Fusion 45

Every now and then, I’ll find the odd playlist laying around, scribbled on a cocktail napkin or a scrap of paper or a football. Some I’ve recorded while others were just “fantasies” (like the one where I mixed Enrico Caruso’s Faust with Dwight Yoakam’s Fast Cars).

I found this one as I was poking through my records, scribbled on the back of the Korgis Dumb Waiters album.

I was able to lay my hands on most of the tunes.

Here’s the list exactly as it was written in F45 shorthand, complete with misspellings, x-outs and weird capitalizations:

SOUTHSIDE - Ain’t

BOB JAMES - Shamboozie

STEELY - News

JOE JACKSON - Can’t

BEATLES - LOVE ME

TTD - Wishing

Johnny Nash - Stir

Ziggie - Tommorrow People

Sting - Set Th Free

Simon - Late

Winwood - Freedom

CSN - Southern

Band - The Wt.

Steely - Rikki

Band - Shape I’m

Wilburys - End of the

Dead - Touch

ARTWORK: Structure I (paper collage, 25 x 23, 1969) by Jack N. Mohr

It seems I spend a lot of my time organizing stuff around the house, a sure sign that I have too many things or not enough organization. Every now and then, a stack of CDs will accumulate from one place and another, without much rhyme or reason.”Stacks of wax” is much more lyrical but this is simply a random desk full of digits.

Steely Dan - Brooklyn One of my all-time favorite Dan’s.
Oliver Nelson - Elegy For A Duck How can you not be intrigued?
Mary Karlzen - Everybody’s Sleeping Ever heard of her? Great record.
Joe Cocker - Feelin’ Alright The classic Mad Dogs And Englishmen version.
New Riders Of The Purple Sage - Glendale Train Somewhere I have a picture of Peter Dawson and me, beer in hand, as I introduced him at club I used to book.
Londonbeat - No Woman, No Cry I kind of like this version.
Nirvana - Smells Like Teen Spirit Smells like a band I never really cared for much. Must’ve been something my wife was listening to.
Robert Randolph - Soul Refreshing Such a happy song.
Nilsson - Subterranean Homesick Blues Great version from the Pussy Cats album, featuring John Lennon and Jim Keltner.
Peter Mayer - The Play A great spiritual folk song, from a guy whom I discovered when he played at our church.
Led Zeppelin - What Is And Should Never Be Everybody has a Zep fave…this is one of mine.

Columbia. Warner Brothers. RCA.

We all know the names of the great major labels of the 1970’s.

But there were plenty of “smaller” labels turning out great music, too. One of them, ABC Records (which was later sold to MCA, which was later sold to Universal) produced much of their best stuff at 8255 Beverly Boulevard, address for ABC Recording Studios.

Records as opposite in style as Steely Dan’s Katy Lied and Bo Donaldson and the Heywoods‘ Billy, Don’t Be A Hero were laid down on ABC’s 3M 16-track, processed with dbx equipment and played back through JBL speakers. It was originally intended to be a demo studio but, instead became a hit machine.

Four Tops - Ain’t No Woman (Like The One I Got)

Whenever I hear this song, I can’t help but think about my wife (made worse by the fact that, today, I’m on a business trip and I haven’t see her for days).

Grass Roots - Temptation Eyes

Hamilton, Joe Frank and Reynolds - Don’t Pull Your Love

Somewhere in my collection, I have one of those Top 40 compilations that all the radio stations put out in the 1970’s. The outside covers were all the same (as were the songs) but the inside covers had pictures of the local DJs. Mine, from the WENY Good Guys, has this song.

John Sebastian - Welcome Back

Oh. Oh oh oh…

Rhythm Heritage - Theme from S.W.A.T.

By popular demand, I’ve dropped the ZIP’s and added MP3s for the Jim Keltner post I did a few months back.

My set of tunes featuring Steve Gadd was so well received I thought I’d dive into a series of posts featuring great session drummers. Here’s a (short) dozen from Jim Keltner.

