Break out your Jheri curl, Michael Jackson gloves and boombox as you get down to the sound of this musician who pays homage to 80's production. Behind The Drums takes a deep dive into the rhythms which built a generation. I'm proud to be raised on this type of music and now present the source of these magical drum sounds and grooves.
Based on the "Behind The Drums" sources, here is a list of the drum machines mentioned, the producers or programmers who used them, and the specific songs they were used on. I'm also including some of my favorite mixes to highlight drum sounds introduced in the 80's courtesy of Sparkle Motion:
Click on each header below to be redirected through my Awin affiliate link to each drum machine listed for sale on Reverb.
- Linndrum & Emu Drumulator: Used by Tears For Fears on the song "Shout".
- Linndrum: Used by producer Keith Forsey on the Billy Idol song "Eyes Without A Face".
- Linndrum: Programmed by Paul Waaktaar and produced by Alan Tarney for the A-ha song "Take On Me".
- Linndrum: Programmed by Chris Hughes for the Tears For Fears song "Everybody Wants To Rule The World".
- Linndrum: Programmed by Neil Giraldo for the Pat Benatar song "Love Is A Battlefield".
- Linndrum: Programmed for producer Giorgio Moroder on the Berlin song "Take My Breath Away".
- Linndrum: Programmed by Michael Sembello for his song "Maniac".
- Linndrum: Used by producer Mutt Lange (or sampled via a Fairlight CMI) for The Cars' song "Drive".
- Linndrum & Sequential TOM: Used by producers Jimmy Jam and Terry Lewis for the Janet Jackson song "What Have You Done For Me Lately".
- Linn 9000: Programmed by Sammy Merendino for the Cameo song "Word Up".
- Linn 9000: Used by the production team Stock Aitken Waterman for the Dead Or Alive song "You Spin Me Round (Like A Record)".
- Linn 9000 (speculated): Used by producer Elliot Wolff for the Paula Abdul song "Straight Up".
- Linn LM-1: Mentioned as a machine known to be used by Tears For Fears.
- Oberheim DMX: Programmed by Fred Zar for producer John "Jellybean" Benitez on the Madonna song "Holiday".
- Oberheim DMX: Programmed by Stephen Bray for the Madonna song "Into The Groove".
- Oberheim DMX: Programmed by Stephen Morris and Bernard Sumner for the New Order song "Blue Monday".
- Oberheim DMX: Used by producers Tom Petty and Dave Stewart on the song "Don't Come Around Here No More".
- Oberheim DMX: Programmed by Larry Smith for the RUN DMC song "Sucker MC's".
- Oberheim DMX: Used by producer Jimmy Iovine (programmed by either Prince or Dave Bluefield) for the Stevie Nicks song "Stand Back".
- Oberheim DMX (for cabasa): Used by Phil Collins on the song "Take Me Home".
- Roland TR-707: Programmed by Andrew Ferris for the INXS song "Need You Tonight".
- Roland TR-909: Programmed by Phil Collins for his song "Take Me Home".
- Roland TR-909: Programmed by Gota Yashiki for producers Jazzy B and Nellee Hooper on the Soul II Soul song "Back To Life".
- Roland TR-909: Programmed by Schoolly D for the song "PSK," which was later sampled by Stephen Hague for the Siouxsie & The Banshees song "Kiss Them For Me".
- Roland TR-727: Used for additional percussion on the Shep Pettibone remix of Madonna's "Into The Groove".
Other Machines & Samplers
- Simmons SDS7: Used for white noise by Sammy Merendino on Cameo's "Word Up".
- Simmons (Toms): Used by Stephen Morris and Bernard Sumner on New Order's "Blue Monday".
- Fairlight CMI: Used by Tears For Fears for the kick drum on "Everybody Wants To Rule The World".
- Akai MPC 2000XL: Used by the video host, Nick, for the recreation of the drums for Soul II Soul's "Back To Life".
Base your eyes on the guys who keep crate digging alive in the official video for their song "GOLDEN CROWN". From the 10 Year Anniversary Edition of the classic Paul Nice & Phill Most Chill album "The Fabreeze Brothers" on AE Recordings. Produced by Paul Nice (R.I.P.). Rhymes by Phill Most Chill and Oxygen.
