You're wrong about Epstein. He was a businessman, not a musician. His time was done, by the time he died. He was old hat. Different case entirely. The visionaries were Paul and John and then later included George. John just wanted to go in a different direction and George needed a bigger creative out-let. That isn't a failure or a problem. It's just an example of people changing and moving on. You are absolutely deluded about Don Felder. I think you should read a few biographies and watch a few documentaries on the Eagles, then make a new video. Glenn Frey is universally acknowledged to have been an arsehole to the other band-members, as well as being snippy, nasty and over-sensitive and making demands on the other band members, including not paying them properly. Don Henley left the band after Glenn Frey was literally verbally abusing him on stage and threatening him, because Henley had earlier made a fairly innocuous off-hand comment to a politician, after Frey booked a free gig for the Eagles. All he said was, "I guess" and that was enough for Frey to want to tear him to pieces during a gig. The video with the clear audio, is freely available on youtube. Listen to it and tell us that he was the 'Leader' who should have been respected. This happened ON STAGE and involved threats of violence. Frey was an ass and created a poisonous atmosphere in the band.
Don Felder was actually hey bad example the reason he and the band split ways was Glenn Frey wanted him to do things for political candidates which he did not agree which was the Eagles biggest mistake because he wrote their biggest song Hotel California and after that he left the band and they basically didn't do anything again for 30 years.😅
To quote a friend of mine, "somebody's gotta be Spock". That has served me very well in my ongoing 20+ year collaboration with a brilliant singer/songwriter, someone who values my opinion and vision as much as his own.
Ringo is by no means average! I WISH I had a Ringo instead of my current drummer!! Ringo always served the song!! But otherwise, your video is spot on!!
My favorite was when the band would pick and choose who was cool and leave the others out. This destroyed many of my bands. It also made me feel like a black sheep.
OK, I'm just a bedroom musician, but I've played enough with other people to know a thing or two, and I know enough people who are in bands, so I'm surprised that I don't see the three main reasons for a band to fall apart that I've seen: 1. The substance abuser. No, you don't play better when you're drunk. Yes, if you rely on alcohol or other drugs too much, you're a liability, no matter how good you are. 2. The driven boss-man. You know, he is determined to make it, he knows exactly what should be done and he is willing to lead the band to success. The only problem is that he is treating his band-mates as if they are his employees, but doesn't pay them well enough (or doesn't pay them at all). I've met people like this and I've refused to play with them. I will not be bossed around, if my only reward will be the occasional gig where I'll get as much as I make in an hour at my normal job. Music is a hobby for me, and although I am willing to follow someone's lead, if they take my enjoyment away, I won't play with them. 3. The one who is not on the same page as the others - or, more accurately, the metal guitarist who joins a pop band.
12:12 the flip side is the average to poor musician who has zero awareness they are not that great and are so caught up in their identity as a rock n roller, will never put in the actual work to get better. The image and idea of it is all they need.
I agree with showing Ringo as the adequate guy who shows potential. The opposite? GINGER BAKER. Arguably the greatest drummer in the history of rock, but inarguably the victim of several personality disorders at once. He died broke and friendless.
Well, good luck finding 3-4 top notch musicians none of whom want to showboat, all take feedback with a smile, who always show up on time, communicate via your channels, accept decisions by the band leader, do their share of the non-musical work ... but reality is that usually the artistic types or the technical savants compromise on the social skills. (*) So as a band leader, you need to do a lot more work than proper casting. It's on you to find the keys to the more difficult personalities. With 4 good guys you are unlikely to surpass mediocrity. Look at rock history: it's crowded with egos and conflicts. So I would actually give the opposite advice: if you aim for the stars, surround yourself with the best of the best and accept there will be a lot of trouble along the ride. If you want to have a good time in anonymity, go for good chaps (or chicks). (*) Exception: if you are already rich and famous, then of course you have the best session musicians in the world for the picking.
