Hello Rosebuds! Mark, there's one very important occupation you forgot, least I think you did, and that, is Smithy! Circuit Judge? I think our rule used to be that no one could have possessed said employment after 1910, at the very latest. I've been back watchin' the Rifleman real reglar, probably lots of good occupations there. I'm on my third day of Weight Watchers and my students noticed that I was a little, well, 'cranky,' as I stood there silently mulling over the idea of boiling a few of them, adding a little oil and salt, for a healthy Middle School stew!
Brian McBrian, where are you livin' now? Closer to Springtown? I heard there might be a new job. What is it? Jes wonderin'.
Well, Rosebuddnians, here is my disclaimer. This next part of the post might be a little long. I've submitted it to a local music rag in my hometown of Joplin, MO. Not sure if they'll run it or not. Just me lamenting the loss of truly good cover bands. I know, it's kind of like missing McRibs, but I hope somebody gets the gist. Here goes. You guys Take Care, Jeff.
I just got through reading T-Bone's review of a local cover band and it really got me to thinking of the cover bands that I am invariably exposed to these days, usually by accident, and am almost always disappointed by. I'm usually scratching my head and asking, "Where's the Show?" Back then: the type of live bands I was first exposed to in the late 1970's and early 1980's had some qualities that I thought all bands should and would always have, whether they be original or cover-oriented. What was pervasive of the bands of that era, and this was true all through the '80's and perhaps even into a bit of the early '90's, was that although you might be getting a host of songs you already knew, the show often made you forget you were even watching a cover band. It seemed that the over-all mindset of these bands was that they knew that because they weren't original, didn't have any (or very little) merchandise to sell, and weren't after many of the carrots that 'career' oriented bands were, they'd better make up for it by putting together a killer show. That show was their 'artistry.' They carried their own lighting and sound and, because they made the big money that cover bands make, could employ professional people to run these big machines. Hell, a lot of them had professional roadies! The musicianship was almost always sublime, or at least darn good. They weren't kids but they hadn’t graduated into Jimmy Buffet Land either. At one time this was called 'in your prime.' Because of this seasoning, you could tell that the lead guitarist had more than one influence, and so on for the rest of the band. Most of these bands had also spent some time on a 'look,' be it in the Ratt/Motley Crue mode, New Wave, Funk, Southern Rock/Skynyrd/Biker, etc. In effect, even though they were cover bands, they knew what style they were trying to affect and convey. They knew that even a cover band ought to have some concept of drawing a particular demographic. What they mainly had was a concept of their strengths and weaknesses, contributing in a positive way toward defining the band’s sound. The hard rock bands would play mainly that, hard rock, with the exception of some 'rocked-up' oldies. If the lead singer wasn’t a tenor, he stuck to Judas Priest, Ratt, and Van Halen with Dave, not Sammy. A New Wave styled group knew that it would be stylistically retarded to follow a Romantics song with something by Foghat. These guys and girls knew that the height of mediocrity was to aspire to be all things to all people. That, my friends, was then.
Modern day: I've seen enough cover bands around Tulsa, Springfield, and Joplin in what I'll call the 'post-rock era,' 1994 to the present, to know that we ain't in Kansas no more. In recent years I've witnessed "Hurts So Good," played back to back with "Celebration," by Kool and the Gang. That act alone ought to get a band a one-way ticket to Dork City but neither the band nor it's crowd seemed to notice or care about this crap pastiche. Just the other night I witnessed the flattest singer I've ever heard, singing his Guns and Roses songs in all his flatly glory, while his compatriots played their instruments standing completely still, looking intently at their respective guitar necks and drum heads with pensive, furrowed brows that seemed to say, "I sure hope I get that next lick right!" All this plodding workmanship appeared to be to the delight of the 50-60 family, coworkers, and high school friends who attended. Why the love? By God, them boys knew all the Classics! Just like they play on KMOD, The Big Dog, US 97, or whatever else some Classic Rock Station is calling itself.
