Great Drumming Albums Of The 1980s (Part Two)

So here’s the second instalment of essential drum albums from the 1980s (check out part one here), a selection of the decade’s movers and shakers who either pushed the boundaries, flew somewhat under the radar or simply made the music sound better.

19. Chuck Brown And The Soul Searchers: Live ’87
Drummer: Ricky Wellman

Alongside Keith LeBlanc, Jonathan Moffett and Dennis Chambers, Wellman played some of the scariest single bass drum of the decade, laying down the go-go template that would influence everyone from Trevor Horn to Miles Davis (who headhunted Wellman in late 1987).

18. Nik Kershaw: The Riddle (1984)
Drummer: Charlie Morgan

Another somewhat underrated Brit sessionman, Morgan does exactly what’s right for the songs with a lot of panache. His ghost-note-inflected grooves on ‘City Of Angels’ and ‘Easy’ are treats for the eardrums.

17. Tackhead: Friendly As A Hand Grenade (1989)
Drummer/programming: Keith LeBlanc

Included because of the sheer variety of grooves, both human and machine-generated. Some beats bring to mind the sounds of electro and early hip-hop, but Keith also provides precise, tight, funky grooves on the kit.

16. XTC: English Settlement (1982)
Drummer: Terry Chambers

He was not subtle but the unreconstructed Swindon powerhouse could mix it with the best of ’em when it came to rock. Strongly aided by the dream Lillywhite/Padgham production/engineering team, his cavernous grooves always hit the spot. Currently residing in the ‘where are they now’ file (Or is he? Check out the comments section below… Ed.).

15. Power Tools: Strange Meeting (1987)
Drummer: Ronald Shannon Jackson

Ex-Ornette/Ayler collaborator and serious Buddhist Shannon Jackson cut a swathe through ’80s drumming with his striking solo albums and occasional projects like this frenetic trio alongside Bill Frisell and future Rollins Band bassist Melvin Gibbs. Free jazz with balls and humour. Play LOUD.

14. Roxy Music: Avalon (1982)
Drummer: Andy Newmark

Hard to bet against this masterpiece of tasteful, empathetic song-accompaniment. Even more impressive is the revelation that Newmark was usually the last musician to overdub, replacing a skeletal drum machine part.

13. Nile Rodgers: B Movie Matinee (1985)
Programming: Jimmy Bralower

Much-in-demand NYC programmer Bralower wasn’t every drummer’s cup of tea but he came up with many memorable, catchy beats on Nile’s forgotten second solo album. Even classy ballad ‘Wavelength’ chugs along to what can only be described as an electro groove.

12. Yes: Big Generator (1987)
Drummer: Alan White

Possessing one of the crispest snare sounds of the decade, White played 4/4 rock with lots of surprises – both listener and band alike have to be on their toes – and conversely also made the most complex arrangements sound completely natural.

11. Grace Jones: Living My Life (1982)
Drummer: Sly Dunbar

Sly came up with not one but two classic, much-imitated beats on this album (‘My Jamaican Guy’, ‘Nipple To The Bottle’) and also proved he could play rock with the best of them. Mark Knopfler and Bob Dylan were definitely listening.

10. Mark King: Influences (1984)

We knew he’d started his musical life as a drummer but finally hearing the results of his misspent youth was well worth the wait. He gives his heroes Billy Cobham and Lenny White a serious run for their money on this varied collection, from Level-style funk to Latin-tinged jazz/rock.

9. King Crimson: Discipline (1981)
Drummer: Bill Bruford

Impossible to leave out. Aided by Robert Fripp’s ‘rules’, the Surrey sticksman redefined rock drumming for the new decade, adding unusual timbres and taking the emphasis off the hi-hat. He also delivered one of the great over-the-top performances on ‘Indiscipline’.

8. Weather Report: Sportin’ Life (1985)
Drummer: Omar Hakim

The fusion supergroup’s penultimate studio album is also one of their best, and Omar is a big reason why. His touch on the hi-hats and ride cymbal is instantly recognisable, and he swings hard on the inspired cover of Marvin Gaye’s ‘What’s Going On’.

7. Stewart Copeland: Rumble Fish (1983)

Not for nothing was the ex-Police man calling himself The Rhythmatist around this time: he hits anything and everything (xylophone, drum kit, marimba, piano, typewriter) to create a colourful, unique soundtrack for Francis Ford Coppola’s black-and-white curio.

6. Sadao Watanabe: Maisha (1985)
Drummers: Harvey Mason, John Robinson

A superior example of big-budget ‘smooth jazz’ before it became a cliché, Mason and Robinson split the drum duties and perfectly compliment each other. The latter particularly lets his hair down a bit more than usual, particularly on ‘Paysages’.

