Bo Eder
Platinum Member
So, today was my second rehearsal with the new project members, and I got something to rant about (like some of us here get to rant about with their bands). I really didn't think I'd have anything to rant about but I guess I do.
Today I got to see the bass player (whom I've known for all of seven hours) melt down (In my home - a sanctity of solicitude and good vibes). He's an older guy (older than both me and the guitar player) and by performance alone I knew he'd be good in this position with us. He really nails his parts, and is a good help to helping the guitar player come up with some other parts. But we were working on one song today and I guess between he and the guitar player, they were in disagreement over note choices, and this guy was so committed to what he was playing (which actually ended up being right) that I got to see a melt down with anger about it.
Before I yelled "Whoa, Nellie!" the guitarist was on it and proceeded to calm him down. For about ten minutes I felt like a college freshman watching a scuffle between band mates at a pep rally.
Once they were calmed down, we carried on for another two hours, but that really kinda' blew it for me. For one, we're all in this for fun. And two, we're nailing tunes better than we thought we would and could really turn this into something that plays out sooner or later. I've been in stressful situations, and this was no where near what a real stressful situation would be. Then I immediately thought, "Maybe we should try somebody else?"
The guitarist even admitted to me when we wrapped up in private that he could never recommend this guy for a road gig and knows he's this loose canon. For which I asked, "And you brought him in to this?" I know we don't plan on taking this on the road or anything, but man, the last thing I need is for one-third of this band to be blowing up somewhere. Committed is fine, being angry insane about it is something else. But my guitar player tells me the silver lining is that this guy will commit to everything we do (they've known each other for over 25 years), and if it's good, it'll be even better.
But how weird is this situation? I can be committed, and he ended up getting over it rather quickly, but I don't want to have to apologize for the guy, know what I mean?
Something to continue discussing with the guitarist, I suppose. But I'm not used to being rattled by something like that. I've never had to deal with it, and just as soon won't deal with it. Maybe this is why I prefer to pay everybody - then I can fire someone if I have to. Can't do that here.
But if anybody's counting, after two four-hour rehearsals, we've got 20 tunes loosely ready to go. Not counting the usual bar-band specimens that we already know and have played with other bands. In fact, we're not even going to rehearse any of those at all. Out of the ten songs we tackled today, the most impressive were The Hollies' "Bus Stop", and Steely Dans' "Pretzel Logic". I get my share of lead vocals on the songs I picked out, but being expected to sound like Graham Nash doing high parts is exciting and frightening at the same time. Song structure is easy, then picking the right notes and chord voicings (for me copping the right feel) are next easiest - but we probably spend most time on nailing those harmony parts. I like being important to the band, but not being able to relax about it can be, well, a little stressful.
Just wanted to rant. I'm sure next week will be better.
Today I got to see the bass player (whom I've known for all of seven hours) melt down (In my home - a sanctity of solicitude and good vibes). He's an older guy (older than both me and the guitar player) and by performance alone I knew he'd be good in this position with us. He really nails his parts, and is a good help to helping the guitar player come up with some other parts. But we were working on one song today and I guess between he and the guitar player, they were in disagreement over note choices, and this guy was so committed to what he was playing (which actually ended up being right) that I got to see a melt down with anger about it.
Before I yelled "Whoa, Nellie!" the guitarist was on it and proceeded to calm him down. For about ten minutes I felt like a college freshman watching a scuffle between band mates at a pep rally.
Once they were calmed down, we carried on for another two hours, but that really kinda' blew it for me. For one, we're all in this for fun. And two, we're nailing tunes better than we thought we would and could really turn this into something that plays out sooner or later. I've been in stressful situations, and this was no where near what a real stressful situation would be. Then I immediately thought, "Maybe we should try somebody else?"
The guitarist even admitted to me when we wrapped up in private that he could never recommend this guy for a road gig and knows he's this loose canon. For which I asked, "And you brought him in to this?" I know we don't plan on taking this on the road or anything, but man, the last thing I need is for one-third of this band to be blowing up somewhere. Committed is fine, being angry insane about it is something else. But my guitar player tells me the silver lining is that this guy will commit to everything we do (they've known each other for over 25 years), and if it's good, it'll be even better.
But how weird is this situation? I can be committed, and he ended up getting over it rather quickly, but I don't want to have to apologize for the guy, know what I mean?
Something to continue discussing with the guitarist, I suppose. But I'm not used to being rattled by something like that. I've never had to deal with it, and just as soon won't deal with it. Maybe this is why I prefer to pay everybody - then I can fire someone if I have to. Can't do that here.
But if anybody's counting, after two four-hour rehearsals, we've got 20 tunes loosely ready to go. Not counting the usual bar-band specimens that we already know and have played with other bands. In fact, we're not even going to rehearse any of those at all. Out of the ten songs we tackled today, the most impressive were The Hollies' "Bus Stop", and Steely Dans' "Pretzel Logic". I get my share of lead vocals on the songs I picked out, but being expected to sound like Graham Nash doing high parts is exciting and frightening at the same time. Song structure is easy, then picking the right notes and chord voicings (for me copping the right feel) are next easiest - but we probably spend most time on nailing those harmony parts. I like being important to the band, but not being able to relax about it can be, well, a little stressful.
Just wanted to rant. I'm sure next week will be better.