Toward the end of July in 2010, roughly four years after The Dropkick Murphys released The Meanest Of Times
The Meanest Of Times, the group began throwing around ideas for their next record. They started the process by cherry picking and structuring the best of forty or fifty song seedlings that the band members
collectively brought to the table. Shortly thereafter producer Ted Hut arrived on the scene and got to work with the group in a location you’d least
expect: Matt Kelly’s Kitchen.
The Murphys proceeded to hash out their new ideas in the drummer’s cooking quarters, strictly using acoustic instruments. This writing style was reminiscent of how the group composed their first two records, constructing the tunes on unplugged instruments before recording their electric versions in the studio.
Following Huts’ Dropkick remodeling session in Kelly’s Kitchen, it was back to the
practice space for the band. For the next two months The Dropkick Murphys shedded six to seven days a week for ten hours a day, interspersed
sporadically with lyric writing sessions.
Entering The Studio
When it came time to record Kelly ended up laying down his tracks accompanied by just the rhythm and lead guitarists. Atypical in today’s current state of Protools-edited recordings, there are no punches on the drum tracks. Just as surprising is the fact that the drummer recorded to a click track. Kelly’s pounds out heavy organic pockets, difficult to create with
a metronome ticking away into your earphones.
After the foundation tracks were laid down, he and Hutt embellished a few of the drum parts with some overdubs. Take, for instance, the records’ opening track, “Hang Em’ High.” In order to ensure that the record started off with a bang, they
overdubbed an 18” floor tom and a concert snare on top of Kelly’s original drum track. Interestingly enough, the drummer’s driving tom intro, which forcefully kickstarted the record, was merely an afterthought after the body of the tune was completed.
On June 29, 2011 I got to see the Dropkick Murphys perform at The Warfield in San Francisco. Like many of the shows that I’ve seen at this particular venue, the low end of sound was ridiculously high. Fortunately Kelly was able to cut through most of these sonic obstacles. His playing was
clean, creative, and forceful. There were elements of his performance that felt loosely improvised (an extra fill here or there), which gave it a real nice edge. We live in an age of drumming that is often focused on the foppish language a player uses instead of their ability to serve a song. Kelly's style is the right blend of “technical ability meets creativity within the context of the song,” which makes sense since helps write these songs on guitar. His snare rolls really stood out, where they were both forceful and clean, which I attributed to an earlier remark he made before the show
where he referenced time he spent in drum core years ago.
The Murphy’s banjo player also cut beautifully through the venue’s low end, punching
through with sharp percussive notes. Banjo-driven tunes like “The State Of Massachusetts” and “Shipping Off To Boston” sounded great.
I hadn’t purchased Going Out Of Style before attending this performance, so the highlight to my evening was hearing the track “Broken Hymns” for the first
time. It's now my favorite track. Kelly begins the track on the rims of his drums accompanied by the banjo and bagpipes. The song has a strong melody,
with an instrumental intro that feels like sunshine breaking through fog at daybreak. It's great accompaniment to my morning cup of coffee in San
Francisco, especially on days when the sunlight is burning through that early haze, if it breaks through at all.
I love how Kelly perfectly builds the bridge, coloring the thick wall of sound with musical tom fills, clean snare rolls, and offbeat crashes, often playing seamlessly over the
Check out Kelly’s style stretching on The Dropkick Murphys’ new record—it will be very interesting to hear where he goes next, being that he’s making musical choices, instead of just drumming choices.
I recently interviewed Danny Thompson of Face To Face about their upcoming record Laugh Now, Laugh Later. The album is as solid a comeback as you can record, and Thompson does a great job
driving the tunes along. In an upcoming issue of DRUM! there will be a transcription of the tune “The Invisible Hand” off the new record, so keep your eyes peeled.
to Thompson, I found out that he was quite a Renaissance Man in the drumming industry. He runs a music school in Orange County called The Music Factory (http://themusicfactoryoc.com/), he used to
build drums with Kenny Livingston (drummer of The Sugarcult) at their custom drum shop LTD Drum Company (http://ltddrums.com/), and when he returns home from a two-month long tour with Face To Face, he
will be recording a full length DVD on drum tuning.
One of the most interesting things I found out about Thompson was his influences. He had three names:
Like a lot of drummers between the ages of 20 and 40 Peter Criss of Kiss inspired Thompson to become a rock drummer back when he
was in grade school. He cites Copeland as his biggest influence. And, he says Topper Headon was his favorite punk drummer and the most underrated drummer of all time. Thompson enthusiastically
praised Headon for writing “Rock The Casbah,” among many other tunes.
