Old or new Larry ?

[onyourkneesboy]

I didn't plan to be this post about cymbals! Zildjan or Paiste or whatever...
Otherwise I would have started this thread in "Even better than.." to talk about all kinds of technical stuff..

I wanted your opinion about his drumming-style in general.

My point is: due to backproblems, athritis or whatever, who else of you also thinks that for the last 2-3 albums AND tours Larry SEEMS to take the easy way out when it comes to creating "heavy chaos" or "atmospheric rumble" on his drumkit (first 3 albums, Wire, Homecoming, Bullet, One Tree Hill, Exit, Deep In The Heart, Desire, Hawkmoon, God part II, The Fly, Acrobat, Please.)

For the last 3 albums he uses a lot "accompanying drumming" or the breakbeat/smashing-cymbal style (Last Night On.., Gone, Beautiful Day, Elevation, Walk On (live), Miracle Drug...
I don't get it: this last style is a style that Coldplay (excuse me) uses in almost every song and it's almost their brandmark. Still, Larry chooses to drum in this style over and over again! Before that he would never repeat himself on a song twice! Especially not with some other bands style!
Furthermore on songs like The Fly (live) on the last tours I think his drumming is too simple: can you imagine how this song would sound now (with Edge's current guitar treatment) with the pounding rumble of the Zoo TV tour?

 

[kingofsorrow]

old or new larry? larry is ageless. he's the boy, the man, the godfather of good looks.

 

[Rob33]

Oh, I looked into it and you're right. Maybe it's easier on his wrists to do it simpler now.

I seriously doubt that. I think it's merely a matter of him forgetting how it was originally played live during the JT/Lt tour...it was still pretty awesome on ZooTV, but then from there on it started losing something...so it seems to make sense that as time went on he simply forgot how he played it. I think these songs are so ingrained in each band member's mind that Larry probably barely does anything before a tour with this song, which is a shame. I'm sure he fools around in rehearsals or something, but it sucks, because all it would take is someone showing him a video of rattle and hum, or the audio of 12/26/1989, and he would probably realize it, but it probably doesn't even cross his mind anymore....the rhythm he played during Jt, R & H, or Lt is more complex. There is more space within the tom roll itself (between the notes) and the rolls are more pronounced. The snare work is all good, but the tom arrangements are what need work. In fact, for the most part, the entire song just felt tighter as a whole back in the day.

Larry/U2 need to go back and watch some video. I feel like as U2 have become so perfected live with some songs, they really forget how some songs were originally played, such as WOWY, when they were first released. The reason his original WOWY pattern is forgotten is because Larry/U2 don't give the song much attention outside of the live concerts. If only they could adopt the attitude that had years ago when they weren't so sure about themselves, I think several songs would be improved like WOWY or the Fly.

There's a show from 1993 in Dublin, Ireland that demonstrates the incredible tom work on the Fly, the tom work that must be played for that song. I think he did a great job on the vertigo tour with it...it was very intense, but it lacked the incredibly bassy sound that should be generated between Adam's bass and Larry's toms during that song.

Even songs like RTSS could be improved if Larry would just study more. He needs to go back and watch a youtube video or something, listen to a bootleg, something. RTSS really isn't that big a deal as the vertigo versions were pretty good...but just the more subtle things (i.e. 5-stroke rolls and other hi-hat rolls) could really be illuminated through some bootlegs.

