Chords for Rob Hirst's drum kit
Tempo:
83.625 bpm
Chords used:
F
Ab
Db
E
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
OK, so here we have the Backsliders drum kit, which is not a normal drum kit.
In fact, it's been collected over 15, 20, 25 years.
The first part, the foundation of the Backsliders sound has become these marching drums, and
I've had a few of them.
It's not an ordinary kick drum, it's much bigger.
It's like a parade drum.
And you have to play it differently.
You can't kind of play it in a rock way, whereby you lean forward and you get that kind of
big rock thud.
It doesn't sound like that.
You have to kind of play back, you have to sit back off the drum and play the back of
the pedal, so it [F] sounds like this.
So you get all of that decay, [Ab] and that gets absorbed by all the other frequencies, Don's
guitar and Ian and Joe's harmonica, it just becomes part of the kind of colour of it.
But it takes a while to get used to it.
It's a bit like driving a Hyundai and then going to an old Citroen.
You know, it takes about an hour to kind of get
So that's the kind of
we don't have a bass player in the Backsliders, so in many ways
the marching drum takes that place, provides that kind of subsonic pulse of the band.
Next thing would be these tiny little hand-beaten hi-hat cymbals, which Don [F] Turner kindly has
been collecting from the back streets of Hanoi in Vietnam.
And they're very much like the kind of cymbals that early drummers, American jazz drummers
and blues drummers used to play.
And originally, what's a hi-hat today used to be a sock cymbal down here, and it wasn't
played with a stick.
But these days it's kind of up here.
And I don't think these ones are actually made to be played with a stick, they're made
to be socked with your foot like this.
But I also play it, so
[Db] [Ab] It's a bit hard to play, because you've only got about that much to kind of
So I'm always kind of missing and hitting the drum.
So that's also kind of a complete contradiction to the kick drum, because you've got this
really massive marching drum thing, and then you've got this tiny little sock cymbal.
But they kind of
interesting, they kind of work with syncopation, it kind of works
just to have this tiny little thing keeping time.
So then we have these old springs, which I found, I think they fell out of an old Peugeot
or something on the road, and I welded them together, and that gives that kind of
When you don't actually want to play a snare, you can play that.
It's almost like a hand clap thing.
Then we've got this sizzle cymbal.
This is made by the Bostris company.
Bostris is the same family as Zildjian.
And I went out, when I was in Istanbul, I went out into the way, into the suburbs, way
out near the [E] rifle range and the army barracks and through incredible traffic, and found
where they still hand
they make by hand, and they still hand beat these cymbals.
And I arrived on the actual day that they were pouring this massively hot metal, and
managed to actually buy six or seven of these beautiful cymbals while they were still hot,
having just been fired and they're lathe.
And they make a bell, they push it down over a bell to give the bell shape, then they punch
the hole in.
And then I said I'd like it as a sizzle cymbal with these rivets in it, which gives it that
kind [B] of
[Gb]
[C] that lovely sizzle thing.
So they kindly punched the holes in, gave me some rivets, and I went home and put them in.
So it's a very
Once again, it's very much a bespoke kind of cymbal, perfectly suits this band.
And then we have this.
This one I got from
Oh, it's like a Chinese style, but I actually got it in Trinidad, in the Caribbean.
It's just in a music shop there.
And it sounds [N] awful.
It just sounds appalling.
But in the context of the songs, it kind of sounds good.
Like
You know, it sounds really quite shocking.
But in the context of the music, it sounds pretty good.
And then this is a 1960s Ludwig Floortong.
Actually, it's a 1961 Floortong, in the age when they were still making beautiful American drums.
It's part of another kit I've got.
In fact, I've got four or five old Ludwig drum kits, which were known for their warmth
and, of course, were mainly popularised in the early 60s by none other than Ringo from
The Beatles, who really made Ludwig famous in the same way that Gene Krupa made Radio
King's Slingerland drums famous a decade or two before.
And I put these legacy heads on it and tune them right down.
So they make heads that [Ab] simulate old calf and pig skins, but don't have the tuning [D] problem.
