Big Drums in a Big Room

Every Picture Tells a Story

 

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What could be better?

If you’re a fan of BIG DRUMS in a BIG ROOM, with jump-out-of-the-speakers practically direct-to-disc sound quality, this is the album for you. The opening track on side one has drums that put to shame 99% of the rock drum kits ever recorded. The same is true of I Know I’m Losing You on side two. It just doesn’t get any better for rock drumming, musically or sonically. Micky Waller is brilliant throughout. Kenney Jones, who only plays on the showstopping “(I Know) I’m Losing You”, is clearly out of his mind).

Some of the best rock bass ever recorded can be found here too — punchy, note-like and solid as a rock. If you have the system for it you are going to have a great time playing this one for your friends, audiophiles and otherwise.

Nevermind

I Know I’m Losing You on this album rocks as hard as anything from the era. If you have BIG DYNAMIC SPEAKERS and the power to drive them to serious listening levels, you will be blown away by the power of this recording.

You know what this album is? It’s the Nirvana Nevermind of the early ’70s. It has that kind of power in the bass and drums.

Kenney Jones: Quintessential British Drumming Royalty

by Adam Budofsky

We used to do some of Rod’s songs live with the Faces, and “I Know I’m Losing You” was one of them. I’ll never forget when we recorded the studio version of that. I was watching a film at home and Rod called up and said, “We’re in the studio, can you come and do ‘Losing You’ for me?” Luckily it was only five minutes away. So I drove to the studio, got on the drumkit, did the track with the drum break in it, and finished. Then I went back to my house and watched the end of the film. That’s how quickly we did that one.

The song was never meant to have a drum solo, just a drum break that Rod would chant over. But in time the drum break got longer and longer, eventually turning into a bit of a solo. I never view it as a drum solo, though. If I were to choose to do a solo, it wouldn’t be that kind of rhythm, and it wouldn’t be that tempo, although I’ve gotten used to doing it by now. There’s lots of press rolls and triplets with the bass drum. Oddly enough, while I was doing it I kept thinking about “Let There Be Drums.”

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