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Well, somebody thought it would be cute to name it that and it's silly, now we have stupid "theme" bands dressing up in sailor suits to play music from an era, which completely misrepresents what the music was about when it was current. But I have better things to worry about, I guess.
I "liked" his post because I do think that bands that can play this music well are also doing quite well, as these things go. There's a place for this in better paying venues, if it's done right, and in that sense it does follow the same trajectory as the tributes.Considering that Steely Dan often is lumped in as "yacht rock", a hair metal analogy doesn't seem terribly apt. Root problem is that "yacht rock" is basically a dismissive misnomer for sume pretty sophisticated music ... the term carries some pejorative connotations. But it's beyond the capabilities of many garden variety bar bands. Easier to crap on its caricature than it is to actually play it.![]()
It's a lot of work to learn these songs, though, and most people don't have the dedication to play it unless there's some incentive to put in the time.
For me, I just enjoy the feeling when you get up there with a bunch of good players and do something well. I enjoy taking the time and meeting the challenge of learning something more complicated than basic changes. But many people don't.
LOL, you'd think you need perfection. I'd like to be more perfect. But I have not gotten close to perfect yet. The two shows I have under my belt, crowd was more interested in dancing and singing along. If there were any note-perfect nerds watching and judging, well, I didn't see them.
I'm having way more fun in this band than I expected. Super challenging.
My big challenge this week is learning Maggie May. I use YouTube links, any sort of transcription video (if there's one out there, for this song, there doesn't seem to be); Moises.ai to mute/boost bass, etc; any sheet music if it's there (there is a transcription by @Tom Read (TRANSCRIPTIONS | Tom Read Bass), an excellent resource, btw) to get riffs, etc. And then repetition. I am not using notes on stage or practice and I don't want to. I find using the sheet music hinders my ability to memorize parts, so I use it to decipher what my ear can't (thankfully I can read music!!), and then piece it together from there.
Maggie May is tricky. Structurally it is a little weird, if I recall correctly, it's like intro/2 verses/interlude/3 verses/ or something like that. And notes wise on bass? All over the place. There's no way I'll get a note for note, but I'm trying to get in the ballpark. Even if you listen to studio version vs live versions, there is barely any overlap.
I do strive for accuracy to original song. There are minor alterations I will make simply due to variations in playing. Other times I simplify bass notes to accommodate syncopated vocal lines. Signature riffs and runs I will absolutely try to nail. And very rarely will I throw in any self-indulgent fills.
This is the stuff you play on corporate circuits. It can be a nice pay check if you have the skill and discipline to do the songs well. Plenty of residual work comes in from private employers who loved your set and want you to play their kid's Bar Mitzvah, friend's retirement party, daughter's wedding, etc.
Aye, thar be money in those, songs.
Fagin has a unique voice, and initially didn't want to the the band's singer (as seen with "Reelin' in the Years"). But they found that other vocalists had a hard time getting the vocal inflections and timing right (again, "Reelin' in the Years", imo, ymmv, etc., though it was still a hit). When you have lyrics like "Everyone stopped to stare at your technicolor motor home", the vocalist has to have sort of a quick tongue
. And Fagin has jazz ears (in contrast to, say, Dylan), so the singer needs to be able to hear those inflections, and feel those rhythms. So even though he by no means has a big voice, Fagin's stuff is not easy for a lot of folks to sing. As has been said, a key is to do it in your own voice, not a Fagin imitation, and find the nuances within that.
Leonid and Friends do amazing covers of some very challenging material. They got "My Old School" down, singer/guitarist nails it in both departments. Nice!
Yep. The discipline, not improvising part is an aspect that many players don't get. Making it fresh... while playing the same line, the same way is a subtle thing. Not for everybody. I do need Ravin' - my blues - zydeco - Chuck Berry thing too, but Willy and Nelson (my YR crossed with Country gig) earns 5 x per gig). Both bands are great hangs and that ... is the thing. Period. Dot.
Leonid and Friends... Yeah. They did a northwest tour last winter. A few respected buddies saw it and said WOW! One drove PDX to Seattle for their next date... the video is ridiculois. My Old School.. the only possible criticism is the pronunciation of 'Guadaljara'... which is funny if you listen for it... other than that, they could be from Long Island. Amazing.

But ... what's wrong with their "Guadalajara" pronunciation? Sounds reasonably on point to me. Not that it really matters, of course.
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Funny, I hear it as an H when they sing it. Ah well, no matter.The J, GuadalaJara vs GuadlaHara... of course these guys are from Moscow... not Long Island.... crazy good!
Love the music, seriously. Hate the awful moniker. Such is life, eh?
I find more people don't know what YR is than do know what it is. I end up having to explain the smoothness, the grooviness, the madness that is Yacht Rock.