Also, a song like Streets...if you listen to 12/26/1989, there is a hauntingly deep sound in those toms. Larry is coming at you like a fucking steam train without brakes....it's almost too much to handle sometimes in that intro - the intensity in that drumming is relentless, it's spectacular. Now again from Dublin, Ireland, 1993, that same show, if you listen to Streets, again we have a very powerful display from Larry. He is using a different kit and I think even a different type of drum. The drum has less sustain than the tom during the 12/26/89 performance, and because it's less deep than the drum from Point Depot (12/26/89), it loses some effectiveness. You get that feeling that Larry is really attacking the song, but the shallowness of the drum really limits Larry. Larry's known for getting a lot of sound out of a rather simple drum kit, but this move to a shallower drum is sort of inhibiting. Also, with deeper toms, Larry could generate more build up in his tom rolls, as heard on 12/26/89, because the drum's sustain is longer, so the frequencies blend together and multiply for a more effective crescendo. With more depth in a drum, more air is being moved as you hit it, and over time, Larry's decision to go with a less bombastic drum hasn't helped Streets.

Now, don't get me wrong, any performance of Streets is fucking awesome in terms of the drums, but this is just another example of where I think it would help if Larry just listened back on some older bootlegs. And this really doesn't have anything to do with skills or talent or anything like that...it's simply a matter of Larry needing to go back and study some older sounds.

 

[Moser]

I seriously doubt that. I think it's merely a matter of him forgetting how it was originally played live during the JT/Lt tour...it was still pretty awesome on ZooTV, but then from there on it started losing something...so it seems to make sense that as time went on he simply forgot how he played it. I think these songs are so ingrained in each band member's mind that Larry probably barely does anything before a tour with this song, which is a shame. I'm sure he fools around in rehearsals or something, but it sucks, because all it would take is someone showing him a video of rattle and hum, or the audio of 12/26/1989, and he would probably realize it, but it probably doesn't even cross his mind anymore....the rhythm he played during Jt, R & H, or Lt is more complex. The tom rolls are more spaced out and more pronounced. The snare work is all good, but the tom arrangements are what need work. In fact, for the most part, the entire song just felt tighter as a whole back in the day.

Larry/U2 need to go back and watch some video. I feel like as U2 have become so perfected live with some songs, they really forget how some songs were originally played, such as WOWY, when they were first released. The reason his original WOWY pattern is forgotten is because Larry/U2 don't give the song much attention outside of the live concerts. If only they could adopt the attitude that had years ago when they weren't so sure about themselves, I think several songs would be improved like WOWY or the Fly.

There's a show from 1993 in Dublin, Ireland that demonstrates the incredible tom work on the Fly, the tom work that must be played for that song. I think he did a great job on the vertigo tour with it...it was very intense, but it lacked the incredibly bassy sound that should be generated between Adam's bass and Larry's toms during that song.

Even songs like RTSS could be improved if Larry would just study more. He needs to go back and watch a youtube video or something, listen to a bootleg, something. RTSS really isn't that big a deal as the vertigo versions were pretty good...but just the more subtle things (i.e. 5-stroke rolls and other hi-hat rolls) could really be illuminated through some bootlegs.

Also, a song like Streets...if you listen to 12/26/1989, there is a hauntingly deep sound in those toms. Larry is coming at you like a fucking steam train without brakes....it's almost too much to handle sometimes in that intro - the intensity in that drumming is relentless, it's spectacular. Now again from Dublin, Ireland, 1993, that same show, if you listen to Streets, again we have a very powerful display from Larry. He is using a different kit and I think even a different type of drum. The drum has less sustain than the tom during the 12/26/89 performance, and because it's less deep than the drum from Point Depot (12/26/89), it loses some effectiveness. You get that feeling that Larry is really attacking the song, but the shallowness of the drum really limits Larry. Larry's known for getting a lot of sound out of a rather simple drum kit, but this move to a shallower drum is sort of inhibiting. Also, with deeper toms, Larry could generate more build up in his tom rolls, as heard on 12/26/89, because the drum's sustain is longer, so the frequencies blend together and multiply for a more effective crescendo. With more depth in a drum, more air is being moved as you hit it, and over time, Larry's decision to go with a less bombastic drum hasn't helped Streets.

Now, don't get me wrong, any performance of Streets is fucking awesome in terms of the drums, but this is just another example of where I think it would help if Larry just listened back on some older bootlegs. And this really doesn't have anything to do with skills or talent or anything like that...it's simply a matter of Larry needing to go back and study some older sounds.

