Where Old School Meets New – The Timeless Rhythm of Clyde Stubblefield
September 9, 2010 10:28 am in Drumset by David Stanoch
Greetings to all,
I have the pleasure and honor of being invited by VF Exchange moderator, Mark Wessels, to present a special post on a singularly unique artist, known to musicians worldwide as “The Funky Drummer” -- Mr. Clyde Stubblefield. In it, we’ll examine the history and innovations of Clyde’s career, watch and listen to examples, and, since The Exchange is an educational forum at heart, I’ll share some tips from Clyde himself and reflections on what I’ve learned personally from him since first meeting him in Madison, Wisconsin, in 1980.
I am proud be part of a new donation campaign organized by drummers Stanton Moore, Johnny Rabb & myself, to benefit Clyde, who is braving intensive weekly kidney dialysis treatment, while continuing to perform, record and tour, since his kidneys failed in July of 2009. Together we have founded The Coalition For Clyde Stubblefield and established a website: http://clydestubblefield.chipin.com/clyde-stubblefield, which I’ll address in more detail later. Vic Firth is a major supporter in helping to spread the word for this effort and we thank everyone on the VF team for their care and concern.
THE HOLY GHOST?
“To hear Clyde play -- honestly, I have not figured out what Clyde’s been doing yet. I don’t know if anybody can tell you. But I know this: he has to be one of the funkiest drummers that I know.” John “Jab’o” Starks
This statement by drummer Jab’o Starks, who served with Clyde in James Brown’s orchestra from the late 60′s to early 70′s, is deceptively simple in its profoundness. We can all appreciate the hipness of Clyde’s rhythmic imagination. We can analyze it and transcribe it, but some of us may still miss the point. There’s something intangible about the feeling his beat resonates in so many people that has secured his legacy. Something Jab’o refers to as a “Holy Ghost” feeling. So where does that kind of magic come from?
ORIGINS
Born on April 18th, 1943, in Chattanooga, Tennessee, Clyde was never formally trained in drumming but was inspired by the parade drummers he watched as a child. His natural talent was nurtured in a very organic way, “Playing on tin can lids, pasteboard boxes -- everything,” he says. He grew up very aware of rhythm in everything around him -- from the way he walked down the street, the clocks he’d hear ticking all night long in his home, and the factories nearby in the Tennessee Valley.
I remember him once telling me how he was fascinated by the rhythm of the machines he heard in the factories he passed when walking to school and back while growing up. “I’d hear one rhythm on one side of the street on my way to school and a different one on the other on my way back. “When I got home,” Clyde explained, “I’d try to play them both together!” This has stuck with me ever since. Experimenting with this idea myself has improved my ear and coordination and is a fun challenge that I often recommend to my students.
Things began to evolve quickly for Clyde as a teenager in the mid 60′s. He left Tennessee to work with blues guitarist Eddie Kirkland in Macon, Georgia, which led to road work with vocalist Otis Redding. Then one night in a Macon nightclub James Brown heard Clyde, offered him a gig on the spot, and the rest, as they say, is history.
COLD SWEAT
Imagine yourself sitting-in in a club, being heard and hired by a famous entertainer, whisked off to New York City the next day to cut a record, then, over time, watching that recording become not only a hit, but an all-time classic in the funk music idiom AND your beat on it set and become a stylistic standard. Maybe it’s the stuff dreams are made of but it’s also what happened to Clyde Stubblefield when he recorded “Cold Sweat ” with James Brown in 1967.
“Cold Sweat” is a historic track w/a classic groove. Of all of Clyde’s celebrated work, it remains the track he is most proud of, perhaps because it, like his drumming, developed organically -- Clyde played a beat, the bass player joined in, James sang on top, and just like that, they had a song.
Let’s break it down and check it out…
Here’s the original recording, in which James Brown singles Clyde out with his now famous saying, “Let’s give the drummer some,” and proclaims Clyde, during his breakdown solo, is “funky as you wanna be!”
Recently here at vicfirth.com, Zoro and Daniel Glass spotlighted “Cold Sweat” in their educational series, “We Want The Funk!” Click here to see a transcription you can follow along with the original recording:
And here’s a lesson from Zoro, breaking down Clyde’s classic beat on that track:
I relate to the part where Zoro talks about how when most young drummers first sit down at a drumset to play, it’s a “Cold Sweat” type of beat they commonly gravitate to. In fact, in a recent conversation I had with Vic Firth’s Director of Education, Neil Larrivee, Neil recalled, “Truth be told, James Brown and the tune ‘Cold Sweat’ may be the biggest reason why I became a musician! Man…that reality just hit me!”
That’s impact.
