Great Drumming Albums Of The 1980s (Part One)

Dennis Chambers

It was a good decade to pick up the sticks. Inspiration was easy to come by; the early ‘80s delivered brilliant drum-centric hits like The Jam’s ‘A Town Called Malice’, Bow Wow Wow’s ‘I Want Candy’, Adam and the Ants’ ‘Ant Rap’ and Phil Collins’ ‘In The Air Tonight’. Drums were sounding like DRUMS again – the days of dead-sounding kits seemed (almost) over.

Exciting fusions were everywhere: avant-gardists combined free-funk and free-jazz; art-popsters brought ideas from minimalism, Africa and the Far East; jazz/rock masters of the 1970s moved into production and arrangement; dub and World music thrived; post-punks fused rock and reggae; the ‘Young Lions’ embraced and sometimes extended the drum worlds of Art Blakey, Philly Joe Jones and Max Roach; funk and R’n’B got precise and spicy; metal players took double-kick playing to extraordinary extremes. And of course there was also the sudden development of technology: some drummers shrunk from the challenge, others rose to it.

So, to celebrate movingtheriver.com’s third anniversary, here’s a personal selection of the decade’s finest drum performances, in no particular order.

44. Prefab Sprout: Protest Songs (1989)
Drummer: Neil Conti

Conti’s classy playing provided a subtle, always stylish counterpoint to Paddy McAloon’s pithy, complex songs about poverty, childhood and the social mores of the early ’80s.

43. Robert Plant: Shaken ‘N’ Stirred (1985)
Drummer: Richie Hayward

Little Feat were a tough act to follow from a drumming point of view but Hayward settled into the 1980s with this superb performance, showcasing a bright, expressive style on Plant’s quirky, Peter Gabriel-influenced art-rock.

42. Frank Gambale: Live! (1989)
Drummer: Joey Heredia

LA-based Heredia combined slinky funk/fusion, Police-style rock/reggae and Latin grooves to spectacular effect on this classic live album. His sparring with a terrifyingly unhinged Gambale on ‘Credit Reference Blues’ and ‘Touch Of Brazil’ is essential listening.

41. Al Jarreau: L Is For Lover (1986)
Drummer: Steve Ferrone

The ex-Average White Band ex-pat Brit takes us on a journey through the art of groove on this nearly-forgotten Nile Rodgers-produced minor classic. He gives James Gadson a run for his money with his killer 16th-note hi-hats, crisp snare and nifty footwork.

40. Eddie Gomez: Mezgo (1986)
Drummer: Steve Gadd

On this Japan-only album (which is still waiting for a CD release), Gadd was at his most expressive, navigating the bebop flavours of ‘Puccini’s Walk’ and quirky fusion stylings of ‘Me Two’ with great aplomb. And no one else could have played a samba the way Gadd does on ‘Caribbean Morning’.

39. Miles Davis: We Want Miles! (1982)
Drummer: Al Foster

In combination with bassist Marcus Miller, the underrated Foster laid down some highly original rhythm section work on Miles’s only live album of the 1980s. Listening to his ‘bouncing ball’ dynamics on ‘Kix’, you’d swear that the very fabric of time was being messed with.

38. Rockin’ Jimmy & The Brothers Of The Night (1982)
Drummer: Chuck DeWalt

Here’s one out of left-field from a Tulsa bar band who I first heard yonks ago on Alexis Korner’s fabled early-’80s Radio One blues show. DeWalt had a Ringo-esque knack for coming up with simple but memorable drum parts, with a great feel and nice use of space.

37. Living Colour: Vivid (1988)
Drummer: Will Calhoun

Calhoun’s whip-crack snare and natty ride cymbal/hi-hat combinations knocked a lot of drummers’ socks off in 1988. He was just as comfortable with the half-time, Bonhamesque rock of ‘Cult Of Personality’ as he was with the funk and go-go grooves of ‘Funny Vibe’ and ‘Broken Hearts’.

36. INXS: Kick (1987)
Drummer: Jon Farriss

If it’s funky pop you’re after, Farriss is your man. His dynamics, ghost notes and weird accents on ‘New Sensation’ and ‘Need You Tonight’ are worth the price of admission, while ‘Never Tear Us Apart’ sounds a bit like Ringo if he had a few more chops.

35. Hiram Bullock: Give It What U Got (1987)
Drummer: Charley Drayton

NYC-native Drayton delivered a cutting snare, subtle cymbal work and exciting two-hi-hat grooves on this impeccable slice of late-’80s funk/fusion. No one else – not even his buddy Steve Jordan – could have done a better job.

