Losing My Religion: A Drum Walkthrough

Okay, here we go with "Losing My Religion." This classic pop track by R.E.M. features the great Bill Berry on drums.

Introduction

This is a very interesting track. It's a little bit off the beaten track insofar as the pop genre goes because we have a very definite rhythmic idea here between tom, snare, and hi-hat. The bass drum in this track is very consistent and repetitive, kind of like pinning everything from underneath.

On top of the bass drum, we've got this very specific section, and that's the main focus of this walkthrough. We need to check that out and then have a look at some of these end-of-bar sections, which are just embellishments of the groove.

It's a very interesting drum track because it's in this pop genre, but it's not hugely representative of a typical pop track, making it quite challenging.

The Flam Intro

We come in straight away with this flam. I want a nice big kind of, not unison, but a nice big open flam. We have this classic:

"1, 2, black and black and bo."

So, what I'm thinking when I play this tune is that I need to get to the crash cymbal here, because I'm going to go to the ride cymbal, and that's just my preference. It doesn't make a huge amount of difference, but when you're preparing this track, it's something to bear in mind.

"Coming out of this 'one, two, bla gum, blah blah blah' would be my instinct."

Then I can get to the ride cymbal.

Practicing the Flam

I'll just play that flam for you to check it out:

"Here we go. 1, 2, 1, 2."

That's a very consistent feel for most of the tune, with a "boom chap bom bom" sound-wise and dynamic-wise.

I would play it with a downbeat dynamic accent, which you hear me mention quite a bit because virtually everybody does this within certain tempo ranges.

If I don't play dynamically, it's going to sound too washy on the ride cymbal. Check the difference between just changing the dynamic:

"1, 2."

Of course, those eighth notes are written out like that; they are just interpreted with more dynamic emphasis.

Dynamic Interpretation

This is how I would play this track:

• On the hi-hat, instead of playing lightly, I would get right on top of it and put a dynamic inflection on the downbeat.
• You can hear that downbeat motion; this movement is a staple idea for most pop, funk, and R&B tracks.

"I'm constantly mentioning in these walkthroughs how important it is to think about dynamics."

I always remind myself to consider how I'm going to sound, not always what's written, but how you interpret it.

Main Focus: Unison Tom and Snare Backbeat

The main focus of this track is the very interesting unison tom with snare drum backbeat. It's quite unusual and not something I've encountered often in my career.

Be really careful when you come out of the introduction going into the verse section; there's quite a lot of geography going on there.

Practicing Transitioning Sections

You come from this side, go back to the crash, hit the hi-hat, and then you need to get into this tom feel quickly.

Let's break that down and work on it slowly. I'll slow it down for you and gradually build it up to speed so you feel comfortable with that.

"If you're playing a five-piece kit or with three toms for your Rock School exams, it will sound slightly different."

We've got a 10, 12, and 16 here for these sessions, and I would play the tom backbeat on the 12-inch tom to give it some depth and volume.

• For 10-12 setups: Play on the 12-inch.
• For 12-13 setups: Play it as written on the chart.

I hope that makes sense!

Break Down the Transition

Let's break down coming out of this introduction section. There's a slight fill there; it's an eighth note fill with a unison.

I think coming out of the fill into the B section is quite tricky. Let's slow that down.

"Coming out from the crash to the hi-hat to the tom is a real maneuver."

Practicing the Fill

Let's slow that down again, and then I'll play it up to speed.

"Speed, 2, 3, 4."

There's quite a bit going on there.

"Attractor. 1, 2, 3, 4."

We're getting a good connection with that tom. Always know where you're going; it's good to navigate yourself around the drum kit.

Structured Tune

After that, it's quite a well-structured tune. In the C section, we go back to the ride cymbal, and we've got these end-of-bars still playing the "boom chat, boom boom chat" with the sound discussed earlier.

Then we have these slight embellishments at the end of the bar, with fills coming into the C section and then a slight fill coming out of it.

"This routine of starting the bar with a crash cymbal and ending with those respective tom fills is important."

Building the Path of Least Resistance

The path of least resistance is key. I like to crash out on the right-hand side because I'm going to stay on the cymbal while using the second and floor tom.

Let's run through that section a little bit. You can see that written in the chart.

Technically and physically, I'm just making it easier for myself.

At the end of that section, we have that unison figure. Let's make sure it's nice and tight:

"2, 3, 4, 1, 2, 3."

Then it breaks down to the hi-hat, just opening on the four and then closing down.

Conclusion

That's quite a nice gentle ending. Feel those nice, tight eighth notes.

There's a lot going on in R.E.M.'s "Losing My Religion." Have a think about your movement throughout the track; it has that nice consistent "boom gap, boom, boom."

For the most part, we're just changing sounds and moving around with short embellishment fills.

Great! Have fun with "Losing My Religion!" See you soon.