Narada Michael Walden: Looking At You, Looking At Me/The Nature Of Things/Divine Emotion

Singing drummers: the ’80s were chock-a-block with ’em. But Narada seems a somewhat forgotten example, at least compared to the far more popular Phil C, Don H, Stevie W and Sheila E.

Yet he started the decade as the one you’d probably have put your money on, ending the ’70s as he did with an impressive run of R’n’B hits.

Narada had of course started his music career as a jazz/rock drumming tornado in the second incarnation of John McLaughlin’s mighty Mahavishnu Orchestra, going on to record famous fusion sides with Jeff Beck, Weather Report, Tommy Bolin, Alphonso Johnson and Jaco Pastorius.

During the ’80s, he was one of the most in-demand producers on the planet, helming Whitney Houston’s ‘I Wanna Dance With Somebody’, Aretha Franklin/George Michael’s ‘I Knew You Were Waiting For Me’ and Starship’s ‘Nothing’s Gonna Stop Us Now’. But his solo career was somewhat in limbo during this period, so it’s fascinating to check out a new, nicely-appointed three-album survey of his 1983-1988 output.

Looking At You, Looking At Me (1983) is the best of the three albums, but a frustratingly inconsistent record. Listening to the superb title track, you’d think he might have found hit his true metier, a languid, luxurious, West Coast pop/jazz, similar to the kind of music Al Jarreau or Manhattan Transfer were making at the time.

But an OK duet with Angela Bofill, passable cover of ‘Reach Out (I’ll Be There)’ and sick drum-machine/horn workout ‘Shake It Off’ aside, the rest of the album is fairly unmemorable R’n’B with occasional virtuosity from guitarist Corrado Rustici and bassist Randy Jackson.

The followup, 1985’s Nature Of Things, is even more problematic, sounding mainly like a kind of soft R’n’B version of the ‘Top Gun’ soundtrack, with way too many synth-based ballads. But Divine Emotion (1988) was a partial return to form, led by the effervescent title track (with one of the great ’80s basslines) which gave him a timely UK hit.

Narada had obviously been prompted into action by his highly successful production work – his vocals and arrangements have never been better. But while Divine Emotion sounds like a million dollars, there are still issues on the songwriting front. Put simply, only the title track, ‘But What Up Doh’ and closer ‘We Still Have A Dream’ have memorable hooks (the latter also features some brilliant jazz/rock kit work from Narada).

One wonders what might have happened if he had hooked up with some great ‘pop’ songwriters like Kenny Loggins, Rod Temperton, Michael McDonald, Carole Bayer Sager or even Burt Bacharach at the outset of the decade rather than relentlessly ploughing his own furrow. ‘Looking At Me, Looking At You’ offers tantalising possibilities.

But looking at his career as a whole, it’s all turned out fine – Narada’s always been one of the coolest, most talented musician/producers around, and apparently he’s an absolute joy to work with.

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.

Angela Bofill: Angel Of The ’80s

angelaThe strand of jazzy soul music developed by artists like Minnie Riperton, Phyllis Hyman, Chaka Khan, Jon Lucien, Al Jarreau, Randy Crawford and Carl Anderson probably reached its commercial apex with Anita Baker’s eight-million-selling 1986 album Rapture.

angela bofill 01

But perhaps the most underrated singer in that style was Angela Bofill, an ever-present on the US R’n’B charts between 1978 and 1984. Best known for her sultry ballads and Latin-tinged mid-tempo jazz/soul tracks, I stumbled upon an Angie Best-Of sometime in the early ’90s and have been a fan ever since.

Her voice has a lovely, yearning quality, with power, range, great enunciation and a hint of Whitney Houston about it. But you’ll never hear Bofill’s music on the radio, at least here in the UK, and it’s a shame that she didn’t quite manage that breakthrough pop hit.

angie

Born in the Bronx to a Cuban father and Puerto Rican mother, Bofill studied classical singing at the Manhattan School of Music. After a tip-off from Latin Jazz flautist Dave Valentin, she was initially mentored by producers Dave Grusin and Larry Rosen, recording her successful first two albums Angie and Angel Of The Night for the fledgling GRP label.

Moving to Arista Records under the supervision of legendary impresario Clive Davis, she worked with some big-name producers throughout the ’80s: George Duke, Narada Michael Walden, Norman Connors and The System (David Frank/Mic Murphy). Narada particularly seemed a good fit for her, co-writing a few killers such as ‘Tropical Love’ and ‘Too Tough’ and teaming up with future ‘American Idol’ judge Randy Jackson on bass to make a phenomenal rhythm section.

Angela also made a wonderful guest appearance on ‘Where Do We Go’, the standout track from Stanley Clarke’s lacklustre Hideaway album of 1986, and there were also interesting duets with Boz Scaggs and Johnny Mathis around the same time.

But her most impressive material was self-penned. ‘You’re A Special Part Of Me’, ‘Gotta Make It Up To You’, ‘Song For A Rainy Day’ (which she also produced), ‘I Try’ (memorably covered by Will Downing in the early ’90s), ‘Accept Me’, ‘Rainbow Inside My Heart’ and ‘Time To Say Goodbye’ are all stand-outs which demonstrate her fine musicianship as well as vocal skills. It’s a shame her composing, producing and arranging talents were never properly utilised, though she left us with a few classics nevertheless.

Angela made a comeback in the mid-’90s with Love In Slow Motion, a nice album featuring three superb tunes – ‘All She Wants Is Love’, ‘Soul Of Mine‘ and the very Janet Jackson/Jam & Lewis-esque ‘Love Changes‘ – which matched anything from her ’80s peak. She also made a notable appearance at the 1998 Montreux Jazz Festival with Billy Cobham and George Duke.

Unfortunately serious illness befell Angela in 2006. Two strokes have limited her recording and live appearances, but she did make a brief return to the stage in 2012: ‘The Angela Bofill Experience’ featured stories from her life and career, with artists such as Maysa Leak, Phil Perry and Melba Moore performing signature songs.

Since then, things have been quiet, but we send good vibes from London. Angie’s certainly not forgotten in these parts.