BB's drum part is the glue that stitched all of the musical fragments together on this track; he skillfully moves from one groove to the next with clever/artful fills and transitions. The dude was just 23 years old when he recorded that, and Yes was basically the first band he'd professionally worked with for any substantial amount of time. Kind of blows my mind..
By Bill's own admission he has said, "I was too jazz for rock and too rock for jazz". I think the "squarepeggedness" of Bill's playing is it's most endearing aspect. Also, listen to the delicate precision of his playing. Nothing "thuddy" about this at all. To my feeble recollection this was recorded in 1971 and it still holds up as a very hip track. My guess is he is employing double paradiddles in the 6/8 section and at warp speed I might add! A master of subtlety and surprise who said, "It used to be that drummers were searching for their own unique voice. Now they just want to sound like everybody else!" One thing is for sure, he is one of a kind!
He went through *a lot* of minutiae tuning his kit to achieve the sound he wanted. To this day, you see people in drumming forums giving their best shot at replicating Yes' era Bruford (when he *had to* sound a certain way, given the rigidity of the band. He could always do it). He had a mastery of sound and how to achieve it that, to me, is simply inimitable. To paraphrase Jonh Littlewood: "Every percussion instrument is one of Bruford's personal friends"
Yep. I’m attempting a cover of this song right now, and the beginning part is either paradiddlediddles, or right hand triples on the ride, and impeccable hi-hat foot timing to form sextuplets. Either way this is amazing
there's a bit of a reason for that. they recorded this album more or less 4-8 bars at a time, a technique bruford lamented and ultimately led to him leaving yes. they basically spliced everything together - which i don't think takes anything away from the album, but it does contribute to the impossibly clean end result.
It's pretty well-documented that they were touring while recording this album. They would record a section, take the drum set apart and go do a gig, then come back, set up and record another section. So of course the instruments would sound a little different from section to section.
Anderson said that they recorded pieces in various timings: 60 seconds, 2 minutes, 30 seconds, and so on... It´s normal that the drums tuning became different at all, by the fact of assembling and dismounting the drums because of the gigs and recordings they are doing at that time.
He had talked about that in an interview. He had said that he was never really a rock drummer or ever really a jazz drummer. He always felt that he fell in between the two genres.
For musicality and technique together, Bruford is in the top drummer list (if not THE top drummer). There are others who have more technique & speed, but Bruford always serves the music instead of overtly showing off.This is a fantastic revealing gem to hear. As Bruford stated in his biography, there were recording inconsistencies from tearing down & gigging between recording various sections; that is quite apparent here. Listen to the tonality of the snare & the hi-hat definition before & after @ 4:20. Huge difference. But it doesn't detract from the brilliance of the piece - one of the crowning jewels of progressive rock era circa 1968 - 1974.
I knew the drums were incredible, but hearing them isolated you realize just how much is going on. Thanks for this - I've been curious how they got the drum sound and it's great to be able to hear it on its own.
This is one of the finest examples of dazzling, highest order drumming ever. For me Bruford’s drumming is the percussive equivalent of the most exquisite poetry that perfectly fuses with the other virtuoso musical performances of Anderson, Howe, Squire and Wakeman. I was fortunate to see the “Emerson Lake & Palmer”/“Yes” tour in 1971 at the Eastown Theater in Detroit. Although Bruford left “Yes” before the “Close To The Edge” tour, his live performance on tracks from “The Yes Album” and “Fragile” was stunning. What’s most impressive is that Bruford performed his almost ethereal drumming on a 5 piece drum kit consisting of a Snare, Bass Drum, Rack Tom, two Floor Toms, high hats and four cymbals!
Agreed! That anyone would not put Bruford on a list of best rock drummers, for this piece alone let alone and all the other great Yes and King Crimson songs, is rampant ignorance. PTS Thanks, this is really great to hear without the other parts.
@Michael Bath Don't make that type of jokes, they upset a lot of people who feel dismayed by the fact that Bruford got replaced but that noisy incoherent ape.
Thank you so much for doing this! Bill Bruford is my favorite drummer, and this helps demonstrate why. Now I just pray there is an isolated drum track for "Heart of the Sunrise", the track that originally converted me to Bill, Yes, and Progressive Rock.
