I maintain that this IS technical perfection. Motherfucker playing the sway, if not always the drums.



I think of it more like pretty good examples of how little information needs to be clearly brought across in a mix. All of that goofy extra shit affects the timing and pacing. In my opinion, it just shows that a listener doesn't have to know EXACTLY what is happening, on any instrument, in a mix. The end result is the key. And honestly, as a busy-ass drummer, it pains me to know/believe this.

Valid argument. It's hard to make a case against a serious contender for best funk song ever, too.



I just like to hear that stuff because I personally enjoy the sound of it. I suspect you're right- even if it's not particularly (or at all) audible in the mix, it affects the performance, so it's effecting the overall feel of the rhythm section. It'll groove differently than just playing a straight beat.

Love it. So stupid. So awesome. The feel on the hats is tremendous.

Aye, i fully agree. This is mainly i think, why everyone should just release drum-only tracks for everything.

PARENTAL ADVISORY: NERD VERSION INSIDE.

Chamberlin is a monster:


Moar subtle ghostery:


What a weird, unnatural snare reverb:


More wonky 'verb, kick edition:

What great drum sounds:

Not quite the same thing, but still awesome. One foot on the blast beats:




This makes me wonder how much of the track is brutally manipulated realdrums and how much is programmed. Besides the obvious realdrums.