Steely Dan – Josie (Aja, MCA, 1977)

This should probably be the finale in this set, not the opener. Notoriously finicky, Becker and Fagen put Keltner to the test on this one and he scored an “A”. Block out everything and listen to the high hat work – he mixes eighths and sixteenths from measure to measure with the grace of a Jack DeJohnette.

Leon Russell – Lay Right Here In Heaven (Will O’ The Wisp, Shelter, 1975)

This copy is a little too dirty to hear the nuances but it’s still a great groove: “Sometimes I feel like bitin’ your toes, heaven knows, anything goes”. Keltner actually shares the drum credit with two others on this tune.

Jackson Browne – Red Neck Friend (For Everyman, Elektra, 1975)

Eight bars of guitar and then it’s straight rock and roll right to the last drum beat. Decidedly un-Jackson Browne, in my book, and no doubt covered by a few million bar bands since the 1970’s. Great piano, too.

James Taylor – How Sweet It Is (To Be Loved By You) (Gorilla, Warner Brothers, 1975)

The credits say Keltner shared the drum duties with Jim Gordon but it’s hard to hear exactly how that happens. Maybe there’s one of them on tambourine? Even so, it’s a tasty shuffle with Carly doing background vocals and Sanborn on sax. Reminds me of summertime…

Carly Simon and James Taylor – Mockingbird (Hotcakes, Elektra, 1974)

A case of the remake beating the original with Carly and James reversing roles on this one (it appears on Carly’s album with James credited as the background singer). Just like Steve Gadd’s four-on-the-floor in “Danny’s All-Star Joint,” this proves that a funky drummer doesn’t have to show off…just a clean funky beat, cowbell in hand, thank you.

Seals and Crofts – Yellow Dirt (Summer Breeze, Warner Brothers, 1971)

Seals and Crofts have been much-maligned for being too soft to be called rock and roll but, in fact, they could get a little funky. The drums and pianos work together nicely here as Keltner lays down a slow groove. I love the group picture of all the happy hippies on the inside cover of the album.

John Lennon – I Don’t Want To Be A Soldier (Imagine, Apple, 1971)

Most bios of Keltner immediately refer to his work with three of the four Beatles (sans McCartney) and it’s true. He was a favorite of that gang (and their accessories like Harry Nilsson) for his diversity and ability to adapt to any style. Dirty groove is the best way to describe this one.

George Harrison – Give Me Love (Living In The Material World, Apple, 1973)

Having heard this song a billion times, I’ve never once paid attention to the drum part until today. And, truth be told, it’s one of the more complicated and tasty in Keltner’s repertoire. Funky but delicate and light of touch, this really is a masterpiece. (And there’s a “Jim Keltner Fan Club” logo on the back!)

Nilsson – Daylight Has Caught Me (That’s The Way It Is, RCA, 1976

This is another deceptively intricate drum part that doesn’t stand out against the vocals and piano. But, give this a listen with your ears focused on the drumming and you’ll him changes styles a couple of times during the song: from straight funk to reggae to rock and roll and back again. Once more, great hi-hat work.

Elliman – Sally Go ‘Round The Roses (Night Flight, RSO, 1978)

OK, this one’s a little off the beaten path. Who’d have thought Keltner would be in the company of a pop star like Yvonne Elliman? But, then again, she’s not so far afield. She sang with Clapton and hung with Delaney and Bonnie, all part of Keltner’s circle. But, stylistically, it’s definitely a stretch.

Joe Cocker – The Letter (Mad Dogs and Englishmen, A and M, 1970)

I freely admit this is a guess: Jim Gordon and Jim Keltner are credited equally for drumming on this record without pointing to specific songs. But this sounds an awful like Keltner’s style…if not, does it really matter?

All these cuts come from my well-worn record collection. Want cleaner copies? Buy the CD’s or download the tracks at Amazon.

My second son turned 8-years old this past weekend.

For his celebration, he chose to go to a Portland Beavers baseball game, preceded by a pizza dinner, some splashing in a big fountain at a nearby park and a trip to the Portland Classical Chinese Garden. (I think that’s totally cool.)

