Poll makes no sense now that Stuart Copeland's name has been removed.

Progishness wrote: Poll makes no sense now that Stuart Copeland's name has been removed.

Progishness wrote: Poll makes no sense now that Stuart Copeland's name has been removed.

I shouldn't have included him to start with. It was always going to be a landslide, and he had effectively won. So, Itought removing him would make it less of a no brainer.

His inclusion was a bit like pitting Neil Peart against Bill Ward in the same poll. No disprespect to Bill, of course, but people voted Copeland on his obvious technical skill, no whether they preferred the Police to the bands the other drummers were in. It was also pointed out that Copeland was historically a prog drummer.

^ Here was the original OP.

Blacksword wrote: Ok, so prog rock, hard rock and metal are synonamous with excellent drummers, but in the world of pop and punk, who stands out??

Grumpyprogfan wrote: ^ Here was the original OP. Blacksword wrote: Ok, so prog rock, hard rock and metal are synonamous with excellent drummers, but in the world of pop and punk, who stands out??

Now that Copeland has been taken out of the equation, I can give my vote to the excellent Budgie of Siouxsie and the Banshees (he was also married to Siouxsie for over 15 years). Anyone interested in his skills should also check out Budgie and Siouxsie's side project, The Creatures, which focuses on vocals and percussion.

Budgie - Siouxsie & the Banshees

SteveG wrote: Icarium wrote: I will also vote for Warran Can of Ultravox and i will lett wikipedia to sa it for me why. " 1978 when Ultravox released the Systems of Romance album, Cann's style of drumming turned away from its rock roots and toward what was becoming the New Wave sound. He endeavoured to have extremely precise timing; this would make the songs with live drums match songs driven by electronic, programmed percussion. For an example of this, compare the song "Sleepwalk", where Cann plays live drums, to "Mr. X", where the drums are sequenced. Both of these tracks can be found on Vienna. Despite his machine-like timing, Cann would often do things that neither drum machines nor electronically sequenced percussion could do at the time. Specifically, he would often play very precise triplet fills and crescendos, especially on the snare drum. While these two techniques are easily accomplished by electronic instruments today, around 1979–1982 they were virtually impossible. In essence, it could fool the listeners to believe they were hearing a drum machine, only to prove them wrong through out-performing the rather rudimentary sequencing possibilities of the time". 000000 I agree. Cann's precision was like a machine. Very under rated.