[78-L] Copyright Criminals on PBS

[fnarf at comcast.net]

Al Jackson, yes. I think what made "Funky Drummer" unique was the isolation; the band dropped away and left the perfect sample.

Why record it again when you've got the disc in your hand? DJing wasn't about recording, but live mixing.



----- Original Message -----
From: "Cary Ginell" <soundthink at live.com>
To: 78-l at klickitat.78online.com
Sent: Friday, January 22, 2010 7:31:14 AM GMT -08:00 US/Canada Pacific
Subject: Re: [78-L] Copyright Criminals on PBS


Weren't there Stax drummers who did pretty much the same thing? And why couldn't the producers just get a drummer to record fresh tracks of the same kind of rhythm. Stubblefield was inventive, but for a good drummer, his stuff was not particularly hard to do, technically.

Cary Ginell

> Date: Fri, 22 Jan 2010 15:25:02 +0000
> From: fnarf at comcast.net
> To: 78-l at klickitat.78online.com
> Subject: Re: [78-L] Copyright Criminals on PBS
> 
> > The only older musician they interviewed was Clyde Stubblefield, the drummer for 
> > James Brown during the late 60s, whose work has (apparently) been sampled more 
> > than any other drummer (I have no idea why).
> 
> "Funky Drummer". Most famous and most used drum break ever recorded. Stubblefield is an incredible drummer, and his breaks simmered in a way that is absolutely perfect for mucking around with, repeating, and so on. A good DJ with two turntables can make it sing for twenty minutes. 
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