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Writing at Blabbermouth.net, Dom Lawson rated this album an 8.5 out of 10, stating that High on Fire "deliver the punishment that their admirers crave". [6] In Kerrang!, Nick Russell scored Cometh the Storm 4 out of 5, summing up, "when [High on Fire] stampede at you like this, when you can hear their blood pumping and smell their breath, there are few bands on Earth who can match them". [7]
"The terms riff and fill are sometimes used interchangeably by musicians, but [while] the term riff usually refers to an exact musical phrase repeated throughout a song", a fill is an improvised phrase played during a section where nothing else is happening in the music. [2] While riffs are repeated, fills tend to be varied over the course of a ...
A drum fill is used to "fill in" the space between the end of one verse and the beginning of another verse or chorus. Fills vary from a simple few strokes on a tom or snare, to a distinctive rhythm played on the hi-hat, to sequences several bars long that are short virtuosic drum solos. As well as adding interest and variation to the music ...
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To get around the timing problems, engineer Kevin Killen mixed Copeland's drum parts to mono and sampled sections of his playing that lined up best with the click track. Gabriel additionally wanted to incorporate Copeland's drum fills, which were also meticulously sampled and adjusted to align with the rest of the song. [7]
JR's drum fill kicks off Jackson's chart topper "Rock with You", and his drum solo opens the Steve Winwood album Back in the High Life (1986) to begin the number 1 song "Higher Love". [ 2 ] Rolling Stone listed JR in 2016 at number 81 in their list of the top 100 "Greatest Drummers of All Time". [ 3 ]
The drum beats at the start of the theme tune were played by May's drummer, Graham Broad. May had originally composed a longer theme that featured a section in "a true cockney piano-type style" and he asked Broad for a drum "fill" to allow the theme to switch back to the main version.
The verses have short sections with the tempo virtually halved, and the choruses are emphasised with strong harmonies and drum fills. DRUM! magazine said of Taylor's drum work: "[...] Shortly after the 2/4 measure there's an unusual snare accent on the & of 4 and a change to a half-time groove.