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The drum kit

1 Bass drum | 2 Floor tom | 3 Snare drum 4 Hanging toms | 5 Hi-hat | 6 Crash cymbal 7 Ride cymbal | 8 Splash cymbal | 9 China type

Not shown

Sizzle cymbal Swish cymbal Crash/ride cymbal Cowbell Wood block Tambourine Rototom Octoban Temple block Gong Triangle

See also

Drum hardware Drum stick Traps case

A drum kit, drum set^[1] or (archaic) trap set is a collection of drums and other percussion instruments set up to be played by a single player.^[2]

More specifically, a modern drum kit (for a right handed player), as used in popular music, taught in many music schools, and for which qualifications are available from Trinity College London ^[3] consists of:

• A snare drum, mounted on a specialised stand, placed between the player's knees and played with drum sticks (which may include rutes or brushes).
• A bass drum, played by a pedal operated by the right foot.
• A hi-hat stand and cymbals, operated by the left foot and played with the sticks, particularly but not only the right hand stick.
• One or more tom-tom drums, played with the sticks.
• One or more suspended cymbals, played with the sticks, particularly but not only the right hand stick.

A drum kit is normally played seated on a drum stool or throne.

Most drummers extend their kits from this basic pattern, adding more drums, more cymbals, and many other instruments. In some styles of music particular extensions are normal, for example double bass drums in heavy metal music. On the other extreme but more rarely, some performers omit elements from even the basic setup, again particularly for particular styles of music.

Louis Moholo playing a four-piece kit

History[link]

Kit with bass drum pedal and low sock, 1935

Beginnings[link]

The first recognizable ancestors of the modern drum kit were born in the Vaudeville era. Pecuniary and theater space considerations demanded that fewer percussionists covered more percussion parts. In military and orchestral music settings, drums and cymbals were traditionally played separately by one or many percussionists. The bass drum, snare drum, cymbals and other percussion instruments were all played using hand-held drum sticks. Circa 1890, experimentation with foot pedals began. Many patented their systems such as Dee Dee Chandler of New Orleans 1904-05.^[4] Liberating the hands for the first time, this evolution saw the bass drum played (first standing) with the foot of a percussionist and became the central piece around which every other percussion instruments would later revolve. Ludwig-Musser, William F. Ludwig Senior and his brother Theodor Ludwig founded the Ludwig & Ludwig Co. in 1909 and patented the first workable bass drum pedal system, paving the way for what was to become the modern drum kit.

Development[link]

Kit with four non-tunable toms, 1939

Gene Krupa, 1946

Louis Bellson, 1952

By World War I drum kits were characterized by very large bold marching bass drums and many percussion items suspended on and around them, and they became a central part of jazz music, specifically (but not limited to) dixieland. Metal consoles were developed to hold Chinese tom-toms, with swing out stands for snare drums and cymbals. On top of the console was a "contraption" (shortened to "trap") tray used to hold whistles, klaxons, and cowbells, thus drum kits were dubbed "trap kits." Hi-hat stands appeared around 1926.

By the 1930s, Ben Duncan and others popularized streamlined trap kits leading to a basic four piece drum set standard: bass, snare, tom-tom, and floor tom. In time legs were fitted to larger floor toms, and "consolettes" were devised to hold smaller tom-toms on the bass drum. In the 1940s, Louie Bellson pioneered use of two bass drums, or the double bass drum kit. Gene Krupa was the first drummer to head his own orchestra and thrust the drums into the spotlight with his drum solos. Others would soon follow his lead. Krupa is also known to be the first to record a drum solo on a commercial record.

Influential drummers of the jazz tradition included Gene Krupa, "Papa" Jo Jones, Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones, Roy Haynes, Buddy Rich, Louis Bellson, Tony Williams, Jack DeJohnette, Joe Morello and many more.

Rock and Roll[link]

John Bonham, 1975

With the ascendance of rock and roll, a watershed moment occurred between 1962 and 1964 when the Surfaris released "Wipe Out," and when Ringo Starr of The Beatles played his Ludwig kit on American television; events that motivated legions to take up the drums.

A trend towards bigger drum kits in Rock music began in the 1960s and gained momentum in the 1970s. By the 1980s, widely popular drummers like Billy Cobham, Carl Palmer, Nicko McBrain, Phil Collins, Stewart Copeland and perhaps most notably Neil Peart were using large numbers of drums and cymbals and had also begun using electronic drums. In the 1990s and 2000s, many drummers in popular music and indie music have reverted back to basic four piece drum set standard.

In the 21st century, it is not uncommon for drummers to use a variety of auxiliary percussion instruments, found objects, and electronics as part of their "drum" kits. Popular electronics include: electronic sound modules; laptop computers used to activate loops, sequences and samples; metronomes and tempo meters; recording devices; and personal sound reinforcement equipment (e.g., a small PA system to amplify electronic drums and provide a monitor for singing).

Recording[link]

On early recording mediums (until 1925^[5]) such as wax cylinders and discs carved with an engraving needle, sound balancing meant that musicians had to be literally moved in the room.^[5] Drums were often put far from the horn (part of the mechanical transducer) to reduce sound distortion. Since this affected the rendition of cymbals at playback, sound engineers of the time remedied the situation by asking drummers to play the content of the cymbals onto woodblocks, temple blocks and cowbells for their loudness and short decay.

This recording-specific particularity had the effect of altering the evolution of the drum set and of stigmatizing the sound of the music recorded at the time. The drum kit featured in many of rock and roll songs and the Rock and Roll period played a big role in modernizing the drum kit.

Components[link]

Foreground: Snare drums. Background: Hi-hat cymbals.

Drums[link]

Drum sizes[link]

See Common configurations below for typical drum sizes.

Traditionally, drum sizes were expressed as depth x diameter, both in inches. More recently, many drum kit manufacturers have begun instead to express the size as diameter x depth, again in inches.

Manufacturers still using the traditional format in their catalogues include:

• ddrum
• Drum Workshop
• Gretsch Drums
• Ludwig-Musser
• Slingerland Drum Company
• Tama Drums

while those using diameter x depth include:

• Brady Drum Company
• Mapex Drums
• Meinl Percussion^[6]
• Pearl Drums
• Premier Percussion
• Rogers Drums
• Sonor
• Yamaha Drums

For example, a hanging tom 12" in diameter and 8" deep would be described by Tama as 8x12, but by Pearl as 12x8, and a standard diameter Ludwig snare drum 5" deep is a 5x14, while a Premier of the same dimensions is a 14x5.

Snare drum[link]

Snare drum on a modern light-duty snare drum stand

The snare drum is the centre of the kit. It provides the strongest regular accents, played by the left hand, and the backbone for many fills.

Toms[link]

Keith Moon with a mixture of concert toms and conventional toms, 1975

Tom-tom drums or toms for short are drums without snares and played with sticks, and are the most numerous drums in almost all kits. They provide the bulk of most drum fills and solos.

They include:

• Traditional double-headed rack toms, of varying depths.
• Floor toms.
• Single-headed concert toms.
• Rototoms.

The smallest and largest drums without snares, such as octobans and gong drums, are sometimes considered toms and sometimes not, and if not there are many borderline cases.

The naming of common configurations is largely a reflection of the number of toms, as only the drums are conventionally counted, and these configurations all contain one snare and one or more rarely two bass drums, the balance being toms.

Bass drum[link]

A drum kit bass drum

The bass drum gives a regular but often varied foundation to the rhythm. Beginners tend to play simple bass drum patterns, moderate players complex ones with many strokes, and accomplished players more subtle ones with fewer strokes.

Other drums[link]

Octobans were designed for use in a drum kit, extending the tom range upwards in pitch.

Timbales are tuned much higher than a tom of the same diameter, and normally played with very light sticks. They have relatively thin, fragile heads and a very different tone to a tom, but are used by some drummers to extend the tom range upwards. Alternatively, they can be fitted with tom heads and tuned as shallow concert toms. Attack Timbales and mini timbales are reduced diameter timbales designed specifically for drum kit usage, the smaller diameter allowing for thicker heads for the same pitch and head tension.

Similarly, most hand drums cannot be played with drum sticks without risking damage to the head and to the bearing edge, which is not protected by a drum rim. For use in a drum kit they may be fitted with a suitable drum head and played with care, or played by hand.

Cymbals[link]

Cymbal innovator Mike Portnoy with many cymbals, 2006

Cymbals are as important in most drum kits as the drums themselves.

Beginners cymbal packs normally contain four cymbals: one ride, one crash, and a pair of hi-hats. A few contain only three cymbals, using a crash/ride instead of the separate ride and crash. The sizes closely follow those given in Common configurations below.

