Not a bad idea... Manchester is NH's nearest excuse for a city, where most of the nightlife is. Locals call it "Manchvegas." In fact, there's actually a club in town named "Manchvegas."
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Drummer has joined a second band...
- Thread starter dirtychinchilla
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Not a bad idea... Manchester is NH's nearest excuse for a city, where most of the nightlife is. Locals call it "Manchvegas." In fact, there's actually a club in town named "Manchvegas."
The guitarist has been dragging his feet for a solid year - and that's somebody else's fault ???
Lots and lots of rehearsals that lead directly to nowhere.
Funny how those with the least to offer in return tend to make the greatest demands for “commitment,” and hold the highest expectations of “loyalty” as they define ‘commitment’ and ‘loyalty.’ Which usually means: stand around ME and pay court while awaiting your instructions.
Two follow-up thoughts, BTW - I said if he's not keeping up, then replace him. If your project doesn't have enough to offer that you can't attract a replacement for him, then that should tell you something.
Also, what I've found over the last decade (just got my prize for ten years of TB membership!) is that it's WAY better to think of yourself as belonging to a community of musicians than as being a member of a band. I've probably gotten to the point where I have maybe a dozen or fifteen musical friends with four or five projects between them, at least, that we can throw together something ad hoc or sub in and out of each other's bands. Way less jealousy, way more productivity.
I leave a bass cabinet at each of a couple of friends' houses where I rehearse regularly in ongoing projects, so I only have to haul a head. Had a rehearsal last night at one and there was a power amp I didn't recognize plugged into it. My friend (a drummer) had a jam group going with some other friends and they used the cab, he hoped I didn't mind. I didn't (would have been nice if he had asked beforehand, but whatever), as long as the other guy doesn't mind me plugging into his head. No biggie. Mix and match.
Also, what I've found over the last decade (just got my prize for ten years of TB membership!) is that it's WAY better to think of yourself as belonging to a community of musicians than as being a member of a band. I've probably gotten to the point where I have maybe a dozen or fifteen musical friends with four or five projects between them, at least, that we can throw together something ad hoc or sub in and out of each other's bands. Way less jealousy, way more productivity.
I leave a bass cabinet at each of a couple of friends' houses where I rehearse regularly in ongoing projects, so I only have to haul a head. Had a rehearsal last night at one and there was a power amp I didn't recognize plugged into it. My friend (a drummer) had a jam group going with some other friends and they used the cab, he hoped I didn't mind. I didn't (would have been nice if he had asked beforehand, but whatever), as long as the other guy doesn't mind me plugging into his head. No biggie. Mix and match.
You weren't playing. Simple. He found some folks who want to play. You guys can both commiserate over a beer but don't lose sight of the fact that he is now in a band and you guys are deciding if you want to be mad at him for it.
Shake his hand, apologize for draggin' feet and part as friends. You may meet each other again musically.
Get your tunes together, find someone to complete your band and go out and PLAY.
Good luck to you.
Also a lot more of a cookie cutter “get out de produckt” mindset that leads to the generic sound a lot of the local music scene seems to have gotten comfortable with. Reminds me of the Dallas Cowboys back in the 80s or thereabouts when their main play strategy was to just gain at least 5 yards on each play and get that first down. Just grind out the yardage. Nothing fancy.
It was a smart strategy. Solid professional football that won them a ton of games. It was also boring as all hell to watch. Some sportscasters rather appropriately dubbed it “assembly line” and “formula” football.
Eventually many fans started losing interest and shifted over to the then razzle-dazzle of college football for awhile and viewership and attendance dropped off. (Gee, does that sound at all familiar?)
Probably why there aren’t many of what I’d consider actual bands anymore on the local level. It’s more like being interchangeable cogs in ad hoc ensembles. Which is what I guess we’ve allowed ourselves to become - as proven by the pay (if any) our supposed “bands” are getting paid most places today.
