An interesting question to those in cover bands...perhaps.

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SmellsLikeIan
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Post Wed Sep 19, 2007 11:42 am

I was anxious to see what your response to all that would be, scream. It seems at least you and Rockula! agree that there's a lot of crappy "original" music these days. I disagree with both of you on that point. I've seen a lot of good original bands in the past few years. Cross Canadian Ragweed, Jason Boland and The Stragglers, The Old 97s, Eleven Hundred Springs, Hayes Carll, Mike McClure.....Maybe I have shitty taste in your opinion, but there's still new music being made that sounds good to me. Maybe you have to look further outside the box for it, but it's there. :mrgreen:
yee freakin' haw
Rockula!
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Post Wed Sep 19, 2007 12:45 pm

You and I share common anscestry in that we are both from Dallas
I would like you to examine the examples that you provided and tell me which one was not paying their dues in the 90's Ellum scene
My point is not that music sucks nowadays
It is that music PRODUCED today is affected by the climate of the day
1100 springs and the Old 97s on't have to follow trends because they were lucky enough to garner support throughout the 90s and can exist on said accomplishments
It's not those bands that I am concerned about
The artists that concern me now are those who grow up observing the new set of rules for success
That message is driven home every time someone pays $15 to see a tribute band
When you'll pay that much to see someone play someone else's music, why would you pay $5 to see "original" music?

How can you say that is DOESN'T decrease the value of original music when the value of music is based overwhealmingly on the ability to capitalise on, either an established musical act, or a current trend that has been plundered of all it's essence (resulting in changing one molecule to produce a new hybrid to exploit)

The original question of this thread is what do you think of cover bands
Well, that's what I think and it is a result of observing 30 years of musical trends from the outside
Trends will always come and go but the alarming pace at which they are consumed and cast aside in this day and age worries me
One of the symptoms of this acceleration is that people want to hold onto music that meant something to them
If that means paying $15 to see a tribute band because you can't find anything new to listen to then that is a bad thing
Especially when most "new" music sounds nothing more than the same old formula with new packaging
You say irritant, I say catalyst
The Wes
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Post Wed Sep 19, 2007 2:17 pm

screamkevin wrote:Here's the bottom line: Music is music is music, and it's all good.

Every cover started life as an original somewhere up the line.

It's funny to me how I get bashed by original band musicians in my region for being in a cover band (GASP, a "Tribute" band, no less!!), yet my band plays for at least 500 people per show, and the original band musicians that slam my band are playing for about 7 of their friends per show.

I admire and respect original bands, writing music is something that I'm certainly not adept at. But all I ask is for some respect in return. Just because someone is playing originals doesn't mean that they are putting more into their craft than I am. I bust my ass to make sure that I'm playing everything right.

And for those that would bust on cover bands for being "human jukeboxes", think of it for a moment from this perspective:

Original musicians create original music. You develop your own style and get comfortable with it. You get to the point where you know what you want to do, when you want to do it, and are able to do it at will. But you are still playing only one style: Yours.

Cover bands are learning (given a 3-set, 4-hour show) anywhere from 30-50 different bands' music, and their individual styles. And you have to learn their parts, figure out stickings, and NAIL it dead on.

In one given set in my band, for example, I have to cover these drummers: Bobby Blotzer (Ratt), Rick Allen (Def Leppard), Rikki Rockett (Poison), Mikkey Dee (Britney Fox), Peter Criss (KISS), AJ Pero (Twisted Sister), Rob Affuso (Skid Row), Vinnie Appice (Dio), Steven Sweet (Warrant), Matt Sorum (The Cult), Tommy Aldridge (Whitesnake), Jackie Enx (Rhino Bucket), Tommy Lee (Motley Crue), Cesar Zuiderwijk (Golden Earring), Greg D'Angelo (White Lion) and Mick Brown (Dokken). Each one has a different style, different signature licks, and different feels to the way they play. And I have to learn to nail every single one of them. I can't get comfortable in the way I want to play it. It has to be as close as humanly possible to the original version.

Tell me that's not a bit of work, and that you put more into your original music. Bullshit.

Cover bands (when done right) put as much into their music as any original band, any day of the week.

That's my 2 cents, anyway.



Kevin, couldnt agree more. Im in a cover band that does chart-toppers from between 1950-1995, plus some standards for dinner sets, etc. so a huge variety between "My Girl" and "1999" or "Dock Of The Bay" and "Higher Ground" (we do the RHCP version). So to do all those styles (we have an 80-song repitoire), i believe may not seem as taxing, but it can be harder or just as hard than an original band for a few reasons:

1- people are expecting to hear the song like the recording. whereas with original stuff, the band has a creative lisense and no ones the wiser

2- theyre all done. when an original band writes a song, it usually develops over time at their own pace. In a cover band, you have everything there already and have to 'take it all in' as a whole.

3- 80's music. jeez. thats a nightmare trying to recreate sampled percussion on songs like "1999"(prince) or (money for nothin" (dire straits) while still keeping your set versatile enough to play "Unforgettable" 20 minutes later in the set.

ive been in both kinds, but i can honestly say that the coverband has put more stress on me to 'learn the stuff' backwards and forwards, every kick flourish to every accent and break, since i wasnt there when it was written, alot of it feels 'unnatural' but in an original, you can put what you want when you want.

but thats just me.
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Rockula!
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Post Wed Sep 19, 2007 2:39 pm

The Wes wrote:3- 80's music. jeez. thats a nightmare trying to recreate sampled percussion on songs like "1999"(prince) or (money for nothin" (dire straits) while still keeping your set versatile enough to play "Unforgettable" 20 minutes later in the set.


perhaps you might consider investigating one of these

Image

It has an on board sampler that will enable take any sound you can find and assign it to a pad
Finding accurate sound samples is the only hard part
It has lots of stock sounds as well but you are not stuck with only the stock sounds like most electronic drumkits

Can anyone suggest a source for specific sounds?
You say irritant, I say catalyst