What is getting very common is to have the road band and singers go in
the rehearsal studio before the tour, and record the "live" performance
to a multi-track recorder.
Then, the live show sound engineers have the option of what to mix in
the house sound, live or recorded. So, essentially, you are hearing and
seeing what the people on stage are playing and singing.... it may have
been performed weeks ago, but it's the people you're seeing... their
performance. If that makes sense.
You're getting a mix of live with recorded that is different every night
depending on circumstances.
"Playing is not something I do at night, it's my function in life"
And, a treatise on why most all pop music these days basically sucks.
In a nutshell, the opportunity for an exciting _live_ performance based
on the oftentimes magical interaction between a band, the music, and the
audience is being traded for what is perhaps an adequate, but above all
safe for all concerned performance, with little or now chance for the
Then throw in a gallon or so of AutoTune ... :(
<From an admittedly old fart musician> :)
Stevie Wonder did that 30 years ago during his Circle In The Square
tour. I discussed this with Mark Smith, his engineer, and the reasons
were, I thought, quite valid. First of all, they only did a few songs
with only Stevie's voice, the band was live, and the big reason was
that Stevie's voice had to be conserved for the last part of the
concert. That particular night at The Memorial in Rochester NY, they
only did two songs that way. Sometimes 3 or 4, sometimes none.
Certainly never because they 'had' to.
There's always a rationale, and when it comes to time, money and
convenience they are usually very valid.
Being a realist, I concur with the methods, although I regret them as a
There is absolutely nothing on this earth like the HIGH of a live,
spontaneous, musical interaction with other musicians when your hearts
are beating as one and you're meeting on top of the beat and shaking
hands ... and that goes doubly for the witnessing audience as well!
Record that, and you've got gold!
Besides, it's why most musicians play in the first place ...
He's coming to Toronto...Massey Hall a nice small venue..GOT to get me
(I'm pretty sure I have mentioned this before:) The Concert For
Montserrat at Royal Albert Hall had Knopfler do his Brothers In Arms.
tape-dubbin' there. Just a great big dose of awesomeness.
Paul McCartney does a great version of Golden Slumbers on the same
DVD. A must have.
I saw Prine there a few months back and the seats were great. Main
Before that, I attended the Rheostatics farewell party at Massey, and
the seats sucked canal water. Left, balcony. I wandered about a fair
bit, which is nice too. Those balcony seats were as bad as the Transat
seats to Punta Cana.
It is funny ... equally funny/appropriate is the quote attributed to
Hunter S. Thompson on the music biz. :)
"The music business is a cruel and shallow money trench, a long plastic
hallway where thieves and pimps run free, and good men die like dogs.
There's also a negative side."
His upper register is shot and he tried to power his way up and
through, but it sounded like air escaping, no tone. That happened on a
few occasions. I do know he is 72 and he no longer has the voice of a
younger man. I know this. But to see him struggle like that wasn't
Imagine Ali going in for 15 rounds the shape he is in.....(I know
that's a bit different.)
Like I said... it was awkward.
I saw Gord in concert about 20 years ago in NJ. He kept having to stop and
apologize for forgetting the words - to songs that HE WROTE!
20 years ago he was still doing all kinds of substances....booze in
particular. A lot of people in the Toronto music scene wouldn't have
anything to do with him for the longest time.
I'd never heard that about him, but that would explain it. But in his more
lucid days he produced some of the best music ever.
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