Session Players

David Beckner · From: Kentucky, USA

First and foremost this topic is in no way meant to show any disrespect toward anyone..I say this because of the the touchy subject.But this comes from a conversation I heard in a music store a week or so ago and I have wondered about this since.
DOES A SESSION PLAYER HURT AN ARTIST...
Here is the conversation..Two gentleman were talking about a well known artist who is coming to a local city for a concert.When the younger guy asked the older guy if he was going he said no because the band he had live didnt sound anything like the band on his cd's...He went on to say he thought this really hurt the artist because in the studio you have Joe Blow playing his butt off on guitar or steel or ??? ,you say to your self I would sure like to hear this guy so you pay XX amount of money buying the tickets and going to the concert only to finf out Joe is not in the building and some guy named Earl is trying to duplicate Joe......He went on to say that as far as he was concerned he would never go to a live show because he felt that it was misleading people into thinking they were going to see the band they hear on the cd's only to be let down by a bunch of want to bee's..
Does this really happen ???
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Jonathan Cullifer · From: Gallatin, TN

If the live band does a good enough job replicating the efforts of the record, then I don't think most people notice or care. The people that are more music savvy might, but most of those people know that bands are often different live than they are in the studio.

Also, artists that do use their road bands in the studio often put together different arrangements of songs specifically for live shows.

I'm sure what you are talking about does happen, but in the circles of people I find myself in, it's usually not a big deal, and even some of the biggest music fans don't know the difference. The artist is the focus.

richard burton · From: Britain

Don't forget that 99% of concert goers are there to hear the artist, they couldn't care less about the musicians

Earl Foote · From: Houston, Tx, USA

so you pay XX amount of money buying the tickets and going to the concert only to find out Joe is not in the building and some guy named Earl is trying to duplicate Joe......

Laughing

Theresa Galbraith · From: Goodlettsville,Tn. USA

If you're like me, you find out before going to see the artist.

Dick Sexton · From: Greenville, Ohio

This is just my opinion, but I suspect it to be true.

It's about the money. A producer can use Joe or Earl, Joe, if he is not to busy to do the session. Or Earl, he would probably jump at the opportunity to do a little studio work.(I mean no disrespect Earl) But time is money.

Session player Joe can do the songs in 1 or maybe 3 or 4 takes. Won't argue with, question or have to be taught session protocol by the other pros on the session. Earl on the other hand, may have never done a session, can't take direction, doesn't know charts, is argumentative and is basically ignorant about how a session works.(That other Earl, Earl)

With Joes on the session, CDs cost $10 to $15 bucks a pop. With Earls, $25 to $50 a pop or more or less. Not to say that there are not Earls that can't do it, there are. Personally, I'll put my money on the Joes. When I buy, I want to hear the best of the best, and as a musician(term used loosely), I don't usually listen to the singer anyway. There are exceptions... But I believe most road musicians would not be real comfortable doing session work.

Are there great musicians not being heard on recording media? Absolutely! Are there great musician being heard on recording media? Absolutely!

Bob Vantine · From: Freeville, New York, USA

People who make observations like that hurt the artist more than anything Exclamation

And then there are artists that find a way to hurt themselves no matter who is playing for them .

Also the occasional "OFF NIGHT" syndrome .

Some folk also just take to the studio better than others , or the studio takes to them . Doesn't mean TOM TOURING player isn't as good or better than SAM STUDIO player.In turn I'm sure there are sidemen who are just naturally more at home on stage instead of a studio .
I've seen George Strait at his "NOT BEST" after a interview he did about not liking NY .The band was fantastic ...George wasn't. A session player would not have made a difference either way Exclamation

Buy a ticket and hope you are entertained by PROFESSIONALS Exclamation

...or... Buy a CD and try to get the same excitment as a live show Exclamation

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Jim Cohen · From: Philadelphia, PA

I agree that 99%+ of the audience is there to hear the featured artist and most have no clue, nor do they care, who is in the band. They probably notice and care whether the signature intro is played reasonably closely to that on the CD, so they can swoon and cheer upon recognizing the first few opening bars, but other than that... nah.

What hurts an artist, IMHO, would be having road players who can't cut the gig, but they don't have to be the same ones who were in the studio for the vast majority of audience members to feel satisfied.

Of course, there are small minorities, like some of us, who do care who's in the band and maybe even went to the gig to see a particular sideman and would be disappointed if he's not in the band that night. But that's different. We're usually savvy enough, like Theresa, to know who played on the recording and who's supposed to be touring with the artist on the road, not naive enough to expect to see Paul Franklin appearing simultaneously all over the country with all of the artists on whose CDs he has played.
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chris ivey · From: california (deceased)

i'd rather hear the diversities of the earls on recordings. i'm tired of hearing the same band of joes back everyone up. it's pretty much taken the interest of originality out of the industry. kind of like talent night when a good band backs up every wannabee singer all night.

i still think every singer should be required to record with his own exclusive band for a year or so. then you would see what these artists have to offer.

oh..and no pitch correction or beaver shots.

Smokey Fennell · From: Edmonton, Alberta, Canada

I am much more disappointed when I go to a live show and the band has few of the instruments that dominated the recordings that I liked. Steel seems to be left out of many touring groups even when it is a significant part of the recorded music.
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Steve Becker · From: Daytona Beach FL

I agree with Smokey. It's always a let down when the band shows up without a steel player, and someone else trys to cover their parts. But, it seems that nowadays steel players are somewhat expendable-except with big name touring acts- mostly I would assume due to limited budgets. Almost all of the new acts that I've seen in recent years have a stripped down show with just minimal accompanyment So, I think the economy is hurting touring players more than anything.

Frank Freniere · From: The First Coast

Joe Miraglia · From: Jamestown N.Y.

Dick Sexton · From: Greenville, Ohio

Nice one Joe...

Kyle Everson · From: Nashville, Tennessee

I'd rather be Earl than some guy named Leroy sitting on his couch at home with his steel in the case.

David Beckner · From: Kentucky, USA

This is getting interesting...
I agree that alot of people do not care who the band is - They want to see a particular artist..
I also agree that I do not like to see a third rate musician try to duplicate the Paul Franklins or the Brent Masons..
In my way of thinking it is the SESSION PLAYER who SETS THE BAR for the REST of us to follow...
I also hate to buy a cd that has a beautiful steel ride -- then you go to the concert --AND NO STEEL .. Confused

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Dale Rottacker · From: Walla Walla Washington, USA

A hundred years ago I saw Terry Crisp playing with Ricky Skaggs, and after they were talking to him a little about a song they had done on an album, where it sounded like he went about six directions all at the same time...I asked him if that was a multi recorded thing, and he said that Ricky won't let them put anything on a record that they're unable to reproduce on stage...prehaps that's not how they all do it, but it's they way Terry said Ricky did it.
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Joe Miraglia · From: Jamestown N.Y.

Larry Tracy · From: Nevada City, CA, USA

I agree with Chris. When the same A team is playing on everybody's records there is a sameness to it. I can see why they are playing on all those records for getting the job done quick and right but my favorite bands are just that, bands. Some of the players might not be as good as the top studio guys but there is a certain chemistry that happens and a unique sound happens. As for playing live, the last thing I want to see is a band that sounds just like the record. I expect them to sound better, more dynamics,some extra solos, higher energy. I am definitely one of those people who likes to know who the players are in a band I am going to see. I haven't seen Dierks Bentley live in person, but I have seen about 4 live shows on TV. They are constantly tweaking their arrangements, which I think is great. They always seem to be having a great time.

Elton Smith · From: Texas, USA

Hummmmmm Two guys in a music shop,My guess would be pickers them selves.Musicans listen to other musicans.If you take the percentage of musicans in the crowd.How much would you make after the show?Most people don't care who's playing anyway they just know if it sounds good and they like what you play.As far as me trying to sound like Paul or Tommy no way butI can take what they do and try not to butcher it and do pretty good.They keep paying us.
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Ray Harrison · From: Tucson, Arizona, USA (deceased)

After hearing many road bands in my lifetime, I feel that the Road players are extremely competent players but they are on the road because maybe they lack the imagination of a Leon Rhodes, Buddy Emmons, Lloyd Green or Brent Mason/Rowan. I could go on.
Maybe the studio just has a favorite they like to work with.
Jim Soldi, a guitarist that worked with Ricky for a while told me, "I have the easy part, Albert Lee has to think this stuff up".
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Peter Freiberger · From: California, USA

Look at it this way, maybe. You probably couldn't afford to have Paul Franklin (or Brent Mason, etc. etc.) in your road band (unless you're Mark Knopfler, or Charlie Pride playing a one time live recording at Panther Hall) but you can afford them for 3 hours or so to play on your record, which will hopefully be good enough to create work for you and your road band.

Having said that, there are exceptions. Buck Owens wouldn't have been the same without the Buckaroos, nor Ernest Tubb without the Texas Troubadours. They played great stuff that they could develop in rehearsals and gigs, rather than relatively instantaneously in the studio.

Remember also that most, if not all, of the elite studio guys were road guys earlier in their careers, developing the flawless technique that studio work requires. A lot of the hot lick players that are so great live don't fare so well solo'd in a playback. The studio is a harsh mirror of your ability. Studio guys are generally fast, flawless, sober and leave their egos home. Rest assured also that the best road gigs usually go to really good players with many of the same qualities.

And finally don't forget the guys in Nashville who do (or did) all those publishing demo sessions. A lot of what they come up with ends up on the masters played by the "A" guys. And I'm sure a lot of the "A" guys were, and sometimes still are, demo players.

David Beckner · From: Kentucky, USA

Bobby Hearn · From: Henrietta, Tx

To me, the road players, when competent, impress me more than some of the choked off stuff in the studio. With the exception of a lot of the recordings taking place in Texas with guys like Gary Carpenter, Ron Stafford, and Ray Austin and on and on. But I like to hear different ways to play a certain piece of music sometimes than what is on the recording.

Dave Ristrim · From: Whites Creek, TN

Some live bands can duplicate almost to a "T" what's on the record. I love it when a live band can capture licks and the tones on the record. Sometimes it's hard to do, but If you ask me I'd rather hear it as close to the record as possible. Of course, some bands are better heard live IMHO and I'm cool with almost anything that goes. I guess it depends on the artist/band etc.
I myself will try to play as much like the record as possible. It's nice to start there, and sometimes I'm asked to add my own flavor to the mix. I'll try and play banjo, steel and mando all on the same song if possible to keep it as real as I can. I hope this link works... http://www.youtube.com/watch?v=iSKNMjUfDic&feature=related

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