Rain probably would have been used more prominently if it didn't have one major flaw. The tempo is all over the place.

since this was recorded and it remains a colossal drum track. Listening to it again now, and with the knowledge of how it was recorded on the landing at Headley Grange with one overhead mic, Bonzo playing a brand new kit, you can put yourself right there, in the performance with him. The way he just steamrollers around the kit at 5:10, it's still breathtaking.

Much of it down to click tracks.

In the good old days, and in a 'proper' live situation, you're locking in with the bass player, gently pulling the song into the direction you want it to go.

With a familiar bass player this can be like a heartbeat and it just takes a brief eye contact to almost telepathically keep in touch as the feel of the beat changes. Depending on the mood of the day the same piece can be played lagging behind the beat, on the beat or right in the pocket. Getting it right is a wonderful musical experience!

Think of Kirke and Fraser for a great example of this - that almost telepathic communication.

With a less familiar bassist, it's more of a challenge but that unfamiliarity can lead to a very dynamic rhythm section where the drummer and bassist are pulling against each other.

In session days, it was all about reading the dots and interpreting what the producer/arranger wanted but the drummer was often still able to drive the feel of the rhythm.

With the advent of click tracks and live use of sequenced/triggered reinforcement, there's just less opportunity to flow - playing becomes a matter of hitting the click every time. Once you're locked into hitting the One on the click, there's no room to play with the beat. Result - the rhythm sounds the same.

Think of the way (say) Phil Collins would play a bog-standard four on the floor as against (say) Steve Gadd or Mick Fleetwood. The same basic rhythm can feel bright and precise or, if the player drags behind the beat, sluggish and lazy. You just don't get the chance to play like that against a click.

are cool. A school friend of mine's grandfather was called Albert Albert.

I still try to hit the toms, snare and cymbals in the right sequence anytime I'l let near a kit and it manages to sound like someone has thrown the Tamas down the hall stairs. Jansen was truly part-octopus on that track...didn't he used to cite Billy Cobham and Steve Gadd as influences, too?

It's got to be Preston Epps - Bongo Rock