With the exception of the aforementioned Guns and Roses’ Boring Little Brothers Band, I still see a lot of good musicianship in the cover band world but still very little personality, entertainment acumen, or actual money invested in their shows. Is this ignorance or just abject laziness on the part of both the bands and the audience? When I see a young band playing a Sum 41 song I’d be impressed if they’d follow up with maybe a FooFighters or Blink 182 tune, and if they go that extra mile and reach back to play something by The Jam, Mr. Costello, Joe Jackson, or any of the rest of the Class of ‘78, I’m a screaming puddle of homage that they’ve taken the cool, stylistic consideration to show me that they know where the stuff came from in the first place. This, however, is usually not the case. The Sum 41 song will be followed by a 50 Cent ditty, to be followed by Sheryl Crow, to be followed by Grand Funk’s “We’re an American Band.” All of these dizzying shifts in tone and mood will be played without any outward note of irony on the part of the band or crowd.
So, what does this ranter pine for the most? I wish today’s drunken masses would demand a bit more for their entertainment dollar. “Play something we know!” is a wonderful little request original bands have been getting for years. Why not a, “Hey, Sad-Sack, give us a little more personality with that next Jon Mayer solo!” (Ed. Note-this may be scientifically impossible) to be shouted out at clubs that only hire cover bands. “We know the friggin’ song already, do a damn back flip or somethin’!” could be another lament from the audience of enthusiastic cover lovers. Springsteen’s guitarist, Nils Lofgren, does a wonderful little flip every now and again, and he’s 50! Putting a lot of effort into a show by today’s cover bands should not just be the domain of tribute bands. You guys and girls make the money, you can do it, I know it’s in ya. Learn to dance, learn some jokes, rent videos of Sammy Davis, Jr., Bobby Darin, Jackie Wilson, The King, James Brown, Dave Lee Roth, Tina Turner, Prince, or Martin and Lewis! Learn that Prince really did write “Raspberry Beret” and that Otis Redding performed “Hard to Handle,” long before the Robinson boys were even glimmers in their parents’ eyes (this bit of musical ignorance was and probably still is possessed by one of my former cover band compadres). And for God’s sakes! Loosen that damn guitar strap. The only guy whoever looked moderately cool wearin’ it that high was George, and he was still pushin’ it. I’m not as hard a sell as I sound like, really I’m not. At the very least, try to sing in key, play with a modicom of heart, and just do whatever it takes to give me a good reason to pay that cover and buy that beer. Put on a show! There’s costumes in the barn!-Jeff Graham, 3-31-04.
Brian McBrian, where are you livin' now? Closer to Springtown? I heard there might be a new job. What is it? Jes wonderin'.
Well, Rosebuddnians, here is my disclaimer. This next part of the post might be a little long. I've submitted it to a local music rag in my hometown of Joplin, MO. Not sure if they'll run it or not. Just me lamenting the loss of truly good cover bands. I know, it's kind of like missing McRibs, but I hope somebody gets the gist. Here goes. You guys Take Care, Jeff.
I just got through reading T-Bone's review of a local cover band and it really got me to thinking of the cover bands that I am invariably exposed to these days, usually by accident, and am almost always disappointed by. I'm usually scratching my head and asking, "Where's the Show?" Back then: the type of live bands I was first exposed to in the late 1970's and early 1980's had some qualities that I thought all bands should and would always have, whether they be original or cover-oriented. What was pervasive of the bands of that era, and this was true all through the '80's and perhaps even into a bit of the early '90's, was that although you might be getting a host of songs you already knew, the show often made you forget you were even watching a cover band. It seemed that the over-all mindset of these bands was that they knew that because they weren't original, didn't have any (or very little) merchandise to sell, and weren't after many of the carrots that 'career' oriented bands were, they'd better make up for it by putting together a killer show. That show was their 'artistry.' They carried their own lighting and sound and, because they made the big money that cover bands make, could employ professional people to run these big machines. Hell, a lot of them had professional roadies! The musicianship was almost always sublime, or at least darn good. They weren't kids but they hadn’t graduated into Jimmy Buffet Land either. At one time this was called 'in your prime.' Because of this seasoning, you could tell that the lead guitarist had more than one influence, and so on for the rest of the band. Most of these bands had also spent some time on a 'look,' be it in the Ratt/Motley Crue mode, New Wave, Funk, Southern Rock/Skynyrd/Biker, etc. In effect, even though they were cover bands, they knew what style they were trying to affect and convey. They knew that even a cover band ought to have some concept of drawing a particular demographic. What they mainly had was a concept of their strengths and weaknesses, contributing in a positive way toward defining the band’s sound. The hard rock bands would play mainly that, hard rock, with the exception of some 'rocked-up' oldies. If the lead singer wasn’t a tenor, he stuck to Judas Priest, Ratt, and Van Halen with Dave, not Sammy. A New Wave styled group knew that it would be stylistically retarded to follow a Romantics song with something by Foghat. These guys and girls knew that the height of mediocrity was to aspire to be all things to all people. That, my friends, was then.
