Gonna make a couple really happy this afternoon-perpetual matrimonial bliss in perpetuity (bad use of vocabulary?) Playing with the Bud Maltin Orchestra at the Venitian in NJ
Originally posted here: http://www.celebritynetworth.com/articles/entertainment-articles/30-richest-drummers-world/
Ringo Starr – The Richest Drummers
The Richest Drummers
***The figures contained in this list were acquired from all publicly available information including salaries, real estate holdings, divorces, record sales, royalties and endorsements. The final net worths come from a formula that takes out taxes, manager’s fees, agents’ fees, and lifestyle.***
The 30 Richest Drummers in the World:
#1: Ringo Starr Net Worth – $300 Million (The Beatles)
#2: Dave Grohl Net Worth – $260 Million (Nirvana, Foo Fighters)
#3: Phil Collins Net Worth – $250 Million (Solo, Genesis)
#4: Don Henley Net Worth – $200 Million (The Eagles)
#5: Lars Ulrich Net Worth – $200 Million (Metallica)
#6: Charlie Watts Net Worth – $170 Million (The Rolling Stones)
#7: Roger Taylor Net Worth – $170 Million (Queen)
#8: Larry Mullen Jr Net Worth – $150 Million (U2)
#9: Joey Kramer Net Worth – $100 Million (Aerosmith)
#10: Nick Mason Net Worth – $100 Million (Pink Floyd)
#11: Chad Smith Net Worth – $90 Million (The Red Hot Chili Peppers)
#12: Travis Barker Net Worth – $85 Million (Blink 182, The Aquabats)
#13: Stewart Copeland Net Worth – $80 Million (The Police)
#14: Alex Van Halen Net Worth – $75 Million (Van Halen)
#15: Tommy Lee Net Worth – $70 Million (Motley Crue)
#16: Bill Ward Net Worth – $65 Million (Black Sabbath)
#17: Carter Beauford Net Worth – $65 Million (Dave Matthews Band)
#18: Jon Fishman Net Worth – $60 Million (Phish)
#19: Rick Allen Net Worth – $50 Million (Def Leppard)
#20: Tre Cool Net Worth – $45 Million (Green Day)
#21: Danny Carey Net Worth – $40 Million (Tool)
#22: Max Weinberg Net Worth – $35 Million (Bruce Springsteen and The E Street Band, Conan O’Brien)
#23: Mickey Hart Net Worth – $30 Million (The Grateful Dead)
#24: Nicko McBrain Net Worth – $30 Million (Iron Maiden)
#25: Bill Kreutzmann Net Worth – $25 Million (The Grateful Dead)
#26: Neil Peart Net Worth – $22 Million (Rush)
#27: Taylor Hawkins Net Worth – $20 Million (Foo Fighters)
#28: Tico Torres Net Worth – $20 Million (Bon Jovi)
#29: Questlove Net Worth – $16 Million (The Roots, Jimmy Fallon)
#30: Steven Adler Net Worth – $15 Million (Guns N’ Roses)
#31: Liberty DeVitto Net Worth – $15 Million (Billy Joel)
#32: Mick Fleetwood Net Worth – $8.5 Million (Fleetwood Mac)
I’m very happy to have been a part of this project. I had a great time working with Audra McDonald, Shelton Becton and George Farmer.
I can’t wait to see how it turns out:
HBO has filmed Audra McDonald in her Tony Award-winning performance as Billie Holiday in Lanie Robertson’s play with music Lady Day at Emerson’s Bar and Grill for future broadcast. We have an exclusive first look!
According to a collection of studies, drummers are super smart, due to a variety of factors relating to being in the rhythm section.
The news comes courtesy of Polymic, who have compiled a series of reports from Oxford and Harvard universities to name a few. What they found was that that dude at the back of the band isn’t the head scratcher that you might think he is, in fact he is more likely to be the smartest of them all.
For example, researchers at Stockholm’s Karolinska Institutet found that drummers who kept a tighter rhythm also scored better on a 60-question intelligence test. This is a reflection of better problem solving skills, which creates a positive impact on those around them.
If that wasn’t enough, other studies added that rhythmic music actually makes people smarter. A University of Washington study showed better results from participants who undertook rhythmic light and sound therapy. Additionally research from the University of Texas tested the same process on children with ADD, finding that it not only had the same effect as Ritalin, but their IQ’s actually went up.
Going further than simple intelligence, Oxford University found that drummers produced a “natural high” when playing together, which heightened both pain and happiness thresholds. On top of this, at Harvard, they discovered that drummers who missed a beat were actually tapping into the rhythm of the earth, which moves in waves rather than like a clock.
So there you go, drummers are not only smarter than everybody ever, but they are also at one with the earth and happier than you are. Time to take up some lessons.
When I first got the notice I’d be playing The First Wives Club, my girlfriend found out that Linda Bloodworth Thomason was writing the book. She was infinitely more excited than I was. I was like, “WHO?” She then let me know all about Linda’s writing credits and how amazing she was.
I must say, I know as much about TV as she knows about certain legendary music producers, musicians or songwriters.
My girlfriend is certainly the QUEEN of TV knowledge…I am blissfully ignorant. The last TV show I think I was into was probably Good Times. I’m glad that she’ll get a chance to meet Linda when she comes to visit. Linda is such a nice woman, and certainly one incredible writer. This show is going to be soooooo good. Trust me.