Most drummers soon extend this by adding another crash, a splash or a china, or even all three.

Ride cymbal[link]

The ride cymbal is most often used to keep a constant rhythm, every beat or more often. Development of this ride technique is generally credited to Baby Dodds.^[7]

Most drummers have a single main ride, near their right hand, most often 20" but 16"-24" are not uncommon. It is most often a heavy, standard cymbal, but some drummers use a swish cymbal, sizzle cymbal or other exotic as the main or only ride, particularly for jazz. In the 1960s Ringo Starr used a sizzle cymbal as a second ride particularly for use during guitar solos.

Hi-hats[link]

The hi-hat has a similar function to the ride cymbal; The two are rarely played at once, but one or the other keeps the fine rhythm much of the time, played by the right stick of a right-handed drummer. Changing between ride and hi-hat, or between either and a leaner sound with neither, is often used to mark a change from one passage to another, for example to distinguish verse and chorus.

Crashes[link]

The crash cymbals are the strongest accents, marking crescendos and climaxes, vocal entries, and major changes of mood. A cymbal crash is often accompanied by a strong kick on the bass drum pedal, both for musical effect and to support the stroke.

In the very smallest kits, in jazz, and at very high volumes, ride cymbals may be used as crashes. Some hi-hats will also give a useful crash, particularly thinner hats or those with an unusually severe taper. At low volumes, producing a good crash from a cymbal not particularly suited to it is a highly skilled art. Alternatively, specialised crash/ride and ride/crash cymbals are specifically designed to combine both functions.

Other cymbals[link]

Cymbals other than rides, hi-hats and crashes are called effects cymbals when used in a drum kit.

Most extended kits include one or more splash cymbals and at least one china cymbal. Major cymbal makers produce cymbal extension packs consisting of one splash and one china, or more rarely a second crash, a splash and a china, to match some of their starter packs of ride, crash and hi-hats.

Other acoustic instruments[link]

Günter Sommer with bodhrán and bongo drums in his kit

Other instruments that have regularly been incorporated into drum kits include:

• Wood block and cowbell. These are traditional in some forms of music.
• Tambourine, particularly mounted on the hi-hat stand above the cymbals. An ordinary tambourine can be used, or a tambourine produced specially for drum kit use.
• Timbales can be used to extend the ring of tom-toms, particularly when the drummer owns them for other reasons. A traditional timbale is tuned far higher than a tom of the same diameter, so the result is not ideal. Some makers produce smaller timbales 8" or 10" in diameter more suited to drum kit usage, see Timbales#Non-traditional use.
• Xylophone or glockenspiel.
• Tubular bells.
• Gongs.
• Bar chimes.
• Triangles.
• Found objects, including spanners, brake drums, buckets, cardboard boxes, and jam and kerosene tins.

See also Extended kits below.

Electronic drums[link]

Trigger sensors in use, here they are red and mounted on the rims of the snare drum, bass drum and hanging toms. The larger box in the same colour red is the "brain" to which they are connected.

A Korg trigger pad

Pat Mastelotto playing a kit with both acoustic and electronic drums, 2005

As well as providing an alternative to a conventional drum kit, electronic drums can be incorporated into a kit.

This is possible in two ways:

• Triggers are sensors that can be attached to drum kit components. In this way, an electronic drum sound will be produced when the instrument is played, as well as the sound made by the instrument.
• Trigger pads can be mounted alongside other components. These pads make no significant sound themselves, but purely trigger the electronic sound, and are played with the same drum sticks as other drum kit components.

In either case, a control unit (brain) with suitable sampled sounds, and amplification equipment are both required. Sometimes, for the sake of appearance or of the desired "feel" of the instrument, a drum with a trigger will be used as a trigger pad by muffling it so heavily that no significant sound at all is produced, see Electronic drum#Acoustic triggered drum kit.

A trigger pad can contain up to four independent sensors, each of them capable of sending to the brain information describing the timing and intensity of a stroke. A circular drum pad will normally contain only one sensor, but a cymbal-shaped pad often contains two, one for the body and one for the rim of the cymbal, and a triangular pad may contain four, one for the body, played by the stick tips, and one for the rim of each side, played by the stick shafts. (Commonly called a rim shot and often used to trigger a similar effect, playing the rim of the trigger pad is a significantly different and far simpler technique, as it is not necessary or even desired to strike the body of the pad.)

Trigger sensors are most commonly used to replace the acoustic drum sounds. For example, in a live performance in a difficult acoustical space, a sensor may be placed on every drum and cymbal, and used in each case to trigger a similar sound. These sounds are then amplified through the PA and are all the audience hears, and can be amplified to any level without the feedback problems associated with microphones. The sound of the drums and cymbals themselves is heard by the drummer and possibly other musicians, but even there the foldback system will be fed from the electronic sounds rather than the live sounds. The drums can be heavily muffled, and their tuning and even quality is less critical. In this way much of the atmosphere of the live performance is retained but without some of the problems associated with amplified drums.

Trigger sensors can also be used in conjunction with conventional or built-in microphones. If some components of a kit prove more difficult to "mike" than others, sensors may be used on only the more difficult instruments.

Trigger pads on the other hand when used in a conventional kit are most commonly used to produce sounds not otherwise available. Any sound that can be sampled can be used. Recordings of barking dogs and stereo recordings of aircraft taking off and landing have for example been used to great effect, as well as the more obvious electronically generated sounds.

Hardware[link]

Hardware is the name given to the stands that support the instruments. Generally the term also includes the hi-hat pedal and bass drum pedal or pedals, and the drum stool, but not the drum sticks.

Hardware is carried along with sticks and other accessories in the traps case, and includes:

• Cymbal stands.
• Hi-hat stand.
• Floor tom feet.
• Hanging tom brackets or arms.
• Snare drum stand.
• Bass drum pedal or pedals.

Particularly for large kits, many or even all of the stands may be replaced by a drum rack.

Common configurations[link]

A two-piece kit in action

Drum kits are traditionally categorised by the number of drums, ignoring cymbals and other instruments. Snare, tom-tom and bass drums are always counted; Other drums such as octobans may or may not be counted.^[8]

The sizes of drums and cymbals given below are typical. Many drummers differ slightly or radically from them. Where no size is given, it is because there is too much variety to call a typical size.

Three-piece[link]

Three-piece set for a young player: 16" bass, 10" snare, one 10" hanging tom

A basic, conventional three-piece kit consists of bass drum, 14" diameter snare drum, 12"-14" hi-hats, and a single 12" diameter hanging tom 8"-9" in depth and a suspended cymbal in the range 14"-18", both mounted on the bass drum.

Such kits were common in the 1950s and 1960s and may still be found in small acoustic dance bands. It is a common configuration for kits sold through mail order, and, with smaller size drums and cymbals, for very young drummers.

Four-piece[link]

Mitch Mitchell playing a classic four piece kit in the Jimi Hendrix Experience

A four-piece kit extends the three-piece by one tom, either a second hanging tom mounted on the bass drum and often displacing the cymbal, or a floor tom. Normally another cymbal is added as well, so there are separate ride and crash cymbals, either on two stands, or the ride on the bass drum to the player's right and the crash on a stand.

The standard cymbal sizes are 16" crash and 18"-20" ride, with the 20" ride most common.

Four piece with floor tom[link]

The floor tom is most often 14" for jazz, and 16" otherwise.

Many historic bands and early rock music recordings used this configuration, notable users including Ringo Starr in the Beatles, Mitch Mitchell in the Jimi Hendrix Experience, John Barbata in the Turtles and many others.

The four-piece kit with floor tom remains popular, particularly for jazz.

Four piece with two hanging toms[link]

If a second hanging tom is used, it is 10" diameter and 8" deep for fusion, or 13" diameter and one inch deeper than the 12" diameter tom otherwise, or very occasionally a 14" diameter hanging tom is added to the 12", both being 8" deep. In any case, both toms are most often mounted on the bass drum with the smaller of the two next to the hi-hats, on the left for a right-handed drummer.

These kits are particularly useful for smaller venues where space is limited.

Five-piece[link]

A basic five-piece fusion kit, with one crash cymbal and no effects cymbals, complete with throne and sticks

The five-piece kit is the full entry level kit and the most common configuration. It adds a third tom, making three in all.

A fusion kit will normally add a 14" tom, either a floor tom or a hanging tom on a stand to the right of the bass drum, in either case making the tom lineup 10", 12" and 14".

