Or “Lahve moi wye”, as singer Richard Butler would have it.
Yes, Love My Way is about the marimba part played by Todd Rundgren. Yes, it’s about Richard Butler’s croaky sneer. Yes, it’s about Flo and Eddie’s harmonies. Yes, it’s about Tim Butler’s rumbling bass. But it’s also very much about Vince Ely’s drums.*
I’ve said this over and over in these drum posts, but as I get older, I respond most favourably to players who do what’s needed and nothing more, and don’t let their ego influence what they play. The thinking behind everything that Vince Ely does during Love My Way is immediately clear when you listen to the song. As much as Richard Butler, Ely narrates the song. There’s nothing in his performance that feels like it’s just a lick, like it’s just there for Ely to show off to Modern Drummer readers.
Let’s take the drum track apart and see what he’s doing.
Two and four on the snare. Eights on the hi-hat, with a “psst” every two bars. That’s all obvious enough.
On the kick, he plays a two-bar pattern: single strokes on beats one and three in bar one; then a bar with extra strokes on the “and”, so all together the pattern is kick, snare, kick snare; kick-kick snare, kick-kick snare. This variation gives the song extra drive and momentum, and stops it from feeling too rigid and repetitive.
In the choruses, he switches to keeping time on the floor tom. This is a pretty rare move in rock. Most of the time, drummers move to a cymbal of some kind for choruses – usually a ride, but also sometimes a crash or china. Drummers are more likely to use floor toms to keep time during intros, verses or breakdowns. To me, the effect of going to the floor tom for the chorus is an increase in tension. You think you know what the drummer’s going to play, then he plays something else. You get an unexpected increase in energy in the low end of the frequency spectrum (the floor tom is the biggest tom, and usually has the lowest fundamental note of any drum in the kit except the bass drum) when you’re expecting the opposite, and the whole thing sounds like it has to be about to resolve somewhere else, an effect that’s enhanced by the bass drum following along with the floor tom and also playing eights. But, first time round, it doesn’t go somewhere else; it simply repeats the verse again.
A cool detail: coming out of the chorus, Ely doesn’t hit his crash cymbal on the first “one” of the new section – something drummers do 99.9% of the time. Ah, you think, he’s not going to play cymbal crashes in this song. Nice. That’s different. Then he hits it on the “three” of that first bar. Woah, you think, that’s really different. I don’t know whether that was his idea or producer Todd Rundgren, but it’s great.
So we go round again, but next time we have a double chorus. Halfway through, Ely switches out of his floor-tom beat and plays his verse pattern (again, with that displaced crash cymbal and the original kick-drum pattern). By doing so, he releases all that pent-up tension, making the chorus more celebratory.
The song’s final minute sees Flo & Eddie (Howard Kaylan and Mark Volman, formerly of the Turtles and Zappa’s Mothers of Invention**) come to the party to add their falsetto harmonies, a section introduced by Ely with the simplest of drum fills: seven eighth-note strokes on the snare. For the last forty seconds of the song, he lays off the hat, again preferring the floor tom, but gradually complicating his pattern so it becomes increasingly syncopated and, for lack of a better term, tribal.
Drum performances that heighten, reinforce and indeed comment upon the emotional journey of a song are actually pretty rare in pop and rock music, which is why Love My Way is a bit special. It’s hard to know whether the ideas came from Rundgren or Ely but they’re certainly executed well, whoever was responsible.
1982 parent album, Forever Now
*I’m not 100% certain it’s a live drum track. I think it is, but the drum sound is very weird and doesn’t sound much like an acoustic drum kit. But that’s often the case with records engineered by Todd Rundgren. Also the tempo is very solid. It’s the section at the end where Ely starts playing the tribal-style tom pattern that makes me reasonably sure it’s not programmed.
**If you’ve heard Flo & Eddie’s super-high harmonies anywhere, it’ll be on T.Rex records, most notably Get It On.