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prohibited its use in some venues as it would not fit through a standard doorway, he approached the original manufacturers to reduce the size of the gong which they were unable to do due to already being hammered and shaped. He therefore engaged the services of someone with an angle grinder and had them cut the gong down to a more practical 74" so that it could be more easily transported. One of the gongs went to the US (location unknown), one went to La Scala theatre in Milan and his own cut down gong remains in the UK; his twin-bass drum kits would sit on a one-off revolving stage built for
Delaney by British Turntables, whose usual clients were railways wanting to turn locomotives. The drum kit and timpani were internally lit by 60w light bulbs, however Delaney (famed for the 'Permanent Tour'), had a reluctance to invest in drum cases for his high mileage, heavily customized drums, relying instead on woollen blankets and especially careful (and caring) roadies.
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Away from the pyrotechnics and showmanship, Delaney would occasionally be found behind a minimal kit, sitting in with a jazz quartet, and letting others take the spotlight; 1990s onward, he would also make guest appearances with bands across the UK. Another facet of his work, far removed from the
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The largest gong in the collection was 7' in diameter, one of only three of that size commissioned by
Delaney made by a collaboration between two manufacturers, Percussion Plus and UFIP (strenuous to play, and rarely used). Sometime after its manufacture he found that the huge size of his gong
205:, his unique approach went far beyond the scope of orchestral accompaniment, turning the 'timps' into a lead / solo instrument. He also played xylophone, glockenspiel, military snare drum, tubular bells, Chinese and orchestral gongs, and in his 'showmanship' routines, such as "
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A more complete list of
Delaney's records (78rpm to CD), including earlier Mercury recordings together with a tentative filmography and videography, are recorded in the book
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and filled his time with regular session work in recording studios and on film, TV and radio. In 1954 he formed his own band and later signed with the new
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Delaney was held in high regard by his musical peers, including top
American drummer
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glitterball and screaming trumpets, was his playing on the soundtrack of the
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entered the musical scene. He remained active touring in the UK, notably in
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drummer, Delaney was a multi-percussionist. Classically trained as a
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N.15079 "Rock 'n' Roll King Cole"/"Time for Chimes" (02/57)
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N.15054 "Oranges and Lemons"/"Delaney's
Delight" (07/56)
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R4876 "Washboard Blues Twist"/"Sing, Sing, Sing" (1962)
124:(22 May 1924 – 14 July 2011) was an English drummer and
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R4646 "Bass Drum Boogie"/"Let's Get
Organised" (1960)
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7N.15782 "Big Noise from
Winnetka"/"Big Beat" (02/65)
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N.15069 "Rockin' the Tymps"/"Ain't She Sweet" (09/56)
324:– MAL 768 (distributed by Pye Records Ltd 1968 (UK))
190:with whom he recorded in 1967 on an album entitled
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249:N.15046 "Cockles and Mussels"/"Say Si Si" (04/56)
171:label but closer in spirit to that of Geraldo and
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148:on piano. During 1947–54 he appeared with the
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226:He was married three times, and died of a
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109:Learn how and when to remove this message
397:The Virgin Encyclopedia of Popular Music
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430:The Magnificent Eric Delaney
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360:"Biography: Eric Delaney"
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358:Chadbourne, Eugene.
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136:Delaney was born in
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511:English bandleaders
302:Manhattan Spiritual
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486:2011 deaths
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342:Obituary in
316:Marble Arch
234:Discography
220:Longest Day
177:the Beatles
154:Pye Records
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329:References
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