Other kits will normally have 12" and 13" hanging toms plus either a 14" hanging tom on a stand, a 14" floor tom, or a 16" floor tom. For depths, see Tom-tom drum#Modern tom toms. In recent years, it is very popular to have 10" and 12" hanging toms, with a 16" floor tom. This configuration is often called a hybrid setup.^[9]

The bass drum is most commonly 20" in diameter, but rock kits may use 22" or 24", jazz 18",^[8] and big bands up to 26".

A second crash cymbal is common, typically an inch or two larger or smaller than the 16", with the larger of the two to the right for a right-handed drummer, but a big band may use crashes up to 27" and ride up to 24" or very occasionally 26". A rock kit may also substitute a larger ride cymbal or larger hi-hats, typically 22" for the ride and 15" for the hats.

Most five-piece kits at more than entry level also have one or more effects cymbals. Adding cymbals beyond the basic ride, hi-hats and one crash configuration requires stands in addition to that of standard drum hardware packs. Because of this, many higher level kits are sold with little or even no hardware, to allow the drummer to choose the stands and also the bass drum pedal they prefer. At the other extreme, many entry level kits are sold complete with two cymbal stands, most often one straight and one boom, and some even with a standard cymbal pack, a stool and a pair of drum sticks.

Small kits[link]

Rockabilly pioneer Slim Jim Phantom playing a two-piece kit while standing

If the toms are omitted completely, or the bass drum replaced by a pedal-operated beater on the bottom skin of a floor tom and the hanging toms omitted, in either case the result is a two-piece kit. Such kits are particularly favoured in musical genres such as trad jazz, rockabilly and swing blues.

Some rockabilly kits and beginners kits for very young players omit the hi-hat stand. In rockabilly, this allows the drummer to play standing rather than seated.

Although these kits may be small with respect to the number of drums used, the drums themselves are most often normal sizes, or even larger in the case of the bass drum. Kits using smaller drums in both smaller and larger configurations are also produced for particular uses, such as boutique kits designed to reduce visual impact or space requirements, travelling kits to reduce luggage volume, and junior kits for very young players. Smaller drums also tend to be quieter, again suiting smaller venues, and many of these kits extend this with easily fitted extra muffling to the point of allowing quiet or even silent practice in a hotel room or bedroom.

Extended kits[link]

A professional seven-piece kit with snare, double bass drums, three hanging toms and one floor tom, hi-hats, ride cymbal, three crash cymbals, splash cymbal and china type

Common extensions beyond these standard configurations include:

• Effects cymbals, particularly splash cymbals and china cymbals.
• Double bass drums. Double bass drums or a double bass pedal are standard for some genres, particularly in heavy rock music.
• Extra hanging toms.
• Extra crash cymbals.
• A crash/ride cymbal in addition to the main ride.
• A second, larger floor tom.
• One or more octobans or a pair of mini timbales.
• A second pair of hi-hats mounted as cable hats or X-hats.
• Cymbal stacks.
• Individual tiger, wind or chau gongs.
• Multiple ride cymbals. A sizzle cymbal thinner and larger than the main ride was once common as a second ride or crash/ride even in a four-piece kit but is now less so. Jazz drummers however may still have two or more ride cymbals even in a small kit.

See also other acoustic instruments above. Another versatile extension becoming increasingly common is the use of some electronic drums in a mainly conventional kit.

Less common extensions found particularly but not only in very large kits include:

• Multiple snare drums.
• Multiple bass drums beyond the double bass drum setup.
• Gong drums (single headed bass drums, played with sticks or mallets).
• Sets of gongs, tuned or untuned.
• Sound effects such as a thunder sheet.
• One or more crotales.
• Instruments "borrowed" from orchestral percussion, such as timpani.
• Instruments "borrowed" from marching band percussion, such as the tuned bass drums used in the drumline.

A very large kit played by Terry Bozzio

Accessories[link]

Sticks[link]

The most common kit drumming sticks are wooden sticks modelled on, or in some cases identical to, those originally designed for use with the snare drum. These come in a variety of weights, conventionally expressed as a number, and tip designs, expressed as a letter following the number, with the higher numbers indicating lighter sticks. Thus, a 7A is a common jazz stick with a wooden tip, while a 7N is the same weight of stick with a nylon tip, and a 7B is a wooden tip but with a different tip profile, shorter and rounder than a 7A. A 5A is a common wood tipped rock stick, heavier than a 7A but with a similar profile. The numbers are most commonly odd but even numbers are used occasionally, in the range 2 (heaviest) to 9 (lightest).

The exact meanings of both numbers and letters differ from manufacturer to manufacturer, and some sticks are not described using this system at all, just being known as Jazz (typically a 7N or 8N) or Heavy Rock (typically a 4B or 5B) for example. The most general purpose stick is a 5A (wood tip, for snare tone) or 5N (nylon tip, for cymbal tone).

Other sticks commonly used are rutes, consisting of a bundle of canes, and wire or nylon drum brushes. More rarely, other beaters such as cartwheel mallets (known to kit drummers as "soft sticks") may be used. It is not uncommon for rock drummers to use the "wrong" end of a stick, and in view of this some makers now produce tipless sticks with two "wrong" ends.

Tools of the trade: 7N, 5B, "double bummer", and side drum No3 sticks, standard 19 cane rutes, sheathed 7 cane rutes, nylon brushes, steel brushes, cartwheels

Muffles[link]

This section requires expansion.

Cases[link]

A five-piece kit in hard cases. From left: Traps case, floor tom case, snare drum case (in front), twin hanging toms case, cymbal case. Rear: Bass drum case.

Three types of protective covers are common for kit drums:

• Drum bags are made from robust cloth such as cordura or from cloth-backed vinyl. They give minimal protection, but are adequate for drums transported rarely and in private cars for example, and may be the only option for working drummers starting out, particularly when air travel is involved.
• Hard cases are of similar construction to suitcases, commonly of fibre composite.
• Flight cases or road cases are standard for touring drummers.

As with all musical instruments, the ultimate protection is afforded by a combination of a hard case or road case, padded on the inside, inside a soft padded bag.

Microphones[link]

Carl Palmer with rim-mounted tom mikes

In "miking" a drum kit, dynamic microphones, which can handle high sound pressure levels are usually used to close-mic drums while condenser microphones are used for overheads and room mics.^[10]

Close miking of drums may be done using stands or by mounting the microphones on the rims of the drums, or even using microphones built in to the drum itself, which eliminates the need for stands for these microphones, reducing both clutter and set-up time. In some styles of music, drummers use electronic effects on drums, such as individual noise gates that mute the attached microphone when the signal is below a threshold volume. This allows the sound engineer to use a higher overall volume for the drum kit by reducing the number of "active" mics which could feed back at any one time.

Drum screens[link]

Tris Imboden using a perspex drum screen

In some styles or settings, such as country music clubs or churches, the drummer may use a perspex or plexiglass screen to dampen the onstage volume of the drums.

A screen that surrounds the drummer is known as a drum booth.

Carpets[link]

Two hi-hat stands both with retractible spikes extended

Drummers who play in different venues generally carry carpeting or mats. The primary purpose of this is to prevent the bass drum and hi-hat stand from slipping on a wooden floor or similar slippery surface.

The carpet also reduces short reverberation (which is generally but not always an advantage), and helps to prevent damage to the flooring or floor coverings.

Bass drums and hi-hat stands commonly have retractable spikes to help them to grip on surfaces such as carpet.

Practice equipment[link]

Practice pad on snare drum stand

Drummers often use a variety of accessories when they are practicing. Metronomes and beat counters are used to develop a steady rhythm. Drum muffling pads may be used to lessen the volume of drums during practicing.

A practice pad, either held on the lap or mounted on a stand, is used for silent practice with drumsticks. A set of practice pads mounted to simulate an entire drum kit is known as a practice kit; These have largely been superseded by electronic drums and kits with non-sounding mesh heads.

Playing[link]

Grooves[link]

The basic common time groove with bass (bottom), back beat snare, and cymbal (top) is common in popular music play (help·info)

A swing groove, common in jazz and early rock music, with the complex time shuffle rhythm understood as is traditional rather than explicit.  Play (help·info)

Kit drumming, whether playing accompaniment of voices and other instruments or solo, consists of two elements:

• A groove which sets the feel and provides a framework.
• Drum fills and other ornaments and variations which provide variety and substance.

Fills[link]

A fill is a departure from the repetitive rhythm. Fills vary from a simple, single stroke on a tom, to sequences several bars long that are short drum solos in themselves.

As well as simply adding interest and variation to the music, fills serve an important function in preparing and supporting significant events in the music. A vocal cue is a short drum fill that introduces a vocal entry. A fill ending on a cymbal crash on beat one is often used to lead in to a chorus or verse.

