Jim Drnec is a drummer who played for the glam metal band Cinderella. He replaced original Cinderella drummer Tony Destra. Drnec was himself replaced by drummer Fred Coury, although session player Jody Cortez played on Cinderella's first official album, Night Songs. Drnec is now a trial attorney in Wilmington and played gigs with his blues band, The DelCats, from 2003-2009, he has been playing locally in Philadelphia with local artist Tony Mecca in Mecca's band the Heavy MeNtal Gypsies. Drnec played drums for Ever/After, an all original hard rock band featuring Reggie Wu of Heaven's Edge, bassist Buddy Cash, guitarist Mike Sheahan, vocalist Christopher Thomas of the Denver, Colorado band Omniism. Ever/After released its debut CD, A Beautiful Lie in August, 2013; the album contained all original material written by Drnec. Drnec was the drummer for original Philadelphia rock band The Electric Boa in 2015-`16. In 2011 Drnec began a new project, 33 1/3 LIVE, which performs classic albums in their entirety using a rotating cast of the Delaware Valley's best musicians.
The musical collective has performed the first Montrose album, the first Cars album, The Who's Who's Next, Aerosmith's Rocks album and Queen's A Night At The Opera. More such projects are planned. Www.cinderella.net
Rocked, Wired & Bluesed: The Greatest Hits
Rocked, Wired & Bluesed: The Greatest Hits is a compilation album released by American rock band Cinderella in 2005, featuring tracks from their entire catalog. "Night Songs" – 4:12 "Shake Me" – 3:44 "Nobody's Fool" 4:47 "Somebody Save Me" – 3:16 "Bad Seamstress Blues / Fallin' Apart At The Seams" – 5:21 "Gypsy Road" – 4:01 "Don't Know What You Got" – 5:54 "The Last Mile" – 3:51 "Long Cold Winter" – 5:21 "If You Don't Like It" – 4:14 "Coming Home" – 4:54 "The More Things Change" – 4:21 "Shelter Me" – 4:47 "Heartbreak Station" – 4:28 "Winds Of Change" – 5:34 "Blood From A Stone" – 4:50 "Hot And Bothered" – 3:56All songs written and arranged by Tom Keifer except, "If You Don't Like It" and "Hot and Bothered", by Tom Keifer and Eric Brittingham. Tom Keifer – Lead Vocals, Electric, 12-String Acoustic, 6-String Acoustic, National Steel Guitars, Piano, Harmonica Eric Brittingham – Bass, 12-String Bass, Background Vocals Jeff LaBar – Guitar, Slide Guitar, Background Vocals Fred Coury – Drums, Background Vocals
Don't Know What You Got (Till It's Gone)
"Don't Know What You Got" is a power ballad written and performed by the glam metal band Cinderella, from their second album Long Cold Winter. Released in August 1988, it was their most successful single, peaking at number 12 on US Billboard Hot 100 in November 1988; the music video for this song was filmed at Bodie, California. This fact is revealed in the Tales From the Gypsy Road video collection. Lyrics of this song at MetroLyrics
Hard rock is a loosely defined subgenre of rock music that began in the mid-1960s, with the garage and blues rock movements. It is typified by a heavy use of aggressive vocals, distorted electric guitars, bass guitar and accompanied with keyboards. Hard rock developed into a major form of popular music in the 1970s, with notable bands such as AC/DC, the Who, Led Zeppelin, Deep Purple, Aerosmith and Van Halen. During the 1980s, some hard rock bands moved away from their hard rock roots and more towards pop rock, while others began to return to a hard rock sound. Established bands made a comeback in the mid-1980s and it reached a commercial peak in the 1980s, with glam metal bands like Bon Jovi and Def Leppard and the rawer sounds of Guns N' Roses, which followed up with great success in the part of that decade. Hard rock began losing popularity with the commercial success of R&B, hip-hop, urban pop and Britpop in the 1990s. Despite this, many post-grunge bands adopted a hard rock sound and in the 2000s there came a renewed interest in established bands, attempts at a revival, new hard rock bands that emerged from the garage rock and post-punk revival scenes.
Out of this movement came garage rock bands like the White Stripes, the Strokes, Interpol and on, the Black Keys. In the 2000s, only a few hard rock bands from the 1970s and 1980s managed to sustain successful recording careers. Hard rock is a form of aggressive rock music; the electric guitar is emphasised, used with distortion and other effects, both as a rhythm instrument using repetitive riffs with a varying degree of complexity, as a solo lead instrument. Drumming characteristically focuses on driving rhythms, strong bass drum and a backbeat on snare, sometimes using cymbals for emphasis; the bass guitar works in conjunction with the drums playing riffs, but providing a backing for the rhythm and lead guitars. Vocals are growling, raspy, or involve screaming or wailing, sometimes in a high range, or falsetto voice. Hard rock has sometimes been labelled cock rock for its emphasis on overt masculinity and sexuality and because it has been predominantly performed and consumed by men: in the case of its audience white, working-class adolescents.