Download the Paul Nice & Phill Most Chill "THE FABREEZE BROTHERS" lp and more Phill Most Chill music at
And buy the 10 Year Anniversary Edition vinyl pressing of the Paul Nice & Phill Most Chill "THE FABREEZE BROTHERS" lp while supplies last at
Below, enjoy the soundboard audio as D'Angelo performs his last show with his band The Soultronics.
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| The Electric Lady Studios promo for D'Angelo's "How Does It Feel", now available here at eBay (after clicking my eBay Partner Network affiliate link and purchasing I will receive compensation) |
Inside D'Angelo's Recording Techniques & Performance
Here is an inside look into D'Angelo's recording and performance techniques as revealed by Isaiah and Bilal in this discussion:
Based on the insights shared by Isaiah Sharkey and Bilal, D'Angelo's approach to music is characterized by an intense focus on feeling, meticulous arrangement, and a "raw" sonic aesthetic.
D'Angelo's approach to music is characterized by an intense focus on feeling, meticulous arrangement, and a "raw" sonic aesthetic.
I. Recording Process and Philosophy
The "Record Everything" Rule: D'Angelo followed a strict policy of recording every moment in the studio
. He often preferred first takes or early captures because they contained the "initial feeling" and essence of a song
.
Capturing the "Gibberish": During the recording of Black Messiah, Isaiah Sharkey noted that D'Angelo often kept "gibberish" parts—the moments where a musician was still trying to figure out their part—because the natural struggle and discovery felt better than a polished take
.
Vocal Layering and "Scratch" Tracks: D'Angelo would often record "scratch vocals" consisting of gibberish rather than lyrics to capture the melody and emotion first
. He would then harmonize and stack these layers of gibberish until they eventually evolved into actual words
.
The "Oil Painter" Approach: He had no concept of time and would constantly "go back in and touch" his work, much like an oil painter, often spending years refining a project
.
II. Instrumental and Sound Techniques
Multi-Instrumental Mastery: D'Angelo was deeply involved in every layer of the music. He played piano, guitar, and bass, often performing the bass parts himself on tracks like "A Thousand Deaths" and "Another Life"
.
Guitar-Centric Keyboard Style: Even when playing keyboards, D'Angelo thought like a guitar and bass player
. He avoided "big huge chords," preferring a leaner, more rhythmic approach that emphasized the relationship between the right hand, left hand, and the bass line
.
"Drippings": This was D'Angelo’s term for a specific guitar technique used by Isaiah Sharkey, characterized by atmospheric, fluid melodic lines found in songs like "Till It's Done" and "Another Life"
.
Experimental Sound Design: He encouraged unconventional sounds, such as Isaiah Sharkey using a drumstick on guitar strings to imitate Johnny Guitar Watson, which became the intro to the Black Messiah album
. He also utilized "space echo" and cranked amplifiers to achieve specific textures
.
The ASR-10 and "Book Bag of Sounds": D'Angelo relied on the ASR-10 sampler and carried a book bag full of floppy disks containing his signature sounds
.
III. Rehearsal and Performance Standards
Meticulous and Intense Rehearsals: Bilal described D'Angelo as "extremely meticulous," noting that he knew every note of every part for every instrument in the band
.
Unconventional Work Ethic: D'Angelo often operated on a delayed schedule, sometimes showing up at 2:00 AM for a session or rehearsal
. However, once he arrived, he was "on fire" and "on it," maintaining a crazy work ethic that often lasted until 6:00 AM or 10:00 AM
.
Physical Preparation: To get his musicians in the right headspace, D'Angelo would sometimes smack or poke his band members right before performing to ensure they were "ready to play"
.
IV. Sonic Aesthetic and Influences
The "Dirt" and the "Grit": A core element of D'Angelo's sound, particularly with engineer Russell Elevado, was a refusal to "shine" the music
. They aimed to capture the raw, gritty vibe of the room, prioritizing "dirt" and "feeling" over "plastic beauty"
.
Gospel Quartet Roots: Much of D'Angelo's rhythmic foundation comes from Gospel Quartet music, which mixes blues, doo-wop, and a driving vamp known as "the drive"
.
Space and Intentionality: A major takeaway for musicians working with him was learning how to use space and being "very intentional" about every note played, ensuring nothing was "buried" in the arrangement
Rhamel is here to excel at the level of a rebel as he represents the larger-than-life attitude of Brooklyn. "Straight out of Brooklyn" is a song and 12-inch vinyl single by artist Rhamel, originally released on Heated Records in 1991, often paired with "Do It Any Way You Want". It is characterized as Hip-House/Old School HipHop and is featured on the 2025 album Lost Old School HipHop: Final Chapter.
