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Serious question on 'Tribute Bands'

#81
buldog5151bass said:
And when you go see an "original" band like:

Foreigner - ALL non-original members
The Temptations, when there were at least two groups with original members, and rights to the name
Pink Floyd - did you see Floyd, with lots of extra musicians, or Waters (also with lots of extra musicians)
The Who - with their two most important performers dead and replaced by session musicians
The majority of the touring bands, with multiple replacements, and extra musicians

What do you call that, and where do you draw the line?
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Hey, I can and will only speak for myself. I have no interest in seeing the current Foreigner, or the current Yes lineup. I saw the originals. There's just no interest on my part. I did see a fairly late Temptations lineup with one original member. I enjoyed it. I guess my opinion might be different if I were a younger person who never saw the real bands in their prime live. Sort of like the fascination for the fake Lincoln at Disneyland.

As I said, I'm cool with other people like them tributes as long as no one holds a gun to my head and makes me pay to see one. Note that I have played on a couple of tribute support bills and therefore had to be present.

Note that my current band (see avatar) is a 60's pop/rock/psy cover band. Some songs we do close to note for note, others not so much. We try to maintain the spirit of it. I like tie dye apparel, so I might wear some of that live when we get around to gigging. But trying to dress like Jimi? Fark that.
 
#82
I went to see Burton Cummings last month. For those of you who are unfamiliar with him, he was the lead singer/keyboardist/flutist/occasional guitarist and composer for The Guess Who from 1966 through 1975. After a few reunions and such, the name became property of the original bassist Jim Kale. He still tours with a band under that name. Burton Cummings has his own backup band called The Carpet Frogs. They play The Guess Who's catalog much better than the band touring under that name. Who is the real tribute band in this context? If you were at the Burton Cummings concert and closed your eyes, you'd swear it was 1974 all over again (except there wasn't any pot smoke filling the theatre). If you went to a Guess Who concert and closed your eyes, you'd swear you were in your neighborhood club listening to a halfway decent cover band.
 
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#83
jamro217 said:
I went to see Burton Cummings last month. For those of you who are unfamiliar with him, he was the lead singer/keyboardist/flutist/occasional guitarist and composer for The Guess Who from 1966 through 1975. After a few reunions and such, the name became property of the original bassist Jim Kale. He still tours with a band under that name. Burton Cummings has his own backup band called The Carpet Frogs. They play The Guess Who's catalog much better than the band touring under that name. Who is the real tribute band in this context? If you were at the Burton Cummings concert and closed your eyes, you'd swear it was 1974 all over again (except there wasn't any pot smoke filling the theatre). If you went to a Guess Who concert and closed your eyes, you'd swear you were in your neighborhood club listening to a halfway decent cover band.
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Of course Cummings IS the Guess Who, because the voice is the band, for most of us. Cummings has a unique vocal sound, and while people can sound "a LOT like him," no one IS him.

Of course, I don't know how much I want to see an entire concert of Guess Who material, so I would prefer cover bands to tribute bands anyway.

My last band did mini-tributes; just basically blocks of songs from certain acts. I think it might have been entertaining; the band didn't last long enough to find out. We didn't play many shows.
 
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#84
I was in 2 tribute bands, one of which made good money, doing the whole show recreation/wig thing. The frontman pulled it off, and that is what you really need, IME. I enjoyed it for a while, there was a fun factor in working out the material exactly as recorded, in the little musical absurdities (for example, learning live improvisations from bootlegs note-for-note, which was the exact opposite of what the real band stood for), and in the good money and nice hotels and stuff. But I did get bored after a while. I wouldn't do it anymore.
 
#85
ToneMonkey said:
Hey, I can and will only speak for myself. I have no interest in seeing the current Foreigner, or the current Yes lineup. I saw the originals. There's just no interest on my part. I did see a fairly late Temptations lineup with one original member. I enjoyed it. I guess my opinion might be different if I were a younger person who never saw the real bands in their prime live. Sort of like the fascination for the fake Lincoln at Disneyland.

As I said, I'm cool with other people like them tributes as long as no one holds a gun to my head and makes me pay to see one. Note that I have played on a couple of tribute support bills and therefore had to be present.

Note that my current band (see avatar) is a 60's pop/rock/psy cover band. Some songs we do close to note for note, others not so much. We try to maintain the spirit of it. I like tie dye apparel, so I might wear some of that live when we get around to gigging. But trying to dress like Jimi? Fark that.
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I just don't get the "tribute band evil/original band good" attitude. It just isn't that simple. You say you saw the "original" Yes.

Who was on drums - Tony O'Reilly, Bill Bruford, or Alan White?
Who was on Keys - Rick Wakeman, Patrick Moraz, Tony Kaye, Geoff Downs?
Guitar - Peter Banks, Steve Howe, Trevor Horn or Trevor Ravin?

Those are just the musicians that I believe were in the band when they were recording albums (far as I know - I like Yes, but am not an expert). I know in concert, they played songs where members who did not record the album were playing on stage. This doesn't include the musicians who joined the band after the prime recording years.
 
