Musician Forum - Band Discussion Board - BandMix

Never really played in one before now. We added a new drummer and in only our second rehearsal we sound like a friggin army. If we can stay together there's no limit to how good we can sound: fisherman bob Hayett (me) bass/lead vocals, Alexander Harrison-lead guitar/lead vocals, Terry Stanley-drums. This is exciting. Perhaps the best chemistry of any band I've been in going back thirty years.

One great Bass, one great Drummer,= one great band. Listen to any power trio or for that matter any great band. Every drummer out there should not strive to just keep time but to realize the power that happens when when a drum kit is approached as a major musical instrument.
As far as bass players, they open up the whole musical spectrum to interpretation when they are just not holding root notes.
Any recordings we love, have the strong underpinnings from bass and drums.
Good luck Bob.

Great Bob! Rootin' for ya!!

Glad to see your positive attitude towards music again Bob.
And looking forward to hearing your new band.

Great Bob, I love power trios, my band Aint Yo Mama is a power trio with a singer.

I like the flexibility for me as a guitarist cause I dont have to stay locked in with another guitarist or keys. If I want to play around on chords like and say go from a major chord structure to a minor type chord structure on the fly I can case the bass player is mainly holding the root down and boogieing all over the place, ALa say the James Gang, to name a band that has a very active bassist.

Good Luck Bob, the other postive to trios is its just less people to involve for scheduling and song choice, and of course if you start making some money less people to split it with and less equipment.

I used to love 3-piece. It lets you really play the bass, doesn't it? Cuz you gotta both hold the groove, AND fill the gaps. Fun stuff!

Enjoy it!

jw123 wrote:Great Bob, I love power trios, my band Aint Yo Mama is a power trio with a singer.

I like the flexibility for me as a guitarist cause I dont have to stay locked in with another guitarist or keys. If I want to play around on chords like and say go from a major chord structure to a minor type chord structure on the fly I can case the bass player is mainly holding the root down and boogieing all over the place, ALa say the James Gang, to name a band that has a very active bassist.

Good Luck Bob, the other postive to trios is its just less people to involve for scheduling and song choice, and of course if you start making some money less people to split it with and less equipment.

I agree with all these points. We're going to start doing some Youtube vids real soon. The kid got us in a battle of the bands in March. There's some jams around town also where we can get a few Youtube vids done, or for that matter even in the basement. We are really close to start filming, once we get the tunes polished up. It's not going to be long...

Took an audio assimilation of that there drinkin' music sweated out by a one Fisherman Bob - taking on Stevie Ray Vaughn with the Strat toggle set in the mid position for that Texas Twang and, well, ain't no slouching going on, just needs a real HOT SHOT soloist to "kiss the sky" - I envision a '68 American Blonde with SD hot rails through a classic Boss DS-1, CE-1 and a RV-1 into a 100 watt SuperLead Plexi to achieve sonic euphoria. But I digress, it may not be what this here blues man is concerned about. Us guitarists who have decades of recording and live performance experience tend to throw out these "electric recipes" for the shear hell of it. I play metal in a band called MEDUSA however have moved away from light speed ascending / decending leggatos and arpeggios in favor of "song theme" solos one can actually remember as a hook i.e. Neal Schon, Hendrix, Vaughn, Sabbath. That's what is so cool about the blues, it expresses one's tortured heart and soul and translates to other generes if ya do it right. Stevie also worked VERY hard on his vocals as they were rather lackluster in the early 80s during sessions with Bowie's "Let's Dance". I can hear F"M BOB doing the same gig on these songs, working that diaphragm to get some grit n' sh*t a blasting out the 'ol cake hole. For whatever reason, when I sing in the lower registers, my voice reverts back to its British glam tone, then anything above A440 octaves its Motorhead Lite. Ray Charles on Meth. Hmmmm.

toxicmetal11 wrote:Took an audio assimilation of that there drinkin' music sweated out by a one Fisherman Bob - taking on Stevie Ray Vaughn with the Strat toggle set in the mid position for that Texas Twang and, well, ain't no slouching going on, just needs a real HOT SHOT soloist to "kiss the sky" - I envision a '68 American Blonde with SD hot rails through a classic Boss DS-1, CE-1 and a RV-1 into a 100 watt SuperLead Plexi to achieve sonic euphoria. But I digress, it may not be what this here blues man is concerned about. Us guitarists who have decades of recording and live performance experience tend to throw out these "electric recipes" for the shear hell of it. I play metal in a band called MEDUSA however have moved away from light speed ascending / decending leggatos and arpeggios in favor of "song theme" solos one can actually remember as a hook i.e. Neal Schon, Hendrix, Vaughn, Sabbath. That's what is so cool about the blues, it expresses one's tortured heart and soul and translates to other generes if ya do it right. Stevie also worked VERY hard on his vocals as they were rather lackluster in the early 80s during sessions with Bowie's "Let's Dance". I can hear F"M BOB doing the same gig on these songs, working that diaphragm to get some grit n' sh*t a blasting out the 'ol cake hole. For whatever reason, when I sing in the lower registers, my voice reverts back to its British glam tone, then anything above A440 octaves its Motorhead Lite. Ray Charles on Meth. Hmmmm.

That's easy for you to say, couldn't have said it better myself...