SonorBartWe have nasty weather today, and so I am spending an extended amount of time in front of my computer. I know that many people don't get how unique Phil Rudd's drumming truly is, though deceptively simple. When I started listening to AC/DC in 1985 Phil was already gone. AC/DC would tour but I had no interest in going. My drum buddies in high school were Neil Peart fans, or Jazz guys so typically when it came to talking drums, Sonor and Sabian were my preferred topics. And I did make several Sabian converts, by the way. But, in the mix of the conversations, I didn't mention Phil Rudd. In comparison to the drummers they were following, he was simple and sported a groove like no other, but I kept it to myself.
I started following AC/DC during what I feel like is an awkward time in their careers. The band had worked like hell in the studio and on tour for 11 years, suffering tragedy and ultimately scoring super-stardom. Three records back to back were produced by a highly respected producer who understood the industry better than he understood the band. Despite one of the all time best selling albums ever, and a pretty respectable follow up, the band opted to produce their own release in 1983 which though well touted by loyal AC/DC fans who "got it", didn't impress the retail market. Couple this with a personnel issue involving someone in the 'engine room' who was (allegedly, according to an old source - but I can't prove it or even back it up with anything online) having a cocaine problem, had been traveling on tour separately from the band causing concerns over him showing up to the concerts, and having an affair with Malcolm's wife (AGAIN, unsubstantiated allegations, but information that I ascertained in the mid 90's) and AC/DC seemed to veer off the rails. Phil recorded the tracks to Flick of the Switch and then after an altercation (possibly with Malcolm) was sent packing.
1985's Fly on the Wall was another poorly produced album with a bad mix according to many fans/critics. All of the raw, in your face production of the 1993 album had been replaced with over production indicating a severe over-correction on a tumultuous highway. They had recruited Simon Wright who was a young man at the time, who had seen an ad for the job stating something akin to: if you don't hit hard, don't apply. My personal criticism of Wright's playing is that he chose power over finesse, and never really got locked in on the groove. Two albums later, Wright had left and was replaced by Chris Slade. Slade had been a touring and session drummer and was brought in to record The Razor's Edge. He was later asked to tour in support of the album, though the band apparently (based on interviews years later) viewed him as a hired gun instead of a full member.
After several years of AC/DC slipping and sliding in the post production phase of several albums, they seemed to finally click again with the market with The Razor's Edge. My personal assessment of Chris Slade with AC/DC is rivaled by several that I feel don't really "get" AC/DC. Whereas Phil Rudd really focused on digging in and creating a groove you could hide in, Chris Slade brought showmanship, and a more metered "on top of the beat" feel that made the band sound rushed. Add to the spectacle a pair of Gong drums and animated moves and facial expressions and it was obvious that he wanted to be in the spotlight with Angus and Brian. This was accepted by some drummers who appreciated the "Rock and Roll" vibe more than they understood AC/DC's bluesy core.
1995's Ballbreaker album began with Slade on the demos. Several things happened, but I am unsure of the time line. By the time the smoke cleared, in whatever sequence of events, AC/DC had changed drummers, dug old amplification out of storage, found new old stock guitar strings and tubes to authentically replicate the sounds of the early days. Mission accomplished in spades. They had run into Phil in New Zealand and had a long hang after the concert, and Malcolm ultimately called Phil to see if he would like to have a bash and see how it went. Being upfront, Malcolm told Slade that they were going to jam with Phil, to which Slade immediately washed his hands of the band. Slade later remarked that if he hadn't reacted like that, he thinks the band would have chosen him over Phil, even another testament as to how disconnected he really was to the reality of what AC/DC was as a band. Malcolm himself stated that they always had aspirations of getting Phil back and that they were just putting other drummers in there until Phil was ready to come back.
They failed to match the album sales of the early 80's, but their sound and groove had returned with a vengeance. I think that for many long time AC/DC and Phil Rudd fans, THIS was the point where it really hit home that Phil Rudd was an irreplaceable part of the foundation of the band. Phil was around for several world tours and albums then, despite a misstep that brought the band some series bad publicity and presumably, much embarrassment, Phil was still brought back to the studio with the rest of the classic line up (save Malcolm Young) for their as of now last album after being replaced once again by Chris Slade on a tour that was fraught with challenges, an interruption and eventual replacement of long time lead singer Brian Johnson, who would later return.
Since this is about Phil, and not the band, I will wrap this up now, but here are two versions of a song that I think exemplifies Phil groove, timing and endurance.
This is a long one from the early 80's with his Sonor Signatures and what I pretty certain in a Gretsch chrome over brass 5X14 snare. The guitar solo is long, so if you don't want to watch all of it, I recommend skipping ahead to the 10 minute mark and listen as Phil does a fill that is saturated it the feel he is know for.
Same song from his last tour. I love the snare sound, though I know we are hearing a bit of processing including (if I recall) some synthecized doubling in which the pitch is dropped and octane and added to the mix to fatten up the resulting sound.