CJ has had 8 gigs to date (over the last 9 months). It is worth noting that the Pixies played their 11th show EVER on Feb 27, 1988 in Amsterdam...as in...on world tour. And their first show ever was on Oct 31, 1986. Their 8th show was 10/03/1987...just about a year after their first.
Now, granted, they prepared for much, much longer for that first show than we did for ours (we had a month to prep...wiki says they formed the band in January 86 or slightly thereafter...giving them 10 months of prep for the first show) and they were, of course, writing original songs rather than copying from someone else. But it is kind of surprising to me how few shows they played early on...and how quickly they went on a real tour. Now yes...they got "discovered"...and had to put together an album (a serious demo with studio time, really) early on. I imagine though that they probably were rehearsing 2, 3, 4...or more times a week. It's just surprising that, after they finally played that first show...that shows were so sparse for the first year and a quarter.
It's just interesting.
Monday, December 27, 2010
Thursday, December 23, 2010
To Pick or Not To Pick
I've been sliding along for almost 10 months acting as the Kim Deal in a Pixies tribute band and playing the bass with my fingers. Purist would note that Kim Deal plays bass with a pick (the green ones with the little turtles on them in fact). I was suprised to find that my bandmates had made no note of this until last night, when it suddenly seemed like a big deal. And there was some disbelief that I didn't know how to play with a pick...or that I might play guitar without a pick.
I am a mostly self-taught musician. When I picked up the guitar and the bass in middle school for the first time, I played neither with a pick. I'm not sure if this is because 1) there were no picks laying around our house or 2) I was also playing cello at the time, which even when plucked does not use a pick. Fingers seemed natural.
In the early '90s I got somewhat serious about playing guitar, but I still didn't use a pick. I partly played fingerstyle, which by definition, does not use a pick (except sometimes a thumb pick)...but when I strummed I just formed my hand into a pick-like shape sans pick. At the time I wasn't performing and volume was not a concern...so this worked just fine.
I probably first was introduced to using a pick through the mandolin, which is nearly impossible to play without one. I had all but forgotten this fact until just now. Twelve-string guitar is the same way.
But the pick made headway in my house when I bought my first electric guitar, which was probably about 4 years ago or so now. I don't think you can really play an electric without a pick. I was also singing and playing for other people more often, and so I started playing acoustic guitar with a pick too. I'm still not very good at doing anything with it except strumming...though now that I remember the whole mandolin thing it makes me wonder how I managed to play fast fiddle tunes on a mando with a pick. The answer I suspect is..."not well".
I suppose that I overstated my case last night when I insisted that I never played with a pick...not even guitar. But it is true that I didn't play guitar with a pick for the first 20 or so years that I played, and that the pick still feels weird when I do use it. I still can't properly flatpick a melody line, though I might be able to eek out the passing bass notes to a chord progression.
I've never played the bass with a pick, though. When I picked up bass in 2003 I started by playing with my thumb...but quickly figured out this was super lame...and switched to a two finger method. I never gave it much thought after that. I developed technique without any conscious thought. I've noticed recently that I mute the strings with the opposite finger after I strike. I never realized I was doing that, but it allows me to play more staccato than otherwise possible.
When the Pixies thing came up, I looked into using a pick right around the time that we learned U-Mass...cause she was getting a tone that I just couldn't reproduce without the pick. It was really hard for me though, and since no one else seemed to notice or care, I gave up. I put a pick in my bass case, though...just in case.
And so last night it came up that my intro to Debaser is muddy...and of course it is. Playing fingerstyle is just way more legato than with a pick.
I went and took a look today at Deal's technique...and she seems to only pick with downstrokes and to anchor her pinky finger on the bottom string. The downstroke only thing seems a little primitive...and surprises me coming from a guitar player...but it is certainly easier than playing down/up. It feels like a bad habit to pick up...down stroke only...but it would be faster to learn to do that.
I think that I will likely stick with playing by finger style for most things, cause I frankly prefer the sound and I think it is easier to play that way. But I might try to use the pick just on Debaser and U-Mass and other songs where it seems to matter more.
This is all very ironic because the bass player in one of my other bands (who is way better than me on bass) is forever lamenting that he wants to learn to play without a pick like "a real bass player."