Yah, unbelievable innovation and style, so many parts made up this masterpiece and I can't even imagine if it would have been the same with any other drummer
What an amaaaazing drum experience!!! Bruford is playing with such variety, musicality and innovativeness...and what a drum sound! To be able to hear all the dazzling details from Brufords sticks makes me so happy! A BIG THANK YOU for sharing this! I think I´ve been listening to CTTE a zillion times since it was released 1972...but this was a new fresh experience of the masterpiece. Squires and Howes faintly heard playing in the background also makes a good reference to Brufords playing. YES!!!
The thing that places in a totally different space as other drummers is his choice of what to use in a accent or kick. A snare where maybe anybody else would use the BD or visa versa. Now I finally really hear what hes playing in the fast sections.... Phenomenal!!!!!
I'm glad there's enough of Steve's playing on there to help you keep track of exactly where you are while focusing on Bill's amazing playing. Yes were at their peak in 1972, and while they would continue to do amazing music for many more years, nothing would ever match "Close to the Edge". All 5 of these musicians w contributed such amazing parts to this piece. It gives you a lot of insight to hear the individual tracks. Also, if you listen closely, you can hear a tiny bit of Jon's voice (IIRC, it was the beginning of the line "Sad courage claimed the victims standing still for all to see"), and somewhere near the end you can hear a little bit Chris singing.
Man, you are a genius. Do me a favour, do some work to show haters of phill Collins how wrong they are. He is an awesome drummer underrated. Let' do justice. Thank you.
The pattern is actually RLRRLL which he's riding on through the opening. It can flow much faster than a regular para-diddle. It feels almost like a regular roll off RRLL but its in 6. He used it heavily in "Heart of the Sunrise" too. I think it's called a para-diddle-diddle. This song can be pretty intimidating to drum with, which as a 16 yr old I used to do all the time. I wonder if this is from the new Steven Wilson bluray. I'd love to know the source. My favorite all time drummer. I literally learned drumming basics from Bill Bruford. It made me learn rudiments cause I could hear so much more to do with drumming than the boring LR LR patterns. Thank you sooo much for making this possible to hear.
Jammit has all the isolated tracks for CttE, The Yes Album and Fragile. They've got a bunch of other artists' multis as well, but Yes was what I splurged on. I was very leery at first (thinking it was parts redone by others), but they're the real deal. Apparently licensed from the band. I'm just disappointed that it seems to have ended with these 3 albums, because I want Relayer, TFTO and GFTO...
I adore his work in Heart of the sunrise but when I finally heard the drumming clearly on CTTE (The ghost notes can be difficult to hear in the full mix without having knowledge of the exact pattern) I understood how they can actually flow... I'm glad I can say the after many years, since I'm 16 right now and I absolutely love Bruford's drumming.
So cool, but also for us Squire bass freaks. So much of the bass is leaking through onto this track it's like getting an entire Yes rhythm section clinic in one! :-D
His imagination and creativity. Remarkable. The thing about the great drummer's is - I can do what they do but I can't come up with it (I can do it but I can't)
Fantastic! I saw the Close To The Edge tour in Melbourne Australia in March 1973 by which time Bruford had left and All White was drumming. Unbelievable concert, particularly as I'd never heard a note by them before I went to the show.
A very distinct style in a very unique composition. The precision is thrilling. How can you remember allllll this syncopation????? I prefer his work with Yes more than his later work.
He couldn't deal with the rest of the group: at the end of any recording session, they were always searching for something else. He preferred something more spontaneous, but equally beautiful, just like King Crimson :)
bill bruford was and still is awesome,yes was never the same after he left,a original member,and a original,alan white is good too,no disrepect to him,just two different styles that sounded good with yes,bill was a jazzer,and alan was a power man,and the 2 of them were great,these guys know how to play,so,kudos to of my favorite drummers of all time.tim grizz
Totally amazing to finally hear that in the clear after air-playing it for so many years! Thanks for posting this. And talking about para-diddles, could you do Heart of the Sunrise too? There's pretty incredible stuff in there I'd really be curious to hear too.