Now let’s check out a great live clip of Clyde playing “Cold Sweat” with James Brown in 1968. Pay attention to the differences you see and hear in how Clyde approaches the beat in contrast to the original recording. A fascinating element of James Brown’s show was how they would change up arrangements, tempos, and other approaches to the music to keep it fresh and unpredictable.
It’s also interesting, from a purely technical standpoint, to see Clyde, whom I’ve only ever seen playing matched grip, using the traditional grip in this early clip.
THE WORLD’S MOST SAMPLED DRUMMER
If any of us drummers could claim the type of achievement Clyde did with “Cold Sweat” I’m guessing we’d all be pretty satisfied. But for Clyde -- well, he was just getting started.
The body of work Clyde recorded during his tenure with James Brown includes several more classic hit records, all popping with his signature beats and feel. Before we discuss them, let’s address the now-common phenomenon of digital audio sampling.
Sampling is defined as “the technique of digitally encoding music or sound and reusing it as part of a composition or recording.” The wide spread use of sampling in popular music originated with the birth of hip-hop music in New York in the 1970s. Sampling is typically done with a computer program. It is also possible with tape loops or phonograph records.
Often “samples” consist of one part of a song, such as a drum break, that is cut and pasted for use in another, different song. This is where the story of Clyde Stubblefield moves into a new direction entirely.
Today, Clyde is recognized hands-down as “The World’s Most Sampled Drummer.” The title certainly carries an air of prestige, does it not? After all, you’ve got to have something seriously good happening in your work to arrive in that position.
But what does it really mean? What, for example, are the implications of such a title for the real-life necessities of your livelihood? Well, before we consider that, let’s check out this entertaining and informative mash-up of the most commonly sampled drum breaks in hip-hop and drum & bass music:
Good stuff, no doubt, and I’ll bet most of you recognized more than a few of those breaks. Did you know that no less than four of the samples we heard excerpts of in the clip feature the drumming of Clyde Stubblefield?
They are (in the order you heard them):
1. James Brown/Funky Drummer (1:05)
2. Lyn Collins/Think (About It) (4:06)
3. James Brown/Tighten Up (6:27)
4. James Brown/Soul Pride (6:37)
Coalition co-founder Stanton Moore’s new method book/DVD “Groove Alchemy” contains detailed historical information and transcriptions of the beats and breaks of three of the above tracks: “Funky Drummer,” “Think (About It),” and “Soul Pride.” In addition, Stanton outlines steps to find your own creativity through first learning and recreating the beats and then developing your own variations. Highly recommended!
Each track, it should be noted, is representative of Clyde’s work with James Brown.
Lyn Thomas was a back-up singer for Brown, who produced her track, which was originally released as a single. Some of you might recognize the “Think (About It)” sample from Vinnie Colaiuta’s 2007 solo release:
“Soul Pride” and “Tighten Up” come from the compilation CD, “Soul Pride: The Instrumentals (1960-1969).” They have each been sampled many, many times. Here is an example of how Clyde’s break from “Tighten Up” is typically distorted by being cut up and sped up to provide a relentless drive, drum & bass style:
The break on “Funky Drummer,” however, is a phenomenon unto itself, believed to be the world’s most sampled recording. It was originally released as a single in 1970 and was re-released on the popular 1986 compilation, “In the Jungle Groove.” Take a quick glance at this website for a partial listing of artists who have sampled Clyde’s drum break for their songs. Note that some artists use the sample on several of their songs:
http://www.the-breaks.com/search.php?term=Funky+Drummer&type=4
Coalition co-founder Johnny Rabb is one of the few humans who can actually play beats like this in their altered tempo ranges of 160-180 bpm and make them feel good. Johnny’s excellent method book, “Jungle/Drum ‘n’ Bass for the Acoustic Drum Set,” goes in-depth on the subject and also contains an interesting interview with Clyde on the topic of sampling “Funky Drummer.” Another highly recommended work.
It’s such a tasty, funky and hip beat. Let’s check out this classic track:
Now let’s contrast the original with one of the most popular rap tracks to use the breakbeat sample -- “O.G. -- Original Gangster,” by Ice-T.
Check out this clip from the film “Copyright Criminals” from PBS television’s “Independent Lens” series. What you learn about sample usage and royalties may surprise you.
Clyde himself, to his credit, is most eloquent and realistic on the subject, which he addresses in detail in this live interview with the influential DJ and record producer, Marley Marl:
Fortunately there are those who have credited Clyde for his contribution. One, in particular, is the iconic producer and drummer, Butch Vig -- another Madisonian, who opted to hire Clyde to play on his band Garbage’s platinum debut album rather than sample him. “You don’t use a sample when the genius who played the sample lives down the street from you,” Vig has stated. Listen for the contrast between Clyde and Butch’s feels on the band’s hit, “Queer.”
