Songs · 142 BPM · 3/4 · straight · 329 bars · easy
Mannish Boy - Hindu Love Gods
142 BPM · 6:57 · sits on the waltz.
What you play
B bass · S snare · g ghost · restIntro4 bars · 1 written ×4
Accents only for the first four bars, so the track has room to establish itself before you fill anything in.
Verse 18 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 18 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 28 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 28 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 38 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 38 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 48 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 48 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 58 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 58 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 68 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 68 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 78 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 78 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 88 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 88 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 98 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 98 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 108 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 108 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 118 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 118 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 128 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 128 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 138 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 138 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 148 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 148 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 158 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 158 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 168 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 168 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 178 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 178 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 188 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 188 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 198 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Chorus 198 bars · 1 written ×8
Ghosts out, three strokes to the bar. This is the version that fits under a singer, and most of the time it is the one to play.
Verse 208 bars · 1 written ×8
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Bridge8 bars · 1 written ×8
Pull back to the accents here. The last chorus only lands if something came down before it.
Final chorus3 bars · 1 written ×3
Bass on 1, and the two snares after it noticeably lighter. If all three land at the same volume you have a march, and nobody can dance to a march in three.
Outro2 bars · 1 written ×2
Strip back to the accents and stop on a downbeat rather than fading out.
How to play it
- 1Learn the groove on its own first: The waltz. Everything here sits on it.
- 2Play the Intro and the Outro . They are accents only, and the whole song is easier when those two ends are automatic.
- 3Play the whole arrangement , then bring it up . Fast. Get it clean at 70% before you go near full speed, because practising it badly at tempo only teaches your hands to play it badly.
- 4Record the whole song in headphones, 329 bars, about 6:57.
Listen forThree beats to the bar with 1 clearly the heaviest, the two snares matched and lighter, and the accent on the same beat in the last bar as in the first, with the intro and the outro sparse and the tempo holding across the whole length.
start 99 · pass 142 BPM · take about 417s
Record a take
I start the backing at 99 BPM, count one bar, and stop after about 417s. Phone about a metre away, facing the front plate. Headphones, or the microphone hears the backing as you. You get my notes within a minute of sending it.
Watch out for
- • All three beats at the same weight, which turns a waltz into a march
- • The bar quietly regrouping itself into fours or sixes
- • The tempo rising once the metre stops feeling strange
A cajón part for Mannish Boy by Hindu Love Gods: 142 BPM, 329 bars, played all the way through. Learn the groove, play along, and record a take.
This is a cajón part for Mannish Boy by Hindu Love Gods, written to fit the record rather than copied off it. The tempo, the metre and the length were measured from the recording, so you can start the track and this arrangement together and still be together at the end.
It runs at 142 BPM in 3/4, which is 329 bars across 6:57. Fast. Get it clean at 70% before you go near full speed, because practising it badly at tempo only teaches your hands to play it badly.
The groove underneath it
It sits on The waltz, so if any of this feels shaky the fastest route is that page rather than this one: the same pattern with nothing else going on, at whatever tempo you can actually hold.
The arrangement thins out for the intro and the outro and fills in through the middle. That shape is the difference between playing a groove and playing a song, and it costs you nothing but restraint at the two ends.
The exercise underneath it
2-1 - Two minutes, zero drift
Endurance and metronome lock on quarter-note bass.
Practise it with RafaRead about this
- How to play cajónThe whole instrument on one page, in the order that actually works.
- How to practise cajón with a metronomeHow to use a click so it makes you better instead of making you miserable.
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