@@BackLooking Phil sold out and Bill went on to play jazz, not that there's anything inherently wrong with that, I agree that both are amazing and similar in skill
Bruford is a fascinating drummer makes you listen for what he'll do next riviting stu ff. Late 60s early 70s what a great inventive time in music! Have a listen to Cobham on the ' Inner mounting flame'.
Thanx, finally after all these years I can hear what's really going on, amazing drum work, took away my ambitions to transcribe it, I wrote Round about drum part but this is way more complex...
Omg there is no down beat or hi hat a the rim part at 7:28, only at the beginning, never noticed that. The playing on Wakemans solo is solo 😎. Love the gallop feel that goes right over the phrase. God this is to good for words. Bruford my hero WOW.
6 ปีที่แล้ว +3
On 9:15 and 11:00 you can hear Squire singing as they record
I'd sure like someone to post the isolated track from A Venture - love the extended ending. That and Bill's work on Squire album and the underrated Steve Howe album. this CTTE shows his personality and shaped the rest of the work of the band. He changed the way Howe & company worked and played!! - !!
I spent a couple of weeks charting this out for a project and then a month learning how to play the base double parradiddle rhythm as fast as was necessary. What a crazy thing Bruford did on this. I can understand why I never found a live recording where he plays the base rhythm, lol.
The ride/snare pattern for the opening is RLRRLL, repeated with breaks to the rolls over the toms. It's a para-diddle-diddle. Double paradiddle is RLRLRRLRLRLL. The para-didle-diddle RLRRLL is much faster to roll with. Bruford uses it alot for fast rolls on the snare throughout most of his tenure with Yes and King Crimson. Heart of the Sunrise and Perpetual Change for example with Yes.
Edits at around 5:30 and 8:00 are audible. The edit at 8 min sounds like a totally different session, could have been a month later. That's what I would attribute the change in snare sound to. Nevertheless, there are SO MANY other changes and transitions that don't sound (to me) like edits, so I find this whole track pretty much flabergasting. I had heard that they "assembled" the portions of the song in the studio, then had to learn how to pull it all off live. That may be true of the keys, guitar, and bass. But, sounds to me, from listening to just the drum tracks, like the rhythm track was pretty much live except for those two edits. At least the drums seem to have a lot fewer edits (a.k.a. "splices") than I would have assumed. This album would not be remembered if not for Buford.
What's incredible to me is how Wakeman apparently did his amazing Hammond solo while they were cutting the basic track. Until today, I would have told anyone that was probably overdubbed.
Its a long list of extraordinary drummers in that era, all contemporaries in late 60s and early 70s...any one of them could have been the father - Carl Palmer, Phil Collins, Pip Pyle, Robert Wyatt, Jaki Liebezeit, Christian Vander, Mitch Mitchell, Aynsley Dunbar, Billy Cobham, Ginger Baker, Barriemore Barlow..but yes, Bruford too...It was Bruford in Heart of the Sunrise which got me into prog. :)
Glad you enjoyed it as much as i did. I think the guitar sounds more isolated than this track but its possible. Check around between this week and ill try to have it up.
+Frontline901 nice, thx and also it sort of feels like (when listening to this) that your inside of his headphones. Really amazing stuff. May I ask what program you use for this?
slappy0077 are you kidding? You think that the music of “Rush” is comparable to the music of “Yes”? That’s so absurd as to be laughable. “The Yes Album”, “Fragile”, “Close To The Edge” and “Tales Of Topographic Ocean” are way beyond anything “Rush” ever did. “Rush” was a rock band that dabbled in progressive rock. There’s more to progressive rock than adding some keyboards. Peart’s drumming is in no way comparable to that of either Bill Bruford (Yes, King Crimson), Phil Collins (Genesis, BrandX, Robert Plant), Michael Giles (King Crimson) or Carl Palmer (Emerson, Lake & Palmer & Asia). The rabid “Rush” fan boys thought police need to get a grip and stop equating advertiser driven magazine popularity polls with reality.
Incorrect! First off,RUSH was a 3 piece band...completely different than Yes,or The Police...RUSH went further than Yes,& actually Bruford got bored with Yes,& left..You don't know what you are talking about.Buddy Rich,or Steve Gadd can do more with 1 arm,than any of the drummers you mentioned put together...so there!
