I’m a drummer, writer and sometime sub-editor. I’ve been playing drums for more than 30 years, have recorded and toured a lot over that time, and am now embarking on a new phase in my drumming life, which is an exciting prospect.
I listen to all sorts of music, as any musician worth his/her salt should. Recently I’ve been listening to some Kansas, a little Norah Jones along with a dash of Frank Zappa. That changes on a daily, sometimes hourly, basis though. We all know how that works…
My influences are varied. Levon Helm of The Band, Neil Peart of Rush, Phil Ehart of Kansas and Todd Sucherman of Styx are all top choices, along with Billy Cobham, Steve Gadd and Emanuelle Caplette. The main man though is Buddy Rich. His sense of rhythm, unparallelled timing and sheer joy when he played gives him top spot in my books. An amazing player.
I play Ludwig Drums and Zildjian Cymbals and hit them both with Pro-Mark sticks, just because I can, and because I’ve never wanted to play any other sort of equipment, even when I’ve tried to. That’s my entirely shameless plug.
I go a long way back with KANSAS. It all started when I read a rave review in 1977 of their fourth studio album “Point of Know Return,” in ‘Sounds’ (the then UK rock bible). The Topeka sextet’s music challenged me as a young musician, moved me as a listener, and began to give me a deeper appreciation of how to broaden my musical horizons.
Up to that point, I’d been exclusively committed myself to the heavy rock/metal side of life with bands like Motӧrhead, UFO, KISS and Judas Priest, amongst others, taking the lead. After hearing what KANSAS were creating, however, I began listening to bands with more diverse styles such as Rush, Yes, Genesis and Saga. KANSAS, then, had become a personal musical touchstone.
The first KANSAS album I got hold of was “Two for the Show,” the double live masterpiece that I still play regularly, even today. I’d never heard anything quite like it because in those far off times live albums tended to be not much above raw noise fests.
Albums like “KISS ALIVE,” Ted Nugent’s “Double Live Gonzo” and AC/DC’s “If You Want Blood…You Got It” led the charge for pure live metal mayhem. But “Two for the Show” took the genre in an entirely different direction. Sure, the audience were definitely part of the listening experience but they, due to the wonderful mix, were never allowed to drown out the music in order to create a more raucous, and sometimes it has to said misleading, atmosphere.
This was an album where the songs very much took centre stage. Unlike some of their prog predessors, these guys were not complex for complexities sake. This band wrote actual songs, and not arrangements with vague melodies glued to the top hoping no one would notice (Emerson, Lake and Palmer take a bow). KANSAS had it all. For me, they were the real deal.
From the opening “Song for America,” through the classic moments of “Portrait (He Knew)”, the beautiful, soaring hope-strewn lilt of “The Wall,” to the closing epic, grandiose construct of “Magnum Opus,” “Two for the Show” had, and still has, an almost magical quality. For me, when I play it even now, it’s thick with memories of youth and hope.
It also showcased perfectly the songwriting skills of both Kerry Livgren and Steve Walsh, the duo always looked upon by most fans as the defacto leadership of sorts. The album, whilst in terms of giving the listener a rare opportunity to actually hear, in unblemished detail, how good their songs were, it also provided a glimpse into how the songs were played and arranged. “Two for the Show” was not only a live album, it was a progressive rock educational tool.
They also had the best rhythm section I’d come across up to that point in the prog rock field. There was then bass player Dave Hope’s dextrous fluidity, melding perfectly with Phil Ehart’s majestic, lyrical, not to mention rock solid, drumming. They were truly the glue holding it all together. These days Ehart and bass player Billy Greer (who joined the band in 1986 on the “Power” album), achieve the same superb bottom end effect as that earlier incarnation.
Underneath all of the enormous complexity and melodic nous of KANSAS’s music, there lay drummer Phil Ehart. A player of such feel and passion that for me at the time, and even to this day, listening to his playing is a complete joy whilst also being hugely educational (and, let’s face it, a drummer that stops learning isn’t really a drummer, or indeed a creative being, of any sort). So, when the opportunity arose to interview him prior to the band’s first visit to London since June 2005, I grabbed it with both hands.
During the course of the interview, the impression that Phil gave was of a humble, thoughtful and gently humourous man, who truly loves what he does. Also, despite the career ups and downs he’s experienced with KANSAS, he’s still totally committed to the cause. Indeed, he’s so committed, he’s been the band’s manager since 1990.