The Chinese Garden is one of the most beautiful places in all of Portland. In the late 1980’s, when the city became a sister city to Suzhou, China, the idea of building a “scholar’s garden” in Portland started to take root. It took another 20 years and $12 million dollars but finally the project was completed in 2000 on a site in the Chinatown neighborhood that was formerly a parking lot.

Remarkably, Portland is also home to the Portland Japanese Garden, as well. The Japanese garden is even more spectacular, set on 5 acres on the west hill overlooking the city.

It was a beautiful, sunny, breezy day spent walking hand-in-hand with my newly minted 8-year old.

If you’re ever in town, well, we recommend both…and pizza!

Steely Dan - Aja

Whereas our last subject, Russ Kunkel, could be found in the drummer’s chair for just about every southern California rock record of the 1970’s, Jeff Porcaro was more of a moving target. Arguably more a stylistic chameleon than Keltner or Kunkel (or even Gadd), Jeff Porcaro played for a hugely diverse set of musicians. He laid down straight-ahead dance grooves for the likes of Madonna and Bonnie Pointer, played fusion with Steve Lukather and Larry Carlton and supported pop players like Alan O’Day and Leo Sayer. Here are a dozen tracks from my vinyl collection showing him at play.

Al Stewart - Valentina Way (Time Passages, Arista, 1978)

In many cases, Porcaro would play on just a tune or two per album. This is the only Porcaro-driven cut in this set from one of Stewart’s late 70’s records. It has his signature tight snare sound, high-hat swing and triplets around the tom that show up through much of his work.

Steely Dan - Dr. Wu (Katy Lied, MCA, 1975)

Some hard-core Dan-heads say this was the last true Steely Dan record. Save for one cut, Porcaro’s all over it. This is my favorite from that set. Listen to how the China ride cuts through starting with the first chorus, underscoring The Dan’s much-loved Asian vibe.

Seals and Crofts - Baby Blue (Get Closer, Warner Brothers, 1976)

I staunchly stand behind my POV that Seals and Crofts are the most underrated of all the 1970’s singer/songwriter duos: great harmonies, great songwriting and a cool spiritual message. Their stuff was challenging for drummers: it required imagination, a light touch and a sensitivity to the texture of their songwriting. Porcaro nails it on this one.

Rickie Lee Jones - Youngblood (Rickie Lee Jones, Warner Brothers, 1979)

It took some extra research to confirm but it’s accurate: Porcaro’s the guy behind this funky reggae-pop riff. Even if it weren’t documented, the high-hat work gives it away.

England Dan and John Ford Coley - Hollywood Heckle and Jive (Dr. Heckle and Mr. Jive, Big Tree, 1979)

OK, this isn’t Porcaro’s best work but it shows his diversity and has some pretty pointed drum production. Someone got a “wall of sound” instruction book for Christmas, it sounds.

Crosby, Stills and Nash - Since I Met You (Daylight Again, Atlantic, 1982)

This is the only cut featuring Porcaro on this album. I had to listen a few times before I decided to include it; it didn’t strike me as too interesting at first. But, the fact is, without Porcaro driving the train on this one, it would have been even less interesting.

Paul Simon - Train In The Distance (Hearts and Bones, Warner Brothers, 1984)

Back before Paul aged into a shorter version of Mel Brooks, he grabbed Porcaro for his “Hearts and Bones” album. (Gadd must’ve been in rehab.) There’s nothing spectacular about this cut; it just swings along nicely supporting a great Paul Simon story. Nice echo on the snare drum in the chorus.

Joe Cocker - Don’t Forget Me (I Can Stand A Little Rain, A and M, 1973)

Anyone who’s ever picked up a pair of sticks and played for more than 20 minutes knows what it means to play “behind the beat”. They also know how hard it is. Porcaro lays behind the beat just enough to give this tune it’s blues vibe (though Clydie King singing back-up doesn’t hurt). A great tune (witten by Harry Nilsson, I might add.)

