Look, for a guy like me who gets a bit obsessed with stuff like that moments like the one on the 21.00 mark of the following seminar are MIND BLOWING.
I’ve spent months trying to play the Ain’t Nobody groove over the studio version and it was always too fast for me to make the hihat part sound right during the chorus. Now, over this process I’ve learned a million stuff concerning 80s pop drumming and dance music in general. But I’ve never got down the groove 100%.
Now, I know the truth. JR is not any less of a good drummer to me now. To be honest overdubbing a pattern like that is a smart move. I mean, that’s actually how drum machines work in a nutshell. And this beat sounds like drum-machine candy with real drum sounds.
I ‘ll probably keep trying to get the groove down though.
Some people like to put stuff in order and label them. I like this kind of people.
That’s why I get excited with interesting infographics about artists. Like this site here I ‘ve stumbled upon.
It’s called Charting The Beatles. Not an easy task.
I was never into Christmas music specials. Until I found out about this. Hal Blaine, Carol Kaye, Tommy Tedesco and the rest of The Wrecking Crew under Phil Spector’s signature production play holiday tunes.
PS. Is it just me or does or does it have a hidden depression vibe in it?
It was clearly about time I would take serious notes on John ‘JR’ Robinson‘s discography. Obviously, the starting point of the obsession was this following video (I bet most of you already know it).
After you experience that a lot of things start crossing your mind. Things like”Dude, how many 80s tracks I ‘ve considered cheesy music with good drum machines?” or “how ignorant am I to NOT know this song has a live drum take of this caliber in it”. Anyway, I get pretty sentimental with trivia like that.
The research led me to start listening to all the Rufus feat. Chaka Khan records but particularly the ones they recorded with JR behind the drums (79-83). Masterjam is probably my favourite one until now. The album kicks off with the following track:
Yeah I know, Quincy Jones is the Midas of pop but before we give him the credit for the whole thing just check out this drum take. I was out taking a stroll while listening to it, feeling it and grooving with it. And then… the 2.54 mark hits me like punch.
Some drummers just need less than a quarter note to make themselves legendary in a track. I honestly don’t know how do you keep your composure while knowing you CAN do that but it inspired me deeply to follow that method in every way I can.
Along with the infamous Mike Clark (standalone post will be done later), Andy Newmark is for me one of the most iconic musicians of funk discography. He’s the drummer on ‘Fresh’ by Sly & The Family Stone, a record that has made funk history.
I was never aware of his session career until I made a careful listen to Roxy Music‘s ‘Avalon’ (1982). There are numerous songs with special grooves in there but the one that really stands out for me is ‘The Space Between’.
The drumming here brings out a darker ‘JR Robinson’ vibe with a tendency to small artistic intricacies rather than serving a strict pattern. All in a ‘one take’ kind of attitude.
Once you start the video you ‘ll understand the title of this post right on the spot.
Bare in mind that 1971 is still pretty early for the singer-songwriter era. Russ Kunkel is actually creating a style of playing with all the major gigs he had back then.
Boy, time flies. I was only 10 when the first singles from “Parachutes” came to light. I remember both “Trouble” and “Shiver” being on heavy rotation in the golden MTV years.
Being a teenager during the 00s its easy to see why I can’t say a single bad thing about this band. They re stuck in “hard drive”, can’t erase them, can’t change the station when one of their early stuff is going on.
For what is worth, Parachutes is a pretty DARN GOOD record. When it came out, surely everyone accused the band for ripping off Radiohead. Now, I ‘ve previously stated what’s my opinion on “stealing” and I pretty much think the same in this case. These guys embraced influences, airplay and always had a very good connection with music that’s not considered “shitty radio songs”. At least for the most part of their career…