Inspired post, whether you're right or wrong, I loved it.

 

[Thanksandy]

Definitely the old Larry work. I have been listening to Rattle and Hum a lot recently and some old clips of the UF tour on youtube, I miss the powerful sound of the drums.

I know music have evolved over time and U2's style has changed, but I fell that their sound is becoming too soft and bland to an extent.

I have been thinking for a while that it is due to lack of force/power behind the drums i.e. illustrated in songs like Beautiful Day, Walk On etc, but also Bono's loss of vocal range (which is inevitable due to age and wear and tear) and maybe even Edge's lack of solos.

I am not suggesting they go back to producing songs like they did in the 80s, but I am worried about the softer approach. I am encouraged by Lanois comments regarding the Hendrix influences and working on the bass sound, but with Larry's problems and Bono's voice not as great as it used to be, then it's logcial that Adam will come to the forefront, but I was hoping that Edge would really drive this album, maybe with some inventive guitar sounds and intros as he did on AB.

The reason why I became a fan of U2 was not only because on the intensity and passion behind their music, the epic soundscapes and great lyrics, but Larry's drums and Bono's vocals really pushed the sound level up and gave it the drive and power and I think they lack that vitality and energy now.

I know they are in their late 40s and I suppose it is inevitable, but I really don't want to hear more music like ATYCLB or some of the tracks on HTDAAB like Crumbs, Miracle Drug etc.

 

[kingofsorrow]

oh wait this is a thread about his drumming? damn.

 

[U2girl]

I was listening to a Tokyo Vertigo bootleg of WOWY and if I turned up the bass and volume, Larry is still pounding the shit out of those drums. Bono's way of singing WOWY is what keeping the song from raising the roof.

 

[onyourkneesboy]

I seriously doubt that. I think it's merely a matter of him forgetting how it was originally played live during the JT/Lt tour...it was still pretty awesome on ZooTV, but then from there on it started losing something...so it seems to make sense that as time went on he simply forgot how he played it. I think these songs are so ingrained in each band member's mind that Larry probably barely does anything before a tour with this song, which is a shame. I'm sure he fools around in rehearsals or something, but it sucks, because all it would take is someone showing him a video of rattle and hum, or the audio of 12/26/1989, and he would probably realize it, but it probably doesn't even cross his mind anymore....the rhythm he played during Jt, R & H, or Lt is more complex. There is more space within the tom roll itself (between the notes) and the rolls are more pronounced. The snare work is all good, but the tom arrangements are what need work. In fact, for the most part, the entire song just felt tighter as a whole back in the day.

Larry/U2 need to go back and watch some video. I feel like as U2 have become so perfected live with some songs, they really forget how some songs were originally played, such as WOWY, when they were first released. The reason his original WOWY pattern is forgotten is because Larry/U2 don't give the song much attention outside of the live concerts. If only they could adopt the attitude that had years ago when they weren't so sure about themselves, I think several songs would be improved like WOWY or the Fly.

There's a show from 1993 in Dublin, Ireland that demonstrates the incredible tom work on the Fly, the tom work that must be played for that song. I think he did a great job on the vertigo tour with it...it was very intense, but it lacked the incredibly bassy sound that should be generated between Adam's bass and Larry's toms during that song.

Even songs like RTSS could be improved if Larry would just study more. He needs to go back and watch a youtube video or something, listen to a bootleg, something. RTSS really isn't that big a deal as the vertigo versions were pretty good...but just the more subtle things (i.e. 5-stroke rolls and other hi-hat rolls) could really be illuminated through some bootlegs.

