I was doing my typical boredom-induced zombie scrolling deal on Facebook the other day and happened upon a Woody Harrelson meme that said, “When people who only play “original music” crap on my cover band” and has Woody drying his eyes with money. It made me laugh, but it also made me think of another post I saw a while back that argued that cover bands aren’t “local music.” Both of these polarizing posts kind made me question where musicians place their value in their music, and I just wanted to talk through some of the points here (especially after having a discussion with a friend who has very different opinions than mine).

I’ll start from my end because it’s what I’m most familiar with. I love writing music and creating riffs and songs, but at the basis of my playing, I just enjoy playing covers. They’re fun, they get people up and moving because they’re identifiable and it’s a relatively straightforward thing that you can build from with your own unique flourishes should you choose to or play it exactly like the records...the choice is up to the player. For me, I like playing it note for note with the recording. It’s equal parts nostalgia and the desire for perfectionism is a world that lacks it completely. My OCD makes me want to nail each note exactly how the pros did it, and when I finally accomplish it then I feel successful. That’s been a driving force and where the bar has been set for myself since I started playing. I’ve always played covers because that’s actually how I’ve learned a lot of theory is piecing it together how the pros do it, because I don’t have the focus to sit down and practice scales…I never was a “studier.” When I did learn scales, it turned me into a robot because of that cushy feeling of false safety; if I stayed in the box I knew I couldn’t play a dreaded wrong note. But, it led my lead-work to be…scaley? No emotion, just notes in the scale. So, I went back to piecing theory together from songs, and that’s how I’ve personally connected the dots. It can be considered derivative if you broke it down, but it works for me and makes me happy and I try to play to the song and the band as much as trying to stand out.

My buddy is from the opposite line of thought. He gets ultimate enjoyment from writing songs and riffs. His fulfilment comes when he creates a lead lick or catchy rhythm part that he wouldn’t mind hearing again. He knows a few songs, but 95% of the time he chooses to create something in a jam than to cover a song, it’s just not interesting to him. He’s very into unique tones and doesn’t want to sound like Angus Young or EVH or any of the classics. He wants to create his own sound and for lack of a better description, to leave his own mark on the world. It’s something that I never wrapped my head around as a teenager as we’d go to jams and he’d want to make something up instead of playing a known song (to him that was boring). As we got older we both realized that a lot of what’s so great about guitar is the ability to adapt, so we’ve made stuff work.

Fundamentally, going back to the meme’s as referencing (welcome to citation in 2018), who is wrong and who is right? The answer? Both are right and wrong. I know, that sounds like a cop-out but hear me out. There’s playing music for fun, and then there’s playing music to earn money (surplus income, or sole income if you’re a full-time musician). You’ve taken a lot of time to hone your craft, and exposure bucks don’t pay the rent, unfortunately. So, fair compensation for the service you’re providing is what’s needed. To that end, a musician must be willing to adapt to what the customer is expecting. Whether that’s a bar gig trying to help sell some food and beer for the venue, or whatever scenario arises. In general, however, people are looking for identifiable songs. I’ve had several friends who have gone to bars to find out the band was playing nothing but originals, and they ended up leaving. It’s just the society we live in. Everyone has to start somewhere, and many of the famous acts played covers until they got their foot in the door and added in their own material along the way. I guess my point is that there can’t be a polarizing thought-process when it comes to music. Being part of a community means helping it grow, and admittedly it’s something that you shouldn’t have to sacrifice your own integrity to achieve either. My point is, even the biggest stars in music STILL play covers, because there’s something identifiable and nostalgic about hearing those notes, and sort of tying those nostalgic feelings to the personality of the artist covering them…sort of a way of the person covering the songs to express a bit of who they are and what they love.

 In the end, what is the point of cutting down another musician? It doesn’t matter if you’re in a cover band or an original band in the end. If you’re doing what you love, screw it, it doesn’t matter what people think. I’ve seen discussions of covers being derivative, but that’s something that is defined by each player. 

Playing music is the greatest, and surely, that should be enough?!

 

Well, I’ve just one of the best weeks I can remember for a long time!

As you probably already know, I play in what bDub calls a “Dad-Rock” cover band and love every damn second of it. If I am honest, we are OK, we are tight and we always have good tone – we play the kind of music that would get us booted out of any US bar but over here, that kind of Americana/Blues/Country stuff is quite rare so we, at least around here, quite different to most other bands on the circuit. I’ve known all the guys I play with for almost 30 years and have been playing with them on and off for that time, although it was only a couple of years ago I fully joined them after the guitarist (the first guitar player I ever saw play live – albeit in a different band -  in early 1988) unexpectedly had to quit the band after being there for 24 years. So… it’s not a serious musical adventure, it’s just some old friends who get on very well playing the kind of music they like to the best of their ability. The band, Dirty Money, is somewhat of an institution around these here parts. On Sunday we played in the afternoon, outside (in the last hurrah of the flailing UK summer) a lovely time was had by all – it was just a laid-back moment of loveliness that we all thoroughly enjoyed. I must admit, I like afternoon gigs as it means I’m home by 9 and can get a decent night’s sleep. 2am and I just don’t mix like we used too. 