Eric Clapton - Forever Man (Behind The Sun, Warner Brothers, 1985)

Disco rock ain’t easy, is it? Porcaro makes it work here on one of the two cuts he supports on this album. It will forever be Clapton’s dark period in my book (even more than his current “archive the blues” kick). But, in the end, I do dig this tune ‘cuz it’s got…rhythm and melody!

Jackson Browne - The Only Child (The Pretender, Elektra, 1972)

Even though I wouldn’t qualify myself as a J. Browne fan, many of his songs are at the heart of what I love..straight-ahead, well-written acoustic rock with a great melody and a great arrangement. This just works right.

Boz Scaggs - Lowdown (Silk Degrees, Columbia, 1978)

I try to avoid the songs you can regularly hear on just about any radio station but there’s no getting around this one. Second only to ‘Rosanna,’ this is a defining groove and it speaks for itself.

Toto - Rosanna ( IV, Columbia, 1982)

Transcribed, analyzed, scrupulously studied and poorly played by 1000’s of drummers from LA to Lhasa, this is his signature groove. ‘Nuff said.

ZIP (69MB): Download

Many thanks to our new friend over at Walkn’ Tha’ Bass for the kind words and the great link. Please check out his site…he has some very cool stuff goin’ on!

My set of tunes featuring Steve Gadd was so well received I thought I’d dive into a series of posts featuring great session drummers. Here’s a (short) dozen from Jim Keltner.

Steely Dan – Josie (Aja, MCA, 1977)

This should probably be the finale in this set, not the opener. Notoriously finicky, Becker and Fagen put Keltner to the test on this one and he scored an “A”. Block out everything and listen to the high hat work – he mixes eighths and sixteenths from measure to measure with the grace of a Jack DeJohnette.

Leon Russell – Lay Right Here In Heaven (Will O’ The Wisp, Shelter, 1975)

This copy is a little too dirty to hear the nuances but it’s still a great groove: “Sometimes I feel like bitin’ your toes, heaven knows, anything goes”. Keltner actually shares the drum credit with two others on this tune.

Jackson Browne – Red Neck Friend (For Everyman, Elektra, 1975)

Eight bars of guitar and then it’s straight rock and roll right to the last drum beat. Decidedly un-Jackson Browne, in my book, and no doubt covered by a few million bar bands since the 1970’s. Great piano, too.

James Taylor – How Sweet It Is (To Be Loved By You) (Gorilla, Warner Brothers, 1975)

The credits say Keltner shared the drum duties with Jim Gordon but it’s hard to hear exactly how that happens. Maybe there’s one of them on tambourine? Even so, it’s a tasty shuffle with Carly doing background vocals and Sanborn on sax. Reminds me of summertime…

Carly Simon and James Taylor – Mockingbird (Hotcakes, Elektra, 1974)

A case of the remake beating the original with Carly and James reversing roles on this one (it appears on Carly’s album with James credited as the background singer). Just like Steve Gadd’s four-on-the-floor in “Danny’s All-Star Joint,” this proves that a funky drummer doesn’t have to show off…just a clean funky beat, cowbell in hand, thank you.

Seals and Crofts – Yellow Dirt (Summer Breeze, Warner Brothers, 1971)

Seals and Crofts have been much-maligned for being too soft to be called rock and roll but, in fact, they could get a little funky. The drums and pianos work together nicely here as Keltner lays down a slow groove. I love the group picture of all the happy hippies on the inside cover of the album.

John Lennon – I Don’t Want To Be A Soldier (Imagine, Apple, 1971)

Most bios of Keltner immediately refer to his work with three of the four Beatles (sans McCartney) and it’s true. He was a favorite of that gang (and their accessories like Harry Nilsson) for his diversity and ability to adapt to any style. Dirty groove is the best way to describe this one.

George Harrison – Give Me Love (Living In The Material World, Apple, 1973)

Having heard this song a billion times, I’ve never once paid attention to the drum part until today. And, truth be told, it’s one of the more complicated and tasty in Keltner’s repertoire. Funky but delicate and light of touch, this really is a masterpiece. (And there’s a “Jim Keltner Fan Club” logo on the back!)