I am a mostly self-taught musician. When I picked up the guitar and the bass in middle school for the first time, I played neither with a pick. I'm not sure if this is because 1) there were no picks laying around our house or 2) I was also playing cello at the time, which even when plucked does not use a pick. Fingers seemed natural.
In the early '90s I got somewhat serious about playing guitar, but I still didn't use a pick. I partly played fingerstyle, which by definition, does not use a pick (except sometimes a thumb pick)...but when I strummed I just formed my hand into a pick-like shape sans pick. At the time I wasn't performing and volume was not a concern...so this worked just fine.
I probably first was introduced to using a pick through the mandolin, which is nearly impossible to play without one. I had all but forgotten this fact until just now. Twelve-string guitar is the same way.
But the pick made headway in my house when I bought my first electric guitar, which was probably about 4 years ago or so now. I don't think you can really play an electric without a pick. I was also singing and playing for other people more often, and so I started playing acoustic guitar with a pick too. I'm still not very good at doing anything with it except strumming...though now that I remember the whole mandolin thing it makes me wonder how I managed to play fast fiddle tunes on a mando with a pick. The answer I suspect is..."not well".
I suppose that I overstated my case last night when I insisted that I never played with a pick...not even guitar. But it is true that I didn't play guitar with a pick for the first 20 or so years that I played, and that the pick still feels weird when I do use it. I still can't properly flatpick a melody line, though I might be able to eek out the passing bass notes to a chord progression.
I've never played the bass with a pick, though. When I picked up bass in 2003 I started by playing with my thumb...but quickly figured out this was super lame...and switched to a two finger method. I never gave it much thought after that. I developed technique without any conscious thought. I've noticed recently that I mute the strings with the opposite finger after I strike. I never realized I was doing that, but it allows me to play more staccato than otherwise possible.
When the Pixies thing came up, I looked into using a pick right around the time that we learned U-Mass...cause she was getting a tone that I just couldn't reproduce without the pick. It was really hard for me though, and since no one else seemed to notice or care, I gave up. I put a pick in my bass case, though...just in case.
And so last night it came up that my intro to Debaser is muddy...and of course it is. Playing fingerstyle is just way more legato than with a pick.
I went and took a look today at Deal's technique...and she seems to only pick with downstrokes and to anchor her pinky finger on the bottom string. The downstroke only thing seems a little primitive...and surprises me coming from a guitar player...but it is certainly easier than playing down/up. It feels like a bad habit to pick up...down stroke only...but it would be faster to learn to do that.
I think that I will likely stick with playing by finger style for most things, cause I frankly prefer the sound and I think it is easier to play that way. But I might try to use the pick just on Debaser and U-Mass and other songs where it seems to matter more.
This is all very ironic because the bass player in one of my other bands (who is way better than me on bass) is forever lamenting that he wants to learn to play without a pick like "a real bass player."
Tuesday, December 21, 2010
Pixies Bass Fakebook
This is probably not ready for prime time yet, but I feel like it might never be ready...or at least not for a long time (like 6 months from now) and I'd like to have access online.
So here it is...draft 12/21/2010 of the Pixies Bass Fakebook (pdf format). All the bass tabs for every Pixies song ever recorded (plus one that was never formally recorded). It's 88 songs. Lyrics too.
It isn't quite ready for prime time for a couple of reasons...one is clunky formatting. I'm fighting with Word over sections and styles and such. The second is that not all of the songs are finished. About half of them are finished and checked for accuracy. The rest are in process. A process that will involve me learning all 40 or so of them. Which will take a bit of time.
But it's still a darn good start for anyone with an interest. It's certainly light years ahead of the tab that I collected...all in one handy location.
So here it is...draft 12/21/2010 of the Pixies Bass Fakebook (pdf format). All the bass tabs for every Pixies song ever recorded (plus one that was never formally recorded). It's 88 songs. Lyrics too.
It isn't quite ready for prime time for a couple of reasons...one is clunky formatting. I'm fighting with Word over sections and styles and such. The second is that not all of the songs are finished. About half of them are finished and checked for accuracy. The rest are in process. A process that will involve me learning all 40 or so of them. Which will take a bit of time.
But it's still a darn good start for anyone with an interest. It's certainly light years ahead of the tab that I collected...all in one handy location.
Wednesday, December 15, 2010
And what about the bass...
Yeah. The bass. It isn't quite a neat and clean a story as the drums.
