Be My Baby
The Ronettes
Hal Blaine's two-bar intro, snare only on beat 4 until the chorus, became one of the most copied drum phrases in pop
Backbeats played by session drummers and later programmed: Motown's pocket, funk's emphasis on the one, disco's open hats and R&B's late snare.
The Ronettes
Hal Blaine's two-bar intro, snare only on beat 4 until the chorus, became one of the most copied drum phrases in pop
Four Tops
Benny Benjamin and James Jamerson lock the driving Motown dance beat; producers would not cut sessions without Benjamin
Wilson Pickett
Al Jackson Jr.'s delayed backbeat, reworked from the Jerk dance Jerry Wexler showed the band; a defining Stax feel
James Brown
Root: often called the first funk record; all weight on the one, a late snare in bar one, and the first give-the-drummer-some
The Meters
Zigaboo Modeliste's syncopated New Orleans second-line funk; critics heard his drums as the lead voice
James Brown
Root: Clyde Stubblefield's improvised ghost-note groove and eight-bar break, one of the most sampled recordings ever
Isaac Hayes
Root: Willie Hall's constant 16th-note hi-hat, taken from a Stax break; counted among the first disco singles
The O'Jays
Philadelphia's MFSB rhythm section; called one of the first disco songs and MFSB's first Hot 100 No. 1
Tower of Power
Co-written by drummer David Garibaldi: a tight, busy sixteenth-note groove under Tower of Power's horns
Bee Gees
With the drummer away, two bars of Night Fever's drums were tape-looped: a played beat used like a drum machine
Chic
Tony Thompson and Bernard Edwards's tight, syncopated groove; its bassline became Rapper's Delight
Anita Ward
A Synare electronic drum's falling tom on beat one of every bar is the hook: electronic drums as disco's signature
Phil Collins
A CR-78 preset ticks for minutes, then the gated-reverb tom fill explodes: the best-known moment of the 80s drum sound
Toto
Jeff Porcaro's half-time shuffle with ghost notes, mixing Purdie and Bonham shuffles; now a standard of drum repertoire
Michael Jackson
Dry, tightly isolated kick, snare and hat (Swedien built a special drum riser): a groove recognisable from its first bar
Prince and the Revolution
Linn LM-1 drums carry a No. 1 single with no bass line at all; drum-machine pop at its most stripped and bold
Prince and the Revolution
Skeletal drum-machine funk with no bass: the kick runs through a non-linear reverb to fill the low end
Keith Sweat
Co-produced by Teddy Riley and considered the first new jack swing hit: swung, hard-hitting machine drums under R&B
Aaliyah
Timbaland's stuttering programmed kicks, beatbox and baby samples: off-kilter, syncopated R&B drums go mainstream
D'Angelo
Live kit with machine-like evenness, cross-stick on 2 and 4 and a loose kick: the dragged Voodoo-era neo-soul pocket
Press play to loop each record's busiest two bars. Patterns are machine-detected from the recordings, not verified transcriptions.
PopBlondie
PopPeter Gabriel
PopPrince
PopToto
PopMichael Jackson
PopEurythmics, Annie Lennox, Dave Stewart
PopMadonna
PopPhilip Bailey, Phil Collins
PopTears For Fears
PopKate Bush
PopPeter Gabriel
PopMichael Jackson
PopPaula Abdul
PopKylie Minogue
PopNelly Furtado
PopTimbaland
PopRobyn
PopTaylor Swift
PopJustin Timberlake
PopBritney Spears
PopJanet Jackson
PopWhitney Houston
PopDavid Bowie
PopThe Crystals
1393 recordings.