A rump shakes at a rhythm. Don't confuse the rump. Play the rhythm right? It'll keep shaking.
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Cover Band Experiences - Does your band expect a jukebox?
- Thread starter m0ranwad
- Start date
A rump shakes at a rhythm. Don't confuse the rump. Play the rhythm right? It'll keep shaking.
This is all.
But you never know when you're going to run into that lead guitarist who's a musical prodigy and knows every note of every instrument, and will tell you exactly which ones you missed.
I play covers very close to the record unless the bass part is excruciatingly boring, in which case I "improve" it. Face it, the two reasons why you wouldn't play it like the record are:
1. You think you can write a better bass part than the original, and
2. You can't learn the original bass part.
I play some spot on (someone mentioned Billie Jean), others not so much ("Word Up"). There is no written rule, no guide. The goal is to make women dance and sell booze and keep them there (if you are in a bar/club). I personally do care much for the "I play it note for note" crowd. Come close, make it groove, shake your tail feathers, and have fun!
Our band takes a big picture approach to covers. We keep the same form and general style but do it in our own voices. Otherwise they might just as well hire a DJ.
@ the OP:
You're way over-thinking this.
It's a cover band. I GUARANTEE you, no one in that band is going to play their parts note for note.
When you show up for the audition, the first thing you'll notice is that the songs "feel" different. That's because the drummer isn't going to play exactly like the record. Drummers rarely do.
The singer will phrase parts differently, and sing out of time. The guitar player will play some parts close, and then ad-lib some others. Once in a while, he'll butcher a lead while looking around hoping no one heard it.
Don't sweat it.
Just do this:
Show up
Know your parts as well as you can
Don't be an ahole.
You'll be fine.
You're way over-thinking this.
It's a cover band. I GUARANTEE you, no one in that band is going to play their parts note for note.
When you show up for the audition, the first thing you'll notice is that the songs "feel" different. That's because the drummer isn't going to play exactly like the record. Drummers rarely do.
The singer will phrase parts differently, and sing out of time. The guitar player will play some parts close, and then ad-lib some others. Once in a while, he'll butcher a lead while looking around hoping no one heard it.
Don't sweat it.
Just do this:
Show up
Know your parts as well as you can
Don't be an ahole.
You'll be fine.
True...plus shaking rumps (we're assuming female...right?) cause males who like to watch shaking rumps to drink more. Bar sells more drinks, band stands a better chance of being asked back to cause more rumps to shake.
The added pay-off is that with lots of shaking female rumps, you're likely to get photo ops for my wife's least favorite TalkBass thread series "Chicks at Shows".
I'd add that... show up on time and be reliable!!!
I've been having problems with drummers lately either bailing out on rehearsal at the last minute or constantly having "car problems" yet not doing anything about that (I'm growing tired of the "...well it stopped making that noise/running rough/etc. so I didn't have anyone look at it...".
We're a tribute band (Beatles - think Fab Faux, not Beatlemania) and we regard most of their material as being "signature" as a whole, so yes, we endeavor to replicate it note for note. I think doing anything less in our situation would be cheating, and we do know anther band who is local to me that does a Beatles cover show and does things their way. They wonder why they're playing dives and local street fairs while we're playing family theme parks, upscale clubs & casinos.
Tried telling them that it's a matter of doing justice to the music they've chosen to cover and a booking agency doesn't hurt either. And they whine that none of the agencies they've contacted are interested, so I think it goes back to doing the material the way people expect to hear it.
OTOH, I've heard cover bands (and some damned good ones at that) who put their own spin on what they play and have gotten their audiences really worked up and having a great time. Doing it their way was a choice, not lack of ability, and yes, I do believe people can tell the difference.
Tried telling them that it's a matter of doing justice to the music they've chosen to cover and a booking agency doesn't hurt either. And they whine that none of the agencies they've contacted are interested, so I think it goes back to doing the material the way people expect to hear it.
OTOH, I've heard cover bands (and some damned good ones at that) who put their own spin on what they play and have gotten their audiences really worked up and having a great time. Doing it their way was a choice, not lack of ability, and yes, I do believe people can tell the difference.
If you want it to sound like the record, maybe take a course in lip syncing 
I think musicians are impressed when they hear a really good copy of a song, but then again, I am more impressed with a creative cover. Part of it is that when you are learning to play, there is a lot of emphasis on playing it right. But at some point, if you are a creative musician, then the will to make it your own takes over. Whether its "better" than the original is irrelevant to me.
I think musicians are impressed when they hear a really good copy of a song, but then again, I am more impressed with a creative cover. Part of it is that when you are learning to play, there is a lot of emphasis on playing it right. But at some point, if you are a creative musician, then the will to make it your own takes over. Whether its "better" than the original is irrelevant to me.
