Phantom's Percussions future....

[Jeff Ream]

But they only could get 7 kids from there in three years to come along with them to Regiment.

and I get that. I didn't expect it to become MCM summer. But even the book doesnt do what MCM does.

[Jeff Ream]

On the general subject of percussion staff...

Crown needs to give Rennick a blank check and tell him to write the biggest number he can think of. Heck, he used to work there before he went to Phantom. His writing would fit completely and it would be squeaky clean. Hannum's writing works wonderfully, but it's not clean. Not to mention, as clean as SCV's been, they're sorely missing the groove that is so integral to the SCV drumline tradition. Rennick's writing, while great, is just about as white as it gets in DCI.

Once Rennick's gone from SCV, fill the void there with Mapes and Grom (the Pulse/Blue Stars guys). For multiple reasons like location, talent (they run one of the cleanest indoor groups in the whole activity, based out of California) and style, that would absolutely build a dynasty of talent at Vanguard.

if JD keeps writing the brass book, there's no need to change.

maybe Crown should go after John and Ian

[Jeff Ream]

I miss mark thurston and I don't care who gets him lol

Reading Buccaneers have him. that short commute and weekend schedule seem to be doing just fine for him, the Mrs and the kids

[Jeff Ream]

I beg to differ. 1989 is perhaps the best drum line I have ever been associated with. It was not a weak line. I don't ever like to make excuses but there was a judge that was biased. Someone Marty Hurley knew personally and they were mortal enemies. That line played really well that night and every night in 89. I usually use poor marks from the judges as fuel for the fire to get better. But this was different, it was the last show of the season and there was no getting better for that year. The drum judge single handedly stole the championship from the Phantom Regiment because of a grudge he had with Marty Hurley.

Um, yeah and i keep hearing all of those blown shots on dirty rolls on the cd. I don't think so

[Stu]

Um, yeah and i keep hearing all of those blown shots on dirty rolls on the cd. I don't think so

Um, yeah, you are disputing John Wooton; at least we can commend you for having some Yarbals; just sayin'

[olddawg]

Pardon, just saw that Mike D'Angelo had Phantom 5th in percussion on finals night in 89. They were 2nd in quarters and semis (quarters, 2nd to SCV, Goodheart judging [the real deal, IMO] and tied with SCV in 2nd at semis, while Star placed 1st). The 3rd place finish was an average.

[Johnwooton]

Um, yeah and i keep hearing all of those blown shots on dirty rolls on the cd. I don't think so

Not too sure how to respond to that Jeff. I was thinking I might be going senile so I just listened to the recording again. I am not sure what recording you are listening to. Please educate me on what a dirty roll or blown shot sounds like, cause I didn't catch them. I thought I knew what clean rolls sounded like and I certainly don't hear any blown shots on that recording. I will say that I would have put the book and the talent of the 89 Regiment drum line as high on my list of accomplishments as any other. I wrote most of the book that year and did most of the cleaning. I thought the program Marty Hurley and I had started in 87 culminated to a peak in 89. I don't remember hearing any dirty rolls, in fact, I thought our rolls were more powerful than most. That was something I thought we really knew how to do. Played relaxed and through the head. I didn't think there was a better teacher at the time on how to do this than Marty Hurley. Rodney Goodheart was a fair and respected judge and I had no problem with him putting us second. He told me later that was a very difficult decision for him. He also asked me later what happened at finals, that he thought we should have won drums that night. I told him "I thought we played better than ever." The 5th place finish on finals night, when I thought it was the best of our three performances, was hard to swallow. I still remember that year as a great accomplishment and the result of pushing those guys to the limit. I thought that finals night was emotionally and technically as solid as they come. Marty and said judge from finals had a contentious past. Marty knew him well from Blessed Sacrament and knew of his abilities and perhaps rode him pretty hard back in the day. This was pay back. I take this as fact, but honestly I believe "musical competition" is an oxymoron. Subjective judging is imperfect no matter how defined the criteria is. Since then, I have never stayed for scores after a drum corps show. I have my opinion of who I like and that's all that matters. As you have your opinion and I respect that you thought the 89 show was dirty, I just disagree. I think that line played with great technical skill as well as soul. It is hard to combine technical ability and allow there to be human elements in the music. I find that playing with no soul is an epidemic in drum corps these days. Too much metronome is the blame, IMHO. Also tuning... You used to be able to tell what corps was playing by the sound of the drums, now they all sound similar. However, I have really enjoyed what some of the corps are doing. I have watched a trend back to playing with more soul and I think it started with Murray Gusseck and SCV about 10 years ago. This year I think Jeff Prosperie, who happened to march Regiment in 87 and 88, got it right. Good to see lines that play with range get some credit.

[Kamarag]

This was pay back.

No, it's just sour grapes.

[ibexpercussion]

I'd be careful about reading too much into PR's drum score tonight. The numbers tell you the judge liked the book, he just didn't think they played it particularly well tonight. For all we know, it was a bad night for the line.

Semis wasn't any better.

I think Shane is putting together some good stuff, they just need to rebuild the stable of talent. A lot left when Rennick went to SCV.

[MikeN]

I wrote most of the book that year and did most of the cleaning. I thought the program Marty Hurley and I had started in 87 culminated to a peak in 89.

I've only ever heard the Finals recording, but I can't really hear the separation between the various top lines that the scores bore out. I realize some of that may be recording quality and mic placement as well. I would love to hear a judge's tape of that Phantom show to get a clearer idea of what they were doing.

Mike