Floyd Sneed: The Unmistakeable Backbeat of Three Dog Night

When I was a kid growing up in Delaware in the 70’s, I listened to a lot of top-40 radio while in elementary and middle school. Three Dog Night was one of my favorite groups, and it was the first group where I distinctly remember listening to the drummer for the feel he created. That drummer was Floyd Sneed.

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He played a clear, acrylic Zickos kit with double bass, which at the time was about as cool as it got. Floyd was built like Billy Cobham, so his physical presence behind the kit was formidable. His solid grooves and use of backbeat were what really got my attention. (Note: If you’re ever in Hollywood and want to see his kit, walk through the doors of Pro Drum and look up and behind you, on the shelf above the door…).

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Disco was about eight years away from invading the airwaves, but Floyd employed a kind of groove that clearly preceded what would become the classic sound, and he also played it in a way that Billy Cobham would later popularize on his China cymbal. “Black and White” kicks that groove in well, and I remember getting a very strong sense of feel that made me appreciate keeping time quite a bit.

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His backbeat always seemed (at least to me) to hang back just a bit, creating a very cool platform for the other musicians to contribute over. Some guys just have it in their blood, and the rest of us have to work at figuring it out. I still cogitate on it from one measure to another at times…

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Three Dog Night owned the airways for a brief period during the 70’s, delivering one pop hit after another with no Pro Tools, and I would seriously doubt any click-tracks. It was human beings playing human feel, with incredible harmonies. As disco began its insidious invasion, I lamented the loss of simple pop music, but I often thought about Floyd Sneed and his great feel. “Out in the Country,” “An Old Fashioned Love Song,” “Never Been to Spain,” “Joy to the World,” and “Mama Told Me Not to Come” are just a few that come to mind.

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Many years later, I had the opportunity to meet Floyd when I was writing for Easyriders magazine. He lived near the offices, and he was playing in a little bar around the street. I introduced myself during the break and told him how much I had loved his playing over the years, and we had a great conversation. Turns out he was as equally interested in art, and he has done a lot with it as a mode of personal expression.

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We met a few more times at the same bar, and one night, he gave me a small paperback about Three Dog Night. I have no idea what ever happened to it over the years, but it meant a lot coming from a drumming idol.

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Every generation has their music and the values they associate with it. Mine will always be the 70’s, an era that emphasized the human element of real-time performance. Floyd’s grooves, feel, and musical fills hold a special place, and if you want to hear good, solid, musical drumming, check out the streaming tunes available for a bit of old school schooling. You might just find yourself tapping your toes, bobbing your head and humming… the way you do when something works the way it should and is played as it should.

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For me, Floyd Sneed’s playing is a backbeat model for drummers, someone I will always look forward to returning to, providing reminders of when music was truly magical to me, and how to keep my own feet tapping and head bobbing…

 

For more information on Floyd Sneed, checkout his website at http://www.floydsneed.net

 

 

 

 

 

 

Meet Gary Leach and Beats Exotiques – Drum Grooves For Independence

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Three years ago or so, I was experimenting with posting video clips on Periscope. In a short period of time, a following developed, including positive comments and encouragement from an English gentleman named Gary Leach. He posted his own videos, shot in a small room, using his iPhone. What struck me about Gary the most was his sincere enthusiasm and desire to impart his vast knowledge of beats to whomever might spend a few minutes watching and listening.

Fast forward …

After working with exhausting detail to produce and explore his grooves, Gary took the self-publishing plunge and created Beats Exotiques – Drum Grooves For Independence. And take the plunge he did. His organization of materials is impeccable. The level of detail is extraordinary. The cultural range of grooves is indeed exotic, drawing from Africa, Brazil, Cuba and many more countries.

The grooves he presents incorporate both ride cymbal and cowbell, with enough of the latter to satisfy even Christopher Walken. They are beats that Gary enjoys playing, so in a sense, the book was really a labor of love. They are organized into Easy, Intermediate, and Advanced examples, with 850-plus bars of rhythms and ostinatos collected over the last ten years.

Like I said, he plunged.

You can see examples inside the book at the website, www.beats-exotiques.com, where you can also download MP3 examples of every groove in the book. This aspect in itself is invaluable, as the MP3 files may be used by the non-reading drumming to learn the patterns. Gary developed a visual aid system that employs empty and darkened boxes, aligned horizontally, to depict the silence and sound of each pattern. It’s novel, useful, and easy to grasp.

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Okay, that’s the technical end of Gary’s book. Anyone can write a review. I want to tell you about the person. As regular readers of this blog know, I rarely ever mention a product. That’s not what this is about. What it is about is discovering interesting PEOPLE and their path. Without fail, every comment Gary posted about my short little Periscope videos was positive and encouraging. He’s the real deal. He honestly cares about teaching, sharing, improving a student’s playing and breadth of knowledge.

I used to watch his clips sometimes when I was the only person on Periscope seeing his videos. He played and talked like the whole world was watching, and that was intriguing. He really loved figuring out how to make the groove GROOVE, make it sound right and honest. You’d see him tuning it up on the spot, and I really enjoyed this. Point being, you could see where the exhaustive list of patterns found their study origins, and it really gave me some interesting context within which to appreciate his book.

Speaking from personal experience, I KNOW this project took a tremendous amount of effort, and it shows. If you want to broadly expand your groove knowledge with rhythms from around he world, and if you fancy a bit of cowbell to break up the monotony, Beats Exotiques will show you the way. It’ll take a bit of time to get through over 200 pages of examples, but you won’t be bored.

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And when you do take a break, check out the man himself on drummercouk (YouTube). You can hear examples the beats, played by Gary. There’s heart and soul in his sticks and lessons, and that’s something we drummers can never get enough of.