THUMP! The primal beat of the drum rings out across the savanna. THUMP! It goes again. Compelling the body to move to its powerful rhythm. THUMP! Like the human heart, the drums counts out the pace at which we live our lives. B-D-D-D-D-D-D-D-D-D-D-D-D-D-D-D-D-D-D-D WOOOOOOOAARRRRRGGGGGHHHHHHH. A terrible death metal band rehearse in a studio near your house and pollute your precious ears with blast beats.
My good friend, faithful roadie, drum and bass caliph and aspiring Charlie Brown impersonator Cambian has just finished another of his celebrated mixes which contains “more drums”. Once I’d managed to work out what he meant, it got me thinking about how much I love just a drumbeat. I’ve already mentioned my thoughts about putting together a pure drums/vox hip-hop mix because when they’re done well they can carry a song.
I only discovered this track within the last year – Ripple’s A Funky Song. The break at 02:34 has been sampled lots of times in hip hop and with good reason. I ended up playing this out at the weekend and the funkiest part, the bit where you can’t help but move is the break.
Maybe you could get two copies of the record and play on of them so it’s just the break part then quickly play the other record on a second turntable then while that’s playing spin the first record back to the start and play that again after the second break and OMIGODIJUSTHADTHEBESTIDEAEVERTHISISGONNABEHUGE
Whenever I hear a track with a nice break or section in, I always make a note. This isn’t because I’m some superproducer who is making the next Endtroducing. I just imagine myself like that to justify buying ridiculously over-featured production gear if I had the money.
The latest example of this comes from the unlikeliest of places: Jerry Reed’s 1973 cover of Folsom Prison Blues
Just at 4 seconds as the cowbell kicks in for one (or maybe two?) bars…amiright?