34. Sting: …Nothing Like The Sun (1987)
Drummer: Manu Katche

Overproduced? It’s a moot point when the playing’s as delicious as this. His independence between kick drum and hi-hat on ‘Rock Steady’ is fairly mind-boggling, while no one apart from Copeland and Colaiuta has perfected the high-speed reggae groove with such aplomb.

33. Narada Michael Walden: Divine Emotions (1988)

The ’70s fusion hero turned ’80s producer extraordinaire still had time to deliver this forgotten classic featuring tasty, tight, propulsive grooves and a return to blazing jazz/rock on the hysterical closer ‘We Still Have A Dream’.

32. John Scofield: Electric Outlet (1984)
Drummer: Steve Jordan

The NYC tyro had already turned heads with the Blues Brothers and ‘Saturday Night Live’ bands but this album perfectly captured his more expansive side. Two hi-hats, crisp snare, gorgeous K Zildjians and some spry kick drum work, particularly on ‘Pick Hits’, ‘Big Break’ and the title track.

31. Nik Kershaw: The Works (1989)
Drummer: Vinnie Colaiuta

We knew that Vinnie could unleash some jaw-dropping chops, but this album perfectly demonstrates his groove side. Check out how he navigates the 6/4 time of ‘Cowboys And Indians’ and hot-wires mid-tempo rocker ‘Wounded Knee’. And then there’s THAT fill in ‘Don’t Ask Me’…

30. Billy Cobham: Powerplay (1986)

An album that finally captured what it’s like to stand a few feet away from the master, featuring a lovely acoustic drum sound, shorn of any studio effects. There was incredible clarity to his playing even if the material wasn’t quite as strong as on the previous year’s album Warning.

29. Japan: Oil On Canvas (1983)
Drummer: Steve Jansen

Jansen was always looking at new ways to play a 4/4 beat and came up with five or six classics on this live retrospective. ‘Visions Of China’, ‘Canton’ and ‘Sons Of Pioneers’ still sound like unique drum statements in the history of recorded music.

28. Stanley Clarke: Rocks, Pebbles And Sand (1980)
Drummer: Simon Phillips

Beautifully recorded by Dennis Mackay, his drums have never sounded better or bigger. From the driving rock’n’roll of ‘Danger Street’ to highly technical prog-fusion of ‘She Thought I Was Stanley Clarke’, the London maestro delivered a superb performance throughout.

27. Bireli Lagrene: Foreign Affairs (1988)
Drummer: Dennis Chambers

Many to choose from in Dennis’s repertoire but I’ve plumped for this hard-to-find fusion classic. With a fatter snare than usual, he anchors the band beautifully on Weather Report-style jams ‘Josef’ and ‘Senegal’ and unleashes a trademark 6/8 groove and killer solo on the title track.

26. Van Halen: 1984
Drummer: Alex Van Halen

If he had only ever recorded the freaky double-bass workout ‘Hot For Teacher’, his place in the drum pantheon would be assured. But this breakthrough album also featured a host of other treats, not least ‘Jump’, plus the most identifiable snare drum in hard rock.

25. John Abercrombie: Getting There (1987)
Drummer: Peter Erskine

Difficult to choose one from possibly the jazz drummer of the decade but I’ve gone for this mid-career classic. Erskine busts out his Elvin Jones chops on ‘Furs On Ice’ and rocks hard on the epic title track which almost approaches avant-rock.

24. John Martyn: Glorious Fool (1981)
Drummer: Phil Collins

A fascinating companion piece to Phil’s Face Value and Genesis’s Duke during arguably his best period of drumming. He brings out lots of lovely ghost-noted grooves in the Little Feat style, some brutal rock on ‘Amsterdam’ and even spicy fusion on ‘Didn’t Do That’.

23. China Crisis: Diary Of A Hollow Horse (1989)
Drummer: Kevin Wilkinson

Wilkinson was (he sadly took his own life in 1999) kind of an English Jeff Porcaro, a tasty groovemeister who always played exactly what was right for the song – with lots of elan. Check out the subtleties of ‘St Saviour’s Square’, ‘In Northern Skies’ and ‘Red Letter Day’.

22. Toto IV (1982)
Drummer: Jeff Porcaro

It would almost be sacrilege not to include this. Some of the greatest rock drumming in history, with feel, finesse, style, a rich, full sound and lovely time-feel (though he famously claimed ‘my time sucks’!).

21. Pat Metheny: 80/81 (1981)
Drummer: Jack DeJohnette

DeJohnette was always a class act on ECM’s ’80s projects and he sounds sparkling on this double album. But I include it mainly for his performance on ‘Every Day I Thank You’, goosing saxophonist Michael Brecker into one of his finest sax solos on record.