Grips[link]

Most drummers hold the drumsticks in one of two types of grip:

• The traditional grip, originally developed for playing the military side drum, most commonly with an overhand grip for the right hand and an underhand grip for the left.
• The matched grip, in which the sticks are held in similar (but mirror image) fashion.

Within these two types, there is still considerable variation, and even disagreements as to exactly how the stick is held in a particular method. For example, Jim Chapin, an early and influential exponent of the Moeller method, asserts that the technique does not rely on rebound,^[11] while Dave Weckl asserts that it does rely on rebound.^[12]

Notation[link]

Neutral or percussion clef, two versions

Drum kit music is most commonly written on a standard five-line staff. These days a special percussion clef is used, while previously the bass clef was used. However even if bass or no clef is used, each line and space is assigned an instrument of the kit rather than to a note.

Audio samples[link]

Audio samples
Component	Content	Audio (Vorbis: click the arrow to play)
Snare	Unmuffled snare drum
	Muffled snare drum
	Rim click on a snare
Bass drum	Muffled bass drum
Toms	8-inch (20 cm) rack tom
	12-inch (30 cm) rack tom
	Floor tom
Hi-hat	Closed hi-hat
	Open hi-hat
	Hi-hat being opened and closed by its foot pedal (chick)
Crash	Crash cymbal
Ride	Hit on the bow
	Hit on the bell of the cymbal
	Hit on the edge
Beat	A typical rock beat on hi-hat
	Typical rock beat on ride cymbal
Video sample
Multiple components	Video illustrating basic drum kit actions	Video illustrating basic drum kit actions
See the Drums category at Wikimedia Commons for more

See also[link]

People:

• Drummer
• List of drummers

Styles and techniques:

• Drum beat
• Jazz drumming

Other:

• Drum kit tuning
• Percussion instrument
• Rhythm section

References[link]

External links[link]

• Drum resources at the Open Directory Project

Look up kit in Wiktionary, the free dictionary.

Kit may refer to:

Collections[link]

Any collection of items or components needed for a specific purpose, especially for use by a workman, or personal effects packed for travelling, such as:

• Body kit, a collection of exterior modifications to a car
• Body hygiene kit, a small bag for storing bathroom and toiletry items for travel
• Drum kit, a collection of drums, cymbals, etc. arranged for convenient playing
• Electronic kit, an assembly kit for any electronic equipment, including a computer
• First aid kit, a collection of supplies and equipment for use in giving first aid
• Field kit, a generic term for a field-specific kit
• Garage kit, an assembly scale model kit
• Graphic kit, a set of decal s for an automobile, motorcycle, model car, or other toy, used to customize the item
• Hush kit, a device for reducing noise from an engine
• Jenter kit, a piece of equipment used by beekeepers to raise large numbers of queen honeybees
• Kit car, an automobile in parts that is assembled
• Kit bag, a large cylindrical bag made of cloth (or other fabric) with a drawstring closure at the top
• Kit house, a type of prefabricated housing
• Knock-down kit, a kit containing the parts needed to assemble a product
• Mess kit, a collection of silverware and cookware used during camping, backpacking, and extended military campaigns
• Plastic kit, a scale model supplied as individual parts of moulded plastic for assembly by hobbyists
• Press kit, a pre-packaged set of promotional materials of a person, company, or organization
• Rape kit, a set of items used by medical personnel for gathering and preserving physical evidence following an allegation of sexual assault which can be used in rape investigation
• Robot kit, a special construction kit for building robots
• Software development kit, a set of tools to create an application
• Stroker kit, an aftermarket assembly that increases the displacement of a reciprocating engine
• Survival kit, a package of basic tools and supplies prepared in advance as an aid to survival in an emergency
• Teaching kit, a teaching resource developed by a museum education department

Animals[link]

• A young ferret
• A young rabbit
• A young mink
• A young fox
• A young beaver
• A short form of kitten, a young cat
• A group of pigeons
• Kit fox, a relatively common North American fox

Music[link]

• Kit (album), 2004 rock album by The Rebel
• Kit violin, a small stringed musical instrument

Film[link]

• Kit (film), 1970 Bulgarian satirical movie directed by Petar B. Vasilev

• Short for Christopher, as for example Kit Carson. Christopher Marlowe was also called Kit. St. Christopher Island in the Caribbean is called St. Kitts.

People[link]

• Kit (given name)
• Barys Kit, a Belarusian scientist

Sport[link]

• Kit (rugby football), the standard equipment and attire worn by players in rugby football
• Kit (association football), the standard equipment and attire worn by players in association football

Technology[link]

• Kit lens, a low-end SLR camera lens

See also[link]

• All pages beginning with "Kit"
• All pages with titles containing "Kit"
• Kit's Coty, a small village in the English county of Kent
• Kits (disambiguation)
• KIT (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Rowan Atkinson
Atkinson at the Johnny English Reborn Premiere
Birth name	Rowan Sebastian Atkinson
Born	(1955-01-06) 6 January 1955 (age 57)[1][2] Consett, Durham, England, United Kingdom
Medium	Stand up, Television, Film
Years active	1978–present
Genres	Physical comedy, Satire, Black comedy
Influences	Peter Sellers, Charlie Chaplin, Jacques Tati[3]
Influenced	Steve Pemberton David Walliams
Spouse	Sunetra Sastry (m. 1990) «start: (1990)»"Marriage: Sunetra Sastry to Rowan Atkinson" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Rowan_Atkinson)
Notable works and roles	Not the Nine O'Clock News Blackadder Mr. Bean The Thin Blue Line Johnny English
BAFTA Awards Best Light Entertainment Performance 1981 Not the Nine O'Clock News 1990 Blackadder Goes Forth Laurence Olivier Awards Best Comedy Performance 1981 Rowan Atkinson in Revue

Rowan Sebastian Atkinson (born 6 January 1955) is a British actor, comedian, and screenwriter. He is most famous for his work on the satirical sketch comedy show Not The Nine O'Clock News, and the sitcoms Blackadder, Mr. Bean and The Thin Blue Line. He has been listed in The Observer as one of the 50 funniest actors in British comedy,^[4] and amongst the top 50 comedians ever in a 2005 poll of fellow comedians.^[5] He has also had cinematic success with his performances in the Mr. Bean movie adaptations Bean and Mr. Bean's Holiday and in Johnny English and its sequel Johnny English Reborn. He also starred in the film Never Say Never Again (a spy film based on the James Bond novel Thunderball) in 1983.

Early life and education[link]

Atkinson, the youngest of four brothers, was born in Consett, County Durham, England.^[6] His parents were Eric Atkinson, a farmer and company director, and Ella May (née Bainbridge), who married on 29 June 1945.^[6] His three older brothers were Paul, who died as an infant, Rodney, a Eurosceptic economist who narrowly lost the United Kingdom Independence Party leadership election in 2000, and Rupert.^[7][8] Atkinson was brought up Anglican,^[9] and was educated at Durham Choristers School, St. Bees School, and Newcastle University.^[10] In 1975, he continued for the degree of MSc in Electrical Engineering at The Queen's College, Oxford, the same college his father matriculated at in 1935,^[11] which made Atkinson an Honorary Fellow in 2006.^[12] First achieving notice at the Edinburgh Festival Fringe in 1976,^[10] while at Oxford, he also acted and performed early sketches for the Oxford University Dramatic Society (OUDS), the Oxford Revue and the Experimental Theatre Club (ETC), meeting writer Richard Curtis^[10] and composer Howard Goodall, with whom he would continue to collaborate during his career.

Career[link]

Radio[link]

Atkinson had starred in a series of comedy shows for BBC Radio 3 in 1978 called The Atkinson People. It consisted of a series of satirical interviews with fictional great men, who were played by Atkinson himself. The series was written by Atkinson and Richard Curtis, and produced by Griff Rhys Jones.^[13]

Television[link]

After university, Atkinson toured with Angus Deayton as his straight man in an act that was eventually filmed for a television show. After the success of the show, he did a one-off pilot for London Weekend Television in 1979 called Canned Laughter. Atkinson then went on to do Not the Nine O'Clock News for the BBC, produced by his friend John Lloyd. He starred on the show along with Pamela Stephenson, Griff Rhys Jones and Mel Smith, and was one of the main sketch writers.

The success of Not the Nine O'Clock News led to his starring in the medieval sitcom The Black Adder, which he also co-wrote with Richard Curtis, in 1983. After a three-year gap, in part due to budgetary concerns, a second series was written, this time by Curtis and Ben Elton, and first screened in 1986. Blackadder II followed the fortunes of one of the descendants of Atkinson's original character, this time in the Elizabethan era. The same pattern was repeated in the two sequels Blackadder the Third (1987) (set in the Regency era), and Blackadder Goes Forth (1989) (set in World War I). The Blackadder series went on to become one of the most successful BBC situation comedies of all time, spawning television specials including Blackadder's Christmas Carol (1988) and Blackadder: The Cavalier Years (1988).

