Jeff Porcaro: ‘Rosanna’ Exposed

Jeff_Porcaro_Toto_Fahrenheit_World_Tour_1986Maybe it should have come as no surprise when Jeff Porcaro laid down one of the greatest recorded drum performances of all time on the Toto song ‘Rosanna’. After all, he had only been in the music business for less than a decade and was already being talked about as one of the finest drummers in the world. He had also always been a disciple of Bernard Purdie and John Bonham, those kings of the half-time shuffle, as well as legendary ghost-note masters Jim Gordon and Jim Keltner.

But it’s the way he brought together all these influences to come up with something totally his own. Recorded at Sunset Sound in Los Angeles by engineer Al Schmitt, it may be the most analysed groove of all time, though Porcaro was always extremely humble about its genesis and execution.

Listening to it in its entirety, raw and uncut without any other accompanying instruments, the performance takes on a whole new meaning for me. Porcaro’s mastery of time and groove are impeccable. It’s the attention to detail I love, beyond ‘just’ the placing of the ghost notes and kick-drum doubles.

Keep in mind that he had to navigate the band through a tricky, mid-paced track with lots of ‘holes’ – a one-bar rest here, half-a-bar rest there – as well as apeing Jerry Hey’s horn arrangements, first heard at 1:08 (apparently written as a result of hearing one of Jeff’s fills in an early version of the song – check out this interview for more info). Whenever there are gaps, Porcaro puts in an extra hi-hat or kick-drum beat to dictate the time to the band (and himself), something very hard to notice on the released version of the song.

According to Schmitt (who deserves much credit for a beautifully-recorded drum kit), ‘Rosanna’ was the first song recorded for Toto IV. Jeff’s part was recorded at the same time as the rhythm section – bass, guitar, two keyboards – and it was the second and final take.

Written by David Paich and released as a single on 1st April 1982, it reached number 14 on the Billboard Hot 100 and sold over a million copies. Finally, here’s the final version of ‘Rosanna’ to hear how Porcaro’s work perfectly compliments the rest of the band.

RIP Jeff.

Stanley Clarke: If This Bass Could Only Talk

stanley_clarke-1988-if_this_bass_could_only_talk

Portrait/CBS Records, released summer 1988

8/10

Bought: Our Price Richmond, 1988

This album was a substantial breath of fresh air when it came out in 1988. I remember walking into Our Price and hearing Wayne Shorter’s majestic soprano sax over some swooning chord changes and thinking: ‘What the hell is this?!’ It was a relief and total surprise when it turned out to be Stanley’s cover of Mingus’s ‘Goodbye Pork Pie Hat’ (and what a brave choice of track to play in the shop…).

It wasn’t just the Baby Boom rockers who struggled a bit during the 1980s. Stanley started the decade very well with Rocks Pebbles & Sand but then there were a few middling collaborations with George Duke and a very patchy run of albums: Let Me Know You, Time Exposure and Hideaway. 1985’s Find Out had some brilliant moments though.

But ITBCOT put Stanley back on the jazz map. Its full-on playing – with admittedly a few late-’80s production values in tow – brought to mind classic ’70s albums Journey To Love and School Days. Drum machines were out: drummers were back in (Ndugu Chancler, John Robinson, Gerry Brown and Stewart Copeland, all of whom play beautifully). The album also emphasised how much of a singular voice Clarke had now developed on piccolo bass, as distinctive on his instrument as Parker, Miles, Monk or Rollins were on theirs.

‘Working Man’ is an update of ‘Lopsu Lu’ from Stanley’s classic first album and features some ridiculously brilliant soloing leaning very heavily towards John Coltrane’s ‘sheets of sound’ approach. Gerry Brown stays toe-to-toe with Stanley, providing some spectacularly-unhinged drums, though maybe with a bit too much ’80s ‘gated’ snare for some ears.

My cassette copy of ITBCOT didn’t have any personnel listed on it, so when I first heard ‘Stories To Tell’ I didn’t realise I was getting my first exposure to the extraordinary guitar playing of Allan Holdsworth. I’m very thankful that Stanley unleashed Holdsworth onto my sensibilities. He delivers some remarkably-fluid playing with a shrill, almost reedy tone. The first and last four bars of his solo are really special. Copeland plays superbly too, with more restraint than usual.

Freddie Hubbard shines on a fine cover of Janet Jackson/Jam and Lewis’s ‘Funny How Time Flies (When You’re Having Fun)’ while Stanley brings the funk with a great take-off of Zapp’s Roger Troutman on ‘I Want To Play For You’. Elsewhere there are two fun but rather dispensable duets with tapdancer Gregory Hines but they don’t outstay their welcome. Finally, ‘Tradition’ may feature Stanley’s finest recorded playing bar none and highlights a strong John McLaughlin influence (via Coltrane, of course).

In a much-maligned genre of music, ’80s fusion, ITBCOT is a minor classic that deserves critical reappraisal. It also led to a really good period for Stanley – he joined Shorter in Lenny White’s short-lived but intriguing Manhattan Project, of which more soon, and also toured as part of a supergroup with Herbie Hancock, Shorter and Omar Hakim.

Stanley was back, back, back.

10 Great Album Covers Of The 1980s

One of the many positives of the recent vinyl resurgence is the potential for some decent album covers again. For a while, it seemed as if the art was being lost.

Back in the ’80s, as the cliché goes, you would generally buy an album, stick it on and then peruse the cover at some length while you listened. The best covers seemed to take on a life of their own. Budgets were healthy, the musicians cared and you could see the time and effort that went into the work. I particularly liked those covers with a ‘psychological’ aspect, some kind of story or scene, an image that maybe enhanced the lyrical themes of the album. Or, failing that, one that would look pretty good on a wall or even in a gallery.