GIVE THE DRUMMER SOME
While it’s ironic that “The World’s Most Sampled Drummer” has never seen a penny of royalties from the hundreds of songs his innovative beats appear on, and it’s admirable that he can be above it with his integrity and dignity, the truth is it doesn’t help him at a time in his life where he could use and benefit from that money.
Clyde, who endures diabetes and has survived bladder cancer, was faced in July of 2009 with the failure of his kidneys. Incredibly, he continues to work steadily through intensive dialysis treatment. He loves to play and he wants to work. He also has to as well. While Medicare handles a portion of his ongoing treatment, it doesn’t provide for the everyday expenses of a family and maintaining a household. Not even for a distinguished drumming legend.
This is why The Coalition For Clyde Stubblefield came together. We wanted to create an ongoing means for folks to donate financial support to Clyde that is simple and secure to help him find some relief as he braves this journey.
Another great feature of our website at: http://clydestubblefield.chipin.com/clyde-stubblefield, is the “widget” feature which anyone can embed into their own social media and web pages to spread the word. So far it’s working well. At of the end of August 2010 we’ve been able to raise over $6000, after coming online in the same month, and hope to improve as we move ahead. We invite you to join us as we come together to help out a brother, an inspiration, our friend.
THE FUNKY DRUMMER
In closing I want to share some great tips I’ve learned from Clyde Stubblefield.
Clyde, who was not formally trained, has gifts that many drummers strive for but few truly possess. He doesn’t teach traditional drum lessons either, but has been a wonderful mentor to me as he has to so many other musicians everyday throughout his career.
1. Discipline. “A lot of young drummers don’t focus on the groove!” This is an oft-repeated mantra of Clyde’s. When I first met Clyde and started attending the jam-sessions he led, two nights per week in Madison -- which became like a religion to me, I learned pretty quickly how his killer band reacted to those who understood his mantra and those who didn’t. Later when not only Clyde himself but also his bandmates began calling me for gigs, I felt like I’d truly accomplished something.
2. Technique + Inter-Dynamic Balance. Clyde has a very relaxed approach to playing yet he can generate a wide dynamic range and a lot of power without bashing. He seems to operate in what I’ve come to call a “strike-zone” between his snare drum, hi-hat, or ride cymbal. He plays more up off of the surface of his instruments rather than down into them, using only the needed amount of motion and velocity. This approach allows for better tone and greater control and balance in the feel dynamically.
You can see an excellent example of this in the following clip -- although the sound quality is amateur the focus stays on Clyde, offering a perfect strategic view, and, although you can’t hear the band too well, you’ll experience his inter-dynamic balance and feel perfectly:
3. Heavy on the “One.” Where the previous example dealt with the hands, this one deals with the foot -- the bass drum in particular. In many of the beats Clyde plays, he’ll sometimes stress the downbeat slightly stronger and heavier than the other notes he plays in the bar. This can vary, but when it’s deliberate in his playing it can be a most effective ingredient for the feel. Interestingly, Clyde is an excellent cook as well and, not surprisingly, loves to spice up his meals.
4. “Put the popcorn in it!” “Mother Popcorn” was a James Brown hit with another classic beat by Clyde. It is similar to “Cold Sweat” but even more amped up and driving. What we drummers call “ghost notes” or “chatter” is what Clyde told me the JB crew always referred to as “the popcorn.” You set up a foundational beat and then incorporate dynamics between the backbeat, ghost notes, bass drum, maybe add a simple displacement and some hi-hat barks, all designed to get your rhythm sounding like…popcorn popping!
Like this:
5. “Don’t Think!” Um, say what?! I remember when he first laid this on me, I would actually argue with him -- “But Clyde…what about…I have to…” He’d listen. Then one word in reply: “Bullsh*t!” Eventually it started to sink in. Clyde wasn’t suggesting that I not be prepared or have my thing together. It was more about letting go and letting it flow once I started to play with the band. He could see that I was getting in my own way. One time it might be me trying to prove something when I got up to play vs. focusing on the song and the band. Another time it might be overplaying in general vs. having a smooth flow to the time. Another still might be psyching myself out and letting my nerves get the best of me. All cured with another simple mantra -- “Don’t think!”
I finally got the message. Today, I pass it on. Clyde has always encouraged me. I received a bandstand education from him, which was quite a gift, Mr. Stubblefield -- thank you! I’ve had the true pleasure to produce, perform and record with him in a variety of musical situations over the years. It’s easy for me to sing his praises. He’s inspired millions. His playing may very well be the most heard drumming on the planet. He’s a fun loving guy, a kind man and very brave. I love and appreciate him deeply.
He carries on in his time of need. Please consider lending your hand to his. What James said. Give the drummer some. Thank you.