Reminds me (other than the oay) what my brief union days were like. You get a call and “sheet” that says what, where, and when, if there’s rehearsal(s), what to wear, which bass to play, and what the pay is - and off you go, charts (if needed) to be provided. Otherwise bring your book.
It was good solid professional music, made to order and served up on demand, price guaranteed.
It paid well enough even if me, being new, only got somewhat regular work. But I found it all very unsatisfying after a very short time. I’m not knocking it. But it really wasn’t me. So I got out after less than two years.
Again not knocking it. It’s work. If that works for you, go for it.
Lucky you! Your drummer will be improving and networking, something everyone should be doing if they're serious, or even slightly passionate, about music, at ALL levels.
I couldn't stand to be in a band with people who only play the same 8-12 songs for years at a stretch. If the band is so busy that there's no other real options, like gigging 300 nights per year, then that's another story. Your band has quite the opposite problem, and playing grunge is a sleepwalk so how much time or rehearsal could that possibly take?
Congratulate him, go to some of his gigs, and find your own other projects to join ... maybe even a main band that's actually active.
Best of luck!
I couldn't stand to be in a band with people who only play the same 8-12 songs for years at a stretch. If the band is so busy that there's no other real options, like gigging 300 nights per year, then that's another story. Your band has quite the opposite problem, and playing grunge is a sleepwalk so how much time or rehearsal could that possibly take?
Congratulate him, go to some of his gigs, and find your own other projects to join ... maybe even a main band that's actually active.
Best of luck!
This is a classic case of, “You snooze, you lose”. 
Tough choice, Play with a cover band that is regularly gigging, or wait around for an original band that will not likely get a touring a contract, and whose friends and family will come down for their first gig and then likely not get regular gigs after that for lack of support. But yes creating bass lines for original tunes is fun and maybe the band will find a following... Just thinking out loud.....
I hear what you're saying, but it's not like there's nothing between that and endless procrastination...
I can't (can but won't...) speculate on WHY it takes a 3-piece grunge band a YEAR to record an EP's worth of vocals.
( OK - you twisted my arm. Fear of failure? Fear of success? Realization that the 'passion' everyone professed actually fizzled out 9 months ago? )
Is the music even relevant any more?
A band that isn't progressing musically, isn't actively recording, isn't playing out isn't (IMHO) a band; it's at best a social gathering.
It was posited that EVERYTHING hinges on the EP - which somehow never materialises.
I still don't understand that.
Wait and see. Once the EP is complete and you are scheduling rehearsals and gigs see if the drummer’s reduced availability actually causes problems. Once you lose the drummer the guitarist will have all the excuse he needs to drag his feet endlessly.
Agree 100%. If nothing is happening then nothing is happening. It’s already over. You just haven’t admitted it to yourself. And pinning everything else you do on a single arbitrary precondition (like cutting an EP) shows a lack of flexibility that will severely minimize your chances for success.
I guess I don’t really get “the hang.” When I get together with fellow musicians, I want to do some work and get down to it. I’ve already got plenty of civilian friends if I just want to socialize.
I also don’t get not performing.
Music is (IMO) primarily a performance art. And quite unusually, it’s an art form that has no physical form. It exists only in time. Vibrations propagating through the air over a period of time. Nothing to see or touch. Just a sensation to experience.
So if not to play it, why bother - unless you enjoy just reading and analyzing scores?
Why shouldn't the drummer have taken another gig? What is your project offering that is better than walking into a full calendar of paying gigs?
I think you assume too much.
Knowing the drummer was looking around might have lit a fire under that other dude for a short time.
If he had all the pieces ready to go for a long time, and that wasn't motivation enough to get rolling, this wouldn't have made much difference.
If he had all the pieces ready to go for a long time, and that wasn't motivation enough to get rolling, this wouldn't have made much difference.
I will quibble a bit with this. Back in the day, it was possible for one band to keep its members busy 4 to 5 nights a week. Today, if you want to get decent stage time, there's no alternative for most of us but to network with other musicians and find as many projects as you are compatible with.Also a lot more of a cookie cutter “get out de produckt” mindset that leads to the generic sound a lot of the local music scene seems to have gotten comfortable with. Reminds me of the Dallas Cowboys back in the 80s or thereabouts when their main play strategy was to just gain at least 5 yards on each play and get that first down. Just grind out the yardage. Nothing fancy.