Atkinson's other famous creation, the hapless Mr. Bean, first appeared on New Years Day in 1990 in a half-hour special for Thames Television. The character of Mr. Bean has been likened somewhat to a modern-day Buster Keaton.^[14] During this time, Atkinson appeared at the Just for Laughs comedy festival in Montreal in 1987 and 1989. Several sequels to Mr. Bean appeared on television in the 1990s, and it eventually made into a major motion picture in 1997. Entitled Bean, it was directed by Mel Smith, his former co-star from Not the Nine O'Clock News. A second movie was released in 2007 entitled Mr. Bean's Holiday. In 1995 and 1997, Atkinson portrayed Inspector Raymond Fowler in the popular The Thin Blue Line television series, written by Ben Elton, which takes place in a police station located in fictitious Gasforth.

Atkinson has fronted campaigns for Kronenbourg,^[15] Hitachi electrical goods,^{[citation needed]} Fujifilm, and Give Blood. Atkinson appeared as a hapless and error-prone espionage agent in a long-running series for Barclaycard, on which character his title role in Johnny English and Johnny English Reborn was based.

He also starred in a comedy spoof of Doctor Who as the Doctor, for a "Red Nose Day" benefit.

Atkinson has also starred as the Star in a Reasonably Priced Car in the motoring show, Top Gear in July 2011, where he recorded the second fastest lap in the Kia Cee'd with a time of 1:42.2.

Rowan Atkinson in 1997, promoting Bean

Film[link]

Atkinson's film career began in 1983 with a supporting part in the 'unofficial' James Bond movie Never Say Never Again and a leading role in Dead on Time with Nigel Hawthorne. He appeared in former Not the Nine O'Clock News co-star Mel Smith's directorial debut The Tall Guy in 1989. He also appeared alongside Anjelica Huston and Mai Zetterling in Roald Dahl's The Witches in 1990. In 1993 he played the part of Dexter Hayman in Hot Shots! Part Deux, a parody of Rambo III, starring Charlie Sheen.

Atkinson gained further recognition with his turn as a verbally bumbling vicar in the 1994 hit Four Weddings and a Funeral. That same year he was featured in Disney's The Lion King as the voice of Zazu the Red-billed Hornbill. Atkinson continued to appear in supporting roles in successful comedies, including Rat Race (2001), Scooby-Doo (2002), and Love Actually (2003).

In 2005, he acted in the crime/comedy Keeping Mum, which also starred Kristin Scott Thomas, Maggie Smith and Patrick Swayze.

In addition to his supporting roles, Atkinson has also had success as a leading man. His television character Mr. Bean debuted on the big screen in 1997 with Bean to international success. A sequel, Mr. Bean's Holiday, was released in March 2007 and this, as recently mentioned by Atkinson in 2011, was the last time he played the character.^[16] He has also starred in the James Bond parody Johnny English in 2003. Its sequel, Johnny English Reborn was released on 7 October 2011.

Theatre[link]

Rowan Atkinson did live on-stage skits – also appearing with members of Monty Python – in The Secret Policeman's Ball (1979).

Rowan Atkinson appeared in the 2009 revival of the West End musical Oliver! in the role of Fagin.^[17] The production was directed by Rupert Goold. A year prior he starred in a pre-West End run of the show in Oxford, directed by Jez Bond.

Comedic style[link]

Best known for his use of physical comedy in his trademark character of Mr. Bean, Atkinson's other characters rely more heavily on language. Atkinson often plays authority figures (especially priests or vicars) speaking absurd lines with a completely deadpan delivery.

One of his better-known trademark comic devices is over-articulation of the "B" sound, such as his pronunciation of "Bob" in a Blackadder episode. Atkinson suffers from stuttering,^[18] and the over-articulation is a technique to overcome problematic consonants.

Atkinson's often visually based style, which has been compared to Buster Keaton,^[14] sets him apart from most modern television and film comedies, which rely heavily on dialogue, as well as stand-up comedy which is mostly based on monologues. This talent for visual comedy has led to Atkinson being called "the man with the rubber face": comedic reference was made to this in an episode of Blackadder the Third, in which Baldrick (Tony Robinson) refers to his master, Mr. E. Blackadder, as a "lazy, big nosed, rubber-faced bastard".

Personal life[link]

Rowan Atkinson at the Mr. Bean's Holiday premiere at Leicester Square in London (2007)

Marriage and children[link]

Rowan Atkinson first met Sunetra Sastry in the late 1980s, when she was working as a make-up artist with the BBC.^[19] Sastry is of mixed descent, being the daughter of an Indian father and a British mother.^[20] The couple married at the Russian Tea Room in New York City on 5 February 1990. They have two children and live in Oundle, Northamptonshire as well as in Ipsden, Oxfordshire and in Highbury, London.^{[citation needed]} In October 2010, his Blackadder co-star Stephen Fry confessed on The Rob Brydon Show and in his second autobiography (The Fry Chronicles) that, although he was already openly homosexual at the time, he had considered asking Sastry (who was his make-up artist) out. However, when Rowan came to him one day and asked if he could swap make-up artists because he wanted to ask Sastry out, 'all idea of [his] asking out Sunetra left [him]'.^[21] Fry was best man at Atkinson's wedding in 1990. Atkinson was formerly in a relationship with actress Leslie Ash.^[22]

Politics[link]

In June 2005, Atkinson led a coalition of the UK's most prominent actors and writers, including Nicholas Hytner, Stephen Fry, and Ian McEwan, to the British Parliament in an attempt to force a review of the controversial Racial and Religious Hatred Bill, which they felt would give overwhelming power to religious groups to impose censorship on the arts.^[23] In 2009, he criticised homophobic speech legislation, saying that the House of Lords must vote against a government attempt to remove a free speech clause in an anti-gay hate law.^[24]

Cars[link]

With an estimated wealth of £100 million, Atkinson is able to indulge his passion for cars that began with driving his mother's Morris Minor around the family farm. He has written for the British magazines Car, Octane, Evo, and "SuperClassics", a short-lived UK magazine, in which he reviewed the McLaren F1 in 1995.

Atkinson holds a category C+E (formerly 'Class 1') lorry driving licence, gained in 1981, because lorries held a fascination for him, and to ensure employment as a young actor. He has also used this skill when filming comedy material.

Atkinson in 2009

A lover of and participant in car racing, he appeared as racing driver Henry Birkin in the television play Full Throttle in 1995. In 1991, he starred in the self-penned The Driven Man, a series of sketches featuring Atkinson driving around London trying to solve his obsession with cars, and discussing it with taxi drivers, policemen, used-car salesmen and psychotherapists.^[25]

Atkinson has raced in other cars, including a Renault 5 GT Turbo for two seasons for its one make series. He owns a McLaren F1, which was involved in an accident in Cabus, near Garstang, Lancashire with an Austin Metro in October 1999. It was damaged again in a serious crash in August 2011 when it caught fire after Atkinson reportedly lost control and hit a tree.^[26][27][28] He also owns a Honda NSX. Other cars he owns include an Audi A8,^[29] and a Honda Civic Hybrid.^[30]

The Conservative Party politician Alan Clark, himself a devotee of classic motor cars, recorded in his published Diaries this chance meeting with a man he later realised was Atkinson while driving through Oxfordshire in May 1984: "Just after leaving the motorway at Thame I noticed a dark red DBS V8 Aston Martin on the slip road with the bonnet up, a man unhappily bending over it. I told Jane to pull in and walked back. A DV8 in trouble is always good for a gloat." Clark writes that he gave Atkinson a lift in his Rolls-Royce to the nearest telephone box, but was disappointed in his bland reaction to being recognised, noting that: "he didn't sparkle, was rather disappointing and chétif."^[31]

One car Atkinson has said he will not own is a Porsche: "I have a problem with Porsches. They're wonderful cars, but I know I could never live with one. Somehow, the typical Porsche people—and I wish them no ill—are not, I feel, my kind of people. I don't go around saying that Porsches are a pile of dung, but I do know that psychologically I couldn't handle owning one."^[32][33]

He appeared in episode 4, series 17 of Top Gear in the "Star in a reasonably priced car" section, where he drove the Kia Cee'd on the test track in 1"42.2, taking first place on the board, but was later beaten by Matt LeBlanc during the second episode of the eighteenth series, with a lap time of 1"42.1.

