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1
Aja
Steve Gadd lets the early singing breathe while keeping the arrangement in motion. He becomes far more conspicuous when Wayne Shorter’s saxophone takes over, answering its rising intensity with a flurry that makes the instrumental stretch feel like a conversation.
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Won’t Get Fooled Again
Keith Moon keeps throwing short bursts across the band’s big chords. After the long synthesizer passage takes the beat away, his rolling return brings back the physical weight of the whole band before the final vocal.
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Dig Me Out
Janet Weiss gives the opening guitar a brisk beat to push against. The snare stays firm under the vocal exchanges while fills at the ends of phrases get the next section moving before the guitars have finished ringing.
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Tom Sawyer
Neil Peart gives the verses a sturdy backbeat. When the synthesizer takes over, the beat starts to turn over sooner than you expect. Listen for the run across the kit that makes that uneven pulse feel like a continuation of what came before.
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Weird Fishes / Arpeggi
The drums start briskly and keep moving as layers of guitar accumulate. The pattern gives those guitars a common pulse until the sound thins out. When the beat comes back, it makes the last ascent feel earned.
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Bloodbuzz Ohio
The drums are forceful from the opening, giving Matt Berninger’s low voice a pulse it can lean back against. As the singing grows more insistent, the same pattern feels like a source of pressure instead of a mere starting beat.
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Banquet
The snare gives the clipped guitar figures room to bounce. When the vocal phrases start to stack up, the cymbals make the beat feel wider. Those changes give the same guitar attack a different job from one section to the next.
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Pneuma
Danny Carey begins with quieter accents around the guitar and leaves room for the long build. As the band gets louder, he spreads the pattern across the kit, turning a pulse you might only feel at first into the part you follow.
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Caravan (Remastered 2024)
Art Blakey’s rolling opening makes the drums the first voice you meet. When the horns arrive, he keeps the pressure up underneath them, and the groove loosens and tightens as they move between the written theme and solo passages.
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The Seed (2.0)
Questlove’s dry snare gives Black Thought’s longer lines somewhere to land. When Cody ChesnuTT’s sung refrain comes in, listen for how the same blunt pulse moves to the foreground with the guitar.
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What About Me?
Larnell Lewis sets the clipped opening figure in motion, then throws longer runs around the band’s stops. Stay through the solo section to hear how the drums go from giving everyone the cue to having the floor themselves.
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Walking on the Moon
Stewart Copeland leaves broad gaps around the bass at first. Small cymbal movements make those spaces feel active, and the sharper answers later on make the groove seem to lift without filling in all its air.
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Geek U.S.A.
Jimmy Chamberlin’s drumming jostles the guitars through the loud sections. The quieter middle gives you a chance to hear the difference when the full kit rushes back in and the band regains its speed and weight.
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War Pigs / Luke’s Wall
During the vocal passages Bill Ward finds space for short answers in the gaps left by the guitar. Later, he is pushing a much more continuous riff. The drums take the song from a series of confrontations to a sustained rush.
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Achilles Last Stand
John Bonham’s kick gives the galloping guitar figure its weight. When the guitars stretch into longer lines, the accents move around underneath them, keeping the long instrumental passages from settling into one kind of drive.
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Strings of Light
The quick, flickering drum strokes leave a lot of room around the electric keys. As that keyboard pattern takes hold, the drums crowd in and out around it, making the groove feel open one moment and tightly wound the next.
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Repeater
The kit puts an edge on the guitar jabs at the start, then keeps them from splintering when the voices come in. In the stop-and-start passages, the snare and cymbals tell you as much about when the band will turn as the riff does.
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