Keep up with Clayton here:
Bands:
Dain Bramage 1988-89
Eulogy 1990-1996
Harkonin 2003-present
Null Dynamo 2006-present
Drums: Pearl World Series – Ferrari Red
10×10
12×10
13×11
16×16
22×16 (x2)
Snare: 14×6.5 Pearl Ultracast
Hardware:
Pearl Eliminator hi-hat stand
Pearl Eliminator snare stand
Pearl Icon rack (4 sides)
Roc-n-Soc throne w/ back
2x Pearl Demon Drive pedals
Cymbals: Sabian – L > R
10" Spoke
18" Holy China
13" AAX X-Cellerator hats
18" Vault Crash
11" Portnoy signature Vault splash
09" Zil Bell (Zildjian)
07" Portnoy signature Vault splash
20" Vault Crash
14" AA Mini Chinese
21" HH Raw-Bell Dry Ride
20" AAX Chinese
Clayton Gore Interview:
SDM: How old were you when you started playing?
CG: My older brother plays drums. I remember when I was about three messing with his kit, playing the kick with my hands, etc. I remember loving it, but I think that’s pretty much any kid. Then in sixth grade I really wanted to play music. I originally wanted to play guitar, but my cousin (who played keyboard in a band) gave me some advice – decent guitar players are a dime a dozen, but good drummers are hard to find. He told me to play drums instead. So, I started playing and loved it. I’m happy I made that choice, as my guitar playing is fucking awful! Before that, I took about four years of piano lessons. At the time I didn’t really care for it, but learning to read music is a skill that helped me later in life as I adapted it to several mallet-based instruments, and something I haven’t forgotten. The piano is a percussion instrument, after all!
SDM: Did you play in a school band or any drum corps?
CG: Oh hell yeah. I played in the orchestral band from 7th-9th grade, then in 10th grade I switched schools to a school that had a marching band. I tried out and made snare line and it changed my life. Playing drum set, you are on your own back there, which can be good and bad. But playing on a drum line, you have to sync up absolutely with many other drummers, not to mention hundreds of other instruments. It is an amazing feeling to really nail a drum feature on a great drum line. Marching teaches you how to practice technique in the best of ways, and you have friendly competition with everyone around you, pushing each other to be better. You learn to really feel the beat, to know where you need to land, to know what the guy next to you is doing not by watching but by feel alone. Locally here in St. Louis, we have a huge celebration for July 4th every year, and I had the great fortune to play on the fair’s honors band for several years. The honors band leads the parade and has members from all over the region. Many of the members of that drum line went on to be in various drum corps later. Everyone was just an amazing player and very well-rounded, and the drum line was pretty damn big. I think we had something like eleven snares, five quints, six basses. Not huge by corps standards, but when compared to the average high school drum line, it’s pretty big. I can’t stress enough how amazing it was being part of something like that – just surrounded by exceptional players in competition but working together. Many of the guys in that “all-star” band were guys that our school competed against during marching season, and the instructor was phenomenal. I know this all sounds like nerdville, and it was – in the best possible sense. Total drum nerds spending hours together every day doing stupid drummer nerd stuff. I remember the band used to practice at 630am and when the first snow of the season came, the whole drum line showed up in shorts and Hawaiian shirts so that when we hit the field for an hour and a half, no one else in the band could complain. We would have “bathroom sectionals”, where we’d cram the entire drum line into the bathroom and play at full volume. With all that tile it sounded ridiculous – I’m surprised any of us can still hear. The school band also played the Presidential inauguration in 1988 in Washington, DC. A couple of us on the drum line brought a case of Jolt cola and kept the bus up the entire trip. Just total nerd stuff. It was such a great, memorable time in my life and I’d recommend it highly to anyone that wants to be a better drummer and have a blast doing it.
