A Chat with Martin Ditcham (26.06.25)
Interview with Karen Beishuizen (Guest contributor)
Martin Ditcham is an English drummer, percussionist, and songwriter who worked with The Rolling Stones, Sir Elton John, Tina Turner and Talk Talk, as well as co-writing the song ‘Sweetest Taboo’ with Sade. We chat with Ditcham about his work on different albums, why he chose to become a musician, and more.
Did you always want to be a musician growing up?
Ditcham: I was destined to be a drummer as my dad was a semi pro and there were drums available for me to play. The school orchestra played hymns for morning assembly, and I grabbed the opportunities to play trumpet, violin and recorder. Basically, I felt at home playing music, so it was an easy decision to pursue that path.
Why did you choose drums and percussion?
Ditcham: Drums came into my life very early on as a result of my father being a player. I became interested in percussion when I heard the Brazilian Airto Moreira playing with Miles Davis. That inspired me to go deeper, leading to a love of Cuban Rumba via Los Muñequitos de Matanzas, then onto the commercial world featuring Ralph McDonald, Bill Summers and Paulinho Da Costa amongst others.
You played percussion on The Rolling Stones’ album Undercover. How was it working with them?
Ditcham: I was living in New York at the time. It was a public holiday, all the percussionists were out of town and by a stroke of luck, I got recommended. I went down to the Hit Factory, walked into the Control Room to find producer Chris Kimsey and Jagger. After exchanging handshakes, I went into the studio area to prepare. Jagger brought me a coffee from the machine, so all in all, it was a very relaxed, professional experience. The Undercover track was very bare, just Keith Richards plus Charlie Watts hitting a tympani, nothing else. Very enjoyable!
You composed and Sade wrote ‘The Sweetest Taboo’. How did you come up with the melody? It’s a beautiful song.
Ditcham: I gave her a cassette with the backing track I put together at home. She loved it, took it home and wrote the melody and lyrics.
You played on Talk Talk’s album The Colour of Spring. How was it working with the late Mark Hollis, and what is your fondest memory?
Ditcham: I worked on the last three Talk Talk albums, plus Mark’s solo album. Working with Mark was a nice, relaxed balance between concentrating on the music, of course, and casually chatting about football amongst other things. The recording environment during the middle two albums changed in that the lighting was reduced considerably.
In the studio area, the lights were more or less off except for some cheap disco lights that went off and on when drummer Lee hit the drums. There was also a flashing strobe light that was under a semi-transparent bucket. The control room lights were off except for a lamp with a rotating, oil-filled slide beaming light that reflected in between the two speakers. Very 60’s Pink Floyd.
Mike & The Mechanics album Living Years, you worked with the band on this. Do you have a favourite track?
Ditcham: I don’t recall a lot about this particular session, as there was so much going on during that time period. The track ‘Living Years’ has certainly resonated with me, particularly now since my own father died.
Are there any artists you have not worked with yet but you would love to and why?
Ditcham: There are certainly many artists that I personally listen to and get excited by. The list is long but would certainly include: The 1975, Donald Fagan, Robert Glasper, Meshell Ndegeocello and Herbie Hancock amongst many others.
If you could make an album with seven of your favourite songs (not the ones you have written), which would you pick, which instrument would you play and why these songs?
Ditcham: So many songs to choose from, but particular favourites would be:
1. Don Henley’s ‘New York Minute’ is a very powerful song and production. Certainly drums, not much room for percussion.
2. Steely Dan’s‘ Glamour Profession’ and ‘Hey Nineteen’. Still a joy to listen to after all these years. Wonderful grooves on both. Drums or percussion would be equally enjoyable.
3. Mavis Staples/ Ry Cooder production ‘Eye on the Prize’. Another wonderful groove. Drums or percussion for me.
4. Donald Fagan ‘Goodbye Look’. Songwriting perfection! Just puts a smile on my face. Drums or percussion would satisfy me.
5. David Crosby ‘She’s Got To Be Somewhere’. A wonderful, Steely Dan-influenced song. Drums would be a joy.
6. Robert Glasper’s ‘Going Home’ is beautiful to my ears. Drums or percussion.
What are you currently up to?
Ditcham: I’ve been living in Belém, Northern Brazil since 2019. I do remote recording from a studio close by. People send me music, I record my bits, then send back. I’m doing some co-writing too, which keeps me concentrated.
Find out more about Martin Ditcham on his official website and Facebook.