He attended the inaugural Indian Grand Prix as a guest of McLaren.

Television appearances[link]

• Canned Laughter (1979), an experimental sitcom pilot for LWT
• The Secret Policeman's Ball (1979), a charity special for Amnesty International
• Not the Nine O'Clock News (1979–1982)
• Peter Cook & Co (1980)
• The Innes Book of Records (1980), guest appearance
• Never Say Never Again (1983)
• Blackadder as Prince Edmund (The Black Adder); Lord Blackadder (Blackadder II); Edmund Blackadder (Blackadder III); Ebenezer Blackadder (Blackadder's Christmas Carol); and Captain Blackadder (Blackadder Goes Forth) (1983–1989)
• Saturday Live as guest host (1986)
• Mr. Bean as Mr. Bean (1990–2009 various times)
• Rowan Atkinson Live as assorted characters (1992) (VHS of live sketches)
• Bernard and the Genie as Bernard's Boss (1991) (TV movie)
• Funny Business (1992), a documentary about the craft of comedy
• A Bit Of Fry And Laurie (1992), guest appearance
• The Thin Blue Line as Inspector Raymond Fowler (1995–1996)
• The Story of Bean as himself (1997)
• Blackadder: Back and Forth as Blackadder (2000)
• Mr. Bean (animated TV series) as Mr. Bean, voice (2002)
• The Comic Relief "Red Nose Day" telecasts, including appearances in:
  • Blackadder: The Cavalier Years as Edmund Blackadder (1988)
  • Nosenight sketches (1989)
  • Mr Bean's Red Nose Day as Mr. Bean (1991)
  • (I Wanna Be) Elected as Mr. Bean (1992)
  • Blind Date with Mr Bean as Mr. Bean (1993)
  • Torvill and Bean as Mr Bean (1995)
  • Doctor Who and the Curse of Fatal Death as The Doctor (1999)
  • Popsters as Nasty Neville (2001)
  • Lying to Michael Jackson as Martin Bashir (2003)
  • Spider-Plant Man as Peter Piper and Spider-Plant Man (2005)
  • Mr Bean's Wedding as Mr. Bean (2007)
  • The Greatest Worst Bits of Comic Relief as himself (2007)
• We Are Most Amused (2008), a special show to celebrate Prince Charles' 60th birthday
• Blackadder Rides Again as himself (2008)
• Not Again: Not the Nine O'Clock News as himself (2009)

Guest appearances[link]

• Wogan (1988, 1991)
• Children in Need (1988), guest appearance as Mr. E. Blackadder
• Noel's House Party, guest appearance as Blackadder
• Going Live, guest appearance as Mr. Bean
• This Morning (1995), guest appearance as Mr. Bean
• Big Breakfast
• Parkinson (2003)
• Blue Peter (2004, 2007), guest appearance as Mr. Bean
• London Tonight (2005)
• BBC Breakfast (2007)
• Richard & Judy (2007)
• The Dame Edna Treatment (2007), guest appearance as Mr. Bean
• Top Gear (2011)

Filmography[link]

Live comedy albums[link]

• Live in Belfast (1980)
• Not Just a Pretty Face (1987)

References[link]

External links[link]

Wikimedia Commons has media related to: Rowan Atkinson

• Rowan Atkinson at the Internet Movie Database
• Rowan Atkinson biography at BFI Screenonline

Keith Moon
Keith Moon in 1975
Background information
Birth name	Keith John Moon
Born	(1946-08-23)23 August 1946 Wembley, Middlesex, England
Died	7 September 1978(1978-09-07) (aged 32) Westminster, London
Genres	Rock, art rock, hard rock, power pop
Occupations	Musician, songwriter, producer, actor
Instruments	Drums, percussion, vocals, bugle, trumpet, tuba
Years active	1964–1978
Associated acts	The Who, Plastic Ono Band, Jeff Beck Group

Keith John Moon (23 August 1946^[1] – 7 September 1978) was an English musician, best known for being the drummer of the English rock group The Who. He gained acclaim for his exuberant and innovative drumming style, and notoriety for his eccentric and often self-destructive behaviour, earning him the nickname "Moon the Loon". Moon joined The Who in 1964. He played on all albums and singles from their debut, 1964's "Zoot Suit", to 1978's Who Are You, which was released three weeks before his death.

Moon was known for dramatic, suspenseful drumming—often eschewing basic back beats for a fluid, busy technique focused on fast, cascading rolls across the toms, ambidextrous double bass drum work and wild cymbal crashes and washes. He is mentioned in the Rock and Roll Hall of Fame as one of the greatest of all rock and roll drummers,^[2] and was posthumously inducted into the Rock Hall as a member of The Who in 1990.

Moon's legacy, as a member of The Who, as a solo artist, and as an eccentric personality, continues to garner awards and praise, including a Rolling Stone readers' pick placing him in second place of the magazine's "best drummers of all time" in 2011,^[3] nearly 35 years after his death.

Early life[link]

Keith John Moon lived in Wembley, Middlesex. As a boy he was hyperactive and had a restless imagination. As a youth, the one thing that could hold his attention was music. Moon failed his eleven plus exam, and thus went to a secondary modern school, where in a report his art teacher commented: 'Retarded artistically. Idiotic in other respects'.^[4] Teacher Aaron Sofocleous praised his music skills and encouraged his chaotic style, even if one school report noted "He has great ability, but must guard against a tendency to show off". Often on his way home from school Keith would go to Macari's Music Studio in Ealing Road and would take instruction and practice on the drums there, where he learned his basic drumming skills. He left school in 1961.

On 17 March 1966, Moon married his pregnant girlfriend Kim Kerrigan in secrecy. Their daughter Amanda was born on 12 July 1966. Kerrigan left him in 1973. She took Mandy with her to live in the house of Faces keyboard player Ian McLagan, with whom she was having an affair, and divorced Moon in 1975. (Kerrigan and McLagan married in October 1978, one month after Moon's death. She was killed in a car crash in Texas in 2006). Before his divorce Moon dated Georgiana Steele, a British-born former fashion model who worked in their quadrophonic recording studio, Ramport, in Battersea, and in 1974 Moon began a relationship with Swedish model Annette Walter-Lax.

Early musical career[link]

At age twelve, Moon joined his local Sea Cadet Corps band as a bugle player but traded his position to be a drummer.^[5] He started to play the drums at age fourteen after his father bought him a kit. He received lessons from one of the loudest drummers at the time, Carlo Little, paying him ten shillings a lesson.^[6] During this time he joined his first serious band The Escorts.^[4] He later spent 18 months as the drummer for The Beachcombers, a London cover band notable for renditions of songs by Cliff Richard.^[7]

Moon initially played in the drumming style of American surf rock and jazz, with a mix of R&B, utilising grooves and fills of those genres, particularly Hal Blaine of Wrecking Crew. However, he played faster and louder, with more persistence and authority. Moon's favourite musicians were jazz artists Gene Krupa and Sonny Rollins.

Moon also enjoyed singing, particularly giving backing vocals that involved a light-sounding falsetto, and he adored the vocal styling of Motown soul music.^[8]

The Who[link]

Roger Daltrey and Keith Moon, 1967

At age 17, Moon joined The Who, replacing Doug Sandom after the band received the news that they could not expect a recording contract without a better drummer. Early in The Who's career, as they gained a following, they sought to set themselves apart from other bands of the time. When their live sets culminated in what they later described as "auto-destructive art", with Pete Townshend (and Moon delightedly following suit) destroying their equipment in elaborate fashion, they made a name for themselves in the press and gained the attention they had lacked. It was an act that was imitated by other bands and artists including Jimi Hendrix (who had just signed with the same label) in his break-out performance at the 1967 Monterey Pop Festival. Moon showed a zeal for this, kicking and smashing his drums. During the end of their 1967 appearance performing on The Smothers Brothers Comedy Hour, Moon had explosives loaded into one of his kit's two bass drums. During the finale of "My Generation", he kicked the other drum off the riser and then set off the charge, with the intensity of the explosion surprising even himself. He singed Townshend's hair and embedded a piece of cymbal in his own arm. The blast has been speculated as starting Townshend's tinnitus,^{[citation needed]} though Townshend himself attributes his hearing loss to years of headphone use in the recording studio.^[9] During one of his few drum solo performances on television, Moon filled clear acrylic drums with water and goldfish, and dressed as a cat, playing them for the audience. Antics like these earned him the nicknames "Moon the Loon" and "Mad Moon". Cultivating publicity for his behaviour, he became one of the most well-known drummers in his generation, and the other members of the Who benefited from the exposure as well.

