I don't actually have anything to contribute towards the topic this thread is actually about - I have a musical background and I write about obscure music for fun, but I'm not in a band and I have no particular notions of starting/joining one - so I'll just weigh in on one of the tangents that cropped up.
BonsaiK said:
-Post about the commercial viability of shredding went here-
I'm going to do something shocking here and
agree with you when you assert that shredding, by itself, isn't a particularly viable musical pathway to pursue as an artist looking to break into the music scene. Heck, guitar wankery for its own sake isn't even that interesting to listen to and I
like instrumental music, a great deal in fact - to me shredding always feels like the guitarist is using the song to essentially say
"Hey, look at what I can do!" and not conveying anything else; it's just pure musical masturbation, songs consisting of unending solos that are technically impressive but difficulty =/= enjoyable to listen to.
There has to be balance or some other element to the sound; without that you're limiting yourself to a much smaller audience who don't actually need to listen to you when folks like Vai and Satriani are still around. As for folks like Buckethead? He's a guitar virtuoso, he's ridiculously prolific, and the only reason anyone recognizes his (stage)name is because of his involvement with Guns N' Roses - there's a lesson there.
On Dragonforce: Inhuman Rampage might not be their best album, but it's the one that everyone knows by virtue of containing the
only Dragonforce song that everyone knows, which they only know about at all because it was in Guitar Hero and very very hard to play. I would therefore consider using it to make the point you were trying for to be perfectly valid.
On Orianthi: Her break-out album entered my personal sphere of awareness devoid of context (I had no idea she was Australian or Michael Jackson's guitarist until... 5 minutes ago, and hadn't heard of her at all when her album made it on my radar) so I was judging it on the musical merits (and price, it was on sale at the time) alone, and having rather enjoyed the snippets I heard it quickly joined my music collection. Given how often we take diametrically opposed positions on "pop" music it's somewhat refreshing to see you use something I
actually enjoy as an example.
With that said, "According To You" is, in my estimation, the
weakest track on that album (probably for the same reasons it ended up being the single) and suggesting that the rest of the songs sound like it, while
broadly true, sells those tracks short somewhat. "Bad News" is a better example in my estimation.
cocoadog said:
I think the point you're trying to make, but failing to, is that a great deal of Pop "artists" shouldn't be considered proper musicians, given that they don't play a musical instrument or write anything they perform for themselves. From a certain perspective it
is easy to think of a lot of Pop sensations as glorified karaoke acts, but to assert that the end result isn't music is still disingenuous - I'm a
colossal snob and I won't even give you that point.
Singing in a choir doesn't (necessarily) make you a musician, but writing music for a choir
does, and what choirs perform is still
music. Music that is entirely electronically generated and/or spliced together from pre-existing samples to create something new is still
music, whether or not the folks behind it can play a bloody instrument. What those groups
aren't is a proper band, but being in a band isn't a requirement for classifying what you produce as "real music".