prominent bassline. In other musical contexts a "riddim" would be called a "groove" or beat. One of the widely copied "riddims", Real Rock, was recorded in 1967 by Sound Dimension. "It was built around a single, emphatic bass note followed by a rapid succession of lighter notes. The pattern repeated over and over hypnotically. The sound was so powerful that it gave birth to an entire style of reggae meant for slow dancing called rub a dub." R&B The "groove" is also associated with funk performers, such as James Brown's drummers Clyde Stubblefield and Jabo Starks, and with soul music. "In the 1950s, when 'funk' and 'funky' were used increasingly as adjectives in the context of soul music—the meaning being transformed from the original one of a pungent odor to a re-defined meaning of a strong, distinctive groove." As "[t]he soul dance music of its day, the basic idea of funk was to create as intense a groove as possible." When a drummer plays a groove that "is very solid and with a great feel...", this is referred to informally as being "in the pocket"; when a drummer "maintains this feel for an extended period of time, never wavering, this is often referred to as a deep pocket." Hip hop A concept similar to "groove" or "swing" is also used in other African-American genres such as hip hop. The rhythmic groove that jazz artists call a sense of “swing” is sometimes referred to as having "flow" in the hip hop scene. "Flow is as elemental to hip hop as the concept of swing is to jazz". Just as the jazz concept of "swing" involves performers deliberately playing behind or ahead of the beat, the hip-hop concept of flow is about "funking with one's expectations of time"—that is, the rhythm and pulse of the music. "Flow is not about what is being said so much as how one is saying it". Groove metal In the 1990s the term "groove" was used to describe a form of thrash metal called groove metal, which is based around the use of mid-tempo thrash riffs and detuned power chords played with heavy syncopation. "Speed wasn’t the main point anymore, it was what Pantera singer Phil Anselmo called the 'power groove.' Riffs became unusually heavy without the need of growling or the extremely distorted guitars of death metal, rhythms depended more on a heavy groove." With