I'm always in awe to how Bill is never ranked high on greatest drummers lists! And as much as my high school self would hate me saying this... but move aside Peart, Bruford is the man.... still love Peart though
bill bruford is one of the best drummers ever.
BB's drum part is the glue that stitched all of the musical fragments together on this track; he skillfully moves from one groove to the next with clever/artful fills and transitions. The dude was just 23 years old when he recorded that, and Yes was basically the first band he'd professionally worked with for any substantial amount of time. Kind of blows my mind..
Bruford is such a perfectionist....everything he does is perfect!!
This doesn't sound like it was performed; it sounds like it's always existed..... like matter & energy.
lol, best comment!
Bro, I'm so WITH you on that!
By Bill's own admission he has said, "I was too jazz for rock and too rock for jazz". I think the "squarepeggedness" of Bill's playing is it's most endearing aspect. Also, listen to the delicate precision of his playing. Nothing "thuddy" about this at all. To my feeble recollection this was recorded in 1971 and it still holds up as a very hip track. My guess is he is employing double paradiddles in the 6/8 section and at warp speed I might add! A master of subtlety and surprise who said, "It used to be that drummers were searching for their own unique voice. Now they just want to sound like everybody else!" One thing is for sure, he is one of a kind!
Actually recorded in 1972, but as we're talking almost 50 years (!!) now, who's counting?...
He went through *a lot* of minutiae tuning his kit to achieve the sound he wanted. To this day, you see people in drumming forums giving their best shot at replicating Yes' era Bruford (when he *had to* sound a certain way, given the rigidity of the band. He could always do it). He had a mastery of sound and how to achieve it that, to me, is simply inimitable. To paraphrase Jonh Littlewood: "Every percussion instrument is one of Bruford's personal friends"
Yep. I’m attempting a cover of this song right now, and the beginning part is either paradiddlediddles, or right hand triples on the ride, and impeccable hi-hat foot timing to form sextuplets. Either way this is amazing
Bruford loves is paradiddles. You would be correct. @@RishiJalukar
i can't believe this music on this album is real
I know. It's like looking at the grand canyon or the milky way.
PinkFloydrulez i swear its from another dimension
BILL BRUFORD : THE GODFATHER OF PROG ROCK DRUMMING.
there's a bit of a reason for that. they recorded this album more or less 4-8 bars at a time, a technique bruford lamented and ultimately led to him leaving yes. they basically spliced everything together - which i don't think takes anything away from the album, but it does contribute to the impossibly clean end result.
One can not simply air drum to Bruford, let alone play everything beat for beat.
For years, I thought I was playing this right. I was close, but no cigar. Thanks for posting!
Yeah he is ghosting so much. Didn’t hear it.
Love how you can hear his snare becoming slowly de-tuned as the track continues.
could also be weather change too.
It's pretty well-documented that they were touring while recording this album. They would record a section, take the drum set apart and go do a gig, then come back, set up and record another section. So of course the instruments would sound a little different from section to section.
a great way to make a master piece
Anderson said that they recorded pieces in various timings: 60 seconds, 2 minutes, 30 seconds, and so on... It´s normal that the drums tuning became different at all,
by the fact of assembling and dismounting the drums because of the gigs and recordings they are doing at that time.
Anderson and the rest of Yes were insufferable for poor Bruford. He was incredulous they'd stay up for days twisting knobs 1/10th of a position +/-
Outrageous virtuosity! One of the best albums of all time. Bruford is great - a far better fit for YES than White, IMO.
A jazz drummer playing rock!
a great one,maestro
He wasn't a jazz drummer. He was a dabbling drummer
He had talked about that in an interview. He had said that he was never really a rock drummer or ever really a jazz drummer. He always felt that he fell in between the two genres.
@@mattmarkus4868Of course because Bill Bruford's Earthwork wasn't Jazz, it was a cumbia band
Fucking assh*le who talks without knowledge
In my opinion, the greatest drummer to ever live.
I have listened to and played yes for decades. Never heard this iso track before. Absolutely savage. Thanks for posting.