So, what follows is the verbatim text, untouched, but only tidied up a little for spelling and grammar. Rest assured, though, this is the entire interview as it happened, followed by a few thoughts at the back end of the piece.
As a long-time KANSAS fan myself, I asked the questions I wanted to know the answers to (and hopefully covered some of your questions too). I also wanted to get to know Phil Ehart the drummer, which very rarely seems to have been covered over the years. Gladly, I got all that, and a lot more besides. Read on!
RP: Hi Phil, thanks so much for granting this interview. You’ve been a big drumming hero of mine for a long long time.
PE: Well, thanks! I appreciate that, thank you.
RP: So, you guys are coming to Europe and London in July to share your 40th anniversary with us…
PE: …Yes we are.
RP: But before we get to that, I want to start with a question for Phil Ehart the drummer. So, purely as a drummer, and not the manager or anything else that I know you have responsibilities for, have you caught yourself looking back on changes in your playing style and how you’ve fitted into the stylistic shifts of the band? After all it’s a massive time of reflection.
PE: Well yeah, it’s a really good question. You know since we play so much material from our first album all the way through to “Point of Know Return,” I kinda look back on what I played every night, because, you know, those were songs that were written 20-30-40 years ago, but they have very demanding drum parts, and I think a lot of people expect those drum parts to be played every night. I mean, you can’t go into a song like “Song for America” or go into a song like “Carry on Wayward Son” and start changing all the drum parts (laughs), you know, you have to play them as they are, because that’s how they were written, that’s like if you were changing any other part of the song.
“So yeah, I look at my style and I try to update some things and change a few other things. I think if you play something exactly the same over and over and over it gets kinda stale and gets kinda boring, so I do try to keep it interesting to myself but still maintain the basic drum parts.
RP: That’s a really good point. As a player I try to stretch myself as I think that’s important to any musician or creative artist of any kind. So, with you guys, you have this huge back catalogue of music and, more importantly, a legacy to live up to and KANSAS fans are very, how can I put it, particular about…
PE: (interrupting) yeah, and they’re also very attentive (laughs). They’ll point out if certain things stray too far, but yes, you are correct.
RP: Now, there are four drummers whose styles I recognise straight away when I hear them play. There’s Buddy Rich, Stewart Copeland, Neil Peart and yourself.
PE: Oh my goodness!
RP: Well, it’s just that you have such a singularly unique way of playing that makes you stand out to me. Remember, I’ve been listening to you guys for a long time, like those other guys. So, over the last few weeks I’ve gone back and done some extra research and listened to some really early stuff, some White Clover etc, and you can hear the embryonic Phil Ehart style beginning to emerge. His playing is full of that youthful, enthusiastic abandon and bravado that we all had once. Then you became, after a while, this monster player…
PE: Well, thank you, I appreciate that. That’s some incredible company to be in and I feel very humble that you would include me in that.
RP: Well, that’s how I see your playing. Not only the songs are in my heart, but the inspiration that your playing has given me over the years is incredible, and I’m sure I’m not the only drummer to feel that way.
PE: That’s so great of you to say that. Thank you so much.
RP: You’re very welcome. Now, enough of the sucking up (laughs)…
RP: The complexity of the music of KANSAS, especially with Kerry Livgren’s writing, and those songs got extremely involved, shall we say! Did those songs not only push your boundaries, but make you break through boundaries in your playing you thought were there?
PE: You’re right on the money. Kerry’s music, and a lot of the songs that Kerry and Steve wrote together, made me a better player, and made me a more musical player. So many of the things that I play, I play to the melody, or I play to the keyboards, and I’m not sure why I did that (laughs). But I would notice what the other guys were playing, and lots of times, instead of playing just a straight beat, I would play right exactly what they were playing while the rest of the band were playing what they were doing.
“So, I think in a way, yes, the songwriting of KANSAS turned me, and all of us in the band, in to better players and much more diverse players than we had been previously. Because the demands of that music, as none of us are schooled musicians, I’ve never taken any lessons or can even read music, but it was the kind of thing that just listening and knowing, and just trying to put my playing to the music is what gave me the style that I have.
“In fact, I have had a number of drummers who have said “whatever you do, don’t take any lessons,” (laughs), because what I’m playing is probably inspired by not knowing what I’m doing. I just play straight from the heart, so maybe that was probably much more inspired than if I was sitting down trying to read notation or something like that.