THIS speaks to me. Big hi-hats, massive cymbals, big FAT sounding snare, big fat attack on the toms (and not too many), skill, dynamics, style, power, speed, agility, GROOVE and well crafted arrangement for a solo. I don’t go to may of these types of events anymore (fortunately I’ve been working or can’t get to them) but, this is the stuff I dig.
Small drums, a million cymbals, tight snares…nah. Too many people already have that sound. Give me big, or go home. This dude is no joke. I’d hire him in a minute to play in my band if I were in the front:
Making things happen today! These can be long days, but watching a Broadway show come together starting from the beginning is an amazing experience. I can’t wait to see how it all turns out in a few weeks.
Come see this show. It is going to be funny!
An excerpt from this article in the International Musician magazine found here: http://internationalmusician.org/steve-gadd/
If there is one drummer you could say has literally kept the beat for “everyone,” that drummer would likely be Steve Gadd, a member of Local 802 (New York City). And when asked about all the different genres of music he’s played, and diverse acts he’s worked with, he approaches the topic very matter-of-factly.
“I’ve been a freelance player my whole life,” he explains. “I love to play music with people who love to play music, so that’s the way I approach it.”
From his earliest days of drumming, Gadd took an eclectic approach to learning. “I listened to a lot of different drummers and copied them—Gene Krupa, Buddy Rich, Louie Bellson, Art Blakey, Max Roach, Jimmy Cobb, Elvin Jones, Tony Williams, and Jack DeJohnette [of Local 802]. To this day, when I hear someone play something I like, I copy them,” he says.
But, while watching, learning, copying, and taking lessons from a lot of different teachers, Gadd was also developing his own style. “The last teacher that I had, John Beck, always encouraged me to do things in a way that felt comfortable for me. I think that’s very important for young people. It’s okay to copy, but they have to find a way to make it feel comfortable for them. That’s what will make the most sense musically.”
However, he explains, becoming a successful session drummer is not just about learning your chops and developing your own style. “You’ve got to be able to fit what you are doing with other people; it’s not about feeling like your way is the only way,” he says. “It’s about making your way work with whoever you are playing with and making the music feel the best you can. It’s a give and take thing.”
Gadd takes on each job with the professionalism of an experienced musician whose focus is keenly on the end product. “For me, before anyone starts talking about the music, I would rather hear the demo or have them play the song; until you hear the song, there is nothing to talk about,” he says quite simply. “I think that listening before talking is important because then you’ve got something you can relate the words to.”
50 Ways to Groove on 50 Ways to Leave Your Lover
His humble, patient, and accepting approach to music leaves Gadd’s mind open to try many different possibilities, until everyone is pleased with the result. For example, one of Gadd’s most talked about and well-recognized grooves happens in the intro to Local 802 member Paul Simon’s “50 Ways to Leave Your Lover.” Gadd explains how he was just noodling when he happened upon it.
“We had been working on that song for a while, and the chorus part fell into place easily, but the first part wasn’t really feeling the way it should and we tried a few different things,” he says. “A lot of times I would stay in the drum booth while Paul and Phil [Ramone] were discussing what they wanted to do and I practiced different things. I was practicing a little military beat and Phil heard it and thought we should try it for the first part of the song. We just sort of stumbled on it by chance.”
Among the other “pinnacle” Gadd recordings are his solo work with Steely Dan on Aja, and recordings he’s done with Local 802 members Chick Corea and Bob James. “I feel very fortunate to have been able to have done what I’ve done with as many people as I’ve been able to play with; on a certain level, they are all special,” he says. “When I go in with everything I’ve got and it has an effect on the industry, I’m proud of it.”
However, Gadd explains that he isn’t one to look back on his accomplishments, however remarkable. He is more affected by when something he’s done has meant something to other people, especially other drummers. “Those are the things that are special to me,” he concludes.
From the early days of his career, Gadd made it a point to not get pigeonholed into one specific genre, but rather to take on new and diverse projects as they came along. “I like variety; I am challenged by that,” he says. “When I first got into recording there were certain things that I wasn’t comfortable with, but I kept trying and I was able to find a comfort level in a lot of different styles.”
Another Gadd key to building your freelance career: be reliable. “When you accept something, you give your word that you are going to do it, if something else comes up that you would have rather done, you have to stick with your word and your honor,” he says. “That is a basic rule. However, business-wise, you can’t afford to say ‘no’ to certain things. If you are a person of your word, then people understand when things happen and you can work it out.”
And then there’s attitude. “If you are in the studio and you want people to call you back, a lot of that has to do with your attitude,” he continues. “If you are on the road, you are playing the show, you might be playing for two or three hours, but you are spending the other 20 hours of the day traveling with people. All of that enters into it: how you get along with people, how much of a team player you are, and if people start to get tired and things get dark, shine some light on it because, in the long run, that’s going to affect the music.”
“It’s not just about the playing; it’s about showing up on time, doing your best, and trying to understand what people, like the producer, are verbally trying to get you to do on the instrument. That takes a lot of energy. If you try something and it’s not really the right thing and they want you to try something different, after that happens a couple of times, you can start to get a little paranoid. You have to remember why you are there and remember that the guy who is talking to you about the music is not a drummer, so it’s not easy for him to explain what he wants,” he says. “Just give 110%.”
Read the rest HERE