In the late 1960s, the term heavy metal was used interchangeably with hard rock, but began to be used to describe music played with more volume and intensity. While hard rock maintained a bluesy rock and roll identity, including some swing in the back beat and riffs that tended to outline chord progressions in their hooks, heavy metal's riffs functioned as stand-alone melodies and had no swing in them. Heavy metal took on "darker" characteristics after Black Sabbath's breakthrough at the beginning of the 1970s. In the 1980s it developed a number of subgenres termed extreme metal, some of which were influenced by hardcore punk, which further differentiated the two styles. Despite this differentiation, hard rock and heavy metal have existed side by side, with bands standing on the boundary of, or crossing between, the genres; the roots of hard rock can be traced back to the 1950s electric blues, which laid the foundations for key elements such as a rough declamatory vocal style, heavy guitar riffs, string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, posturing performances.
Electric blues guitarists began experimenting with hard rock elements such as driving rhythms, distorted guitar solos and power chords in the 1950s, evident in the work of Memphis blues guitarists such as Joe Hill Louis, Willie Johnson, Pat Hare, who captured a "grittier, more ferocious electric guitar sound" on records such as James Cotton's "Cotton Crop Blues". Other antecedents include Link Wray's instrumental "Rumble" in 1958, the surf rock instrumentals of Dick Dale, such as "Let's Go Trippin'" and "Misirlou". In the 1960s, American and British blues and rock bands began to modify rock and roll by adding harder sounds, heavier guitar riffs, bombastic drumming, louder vocals, from electric blues. Early forms of hard rock can be heard in the work of Chicago blues musicians Elmore James, Muddy Waters, Howlin' Wolf, the Kingsmen's version of "Louie Louie" which made it a garage rock standard, the songs of rhythm and blues influenced British Invasion acts, including "You Really Got Me" by the Kinks, "My Generation" by the Who, "Shapes of Things" by the Yardbirds, "Inside Looking Out" by the Animals, " Satisfaction" by the Rolling Stones.
From the late 1960s, it became common to divide mainstream rock music that emerged from psychedelia into soft and hard rock. Soft rock was derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies. In contrast, hard rock was most derived from blues rock and was played louder and with more intensity. Blues rock acts that pioneered the sound included Cream, the Jimi Hendrix Experience, the Jeff Beck Group. Cream, in songs like "I Feel Free" combined blues rock with pop and psychedelia in the riffs and guitar solos of Eric Clapton. Jimi Hendrix produced a form of blues-influenced psychedelic rock, which combined elements of jazz and rock and roll. From 1967 Jeff Beck brought lead guitar to new heights of technical virtuosity and moved blues rock in the direction of heavy rock with his band, the Jeff Beck Group. Dave Davies of the Kinks, Keith Richards of the Rolling Stones, Pete Townshend of the Who, Hendrix and Beck all pioneered the use of new guitar effects like phasing and distortion.
The Beatles began producing songs in the new
A drum kit — called a drum set, trap set, or drums — is a collection of drums and other percussion instruments cymbals, which are set up on stands to be played by a single player, with drumsticks held in both hands, the feet operating pedals that control the hi-hat cymbal and the beater for the bass drum. A drum kit consists of a mix of drums and idiophones – most cymbals, but can include the woodblock and cowbell. In the 2000s, some kits include electronic instruments. Both hybrid and electronic kits are used. A standard modern kit, as used in popular music and taught in music schools, contains: A snare drum, mounted on a stand, placed between the player's knees and played with drum sticks A bass drum, played by a pedal operated by the right foot, which moves a felt-covered beater One or more toms, played with sticks or brushes A hi-hat, played with the sticks and closed with left foot pedal One or more cymbals, mounted on stands, played with the sticksAll of these are classified as non-pitched percussion, allowing the music to be scored using percussion notation, for which a loose semi-standardized form exists for both the drum kit and electronic drums.
The drum kit is played while seated on a stool known as a throne. While many instruments like the guitar or piano are capable of performing melodies and chords, most drum kits are unable to achieve this as they produce sounds of indeterminate pitch; the drum kit is a part of the standard rhythm section, used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz. Other standard instruments used in the rhythm section include the piano, electric guitar, electric bass, keyboards. Many drummers extend their kits from this basic configuration, adding more drums, more cymbals, many other instruments including pitched percussion. In some styles of music, particular extensions are normal. For example, some rock and heavy metal drummers make use of double bass drums, which can be achieved with either a second bass drum or a remote double foot pedal; some progressive drummers may include orchestral percussion such as gongs and tubular bells in their rig. Some performers, such as some rockabilly drummers, play small kits that omit elements from the basic setup.