Also, a song like Streets...if you listen to 12/26/1989, there is a hauntingly deep sound in those toms. Larry is coming at you like a fucking steam train without brakes....it's almost too much to handle sometimes in that intro - the intensity in that drumming is relentless, it's spectacular. Now again from Dublin, Ireland, 1993, that same show, if you listen to Streets, again we have a very powerful display from Larry. He is using a different kit and I think even a different type of drum. The drum has less sustain than the tom during the 12/26/89 performance, and because it's less deep than the drum from Point Depot (12/26/89), it loses some effectiveness. You get that feeling that Larry is really attacking the song, but the shallowness of the drum really limits Larry. Larry's known for getting a lot of sound out of a rather simple drum kit, but this move to a shallower drum is sort of inhibiting. Also, with deeper toms, Larry could generate more build up in his tom rolls, as heard on 12/26/89, because the drum's sustain is longer, so the frequencies blend together and multiply for a more effective crescendo. With more depth in a drum, more air is being moved as you hit it, and over time, Larry's decision to go with a less bombastic drum hasn't helped Streets.

Now, don't get me wrong, any performance of Streets is fucking awesome in terms of the drums, but this is just another example of where I think it would help if Larry just listened back on some older bootlegs. And this really doesn't have anything to do with skills or talent or anything like that...it's simply a matter of Larry needing to go back and study some older sounds.

Very well put.
I've said it many times: U2 are too much on auto-pilot! Especially the last 2 tours. Standard drumming by Larry, Bono not remembering lyrics, flat standard performances of songs (Streets, One, Pride), bad overall sound quality, etc..
Just too many songs sound flat and repetative... or sound shifted down in gear (Bullet, UTEOTW, The Fly, WOWY) And the way Bullet and Streets were played on this tour was a disgrace ! Especially Streets: All the magic was pounded out! No red screens slowly lit up in the darkness, no build up synth intro that's the duo-heart of the song, no bright lights when the song kicks in, etc..

So I agree with Rob33: They really need to review their own old shows and filter where the magic in the songs happen ! The agression and fire in Bullet from Zoo TV, the melodrama of Please, the passion of Streets, the fear and anger in UTEOTW (from DVD Boston live), the colour and swing of Mysterious Ways (Zoo TV), and when will we ever see Pride and New Years Day finally kicked out the setlist in favour of another song? Really, the Electric Co., Miss Sarajevo and Vertigo were the few occasions that sounded spontanous and fresh...

With this album and new tour they really have to reposess their position of being the best live-act and put some "old-fashion passion and fire" back into the shows or they will really be their own tribute band! (there were too many occasion on the last tour I felt this way!)

 

[U2opra]

I think we need more drama in the performances to make it interesting. Whether that be Larry pounding his drums, Bono sceaming to the heavens, Adam playing the bass with attitude or Edge burning on fire with the guitar, who knows..

 

[onyourkneesboy]

I think we need more drama in the performances to make it interesting. Whether that be Larry pounding his drums, Bono sceaming to the heavens, Adam playing the bass with attitude or Edge burning on fire with the guitar, who knows..

Very true!
I would also like to hear some "freaky" guitar-playing from Edge.
Adam I think is the most consistent one every time!

 

[DevilsShoes]

The band definitely need to perform each song with real commitment, I really don't like seeing great songs being performed half-heartedly, its only ever the track that suffers. The thing with most of the big live U2 songs, is that they are all or nothing type songs, you can't go half-way with them, you either pour everything you have into them or they end up sounding a bit lacklustre.

I too think it'd be a good idea for the band to go back and look and listen to some previous performances, remind themselves a little of the kind of things they used to do, you never know it might re-invigorate them for the next tour and really spur them on to try some things again which worked really well.

With that said, I think the chances of them doing this are pretty slim, I mean Bono practically had to have his arm twisted off to listen to The Best Of 1980/90

 

[U2opra]

I think one of the real interesting things that makes this band special, especially through the 80's and early 90's is they had a bit of a 'who cares?' attitude to the way they played. They came across quite moody and soulful - they had a certain attitude. These days, I think they watch their image a little too much because they are afraid of who's watching.

