Scott Abels is a drummer of a different nature. From cool and collect rim-shots to rib-trembling snare hits, he translates the elements of the earth into each musical project in which he has played on. Born in Fresno, California, Scott has played with some of the biggest names of the ska/reggae scene (i.e. Hepcat, Aggrolites) in the Los Angeles region and has contributed to other notable acts such as: Lars Fredericksen and the Bastards, Cypress Hill and remixes for Depeche Mode. Emerging with Los Angeles’ Hepcat, Scott began to accumulate a style that became recognizable on every album that he played on with or without Hepcat. Plus, when he’s not backing others, you can find him in his personal studio recording solo material under the name “Blood Orange Recordings”. Either from reggae/ska or to punk rock, a musician’s style can be altered through a specific type of recording or a push from some friends. I had a chance to chat with Scott about how he approaches recording, new projects and his current studio work with reggae legend Jimmy Cliff and Rancid’s Tim Armstrong.
Underneath The Waves: So how's the recording going with Jimmy and Tim?
Scott Abels: For the most part I think the rhythm section is done. We were suppose to go in one more time, but Tim's busy with Rancid now, so it's up in the air. I think Jimmy's coming back to do more vocals.
Good. How did this project come around to you?
I've worked with Tim in many different capacities for over a decade. In Hepcat, opening for Rancid, drumteching for Rancid, playing in Lars Frederiksen and the Bastards. Tim actually asked me to join that project. I've also done many sessions as a drummer for him. So that's how that goes. But it was Jay Bonner, who I played with in the Aggrolites, that got me in there. Love playing with that guy.
Yeah, like I said before, hearing the second Aggrolites album made me become a dedicated fan for what they stood for; however, the drums are what stood out for me. The way they were recorded were what was significant for me. There is a certain style of drumming that stands out when you hear your albums, what do you differently that most drummers don’t?
One thing that has creeped into my approach on the drums is playing for the music and the music only. I write a lot of music now playing all instruments, so over the years my drumming has evolved into a lot less thinking as drummer, where I play stuff a drummer might like but wouldn’t do anything for the music as a whole and sometimes detract from it. I here a lot of drummers out there that are stunning drummers, but musically deficient. I also pay a lot of attention using the right drums for the right situation. I've spent my last 10 years in my own studio getting all the old classic drum sounds. From fat 70's sounding concert toms to the classic sound of a vintage Leedy kit with all calfskin heads. It's just what I do. The last thing is, groove and feel are the key. I'm a feel drummer, plain and simple.
As far as that Aggrolites album you keep referring to, Brian's[Dixon, Aggrolites’ Rythym guitar player] drum sound consisted of really one vintage RCA 44 ribbon mic out in front of the drums. He triggered a subsonic harmonizer with a kick mic. The subsonic harmonizer drops the low end down an octave. So if you really listen to the kick, you'll hear this real sub sound to it. But that sound of the drums were pretty much one bad-ass mic.
That's amazing with how technical one mic can get. It has such a great retro sound and I think it fully captures the Trojan Records spirit. It definitely shows. It sounds like you were doing that with Blood Orange recordings and your solo page from Myspace. Do you ever plan to release or tour any of that material with studios musicians or just keep it on the side?
It's funny you bring up Blood Orange. I'm having a webpage made right now and I'm going to start posting a whole bunch of music on this site. I have so much new material that makes that old stuff look amateurish. I had a short piece of music used in a movie years ago where I did everything. When I got that check and didn’t have to share it with anybody, it really changed my way of thinking. I never really had a solo project mentality about it, I just started writing and recording and it just snowballed. I definitely want people to hear it and enjoy it. That is why we do it. Music makes people happy.
That's great! I like the simplicity of just less technicalities with recording. See, I'm not a recording tech, but from what I hear on a lot of albums that they are currently is too over the top with how clean the sound is. Which goes right into the next question. Do you prefer digital or analog recording?
A lot of outboard gear and mixing consoles are fat warm analog tube/solid state boxes of goodness, but which ultimately get digitized at some point. Yes, I prefer the sound of tape. Hands down to digital, but the convenience of the computer is a hard argument when you record the way I do. I'm one person so digital is the way to go. Now if I'm recording a band, especially anything Jamaican oriented. I would go to tape.
You've played on a lot of reggae and ska albums, but it's awesome that you went from punk to hip-hop (Cypress Hill) and then Depeche Mode remixes. What attracted you to change it up?
I'm a lover of all music, therefore I always strive to be as diverse a player as I can be. It's not really that I go from one style to another, it's basically as simple as I get a phone call to do something and I say sure I can do that. Sometimes it's people other than myself who have faith I can do something. Case in point, Tim Armstrong asked me to play in this punk band (Lars Fredericksen and The Bastards) My response to him was I had never played punk rock before, his response to that was I know you can do it. So I did it. It just makes you a stronger player and it's all relative. I've used some of those punk tendencies let's say in the Aggrolites and vice versa. Before I ever played with Hepcat/Aggrolites, I had played a lot of funk, studied jazz for 3 years in Santa Cruz, had a gig in China, toured with an alt rock band. I subbed for a soul band just last night, learned 15 tunes in an hour and went and kicked the door down.
That's a great mentality. A lot of musicians sometimes don't want to break their box and perfect only one style. I think that sometimes gives musicians a bad rep on what they can or can't do. But I like how your friends challenge you to try something different with a new project. Being around the ska/reggae scene for quite some time, how would you describe the current state of bands coming out now?
Well, I don't live in Los Angeles anymore, so I don't have intimate knowledge of what's really going on, but what I can surmise through friends and Facebook it seems there are more bands than ever. The scene feels vibrant and alive. One thing that really shook me up last year was seeing the Specials at the Nokia. Everyone who was anybody was there: Hepcats, Fishbones, No Doubters-they were all there. I commented that this show alone will inject some new found energy into at least the LA scene and I think it did, but I'm only speculating.
Through all the different projects you have been involved with, which one has meant the most to you?
Honestly, I probably wouldn’t have been able to answer that 6 months ago, but without a doubt the Jimmy Cliff/Tim Armstrong project. It just doesn’t get any better than that. Playing with my favorite reggae bass player Big Jay Bonner and one of my favorite organ players Dan “The Man” Boer. New found musical prodigy, Baby Kevin. You throw in the mix one of the greatest talents out there Tim Armstrong. The icing on this cake being the legendary Jimmy Cliff. I have never heard anyone’s voice come through studio monitors like his did, it was mystical. I can't leave out the studio Sunset Sound and they're personnel. All in all, best of times...much respect to everyone who was involved, I was very fortunate in deed to have been selected.
I'm glad to see Jay playing again- great talent. Well, I'm definitely looking forward to hearing when more material will be released, but as for right now with "Guns of Brixton", it certainly doesn't let down. Any projects at the moment besides Blood Orange? New bands?
I believe I read the whole Jimmy Cliff thing will be released in November. I have a little trio with a buddy on bass Jon Crossen (who played bass with me on an Aggrolites European tour) and this blues guy who's in his 60's from Chi-town named Bobby Joe Neeley. We have this early 70's greasy soul funk thing which is starting to spread it's wings. He sang on a blue-beat tune that I wrote and recorded called “Bring it on Back”, it's a goodie. Other than that I'm really focusing on releasing this website and bringing my music to the masses. Spread the word.
Thanks again Scott for contributing to this blog. I will keep more updates coming when the new Jimmy Cliff project is released!
***UPDATE*** The "Guns Of Brixton" single by Jimmy Cliff can now be purchased on iTunes!
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