During this time I also played in the orchestra and pep band. I had an opportunity to play with the St. Louis Symphony Orchestra a few times, which was just amazing. Having the opportunity to learn to play other instruments, like tympani, marimba, vibraphone, etc., and to play different styles was a huge gift. Any aspiring musician that has the chance to play in any of these situations should jump at the chance – it’s something you will never forget.
After high school, I made the decision to take a chance on my own band. It’s not something I regret by any means, but a part of me wishes I had continued to pursue joining a corps or heading to a college with a great marching program, like North Texas or Indiana. There’s just something about performing with hundreds of people at once… it’s not something you can replicate on your own. It’s a completely different vibe from being in a metal band, obviously. Again, don’t get me wrong, I love being in a band. I’m just very grateful I had the chance to experience marching. Again, highly recommended. The strict rudiment-based practice regimen will change your drum set playing and the way you approach rehearsal.
SDM: Ever take any lessons?
CG: Yep, sure did. Not sure if it’s something I wanted to do or if it’s something that my parents made me do. I mean, they made the investment of a drum set, I’m sure they wanted to make sure I would get the most out of it. Either way, I’m happy I did. I started taking lessons immediately when I got a kit, in sixth grade. I learned to read drum notation which is something that can only help throughout life. It was good to get feedback and guidance as I learned my way around a kit. I think having an instructor in the early years can really help keep you from developing bad habits in posture or grip, etc., that can have a big impact on the life of your drumming.
Not really sure how long I kept up weekly lessons, but I’m pretty sure by 8th grade I was done. My teacher moved a little further away and it was kind of a hardship for my parents to get me there every week, so I just kept up along the path I was headed. I bought another book and tried to play my way through it but at that time I found it much more interesting to just try to play along with some of my favorite songs, trying to pick up on the techniques of various drummers and slowly finding my own style.
I’m kind of on the fence about taking lessons. On the one hand, as I said, it can be helpful in pointing out what might be more fluid for you, just getting some general feedback on your technique. On the other hand, I can see how attacking a drum set without any formal knowledge might actually be better – you may develop a whole new technique by just doing what seemed right to you rather than learning what felt right for some other person. I’m happy I did take lessons though, at the very least it was someone with much more experience than I had that I could talk to about drums every week, pick their brain. And I’m happy I learned to read drum notation.
SDM: Who are your top 5 influences?
CG: Starting out, I really wanted to be John Bonham. My brothers and sisters were into rock when I was growing up, so I was surrounded with things like The Beatles, AC/DC, Led Zeppelin, Yes, Toto, Boston, etc. By the time I started playing, Bonham was already dead and everyone was saying he was the best rock drummer that ever lived. So of course I wanted to emulate him. I remember spending quite a bit of time listening to Led Zep II and IV over and over again, trying to understand what the fuck he was doing! It was overwhelming. I knew dick about things like grace notes, shuffles, etc., so I couldn’t even understand what was coming out of the speakers half the time. Having “heroes” is great, but with no point of reference it’s kind of wasted. It took me years to really “get” what he was doing and appreciate all the praise heaped upon him.
After a couple years, I started getting into the harder side of music. In the early/mid-’80s this meant a progression that went something like: Rush, Deep Purple, Van Halen, Ratt, Mötley Crüe, Armored Saint, WASP, Queensrÿche, Iron Maiden, Metallica, Slayer, Whiplash, etc. So in the beginning I guess I’d round out my list with Nicko McBrain, Dave Lombardo, Neal Peart, Ian Paice. These are the guys that, when I listened to the music, they sounded like they were doing some pretty great things behind the kit. Now that I have years of experience, I can appreciate more what these guys bring to the music they play under.
SDM: Assuming that influences doesn’t mean favorites, who are your favorites?
