In this last month of summer, I am focusing on tracks that have an emphasis on percussion.

“The Obvious Child” by Paul Simon

It was inevitable whatever Simon would follow Graceland with would be unable to meet the ridiculously high bar set by the legendary album. Rhythm of the Saints was a solid album, seeking inspiration from South America this time, after apparently feeling he needed to move on from African forms of music. The results are largely good, but not as boundary-shattering this time. The best track is still this one, the lead track and first single.

“The Jungle Line” by Joni Mitchell

I am more of a fan of Mitchell’s songwriting than of her own recordings of her work. But I remember how stunned I was the first time I heard this. This track is likely even more controversial now than it was in 1975, as there is a larger conversation today about cultural appropriation. Myself, I think she just loves the Burundi drumming sampled here, and I find it to be a perfect accompaniment to the fascinating stream-of-consciousness lyrics.

“I Want Candy” by Bow Wow Wow

Speaking of Burundi drummers, that was the style appropriated by former Sex Pistols manager Malcolm McLaren’s next group. This unusual combo was fronted by 13-year-old Annabella Lwin, whom he heard singing in the dry cleaners where she worked, backed by musicians he pilfered from Adam and the Ants. Don’t worry–I’ll get to them shortly.

“Running Wild” by The Soup Dragons

I have written before about how surprised I was when I finally paid attention to this group’s 1995 album Hotwired. This is yet another track I can’t believe failed to catch my ear 30 years earlier.

“Woman King” by Iron & Wine

This is the lead track from the same-titled EP, my favorite release from Sam Beam, who records as Iron & Wine. Nothing else in his now-vast catalog sounds remotely like this. This track comes to mind whenever I see the Lord of the Rings trilogy and Miranda Otto’s character dons battle armor.

“Heaven Is In Your Mind” by Traffic

Traffic is a group I like, but wish I liked more than I do. My favorite song in their small discography is “Paper Sun”, but this one is probably a close second.

“Relay” by Fiona Apple

It is hard to believe it has been four years since the album this is from was released. What I find odd is it still has yet to really grow on me; however, in that regard, it seems astonishingly new to me each time I hear it. It is definitely a clean break from her previous work (as suggested by the album title), a largely percussion-heavy track which finds the artist and others pounding away on the walls and floors of her house where this was recorded, as the musicians essentially use the structure as an instrument. I have heard of musicians playing to the house before, but playing the actual house is a new one on me, and a welcome innovation.

“Handa Wanda” by The Wild Magnolias

I don’t understand anything New Orleans, and I’m OK with that. All I know is a great deal of awesome music has come from there. In this case, it is courtesy of one of the Mardi Gras Indians groups.

“Beat Crazy” by The Joe Jackson Band

This is from the same-titled third album, a radical departure from the new wave and punky pop sounds of his previous two long players. This was nowhere near as successful as those. Honestly, the stylistic shift doesn’t suit Jackson well, though I admire him for trying something new. Although the reggae trappings here ring false, I still find this to an infectious number.

“Outside” by The Beta Band

As much as I love The Beta Band, there is a whiff of forced frivolity on the livelier tracks of their third, and last, long-player. Still, I find it impossible not to be swept up in the pounding rhythms of this song.

“Antmusic” by Adam & The Ants

More Burundi-type drumming, courtesy of the band from which manager Malcolm McLaren stole those personnel away to become Bow Wow Wow.

“Dance With The Devil” by Cozy Powell

A surprise hit single in the 70s from the drummer for Rainbow, Hot Chocolate, Whitesnake, Black Sabbath and seemingly a hundred other groups. Suzi Quattro plays bass on this.

“Click Song No. 1” by Miriam Makeba

South Africa’s Miriam Makeba is due for a rediscovery. In the 1950’s, she brought that nation’s apartheid crisis to the attention of the world through her music. Her success in the US was largely through introductions made by Harry Belafonte. I find it interesting she came to a country that was so thoroughly repressing Black people, in order to draw attention to the same crisis in her home country. Her career was lengthy, including work on Paul Simon’s Graceland.

“Teen Beat” by Sandy Nelson

Similar to Cozy Powell, drummer Sandy Nelson had an instrumental hit, though his was roughly 15 years earlier. And “Teen Beat” was a monster hit, selling over one million copies. What I like most about this track is, no matter how many times I hear it, I’m still surprised by the sudden changes it makes.

“Trust” by Squeeze

Those who flipped over their copies of the “Tempted” single were surprised by this brief track in a style otherwise unrepresented in the catalog. Intended to be a parody of the sound of groups like Adam & The Ant, I actually find it quite compelling.

“Iko Iko” by The Dixie Cups

This New Orleans singing act is better known for “Chapel Of Love”, but this number is likely more representative of their original sound.

“Neanderthal Man” by Hotlegs

Hard to believe this track, with its intentionally primitive beat, is by a band that was soon to become 10cc, a group most renown for their wit and complicated musical structures

“Take On The World” by Judas Priest

I wasn’t familiar with Judas Priest until hearing this track on a glam rock box set. I was disappointed to learn this was not representative of their sound in general, but at least we have this song.

“Cecelia” by Simon & Garfunkel

I try to avoid having the same artist twice in one of these mixes, even if one occurrence is solo and another is in a group. But I had to break that rule for this song, one that suggests the influences that would come to shade Simon’s work, ones that were outside of the established Euro-centric canon. While I can understand the charges of cultural appropriation leveled at him, I can’t deny he knew to lift from some great sources.

“Tusk” by Fleetwood Mac

I am concluding this mix with what is likely the best known track here, with Fleetwood Mac accompanied by the USC Marching Band. What seems not that strange today actually alienated many listeners and critics at the time. An unusual aspect of this production is the marching band was recorded in L.A.’s Dodger Stadium, so they could actually march while being recorded.