December 9, 2013
Ready for side 2? This is Chris again, and actually it is Side B. Also the first song on this side should be numbered 1 but we’ll continue with #8.
8. Knockout: A KO may be a 10 count but I put several accents counting to three in the verses. Do three knockdowns end a fight? I know you must be pinned for a three count in professional wrestling. Anyway, the accents change to single ones with everyone on the second half of the second verse. I don’t know who’s idea that was but it was a damn good one. After the breakdown stop when it seems the beginning of the song is repeating I squeeze in some kick/tom triplets to help differentiate.
9. Sweet Sad Goodbye: When the vocals are monotonous and repetitive — so is the kick/snare pattern. When they’re more interesting — so are the drums. The fast 16th notes on the hi-hats helped to keep it interesting(for me) through the verses by gradually opening and closing them slightly.
10. P.S. I Miss You: The drums are more of a percussion part. The verses are all toms and kick with the snare hits increasing throughout the song. The chorus is almost a linear pattern with almost no two sound sources being played simultaneously. Only at the end does the typical rock drum set take over.
11. Leak: Steady through the verses. 8th notes on the snare on the more quiet parts. Really locking in with the vocals on the chorus. Ride bell and kick right on the last three syllables.
12. The Maddening: I always joked that the drum track was inspired by a Mötley Crüe song called Public Enemy #1. Check out both songs and you’ll see what I mean.
13. Insomniac Killer: The last song so my approach was simply: Go for it! I used a big snare drum that the big drum room at Sonic Iguana always loved. That particular drum was also the only snare I used on Songs For Swinging Lovers. Strange, but it kind of helped to take things full circle for the ending.