My first instrument was the chord organ when I was about 8 (1978). It was what was available in our house. I still regret that I was never forced to take piano lessons as a child. Maybe my parents didn't have the money or maybe it never occured to them. But when an 8 year old sits down at the crappy keyboard in your house without anyone prompting them to...you'd think this would point to piano lessons. But alas, I digress.
Before you knew it I was in middle school and starting the cello (1982). Why I chose the cello is embarrasing. My mom thinks it is because of the tv show "Fame" and Lori Singer. This is completely untrue. My interest in Fame came AFTER joining orchestra. Actually, I wanted to play french horn. I have no idea why. But I didn't want to be in marching band because I was afraid I'd get my period and bleed on my uniform and everyone would see. Neurosis. So I decided to go with orchestra instead. Violin was my first choice...but again...I was afraid I was too fat and would look dumb playing violin. So I picked cello so I could hide behind it. No joke. I've been messed up a long time.
I bring all this up because cello led to guitar and bass. I had a broken electric bass I trash picked and I'd goof with it because the finger spacing was similiar to cello. Shortly after taking up cello around 1982, I taught myself to play my dad's acoustic guitar from chord charts on pop music. All open first position chords.
I set the bass down for a good long time. Around 1994 I was asked to play cello in a bizarre rock/folk band as a kind of proxy bass. I was living with a professional bass player at the time, so at some point I picked up her electric bass and played it a few times, but it was pretty limited exposure. Somewhere along the line I figured out playing root notes.
In 2003 I accidentally joined The Motor Primitives on bass and played with them for about 7 months before kind of getting kicked out for someone better. We morphed into Pants del Fwego and I continued playing with them until around 2008. All that time I basically did nothing more but play the root, third, or fifth of the guitar chords. I never listened to any recordings of the songs we played. I never practiced outside rehearsal.
In December 2009 RS off handedly mentioned the Pixies tribute band idea after I begged him to led me play bass in the Escapists. I started learning Pixies songs in secret and found Kim Deal's 8th note root based style a perfect match to my limited skill set. By March we were a band, played out in April...and on it goes.
Some time in spring 2010 I took a bass class...and tried to start lessons. But both left me cold. It was like jumping in the deep end of music theory. I could see the value and I could follow along somewhat...but it made it quite a lot of work. Meanwhile I've managed to decifer 3/4 of the bass parts that the Pixies have. Clearly there is a gap between learning and doing here. Granted, Kim Deal isn't playing any greatly complicated bass lines...but she is doing something well that propels the music. And that's the kind of bass I like.
I'd like to get more serious on the bass, but I don't know if it will ever become a priority. Much of what I like about bass is that it is fun and not very stressful for me. There's less riding on you than in the drum throne. While I wouldn't want that to be my primary role...it's a nice break sometimes. It puts the fun back in playing music. It's relaxing instead of stressful.
While technically I've been playing bass off and on for about 28 years now...I guess I'd mark the "real" start as 7 years ago...and the "serious" start as a year ago. Though I'm not sure that I've actually HAD the serious start yet.
Still too much drum stuff to learn.
I will comment, though, that I read often about the benefits of drummers playing other instruments. I certainly value the time I've put in with other instruments when I'm playing drums. And I value the time spent in ensembles of all kinds when playing in bands. But the bass and the drums are certainly the most closely tied of the instruments in a band...and it is really useful to have some language with both when sitting in the opposite role.
My first instrument was the chord organ when I was about 8 (1978). It was what was available in our house. I still regret that I was never forced to take piano lessons as a child. Maybe my parents didn't have the money or maybe it never occured to them. But when an 8 year old sits down at the crappy keyboard in your house without anyone prompting them to...you'd think this would point to piano lessons. But alas, I digress.
Before you knew it I was in middle school and starting the cello (1982). Why I chose the cello is embarrasing. My mom thinks it is because of the tv show "Fame" and Lori Singer. This is completely untrue. My interest in Fame came AFTER joining orchestra. Actually, I wanted to play french horn. I have no idea why. But I didn't want to be in marching band because I was afraid I'd get my period and bleed on my uniform and everyone would see. Neurosis. So I decided to go with orchestra instead. Violin was my first choice...but again...I was afraid I was too fat and would look dumb playing violin. So I picked cello so I could hide behind it. No joke. I've been messed up a long time.
