Indeed Ned, I'm still trying to get my head around it myself. While listening to a track like 'Metal' now, where both Ced Sharpley and Paul Gardiner create that really precise groove that really drives the song along, I can't help but not only think of what a loss it is that the people responsible for moments like that no longer with us, but I also get the feeling that maybe Numan didn't realise how great a rhythm section he had in those two. Take the rhythm section away from a lot of the tracks on The Pleasure Principle, and there's a great deal missing.
I always admired Ced not only for the way he and Gardiner really locked together and sounded (to my ears, anyway) really exciting, but his timekeeping was really impeccable too. I'm thinking of the title track from Telekon for example, where there's a crossfade at the end between Ced's drumming and the drum machine at the end, and they're both very closely in time with one another. Or the way he always used to stay in time with the drum machine that runs throughout 'Remind Me To Smile' whenever they played it live. This is before we even get to his drum sound!
There have been odd mentions over the years about Numan's influence on hip-hop here and there. But I'd like to put forward that those people weren't actually listening to Numan. They were listening to Ced and Paul.
― The Jupiter 8 (Turrican), Saturday, 17 March 2012 00:50 (2 years ago) Permalink
Would have to agree, though Numan and through him Kraftwerk brought in the love of strange electronic textures and melodies, so it's more of an even split.
― Ned Raggett, Saturday, 17 March 2012 00:52 (2 years ago) Permalink