So what are we watching here?
To begin with, these are two people who can really play. And they’re playing a popular song. So why doesn’t it work? I have my own theories, but I’ll willingly listen to yours.
So what are we watching here?
To begin with, these are two people who can really play. And they’re playing a popular song. So why doesn’t it work? I have my own theories, but I’ll willingly listen to yours.
Perhaps because everything that they are doing isn’t leaving any room for the music to tell a story?
It sounds to me as though they think the words are just placeholders to take up time and space until they can show off their chops some more. And the chords, arpeggios, and flourishes are in a sense generic rather than organic-they don’t seem to grow out of the music, let alone be specific and particular to the music.
In shtarkers contrast, here’s a guy who plays far fewer notes but says an awful lot more:
ATB,
Johnny Puddles
still on the lam
OK, I can’t embed a YT video.
Here’s the link:
https://www.youtube.com/watch?v=QlmddugvbRI
JP
When I checked out that video, I went to see if Stephane Grappelli ever dueted with Yitchak Perlman and ended up finding this great unrehearsed performance of Gershwin’s Summertime on a British talk show with Perlman and Larry Adler on chromatic harmonica. Adler was a jerk but he was a virtuoso, certainly one of the best ever on the harmonica. Compare how Adler and Perlman work with each other spontaneously while Luke and Haze, in a well rehearsed piece, almost play against each other.
Johnny P., edit out the s in the https and it will embed.
Not that I am much of a music critic but I agree with Johnny. No flow and passion for the song.
Comparing it to the Muse version, which is by far the best interpretation, the following criticisms of the attached video can be made:
- Guitar tone: Yes it needs to be dark and growly, but it also needs to be clear and clean enough to articulate the syncopated guitar hook. In this version, the tone is muddy in the worst floppy-speaker sense (ease off the stomp boxes).
- Mix: The lyrics of the song are the hero element, and in this version, the instruments overpower.
- Time: The lack of drums or drum track leave the song without its most crucial element - syncopation and time. It has no rhythm. Doesn’t “swing” as the old cats might say.
- Vocals: The song needs to exude sexiness. In the Muse version, it’s sung falsetto, which lifts the lyrics above the bass/guitar riff. In this version, everything’s happening in the same register: more mud. Also, the lyrics must be sung in a legato style — smooth, flowing. Again, like sex. These two sing in the wrong register, and in an angry, punchy style. Lyrics must contrast the guitar/bass syncopated riff, not mimic it.
- Solo: The instrumental solo(s), like the lyrics, must also stand apart from the chunky bass/guitar syncopated riff by also being legato, ethereal, and flow over the top of the rhythm. These two show off every lick in their repertoire, and while I must compliment their virtuosity, I must condemn their lack of restraint. As Miles Davis would often tell the young prodigies in his bands, “Shut the fuck up. Leave room for the song to get through.”
As a general musical rule, one must not bury the hook (to borrow loosely from a journalism rule pertaining to the lede). But in this version, the hook - bum-baaah,-bum…dah-dah-dah, bum-baaah-bum…dah-dah-dah) is barely referenced. When it’s present, the rhythmic hook provides the underlying tension that makes this song work. It provides the base (bass?), foundation of the song. These two don’t start with it, and when they do play it, they play it square. Almost straight eighths. There’s no space, no time.
In short: too white, too straight, too busy, and no contrast in registers or time, which loses all the tension necessary that makes the tune work so well in the original version. Without that tension, the sexiness of the song (despite the physical attractiveness of these two musicians) is lost.
I think you’ve nailed it. To which I would add: having the performers stare at each other with those we-could-so-Tinder-fuck is unattractive. You’re supposed to be seducing the audience.
Jack, I had to google Tinder. I am really getting old.
Anyway, ego. It comes down to ego. To be a great musician, you have to lose it. Having played bass nearly 40 years, I think how my style and priorities as a musician have changed over time. When I was a kid, I’d shed YYZ so I could show off my chops. Roundabout by Yes. School Days by Stanley Clarke. Lots of notes. Look how good I am!
Now, as I said above, I’m old. My priority as a musician today is to serve the song, not myself. Play as economically as possible. Leave space for others. Pick the “good” notes, not all the notes.
The two musicians in the video are young, attractive, and have monster chops. The whole clip oozes ego (and Tinder sex, now that I know what it means, and not the more nuanced and necessary musical sexiness). They simply picked the wrong tune to showcase their mad skillz. If they’re lucky, in 20 years or so, with a lot of careful listening, and playing with seasoned pros, they’ll learn to lose their egos. At that point, I’ll be interested in listening to them. If I’m not dead by then.
it definitely sounds like crap
I’m not sure if I can explain it quantitatively. I’m not sure if I want to, waste of time 😀
the highlight for me was the grouperfish facial expressions @2:30