But sound is warm.
So you listen to the decay of this drum [Bb] as well.
It's got
You play the drum and then you've got this lovely kind of decay which goes
[F] Which modern drums don't have.
You just kind [N] of get the attack, but you don't get the decay.
The last thing we've got here today, and there's much more to this kit that I haven't brought
today, but the last thing is this beautiful wooden piccolo snare drum that I recently
got from a fellow named Brad Forti, I think his name is.
He's French-Canadian, but he works out of Byron Bay and he makes these drums out of
local rainforest timbers.
So this is silky oak and maple.
The rims are a little bit harder because, of course, they need to be because you're
always playing rim shots.
[Db] [N] The shell is actually all glued together and it's a piccolo.
It means that it's actually a much narrower drum.
Being narrow, the drum kind of sings a lot more and you can play different parts of it.
Most steel drums have one sound, but with this you can sort of move the
You can move your stick around and you get lots of little bounces.
In fact, it's been collected over 15, 20, 25 years.
The first part, the foundation of the Backsliders sound has become these marching drums, and
I've had a few of them.
It's not an ordinary kick drum, it's much bigger.
It's like a parade drum.
And you have to play it differently.
You can't kind of play it in a rock way, whereby you lean forward and you get that kind of
big rock thud.
It doesn't sound like that.
You have to kind of play back, you have to sit back off the drum and play the back of
the pedal, so it [F] sounds like this.
So you get all of that decay, [Ab] and that gets absorbed by all the other frequencies, Don's
guitar and Ian and Joe's harmonica, it just becomes part of the kind of colour of it.
But it takes a while to get used to it.
It's a bit like driving a Hyundai and then going to an old Citroen.
You know, it takes about an hour to kind of get
So that's the kind of
we don't have a bass player in the Backsliders, so in many ways
the marching drum takes that place, provides that kind of subsonic pulse of the band.
Next thing would be these tiny little hand-beaten hi-hat cymbals, which Don [F] Turner kindly has
been collecting from the back streets of Hanoi in Vietnam.
And they're very much like the kind of cymbals that early drummers, American jazz drummers
and blues drummers used to play.
And originally, what's a hi-hat today used to be a sock cymbal down here, and it wasn't
played with a stick.
But these days it's kind of up here.
And I don't think these ones are actually made to be played with a stick, they're made
to be socked with your foot like this.
But I also play it, so
[Db] [Ab] It's a bit hard to play, because you've only got about that much to kind of
So I'm always kind of missing and hitting the drum.
So that's also kind of a complete contradiction to the kick drum, because you've got this
really massive marching drum thing, and then you've got this tiny little sock cymbal.
But they kind of
interesting, they kind of work with syncopation, it kind of works
just to have this tiny little thing keeping time.
So then we have these old springs, which I found, I think they fell out of an old Peugeot
or something on the road, and I welded them together, and that gives that kind of
When you don't actually want to play a snare, you can play that.
It's almost like a hand clap thing.
Then we've got this sizzle cymbal.
This is made by the Bostris company.
Bostris is the same family as Zildjian.
And I went out, when I was in Istanbul, I went out into the way, into the suburbs, way
out near the [E] rifle range and the army barracks and through incredible traffic, and found
where they still hand
they make by hand, and they still hand beat these cymbals.
And I arrived on the actual day that they were pouring this massively hot metal, and
managed to actually buy six or seven of these beautiful cymbals while they were still hot,
having just been fired and they're lathe.
And they make a bell, they push it down over a bell to give the bell shape, then they punch
the hole in.
And then I said I'd like it as a sizzle cymbal with these rivets in it, which gives it that
kind [B] of
[Gb]
[C] that lovely sizzle thing.
So they kindly punched the holes in, gave me some rivets, and I went home and put them in.
So it's a very
Once again, it's very much a bespoke kind of cymbal, perfectly suits this band.
And then we have this.
This one I got from
Oh, it's like a Chinese style, but I actually got it in Trinidad, in the Caribbean.