What do all of Thompson’s influences have in common? They’re all musicians who wrote some of the
material for the groups in which they drummed. Peter Criss co-wrote “Beth” and a ton of other Kiss tracks, Stewart Copeland’s percussion arrangements on tunes such as “Walking
On The Moon” are compositions in themselves. He established himself as a first-rate film composer after leaving the band (including Oliver Stone’s Wall Street). And, Thompson already set
us straight with Topper Headon. They were all well-rounded musicians.
It was not surprising to hear from Thompson that he gravitated toward drummers who thought like composers and singers.
Thompson drives the new Face To Face record forcefully, but primarily concerns himself with supporting the music he’s playing. I recommend that you check out his drumming on Laugh Now, Laugh
Later–the record is a both a great example of his drumming, along with a stellar listening sample of a kit that he personally built and tuned. If you’re not familiar with the band, start
with Big Choice, move to their self-titled album, then pick up Laugh Now, Laugh Later. Listening to the progression of drummers is interesting since Thompson is cognizant of the drumming styles of two
previous Face To Face drummers--you can definitely hear how he blends their styles while putting his own stamp on the tunes.
It was 1997 or 1998 that I first heard the Good Riddance track "Fertile
Fields." At the time, I was aware of the fact that according to "Punk
Code" no drummer was to use a double bass pedal [Note: on rare occasions
it was permitted to use a double pedal on very impressive drum fill, but
this had to be one mind-bending fill. The drummer was required to return
to single-pedal time keeping immediately after the fill was completed].
The thing was, the song was just too fast, and I thought that perhaps
drummer Sean Sellers was using a double bass pedal on this particular
I knew that Sellers had only used a single pedal on their prior record,
the punk rock masterpiece A Comprehensive Guide To Modern Rebellion.
Take, for instance, the song "Steps," in which Sellers creative footwork
pushes the mid-tempo tune perfectly--you can hear both opened and closed
hi-hat work on the track, so it was was a pretty safe assumption that he
was only using a single pedal. But "Fertile Fields" was just too damn
fast, and you could hear him hit an open hi-hat at points in the
tune--perhaps an indication that his left foot was placed on a double
bass pedal instead of closing the cymbals...
As I entered UC Santa Cruz in 1998, a school located in the hometown of
Good Riddance, I engaged in a conversation with a fellow student about
Seller's great drumming. Shortly thereafter we began to argue over
whether Sellers was using a double pedal on the aforementioned track.
Mr. Contrary Interlocutor assured me Sellers was, in fact, only using a
A few months later Good Riddance played a local venue called
Palookaville (which has since gone out of business). The box office was
sold out of tickets, so we bribed the back door bouncer to let us into
the show. Sure enough, as Good Riddance set up their equipment, there
was no double pedal in sight. The only left foot modification was an
additional slightly opened hi-hat located near Seller's ride cymbal,
strategically placed so the drummer could play hi-hat open handed
without having to cross his arms (this also explained the open hi-hat
you hear him use throughout the tune). Sellers drove the band spot on
that night. When they played "Fertile Fields" his bass drum was all
If you haven't heard Seller's drumming on A Comprehensive Guide Modern
Rebellion or Ballads From The Revolution, you're in for a treat--they're
great records with some very impressive drumming. Sellers drives every
tune he plays on, always adding impressive rhythmic coloring and texture
at break neck speeds.
Good records are few and far between these days. Reflecting back on this past year, there is one record and two songs written by two different groups that I can recommend with confidence. The passion and sincerity of these two groups can still spark a little light in my cold dead heart, much like a cigarette lighter flickering in a completely dark room that never lights. No, I take that back, the tracks "Birthday Boy" and "The Queen Of Lower Chelsea" do get my blood pumping.
My favorite record of the year was The Drive By Truckers The Big To Do. This is a band from the Southeast who has two new releases on the horizon--a full length called Go-Go Boots, in addition to a new documentary on the band entitled The Secret to a Happy ending. The documentarty will focus on "the redemptive power of rock and roll." Believe me, I saw them perform at The Fillmore in May, and even as they sound-checked, hours before the doors opened, they were playing their hearts out. They dig their Skynrd and Neil Young while shootin' whiskey, they're great storytellers of the grotesque, and they're not about to apologize for any of it. Around a year ago the band recorded 25 tracks at one time and released 13 of those songs on The Big To Do. They will place the remaining tracks on their upcoming release Go-Go Boots (to be released February 15th). "Birthday Boy," the track that you would most likely label their single off The Big To Do, is a great song. How they recorded the tune is just as exciting (more on that later). But...if you are going to check out this group, I would recommend beginning with the records Decoration Day and The Dirty South, then simultaneously moving forward and backward in their discography. Believe me, it's all good. The Big To Do felt to me like the Drive By Truckers telling Southern stories accompanied by a great soundtrack. The record is solid and consistent--it's a tortoise, not a hare (which is why I don't think it would be as good of an introduction to the band as some of their other works). But, I'm going to move on now because I'll soon be posting an entire article on drummer Brad Morgan.