#86
buldog5151bass said:
I just don't get the "tribute band evil/original band good" attitude. It just isn't that simple. You say you saw the "original" Yes.

Who was on drums - Tony O'Reilly, Bill Bruford, or Alan White?
Who was on Keys - Rick Wakeman, Patrick Moraz, Tony Kaye, Geoff Downs?
Guitar - Peter Banks, Steve Howe, Trevor Horn or Trevor Ravin?

Those are just the musicians that I believe were in the band when they were recording albums (far as I know - I like Yes, but am not an expert). I know in concert, they played songs where members who did not record the album were playing on stage. This doesn't include the musicians who joined the band after the prime recording years.
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I did see the Union tour where Yes comprised of Wakeman, Kaye, Bruford, White, Squire, Anderson, Rabin, and Howe.
 
#88
brianrost said:
I don't have the discipline to be in a tribute band, but the good ones make serious money. If they really like the band they are mimicing, hey why not?

First ones I remember were bands doing the Beatles (before Beatlemania hit Broadway) Elvis, and the Doors (a band named Crystal Ship) back in the late 1970s. We used to call them "clone bands" back then.

It can be an albatross, the few big-time clones that did get record deals didn't get very far...Blushing Brides (Stones) , Randy Hansen (Hendrix) and Beaver Brown ("Eddie and the Cruisers" movie).
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Man, the Blushing Brides...saw those guys MANY times. They were f'n LOUD, but what a great show!
 
#90
buldog5151bass said:
I just don't get the "tribute band evil/original band good" attitude. It just isn't that simple. You say you saw the "original" Yes.

Who was on drums - Tony O'Reilly, Bill Bruford, or Alan White?
Who was on Keys - Rick Wakeman, Patrick Moraz, Tony Kaye, Geoff Downs?
Guitar - Peter Banks, Steve Howe, Trevor Horn or Trevor Ravin?

Those are just the musicians that I believe were in the band when they were recording albums (far as I know - I like Yes, but am not an expert). I know in concert, they played songs where members who did not record the album were playing on stage. This doesn't include the musicians who joined the band after the prime recording years.
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Respectfully, I'm not interesting in satisfying your criteria of what my opinion should be. I hope you can live with that.

I do take it on a case-by-case basis. I probably would see Anderson Rabin Wakeman. I am not at all interested in Steve Howe and whomever is filling slots with him these days. Heck, the last actual Yes show I saw with the classic lineup was kind of a snooze fest. I would be even less interested in seeing a Yes tribute band, no matter how well they might ape the original band.

Most music consumers don't really appreciate any difference at all between innovating and imitating. Most people think that if you can play Santana's "Black Magic Woman" or Pink Floyd's "Money" note for note, that you are as good as Carlos or David Gilmour, respectfully. I vehemently disagree with that idea. Sure it most definitely takes skill to pull off aping a difficult piece of music note for note. But it is a world removed from the artistic depth it takes to create it in the first place. Different universes entirely IMO.

I hope that explains things sufficiently.
 
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#92
ToneMonkey said:
...I will never personally pay a red cent to watch someone ape another artist...This is strictly my personal opinion. Any society I want to live in has to be free enough to people to think, say and do things I might disagree with...
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Well said, TM... Vote with your pocketbook. And play as you please.
And may I add, "Speaking One's Mind" does not mean whispering for fear of retribution. Disturb the Sound of Silence! It's a Public Service.

sound-of-silence-draft-cover-3.jpg


 
#93
I understand being in a tribute band if it makes money.
What I don't understand is the audience that pays to see an unironic tribute band.

Last month there was a "tribute" show that came to a 5,000 seat venue in my city. Tributes to Michael Jackson, Cher, Blues Brothers, three or four others.
I just don't get it. The best scenario is that it will exactly like watching video/listening to the original artists.
Worst (and more likely) scenario is that it won't be nearly as good.
Who would pay to see that?

When a non-tribute band does covers there's the hope they'll put some of their own personality into their interpretation of each song. Might be better, might be worse, but at least it will be a little different.

Genre tributes, like Steel Panther, can be fun. Because they're not pretending to be real people. They're playing characters and on some level mocking the ridiculous parts of whatever genre it is they're playing.

Even satirical tributes, like Hayseed Dixie or Dread Zeppelin, can be interesting, even if they wear thin pretty quickly.

But literalist tributes? I just don't understand how anyone would go out of their way to see that.
 
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#94
ToneMonkey said:
Most music consumers don't really appreciate any difference at all between innovating and imitating. Most people think that if you can play Santana's "Black Magic Woman" or Pink Floyd's "Money" note for note, that you are as good as Carlos or David Gilmour, respectfully. I vehemently disagree with that idea. Sure it most definitely takes skill to pull off aping a difficult piece of music note for note. But it is a world removed from the artistic depth it takes to create it in the first place. Different universes entirely IMO.
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Santana's "Black Magic Woman" is itself a cover, of course. It's written and performed by Peter Green with Fleetwood Mac, and Santana himself "apes" a lot of Green's actual guitar part. The innovative Santana part is more about adapting it to their afro-Cuban rhythm; quality bass line, (which flows better than John McVie's more jazz/blues approach,) and the very iconic keyboard line.