Saw an R&B band Friday night. Vocalists were very good. Band? Meh! Bassist playing more notes than necessary and a lot of wrong notes while trying to be 'creative'! Drummer also extra busy. I don't have an issue with folks wanting to be creative but geez, bring it down a notch! Maybe the general audience didn't catch it or didn't care but we musicians are always discerning and watching closely! I can guarantee, any of ya'll go see a band and all that extra 'creative' activity is going, someone is gonna say "huh? What is he doing?"
As for basslines being boring.....yeah, sometimes they are and we all tend to embellish them a bit.
As for basslines being boring.....yeah, sometimes they are and we all tend to embellish them a bit.
My band does a good job of covers IMO.
I selectively choose when to play like the record (or very close to it) because I can, and when to add/improvise, change up things. This depends on my mood, the given night, and the song/crowd.
For instance we do CUlt- She Sells Sanctuary, now essentially you could play the same 4 notes for the whole song, but if you listen closely to the record, there are a few select fills, not often, but they are there.
I then watch the live versions of it by the Cult, and notice their bassist throws in some different fills that sound good, I note the spots he seems to do them, and say "those are pretty good spots".
So when we play it , I play different fills, and sometimes try out completely different ideas, playing certain notes, in higher octaves, etc. Even little runs. NOONE has ever complained to this date and probably never will.
Would I change the bassline to Billie Jean, or ANother Bites the Dust or Dragon Attack, NO. Not much at all because they are iconic parts of the songs, LEARN the difference. Some basslines are a "Feature" of songs, some licks are, some are not.
One nice thing about "turn off your brain" and play simple basslines is you can look around at the crowd more, move a bit etc... NOTHING wrong with that at all.
IME "just like the record" equals "we play it as close to the recorded version as we can (especially the guitar solos)" but this is usually NOT just like the record, especially if the record multiple tracks of guitars, and keys.
I selectively choose when to play like the record (or very close to it) because I can, and when to add/improvise, change up things. This depends on my mood, the given night, and the song/crowd.
For instance we do CUlt- She Sells Sanctuary, now essentially you could play the same 4 notes for the whole song, but if you listen closely to the record, there are a few select fills, not often, but they are there.
I then watch the live versions of it by the Cult, and notice their bassist throws in some different fills that sound good, I note the spots he seems to do them, and say "those are pretty good spots".
So when we play it , I play different fills, and sometimes try out completely different ideas, playing certain notes, in higher octaves, etc. Even little runs. NOONE has ever complained to this date and probably never will.
Would I change the bassline to Billie Jean, or ANother Bites the Dust or Dragon Attack, NO. Not much at all because they are iconic parts of the songs, LEARN the difference. Some basslines are a "Feature" of songs, some licks are, some are not.
One nice thing about "turn off your brain" and play simple basslines is you can look around at the crowd more, move a bit etc... NOTHING wrong with that at all.
IME "just like the record" equals "we play it as close to the recorded version as we can (especially the guitar solos)" but this is usually NOT just like the record, especially if the record multiple tracks of guitars, and keys.
In every song, there are riffs, hooks, pauses (remember, play the spaces) and sometimes even individual notes that are critical to what "makes" the song for the average audience member. Play those....what get's played between them might not be as critical.
I just find that there's a lot of enjoyment in learning a song exactly, if it's a GOOD song. Someone mentioned "Sweet Child 'O Mine" by GNR. That bass line is great! It changes throughout the song. It seems like he does some great stuff early, and then kind of simplifies as the song goes on. I learned it exact, and then after awhile, I felt an urge to play more of what's going on early in the song as the song progressed, so yeah, I added a little bit here and there, but everything I added was stuff from the original bass line.
I don't think anybody is saying "note for note from beginning to end" of an album bass line has to be a rule. But again, a lot of cover bands change a lot more than a few notes of a bass line. Anyway, the road to discovery is cool, and I enjoy it. I put myself in the shoes of famous bass players, and that expands my repertoire. Every line I cop is one more weapon in my arsenal.
I don't think anybody is saying "note for note from beginning to end" of an album bass line has to be a rule. But again, a lot of cover bands change a lot more than a few notes of a bass line. Anyway, the road to discovery is cool, and I enjoy it. I put myself in the shoes of famous bass players, and that expands my repertoire. Every line I cop is one more weapon in my arsenal.
I'm with Mellowinman. You gotta capture the essence of the song. There are some songs that need to be done note for note and others you can jam to. If you're going to do "Don't Stop Believing" you'd better do it right on. Roadhouse Blues, not so much.
I have seen people not even come close to "Brown Eyed Girl" or "Stuck In The Middle" and, although I don't expect them to hit EVERY little lick and run, they had better capture the essence of the lines.