I bring all this up because cello led to guitar and bass. I had a broken electric bass I trash picked and I'd goof with it because the finger spacing was similiar to cello. Shortly after taking up cello around 1982, I taught myself to play my dad's acoustic guitar from chord charts on pop music. All open first position chords.
I set the bass down for a good long time. Around 1994 I was asked to play cello in a bizarre rock/folk band as a kind of proxy bass. I was living with a professional bass player at the time, so at some point I picked up her electric bass and played it a few times, but it was pretty limited exposure. Somewhere along the line I figured out playing root notes.
In 2003 I accidentally joined The Motor Primitives on bass and played with them for about 7 months before kind of getting kicked out for someone better. We morphed into Pants del Fwego and I continued playing with them until around 2008. All that time I basically did nothing more but play the root, third, or fifth of the guitar chords. I never listened to any recordings of the songs we played. I never practiced outside rehearsal.
In December 2009 RS off handedly mentioned the Pixies tribute band idea after I begged him to led me play bass in the Escapists. I started learning Pixies songs in secret and found Kim Deal's 8th note root based style a perfect match to my limited skill set. By March we were a band, played out in April...and on it goes.
Some time in spring 2010 I took a bass class...and tried to start lessons. But both left me cold. It was like jumping in the deep end of music theory. I could see the value and I could follow along somewhat...but it made it quite a lot of work. Meanwhile I've managed to decifer 3/4 of the bass parts that the Pixies have. Clearly there is a gap between learning and doing here. Granted, Kim Deal isn't playing any greatly complicated bass lines...but she is doing something well that propels the music. And that's the kind of bass I like.
I'd like to get more serious on the bass, but I don't know if it will ever become a priority. Much of what I like about bass is that it is fun and not very stressful for me. There's less riding on you than in the drum throne. While I wouldn't want that to be my primary role...it's a nice break sometimes. It puts the fun back in playing music. It's relaxing instead of stressful.
While technically I've been playing bass off and on for about 28 years now...I guess I'd mark the "real" start as 7 years ago...and the "serious" start as a year ago. Though I'm not sure that I've actually HAD the serious start yet.
Still too much drum stuff to learn.
I will comment, though, that I read often about the benefits of drummers playing other instruments. I certainly value the time I've put in with other instruments when I'm playing drums. And I value the time spent in ensembles of all kinds when playing in bands. But the bass and the drums are certainly the most closely tied of the instruments in a band...and it is really useful to have some language with both when sitting in the opposite role.
5 Year Check In
So I bought my first drum kit on my way to Indiana for New Year's in December 2005. Stopped by Drums N Moore on my way out of town, saw a full kit with cymbals and hardware for about $400...and bought it on the spot. Had to haul it back home before continuing on to Indiana.
It was KIND of an impulse buy and kind of not. I've long had a habit of collecting cheap instruments...sometimes following up by learning to play them and sometimes not. I wasn't the kind of person who was into drums from a really young age. I just wasn't. I didn't constantly drum my fingers on tables and such. I'm not sure when I started to think about playing drums, but I remember wanting a drum kit when I lived in the attic on Willy Street around 1998 or so. I remember thinking it would fit just fine in the storage space next to my room.
A few years later the sweetie, after much arm twisting, bought me a cheapie electronic kit from Sam's club. A table top model, but it had foot pedals. As she expected, I never really learned to play the thing.
When I started playing with The Motor Primitives I started getting interested in drums, though I don't really know why. When the band morphed into Pants del Fwego I briefly considered moving to drums...then decided it better to stick with bass and learn how to "really" play...which, ahem...I have yet to actually do.
It must have been in fall 2004 that we went to the Experience Music Project in Seattle and I sat behind a real drum kit and learned the basic rock beat and a reggae beat. I was kind of a goner after that. I bought my house in fall 2005 and before I knew it I was buying that kit at Drums N Moore "on a whim." I certainly hadn't planned it or researched it. But there I was...led by a current of pent up want.
Given my history, there were good odds that the kit would sit in the basement never to be played. I think I was buoyed by the three free drum lessons that came with the kit. I liked my instructor and that single day at EMP (and year's of playing and listening to music, I suspect) had actually given me the skills to not feel like a total beginner. It didn't work out for me to continue with lessons, but I DID keep playing. Mostly I put on the Motor Primitives cds or Wingspan and played along. That's how I learned to play.