For musicality and technique together, Bruford is in the top drummer list (if not THE top drummer). There are others who have more technique & speed, but Bruford always serves the music instead of overtly showing off.This is a fantastic revealing gem to hear. As Bruford stated in his biography, there were recording inconsistencies from tearing down & gigging between recording various sections; that is quite apparent here. Listen to the tonality of the snare & the hi-hat definition before & after @ 4:20. Huge difference. But it doesn't detract from the brilliance of the piece - one of the crowning jewels of progressive rock era circa 1968 - 1974.
George Piazza 420 lel
Some of the most artfully creative drumming ever arranged and played.. All Hail the Great Bill Bruford. The Godfather of prog-rock drumming!!
Phil and Neil get pretty good too !
@@Tom-hk6ub Phil Collins is an extremely underrated drummer. Bruford is lights out, but Phil is very, very good too.
I knew the drums were incredible, but hearing them isolated you realize just how much is going on. Thanks for this - I've been curious how they got the drum sound and it's great to be able to hear it on its own.
A master playing a masterful piece of musical mastery.
This is one of the finest examples of dazzling, highest order drumming ever. For me Bruford’s drumming is the percussive equivalent of the most exquisite poetry that perfectly fuses with the other virtuoso musical performances of Anderson, Howe, Squire and Wakeman. I was fortunate to see the “Emerson Lake & Palmer”/“Yes” tour in 1971 at the Eastown Theater in Detroit. Although Bruford left “Yes” before the “Close To The Edge” tour, his live performance on tracks from “The Yes Album” and “Fragile” was stunning. What’s most impressive is that Bruford performed his almost ethereal drumming on a 5 piece drum kit consisting of a Snare, Bass Drum, Rack Tom, two Floor Toms, high hats and four cymbals!
Agreed! That anyone would not put Bruford on a list of best rock drummers, for this piece alone let alone and all the other great Yes and King Crimson songs, is rampant ignorance. PTS
Thanks, this is really great to hear without the other parts.
I thought this was Alan White.
@Michael Bath Don't make that type of jokes, they upset a lot of people who feel dismayed by the fact that Bruford got replaced but that noisy incoherent ape.
Alan White couldn't dream these licks.
Alan White can play great, he has a great groove. Also listen to Drama he is pretty technically capable as well. Bruford was an anomaly
"Sound CHaser" off the Relayer album--- AMAZING drumming--- all Alan White.
I have always loved Bruford's style.., Amazing !
Even when playing a simple 3/4 he grooves like no one else.
Thank you so much for doing this! Bill Bruford is my favorite drummer, and this helps demonstrate why. Now I just pray there is an isolated drum track for "Heart of the Sunrise", the track that originally converted me to Bill, Yes, and Progressive Rock.
2 years later there is a isolated track of heart of the sunrise
I always thought I heard what he was doing pretty well, but this just takes it to a whole new level. Completely nuts.
Fully agree.
Yah, unbelievable innovation and style, so many parts made up this masterpiece and I can't even imagine if it would have been the same with any other drummer
How can ya not Love that bruford snare drum...hittin' the rim with the middle of the drum. Sounds alive !!
What an amaaaazing drum experience!!! Bruford is playing with such variety, musicality and innovativeness...and what a drum sound! To be able to hear all the dazzling details from Brufords sticks makes me so happy! A BIG THANK YOU for sharing this! I think I´ve been listening to CTTE a zillion times since it was released 1972...but this was a new fresh experience of the masterpiece. Squires and Howes faintly heard playing in the background also makes a good reference to Brufords playing. YES!!!
When I talk of Bill Bruford I have to say drummer-percussionist. He is incredible. I love his style.
I am air drumming to this ALL OVER THE PLACE. I need a kit here right now.
Funny you say that, my air drumming sounds good until I have a kit in front of me. :)
11 minutes pass like 3. What a (22 year old) monster. Love BB. Always have.
The beginning is free jazz drumming 1:36
That intro cemented Bill as the master of the paradiddle-diddle
The thing that places in a totally different space as other drummers is his choice of what to use in a accent or kick. A snare where maybe anybody else would use the BD or visa versa.