The signature parts should be right on. If you don't do the beginning of Sweet Child, or Sweet Emotion, note for note, you won't get the gig. Nobody would notice if the rest of the song is "Note For Note", but it should capture the feel.
IMO, you should always get as close to the recording as possible.
I have seen people not even come close to "Brown Eyed Girl" or "Stuck In The Middle" and, although I don't expect them to hit EVERY little lick and run, they had better capture the essence of the lines.
The signature parts should be right on. If you don't do the beginning of Sweet Child, or Sweet Emotion, note for note, you won't get the gig. Nobody would notice if the rest of the song is "Note For Note", but it should capture the feel.
IMO, you should always get as close to the recording as possible.
Since this is an audition and not a gig my advice is this:
Learn the songs exactly note-for-note.
Start off playing the songs as-written.
If you hear that the other musicians are deviating from original, then introduce some variety into your bass line to match.
If they are jamming out, then you jam out too.
Bring it back around to the original part to give the performance a strong ending.
Say something like, "How'd that sound, guys?"
Then the band you are auditioning for knows that you have a good ear and are capable of learning the tunes, and knows that you have improv skills and creativity for the times those skills are necessary. There is a big difference between creating your own bass line to a song you know well vs. creating your own bass line because you don't know the song.
I personally would not hire a bassist for a cover band unless they demonstrate they are capable of learning the tunes, as a starting point. If they also have some improv/compositional chops, that is a bonus.
Learn the songs exactly note-for-note.
Start off playing the songs as-written.
If you hear that the other musicians are deviating from original, then introduce some variety into your bass line to match.
If they are jamming out, then you jam out too.
Bring it back around to the original part to give the performance a strong ending.
Say something like, "How'd that sound, guys?"
Then the band you are auditioning for knows that you have a good ear and are capable of learning the tunes, and knows that you have improv skills and creativity for the times those skills are necessary. There is a big difference between creating your own bass line to a song you know well vs. creating your own bass line because you don't know the song.
I personally would not hire a bassist for a cover band unless they demonstrate they are capable of learning the tunes, as a starting point. If they also have some improv/compositional chops, that is a bonus.
RaginRog
Last guy you want to see is Employee Relations guy
If you are strictly a cover band, it needs to be close to the original. If you're in an original band (and play an occasional cover), you have the luxury playing looser interpretations of cover songs.
Having played in cover situations on and off for several decades, I've seen several aspects.
I have played in groups where if a single thing was not played precisely as the recording, a shoutdown from the lead guitarist would ensue, on-stage, in front of the entire club; sometimes as the tune was still being played. Amazing.
I have also been part of bands where you were never quite sure what the arrangement would be from night to night.
I have my own theories for the cultural basis for this, but won't get into that here.
Both ends of the spectrum can work; and my experience is that the audience way more pays attention to how upbeat and fun the vibe is coming off the stage as opposed to how critically correct every dotted eighth note was in that last phrase in the out.
Club owners don't pay any attention to anything except how full the cash box is at the end of the night. With some VERY few exceptions.
IME, this is mostly a thing between musicians. For my part, I go with Duke's quote: "If it sounds good, it is good." Audiences generally agree with that.
I have played in groups where if a single thing was not played precisely as the recording, a shoutdown from the lead guitarist would ensue, on-stage, in front of the entire club; sometimes as the tune was still being played. Amazing.
I have also been part of bands where you were never quite sure what the arrangement would be from night to night.
I have my own theories for the cultural basis for this, but won't get into that here.
Both ends of the spectrum can work; and my experience is that the audience way more pays attention to how upbeat and fun the vibe is coming off the stage as opposed to how critically correct every dotted eighth note was in that last phrase in the out.
Club owners don't pay any attention to anything except how full the cash box is at the end of the night. With some VERY few exceptions.
IME, this is mostly a thing between musicians. For my part, I go with Duke's quote: "If it sounds good, it is good." Audiences generally agree with that.
I'll just add that if a player is inclined to perform tunes to extreme levels of faith to a particular recording all the time for every tune, they might be interested in checking out classical music; which has serious repertoire and is designed to be approached that way.
Popular music generally has a fair amount of R&B flowing through its genetic code; and that genre typically has a bit of different approach.
Of course, YMMV; and there aren't any absolutes; except try to have fun and be nice about it.
Popular music generally has a fair amount of R&B flowing through its genetic code; and that genre typically has a bit of different approach.
Of course, YMMV; and there aren't any absolutes; except try to have fun and be nice about it.
I have always believed you need to cover the core of the song and then add your spin on it if it doesn't take away from the song. The Country band I'm in does the songs pretty much note to note but adds parts and extends guitar solos and breaks to keep people dancing. My originals band twists cover way up like Billy Jean with a fiddle and I will survive with a mandolin.
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