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If you try to play air-drums along with this song, put simply, you’re fucked. So, it’s not surprising that Rodney Jerkins’ masterstroke of a production technique (that being “HIT ME!” followed by one of those hypey drum-lines, provided by nine-time world drum and bugle corps champions, the YEA Cadets) propels this recent (penultimate, if you will) Destiny’s Child gem into the stratosphere. Maybe it’s because there’s not much of a culture of military salutes or high-school drum corps here in Australia, but there’s something about a marching band that gets me really hyped-hell, even that godawful Louie, Louie moment in the dreadful Mr Holland’s Opus works for me. But when the balance is perfect and the percussive chemistry is right, you find yourself faced with… The Top Ten Drum Beats You Are Powerless To Resist! 2”, Queen’s “We Will Rock You”) were more from the bludgeoning-into-submission category than this Top Ten’s more gently sociopathic Mafioso-style school of persuasion, some were just awesome solos (the breakdown in “Whole Lotta Love”, The Who’s “Won’t Get Fooled Again”) and some were awesome but yet perhaps a little too subtle (Ray Charles’ “What’d I Say”, the marching beat outro to Mötley Crüe’s “Kickstart My Heart”). Either way, there are some drumming intros, beats, fills, rolls-whatever you want to call them-that it’s futile to try to ignore, particularly when there’s a dancefloor nearby.Īnd not every drum-led intro fits the bill some (Suzi Quatro’s “Can The Can”, Van Halen’s “Hot For Teacher”, Gary Glitter’s “Rock & Roll Pt. Maybe it’s because drum beats are slightly more anonymous than riffs, meaning that sometimes it takes a few bars for people to realise what’s going on this happens particularly with New Order’s “Blue Monday”, which will often find the bar-staff turning to pour a drink and then realising, upon turning back to the bar, that the customer has fled mid-order to throw themselves around like a new wave pinball. But-maybe through boredom or sociological experiment-I’ve become more interested in seeing what drum beats cause the mad dash to the floor. There are riffs-Black Sabbath’s “Paranoid”, fo’ sho’-that act like clarion calls to the punters, who’ll shoot onto the floor to stomp it out to their favourite tunes upon hearing them people have been known to run from the toilets with flies and buttons akimbo as they race to catch as much dance time during their treasured tracks as is humanly possible. Work as a DJ most weekends at a rock club in the city and it’s fun watching people react to trademark sounds at the onset of certain songs.