It's just in a music shop there.
And it sounds [N] awful.
It just sounds appalling.
But in the context of the songs, it kind of sounds good.
Like
You know, it sounds really quite shocking.
But in the context of the music, it sounds pretty good.
And then this is a 1960s Ludwig Floortong.
Actually, it's a 1961 Floortong, in the age when they were still making beautiful American drums.
It's part of another kit I've got.
In fact, I've got four or five old Ludwig drum kits, which were known for their warmth
and, of course, were mainly popularised in the early 60s by none other than Ringo from
The Beatles, who really made Ludwig famous in the same way that Gene Krupa made Radio
King's Slingerland drums famous a decade or two before.
And I put these legacy heads on it and tune them right down.
So they make heads that [Ab] simulate old calf and pig skins, but don't have the tuning [D] problem.
But sound is warm.
So you listen to the decay of this drum [Bb] as well.
It's got
You play the drum and then you've got this lovely kind of decay which goes
[F] Which modern drums don't have.
You just kind [N] of get the attack, but you don't get the decay.
The last thing we've got here today, and there's much more to this kit that I haven't brought
today, but the last thing is this beautiful wooden piccolo snare drum that I recently
got from a fellow named Brad Forti, I think his name is.
He's French-Canadian, but he works out of Byron Bay and he makes these drums out of
local rainforest timbers.
So this is silky oak and maple.
The rims are a little bit harder because, of course, they need to be because you're
always playing rim shots.
[Db] [N] The shell is actually all glued together and it's a piccolo.
It means that it's actually a much narrower drum.
Being narrow, the drum kind of sings a lot more and you can play different parts of it.
Most steel drums have one sound, but with this you can sort of move the
You can move your stick around and you get lots of little bounces.
Key:
F
Ab
Db
E
B
F
Ab
Db
OK, so here we have the Backsliders drum kit, which is not a normal drum kit.
In fact, it's been collected over 15, 20, 25 years.
The first part, the foundation of the Backsliders sound has become these marching drums, and
I've had a few of them.
It's not an ordinary kick drum, it's much bigger.
It's like a parade drum.
And you have to play it differently.
You can't kind of play it in a rock way, whereby you lean forward and you get that kind of
big rock thud.
It doesn't sound like that.
You have to kind of play back, you have to sit back off the drum and play the back of
the pedal, so it [F] sounds like this.
So you get all of that decay, [Ab] and that gets absorbed by all the other frequencies, Don's
guitar and Ian and Joe's harmonica, it just becomes part of the kind of colour of it.
But it takes a while to get used to it.
It's a bit like driving a Hyundai and then going to an old Citroen.
You know, it takes about an hour to kind of get_
So that's the kind of_
we don't have a bass player in the Backsliders, so in many ways
the marching drum takes that place, provides that kind of subsonic pulse of the band.
Next thing would be these tiny little hand-beaten hi-hat cymbals, which Don [F] Turner kindly has
been collecting from the back streets of Hanoi in Vietnam.
And they're very much like the kind of cymbals that early _ drummers, American jazz drummers
and blues drummers used to play.
And originally, _ _ what's a hi-hat today used to be a sock cymbal down here, and it wasn't
played with a stick.
But these days it's kind of up here.
And I don't think these ones are actually made to be played with a stick, they're made
to be socked with your foot like this.
_ _ But I also play it, so_ _
[Db] _ _ _ _ [Ab] It's a bit hard to play, because you've only got about that much to kind of_
So I'm always kind of missing and hitting the drum. _ _ _
So that's also kind of a complete contradiction to the kick drum, because you've got this
really massive _ marching drum thing, and then you've got this tiny little sock cymbal.
But they kind of_
interesting, they kind of work _ _ with syncopation, it kind of works
just to have this tiny little thing keeping time.
So then we have these old springs, which I found, I think they fell out of an old Peugeot
or something on the road, and I welded them together, and that gives that kind of_
When you don't actually want to play a snare, you can play that.
It's almost like a hand clap thing. _
Then we've got this sizzle cymbal.