Nilsson – Daylight Has Caught Me (That’s The Way It Is, RCA, 1976

This is another deceptively intricate drum part that doesn’t stand out against the vocals and piano. But, give this a listen with your ears focused on the drumming and you’ll him changes styles a couple of times during the song: from straight funk to reggae to rock and roll and back again. Once more, great hi-hat work.

Elliman – Sally Go ‘Round The Roses (Night Flight, RSO, 1978)

OK, this one’s a little off the beaten path. Who’d have thought Keltner would be in the company of a pop star like Yvonne Elliman? But, then again, she’s not so far afield. She sang with Clapton and hung with Delaney and Bonnie, all part of Keltner’s circle. But, stylistically, it’s definitely a stretch.

Joe Cocker – The Letter (Mad Dogs and Englishmen, A and M, 1970)

I freely admit this is a guess: Jim Gordon and Jim Keltner are credited equally for drumming on this record without pointing to specific songs. But this sounds an awful like Keltner’s style…if not, does it really matter?

All these cuts come from my well-worn record collection. Want cleaner copies? Buy the CD’s or download the tracks at Amazon.

Ask anyone who’s played the drums for more than 20 minutes to name his Top 5 players and, without exception, you should hear the name Steve Gadd.

What makes Gadd one of the greatest is not his pyrotechnics, though he was certainly capable of making some noise.

What set him apart was his sound, his style and his inventiveness. He could (and did) make a couple cardboard boxes sound like a $3000 set of Pearls. He could slip a four-on-the-floor shuffle beat into his pocket and make it swing like Dizzy Gillespie. And, he had such an imagination that he created some of the most well known drum tracks in the history of pop music.

50 Ways To Leave York Lover (from Paul Simon’s album, “Still Crazy After All These Years, Columbia, 1975)
Even people who have no clue about Steve Gadd know this famous rhythm, based on a drum corps street-beat Gadd learned in the 1960’s.

Woody And Dutch On A Slow Train To Peking (from Rickie Lee Jones’ album, Pirates, Warner Brothers, 1981)
Tucked into the middle of this disc (at the end of side one of the vinyl version) is one of the swinging-est tunes Rickie ever recorded. The track fades in with Gadd playing brushes on cardboard boxes and goes full mojo for the next 5 minutes. Pure joy.

Danny’s All-Star Joint (from Rickie Lee Jones’ album, Rickie Lee Jones, Warner Brothers, 1979)
Whereas Gadd pushes “Woody and Dutch” forward to its climax, he does exactly the opposite on this cut: he lays back into the groove and lets the music drive itself. Never has a straight shuffle beat been executed with such artistry.

Workin’ At The Car Wash Blues (from Jim Croce’s album I Got A Name, ABC, 1973)
As “50 Ways” is to the word “iconic,” this track is to the words “under appreciated”. Once again using a modified street beat, with a delightful 16th-note roll on the fourth beat of the bar, Gadd underscores the song’s theme of tiresome work and light-hearted fantasy with a terrific “march-off-to-work” groove.

Late In The Evening (from Paul Simon’s album One Trick Pony, Warner Brothers, 1980)
The secret sauce behind this groove is Gadd’s “two-sticks-in-each-hand-held-at-the-’wrong-end’” technique, which gives the song its Latin street band sound. Listen to the drum break at the end of the song: it’s all Gadd on drums and a pair of cymbals, a groove that’s been co-opted by everyone from Ritchie Haywood to Dennis Chambers to James Bradley, Jr. (Gadd’s replacement in the Mangione band).

Aja (from Steely Dan’s album, Aja, ABC, 1977)
Considered by many to be Steely Dan’s crowning achievement, Becker and Fagen openly admit it’s the studio musicians who made this album work. On this track, it’s Wayne Shorter’s sax solo and Gadd’s incorporation of rock, jazz and Latin into one 7-minute song. Legend states that Gadd came into the studio, read the chart and played the song in one take, requiring the rest of the band to re-cut their performances. True or not, listen closely, especially the last 8 bars which is virtually all of Gadd’s signatures combined into one stretch of 30 seconds.

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