Occasionally, between the software, traveling, work and more work, I get a rare opportunity to play the drums. The call usually comes at the end of January, and has become the most welcome distraction in February in years.
In February 2011, Tim Alexander asked me to “play on a few tracks” for his Letter Seventeen album. I hadn’t had a chance to record in over a year, so I eagerly accepted and contributed a few tracks. It was fun as hell.
This year, when Tim again asked me to “play on a few tracks”, I unknowingly agreed to play on almost all of them. With an additional wrinkle, I would only be here half the month. It would turn into a whirlwind two weeks as I raced to record drums for eight of the ten songs (nine if you count the one I failed on), prepare to leave the country and grow another year older. Cutting it a little close for comfort, I uploaded the last of the tracks from my lodgings in Quito over a frustratingly slow internet connection.
Two weeks later Tim mailed the final cut of The Year of King Richard to Portsmouth, NH and another RPM challenge was complete.
Let’s Talk about the tracks:
YOKR opens with So Social, the signature track of the album and easily the most tiring to play. Sprinting in with a 16th note roll and an easy to spot homage to “The Knack”, the energy of this song was an exciting way to kick things off. I’d obviously taken a year off from the drums as I approached the end of this song out of breath, and it goes without saying that it took more than one take.
With the warm up out of the way, we move into Dancing Machine, a post-disco inspired open-hat affair. It’s tragic that most drummers, rythm aside, can’t dance to save their lives. Throwing a tom roll into the middle of the chorus was wacky at first, but turned out great in retrospect. Keep your ears open for the 16th note open-hat beat in the bridge; that machine-gun hat pattern once peppered the entire song but proved to be too distracting.
Tired from dancing, Tim takes a step back with Time Bomb. “Think R.E.M.” Tim told me when he first introduced the song. I went back and listened to some Dead Letter Office and gave him my spin on it. As usual, I took things too far and played the heavily syncopated beat you hear at the end throughout the entire song. Tim reeled me in though, and the album is better for it.
Year of King Richard, the title track, would be the song that got away. After hearing it once I was desperate to play on it, and after several takes of what I thought was a good beat, I simply couldn’t get the sound I was looking for. After turning in a few disappointing scratch tracks to Tim, I had to admit the song did not need me. I made a few suggestions and took a back seat on this one. Still, it’s my favorite song on the album.
YOKR behind us, Tim sidesteps any notion of being locked into a genre or era and we find ourselves back in the 80’s. Law of Motion is another open-hat dance number, this time with a significant synthesizer presence. The arpeggiated line in the bridge is classic. I almost never do splices, preferring to do one or two takes of a track all the way through and just get it right. I was made to play Laws of Motion it seems, as I did exactly one take of the song.
Next is Deep Hole, a song that any project manager I know can relate to, and certainly anyone who’s ever “bitten off more than they can chew” will understand. At first, the drum track on this song was a busy double-time beat that seemed a bit too cheery. I miced my toms and took the song into a deeper hole, preferring the ominous half-time gloom to set the mood. That and I really wanted to play my 16” tom like a hi-hat.
If you want me to go is primarily Tim and his guitar. At first I intended to play on it, but Tim looked at me like I had an elbow growing from my face when I mentioned it, so I went off and did some more failed takes of Year of King Richard.
“Can you play a Motown beat?”, Tim asked me when he introduced Number Q. “Sure,” I answered while googling “Motown beat” to figure out what it was. What came out was somewhere between Beast of Burden and swamp rock. So I didn’t exactly nail the Detroit thing, but Number Q did turn out to be one of my favorites on the album. You’ll wanna come out and see this one live when I can talk Tim out of the safety of the studio.
On Summer Nights I couldn’t help myself. I had to throw a rolling tom beat into this easy going, California pop number. I intentionally dropped in and out of the song to draw the listener into the simple strumming of the guitar and de-emphasize the presence of the drums. Did I mention the toms?
“Just go listen to Tomorrow Never Dies on Revolver.” Tim told me after a few failed attempts at the last song on the album, Lavender Haze. After the Beatles’ refresher, I approached this song with a bit more freedom, a lot more ride, and enough ghost notes to fill a haunted house. Of, um, snare drums. The addition of Amit Chabukswar’s tabla rhythms and Gary’s sitar really made the point. It was an open end.
So that’s the album. It still amazes me how much you can accomplish in less than a month. Someday we’ll be as good as Beck and record it all in 48 hours. So go buy Year of King Richard on iTunes, CD Baby, or download it from bandcamp. Oh, and visit the Letter Seventeen site and tell us what you thought, or like Letter Seventeen on Facebook.