20. Stanley Clarke Band: Find Out! (1985)
Drummer: Rayford Griffin

There are definitely shades of Cobham in his exuberant style (and he set himself up left-handed on a right-handed kit like Billy) but also grooves aplenty on this underrated album. His lopsided funk on ‘Born In The USA’ is balanced out by chops-fests ‘Campo Americano’ and ‘My Life’. This guy has technique to burn but also does what’s right for the song.

The countdown continues here.

Jaco Pastorius: Three Views Of ‘Three Views Of A Secret’

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First of all, I’ve got to declare an interest: Jaco’s in my all-time top five favourite musicians. Ever since I started really noticing music in the late ’70s, he was always on my radar – my dad would play Weather Report’s Heavy Weather and Mr Gone around the house, and by the time I knew Jaco’s name I was totally (if subconsciously) immersed in his stuff.

I bought his legendary 1976 debut album from a secondhand vinyl shop in Blandford Forum, Dorset (don’t look for it now, it’s not there any more), sometime in the mid-’80s, and I’ve been a superfan since.

The general critical consensus seems to be that, at his best, when he was healthy and strong between the early ’70s and early ’80s, Jaco’s composing skills were improving at the same rate as his bass-playing skills. Luckily, in his short, somewhat tragic life, he left us five or six classic compositions (a list that would have to include ‘Havona‘, ‘Teen Town‘, ‘City Of Angels‘, ‘Punk Jazz‘, ‘Dania‘ and ‘Las OIas‘), but perhaps the most enduring of all is ‘Three Views Of A Secret’, a tune that has beguiled me since I first heard it.

He copped the title from a totally unrelated composition by Charlie Brent, the musical director of Wayne Cochran and the CC Riders, a hard-touring funk/R’n’B band Jaco played with in the early ’70s. ‘Three Views’ is essentially a medium jazz waltz built on three sections (A, B and C). The 16-bar A section has a bluesy feel and strong, simple melody. The B section modulates to D-flat, before returning eventually to E. The third and final C section features repetitions of a four-bar phrase centred again around E, but with added colours to develop the tonality. It is, by any standards, an expertly-crafted piece.

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The first recording of the tune was arguably the standout track from Weather Report’s 1980 album Night Passage, recorded live at The Complex, Los Angeles, in July 1980. Joe Zawinul (a very tough critic, apparently calling Jaco’s ‘Liberty City’ “typical high-school big-band bullshit” right to his face a year later) rated it as his finest composition.

‘Three Views’ represented a distinct change of pace for Jaco in terms of his Weather Report career, coming hot on the heels of the frantic ‘Teen Town’, ‘Punk Jazz’ and ‘Havona’. The closest stylistic reference in jazz to ‘Three Views’ would probably be Charles Mingus, though Jaco himself claimed to be more a Gil Evans man.

Jaco starts the tune with his trademark false harmonics (most famously heard in the head of ‘Birdland‘), aided by Zawinul’s shimmering accompaniment. Then, in the B section, Wayne Shorter deliciously deconstructs the melody in the way only he can. He refers to it, flirts with it, skitters around it, but never fully commits to it, leaving Zawinul’s strong harmony to point the way forward.

The second version appeared on Jaco’s second solo album Word Of Mouth, released in 1981. A controversial release, it was supposed to be Jaco’s big Warner Bros ‘fusion’ debut but it ended up going way over budget and making him almost persona non grata at the company.

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The basic track was recorded at the Power Station, New York, with Jaco on piano, Toots Thielemans on harmonica and Jack DeJohnette on drums. Strings, brass, woodwinds, voices and bass were added later in LA, at enormous expense; Jaco hired a 31-piece string section from the LA Philharmonic at a cost of $9,000, but later erased their contribution, not believing they had delivered the performance required.

Seven players from the section were selected by Jaco to come back a few weeks later and try again – they were overdubbed nine times each to create the illusion of a 63-piece string section!

So was it all worth it? Judge for yourself below. I know which version I prefer…

There’s also a lovely 1986 live (bootleg) version featuring Jaco’s short-lived but storming trio with Hiram Bullock on guitar and Kenwood Dennard on drums, but it’s really hard to find.

‘Three Views’ was played by a specially-selected band at Jaco’s funeral mass on 25th September 1987 at St Clement’s Church in Fort Lauderdale, Florida, where he had once served as an altar boy. It rang out as the pallbearers, including Zawinul and Shorter, led the procession of mourners out of the church.

Cover versions have been multiple and generally pretty faithful to the originals: Bob Mintzer, Gil Goldstein and Richard Bona, though there is also this ill-advised smooth jazz/funk abomination by Brian Bromberg. But no matter – it can’t erode the majesty of this classic Jaco composition.

For much more about Jaco, check out the great recent documentary, produced by Metallica’s Rob Trujillo, and Bill Milkowski’s controversial, though very detailed, biography. Here’s one more very moving version of ‘Three Views’ to close.