Here are ten album covers of the ’80s that still beguile, from the decidedly Spielbergian to the spooky/superb.

10. Weather Report: Procession (1983)

Cover artwork by John Lykes

weather report

9. It Bites: The Big Lad In The Windmill (1986)

Cover artwork by David O’Connor

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8. Wayne Shorter: Phantom Navigator (1988)

Cover artwork by Jean-Francois Podevin

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7. Level 42: Level 42 (1981)

Cover artwork by Joy Barling

level

6. Japan: Oil On Canvas (1983)

Cover artwork by Frank Auerbach

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5. George Duke: Guardian Of The Light (1983)

Cover artwork: unidentified (anyone know?)

george

4. Jeff Beck’s Guitar Shop (1989)

Cover artwork by Mark Ryden

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3. Peter Gabriel: 3 (1980)

Cover artwork/photography by Hipgnosis (Storm Thorgerson/Audrey Powell)

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2. Talk Talk: The Colour Of Spring (1986)

Cover artwork by James Marsh

talk talk

1. Gil Scott-Heron: Moving Target (1982)

Photography by John Ford, artwork by Donn Davenport

gil scott heron

 

Story Of A Song: Rolling Stones’ Undercover Of The Night

Rolling+Stones+Undercover+Of+The+Night+-+Stoc+141290bSo here it is: The Stones’ last great single. ‘Undercover’ is essentially a one-chord groove with powerful lyrics, stinging guitar licks, a memorable hook and notable video. 

Though Mick and Keef share a writing credit, the song was apparently largely a Jagger composition, with Richards later saying: ‘Mick had this one all mapped out. I just played on it. There was a lot more separation in the way we were recording at that time. Mick and I were starting to come to loggerheads…’ Guitarist Ronnie Wood concurred but also had reservations: ‘There was a great acoustic version which is the kind of song it should be. The final, polished version may have been Mick’s vision of the song…’

Reading between the lines, Jagger was clearly keen to bring outside players into an increasingly dysfunctional band situation. Recording took place during the summer of 1983 at Compass Point Studios in Nassau, giving Jagger the opportunity of using some great local players, many of whom light up ‘Undercover Of The Night’.

A raft of percussionists including Sly Dunbar, Martin Ditcham, Moustapha Cisse and Brahms Coundoul accompany drummer Charlie Watts on various instruments including bongos, Simmons drum and even a timpani (there are rumours that a complete different version of the song exists featuring a rhythm section of Sly and Robbie). Producer Chris Kimsey also enters into the spirit of things with an ingenious ‘dub’-style arrangement (or is that the work of Brian McGee, credited as ‘editor’ on the vinyl label?).

Jagger claimed that his lyric was heavily influenced by William Burroughs’ 1981 novel ‘Cities Of The Red Night’. The song is a disturbing vision of Latin America’s dirty war. This was, after all, an era in which thousands of ‘political prisoners’ were tortured and killed in the ESMA detention camp in Buenos Aires, less than a mile from the stadium where the 1978 football World Cup Final was taking place (according to many reports, the cheers of the fans obscured the screams of suffering prisoners).

Excellent documentary ‘The Shock Doctrine’ claims that many torture techniques used by the Chilean and Argentinian junta (including rape and genital mutilation) may have been ‘learned’ in the US-run School Of The Americas. Jagger manages to crystallise many of these disturbing aspects in a powerful lyric:

Hear the screams of Centre 42
Loud enough to bust your brains out
The opposition’s tongue is cut in two
Keep off the street cos you’re in danger
One hundred thousand disparos
Lost in the jails in South America

Cuddle up baby, cuddle up tight
Cuddle up baby, keep it all out of sight
Undercover of the night

The sex police are out there on the streets
Make sure the pass laws are not broken
The race militia has got itchy fingers
All the way from New York back to Africa

All the young men, they’ve been rounded up
And sent to camps back in the jungle
And people whisper, people double-talk
And once-proud fathers act so humble
All the young girls they have got the blues
They’re heading on back to Centre 42

Down in the bars, the girls are painted blue
Done up in lace, done up in rubber
The johns are jerky little GI Joes
On R&R from Cuba and Russia
The smell of sex, the smell of suicide
All these sweet things I can’t keep inside

Undercover, all out of sight
Undercover of the night

Julien Temple directed the controversial video, shot in Mexico City. As he relayed in ‘I Want My MTV’, his dealings with Jagger and Richards gave him a pretty stark insight into the state of their relationship:

‘I wrote an extreme treatment about being in the middle of an urban revolution, and dramatised the notion of Keith and Mick really not liking each other by having Keith kill Mick in the video. I never thought they would do it. Of course they loved it. I went to Paris to meet with the band. Keith was looking particularly unhappy. He was glowering with menace and eventually said, “Come downstairs with me.” My producer and I went down to the men’s room. Keith had a walking stick and suddenly he pulled it apart. The next thing I know he’s holding a swordstick to my throat. He said, “I want to be in the video more than I am.” So we wrote up his part a bit more. That was Keith’s idea of collaboration!’

The video was initially considered too violent for MTV (though they did eventually air an edited version after 9pm) and it was heavily censored when shown on British television, leading to a fractious interview on ‘The Tube‘ during which presenter Muriel Gray questioned Jagger and Temple about the extreme content and their motives for making the video.

‘Undercover Of The Night’ was released as the first single from the accompanying Undercover album on 1st November 1983. It got to number 9 in the US singles chart and 11 in the UK – not bad. No Stones single has gone higher since.