In summer 2006 I had a reality check that it was time I stopped waiting for other people to make my musical dreams happen and start taking responsibility. I started checking Craig's List for bands. I don't know why I thought playing in a band was the next step, since I barely could play a basic rock beat...but there it was. I hooked up with three stoner guys I would go on to call "The Sea Turtles" because they talked like the Turtle in Finding Nemo. They were a jam band...space rock...kind of outfit...and we didn't last long. Maybe four rehearsals. And then they just stopped showing up and never contacted me again.
Back to Craig's List and I hooked up with Jon in August. We added Michael in September and were gigging out as The Lollards by December. We practiced twice a week for 3 or 4 hours at a stretch, and by the time we disbanded in July 2007, we had a 22 song set, 16 of which were original tunes. We recorded a 5 song ep (supposed to be 6, but one got eaten by the recorder). I can't say we were that great musically (though I liked the songs). But it was a fantastic learning experience for me as a drummer AND as a gigging/recording musician. And we had a really good time.
Before The Lollards went down I had already gone back to the Craig's List well and hooked up with what would become Shanghai Party Boss. We started practicing in late summer and gigging in September 2007. We recorded a full length record in May 2008 and I was out of the band by August.
After that I had a real coming to Jesus moment. I didn't feel good about my skills and was tired of feeling that way. In December I signed up to start taking lessons, which I stuck with for a year and a half. I tried to practice every day for most of that time for 1-3 hours a day (outside rehearsals). In February 2009 Seven Stone Weaklings came together on a whim and helped me build back up my confidence.
In fall 2010 I joined The Drain.
Along the way there's been a dozen or so non-starter bands. Things that lasted one or two or ten rehearsals and then fell apart. Most of which I never got an explanation about or any kind of closure. Maybe half a dozen "almost" auditions too. Perhaps 20 or more things that never went past one email. People are hard to deal with and people make up bands. I almost always take it personally and it almost always probably has very little to do with me. I feel blessed to have settled into the three bands I currently occupy (the third on bass, which is another story all together).
This past summer I bought a second kit and upgraded my hardware, cymbals, and snare. It's all still pretty low grade...but many grades above where I was.
So here I stand 5 years into playing the drums. In many ways I feel like things didn't get serious until after I left SPB...but the whole period has been part of the process. I still don't have much confidence in my abilities, often fed by petty people and their thoughtless comments. But I really have come a pretty far way in 5 years. I feel like I'm on the edge of another period of intense study...but you can never tell about those things until you can look back on it.
A couple of Saturdays ago I sat down with the first Motor Primitives album, something I hadn't tried in a very, very long time. I was surprised that playing along to it kind of bored me. And that, as much as anything is a sign of growth...as a drummer and in many other ways.
Ironically, I'm feeling lately like the only way to really advance is to kind of stop worrying about what other people think or say. Most of it doesn't amount to much. The only standard I need to meet is my own...and if I meet that or work hard towards meeting it...other people will be impressed by default. And if they aren't...well...they weren't to begin with...so I'm no worse for the wear.
It was KIND of an impulse buy and kind of not. I've long had a habit of collecting cheap instruments...sometimes following up by learning to play them and sometimes not. I wasn't the kind of person who was into drums from a really young age. I just wasn't. I didn't constantly drum my fingers on tables and such. I'm not sure when I started to think about playing drums, but I remember wanting a drum kit when I lived in the attic on Willy Street around 1998 or so. I remember thinking it would fit just fine in the storage space next to my room.
A few years later the sweetie, after much arm twisting, bought me a cheapie electronic kit from Sam's club. A table top model, but it had foot pedals. As she expected, I never really learned to play the thing.
When I started playing with The Motor Primitives I started getting interested in drums, though I don't really know why. When the band morphed into Pants del Fwego I briefly considered moving to drums...then decided it better to stick with bass and learn how to "really" play...which, ahem...I have yet to actually do.
It must have been in fall 2004 that we went to the Experience Music Project in Seattle and I sat behind a real drum kit and learned the basic rock beat and a reggae beat. I was kind of a goner after that. I bought my house in fall 2005 and before I knew it I was buying that kit at Drums N Moore "on a whim." I certainly hadn't planned it or researched it. But there I was...led by a current of pent up want.