Here's how I look at it. For example, using the 7-note "A" scale starting on the 5th fret of the big-E string You can take out notes to make it Pentatonic, or add in the Blues notes, etc., but... REGARDLESS of Major or Minor or Modes, the ROOT note "A" will ALWAYS start on the 5th fret of the big-E string ALSO NOTICE: notes 1, 2, 4, 5 are the SAME regardless... The other 3 notes determine its major, minor, mode "A" major (7 notes = 1 is ROOT, 2, 3, 4, 5, 6, 7) E-string: 5th fret (1), 7th fret (2), 9th fret (3) A-string: 5th fret (4), 7th fret (5), 9th fret (6), 11th fret (7)** ** or D-string: 6th fret (7) "A" minor (7 notes = 1 is ROOT, 2, b3, 4, 5, b6, b7) E-string: 5th fret (1), 7th fret (2), 8th fret (b3) A-string: 5th fret (4), 7th fret (5), 8th fret (b6), 10th fret (b7)** ** or D-string: 5th fret (b7) "A" Mixolydian (7 notes = 1 is ROOT, 2, 3, 4, 5, 6, b7) E-string: 5th fret (1), 7th fret (2), 9th fret (3) A-string: 5th fret (4), 7th fret (5), 9th fret (6), 10th fret (b7)** ** or D-string: 5th fret (b7) "A" Dorian (7 notes = 1 is ROOT, 2, b3, 4, 5, 6, b7) E-string: 5th fret (1), 7th fret (2), 8th fret (b3) A-string: 5th fret (4), 7th fret (5), 9th fret (6), 10th fret (b7)** ** or D-string: 5th fret (b7) Again, you can take out notes to make it Pentatonic, or add in the Blues notes, etc., but... REGARDLESS of Major or Minor or Modes, the ROOT note "A" will ALWAYS start on the 5th fret of the big-E string ALSO NOTICE: notes 1, 2, 4, 5 are the SAME regardless... The other 3 notes determine its major, minor, mode
What I would add to this is understanding the extended scales in major and minor and how to use them to connect the fret board and understanding relative major and minor use the same shapes with the roots in different spots
My final band consisted only of the types listed in the video with me being the easily offended one, the other two were a tyrannical perfectionist who shouted at his guitar processor and a rebel without a cause who always clashed with him and wanted to enforce his vision being a hidden insecure perfectionist himself. To be honest there is no way to fix these problems music-wise, one needs therapy or self-reflection and personal growth, as these types represent musicians that are fundamentally fucked up as human beings in different ways and mostly see music as a coping mechanism. Usually an idea to make a band is an expression of deep insecurity or irresponsibility in such conditions. When i fixed my shit, I realized that I just wanted to play an instrument, not to play in a band or be a live musician for that matter. The band was required to get an external validation and patch up insecurities
Kind of right. However if you remove all human dynamics and have bland band members, regardless of how good a musician they are, you will have a bland band.
Thing about Axl was that he was having therapy because he was abused as a child. And he was in the middle of that and being told there was a crowd of a hundred-odd thousand waiting for him.
"I had to ask the bass player not stop playing loud aggressive slap-bass all through a quiet acoustic ballad". If there's one band that COULD pull that off, it'd be the Red Hot Chilli Peppers ;-)
One of the big splits we had in a Irish/Scottish Trad band for 18 years, came from a member who vehemently started going on about the need for nore slow ballads. We were a pub band first and foremost. The patrons enjoyed the fast and funny, not the ballad after ballad. For every ballad we would do, we needed 4 to 5 upbeat tunes to compensate, otherwise, patrons start walking out. That particular player took our 6 piece group down to a 4 piece as another member followed her out the door. While it meant considerable effort revoicing, rearranging, and revision of our set lists, musically, I think we improved musically with the 2 members. Had we been performing in Concert venues, I might have agreed with her, but her ability to judge our audience was based solely on her friends that wanted to hear her "ballads." The rest of the pub however, didn't want to hear it. Our prime fiddler, was our leader for the most part, and he did a good job of democratically listening to the two of us, who along with him, were the core of the group.
Thanks for the clarity, I "discovered" this idea recently too. Very well paced video! Next step is learn all 5 patterns of the "Magic Scale" so shifting is only done for best tone or ease of phrasing.
Thank you. That is the part that i forgot. :) You kind of forgot the part about landing on the transition note. You end the first phrase of the lick on a note shared by say both the a and d chords or whatever modified scale you are using for playing over the A and D. And usually if you are noodling and hit the right transition note at the end, it sounds a lot like the song, you are attempting to play. provided you have the rhythm right and have the right modified scale. you can also pick out mistakes that way. :)
Trouble is, almost all of my favourite bands have at least one of these types of people in them. Talent, luck and the right aesthetic often trumps any of this sort of stuff .
My least favourite musician type is one with a fragile ego when it comes to learning theory/technique. There were so many guys and girls I jammed with who just needed to tune a few things up to be great players, but there is just NO RIGHT WAY to broach telling them how to improve. They instantly get defensive and sad-sack on you instead of just being willing to learn. I knew a guitarist who had very good rhythm-hand chops and played pentatonic solos tastefully, but ONLY pentatonic and would solo the same (usually wrong) scale over any song. I tried to point out he sounded great, just in the wrong key, and it was like letting the air out of a balloon, as if I'd said "YOU SUCK, PLAY IT RIGHT!!" Very frustrating. I do everything on my own in a DAW now and it's honestly more fun.
Fingerstyle gets overlooked. Mark Knopler etc. I prefer a touch of North American stylee / groove too but the mastery of playing different bass lines and other notes other than alternating patterns and conventional chords - Bert Jansch seems an absolute master - to perfect what notes come out of acoustic. Some it just flows like a stream - made it sound easy/ natural sometimes bland- but when one tries to see what he was doing. John McLaughlin was way over my head but theirs clips of Narada Michael Walden just wide eyed even now about stuff he saw him do with Cobham.
Jimi Hendrix was asked once "How does it feel to be the greatest guitar player in the world?" Hendrix said "I don't know go ask Rory Gallagher!".... It is impossible to say who is the best or which decade, there are so many good players that never got the recognition they deserve. If you play guitar or what ever and only looked at a few heroes than you are missing out on some really great music.....