Now I finally really hear what hes playing in the fast sections.... Phenomenal!!!!!
I'm glad there's enough of Steve's playing on there to help you keep track of exactly where you are while focusing on Bill's amazing playing. Yes were at their peak in 1972, and while they would continue to do amazing music for many more years, nothing would ever match "Close to the Edge". All 5 of these musicians w contributed such amazing parts to this piece. It gives you a lot of insight to hear the individual tracks.
Also, if you listen closely, you can hear a tiny bit of Jon's voice (IIRC, it was the beginning of the line "Sad courage claimed the victims standing still for all to see"), and somewhere near the end you can hear a little bit Chris singing.
It's amazing how he's making every note count and how he's working the cymbal and snare in the beginning.
One word... Genius.
Bruford’s half time tom fills are great!
Man, you are a genius. Do me a favour, do some work to show haters of phill Collins how wrong they are. He is an awesome drummer underrated. Let' do justice. Thank you.
Hearing bru play Apocalypse live with Genesis proves bru is a bit above phil... Monster playing.
BRUFORD AND COLLINS ARE MY 2 FAV DRUMMERS
I've been listening to this album since I was 12 or 13. Right now I'm in nearly 58. That's a long time.
The pattern is actually RLRRLL which he's riding on through the opening. It can flow much faster than a regular para-diddle. It feels almost like a regular roll off RRLL but its in 6. He used it heavily in "Heart of the Sunrise" too. I think it's called a para-diddle-diddle. This song can be pretty intimidating to drum with, which as a 16 yr old I used to do all the time. I wonder if this is from the new Steven Wilson bluray. I'd love to know the source. My favorite all time drummer. I literally learned drumming basics from Bill Bruford. It made me learn rudiments cause I could hear so much more to do with drumming than the boring LR LR patterns. Thank you sooo much for making this possible to hear.
Jammit has all the isolated tracks for CttE, The Yes Album and Fragile. They've got a bunch of other artists' multis as well, but Yes was what I splurged on. I was very leery at first (thinking it was parts redone by others), but they're the real deal. Apparently licensed from the band. I'm just disappointed that it seems to have ended with these 3 albums, because I want Relayer, TFTO and GFTO...
Aw, crap, I just found out they are gone. :/
Sorry, you're probably bored of comments on this - but that's a really useful and important bit of info to someone like me, thank you :)
Ah, paradiddle-diddles!
I adore his work in Heart of the sunrise but when I finally heard the drumming clearly on CTTE (The ghost notes can be difficult to hear in the full mix without having knowledge of the exact pattern) I understood how they can actually flow...
I'm glad I can say the after many years, since I'm 16 right now and I absolutely love Bruford's drumming.
Bill's the man. What an amazing percussionist!
the innnovator.
That’s great to hear. `Bruford, Pierre Moerlen and Jaki Libezeit - best ‘rock’ drummers in my humble opinion. So much more interesting than the usual.
This is GOAT-level drumming, but what I really want to hear is his isolated drum track from Starship Trooper.
So cool, but also for us Squire bass freaks. So much of the bass is leaking through onto this track it's like getting an entire Yes rhythm section clinic in one! :-D
His imagination and creativity. Remarkable. The thing about the great drummer's is - I can do what they do but I can't come up with it (I can do it but I can't)
Yes and there individual members at this time were in a class of there own. Bill just brilliant !
That's insane! in a good way. Thank you Mr. Bruford for ALL your great drumming.
That little roll at 3'03" does it for me every time. It's just so musical.
Fantastic! I saw the Close To The Edge tour in Melbourne Australia in March 1973 by which time Bruford had left and All White was drumming. Unbelievable concert, particularly as I'd never heard a note by them before I went to the show.
Nearly 15k views. 200 likes. 0 dislikes.
Maybe there's hope for the world, after all.
Thanks for sharing this, so Great to hear this master at work..
A very distinct style in a very unique composition. The precision is thrilling. How can you remember allllll this syncopation????? I prefer his work with Yes more than his later work.
It kills me that Bruford speaks of the experience of MAKING this as being painful and generally negative! I guess through pain comes great art.