His propensity for making his bandmates laugh around the vocal microphone whilst recording led them to banish him from the studio when vocals were being recorded. This led to a game, Moon sneaking in to join the singing. He can be heard singing lead on several tracks, including "Bell Boy" (Quadrophenia, 1973), "Bucket T" and "Barbara Ann" (Ready Steady Who EP, 1966), and the high backing vocals on other songs, such as "Pictures Of Lily".

Moon, Maple Leaf Gardens, Toronto 1976

Moon was credited as composer of "I Need You", which he also sang, and the instrumental "Cobwebs and Strange" (from A Quick One, 1966), the single B-sides "In The City" (co-written by Moon and Entwistle), "Dogs Part Two" (1969) (sharing credits with Townshend's and Entwistle's dogs, Towser and Jason), "Tommy's Holiday Camp" (1969), "Waspman" (1972), and "Girl's Eyes" (from The Who Sell Out sessions; featured on Thirty Years of Maximum R&B and a 1995 re-release of The Who Sell Out). He also co-composed the instrumental "The Ox" (from the debut album My Generation) with Townshend, Entwistle and keyboardist Nicky Hopkins. "Tommy's Holiday Camp" (from Tommy) was credited to Moon, who suggested the action should take place in a holiday camp. The song was written by Townshend, and although there is a misconception that Moon sings on the track, the version on the album is Townshend's demo. However Moon did sing it in live concerts, and on the film version of Tommy. He also produced "Baba O'Riley"'s violin solo (which he had suggested), performed by Dave Arbus, a friend.

Daltrey said Moon's drumming style held the band together; that Entwistle and Townshend "were like knitting needles... and Keith was the ball of wool."

Many rock drummers have cited Moon as an influence, including Neil Peart^[10] and Dave Grohl^[11] The Jam paid tribute to Moon on the second single from their third album, "Down in the Tube Station at Midnight", in which the B-side of the single is a cover song from The Who: "So Sad About Us", and the back cover of the record is a photo of Moon's face; the Jam's record was released about a month after Moon's death.

Behaviour[link]

Moon led a very destructive lifestyle. He laid waste to hotel rooms, the homes of friends and even his own home, throwing furniture out of high windows and setting fire to buildings. In one case, the band were due to perform at The Valley (home of Charlton Athletic F.C.), and were waiting in the dressing room for Moon to arrive. A witness described the drummer's sudden entry: "Suddenly, there was a great crash and Keith Moon dropped through the ceiling, having smashed his way through the corrugated iron roof."^[12] Moon even crashed a milk float he had purchased into his own property.^[13]

Along with his drum sets, Moon's infamous (and favourite) calling card was to flush powerful explosives down toilets.^[7][14] It has been estimated that his destruction of toilets and plumbing ran as high as UK£300,000 (US$500,000).^[15][16] His levels of destruction forced The Who to stay outside of New York City when the band performed there, and his repeated practice of blowing up toilets with explosives led to Moon being banned for life from lodging at several hotel chains around the world, including all Holiday Inn, all Sheraton, and all Hilton Hotels,^[17] as well as the Waldorf Astoria.^[18] Moon became so notorious for this practice that when Nick Harper was asked about his childhood memories spent around The Who, his first recollection was, "I remember Keith blowing up the toilets."^[19]

According to Tony Fletcher's biography, Moon's toilet pyrotechnics began in 1965, when he purchased 500 cherry bombs.^[7][21] In time, Moon would graduate from just cherry bombs to taking out toilets with M-80s. Eventually, Moon began using sticks of dynamite, his explosive of choice, to destroy toilets.^[22] "All that porcelain flying through the air was quite unforgettable," Moon recalled. "I never realised dynamite was so powerful. I'd been used to penny bangers before."^[7] In a very short period of time, Moon developed a reputation of "leaving holes" in bathroom floors, completely annihilating the toilets, mesmerising Moon and enhancing his reputation as rock and roll's premier hellraiser.^[7] Fletcher goes on to state that, "no toilet in a hotel or changing room was safe," until Moon had detonated his supply of explosives.^[7]

Unknown to many people at the time, Moon was often able to cajole John Entwistle into helping him blow up toilets. In a 1981 interview with the Los Angeles Times, Entwistle confessed, "A lot of times when Keith was blowing up toilets I was standing behind him with the matches."^[23] Incidents between Moon and hotel management included an occasion in which Moon was asked to turn down his cassette player because The Who were making "too much noise." In response, Moon asked the manager up to his room, lit a stick of dynamite in the toilet, and shut the bathroom door. Following the explosion, Moon informed the startled manager, "That, dear boy, was noise." Moon then turned the cassette player back on and proclaimed, "This is The Who."^[24][25] On another occasion in Alabama, Moon and Entwistle loaded a toilet with cherry bombs when they were told that they could not receive room service. According to Entwistle, "That toilet was just dust all over the walls by the time we checked out. The management brought our suitcases down to the gig and said: 'Don't come back...'"^[26]

The acts, though often fuelled by drugs and alcohol, were his way of expressing his eccentricity, as well as the joy he got from shocking the public.^[7] In Moon's biography, Full Moon, longtime friend and personal assistant Dougal Butler, observed: "He would do anything if he knew that there were enough people around who didn't want him to do it."

According to Townshend, Moon's reputation for erratic behaviour was something he cultivated. Once, on the way to an airport, Moon insisted they return to their hotel, saying, "I forgot something. We've got to go back!" When the limo returned, Moon ran to his room, grabbed the television while it was plugged in, threw it out the window and into the pool. He then jumped back into the limousine, sighing "I nearly forgot".

In 1967, Moon set in motion events which would become one of rock's most famous legends. According to the book Local DJ, a Rock & Roll History, after The Who opened for Herman's Hermits, Moon celebrated his 21st birthday party at the Holiday Inn in Flint, Michigan. Already intoxicated, he began the celebration by lighting a stick of dynamite in the toilet of his room. When the dynamite did not flush, Moon leapt out of the bathroom at the last possible moment to avoid porcelain toilet shards from the blast.^[27] He then allegedly drove a Cadillac (according to Moon's own account, it was a Lincoln Continental) into the hotel pool. While Holiday Inn management had begrudgingly tolerated Moon's notorious history of blowing up toilets at other locations as long as the damage was paid for, they decided after the car incident that they had had enough; Moon and The Who were subsequently banned from all Holiday Inns for life, as well as from Flint. Author Peter C. Cavanaugh, who was there and witnessed the event firsthand, recalled the events for a documentary on the 1960s rock scene.^[28] According to the book, The Who In Their Own Words, Moon said the Holiday Inn incident was how he broke his front tooth. Other people who attended the event, including Entwistle, cast doubt on the veracity of the car-in-the-swimming-pool story, but confirm some other parts of the tale. Another version of the night was recounted by Moon biographer Tony Fletcher in the book Moon: The Life and Death of a Rock Legend; "It was (after a cake fight) that the cry came to 'debag' the birthday boy... Various members of (Herman's Hermits and The Who) launched themselves on Keith, pinned him to the floor and successfully pulled his trousers down... As the teenage girls began gasping and giggling and the cops started grunting their disapproval, Keith, naked from the waist down, made a good-natured dash for it out of the room...and smashed one of his front teeth out".(p210) It was after Moon went to the dentist and the party was disbanded that the 30 to 40 guests filed out, a few taking fire extinguishers to cars and dirtying the swimming pool. According to VH1's Behind the Music, the broken tooth came from Moon diving into the pool at the Flint Holiday Inn when there was no water in it.

Passing out on stage[link]

Moon's penchant for the wild life was not only outwardly detrimental; it began to take a toll on his health while he was still in his twenties, as well as on his drumming and his reliability as a band member. On the 1973 Quadrophenia tour, at the Cow Palace in San Francisco, California, Moon took a large mixture of horse tranquillisers and brandy. He passed out during "Won't Get Fooled Again" and again in "Magic Bus". Townshend asked the audience, "Can anyone play the drums? – I mean somebody good". An audience member, Scot Halpin, filled in for the rest of the show. Townshend later said in an interview that Moon had consumed large tranquilliser pills, meant to be shot at animals, with the brandy.^[29] During the band's recording sabbatical between 1975 and 1978, Moon put on a great deal of weight. Nonetheless, Entwistle maintained that Moon and The Who reached their prime live peak during 1975 and 1976. That tour earned them Rolling Stone's 'red suspenders' for best live rock band.

Moon's close friend Ringo Starr was seriously concerned about his lifestyle and told Moon that if he kept going the way he was he would eventually kill himself. Moon simply replied "Yeah, I know."^[30]

Personal life and relationships[link]

From 1971 to 1975, Moon owned Tara, a home in Chertsey. He and his wife Kim and their daughter Mandy moved into the home, where the couple maintained an extravagant social life.