I think this thread has now gone totally off topic.

 

[may]

I know next to nothing about drum kits and drumming, but I do know what sounds really move me. I have always enjoyed Larry's early drumming style, but I have grown to love the style he is using now. Many of the great drummers have stuck with what they have always used in the past. Yet, some decide to change. I think it is because their ideas about sound change, so I think that it is just Larry changing and growing as a musician. His sound has become much cleaner in the past 15 years or so--a sign of growth.
Neil Peart has always used the Zilijan(sp?), which makes incredible sounds,and has reportedly switched to Sabian. I think it is the drummer that counts not the cymbal. If a person can't play an instrument, it doesn't matter which brand they play they are still going to sound horrible.

 

[vaz02]

Larry is nothing more than a session drummer now, he is lacking magic.

 

[Pamelakellett]

oh wait this is a thread about his drumming? damn.

Hey I`m with you on this - I`ll take any Larry............Mullen Jnr that is

All those people on here who think Larry is getting lazy in his on stage drumming obviously haven`t seen U23D - the man worked his ass off.

Shame it wasn`t his shirt...

Come on Lars if you check in here...........please next your give us what we want.........

Oops this isn`t the Pleba thread

 

[U2387]

Larry's best moments for me are the solo part of pride where he hits the tom and cymbals a bunch of times rapid fire and also on live performances from the JT/LT era. He is smashing away rapid fire during IGC, Streets, Pride, SBS, Silver and Gold, Exit. It just seems like he used to go much faster. Dont get me wrong, he can still do it- outro of the Fly on Vertigo, SBS had some pretty good drumming this tour, love will tear us apart cover he was going pretty fast, etc. But look at Pride, he used to go very fast through that but on the Vertigo tour, not so much.

I am completely lacking in any technical musical knowledge, but it seems to me that other people have been so far hitting this thread exactly right. I, like many others, feel that old and new Larry are both great and agree with those who refer skeptics of new Larry to U23D. Stand outs were Vertigo, Pride and especially, the intro and very end of the Fly, he was pounding away like he meant it.

Streets and WOWY are by far the most noticeable differences in his drumming, and throw pride in for good measure, from 1980s to now. What does everyone think- is it Larry, or is it Bono's voice holding back the band? WOWY, he used to go much faster on the drums, especially during the outro part leading to shine like stars. I noticed for Pride that on 5th leg vertigo, when Bono's voice was very good, the best in a long time, that Larry was picking up the pace and also drawing more power. I do not think Pride or WOWY need to be dropped, just played with more passion and energy. What does everyone think of the chances of Larry picking it back up with Bono's voice and as a result, all of us being treated to some amazing performances of these U2 classics that I, for one, still love?

Well as you have all figured out from this post, I know very little about this, but am very interested in it. Larry is the backbone of the band, and I want to know what everyone thinks about his speed(not a technical thing, I know, but I like watching him go fast) and ability then vs now.

 

[Rob33]

Larry's best moments for me are the solo part of pride where he hits the tom and cymbals a bunch of times rapid fire and also on live performances from the JT/LT era. He is smashing away rapid fire during IGC, Streets, Pride, SBS, Silver and Gold, Exit. It just seems like he used to go much faster. Dont get me wrong, he can still do it- outro of the Fly on Vertigo, SBS had some pretty good drumming this tour, love will tear us apart cover he was going pretty fast, etc. But look at Pride, he used to go very fast through that but on the Vertigo tour, not so much.

I am completely lacking in any technical musical knowledge, but it seems to me that other people have been so far hitting this thread exactly right. I, like many others, feel that old and new Larry are both great and agree with those who refer skeptics of new Larry to U23D. Stand outs were Vertigo, Pride and especially, the intro and very end of the Fly, he was pounding away like he meant it.