This is made by the Bostris company.
Bostris is the same family as Zildjian.
And I went out, when I was in Istanbul, I went out into the way, into the suburbs, way
out near the [E] rifle range and the army barracks and through incredible traffic, and found
where they still hand_
they make by hand, and they still hand beat these cymbals.
And I arrived on the actual day that they were pouring this massively hot metal, and
managed to actually buy six or seven of these beautiful cymbals while they were still hot,
having just been fired and they're lathe.
And they make a bell, they push it down over a bell to give the bell shape, then they punch
the hole in.
And then I said I'd like it as a sizzle cymbal with these rivets in it, which gives it that
kind [B] of_ _ _
_ _ _ _ _ _ _ [Gb] _
_ [C] that lovely sizzle thing.
So they kindly punched the holes in, gave me some rivets, and I went home and put them in.
So it's a very_
Once again, it's very much a bespoke kind of cymbal, perfectly suits this band.
And then we have this.
This one I got from_ _
Oh, it's like a Chinese style, but I actually got it in Trinidad, in the Caribbean.
It's just in a music shop there.
And it sounds [N] awful.
It just sounds appalling.
But in the context of the songs, it kind of sounds good.
Like_
_ You know, it sounds really quite shocking.
But in the context of the music, it sounds pretty good.
And then this is a 1960s Ludwig _ Floortong.
Actually, it's a 1961 Floortong, in the age when they were still making beautiful American drums.
It's part of another kit I've got.
In fact, I've got four or five old Ludwig drum kits, which were known for their warmth
and, of course, were mainly popularised in the early 60s by none other than Ringo from
The Beatles, who really made Ludwig famous in the same way that Gene Krupa made Radio
King's Slingerland drums famous a decade or two before.
And I put these legacy heads on it and tune them right down.
So they make heads that [Ab] simulate old calf and pig skins, but don't have the tuning [D] problem.
But sound is warm.
So you listen to the decay of this drum [Bb] as well.
_ _ It's got_
You play the drum and then you've got this lovely kind of decay which goes_
_ _ _ [F] _ Which modern drums don't have.
You just kind [N] of get the attack, but you don't get the decay.
The last thing we've got here today, and there's much more to this kit that I haven't brought
today, but the last thing is this _ beautiful wooden piccolo snare drum that I recently
got from a fellow named _ Brad Forti, I think his name is.
He's French-Canadian, but he works out of Byron Bay and he makes these drums out of
local rainforest timbers.
So this is silky oak and maple. _ _
The rims are a little bit harder because, of course, they need to be because you're
always playing rim shots.
[Db] _ _ _ _ _ [N] The shell is actually all glued together and it's a piccolo.
It means that it's actually a much narrower drum.
Being narrow, the drum kind of sings a lot more and you can play different parts of it.
Most steel drums have one sound, but with this you can sort of move the_
You can move your stick around and you get lots of little bounces.
_ _ _ _ _ _ _ _
In fact, it's been collected over 15, 20, 25 years.
The first part, the foundation of the Backsliders sound has become these marching drums, and
I've had a few of them.
It's not an ordinary kick drum, it's much bigger.
It's like a parade drum.
And you have to play it differently.
You can't kind of play it in a rock way, whereby you lean forward and you get that kind of
big rock thud.
It doesn't sound like that.
You have to kind of play back, you have to sit back off the drum and play the back of
the pedal, so it [F] sounds like this.
So you get all of that decay, [Ab] and that gets absorbed by all the other frequencies, Don's
guitar and Ian and Joe's harmonica, it just becomes part of the kind of colour of it.
But it takes a while to get used to it.
It's a bit like driving a Hyundai and then going to an old Citroen.
You know, it takes about an hour to kind of get_
So that's the kind of_
we don't have a bass player in the Backsliders, so in many ways
the marching drum takes that place, provides that kind of subsonic pulse of the band.
Next thing would be these tiny little hand-beaten hi-hat cymbals, which Don [F] Turner kindly has
been collecting from the back streets of Hanoi in Vietnam.
