John is absolutely right! Look, there is nothing wrong with being "creative" but, there is also nothing wrong with following a certain work ethic in order accomplish a good end product. I haven't played cover songs in twenty years but, that doesn't mean that I can interpret the tune however the mood takes me. If I make a mistake on a song (or more), we stop and I will correct it. Same goes for the other members of the band. Some would say that since many people in the audiece have never heard these songs, what difference would it make if mistakes were made as long as the groove were maintained? Wrong attitude! We would care! People shouldn't have to pay good money to hear a jam. You are a musician and an entertainer . Learn your craft to the best of your ability while having fun doing it.

Brian

Play for the gig.

I applaud musicians that aim to re-create a performance note per note, that degree of work is surely involved to say the least. But what if the musicians you are playing with do not play the song in the same manner as you do (note perfect)? The result is usually worse that the entire group playing "their own" version. At the end of the day, in a live situation, you play for the song, gig, audience.

I have played plenty of cover gigs where the band played all songs 10 BPM faster than the recording to create a danceable environment.

I have played with national artists on national stages that play covers of other songs their way. Sometimes you have to drop down a key, speed things up, and omit slick studio created arrangements (what about the orchestral bells part?).

My point......play for the gig.

Ha! So true. However, it's my band and we practice at my location.

Looks to me like there is room to compromise here. After further review, I think that it would be fair to me and my mates if we did some songs that I like true to form like the original (Wind Cries Mary; how could you do this any other way?) and play some others with some funky but tasteful tweaks. I'm okay with that.

I'm glad that I brought this up here on the VDF. Your wise insight gave me good points to consider.

Thanks.

There's a difference between a cover band and a tribute band.

If I see a tribute band, I expect note-for-note perfection. I'm willing to give a cover band some leeway if they honor the spirit of the original.

My own band plays a heavier version of Aretha's "Baby I Love You" that packs the floor, which is the bottom line for me.

> that packs the floor,

Sadly, that is the exception and not the general rule... which I think why we're having this conversation.

For me, it's like this... I get a call to try out for a working band. I would have had a set list in my hands and CD's (if the band had recorded,) that I would have been using to prep before-hand.

I'm a musician. When the leader calls a tune off the set list, I'm expected to know the part. If I can't produce, I don't get the gig. If I show I know my stuff, by knowing the parts and just being prepared, it'll be Fat Tuesday! I'll have a job. Nobody wants to hear 'my version' of Mitch Mitchell's drum part if the band leader calls for say, Manic Depression.

It's one thing if you're knocking around in your fathers garage with some of the boys, it's quite another when you're being paid to play certain tunes. Also, sitting down with seasoned players who know their parts inside and out calls for you to know your part as well as they know theirs. You go ahead and screw around on-stage improvising, it'll throw everybody off the train.

A gig is a paid performance. When people ask for their favorite songs, it's your responsibility to play it for them. Not -your- version of it, but the song they asked for, the one they love and want to hear. It's simple, want to be a drummer in a 'working' band... just know your stuff/parts!

John

Personally, I love to exactly replicate great drummers and learn ALOT from doing it. If you don't already know it, learn the shuffle pattern in Toto's Roseanna, direct from the man himself:

[ame]http://www.youtube.com/watch?v=5JIPd-kn8c8[/ame]

[QUOTE=auto.pilot;178658]Personally, I love to exactly replicate great drummers and learn ALOT from doing it. If you don't already know it, learn the shuffle pattern in Toto's Roseanna, direct from the man himself:

Jeff Porcaro! What a great drummer. The Rosanna beat is just Bernard Purdie's half time shuffle played with a Bo Diddly beat happening on the bottom end. Great stuff!

John