Streets and WOWY are by far the most noticeable differences in his drumming, and throw pride in for good measure, from 1980s to now. What does everyone think- is it Larry, or is it Bono's voice holding back the band? WOWY, he used to go much faster on the drums, especially during the outro part leading to shine like stars. I noticed for Pride that on 5th leg vertigo, when Bono's voice was very good, the best in a long time, that Larry was picking up the pace and also drawing more power. I do not think Pride or WOWY need to be dropped, just played with more passion and energy. What does everyone think of the chances of Larry picking it back up with Bono's voice and as a result, all of us being treated to some amazing performances of these U2 classics that I, for one, still love?

Well as you have all figured out from this post, I know very little about this, but am very interested in it. Larry is the backbone of the band, and I want to know what everyone thinks about his speed(not a technical thing, I know, but I like watching him go fast) and ability then vs now.

well when you mention "speed" or how "fast" he's drumming, it's all in relation to the song....I mean if the band is playing Pride at a slower tempo, you can't expect Larry to be drumming fast....whatever tempo the band decides to play the song at, Larry will stay in time to that....

The reason it seems as if Larry "used to go much faster" is because U2's earlier material is simply more upbeat than a lot of newer stuff....songs like IGC, Electric Co., I will Follow, Out of Control...those songs will always be a faster tempo. On the Vertigo Tour, I think we saw the best ever performances of Electric Co., in all aspects. Larry's drumming was incredible- accurate and powerful, and better than the early days. Again, that song is naturally at a higher tempo. If IGC makes an appearance next tour, I'd be surprised if it wasn't played at the JT tempo. It all depends on the songs.

In the case of WOWY, it's not that the song used to be faster, but rather, the style of drumming changed, giving the song a slightly different feel. The tom fills are what changed mainly. It's rather obvious what I'm talking about....just listen to any Vertigo Performance, and then right after, listen to WOWY 12/26/1989 Point Depot, arguably the best version ever. On that version, before the "shine like stars..." verse, Larry does these wicked fill combinations with the snare, toms, and bass drum several measures before the verse starts. On the Vertigo Tour, Larry structures the tom fills differently. There is less of a build up to the "shine..." verse, or, if we're talking about the Vertigo Tour, which rarely featured that verse, then the big "ohhhh ohhh...." section. Instead, Larry simply plays closer to the core beat and maybe right before the "ohh ohhh..." verse he'll explode on the toms, and pull off a nice fill. This is mainly what is going on with WOWY- Larry is playing a simplified version of the beat. The core beat is most definitely still there, but it is stripped down and bare if compared to the Point Depot version. It's an amazingly flexible drum pattern. Larry can do so much with it, and he makes the most of this flexibility in versions like Point Depot and Rattle and Hum. The song structure of WOWY leaves so much space for the drum pattern, Larry simply needs to take advantage of it.

There's something called "linear drumming," and it seems like Larry toys with this style from time to time. A linear drum pattern is a beat in which no two drums/cymbals are struck simultaneously. In other words, it is a separated beat, with each drum/cymbal (including hi-hat) being struck independently. Larry has never really played like this, but sometimes he has a more linear feel, which will almost always come off as less powerful. Instead of playing constant 16th notes on the floor tom, for example, he'll play some eighth notes, and then play in between the floor tom. This isn't technically a linear drum pattern, but it's a linear feel...more separation in the beat. Larry always talks about the "feel" of a song, and how he constructs rhythms around this "feel." Well, this "feel" is what I think has changed the most in Larry over the years. He experiments with different feel, and it sometimes works brilliantly, like on the 8/16/1992 RFK Stadium in Washington, D.C., for example...Already starting in 1992, the pattern became less complex. This isn't a great exmple of a linear beat, but it's a good example of the "feel" of a song, something that a linear pattern changes. The WOWY clip from Point Depot is just an example of a more solid performance, everything is tighter. But after 20+ years, it makes that Larry would go back to a more simplified version, doesn't it? That's why I say he just needs to listen to some older bootlegs and get refreshed.

