DRUMS WEEK 2025In 1982, the group Toto launched their fourth album, which was simply called Toto IV, yet although the title seemed unexciting, drummers and other music professionals were quickly captivated by the start and continued performance of the song Rosanna.
Jeff Porcaro, the drummer, provided the strong rhythmic foundation for the band. Although Toto is often seen as a classic American rock group, their impact extended widely, incorporating elements from various genres beyond rock, especially R&B, funk, and jazz.
The group was also highly skilled musically; the young Porcaro family featured Mike (who also played bass in Toto) and Steve (who also served as a keyboardist and composer for Toto), both of whom later collaborated with top-tier artists like Aretha Franklin and Michael Jackson.
One distinctive feature of the track “Rosanna” is that the song starts with two bars of solo drums, which is not only uncommon but also lets us appreciate the pleasure of this rhythm on its own. Essentially, the groove presents a half-time shuffle rhythm.
But what is the significance of this, and what elements are used to enable it?
When we refer to a groove as “half time,” it indicates that the backbeat (typically provided by the snare) occurs on beat 3 of the 4-beat measure, rather than the usual beats 2 and 4. This implies that the tempo might be counted at a faster pace, such as approximately 176 BPM in the case of “Rosanna.”
Nevertheless, it is also feasible to measure the groove in a standard way, and at a tempo of half-time (88BPM), leading to the snare hitting typically on beats 2 and 4.
At this slower pace, we would typically refer to the rhythm as a “half-time feel,” rather than meaning it literally as “half-time.”
In the end, it’s up to you to decide how to measure or understand the tempo’s speed, but in our opinion, it’s more straightforward to assume a slower tempo of 88BPM.
Porcaro was consistently open about the influences that shaped this groove; he specifically cited the inspiring performances of Bernard ‘Pretty’ Purdie (famous for his ‘Purdie Shuffle’), which can be heard on Steely Dan’s “Home at Last” and “Babylon Sisters,” as well as the track “Fool in the Rain” by Led Zeppelin, performed by John Bonham. These three songs have a strong connection to Porcaro’s musical direction.
It’s fairly straightforward to analyze the groove by breaking it into three basic elements. These include the kick drum, snare, and hi-hats.
Let’s begin by examining the role of the hi-hat section. Similar to many shuffle rhythms, the hi-hat pattern follows a steady 16th-note rhythm that is shuffled; this implies that the second note in each pair of 16th notes is delayed, giving it a feel akin to 12/8 or triplet timing. From a technical standpoint, this is a complex rhythm to execute, especially when each 8th-note beat in the measure is emphasized with an accent.
If we move to the kick drum section, it takes influence from a completely different origin. The kick’s offbeat rhythm contrasts with the primary beats of the measure, commonly known as the ‘Bo Diddley pattern,’ which also incorporates elements from early jazz and New Orleans.
Ultimately, the snare drum is very noticeable on beats 2 and 4 of every measure, delivering a strong backbeat. Where the snare adds an extra level of intricacy, is through the use of faint ghost notes.
These are more subdued, rhythmic stick hits that occur outside the primary backbeat, enhancing the groove and adding tonal variety. In the Porcaro Shuffle, a ghost note is placed on the second 16th note of each beat, aligning with an unemphasized hi-hat strike.
Anyone who has been part of a musical group can attest, the sense of rhythm is frequently something that cannot be measured, infused with the enchantment that arises only through repetition and experience.
Although the rhythm itself is intricate, the real challenge lies in making it sound and feel effortless, along with the wide dynamic range that enhances the overall feel through the three primary drum components. Transitioning smoothly from a delicate ghost note to an energetic backbeat is tough to accomplish while performing.
Porcaro makes the entire process appear simple and straightforward. We can be certain this didn’t occur by chance, or in a short period of time!
With such a dazzling rhythm, especially as a solo at the start of the song, it’s simple to assume that Porcaro saw this as his time in the spotlight.
As you listen, this idea can be quickly dismissed because of the significant space left throughout the song, especially in the pre-chorus bridge, where a major decrease in dynamic range lets other instruments stand out. There are also numerous sections with outstanding performance on this track, ranging from the detailed keyboard work, to the impressive horn section that emphasizes the start of the chorus, and naturally, the famous guitar solo by Steve Lukather.
Overall, it stands as a remarkable achievement in performance, production, and songwriting, etched into the annals of rock ‘n’ roll history.
As a distinctive and highly sought-after drummer, Jeff Porcaro has an impressive resume, having collaborated with Steely Dan, Michael Jackson, and Paul McCartney.
Unfortunately, Jeff Porcaro passed away in 1992 when he was only 38 years old, in an incident that was initially referred to as ‘a strange gardening accident’ (strangely similar to the plot of This Is Spinal Tap, which Porcaro would likely have found humorous). Nevertheless, it was later revealed that pre-existing health problems contributed to his death.
His reputation as one of the most creatively innovative drummers still influences upcoming musicians.
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