“The guys would come into band practice with a song, and I didn’t know the time signature or anything, I just knew that they kinda went in a certain way and I just played along to it, so I think ignorance was bliss, and people give me so much more credit than I probably deserve; but I just play straight from the heart and not really know what I was doing.”
RP: You mentioned once in an interview elsewhere that early on in your career Deep Purple’s Ian Paice was a huge inspiration to you. Like you, he had this innate ability to swing as well as rock.
But Ian Paice had to swing, rock, and serve the song because Deep Purple, and later Whitesnake in their early days, really did swing as well as rock, and you have that, as I mentioned earlier, that innate ability to do that as well.
PE: With Ian Paice, and what I liked so much about him was not only his technical ability, but his ability to just rock. I mean “Fireball” and “Speed King,” they just rock, so he influenced me so much in just playing KANSAS music, and even though a lot of KANSAS music is intricate and has a lot of different parts, it still needs to rock.
“We are a rock band, and it’s something to this day that’s still important to us, that we can still have the intricacies, but I think that gives us the ups & downs in our dynamics; to play the very quiet, lilting parts and then turn around and blow your head off (laughs). The dynamics are very important to us and I’m sure there are bands and players out there today that do that very thing and do it as well, if not better, than we do but those are the things I’ve always liked.
RP: Your parts are so well constructed and executed, and I can pick a few off the top of my head like “Journey From Mariabronn,”, “Miracles Out of Nowhere,” “Song for America” etc. But the one piece that has always stuck out for me, and always will, is the “Two for the Show” version of “Magnum Opus.”
PE: Oh yeah (laughs)…
PE: (laughs) Well, it was always interesting with Kerry. He had all the parts, well not all of them, worked out for everybody. But with the drums parts, I would say 98 per cent of the time, he would just turn around to me, and say “just play whatever you feel” (laughs). I’d be like “oh, ok, thanks” (laughs), “thanks for helping everybody else out, you know?” We laugh about it nowadays, but he’d always have the violin part and, of course the keyboard chords, and the bass parts but, for me, it was a case of “do what you feel.”
“But for “Magnum Opus” it was like he walked in with a whole bunch of puzzle pieces, dumped them on the floor and said “okay, let’s put them together,” so I kind of had to learn it piece by piece. But at the same time, I’ve always told people the hardest thing about playing drums in KANSAS is to make it continuous, that it sounds like one complete song versus a lot of different parts. Add to that I think, lots of times, I have to change the tempo from piece to piece because some parts sound a little quicker than the previous parts. You can slow down the previous part because it sounds better, but you have to listen to each piece so it becomes continuous.
“But there is a story about “Magnum Opus.” Rush were opening for us at the time, when “Leftoverture” came out, and I remember Neil Peart coming over and asking “ok, you gotta tell me what in the heck you’re playing, because there’s one part where you’re playing the real crazy part in the middle,” and he says “man, for the life of me I cannot figure out what that is.” So, I told him it was a 1-2-3, 1-2, 1 with the counter melody over the top” and he says “Oh, yeah, well I’m glad you told me, now it’s easy. I just couldn’t tell what the heck it was.”
“So, yeah, with that song, I’ve had a lot of drummers ask me what I’m playing in that part, but yeah, it’s a heckuva song (laughs) and it’s almost like a drum solo in itself. But so is “Song for America” and a few others. They’re very demanding, and have a million parts, and you have to be on your toes, and it’s a lot of fun, but you’ve got to pay attention.
We always joke that if you get lost in “Song for America” you’re never coming back (laughs). If you lose it and you can’t catch up, you can kiss the song goodbye, and it’s the same with “Magnum Opus” in that it goes by you so fast.
“The part we were just talking about (the 1-2-3, 1-2, 1 section), if you just listen to the counter melody over the top of the drum part, you’ll never figure out the drum part (laughs). And if you listen to the chords and that melody instead of the drums, it just takes you to a different place that, as I say, you’re not coming back from! (laughs). But when you explain that it’s just 1-2-3, 1-2, 1 repeated over and over, you see the light bulb go off above their heads and they say “Oh that makes sense,” but yeah, it’s a crazy part.