CG: Those five guys are about as solid a base as you could get and were my earliest influences for drumming in general. To use a cooking analogy, those guys are like my salt-and-pepper of drums – gotta have them for a base, but as I experiment more I start reaching for other spices to bring additional flavor profiles to the dish. The drummers that appeal to me, that I feel I can learn the most from, are not necessarily the fastest guys but are guys that have a very unique style. I like drummers where, when I hear a few measures, I can absolutely identify that it’s them drumming. Guys like Terry Bozzio, Stewart Copeland, Steve Shelton, Sean Reinert, Brann Dailor. Early Gene Hoglan, Derek Roddy, Brandon Thomas, Michel Langevin, even Jeff St. Louis – now there’s a guy that’s not the most technically proficient guy but the way he plays, the feeling he brings to the drums and the way he underscores the music really appeals to me. Just listen to those DBC records! On the new Harkonin album, there are certain riffs where I play an “homage” to Brandon, Michel, and Jeff. I took elements from them and flat-out ripped them as a kind of “shout” to styles that I love.
The guys that are the speed demons are like world-class athletes and have taken extreme drumming to new levels. Seems like every time I turn around there’s a new young kid who is shattering speed records and doing it well. This is a testament to how much metal drumming is finally being recognized and given some overdue respect. I watch guys like John Longstreth, George Kollias, Flo Mounnier and just kind of laugh. Not because it’s silly or whatever, just because it is really just amazing. I mean, take a kid who loves metal, just bought a drum set and is just starting out. With guys like these as influences and goals, this kid is literally many years away from even coming close to playing at that level. It’s not like a kid that identifies with, say, Ringo Starr or Herman Rarebell who might be able to sit down and after a couple weeks of hard work really nail one of their songs. Kids coming up with their sights set on extreme metal have a long road of patience and dedication to their instrument ahead of them. If these guys are the bar now, just imagine what drumming will be like in 10-15 years when the next generation gets here. Just incredible. There’s really been a shift in metal music – it used to be about the guitars, the music, and now it seems it’s more about the drums and the speed. As a drummer, it is cool that I can grab any newer release, put it on, and hear some pretty amazing drumming. But to me, it’s still all about the music. I’d like to see more guitar-driven metal come back. Sometimes with drumming, it’s more about the space between notes than just a wall of percussion.
SDM: What are 5 CD’s in your personal rotation?
CG: Let’s see, according to the iPod (I listen to most music in my car), I’ve been listening to Turbonegro, Voïvod, Ripping Corpse, The Police, Queens Of The Stone Age, and Dissecting Table lately.
SDM: Can you remember a night you think was your best playing ever? If yes, when and where?
CG: Shit, seems like I can always find something wrong with my playing after a show. Even the shows where I felt like I nailed it, I’ll watch or listen back and realize I was fucking up, haha. After all these years, I realize you just get up and and do your thing. If you fuck up, drop a stick or whatever, it’s really just how well you can keep it together that counts. You are the backbone.
SDM: Do you have a favorite brand of drums or cymbals?
CG: As much as I’d like to experiment with different drums, I just have never been able to, financially. Drums are a freakin’ expensive instrument! Seems like at least once a year I have to replace my cymbals. Anyway, I’ve been playing the same kit since 1988 – Pearl World Series, Ferrari Red. They only made that kit a few years, and it’s really held up well for me. I’ve switched snares several times but that’s my core. It’s appeared on every recording I’ve ever participated in, with a few exceptions. When I went to Florida a few years ago to jam new Eulogy with Jarrett, I borrowed someone’s DW studio kit. That thing was pretty amazing, sounded just great. As far as snares, I’ve had a Pearl Ultracast for a few years and I love it. Such a great sound, not what you’d expect from an aluminum drum. Back in high school, I was partially responsible for my school buying all new Pearl marching drums. I do love Pearl.