My other favorite track came off The Gaslight Anthem's American Slang. The song "The Queen Of Lower Chelsea" finds drummer Ben Horowitz playing on rims of his drums for part of the tune, and laying down a beautiful pocket. Like Brad Morgan, Horowitz plays for the song. He said in the September 2010 issue of DRUM! that "anything I do is always based on some kind of gut reaction based on what I'm hearing. If my process has changed at all I'd say it's more cerebral now than it used to be. I'm a lot more conscious of the flow of the song and fitting in with other people, finding my place in the arrangement. I definitely think about that stuff a lot more. Working with producers probably opened my eyes to that level of song writing that I wasn't exposed to before." Horowitz puts his money where his mouth is on his latest.
I love the lyrics to "The Queen Of Lower Chelsea," I love the descending bass line at the end of each verse, I love the catchy guitar work, I love how Horowitz puts ego aside and lays down a creative groove for the song (including the cool drum break in the middle of the song), and I really appreciated vocalist Brian Fallon's sincere note to the listener in the liner notes of the record. Fallon thanks his audience for enabling him to play music. "When I was a kid," Fallon writes "I wanted to play guitar and sing songs...I'll never forget that you all helped me along the way." The title track to the record also hits in the right place--I especially liked how the band bridged the first chorus into the second verse on this opening track.
Producer Ted Hut is worth mentioning too (since Horowitz brought him up). He appears to be Side One Dummy's go-to producer and engineer, and for good reason. My first exposure to him was his work with Flogging Molly, where the sounds he captures tend to have a dynamic range and raw quality to them. American Slang is no exception. I wondered what advice he might have had for Horowitz and the rest of the band on the two tracks mentioned above...
Anyhooo...have a Happy New Year! -Kamm December 31, 2010.
A couple of years ago, TRAPS Magazine placed Roy Haynes on the cover of the fourth issue. Not long after, the drummer invited us to watch him perform at Yoshi’s Jazz Club in Oakland.
For those of you unfamiliar with Haynes’ playing, here's the deal. Haynes is
the only drummer to play with the three most influential tenor saxophonists of all time: Lester
Young, Charlie Parker, and John Coltrane and he played on some of the most influential albums in jazz history with artists such as Eric Dolphy and Chick Corea.
He has an extremely delicate touch around the kit and tunes his drums insanely high
(which is where his nickname “Snap, Crackle” comes from). His signature lick is
a quick snare and hi-hat triplet pattern played under a standard 4/4 ride pattern (“ding, ding, da ding”),
where the triplet ostinato is made by combing two staccato snare hits with a sharp hi-hat chick
(produced by the left foot snapping the two cymbals together quickly). The pattern sounds like
“Did-it-uhn-Did-it uhn-Did-it.” You can hear him play the lick on the title track of Pat Metheny’s
Question And Answer record, which happens to be my favorite Haynes drum track. Given who he's played with and the fact that he's been doing it since the late 1940's, it's not reaching to say that Roy Haynes influenced everyone. Over a decade ago I asked Bill Stewart who his biggest influences were--the first name
that popped out of his mouth was Roy Haynes. Last but not least, Roy Haynes is an entertainer. His wardrobe matches his drumming in both intensity
Here’s what I learned from him the night that DRUM! Publisher Phil Hood and I hung out
with him backstage at Yoshi’s.
The tie Haynes wore on the cover of TRAPS #4 was designed by Miles Davis, who happened to
be the previous owner as well.
Roy has one of the most original styles on the drum set of all time. When Phil asked him
when he became “Roy Haynes,” the drummer replied that he had always been Roy Haynes, but that when
he first started working he had to play more conservatively in order to pay his bills. I guess even
the most innovative musicians have to pay their dues at some point.
The producer of Oliver Nelson’s The Blues And The Abstract Truth originally wanted Philly
“Joe” Jones to play on the session.
Out of the blue, Haynes looked at Phil and I and said that someone once told him “good
drumming is felt, not heard.” He said that he always remembered that. I wonder if he thought about
that before he took the stage with John Coltrane in Newport, back in 1963. Because you can feel it.