A darker side to Moon's behaviour, tentatively diagnosed as caused by a borderline personality disorder in Fletcher's biography, resulted in the eruption of physical violence towards his wife Kim. Although he never hit his later girlfriend Annette, he was verbally abusive toward her. Moon loved his daughter Mandy, but he had not been prepared to be a father, and this translated to an uneasy relationship with her as a very young girl, as he was not quite sure how to relate to her. When Kim at last left him, his jealousy towards his wife was powerful enough that Moon was even prepared to pay someone to break the fingers of Faces keyboardist Ian "Mac" McLagan who became Kim's boyfriend after the marital break-up. It was not until a month after Moon's death that the two married. Kim was married to McLagan until her death in a car accident in 2006.

Annette Walter-Lax described his Mr Hyde-like change into a growling, uncontrollable beast as something out of a horror movie. She begged Malibu neighbour Larry Hagman to check Moon into yet another clinic to dry out, (as he had tried more than once before) but when doctors recorded Moon's intake at breakfast (a full bottle of champagne along with Courvoisier along with amphetamines), they concluded there was no hope.^[31]

Alice Cooper remembers their drinking club, The Hollywood Vampires, commenting that Moon ("the Puck of Rock 'n' Roll") used to enter dressed up as the Pope, one of many costumes he wore to elicit humour from others.^[32] Joe Walsh recorded chats with Moon, finding it remarkable how witty and alert the inebriated drummer managed to stay, ad-libbing his way through surrealistic fantasy stories à la Peter Cook, which Cooper reaffirms, saying he was not even certain he ever knew the real Keith Moon, or if there was one.

Keith Moon showing off atop his drumkit Toronto, 21 October 1976

In the documentary Amazing Journey: The Story of The Who, Daltrey and Townshend state that Moon had a real talent for dressing up in a variety of various characters and embodying them; they recount how Moon often dreamed of getting out of music to be a Hollywood actor.^[8]

The Hollywood Vampires was also attended by the likes of John Lennon, Ringo Starr, Keith Richards and Ronnie Wood all of whom Moon maintained friendships with. Another of Keith's friends was Larry Smith, who was regularly seen partying with Moon.

In 1974, Moon struck up a friendship with actor Oliver Reed, while working on the movie version of Tommy.

Aside from his romantic relationships, although his behaviour was outrageous, it was in the humorous vein^[7] as his friend Vivian Stanshall, of the Bonzo Dog Band claimed. Moon produced Stanshall's version of Terry Stafford's Suspicion.

Moon owned a lilac-coloured Rolls-Royce, painted with house paint. On Top Gear,^[33] Daltrey commented that Moon liked to take upper-class icons and make them working class. The car is now owned by Middlebrook Garages (based in Nottinghamshire).

Car-pedestrian death[link]

On 4 January 1970, Moon was involved in a car-pedestrian death outside the Red Lion pub in Hatfield, Hertfordshire. Trying to escape hostile patrons from the pub who had begun to attack his Bentley, the drunk Moon attempted to take control of his car, which in the melee ran over and killed his friend, driver, and bodyguard, Neil Boland. Although the coroner said Boland's death was an accident and Moon was given an absolute discharge having been charged with driving offences, those close to him said Moon was haunted by the accident for the rest of his life. Boland's daughter spent a significant amount of time investigating and questioning each witness from the police blotter, and concluded that Moon was not the person behind the wheel of the car.^[34][35] However, Moon never recovered from feelings of guilt. According to Pamela Des Barres, a groupie with whom Moon had had a three-year relationship, Moon would have nightmares that would wake them both during the night. Immediately after waking, Moon would be convinced that he had no right to be alive.^[36]

Work outside The Who[link]

It was Moon who recommended the name "Led Zeppelin" to Jimmy Page who intended to name his new band 'Mad Dog'. According to Oxford lexicographer Susie Dent, Moon and Entwistle were speculating with Page about the possible formation of a supergroup when Moon remarked that a particular suggestion had gone down like a "lead zeppelin" (i.e. "lead balloon"). Page remembered the odd expression and later adopted it as the name for his newly forming band, however manager Peter Grant, while doodling with the name on a pad of paper, spelled "lead" as "led" because he thought otherwise it would be mispronounced (as /li:d/ -lead).^[37] Although Moon's work with The Who dominated his career, he participated in minor outside projects. In 1966, he did his first work with Yardbirds guitarist Jeff Beck, session man Nicky Hopkins, and future Led Zeppelin members Page and John Paul Jones to record an instrumental, "Beck's Bolero", released as a single-double later that year. He also played timpani on another track, "Ol' Man River" (credited on the back of the album as "You Know Who").

On 15 December 1969, Moon joined John Lennon's Plastic Ono Band for a live performance at the Lyceum Ballroom in London for a UNICEF charity concert. The supergroup also consisted of Eric Clapton, George Harrison, Nicky Hopkins, Yoko Ono, Billy Preston and Klaus Voormann. The band played Lennon's Cold Turkey and Ono's Don't Worry Kyoko. The performance was eventually released in 1972 as a companion disc to Lennon's and Ono's Some Time In New York City LP.

In 1973, Moon was featured in the film That'll Be the Day, playing J.D. Clover, the drummer in a fictional early-era rock-and-roll band called Stray Cats. He would reprise this role the following year in Michael Apted's sequel, Stardust.

In 1974 Track Records/MCA released a solo single: "Don't Worry, Baby" backed with "Teenage Idol", a reflection of his love of The Beach Boys.

On Valentine's Day 1974, Moon performed on drums with Jimmy Page, Ronnie Lane, Max Middleton and fellow drummer John Bonham on acoustic guitar for the gig premiering Roy Harper's album Valentine.

In 1974, he played drums on Harry Nilsson's album "Pussy Cats" produced by John Lennon.

In 1975, he released his only solo album, pop covers entitled Two Sides of the Moon. Although this featured Moon's singing, much drumming was left to other artists including Ringo Starr, session musicians Curly Smith and Jim Keltner and actor/musician Miguel Ferrer (Twin Peaks and Crossing Jordan). Moon played drums on only three tracks.

In late 1975, he played drums on the track "Bo Diddley Jam" on Bo Diddley's The 20th Anniversary of Rock 'n' Roll all-star album.

In 1971, he had a cameo role in Frank Zappa's film 200 Motels. He acted in drag as a nun fearful of death from overdosing on pills. In 1973 he appeared in That'll Be the Day, playing J.D. Clover, the drummer at a holiday camp during the early days of British rock 'n' roll. Moon reprised the role for the sequel Stardust in 1974. The film co-starred Moon's friend Ringo Starr of The Beatles. He appeared as "Uncle Ernie" in Ken Russell's 1975 film adaptation of Tommy.

In a bar about 1975, he asked Graham Chapman and Bernard McKenna to do a "treatment" for a "mad movie". They asked a thousand pounds, Moon pulled the cash from his pocket and gave it to them. This was the start of the project that would become the movie Yellowbeard. Moon wanted to play the lead but the movie took many years to develop, and by that time he was in physically poor shape, and unsuitable.^[38] He had also been invited by the Monty Python group to join them in Tunisia for their filming of Monty Python's Life of Brian, where he was to play some of the smaller roles. He died shortly before filming started.

In 1976, he covered the Beatles' "When I'm Sixty-Four" for the soundtrack of the documentary All This and World War II.

He joined Led Zeppelin on stage and drummed with John Bonham for encores in a show on 23 June 1977 at the L.A. Forum (recorded on Led Zeppelin bootlegs, For Badgeholders Only/Sgt. Page's Badgeholders Only Club).

He impersonated a camp fashion designer in Sextette (1978), starring Mae West.

Moon once owned a hotel, the Crown and Cushion in Chipping Norton where he held "lavish parties". A receptionist at the hotel told a guest Moon bought it from Petula Clark.

Death[link]

Moon's plaque at Golders Green Crematorium

Moon was Paul McCartney's guest at a film preview of The Buddy Holly Story on the evening of 6 September 1978. After dining with Paul and Linda McCartney at Peppermint Park in Covent Garden, Moon and his girlfriend, Annette Walter-Lax, returned to a flat on loan from Harry Nilsson, No.12 at 9 Curzon Place (now called Curzon Square), Shepherd Market, Mayfair in which Cass Elliot had died a little more than four years earlier.^[39][40] Moon watched a film, The Abominable Doctor Phibes and requested Annette cook him a breakfast of steak and eggs. When she objected, he replied "If you don't like it, you can just fuck off!" These turned out to be his last words.