When Jamaican musi­cian Andrew Chin, bet­ter known as Brushy One String first told friends about his vision — “a dream in which he was told to play the one-string gui­tar” — they respond­ed with mock­ery — all but one, who “insist­ed it was fate,” writes Play­ing for Change, “and that he had to make that dream come true.” So Brushy set out to do just that, play­ing on street­corners and in the mar­ket, “in a big broad hat and sun­glass­es,” he says. The music came to him nat­u­ral­ly. He is no ordi­nary street musi­cian, how­ev­er, and his one-string gui­tar is not a gim­mick. Brushy is a tal­ent­ed singer-song­writer, with a pow­er­ful voice and a musi­cal sen­si­bil­i­ty that tran­scends his bare-bones min­i­mal­ism.

He does­n’t look par­tic­u­lar­ly flashy, perched on the street with his beat-up gui­tar in the video at the top for “Chick­en in the Corn.” Brushy came of age in a scene “where most per­form­ers long to be hip-hop MCs or dance­hall style DJs.”

Brushy’s one-string tech­nique reach­es back to the ori­gins of the blues in the Did­dley Bow (from which Bo Did­dley took his name), and even fur­ther back into musi­cal his­to­ry, recall­ing what musi­col­o­gists would call a “mono­chord zither.” One-string play­ers in his­to­ry have includ­ed Mis­sis­sip­pi blues­man Eddie “One String” Jones, Lon­nie Pitch­ford, and Willie Joe Dun­can, who invent­ed the Uni­tar, an elec­tri­fied one-string gui­tar and scored a hit in the 1950s.

Whether or not Brushy fits him­self into this tra­di­tion, he “came by his musi­cal abil­i­ties hon­est­ly,” play­ing a reg­gae infused soul-meets-Delta Blues inspired by his par­ents. His father was Jamaican soul singer Fred­dy McK­ay and his moth­er, Bev­er­ly Fos­ter, toured as a back­up singer with Tina Turn­er. Unfor­tu­nate­ly, he was orphaned at a young age and unable to fin­ish his edu­ca­tion. He did­n’t learn to read at all until he became an adult. Brushy tried to learn gui­tar, but “I did­n’t real­ly know how to play,” he says, “and I played so hard, all the strings broke. So the gui­tar went under the bed” until his one string epiphany. As he began to sing and play, his one, low‑E string and the wood­en body of his acoustic gui­tar became a rhythm sec­tion, his expan­sive voice ris­ing up between beats, “a voice so rich and full,” NPR writes, “all it wants is a bit of rhyth­mic and melod­ic under­pin­ning.”

Brushy names both soul leg­end Ted­dy Pen­der­grass and dance­hall leg­end Shab­ba Ranks as influ­ences, a key to the range of his song­writ­ing, which comes “from the sit­u­a­tions I’m in,” he says. “It’s like mag­ic: From the sit­u­a­tion, I don’t search for some­thing, not in my head or nowhere else. The song just comes.” He had some ear­ly mod­est suc­cess, did a tour of Japan, then returned to his home­town of Ochoa Rios to kick around and play local­ly. It was then that film­mak­er Luciano Blot­ta encoun­tered him while fin­ish­ing the 2007 Jamaican music doc­u­men­tary, Rise Up. “Chick­en in the Corn” made the sound­track, and it turned into Brushy’s big break.

He’s since played South by South­west, New Orleans House of Blues, and the New Orleans Jazz & Her­itage Fes­ti­val, had a doc­u­men­tary made about him — The King of One String (2014) — and released three stu­dio albums and a live album. It’s well deserved suc­cess for a musi­cian who was ready to quit music until he had a dream — and who then found the courage (and the good luck) to make it real.

Relat­ed Con­tent:

Kei­th Richards Shows Us How to Play the Blues, Inspired by Robert John­son, on the Acoustic Gui­tar

The His­to­ry of the Gui­tar: See the Evo­lu­tion of the Gui­tar in 7 Instru­ments

The Ency­clo­pe­dia Of Alter­nate Gui­tar Tun­ings

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

When I was a kid in New Jer­sey, if you were look­ing for work, there’d be ads for musi­cians. In the mid-60s and 70s, they would invari­ably say: “Want­ed: Char­lie Watts type drum­mer” — Max Wein­berg

Since Char­lie Watts passed away last month, trib­ute upon trib­ute has poured in to cel­e­brate his style, his aus­tere sim­plic­i­ty, his role as the calm, steady eye of the Rolling Stones’ roil­ing storm. “Drum­ming is often ugly,” Aman­da Petru­sich wrote at The New York­er, “but Watts looked so beau­ti­ful when he played … His pos­ture alone sug­gest­ed a preter­nat­ur­al ele­gance … there is always poet­ry in restraint.”