Modern day: I've seen enough cover bands around Tulsa, Springfield, and Joplin in what I'll call the 'post-rock era,' 1994 to the present, to know that we ain't in Kansas no more. In recent years I've witnessed "Hurts So Good," played back to back with "Celebration," by Kool and the Gang. That act alone ought to get a band a one-way ticket to Dork City but neither the band nor it's crowd seemed to notice or care about this crap pastiche. Just the other night I witnessed the flattest singer I've ever heard, singing his Guns and Roses songs in all his flatly glory, while his compatriots played their instruments standing completely still, looking intently at their respective guitar necks and drum heads with pensive, furrowed brows that seemed to say, "I sure hope I get that next lick right!" All this plodding workmanship appeared to be to the delight of the 50-60 family, coworkers, and high school friends who attended. Why the love? By God, them boys knew all the Classics! Just like they play on KMOD, The Big Dog, US 97, or whatever else some Classic Rock Station is calling itself.
With the exception of the aforementioned Guns and Roses’ Boring Little Brothers Band, I still see a lot of good musicianship in the cover band world but still very little personality, entertainment acumen, or actual money invested in their shows. Is this ignorance or just abject laziness on the part of both the bands and the audience? When I see a young band playing a Sum 41 song I’d be impressed if they’d follow up with maybe a FooFighters or Blink 182 tune, and if they go that extra mile and reach back to play something by The Jam, Mr. Costello, Joe Jackson, or any of the rest of the Class of ‘78, I’m a screaming puddle of homage that they’ve taken the cool, stylistic consideration to show me that they know where the stuff came from in the first place. This, however, is usually not the case. The Sum 41 song will be followed by a 50 Cent ditty, to be followed by Sheryl Crow, to be followed by Grand Funk’s “We’re an American Band.” All of these dizzying shifts in tone and mood will be played without any outward note of irony on the part of the band or crowd.
So, what does this ranter pine for the most? I wish today’s drunken masses would demand a bit more for their entertainment dollar. “Play something we know!” is a wonderful little request original bands have been getting for years. Why not a, “Hey, Sad-Sack, give us a little more personality with that next Jon Mayer solo!” (Ed. Note-this may be scientifically impossible) to be shouted out at clubs that only hire cover bands. “We know the friggin’ song already, do a damn back flip or somethin’!” could be another lament from the audience of enthusiastic cover lovers. Springsteen’s guitarist, Nils Lofgren, does a wonderful little flip every now and again, and he’s 50! Putting a lot of effort into a show by today’s cover bands should not just be the domain of tribute bands. You guys and girls make the money, you can do it, I know it’s in ya. Learn to dance, learn some jokes, rent videos of Sammy Davis, Jr., Bobby Darin, Jackie Wilson, The King, James Brown, Dave Lee Roth, Tina Turner, Prince, or Martin and Lewis! Learn that Prince really did write “Raspberry Beret” and that Otis Redding performed “Hard to Handle,” long before the Robinson boys were even glimmers in their parents’ eyes (this bit of musical ignorance was and probably still is possessed by one of my former cover band compadres). And for God’s sakes! Loosen that damn guitar strap. The only guy whoever looked moderately cool wearin’ it that high was George, and he was still pushin’ it. I’m not as hard a sell as I sound like, really I’m not. At the very least, try to sing in key, play with a modicom of heart, and just do whatever it takes to give me a good reason to pay that cover and buy that beer. Put on a show! There’s costumes in the barn!-Jeff Graham, 3-31-04.
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