"Aping" skilled players' best work may be far removed from creating it, but it's a skill in itself. I've heard enough people "play" iconic parts note for note that were totally missing out on the FEEL of the piece to know that quality "aping" is a talent in itself. When I hear someone absolutely NAIL a part, it makes me feel like I've heard something, as opposed to someone coming close.

Remember, there have been scores of Classical musicians who have taken music to a level most of us will never know, and have never performed an original piece in their lives.

You may rank different skills, artistic depths or abilities in any manner you like, but that only gives it validity for you.

 
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#95
lz4005 said:
I understand being in a tribute band if it makes money.
What I don't understand is the audience that pays to see an unironic tribute band.

Last month there was a "tribute" show that came to a 5,000 seat venue in my city. Tributes to Michael Jackson, Cher, Blues Brothers, three or four others.
I just don't get it. The best scenario is that it will exactly like watching video/listening to the original artists.
Worst (and more likely) scenario is that it won't be nearly as good.
Who would pay to see that?

When a non-tribute band does covers there's the hope they'll put some of their own personality into their interpretation of each song. Might be better, might be worse, but at least it will be a little different.

Genre tributes, like Steel Panther, can be fun. Because they're not pretending to be real people. They're playing characters and on some level mocking the ridiculous parts of whatever genre it is they're playing.

Even satirical tributes, like Hayseed Dixie or Dread Zeppelin, can be interesting, even if they wear thin pretty quickly.

But literalist tributes? I just don't understand how anyone would go out of their way to see that.
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Here is a simple explanation:

They can't see their favorite band live, and they get to see a band that recreates a certain amount of the experience for them; it makes them feel good, and they LIKE IT.
 
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#98
LowActionHero said:
Exactly what I was thinkin. I saw a tribute band years ago that (as far as I could tell from the balcony) dressed the part. As close as I was gonna get to seeing the real thing. But then again, I was almost in a tribute band myself and would have dressed up if I was asked.. Probably.. but at some point I would quit doing the accent and tell the crowd "if you dig this, come check out my 'other' band!" There's a lot of bands I REALLY dig, but I can't see any tribute band ever being my only musical outlet.
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Back in the 1970's I saw a very popular tribute band called "Rain" (IIRC). They were a Beatles tribute band and played huge shows (NOT a bar band). Their first set they came out looking like the Fab Four. Very authentic costumes and hair.

The second set they came out in the silky "Sgt. Pepper" garb, again, very authentic. It was truly an amazing show.
 
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#99
lz4005 said:
It makes me sad that anyone could feel good about that.
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Well, this world wasn't designed to make you feel happy. That is up to you. Different people feel good about different things. Feeling sad about that seems to be a waste. I feel sad when children are abused; women are raped; puppies are kicked; people go hungry, or natural disasters wipe out thousands. I don't have time to feel sad about people loving sporting events; wearing clothes that I don't care for, or being entertained by something I don't much care for.
 
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#100
buldog5151bass said:
I just don't get the "tribute band evil/original band good" attitude. It just isn't that simple. You say you saw the "original" Yes.

Who was on drums - Tony O'Reilly, Bill Bruford, or Alan White?
Who was on Keys - Rick Wakeman, Patrick Moraz, Tony Kaye, Geoff Downs?
Guitar - Peter Banks, Steve Howe, Trevor Horn or Trevor Ravin?

Those are just the musicians that I believe were in the band when they were recording albums (far as I know - I like Yes, but am not an expert). I know in concert, they played songs where members who did not record the album were playing on stage. This doesn't include the musicians who joined the band after the prime recording years.
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I was not aware Trevor Horn ever played guitar in Yes. He did play bass on one track on Drama, as well as lead vocals throughout the album, but live, he had trouble hitting Anderson's high notes, and most of his work involved production.

The "original" Yes would likely be comprised of Squire, White, Anderson, Wakeman, Howe, and you can interchange a couple of guys here and there, but that is their "A" lineup, for the most part. It's not fair to talk about Bruford, because he left so early, and was never very eager to return when he did; and Wakeman stands apart from other Yes keyboard players for his unique, multi-layered approach. As for Howe; I saw the '80's Yes with Trevor Rabin, and although he is a fantastic player, and I liked that lineup a lot, he did not recreate Howe performances; choosing to play his own stuff in place of Howe's unique approach.

I never saw the "original" Yes. I saw the 90215 Yes, and that was a great band. I would not have liked to see the Drama Yes, but I'm guessing the mid-70's Yes with Patrick Moraz would have been very, very good.

I really don't want to see any Yes without Anderson, because to me he defines the band's sound, and Yes with a different singer is a cover/tribute all the way.

If Anderson, Howe and Wakeman wanted to play Yes songs with a replacement for Squire, I might enjoy it, but I would feel weird. Squire was the glue in that band, and no matter how good a bass player you are, you're just imitating him, plus I love the sound of his backing vocals.
 

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