It was a smart strategy. Solid professional football that won them a ton of games. It was also boring as all hell to watch. Some sportscasters rather appropriately dubbed it “assembly line” and “formula” football.
Eventually many fans started losing interest and shifted over to the then razzle-dazzle of college football for awhile and viewership and attendance dropped off. (Gee, does that sound at all familiar?)
Probably why there aren’t many of what I’d consider actual bands anymore on the local level. It’s more like being interchangeable cogs in ad hoc ensembles. Which is what I guess we’ve allowed ourselves to become - as proven by the pay (if any) our supposed “bands” are getting paid most places today.
Reminds me (other than the oay) what my brief union days were like. You get a call and “sheet” that says what, where, and when, if there’s rehearsal(s), what to wear, which bass to play, and what the pay is - and off you go, charts (if needed) to be provided. Otherwise bring your book.
It was good solid professional music, made to order and served up on demand, price guaranteed.
It paid well enough even if me, being new, only got somewhat regular work. But I found it all very unsatisfying after a very short time. I’m not knocking it. But it really wasn’t me. So I got out after less than two years.
Again not knocking it. It’s work. If that works for you, go for it.
I play in four different projects right now. My main band is an originals/covers combo that can hold down three sets of mostly high energy music and keep a crowd on its feet. The same members, sans the singer, also back up a songwriter who does country-influenced indie pop originals with a few covers tossed in. Then I'm principal hired gun at the moment for a blues band. And I just booked monthly shows with a folksy artist who writes his own stuff and covers things like Dylan and Neil Young.
None of these four projects is remotely like the others; there's nothing cookie cutter about any of it. But they all keep me busier collectively than I would be otherwise, yet I am still not anywhere close to as busy as I was in 1985, with ONE band.
This. I would never sit on my hands waiting for another band member to pull their head from their ass.
Most of the musicians I know play in two, maybe three bands. Heck, even guys like Jack White have more than one thing going at a time.
Gone are the days when one dedicated themselves to one project.
Also a lot more of a cookie cutter “get out de produckt” mindset that leads to the generic sound a lot of the local music scene seems to have gotten comfortable with. Reminds me of the Dallas Cowboys back in the 80s or thereabouts when their main play strategy was to just gain at least 5 yards on each play and get that first down. Just grind out the yardage. Nothing fancy.
It was a smart strategy. Solid professional football that won them a ton of games. It was also boring as all hell to watch. Some sportscasters rather appropriately dubbed it “assembly line” and “formula” football.
Eventually many fans started losing interest and shifted over to the then razzle-dazzle of college football for awhile and viewership and attendance dropped off. (Gee, does that sound at all familiar?)
Probably why there aren’t many of what I’d consider actual bands anymore on the local level. It’s more like being interchangeable cogs in ad hoc ensembles. Which is what I guess we’ve allowed ourselves to become - as proven by the pay (if any) our supposed “bands” are getting paid most places today.
Reminds me (other than the oay) what my brief union days were like. You get a call and “sheet” that says what, where, and when, if there’s rehearsal(s), what to wear, which bass to play, and what the pay is - and off you go, charts (if needed) to be provided. Otherwise bring your book.
It was good solid professional music, made to order and served up on demand, price guaranteed.
It paid well enough even if me, being new, only got somewhat regular work. But I found it all very unsatisfying after a very short time. I’m not knocking it. But it really wasn’t me. So I got out after less than two years.
Again not knocking it. It’s work. If that works for you, go for it.
That comes across awfully judgmental for "not knocking it," and there's a whole lot of assumptions there about what we play and what the music scene is like.
Three separate projects with overlapping membership (including me, obviously). So if the crew of musicians I move among are "cookie cutter," OK, fine.