Then… Monday. Well, you may have read my last blog piece about it we saw the unbelievably perfect Joey Landreth. You can read about it here.

On Tuesday we were off again to see one of my favourite musicians, Mr Adrian Legg. Now, I have history with Adrian, I first saw him supporting Joe Satriani in March 1993 (the concert that provided the live track “Flying In A Blue Dream” for the album Time Machine) and for me, Adrian completely and utterly stole the show that night. You can picture it, lots of long-haired rock guitar god types all going to see ‘the master’ and in support is this wonderfully quietly spoken man with just an Ovation guitar. As he walked out we all kinda went “What the…?” but within the first 4 bars, the entire venue had their jaws on the floor in stunned disbelief what they were seeing. As we left the show that night, all around me all I could hear was talk about Adrian. I mean, everyone was blown away by Joe, but I’m pretty certain Adrian picked up a lot of fans that tour (he then went on to do a G3 tour with Joe and Vai) and I quietly just bought all his albums and retained my level of fandom over the years, I was delighted to connect with Adrian when the social media explosion happened and we often (and still do) talk about gear. He’s one of our artists in the most lovely way, he only uses stuff he likes that can make him sound incredible, and he still sound incredible - it’s so cool to see one of my favourite players sporting a Tumnus to make his acoustic guitar bite and growl in the perfect way. About an hour from us a small club run by a certain Mr and Mrs Quayle (who have a son you might be familiar with. Let’s just say… they created a Dual Fusion of their own), and they occasionally have some really good players performing so we go on up when we can. It was lovely to see Adrian again, not seen him for a couple of years and he honoured me by playing a request that I had asked for – “Mrs Jacks Last Stand” that is just one of the most beautiful pieces of solo guitar I can think of.

Adrian often tours the US, you can find tickets here. if you get the chance, you’d be mad not to go. It was a very, very, very special night for all concerned (this was the first time I could take Lisa with me so she was delighted to finally meet Adrian, Richard and Leslie - Tom’s Mum and Dad – in the flesh. You gotta love Leslie, she often starts a sentence with “Oh, I shouldn’t tell you this but there was this one time, when he younger, that Thomas…” and BOOM, there is my material for the next NAMM flight to wind him up!)

A couple of days followed that was just work and family stuff and then on Friday, we were off out again to see an exceptionally cool and fast-rising star named Kris Barras. Man. I wish you could have seen it. I’m not the biggest blues fan in the world, as a lot of it just gets repetitive after a while, but there are certain bands and players that take the mould and smash it to a million pieces, all the time retaining the core of what makes a great blues band. Kris, quite simply, is a phenomenal player. I was listening intently all night as I kept hear different styles flawlessly fall from his fingers… it was about halfway through I suddenly realised what was happening. Every time he changed guitars, his playing slightly changed with it – but not completely, just another version of him. I’ve never really seen that in a player before. You know what it’s like, when someone plays a different guitar they tend to be the exact same player just with a slightly different tone with a couple of specific tricks thrown in… but Kris was actually adapting his style and voicings to compliment his guitar which was a real mind bend for me. When he was on the Tele, some incredibly subtle yet perfectly placed country fills were coming out right alongside some more biting bluesy stuff, then when we went to the Strat, the attack changed, as did the note choice, as did the feel of his playing… same when he went to his HB equipped guitars (a PRS and Seth Baccus Nautilus) everything changed again… I think I could tell you what guitar he was playing ‘now’  (in a blindfold test) on any given gig not by the tone, but how he changes his playing. I really wish I could articulate this better as it’s probably reading like a nonsense but within his own unique style, I could hear Gary Moore, The Allmans, Brent Mason, Albert Lee, Skynyrd, Mr BB (The) King, JoBo, Derek Trucks, Clapton, Beck… the list is endless, but each of those influences came out, perfectly morphed into his own style, according to the instrument he was playing. Class.

Then, after seeing those three incredible players during the week, three players that are respectively either at the sitting at the top of their genre, or comfortable in the fact that they changed millions of players and can still shake them to this day or one that’s raising up so fast it’s hard to keep up with them… All these players inspire me to be the best I possibly can… on Saturday night, I took Lisa to see her favourite guitar player play live, fortunately for me, that actually is me… and that’s just about the best feeling in the world for this hapless romantic old fool.