Before the development of the drum set and cymbals used in military and orchestral music settings were played separately by different percussionists. In the 1840s, percussionists began to experiment with foot pedals as a way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years. By the 1860s, percussionists started combining multiple drums into a set; the bass drum, snare drum and other percussion instruments were all struck with hand-held drum sticks. Drummers in musical theater shows and stage shows, where the budget for pit orchestras was limited, contributed to the creation of the drum set by developing techniques and devices that would enable them to cover the roles of multiple percussionists. Double-drumming was developed to enable one person to play the bass and snare with sticks, while the cymbals could be played by tapping the foot on a "low-boy". With this approach, the bass drum was played on beats one and three. While the music was first designed to accompany marching soldiers, this simple and straightforward drumming approach led to the birth of ragtime music when the simplistic marching beats became more syncopated.
This resulted in dance feel. The drum set was referred to as a "trap set", from the late 1800s to the 1930s, drummers were referred to as "trap drummers". By the 1870s, drummers were using an "overhang pedal". Most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05. Liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist; the bass drum became the central piece around which every other percussion instrument would revolve. William F. Ludwig, Sr. and his brother, Theobald Ludwig, founded the Ludwig & Ludwig Co. in 1909 and patented the first commercially successful bass drum pedal system, paving the way for the modern drum kit. Wire brushes for use with drums and cymbals were introduced in 1912; the need for brushes arose due to the problem of the drum sound overshadowing the other instruments on stage.
Drummers began using metal fly swatters to reduce the volume on stage next to the other acoustic instruments. Drummers could still play the rudimentary snare figures and grooves with brushes that they would play with drumsticks. By World War I, drum kits were marching band-style military bass drums with many percussion items suspended on and around them. Drum kits became a central part of jazz Dixieland; the modern drum kit was developed in the vaudeville era during the 1920s in New Orleans. In 1917, a New Orleans band called "The Original Dixieland Jazz Band " recorded jazz tunes that became hits all o
Long Cold Winter
For the Laura Ingalls Wilder novel, see The Long Winter. Long Cold Winter is the second studio album by American glam metal band Cinderella, it was released in 1988 on Mercury Records. With Long Cold Winter, Cinderella started to move away from the glam metal music of their previous album and into a more blues rock-oriented direction, akin to early 1970s Rolling Stones, Humble Pie, Bad Company, Deep Purple; the record reached No. 10 in the US and became double-platinum for shipping 2 million copies in the US by the end of the year, just as their debut album Night Songs had done earlier. It was certified triple platinum. In 2005, Long Cold Winter was ranked number 457 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time; the album features four singles, which all charted in the US. "Don't Know What You Got", to be Cinderella's highest-charting single, reached No. 12, "The Last Mile", reached No. 36, "Coming Home" reached No. 20, "Gypsy Road" hit No. 51, a year after the release of the album.
All songs are written by Tom Keifer, except where noted "Bad Seamstress Blues/Fallin' Apart at the Seams" - 5:19 "Gypsy Road" - 3:55 "Don't Know What You Got" - 5:56 "The Last Mile" - 3:51 "Second Wind" - 3:59 "Long Cold Winter" - 5:24 "If You Don't Like It" - 4:10 "Coming Home" - 4:56 "Fire and Ice" - 3:22 "Take Me Back" - 3:17 Tom Keifer - electric and steel guitars, vocals Jeff LaBar - guitar Eric Brittingham - bass, backing vocals Jay Levin - steel guitar Joseph Starns, Cozy Powell, Denny Carmassi - drums Rick Criniti - piano, synthesizer Kurt Shore, John Webster - keyboards Paulinho Da Costa - percussion Produced by Andy Johns, Tom Keifer and Eric Brittingham Engineered by Thom Cadley, Ryan Dorn and Andy Johns Mixed by Steve Thompson, Michael Barbiero and George Cowan "Long Cold Winter" at discogs
Kenny Aronoff is an American drummer, the sideman for many bands both live and in the studio. He is most recognized as being the longtime drummer for John Mellencamp, with whom he worked from 1980 to 1996, he is known for his recorded drums and percussion with many recording artists. Aronoff grew up in Stockbridge, Massachusetts with his twin brother Jonathan, a clinical psychologist, he developed an interest in music at an early age and gravitated to the drums as an instrument as "drumming was one hundred percent energy". An athlete in high school, Aronoff was a natural, earning 3-letters playing lacrosse, ski team and soccer. After attending Berkshire Country Day, Aronoff went to music school for one year at the University of Massachusetts and spent four more years at the Indiana University School of Music as a performance major in classical music as well as spending a summer at the Aspen School of Music run by Juilliard School of Music, he spent one summer at Tanglewood in the Fellowship program, which at that time was managed by the Boston Symphony Orchestra where he worked with conductors Leonard Bernstein, Aaron Copland and Arthur Fiedler.