This is the way Watts’ play­ing looks to non-musi­cians, and most Rolling Stones fans are not musi­cians, and do not lis­ten to rock drum­ming alone. “It’s pos­si­ble to find Watts’s iso­lat­ed drum tracks online,” Petru­sich writes, “If you’re into that sort of thing. They’re not always per­fect in the tech­ni­cal sense, but they are deeply per­fect in oth­er, less quan­tifi­able ways.” Watts him­self described his drum­ming as non-tech­ni­cal and decried his lack of train­ing. It was all about the band, he said repeat­ed­ly.

But ask oth­er drum­mers to quan­ti­fy Watts’ per­fec­tion and they’ll do so hap­pi­ly. Watts taught him­self to play by lis­ten­ing to his favorite jazz drum­mers, writes Max Wein­berg, “among them the great Eng­lish jazz drum­mer Phil Sea­men, and Dave Tough, an Amer­i­can drum­mer who even looked like Char­lie: a fas­tid­i­ous dress­er, appar­ent­ly with the most incred­i­ble groove and sound.” Wein­berg, who incor­po­rat­ed Watts’ influ­ence on Spring­steen songs like “Born to Run,” elab­o­rates fur­ther.

One way Watts com­mand­ed a room, he says, was as a pro­po­nent “of a style of rock drum­ming pop­u­lar­ized by the late, great Al Jack­son, the famous Stax drum­mer, where you delib­er­ate­ly play behind the direct back­beat. The way you do that — which is a lit­tle tech­ni­cal — is not by focus­ing on the two and the four beat, but the one and the three. Anoth­er exam­ple is James Brown’s music, which is heav­i­ly focused on land­ing on the one. It takes a long time to be able to do that.” He devel­oped the skill as a blues and jazz drum­mer even before Mick and Kei­th seduced him to the Stones.

Anoth­er drum celebri­ty admir­er, Stew­art Copeland, writes about Watts’ unique dynam­ics. As a rock drum­mer trained on jazz, he “went for groove, and derived pow­er from relax­ation. Most rock drum­mers are try­ing to kill some­thing; they’re chop­ping wood. Jazz drum­mers instead tend to be very loose to get that jazz feel, and he had that qual­i­ty.” While Mick strut­ted and dripped across the stage, Char­lie “hard­ly broke a sweat.” From this, Copeland learned that “you can actu­al­ly get a bet­ter sound out of your drums, and a bet­ter groove, if you relax.”

In the clas­sic drum tracks here, lis­ten for some of Watts’ dis­tinc­tive, sub­tle moves, and read more about his tech­nique in Copeland and Weinberg’s rem­i­nisces here. It’s fair to say that every rock drum­mer who came after Char­lie Watts learned some­thing from Char­lie Watts, whether they knew it or not. But while “you can ana­lyze Char­lie Watts,” Copeland writes, “that still won’t get you to his feel and his dis­tinct per­son­al­i­ty. It’s an X‑factor, it’s a charis­ma, it’s an unde­fin­able gift of God.” Petru­sich con­cludes her trib­ute with a sim­i­lar expres­sion of non-tech­ni­cal awe: “Watch­ing Watts play is still one of the best ways I know to check in with the rid­dle and thrill of art — to wit­ness some­thing mirac­u­lous but not to under­stand it.”

Relat­ed Con­tent: 

Say­ing Good­bye to Char­lie Watts (RIP), the Engine of the Rolling Stones for Half a Cen­tu­ry

A Char­lie Watts-Cen­tric View of the Rolling Stones: Watch Mar­tin Scorsese’s Footage of Char­lie & the Band Per­form­ing “Jumpin’ Jack Flash” and “All Down the Line”

Rolling Stones Drum­mer Char­lie Watts Writes a Children’s Book Cel­e­brat­ing Char­lie Park­er (1964)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness