Me and some friends have had a band for a month and a half or so :RocknRoll:, and we finally have a full recording, a cover of “Folsom Prison Blues” by Johnny Cash. I’m playing the organ, but you can’t hear it so much :o. My most important job on this one is being the recording engineer. We did this in our guitarist’s basement and it’s all pre-mixed (i.e. mixed before it went into Audacity). I hope you enjoy it, just tell me what you think!
strange… works perfectly for me. so either the redirector was once down again exactly when you tried it or your DNS isn´t resolving properly ^^
in either way you can also try myspace.com/orcses
but the songs there are in a lousy quality
For one thing, it is much more bluesy than John R. knew how to sing it (at that time, anyhow…). Certainly it is more than “Mr. Three-Chords One-Way” knew how to play it, back in nineteen-fiftysomething…
The complete absence of “boom chicka-boom” is refreshing, y’know, because “John R. already did that interpretation.” Anything that sounds like “boom-chicka-boom” would merely be (bad) copycat. Instead, this is “real blues.” And that is original, because what John R. did was most-certainly not “blues.”
The accompaniment seems a wee bit frenetic to me, as though the musicians are a bit more in-a-hurry than the singer is, but I must concede that perhaps I feel this way partly because I’m expecting “boom chicka-boom.” I guess what I’m suggesting here is that sometimes I think the players arrived at “a major point” a fraction of a second sooner than the singer does. The singer always needs to be the one to set the perceived pace of the song. Natural variations are part-and-parcel of any vocal performance, whereas players might be clinging to a metronome. (This is exactly why recording-sessions often record the vocal parts first.)
Now, having said that … when you present anything to the public, do please clip-away the excess. Get rid of the “one-two-three-four” at the start of the track and the “we didn’t all stop playing at exactly the same time” at the end.
BTW, on a legal term, by making this coversong available on the net to everyone, royalties would be due. It´s not really prohibited, ocassionally they (whoever is in charge in the particular country for the royalties) show their strong arm, to show they are stillt there, but they don´t charge garage bands strictly anymore like in the 90’
But its just one thing many bands are not aware of, because if they got a gig somewhere and play coversongs the organizer has to pay the royalty fees… …at least in Austria/Germany it is that way.
I thought you were being sarcastic for a second there…
The accompaniment seems a wee bit frenetic to me, as though the musicians are a bit more in-a-hurry than the singer is, but I must concede that perhaps I feel this way partly because I’m expecting “boom chicka-boom.” I guess what I’m suggesting here is that sometimes I think the players arrived at “a major point” a fraction of a second sooner than the singer does. The singer always needs to be the one to set the perceived pace of the song. Natural variations are part-and-parcel of any vocal performance, whereas players might be clinging to a metronome. (This is exactly why recording-sessions often record the vocal parts first.)
That’s a result of bad monitoring on my (the sound engineer’s) fault. Nobody, including the singer, could hear the singer.
Now, having said that … when you present anything to the public, do please clip-away the excess. Get rid of the “one-two-three-four” at the start of the track and the “we didn’t all stop playing at exactly the same time” at the end.
I never even thought to cut that out for some reason, I was just so excited. Plus I knda like studio noise in a song, being the Beatles fan that I am.
You did a very nice, very original cover.
Thank you ever so much for all your crits and comments.
I guess what I’m suggesting here is that sometimes I think the players arrived at “a major point” a fraction of a second sooner than the singer does. The singer always needs to be the one to set the perceived pace of the song. Natural variations are part-and-parcel of any vocal performance, whereas players might be clinging to a metronome. (This is exactly why recording-sessions often record the vocal parts first.)