Watch Whiplash lol
He couldn't deal with the rest of the group: at the end of any recording session, they were always searching for something else. He preferred something more spontaneous, but equally beautiful, just like King Crimson :)
He found the crimson recordings painful as well so through pain comes great art must be true
Bill said, on more than one occasion, "Loved the record. Hated making it".
Bill has always been one of the all time greats, I met him and he really is such a lovely guy , very funny too.The Master
Amazing! Thank You ever so much!
Gates of Delirium isolated drums please!
Thanks for this. I may be learning it down the road for a music project, so this makes the task a lot easier.
bill bruford was and still is awesome,yes was never the same after he left,a original member,and a original,alan white is good too,no disrepect to him,just two different styles that sounded good with yes,bill was a jazzer,and alan was a power man,and the 2 of them were great,these guys know how to play,so,kudos to of my favorite drummers of all time.tim grizz
So organic, so great. Always a genius. No other drummer likes me like Bill.
Totally amazing to finally hear that in the clear after air-playing it for so many years! Thanks for posting this. And talking about para-diddles, could you do Heart of the Sunrise too? There's pretty incredible stuff in there I'd really be curious to hear too.
the way he just masterfully divides time signatures into time unreal....I do like Phil C too though
yes while Bill is well respected Phil is really underrated, while their drummers' abilities were very similar.
@@BackLooking Phil sold out and Bill went on to play jazz, not that there's anything inherently wrong with that, I agree that both are amazing and similar in skill
Brilliant!!!!! A real master...
Bruford is a fascinating drummer makes you listen for what he'll do next riviting stu ff. Late 60s early 70s what a great inventive time in music! Have a listen to Cobham on the ' Inner mounting flame'.
Great Drumming on this album. Listen to the eclipse section of 'and you and I'...Brilliant slow beat drumming, beautiful!!!
6:15 is perhaps the greatest drum full of all
Time (for my personal preference)
...a percussive masterpiece
2 Words... MASTERCLASS PERCUSSIONIST.
Thanx, finally after all these years I can hear what's really going on, amazing drum work, took away my ambitions to transcribe it, I wrote Round about drum part but this is way more complex...
What a time to be alive!
Bruford’s a genius.
A thing of great beauty.
Omg there is no down beat or hi hat a the rim part at 7:28, only at the beginning, never noticed that. The playing on Wakemans solo is solo 😎. Love the gallop feel that goes right over the phrase. God this is to good for words. Bruford my hero WOW.
On 9:15 and 11:00 you can hear Squire singing as they record
I'd sure like someone to post the isolated track from A Venture - love the extended ending. That and Bill's work on Squire album and the underrated Steve Howe album. this CTTE shows his personality and shaped the rest of the work of the band. He changed the way Howe & company worked and played!! - !!
I spent a couple of weeks charting this out for a project and then a month learning how to play the base double parradiddle rhythm as fast as was necessary. What a crazy thing Bruford did on this. I can understand why I never found a live recording where he plays the base rhythm, lol.
The ride/snare pattern for the opening is RLRRLL, repeated with breaks to the rolls over the toms. It's a para-diddle-diddle. Double paradiddle is RLRLRRLRLRLL. The para-didle-diddle RLRRLL is much faster to roll with. Bruford uses it alot for fast rolls on the snare throughout most of his tenure with Yes and King Crimson. Heart of the Sunrise and Perpetual Change for example with Yes.
Bill makes technique sound beautiful...
I hope that there is footage of how this album was made somewhere that no one has found until now
Nobody bothered with nonsense like that in those days.
@@Rich6Brew they did on going for the one though
8:04
Oh my god.
BRUFORD IS GOD.
Uh...no, he isn't.
No. But he is better than Neil Peart (in this age, of course)! This recording sounds very most difficult than 2112!
Bruford has such a fingerprint to his sound, also that Kit is unmistakably, we’ll, Brufordian. Love him, but Giles was my main squeeze.
Bill é um gênio.
God this is so good.
Insane High Hat!