You can get a copy of the original 12" single here at my eBay Storefront. If you decide to purchase it or anything else through my link, thanks in advance. As a member of the eBay Partner Network, I'll receive compensation from your purchase. "Lost Old School HipHop: Final Chapter" is streaming on YouTube and here at Apple Music.
On a Friday morning and barely awake from listening to The Stretch Armstrong & Bobbito show, I was lucky to capture this gem. Stretch & Lord Sear played this tape of a superb Vinyl Reanimators mix to pass the time while waiting for the Jazz Man to arrive at WKCR. This is one of the best original Hip Hop sample mixes I've heard to date.
The humor Stretch & Sear bring to the mix makes this mix that much more special. The two sound delirious as they kick jokes and snap on each other while burden by their impatience of waiting for "The Jazz panzy man" to arrive. Bob is missing in action and the dastardly duo manage to snap on him as well. Enjoy a golden moment of 89 Tech 9 entertainment and crate digging history.
Keyboardist and producer Yoni Mayraz returns with an anticipated new album, ’Dogs Bark Babies Cry’ set for release on September 5th 2025, via PPK Records (run by Pino Palladino & David Passick). The follow-up to his breakout debut ‘Dybbuk Tse!’ sees Mayraz pushing his singular sound into deeper, wilder territory.
‘Dogs Bark Babies Cry’ stands for “the moment when a commotion takes place. Dogs start barking, babies cry. It’s an ominous sound, yet a natural one. One that can be heard from afar,” explains Mayraz.
Just how deep can it get? Very, when dealing with the supreme mathematics and wisdom of The Wu Tang Clan. If you aims to achieve a deeper understanding of life instead of looking at the world around you on face value, this documentary is insghtful. The RZA delves deep into the teachings and philosophy of The 5% Nation to provide a great look at the creation and enduring legacy of The Wu. As a result, your bound to leave with a desire to study in order gain more clarity about your own life, identity and beliefs.
Below, Scram Jones cuts and blends to offer one of the best Wu Tang mixes. This isn't your average sample mix, Scram makes it a memorable event of Wu crate digging excavation.
May your heart flutter to the soulful sounds as Stacy Ryan breathes new life into a Chet Baker classic. "Like Someone In Love" is transformed from the somber mood of the original into a delightful R&B tune. What once resembled the feeling of being at a Jazz lounge becomes a ray of sunshine as you enjoy the company of your significant other.
This one as well as other gems on this compilation are sure to be the soundtrack for your romantic mood. Stacy leads the way to happiness with emerging talents of music who draw inspiration from the charming Jazz persona of Chat Baker.
Add this one plus the full instrumental album below to your "Step In The Arena" experience. We get more insight behind Gangstarr's classic sophomore album as The Guru & DJ Premier sit with UK TV. Here what Sunset Vinyl has to say about this interview:
"In this early UK television interview, Gang Starr — Guru & DJ Premier — introduce themselves to British audiences for the first time.
Filmed at a pivotal moment in hip-hop’s evolution, the duo reflect on their roots in New York and Boston, the influence of family and street knowledge, and the philosophy behind their music. They discuss rap as a “voice of black youth,” the social realities that shape their lyrics, and the importance of bridging understanding between cultures.
The conversation also explores:
The fusion of jazz and hip-hop
Working with Spike Lee and Branford Marsalis
Why jazz deserves renewed respect
Educating listeners through rap
Underground credibility vs commercial trends
The rise of “gangster rap” and staying true to their own style
The vision behind their album Step in the Arena
Guru and Premier explain how their creative partnership works — from Premier’s production to Guru’s lyrical approach — and why they see rap as both an artform and an educational tool.
A fascinating snapshot of Gang Starr at the beginning of their UK breakthrough — thoughtful, socially aware, and laying foundations for the jazz-rap movement that would define the early 90s."
Here's a dealer on eBay who has the instrumental vinyl for "Step In The Arena" on sale. If you decide to buy it or anything else through my link, you'll support the blog because eBay compensates me as a member of their Partner Network. The copy I got of "Step In The Arena" instrumentals was a test pressing which if I can recall correctly, I got at Beat Street in Brooklyn.
Big Phrodee provides some rare audio of Mikey D'Struction at work from the years of '84 and '88. This series of performances by Mikey D includes a hilarious cover of T La Rock's "It's Yourz".
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