thread: Bruce Hornsby
View Single Post
Old 22nd July 2015
  #5
Ross Hogarth
 
BoogieMotel's Avatar
 

Quote:
Originally Posted by krock2009 View Post
Could you elaborate on this? I've heard of the technique in the 80s, where the drummer would provide the hi-hat and cymbals, and the drum machine would do the rest. Is that how it was for Molo?
yes
for a Miami School of Music graduate with the groove and deep pocket and
musicology of John Molo
playing cymbals and hi hat or
not playing at all was maddening
and then taking it on the road and having the groove and feel , kill the record
was also maddening
this was the 80's when artists and producers were enamored with the newly arrived drum machine
it was insane
it would take 4 times as long, if you were lucky
to get the thing programmed and playing back when you could have had someone play it in 5 minutes
all the drummers at the time were driven mad by this
Jeff Porcaro
Jim Keltner
everyone ...
so heres Molo's deal.... the band gets signed
all amazing musicians
He and Bruce , U of Miami grads ... with amazing chemistry and
they go to make a record
and his drum beats become drum machine ...

I just found this on wikipedia .. so its actually written in the history of the band .. hehe .. they try and make it sound like it was a positive .. but when you hear live recordings, you get a whole different taste of that syncopation and improv ...

[Hornsby and the Range's sound was distinctive for its consistent use of syncopation in his piano solos, a bright piano sound and an extensive use of synthesizers as background for Hornsby's solos, most notable on the tracks "The Show Goes On" and "The Road Not Taken". John Molo's drumbeats were often looped throughout the recorded versions of songs. They are typical double-time beats, which allowed Hornsby and the rest of the band to do more with their solos.]
6
Share