With cymbals, over the years I’ve changed brands a few times. I do try to get a unified set where it’s all one brand, as I find that they just compliment each other better. But you know, as they start cracking, it’s not always financially possible to do so. Over the years I’ve had complete sets of Paiste, Zildjian, and Sabian of various strains and styles. Before recording the new Harkonin album I decided to make the investment and completely replace my cymbals as I wanted the album to sound as good as possible. I went to the drum shop with an open mind, with no preconceptions about what I wanted to buy. I decided that I needed to build the set of cymbals around the ride. Rides are so unique and differing while crashes, chinas, hats, etc. – with those you can generally find some you like that complement each other with any brand. So I tried out many rides of many brands and flavors. I ended up with a Sabian 21″ HH Raw Bell Dry ride. I love that thing! After that I did plenty of research on which flavor crashes, chinas, hats, etc., to get, but right now I’m almost all Sabian. I say “almost” because I haven’t found a Sabian that can replicate the sound of a Zilbell.
As I don’t really tour, I’ve never had the pleasure of an endorsement, so it’s really rough to replace a huge set of cymbals. But you know, the way the recording came out, I’m glad I did. They sound great.
SDM: Do you have any pre-show rituals?
CG: I play some rudiments and other warm-up exercises, usually on my leg or a bar stool or something, and I do some stretching. Really just trying to get the juices flowing and keep my muscles from cramping/stiffening up. Nothing too intricate.
SDM: Who gave the best live performance you’ve ever seen?
CG: The absolute tightest bands I’ve ever seen were Satyricon (with Joey Jordison), At The Gates (the final tour), Stabbing Westward, and The Police. Just amazingly tight, brilliant performances. But you know, other shows I’ve been to that I thought were some of the greatest shows I’ve ever seen were Voïvod/Kreator on the Killing Technology/Pleasure To Kill tour, Ripping Corpse, Slayer/Overkill on the Reign In Blood tour (at a roller skating rink!). Venue and how much you love the band can really make a show, regardless of sound quality, tightness, etc.
SDM: If you had to stop drumming, what else would you want to do with your life?
CG: I actually did stop drumming for awhile. After Eulogy, I just felt completely burnt and bitter about music in general. I didn’t play my drums or listen to any metal whatsoever for about 5-6 years. Of course, this also coincided with the birth of my first son and relocation, so I had a ton of things going on in my life to focus on. My drums were stacked in a corner of my basement. Eventually I couldn’t ignore the itch. I started realizing that no matter what I do, I don’t know how to NOT be a drummer. It’s in my blood. A friend of my owned a rehearsal studio and let me have a room for a few hours a week and I slowly got back into it, but I had no desire to be in a band again. I just didn’t feel like I had the energy – spiritual or physical – to start over again. But in 2003, an opportunity came up with Harkonin, and I really saw potential in their music, so I agreed to try it out. I’ve been doing it ever since. I guess it’s just in my blood. The universal beat is part of me and I’m doing my part to continue it.
SDM: If you could give one piece of advice to young drummers, it would be…
CG: Don’t take yourself too seriously – remember, drumming is supposed to be fun. Also, please don’t have a rock star attitude – no matter how good you think you are, there’s always someone better than you out there ready to knock you off your throne. And most importantly, play within your abilities! Know your limitations and play within them. A slower drummer that hits hard and solid is much better than a faster drummer who just taps his kit and floats all over the place. If you can’t play as fast as you want, that means more practice and patience is in your future – don’t fake it.
SDM: What is your favorite part of your drum kit?
CG: Hm. I’d have to say right now, it’s my snare. Oh, and I have this really cool Sabian spoke-thing. It’s 10″ and solid cast brass. It kind of sounds like a cross between a bell and a triangle. I like that thing, even thought I only use it on one song.
SDM: Do you practice any specific rudiments or combo’s regularly?
CG: Oh yeah. There’s this warm-up exercise that we used to play in marching band that I use still to this day. We called it “ta-duts” and it’s loosely based around “the fill” in the Phil Collins song “In The Air Tonight.” Love it. Also always warm up with paradiddles and double paradiddles and/or paradiddle diddles. After a good warm-up, I play though a few of the old marching songs, actually. They are not only technically difficult but just plain fun to play. I’m sure over the years I’ve mutated them a bit to my liking, but the base is the same.
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