Not the first time this for this. We get an email from the promoter of the event... the people who have hired us to play... with some useful information about the gig, and forewarning us that parking will likely be a bitch, and that we are basically on our own as far as that's concerned. You know ... as opposed to "we are setting aside a designated parking area for performers".
I've been a ham my whole life... never suffered from any kind of stage fright, ever. I don't worry if it is getting close to soundcheck and someone in the band hasn't shown yet. I'm not nervous about performing new material that we haven't rehearsed as much as we should have. Etc., etc. The only thing that ever causes me any stress and anxiety before a job is being able to load in and find a place to park. Ugh.
I think some of the artists mentioned here, such as Joe Cocker, would bristle at the term "cover band", preferring to be recognized as "song stylists".
Same goes for Frank Sinatra, Tony Bennett, Elvis, Jerry Lee Lewis, and so many other greats. Just because a performer is a not a songwriter themself, doesn't automatically lump them into the category of cover band or cover artist. Then there's Willie Nelson, who is not only a gifted songwriter, but someone who enjoys and is equally adept at interpreting others' compositions into his own unique style.
It was great, in the 1970's and into the early 80's, to still have a few 'progressive' FM stations in our market. Where disc jockeys were free to play any track off a new LP, and not just the hit single (or 'emphasis track', as it came to be known). Dire Straits, Pretenders, and Elvis Costello are three acts who come to mind, whose debut albums really benefited from this. We didn't mind plunking down our money for the 1st album from an unknown artist .. because we already knew every song was a winner.
Of course, this was soon to change. AM became talk radio, and FM became the new AM. And then the CD was introduced, and the music industry simply assumed that we'd gladly drop $18 on a CD, just on the merit of that one song that was getting airplay. Sometimes that one song was indeed killer, but you'd unfortunately discover that the rest of the songs on the CD were mediocre, or worse. This became know as The Cumbawumba Effect.
TRX rivets require 1/4" hole in your cymbal... wider then usual rivets for cymbals. They are also used to attach TRX tambourine jingles to cymbals. But the rivets have been out of stock for a long time. I order a bag of jingles & a bag of rivets at the same time in October. Jingles arrived in a week, still waiting for those rivets which are now on backorder.
That issue featured 'The 50 Greatest Artists Of All Time", as voted upon by 'a panel of 55 top musicians, historians, industry executives and critics'. Here are the Top 20. Note that the only American bands included in the Top 20 are the Beach Boys and the Velvet Underground; the other US entrees are individual performers.
1. The Beatles
2. Bob Dylan
3. Elvis Presley
4. The Rolling Stones
5. Chuck Berry
6. Jimi Hendrix
7. James Brown
8. Little Richard
9. Aretha Franklin
10. Ray Charles
11. Bob Marley
12. The Beach Boys
13. Buddy Holly
14. Led Zeppelin
15. Stevie Wonder
16. Sam Cooke
17. Muddy Waters
18. Marvin Gaye
19. The Velvet Underground
20. Bo Diddley
I really believe that the modern-day concept of the 'rock band' owes more to the British groups of the early 60's, than anything else: the idea of self-contained band that writes its own material. And certainly the idea of a lead singer (in particular, one who does not also play an instrument), considered an equal member of the band. You rarely saw that in America, before the Stones, Animals, etc. In the big-band era, singers were 'carried' by bands, they were not really considered 'in' the band. Sinatra altered the paradigm, and singers became the main attraction over the bands and bandleaders. Pretty much how it still was, when rock and roll developed in the US, in the 50's: the singer was the name on the marquee. The band was the 'backup band', sometimes un-credited, sometimes with a band name preceded by "and the ...", but generally anonymous as individuals, to the general public.
Consider American rock and roll bands before The Beatles, et al. Who was "the intellectual Venture" ? Or "the cute Comet" ? Or "the quiet Cricket" ? See what I mean ?
As a band that wrote, sang and played instruments, with no one persons' name at the top, the Beach Boys maybe an exception to what the American concept was at that time. The Four Seasons were really more of a vocal group that had some rudimentary ability to provide their own instrumental accompaniment on stage, in their original formation.
PS - next 2 American bands on the list are Ramones (#26) and Nirvana (#27)
I have been playing a traditional Cajun triangle in my act for many years. Recently decided to add an orchestral triangle to my set-up. Until I started looking into it, I wasn't even aware that Sabian has a line of quality B8 bronze triangles. Their hand-hammered models cost about twice as much as the non-hammered versions; I read some exceptional reviews on the internet, so I went for the 6" hammered model (about $75).
We have been rehearsing our catalog of bluegrassified holiday tunes, for some upcoming jobs.
New triangle is working out great, for festive accents. Of course it sounds best and brightest, when struck with metal triangle beater. Sometimes I will have the capacity to quickly swap out implements, but in other places I need to strike it with the wood handle of my drum brush.. it responds pretty well to that. Consider me thumbs-up for Sabian triangles.
I wish the R&RHoF would induct bands as institutions, and not as checklists of specific musicians from each band's history. Founding members, later-day replacement members, roadies, sound engineers.. anyone who was every involved with the band could take pride in their contribution and in the honor of the induction.