to think that once you play, everything is just going to be instant recognition and instant rock and roll star. The drum sounds are a very critical part of your mix. Being on the road, there are 24 hours to the day, but only two of those hours are doing the gig and all the other hours are focused on doing those two hours and it would be a pity for me to thro away that whole trip by having mediocre sounds.
So, we kind of grew up together with that.
Mick Fleetwood Turns Watch Him Bang Out an Insane Drum Solo (Video)
Now, we like to tune the snare drum very, very tight, almost like a membrane. Every time you just touch the top skin, the bottom reacts. The only problem is that you have to replace the bottom skins of the snare quite often and that can be quite costly. This is a point that most drummers forget. The bottom skin is as important as the top, if not more.