Edits at around 5:30 and 8:00 are audible. The edit at 8 min sounds like a totally different session, could have been a month later. That's what I would attribute the change in snare sound to. Nevertheless, there are SO MANY other changes and transitions that don't sound (to me) like edits, so I find this whole track pretty much flabergasting. I had heard that they "assembled" the portions of the song in the studio, then had to learn how to pull it all off live. That may be true of the keys, guitar, and bass. But, sounds to me, from listening to just the drum tracks, like the rhythm track was pretty much live except for those two edits. At least the drums seem to have a lot fewer edits (a.k.a. "splices") than I would have assumed. This album would not be remembered if not for Buford.
Uh, no.
What's incredible to me is how Wakeman apparently did his amazing Hammond solo while they were cutting the basic track. Until today, I would have told anyone that was probably overdubbed.
Fantastic job of putting this. In fact, Mr. Brufford is fantastic!
What a great drummer
Wow... A underrated rival of Neil Peart!
Peart says that Bruford was one his biggest inspiration, with Phil Collins.
Much better than Peart. Peart is so overrated and not a musical drummer at all.
Simplesmente Maravilhosa essa bateria isolada.
The last true Yes album
wow lars sure is great on drums in this piece!!
That ghost notes!!
Bill Bruford = Genius
Bruford, the father of prog drumming!
Its a long list of extraordinary drummers in that era, all contemporaries in late 60s and early 70s...any one of them could have been the father - Carl Palmer, Phil Collins, Pip Pyle, Robert Wyatt, Jaki Liebezeit, Christian Vander, Mitch Mitchell, Aynsley Dunbar, Billy Cobham, Ginger Baker, Barriemore Barlow..but yes, Bruford too...It was Bruford in Heart of the Sunrise which got me into prog. :)
¡¡¡Min: 0:45 to Min: 1:45 and Min: 8:46 to Min:8:51 Paradiddle - Diddle's Kingdom!!!
Oh my good I w as looking for this. thx so much. can you do an isolated guitar track of this as well
Glad you enjoyed it as much as i did. I think the guitar sounds more isolated than this track but its possible. Check around between this week and ill try to have it up.
+Frontline901 nice, thx and also it sort of feels like (when listening to this) that your inside of his headphones. Really amazing stuff. May I ask what program you use for this?
Now I can get why we all love Greyson Nekrutman! He sounds too much like this 🥲
along with Rush this is the best drumming
slappy0077 check out Genesis too. Phil Collins is in my top 3
@@mattdrummond3552 check out Zappa's drummers. Vinnie Colaiuta and Chad Whackerman among the top session drummers of all time
slappy0077 are you kidding? You think that the music of “Rush” is comparable to the music of “Yes”? That’s so absurd as to be laughable. “The Yes Album”, “Fragile”, “Close To The Edge” and “Tales Of Topographic Ocean” are way beyond anything “Rush” ever did. “Rush” was a rock band that dabbled in progressive rock. There’s more to progressive rock than adding some keyboards. Peart’s drumming is in no way comparable to that of either Bill Bruford (Yes, King Crimson), Phil Collins (Genesis, BrandX, Robert Plant), Michael Giles (King Crimson) or Carl Palmer (Emerson, Lake & Palmer & Asia). The rabid “Rush” fan boys thought police need to get a grip and stop equating advertiser driven magazine popularity polls with reality.
magiscichoam Calm your tits bud
Incorrect! First off,RUSH was a 3 piece band...completely different than Yes,or The Police...RUSH went further than Yes,& actually Bruford got bored with Yes,& left..You don't know what you are talking about.Buddy Rich,or Steve Gadd can do more with 1 arm,than any of the drummers you mentioned put together...so there!
I'm always in awe to how Bill is never ranked high on greatest drummers lists! And as much as my high school self would hate me saying this... but move aside Peart, Bruford is the man.... still love Peart though
8:04 The Br00f is GOD
Anyone know if these awesome musicians smoked or drank before recording? Love this!!!!!!!!!!
Rodzilla what? Not even buddhism say eating meat is bad
Some of them were vegetarian (Anderson and Howe i guess), but I think they used drugs. I heard they were "party animals" in the mid 70's
Yeah I smoked a joint with Bill b4 this take.
Bill Brufford is the GOAT of Rock's Drums
Brufords snare sound is a rim shot into a 50 year old microphone my dudes. Thats why it sounds like that