And they're very much like the kind of cymbals that early _ drummers, American jazz drummers
and blues drummers used to play.
And originally, _ _ what's a hi-hat today used to be a sock cymbal down here, and it wasn't
played with a stick.
But these days it's kind of up here.
And I don't think these ones are actually made to be played with a stick, they're made
to be socked with your foot like this.
_ _ But I also play it, so_ _
[Db] _ _ _ _ [Ab] It's a bit hard to play, because you've only got about that much to kind of_
So I'm always kind of missing and hitting the drum. _ _ _
So that's also kind of a complete contradiction to the kick drum, because you've got this
really massive _ marching drum thing, and then you've got this tiny little sock cymbal.
But they kind of_
interesting, they kind of work _ _ with syncopation, it kind of works
just to have this tiny little thing keeping time.
So then we have these old springs, which I found, I think they fell out of an old Peugeot
or something on the road, and I welded them together, and that gives that kind of_
When you don't actually want to play a snare, you can play that.
It's almost like a hand clap thing. _
Then we've got this sizzle cymbal.
This is made by the Bostris company.
Bostris is the same family as Zildjian.
And I went out, when I was in Istanbul, I went out into the way, into the suburbs, way
out near the [E] rifle range and the army barracks and through incredible traffic, and found
where they still hand_
they make by hand, and they still hand beat these cymbals.
And I arrived on the actual day that they were pouring this massively hot metal, and
managed to actually buy six or seven of these beautiful cymbals while they were still hot,
having just been fired and they're lathe.
And they make a bell, they push it down over a bell to give the bell shape, then they punch
the hole in.
And then I said I'd like it as a sizzle cymbal with these rivets in it, which gives it that
kind [B] of_ _ _
_ _ _ _ _ _ _ [Gb] _
_ [C] that lovely sizzle thing.
So they kindly punched the holes in, gave me some rivets, and I went home and put them in.
So it's a very_
Once again, it's very much a bespoke kind of cymbal, perfectly suits this band.
And then we have this.
This one I got from_ _
Oh, it's like a Chinese style, but I actually got it in Trinidad, in the Caribbean.
It's just in a music shop there.
And it sounds [N] awful.
It just sounds appalling.
But in the context of the songs, it kind of sounds good.
Like_
_ You know, it sounds really quite shocking.
But in the context of the music, it sounds pretty good.
And then this is a 1960s Ludwig _ Floortong.
Actually, it's a 1961 Floortong, in the age when they were still making beautiful American drums.
It's part of another kit I've got.
In fact, I've got four or five old Ludwig drum kits, which were known for their warmth
and, of course, were mainly popularised in the early 60s by none other than Ringo from
The Beatles, who really made Ludwig famous in the same way that Gene Krupa made Radio
King's Slingerland drums famous a decade or two before.
And I put these legacy heads on it and tune them right down.
So they make heads that [Ab] simulate old calf and pig skins, but don't have the tuning [D] problem.
But sound is warm.
So you listen to the decay of this drum [Bb] as well.
_ _ It's got_
You play the drum and then you've got this lovely kind of decay which goes_
_ _ _ [F] _ Which modern drums don't have.
You just kind [N] of get the attack, but you don't get the decay.
The last thing we've got here today, and there's much more to this kit that I haven't brought
today, but the last thing is this _ beautiful wooden piccolo snare drum that I recently
got from a fellow named _ Brad Forti, I think his name is.
He's French-Canadian, but he works out of Byron Bay and he makes these drums out of
local rainforest timbers.
So this is silky oak and maple. _ _
The rims are a little bit harder because, of course, they need to be because you're
always playing rim shots.
[Db] _ _ _ _ _ [N] The shell is actually all glued together and it's a piccolo.
It means that it's actually a much narrower drum.
Being narrow, the drum kind of sings a lot more and you can play different parts of it.
Most steel drums have one sound, but with this you can sort of move the_
You can move your stick around and you get lots of little bounces.
_ _ _ _ _ _ _ _