Umphrey’s McGee Sectional Workshop
Kris Myers: “Booth Love” was simply a straight-ahead soul/R&B groove with a contemporary flare to it. Along with playing an acoustic pattern (à la Bill Withers, Donnie Hathaway, or George Duke), I added electronic bass drum, hi-hat, and snare samples to blend with the pattern, adding more sonic depth and slickness to the groove. It almost sounds like down-tempo house to me with an ’80s flare to it, something I’ve heard from DJs and such. I’m happy to say that we still blended the electronics around the acoustic drum track to keep that live, spontaneous feel to it. A lot of contemporary hip-hop, R&B, and soul beats are constructed as an arranged loop, playing the same cycle repetitively, which sounds great in most cases. I ended up letting the hi-hat pattern and kick drum pattern vary subtly to create that live-drummer element to the track. Maybe it worked, maybe it didn’t, but all I know is that as long as the booties are dancin’, it’s all good.
Andy Farag: I knew as soon as I heard this section in “Booth Love” that it needed some hand drums. Congas and groovy, funky songs like this almost always go hand-in-hand. I play a very straightforward tumbao rhythm — not straying too much from the basic rhythm but adding a couple of fills here and there. It’s more to add an additional layer to accent what is already being played.