RP: I’ll start counting it now, and I’ll lose it, you watch… (laughs)
RP: Like all the other drummers that have asked you about that particular part, that’s what originally threw me, but it’s just you and Dave Hope (the original KANSAS bass player, and now Billy Greer), with all that going on over the top…
PE: Yeah, but if you listen to that melody for one second, you’re gone (laughs). You’re not playing a groove part, you’re actually playing an orchestrated part, so you have to be on your toes. But playing in KANSAS, meaning KANSAS music, is not groove-oriented all the time, but at times it’s very groove-oriented. It’s a lot of fun, but it’s demanding.
RP: Your drum sound is really recognisable, and even though you’ve long since switched from Slingerland to Yamaha, and the overall layout of the kit has changed too over the years. What is noticeable is the depth and richness of your sound hasn’t changed. It has always had wonderful tonal, deep quality and tonality to it and that compares with your snare sound that’s very much like a gun shot and your floor toms sound like an approaching earthquake.
PE: (laughs) oh yeah…
RP_: The technology of manufacturing drums has gone way beyond what anyone could have ever imagined all those years ago, so do you think it’s that technology that’s emerged or the tuning that you use, the heads, the shells…?
PE: Yeah, absolutely. I think the biggest help for me in the technology has been the drum heads. I use Evans heads, and I use the new 360 tuning, the new drum head they have. I use the single ply, and it’s like, “Oh my gosh,” you put on those Yamaha drums and they just turn into cannons, you know?
“I like lots of ringing and overtones and a wide-open tom tom sound and that real defined snare drum that has that gun shot kind of crack to it. I think the technology of the drum heads has made them so much better now, they keep their pitch and they hold their tuning.
“But, you know, you still have to put it on the shell and tune it with everything else, but the technology has helped with the stability of the drum, the hardware holds up better, but I still think it’s up to the player to know how to tune the drums.
“I also think it’s interesting with a lot of electronic drums that people now don’t know how to tune drums anymore because they use electronic drums, and I think tuning is what gives a lot of drummers their identity, but it’s also personal choice.
“I used 26″ bass drums for a while but I went back to the 22’s, but if you use the same thing over and over and over again, it tends to get somewhat stale and I did the 22’s for a change-up and had a lot of fun. I forgot how much more response you get out of a 22 than out of a 26.
RP: It’s great to hear you sound like it all still excites you so much…
PE: “Well, yeah, I’m like a 15 year old kid when I sit behind those drums every night, and I’m just so excited and pleased to be there. My hands get sweaty (laughs), you know…
RP: It’s the buzz that never goes away…
PE: It is isn’t it?
RP: It’s magical…
PE: I’m sure you know what I’m talking about. Any drummer that gets to play and sit behind that drum set, you know, it’s just so exciting, and it still is for me and always will be.
“You know, being with Yamaha, they’re such a great company, they make an excellent instrument, and I’ve been with them now for over 30 years, and they’re just great people. I could probably play whatever drums I wanted to play, but I really like Yamaha drums. They’re great for me. I get to play the Recording Custom Series and it has such a great heritage and it’s nice to be a part of that team.
RP: I’ve always played Ludwig drums. I just love the sound and tonality they produce…
PE: Oh yeah, I love Ludwigs. I played them for quite a while. There are a lot of great drum companies out there now and a lot of great sounding drums and it’s a good thing to be a drummer, you have a lot of choices.
PE: …and back before the Japanese invasion, you know, it was just Gretsch, or it was Slingerland, or it was Ludwig, just a few companies to choose from. I was very fortunate to be with Slingerland and they gave me some great stuff and it was very exciting, but to be part of the same company that Buddy Rich played with, it was incredible.
“I gotta tell you one quick story. I ran into Steve Hackett, the guitar player from Genesis, back in the 70s, and he asked me and Steve Walsh to perform on one of his solo albums. We said “yeah, we’d be honoured,” so we met him out in California, and I had Slingerland send over a set of drums for me to play. So we got to the studio and we looked down and went to unpack them and they’re Buddy Rich’s drums from the “Tonight Show!”
I looked at my drum tech and I said “I can’t play these, I’m not worthy,” (laughs), and he says “I’m not even worthy to unpack them” (laughs), so we both just stood there and stared at them. Steve Hackett walks into the studio and says “what’s happening?” and I say to him, “you’re probably not going to be able to relate to this, but these are Buddy Rich’s drums!” He says “Oh my God!” (laughs). We took them out eventually and I did play a song or two on them, but it really was a special moment to play the drums he played on the “Tonight Show.”
