Am I crazy or have I gotten old or are there way too many people/bands playing covers the wrong way? And in some cases completely a%* backwards. Cos the impression I get is when you don't get within at least 1% to the original is that the offending party is just lazy and/or worse!
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Learning covers the right way?
- Thread starter dgravesweiner
- Start date
My take on covers is that the money on the original has already been made...by the original artist and producers. Everyone can hear that one, nearly any time of day. What they can't hear on that one is the energy of a committed live performance.
One-hundred percent fidelity doesn't necessarily win over audiences, most of whom do not listen that closely. Often it isn't even possible. As someone playing the music of others, our mission is to get to the heart of it without taking large liberties (something that might make the song unrecognizable at first listen), while preserving the spirit of the thing. If the song isn't delivered well, even technical perfection won't get people grooving.
On the other hand, if your groove is strong, booties will shake, regardless of the interpretation.
IME, this works.
One-hundred percent fidelity doesn't necessarily win over audiences, most of whom do not listen that closely. Often it isn't even possible. As someone playing the music of others, our mission is to get to the heart of it without taking large liberties (something that might make the song unrecognizable at first listen), while preserving the spirit of the thing. If the song isn't delivered well, even technical perfection won't get people grooving.
On the other hand, if your groove is strong, booties will shake, regardless of the interpretation.
IME, this works.
Depends. The record is NOT the sing, nor is the arrangement. The take on the record is what the producer thought made sense. Maybe the bass part on another take was better, but the vocals were better on the one that made the master. Keith Richards say the only way to learn Stones songs is from live recordings because they've only known the song for a few days when they recorded it, but after playing it together on stage for a few months they know better what they want. "Honky Tinkering Woemen" live has Wyman playing through the whole song, not laying out in each verse.
I despise loving regurgitation of a record. I've heard the record, let me know how YOU hear it.
Hoyn
I despise loving regurgitation of a record. I've heard the record, let me know how YOU hear it.
Hoyn
Yeah I'm with the previous two posts. I find it much more enjoyable and mentally less tiresome to play it my own way. An easy example is Born To Be Wild. Classic tune, fantastic bassline on the record, but there is so much else that can be done with it as long as some parts such as chord changes are still there. I feel, in many cases, that the bassist on record also isn't thinking of how the bassline should sound. Often they're just jamming, but the one that gets put on the wax is the one people will know. It might have been different had they recorded it the next day.
I think it's important to play the song so that it's recognizable- but not necessary to play it as a human juke box.
I'd rather hear a great re-interpretation than a note-for-note copy. After all, I've already heard that by the original band.
But - that being said - most times what I hear is not a "lazy" copy, just not very talented.
I'd rather hear a great re-interpretation than a note-for-note copy. After all, I've already heard that by the original band.
But - that being said - most times what I hear is not a "lazy" copy, just not very talented.
I agree, if i wanted to hear the song exactly as it appears on the record, i"ll listen to the record... The talent comes in when you interpret it... play it with your own spin...
Listen to FREE playing "All Right Now" live. Completely different bass arrangement to the recorded single.
I mix it up and then put a little me in there. Same with other classics.
I mix it up and then put a little me in there. Same with other classics.
I know that question wasn't directed at me, but I don't think a line can be drawn in anything describable. At least in terms of technique or percentage of original note choices or any of that boring ****. I think everyone knows a cover, or original tune, that felt good when they heard it. For different reasons too. One person cause it got their booty shaking, one person because it made them nostalgic. If it's effective, it's not a crap cover. Mind you, some people will shake their booties to any old crap.
I think part of it comes from playing a cover as though it's a fresh new song. That doesn't mean adding autotune, but I can't stand hearing tired old covers. Someone mentioned 'All Right Now' by Free. What a fantastic song! Most cover bands make it sound dull. Nothing fresh, as though it's their brand new song.
I enjoy covers that are at least close enough to the original to recognize. I play in a surf band that's 90% covers, and we play most of them very close to whichever version sold the most. Occasionally there's a lesser-known version that we like well, and we'll choose it to emulate.
I think you need to be a little careful with covers. If it was a big, monster hit and you don't follow that version fairly closely, the audience may be disappointed. For instance, we wouldn't play Misirlou half-tempo as a slow number. Another example - I was with one band that played Black Magic Woman, but they did the Peter Green version, which I think sucks and can't hold a candle to the much better known Santana version. That was a completely wasted tune as far as I was concerned.
I think you need to be a little careful with covers. If it was a big, monster hit and you don't follow that version fairly closely, the audience may be disappointed. For instance, we wouldn't play Misirlou half-tempo as a slow number. Another example - I was with one band that played Black Magic Woman, but they did the Peter Green version, which I think sucks and can't hold a candle to the much better known Santana version. That was a completely wasted tune as far as I was concerned.
For the youtube tuition bit's, I try and get them close, live is a while other ball game, all the important bit's are there but I'll put my own feels and lines in. I was fastidious about being note for note back in the day, it taught me ear training, how a particular bassist I like approaches harmony/fretting/handpositions/right hand position/technique and time. I learned a great deal from it, versatility being one of those things.
There are some songs you can't completely change. I find everyone remembers the beginning and the end. Sometimes a riff in a solo is important but outside of that make it your own and just have fun with it. I would not enjoy a reagae versin od Stairway to heaven but maybe there is an audience for it. Although I would be curious to hear someone try. I recently heard a metal version of Gaga bad Romance and it worked.
I enjoy learning the bass part as close to the original and then putting my own stuff in.
Licks and fills are all mine though!
It also really depends how faithfully the drummer is playing the original drum part. Bottom line = my part has to fit in with what the drummer is doing or the rhythm section ain't gonna work.
I like it to be close, but it doesn't have to be note for note perfect.
I also admire bands that can do imaginative rearrangements of classics. The Giraldo/Benatar arrangement of The Raider's "Just Like Me" is a good example.
Licks and fills are all mine though!
It also really depends how faithfully the drummer is playing the original drum part. Bottom line = my part has to fit in with what the drummer is doing or the rhythm section ain't gonna work.
I like it to be close, but it doesn't have to be note for note perfect.
I also admire bands that can do imaginative rearrangements of classics. The Giraldo/Benatar arrangement of The Raider's "Just Like Me" is a good example.