 

[A stor]

I'm not musically talented at all. But, Larry is! I was impressed by his drumming ability on the song "Saints." I think this must be a piece.

BTW, I just like Larry, old or new. Doesn't matter to me.

 

[OrARoundabout]

YouTube - U2 Larry Mullen Jr PSA - motorcycle safety

My favorite.

I do love his drumming on WOWY in the 80's.

WOW...Larry...WOOOOOOOOOW

Thats the 80's right there

 

[U2387]

well when you mention "speed" or how "fast" he's drumming, it's all in relation to the song....I mean if the band is playing Pride at a slower tempo, you can't expect Larry to be drumming fast....whatever tempo the band decides to play the song at, Larry will stay in time to that....

The reason it seems as if Larry "used to go much faster" is because U2's earlier material is simply more upbeat than a lot of newer stuff....songs like IGC, Electric Co., I will Follow, Out of Control...those songs will always be a faster tempo. On the Vertigo Tour, I think we saw the best ever performances of Electric Co., in all aspects. Larry's drumming was incredible- accurate and powerful, and better than the early days. Again, that song is naturally at a higher tempo. If IGC makes an appearance next tour, I'd be surprised if it wasn't played at the JT tempo. It all depends on the songs.

In the case of WOWY, it's not that the song used to be faster, but rather, the style of drumming changed, giving the song a slightly different feel. The tom fills are what changed mainly. It's rather obvious what I'm talking about....just listen to any Vertigo Performance, and then right after, listen to WOWY 12/26/1989 Point Depot, arguably the best version ever. On that version, before the "shine like stars..." verse, Larry does these wicked fill combinations with the snare, toms, and bass drum several measures before the verse starts. On the Vertigo Tour, Larry structures the tom fills differently. There is less of a build up to the "shine..." verse, or, if we're talking about the Vertigo Tour, which rarely featured that verse, then the big "ohhhh ohhh...." section. Instead, Larry simply plays closer to the core beat and maybe right before the "ohh ohhh..." verse he'll explode on the toms, and pull off a nice fill. This is mainly what is going on with WOWY- Larry is playing a simplified version of the beat. The core beat is most definitely still there, but it is stripped down and bare if compared to the Point Depot version. It's an amazingly flexible drum pattern. Larry can do so much with it, and he makes the most of this flexibility in versions like Point Depot and Rattle and Hum. The song structure of WOWY leaves so much space for the drum pattern, Larry simply needs to take advantage of it.

There's something called "linear drumming," and it seems like Larry toys with this style from time to time. A linear drum pattern is a beat in which no two drums/cymbals are struck simultaneously. In other words, it is a separated beat, with each drum/cymbal (including hi-hat) being struck independently. Larry has never really played like this, but sometimes he has a more linear feel, which will almost always come off as less powerful. Instead of playing constant 16th notes on the floor tom, for example, he'll play some eighth notes, and then play in between the floor tom. This isn't technically a linear drum pattern, but it's a linear feel...more separation in the beat. Larry always talks about the "feel" of a song, and how he constructs rhythms around this "feel." Well, this "feel" is what I think has changed the most in Larry over the years. He experiments with different feel, and it sometimes works brilliantly, like on the 8/16/1992 RFK Stadium in Washington, D.C., for example...Already starting in 1992, the pattern became less complex. This isn't a great exmple of a linear beat, but it's a good example of the "feel" of a song, something that a linear pattern changes. The WOWY clip from Point Depot is just an example of a more solid performance, everything is tighter. But after 20+ years, it makes that Larry would go back to a more simplified version, doesn't it? That's why I say he just needs to listen to some older bootlegs and get refreshed.

Thank you very much! This helps alot- probably clears up what a lot of non musician U2 fans have been wondering re: Larry. I am glad we have people like yourself to be able to explain this stuff so it is understandable.

 

[cobl04]

In God's Country, JT tour tempo, was fast, man.