As I watch my performance of this track I’m so grateful to Steve Posan, Paul Roehrig, John Campese, Rich Viano and my many other rudimental “Drum Daddy’s” who taught me to appreciate the importance of developing sound stroke fundamentals. This sort of hi-hat part is the sort of thing that if you don’t have a strong understanding of tap/accent relationships your gonna’ have a mighty hard time approximating a reasonable representation.
Funny part about this? It’s all drum programming! I know, I didn’t believe it either and always thought it was Jeff Porcaro (who played on several other tracks on the album The End of The Innocence on which this appears). There are so many aspects of this particular song’s performance that I’m actually quite proud of. I feel like it is an excellent representation of my true essence as a drummer, but more importantly it really challenged me to straddle that fine line between busy/appropriate. I highly recommend studying the transcription of this track as it is a credit to Don Henley’s masterful musical mind.
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