In 1974, Tower of Power released their legendary album Back to Oakland, which includes an instrumental song called Squib Cakes (composed by organist Chester Thompson). I absolutely love Squib Cakes, and I jumped with joy when Magnus sent med his take on the drumming, calling it Squib Fakes.

Click here to download the Magnus Brandell’s version of Squib Fakes for free

Squib Cakes by Tower of Power

Here’s what the original song from 1974 sounds like:

Back to Oakland (1974) by Tower of Power is a landmark funk album, especially for drummers. At the heart of its impact is David Garibaldi’s groundbreaking approach to groove, which redefined the role of drums in funk music. Garibaldi didn’t just hold time—he sculpted space. His playing was precise, syncopated, and deeply musical, blending ghost notes, tight hi-hat control, and intricate snare accents into grooves that were both complex and irresistibly funky.

Tracks like “Oakland Stroke” and “Squib Cakes” showcase his signature linear style, where no two limbs hit at the same time, creating interlocking patterns that feel fluid and mechanical at once. He treated the drum set like a percussion ensemble, emphasizing groove architecture over flash. Instead of filling space, he left pockets—an approach that allowed the horns, bass, and keys to breathe and bounce off his patterns.

For musicians, especially drummers, Back to Oakland is essential listening. It’s a masterclass in restraint and groove sophistication. Garibaldi’s parts sound deceptively simple, but they demand precision and touch. His influence spread fast—his playing inspired generations of funk, R&B, and even hip-hop drummers. In many ways, this album helped shift funk drumming from James Brown-style pocket playing into a more progressive, orchestrated approach. Garibaldi didn’t just play the beat—he reimagined how funk could move.

“Squib Cakes” is one of David Garibaldi’s signature performances, and a textbook example of high-level funk drumming. It’s a six-minute instrumental workout from Back to Oakland that blends jazz-fusion complexity with deep funk feel. Garibaldi’s drumming here is layered, precise, and relentlessly groovy—he’s not just keeping time, he’s orchestrating the rhythm section.

Key Characteristics of the Squib Cakes groove:

1. Linear Playing: Garibaldi rarely doubles limbs. The groove is built on single-stroke patterns where kick, snare, and hi-hat each have distinct roles, creating a syncopated, three-dimensional feel.
2. Ghost Notes: His use of ghost notes on the snare is masterful—barely audible, but crucial. These soft taps fill in the gaps and maintain the pulse without cluttering the groove. They give the illusion of constant motion, even during space-heavy bars.
3. Hi-Hat Control: The hi-hat alternates between tight and slightly open, adding dynamics and texture. He uses subtle slosh and pressure shifts to enhance the funkiness without overplaying.
4. Snare and Kick Syncopation: Garibaldi pushes and pulls the groove with syncopated snare placements, often hitting before or after the expected downbeat. His kick drum locks tightly with the bassline while also playing off it, adding push-pull tension.
5. Dynamic Builds: Throughout the tune, he adds fills that are more textural than flashy—often short bursts of 16th notes across toms and cymbals. These never break the groove but elevate the energy.

The bottom line

“Squib Cakes” showed that funk drumming could be intellectual without losing feel. Garibaldi fused technique with soul, bringing a drummer’s mind and a dancer’s body to the kit. It’s studied to this day because it strikes that rare balance: complex, yet grooving hard.

Again, here’s the link for downloading the funk drum loops:

Squib Fakes