While studying at Indiana University from 1972 to 1976 Aronoff studied under timpanist George Gaber. He studied with Vic Firth and Arthur Press, both with The Boston Symphony Orchestra. After graduating in 1976 he was offered jobs with the Jerusalem Symphony Orchestra and Quito Ecuador Symphony Orchestra but decided to move to the East Coast to study in Boston with Alan Dawson, a teacher from Berklee College of Music, with Gary Chester in New York where he began to concentrate on jazz and fusion music. During this time he decided to return to his rock and roll roots that started in 1964 with his first childhood band, The Alley Cats. In 1980 he won an audition with John Cougar and promptly joined the band which led to a career with Mellencamp recording 10 albums and touring with him over a 17-year period. Scott Ross, Maven Management, secured Kenny on the drums for his first number one single. In the mid-1980s, Aronoff developed a successful career as a studio musician, playing on hundreds of records as well as touring worldwide with many artists.
He filled in for Dave Mattacks on the second half of Richard Thompson's 1988 tour. In 1996, Aronoff recorded with Bob Seger and Melissa Etheridge, he toured with John Fogerty for 20 years. In 1998, he played. Aronoff started touring with Joe Cocker in 2000 and has been touring and recording records with BoDeans since 1988. In 1990, Aronoff recorded on Jon Bon Jovi's "Blaze of Glory" from the Western film Young Guns II, in 1993 on Meat Loaf's comeback record Bat Out of Hell II: Back into Hell, in 1994 on Cinderella's fourth album Still Climbing, he recorded with Celine Dion on Let's Talk About Love, released in 1997. Aronoff was an inaugural member of the Independent Music Awards' 2001 1st Annual IMA judging panel to support independent artists. In 2005, Aronoff began touring with roots rock band The BoDeans, he performed on their two-CD live set, Homebrewed: Live From the Pabst. Aronoff recorded on Avril Lavigne's 2004 hit single "My Happy Ending" and her 2007 CD The Best Damn Thing. Featured on the track "Everything Back But You".
He recorded both Michelle Branch records The Spirit Room and Hotel Paper and most on Brandon Flowers 2015 release The Desired Effect. In 2007 and 2008 Aronoff worked with John Fogerty, performing on his 2007 US and European tours and on his 2008 Australian tour. Aronoff is one of four rotating drummers in Daryl Hall's house band for his Live From Daryl's House webcast. On July 26, 2011, Aronoff reunited with members of Chickenfoot and toured with the band on the heels of their second album, temporarily filling in for Chad Smith, unable to participate on the tour due to commitments with The Red Hot Chili Peppers. In 2014, Aronoff was part of the Gregg Allman All My Friends concert. Aronoff has performed at the Kennedy Center Honors Ceremonies from 2008 to 2014 as well as two performances at the 56th Annual Grammy Awards with Ringo Starr and the Highway Men, he performed a tribute to The Beatles sharing the stage with the two remaining Beatle members Ringo Starr and Paul McCartney in "The Beatles: The Night That Changed America".
During that same show, he played drums for Stevie Wonder, David Grohl, Alicia Keys, John Legend, Joe Walsh, Keith Urban, John Mayer, Jeff Lynne, Pharrell Williams and Brad Paisley. In an interview, Aronoff told Starr, "You're the reason. You're the reason. You're the reason why I decided to be a musician!"As of November 2017, Aronoff is drumming for Rock and Roll legend Jerry Lee Lewis. He is the owner of Uncommon Studios L. A. located in Los Angeles. Aronoff's distinctive style has awarded him many endorsements and celebrity branding by several musical equipment companies including Tama Drums and hardware, Zildjian cymbals, Vic Firth drumsticks, Evans Drumheads, Meinl Percussion, Yamaha DTX electronic drums, Shure Microphones. Aronoff lives in Los Angeles California with his wife Georgina Anouska Aronoff. Aronoff's recording credits include: Kenny Aronoff official website 2012 Audio Interview with Kenny Aronoff from the Podcast "I'd Hit That" Kenny Aronoff Interview NAMM Oral History Library