Given my history, there were good odds that the kit would sit in the basement never to be played. I think I was buoyed by the three free drum lessons that came with the kit. I liked my instructor and that single day at EMP (and year's of playing and listening to music, I suspect) had actually given me the skills to not feel like a total beginner. It didn't work out for me to continue with lessons, but I DID keep playing. Mostly I put on the Motor Primitives cds or Wingspan and played along. That's how I learned to play.
In summer 2006 I had a reality check that it was time I stopped waiting for other people to make my musical dreams happen and start taking responsibility. I started checking Craig's List for bands. I don't know why I thought playing in a band was the next step, since I barely could play a basic rock beat...but there it was. I hooked up with three stoner guys I would go on to call "The Sea Turtles" because they talked like the Turtle in Finding Nemo. They were a jam band...space rock...kind of outfit...and we didn't last long. Maybe four rehearsals. And then they just stopped showing up and never contacted me again.
Back to Craig's List and I hooked up with Jon in August. We added Michael in September and were gigging out as The Lollards by December. We practiced twice a week for 3 or 4 hours at a stretch, and by the time we disbanded in July 2007, we had a 22 song set, 16 of which were original tunes. We recorded a 5 song ep (supposed to be 6, but one got eaten by the recorder). I can't say we were that great musically (though I liked the songs). But it was a fantastic learning experience for me as a drummer AND as a gigging/recording musician. And we had a really good time.
Before The Lollards went down I had already gone back to the Craig's List well and hooked up with what would become Shanghai Party Boss. We started practicing in late summer and gigging in September 2007. We recorded a full length record in May 2008 and I was out of the band by August.
After that I had a real coming to Jesus moment. I didn't feel good about my skills and was tired of feeling that way. In December I signed up to start taking lessons, which I stuck with for a year and a half. I tried to practice every day for most of that time for 1-3 hours a day (outside rehearsals). In February 2009 Seven Stone Weaklings came together on a whim and helped me build back up my confidence.
In fall 2010 I joined The Drain.
Along the way there's been a dozen or so non-starter bands. Things that lasted one or two or ten rehearsals and then fell apart. Most of which I never got an explanation about or any kind of closure. Maybe half a dozen "almost" auditions too. Perhaps 20 or more things that never went past one email. People are hard to deal with and people make up bands. I almost always take it personally and it almost always probably has very little to do with me. I feel blessed to have settled into the three bands I currently occupy (the third on bass, which is another story all together).
This past summer I bought a second kit and upgraded my hardware, cymbals, and snare. It's all still pretty low grade...but many grades above where I was.
So here I stand 5 years into playing the drums. In many ways I feel like things didn't get serious until after I left SPB...but the whole period has been part of the process. I still don't have much confidence in my abilities, often fed by petty people and their thoughtless comments. But I really have come a pretty far way in 5 years. I feel like I'm on the edge of another period of intense study...but you can never tell about those things until you can look back on it.
A couple of Saturdays ago I sat down with the first Motor Primitives album, something I hadn't tried in a very, very long time. I was surprised that playing along to it kind of bored me. And that, as much as anything is a sign of growth...as a drummer and in many other ways.
Ironically, I'm feeling lately like the only way to really advance is to kind of stop worrying about what other people think or say. Most of it doesn't amount to much. The only standard I need to meet is my own...and if I meet that or work hard towards meeting it...other people will be impressed by default. And if they aren't...well...they weren't to begin with...so I'm no worse for the wear.
Groove Essentials
Started working on Groove Essentials Vol 1 last night. I bought Vol 1 and 2 in playalong format this week. I assumed, wrongly, that the cds included would feature each groove played once with and once without drums. No dice. There are no drum tracks at all on the cds. Essentially...if you want to know what it sounds like...they want you to buy the dvd. So I was regretting not getting that at the same time in a package (cheaper). But I didn't think I'd watch the dvds.
But working through the rock grooves in volume 1 last night wasn't as bad as I thought. The recordings really give you the FEEL of the groove, so you almost don't actually need to hear someone playing it. And my reading skills are better than I thought maybe. Of course, I have no idea if I was getting it right.
Igoe is big on recording yourself and listening back, and I suppose I ought to do that more. Now, with the Zoom, this is an easy matter...something I hadn't considered when I bought it.
