"I can barely make it through a day without hearing Late in the Evening...
"(Also featuring the great Richard Tee on keys)"
Subtle, simple, to the point and satisfyingly effective. The guy manages to maintain the groove and yet not detract from the loveliness of the arrangement"
Klaus Dinger's style, for me, defines what people perceive as the quintessence of krautrock and has proven immensely influential in the past 15-20 years. Fluid, economical and flawless. Perfect."
-- Remission exploded into the scene like a behemoth who'd had a bad curry. Brann Dailor is quite a unique metal drummer. He brings a loose '70s approach to modern metal, going for organic, fluid lines and he doesn't use triggers, thereby allowing all the dynamics to develop and the nuances of his playing to shine through. Sometimes overplaying is what's called for, just ask Mitch Mitchell...
"Stevie Wonder - Superstition. Just listen closely to the hi-hats freely weaving their way around the layers of clavinova. Stevie perfectly strikes the balance between keeping a recognisable groove and constantly changing the patterns to make them more interesting.
"Sly & The Family Stone -- "Rock Dirge" - Sly & Family Stone would have to be in there somewhere. I'll choose this one because the drums are at the forefront - was sampled by Outkast on their great track "Spottieottiedopalicous""
"Lastly... just for something different: Drumbo needs some sort of mention, even if you picked another song."
[yes - love the drumming on this record, and particularly on this track. So measured and, well, metronomic, but with a real physical heft and swing]
after having already dispatched Velvets / Bo Diddley and dissed an un-fave
(at the time i took an anti-go go stance, partly out of antipathy to its Face/City Limits/NME-soulboy constituency in the UK, but also because it felt like rap was the futurist option in 1986 and go go a Seventies throwback. it does seem like its sweaty collectivity only really made sense in DC, in live situ. So in that sense the opposite of rap, which in those days was almost invariably shit in the concert situation, but records-wise worked as club fodder and through being personality and persona-driven, was ripe for mass media, MTV, etc)