5. Simple Minds: Sparkle In The Rain (1984)
Drummer: Mel Gaynor

Slinky, powerful grooves from South London’s answer to Omar Hakim. He has the walls of Shepherds Bush’s Townhouse studios shaking with his uber-grooves on ‘Up On The Catwalk’, ‘Waterfront’ and ‘C Moon Cry Like A Baby’.

4. Level 42: A Physical Presence (1985)
Drummer: Phil Gould

An exciting live performance from one of the great British drummers. His top-of-the-beat feel and crisp sound suggest a mix of Billy Cobham and Bill Bruford, and he could also lay down explosive multi-tom fills to match both of them.

3. Chick Corea Elektric Band: Eye Of The Beholder (1988)
Drummer: Dave Weckl

Love or hate Corea’s Scientology-infused, neo-classical jazz/rock, Weckl’s stellar performance on this album was beyond question. He delivered a gorgeous sound, a total mastery of the drum kit and stunning chops when required.

2. Jeff Beck’s Guitar Shop (1989)
Drummer: Terry Bozzio

One of the loudest drummers this writer has ever heard in concert (Hammersmith Odeon, December 1989), Bozzio delivered some of the fastest double-bass playing on record (‘Sling Shot’) and also unique takes on reggae (‘Behind The Veil’) and funk (‘Day In The House’).

1. The Clash: Sandinista! (1980)
Drummer: Topper Headon

The rebel rockers embraced rockabilly, reggae, dub, calypso, punk and even funk on this ambitious triple album, but they wouldn’t have been able to go there without the versatile London sticksman.

Any albums missing? Of course. Post your suggestions below.

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Seismic Grooves: Ronald Shannon Jackson’s ‘Behind Plastic Faces’

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Shannon Jackson in 2012

Musicians and writers have long puzzled over a definition of Harmolodics, the musical system invented by Ornette Coleman. The man himself was famously coy on the subject, his brief liner note on the back of the Dancing In Your Head LP possibly the nearest he ever got to an outright definition: ‘Rhythms, harmonics and tempos are all equal in relationship’. 

Of all the Ornette collaborators who developed their own take on Harmolodics, Ronald Shannon Jackson, who died in October 2013, probably came up with the most accessible version. He had played with avant-garde pioneers Albert Ayler, Ornette, James Blood Ulmer and Cecil Taylor in the 1970s, but developed into a fine bandleader/composer in the ’80s, fronting a red-hot band featuring guitarist Vernon Reid (Living Colour), bassist Melvin Gibbs (Rollins Band), trombonist Robin Eubanks and saxophonist Zane Massey, amongst many others. (Shannon’s version of Harmolodics was so successful it possibly even influenced Ornette’s sunny late-’80s minor classic, Virgin Beauty.)

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My dad used to get sent a lot of music in his capacity as a programme consultant for Channel 4 TV’s music arm back in the mid-1980s. A surprising amount of it would come in home-compiled cassette format. One such tape was simply called ‘Dance Music’ – I’ve still got it somewhere.

Most of the music on it was fairly standard Brazilian and Blue Note stuff but one track stood out a mile and became somewhat of an obsession for my brother and I: Shannon’s ‘Behind Plastic Faces’, from the 1985 album Decode Yourself. It was the beginning of my love affair with his music and drumming.

He lays down one of his patented military grooves on Simmons drums underneath slithering fretless bass, chattering Reid guitar and Onaje Allan Gumbs’ summery keyboards. But then the track suddenly changes gear halfway through and turns into a Afro-Funk/No-Wave rave-up, with Shannon moving over to the acoustic drums and Eric Person rhapsodising on alto sax.

The track and attendant album were recorded at Electric Lady Studios in New York and produced by Bill Laswell. Decode Yourself seems very difficult to find these days, like many of Shannon’s numerous other ’80s albums.

Shannon Jackson was born and brought up in Forth Worth, Texas, just like Ornette. His father’s jukebox introduced him to BB King, Howlin’ Wolf, Charlie Parker and Dave Brubeck, but there were many other influences in the mix too, as he told writer Gary Giddins in 1985: ‘You’d wake up and hear hillbilly music on the radio. In school, we’d play (Wagner’s) “Lohengin”, at night we’d hear Bo Diddley or Bobby “Blue” Bland. On Sunday, we’d hear gospel. It was a total black community, and music wasn’t categorised as jazz or pop – nobody told you you weren’t supposed to like something.’

Much more Shannon soon.