RP: That’s a moment most drummers would kill for…
PE: (laughs), Oh yeah! But we felt so humbled that we couldn’t even take them out of the cases! (laughs) We’re like “I’m not gonna touch it,” “well I’m not gonna touch it,” you know (laughs), it was pretty funny. But we finally got them out, and we figured “we gotta be professionals, quit being giggly little girls, and unpack the drums and set them up…”
RP: You know, there’s nothing wrong with being a fan, that’s where it all begins…
PE: Yeah, right. I mean, in my opinion there’s never been another that played the way he did, and I’m sure some people would argue with me, but I’ve never seen any other drummer play the way he did. The way he attacked the drums, and nobody could swing like he could and he would drive those big bands, wow, just incredible.
RP: Absolutely. He was just poetry in motion…
PE: Oh yeah…
RP: Now, just to get back to you guys. As I said earlier, you’re coming to us in London on the 17th of July at the O2 in Shepherd’s Bush, and touring the rest of Europe in July/August. But it’s been quite a while since you’ve been in London especially…
PE: Many many years…
RP: Nice to be coming back?
PE: We’re really looking forward to it. We’re really glad we were able to add that date and start there, so we’re coming in a day or two ahead of time to get acclimated to the time change and everything and our first gig will be right there, yeah.
RP: The DVD documentary that’s coming out later this year on Sony Legacy is entitled “Miracles Out of Nowhere.” The synopsis I’ve read is that the story takes us from the band’s beginnings in Topeka, to the “Point of Know Return” days to when you guys exploded, sold millions of albums and were playing stadiums and arenas all over the place.
PE: That’s right…
RP: So how was it put together, and how did it feel looking back over, what must be some truly amazing memories?
PE: (laughs) Well, it was amazing. It was the first time I’d got the six original members together for many many years in the same room, and just sit there and talk about it, film it, and start going back and finding all the videos and the photos.
“Everybody was telling their stories about how Don Kirshner discovered us out in the middle of Kansas, and it takes us all the way through to “Point of Know Return.” It covers how the band came together, how the songs were written, where “Wayward Son” came from and “Dust in the Wind,” playing with Queen, Bad Company and all those bands and what the journey was like.
“It’s an amazing story, because it just shouldn’t have happened, that Don Kirshner discovered KANSAS, you know? He had the Monkees and the Archies and, all of a sudden, he signs a band like KANSAS, so once you tell the story a lot of people are like “oh my gosh, what a great story!” So, yeah, it’s turned out very well, we’re probably 90 per cent done and I go out to Los Angeles next week for a couple of days to work with our director to finalise things, lay in the music, and it should come out in the Fall, so we’re very excited.
RP: I am too. I’m pretty certain that all KANSAS fans will be excited to hear that’s it’s almost ready. Now, the one thing I must talk about is the timeline of the story. As you mention, the story finishes at the time of “Point of Know Return” with the band busting into the major leagues, now was that intentional? The main reason I ask is there’s a lot more band history after that time that some fans probably think should be covered, or at least mentioned in some way…
PE: Yeah, it was intentional Rob. It really was intentional. We really didn’t want to get into the “down turn,” we didn’t want to get into the band breaking up, or the excess, because then it turns into just another band story. So leaving it at the pinnacle, right at the top with “Point of Know Return,” it really gave the story an uplifting tone versus the “well we got to the top and then we started doing this and doing that, then the band broke up,” and it just turns it into every rock band story you’ve ever heard (laughs). We just didn’t want to do that, and it’s really different. It makes you feel good when you watch it, it actually gives you hope.
“I had one 20-something musician watch it and he said “you know what, that’s rock band 101, every rock band in the world should watch this, because this is how it’s done!” (laughs). It’s just a very good story. We tried to leave all the curse words out of it, so anybody can watch it and not be offended.
RP: Well, that sounds great, not to mention refreshing in this day and age, because the one thing it looks like you’ve avoided, thank goodness, is the “Behind the Music” Styx-like debacle of a few years ago…
PE: Exactly! You are 100 per cent correct, because, you know, we didn’t want that. We decided, you know, let’s make something that we can show our kids. If one day, they come and ask “Dad, what did you do?” you can hand it to them and they can go watch it and it’s really turned out great. You know, it’s got a lot of ups and downs in it, the twists and turns, but it’s something that a lot of bands can relate to, but at the same time, it’s the story of people doing what they want to do, believing in something, wanting to work hard at something, and succeeding. You know, if a bunch of farm boys from Kansas can succeed, anybody can…”
RP: One final question if I can, and you must be sick of hearing it over and over, but will there ever be another KANSAS album?
