"Get Lucky" - John JR Robinson with Daft Punk

skreg

Senior Member
I heard this and immediately ordered his DVD.

Honestly, I haven't heard a groove like this since the legendary recordings of Jeff Porcoro and Carlos Vega. The production is also exceptional.

http://www.youtube.com/watch?v=5NV6Rdv1a3I

It's really overwhelming for me to even listen to it, I end up pacing back and forth around my office just completely shocked.

*mind blown*

-sheldon
 
I heard this recently as well, reminds me of Chic, which is appropriate as Nile Rodgers features on the album I believe, great track, great groove.
 
There's some surprising session credits on that album, like the glory days of sessioning.

Can't stand this track though, the vocoder section is cringeworthy. The groove is undeniable.
 
JR's groove is sick.And I like his DVD quite a bit for the feel/groove/time elements. And, it's fun to see/hear him playing with Abe Laboriel Sr. and Luis Conte. Plus, it's crazy-stupid cheap at Amazon.
 
Yeah I got the DVD for less than $10 usd.

I can't remember the name of the guitarist on the session videos on it, but wow . . . the tone . . . *mind blown again*

-sheldon
 
I heard this recently as well, reminds me of Chic, which is appropriate as Nile Rodgers features on the album I believe, great track, great groove.

Nile Rodgers is on this track as well as (I think) 2 others on the album.

Omar Hakim plays on the album too apparently. He's played with Chic before of course.
 
It sounds like Omar tearing it up on "Giorgio by Moroder" and "Beyond." His style is pretty easy to distinguish from JR, from the hi-hat alone.

I just want to know what kind of mic they're using on the hats on this album. Seriously.

-sheldon
 
Yeah, I'm not hearing anything particularly special about this groove, I've been jamming to it recently as well, when the vocoder part comes in it get's a bit more exciting...

The drumming on Giorgio by Moroder is exciting though, tight groove on that track, if that is Omar, hat's off.

I just want to know what kind of mic they're using on the hats on this album. Seriously.

I wonder if they did a similar thing to what they did with the interview with Giorgio that appears in his aptly named song, They put a range of microphones from 1960 til Today and recorded on them all, you can hear about 1 fairly big change, but even the engineer made the comment that not a lot of people would be able to hear the difference, but that didn't bother Daft Punk.
 
Super simple groove and it has that signature JR Robinson behind the beat snare that makes it groove like crazy. If you have never seen his instruction video he goes into some detail on how to approach that kind of feel so it's worth checking out.
 
Super simple groove and it has that signature JR Robinson behind the beat snare that makes it groove like crazy.

That's what I notice--bass drum is dead center, back-beats are dialed back just a little and a slightly elastic hi hat stretches to glue it together. So there's this slight hesitation within the flow that makes the thing perpetuate, consistently, on and on. All of these things are extremely subtle but make a huge difference in the way it feels. I reckon JR's ability to do this immediately and consistently, over and over again (along with his touch, balance on the instrument, musicality, etc.) is why he's been hired for so many high-profile and successful projects.
 
I don't know, guys, it just sounds like a pretty dang basic groove to me.



I'm guessing you're not a fan of most Daft Punk then.



They're outstanding producers, just that part of the tune hits a nerve, sonically. Total respect to them for paying homage to the true disco sound with their studio choices. They truly have an eye for detail.
 
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