Moving into funk, r&b, jazz, and world beats, I think the dvd will be more critical. I'll wait and see if Santa brings one or both of the dvds...and if not, pick up at least vol 1 after the first of the year. I do think it will help.
I also like the discussions of each groove at the bottom of the page. I like Igoe's "voice".
It's SO easy to get stuck in what you know and to keep coming back to your signature moves. I have some and I don't know where they came from, but they are there and hard to avoid. Playing to "new" grooves it quickly becomes obvious the things that I need to work on. High hat foot...off beat bass stuff...ride/hat patterns that vary (not just straight 8ths or 16ths). It's exciting and terrifying. There's just SUCH a big world out there to learn. I've come REALLY far in my 5 years on the throne...but there's SO far yet to go.
But working through the rock grooves in volume 1 last night wasn't as bad as I thought. The recordings really give you the FEEL of the groove, so you almost don't actually need to hear someone playing it. And my reading skills are better than I thought maybe. Of course, I have no idea if I was getting it right.
Igoe is big on recording yourself and listening back, and I suppose I ought to do that more. Now, with the Zoom, this is an easy matter...something I hadn't considered when I bought it.
Moving into funk, r&b, jazz, and world beats, I think the dvd will be more critical. I'll wait and see if Santa brings one or both of the dvds...and if not, pick up at least vol 1 after the first of the year. I do think it will help.
I also like the discussions of each groove at the bottom of the page. I like Igoe's "voice".
It's SO easy to get stuck in what you know and to keep coming back to your signature moves. I have some and I don't know where they came from, but they are there and hard to avoid. Playing to "new" grooves it quickly becomes obvious the things that I need to work on. High hat foot...off beat bass stuff...ride/hat patterns that vary (not just straight 8ths or 16ths). It's exciting and terrifying. There's just SUCH a big world out there to learn. I've come REALLY far in my 5 years on the throne...but there's SO far yet to go.
Monday, December 13, 2010
SSW, 12/11/10, WYOU Fundraiser
I was a little grumpy about having to do this gig, but it turned out pretty great. The folks at YOU are pretty awesome. I feel badly for them that their funding is in the crapper and they got screwed out of their good slot on the dial.
It's weird to watch yourself playing on a tv monitor, though.
Gig went pretty good, I goofed a couple of minor things, but no biggie. We had in studio support from 3/4 of the band "wives" and fabulous volunteer camerafolk. Funny little intro by Ed Sullivan impersonator...he did a funny little thing about drug references and mistaking us for being "stoned" weaklings (Doors tip o hat...nice). And we pledge rapped the crap out of that thing. Hit my knuckle on the rim during sound check...bled like a mother. Been a while since I've bled on the drums. I've missed it. And we managed to load out before the blizzard hit. Bonus.
Setlist:
1. NEW ROSE
2. DANCE (4X) TO THE RADIO
3. TEENAGE KICKS
4. THE WAY I LOVE YOU
5. HATE & WAR
6. I HATE THE RICH
7. BOSCOBEL BREAKOUT
8. THIS SIDE OF PARADISE
9. SUSPECT DEVICE
10. WARSAW (dropped for time)
11. TWO PINTS OF LAGER AND A PACKET OF CRISPS PLEASE
12. O' COME ALL YE FAITHFUL
It's weird to watch yourself playing on a tv monitor, though.
Gig went pretty good, I goofed a couple of minor things, but no biggie. We had in studio support from 3/4 of the band "wives" and fabulous volunteer camerafolk. Funny little intro by Ed Sullivan impersonator...he did a funny little thing about drug references and mistaking us for being "stoned" weaklings (Doors tip o hat...nice). And we pledge rapped the crap out of that thing. Hit my knuckle on the rim during sound check...bled like a mother. Been a while since I've bled on the drums. I've missed it. And we managed to load out before the blizzard hit. Bonus.
Setlist:
1. NEW ROSE
2. DANCE (4X) TO THE RADIO
3. TEENAGE KICKS
4. THE WAY I LOVE YOU
5. HATE & WAR
6. I HATE THE RICH
7. BOSCOBEL BREAKOUT
8. THIS SIDE OF PARADISE
9. SUSPECT DEVICE
10. WARSAW (dropped for time)
11. TWO PINTS OF LAGER AND A PACKET OF CRISPS PLEASE
12. O' COME ALL YE FAITHFUL
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