PE: Well, it’s a good question. You’re talking about new material yeah?
RP: Yes, absolutely brand new songs…
PE: We talk about it all the time, we do. It’s just something we’ve tried in the past and it’s so emotionally disappointing because our fans that have supported the band, and as great as they are, you know, they buy the new stuff, and some of them like it…but our existence is based around our live performances not necessarily our record sales. So we’ll make a new record and it just kind of limps out, stands there for a minute and just falls over.
“People, and I don’t blame them, you know, when I go and see bands I like, I don’t want to hear a whole bunch of new material you know? When I see Jethro Tull, I want to see the songs I like, I don’t care about the new stuff. So I understand that. So we try to be creative in other ways, you know with the symphonic stuff we’re doing, the documentary, and a lot of other stuff that we do.
“With Kerry having his stroke a couple of years ago, it’s really cut into his ability to write and to play guitar, so our main songwriter isn’t really that able, and I’m not really blaming it on him, but I’m not sure we’d be doing any new stuff even he was able to play guitar, you know, but I won’t say never.
“What we’re looking at more than anything is a new song. You know, because nowadays, because of i-Tunes and stuff, we can go in and just record one song and put it on i-Tunes, or maybe two songs or three songs, instead of going in and spending all those months and months making an album and it comes out and nobody buys it. You just kind of end up saying “why are we doing this?” “why are we putting ourselves through all this?”
RP: It’s the unfortunate reality of things I guess, and you just have to stand up and face it when it hits you…
PE: Well, that’s it and that’s a tough reality to face. As I said, there are KANSAS fans that do support it, but we spend 70-80 shows a year in front of people, and we’ll play a new song, and you can just see their eyes glaze over, and it’s like “oh boy.” They’re like “play “Wayward Son.” play “Dust in the Wind,” play “Hold On,” play “The Wall,”” those are the songs they want to hear.
“And, of course, when we sit with our peers, you know, bands like ours, we all discuss the same thing, you know? There’s a band we were talking to a couple of months back, that shall remain nameless, who were very big in the 80s, and they were saying “yeah this is our last album, we’re not going to do this, it’s a waste of time. We’re gonna do this one, and we’re done. We’re not going to do this again, because nobody cares” and that’s a tough reality to face.
RP: Thanks for your time Phil, I really appreciate it.
PE: You’re welcome.
KANSAS has a huge legacy of music to draw on for live shows for us to enjoy and appreciate. Also, like it or not, the music industry has changed forever and most bands of that late 70s/early 80s period are almost no longer required, or indeed, even feel the necessity to make new music. It’s a strange time.
Most importantly though, certainly in the current “touring only” atmosphere, KANSAS know how to market themselves; they know their strengths, their weaknesses and, perhaps more pertinently they know, and respect, us: the audience. So, let’s just appreciate what the band still do and the fact they’re still around to entertain us, and celebrate with us, what is a wonderful musical legacy from an amazing 40 years.
KANSAS play at the O2 Shepherd’s Bush Empire on Thursday July 17th. Tickets are £30 each, with VIP experiences (including a meet and greet opportunity) available for £126 in a limited quantity. They are on sale now from all the usual ticket websites.
With special thanks to Phil Ehart and J.R. Rees for making it happen.
This article was written before KANSAS singer Steve Walsh announced he was leaving the group.
PHIL’S DRUM KIT INFO:
Yamaha Recording Custom Drums in Gold Temple.
2 X 22×18 Kick Drums.
3 X Toms 8×8, 10×9, 12×10.
3 X Floor Toms 14×14, 16×16, 18×16.
2 X Snare Drums 5 1/2×14 and a 12×5 Musashi Snare.
Zildjian Cymbals (Brilliant Finish):
2 18in A CST crashes,
1 20in A CST Projection Crash,
14in A CST Master sound HI Hats,
1 20in A CST High China,
1 19in Z3 China,
1 20in Zildjian Earth Ride,
1 9in Zilbell.