MathOfInsects

Please tell me they are starting a band with Zach Starkey and Dani Harrison…

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Finally, a score that lets me take advantage of my right hand's 24-note range.

Apple Music.

Correct, and I don't pay for youtube premium, so don't like playlists that come that way.

More people listen to the sound their Certificates of Deposits make, than Compact Discs. I don't have YouTube Premium and don't enjoy having that be the ONLY way someone shares songs (i.e, instead of sending a master list that includes version/artist). But I certainly don't care if someone ALSO sends their YouTube playlist. I won't use it to listen with because of the ads, but it's easy enough to make my own Apple Music playlist from there, and it's not like I wasn't going to have to do a version of that no matter how the list came. To answer the general question, playlists are indeed increasingly common as a means of sharing repertoire. I only dislike it when people don't cultivate their playlists to make them specific to this gig, rather than all the songs they've ever done. (Easily addressed with, as mentioned above, a set list that applies only to this show/gig.) I have a whole different peeve that maybe I'll start a thread about: one artist I play for only asks you to do gigs through a Google Calendar invite. So to say yes, you have to put the event on your calendar the way they have described it and spec'd it, and if you change it, it changes it for everyone, and if you remove it to put your own version up, it cancels it for everyone. Then every update is a brand new invite that you have to say yes to! Sometimes it's a tiny thing like a change in spelling in the description. So if you want a specific piece of information, you have you read through 8 same-subject-line invites to find the one that has the specific info you might need. Sometimes, they list the event as an "all day" thing, because that's how they are seeing it. Sometimes it's only the time of the exact gig, when my own calendar might account for load-in times or the like (or might NOT account for it, if it's a venue I know well enough to plan around). All my calendar entries are color-coded and named in particular ways to make it maximally efficient and keep me from missing stuff. This makes me CRAZY. Anyone else?

Yeah, retail scamming is huge right now. They get onto the Google Shopping results too, with low prices and websites that look like the real ones. When I find myself on one of those, I always start fresh from the actual site and search for the item that way. It never shows up for that low price.

For sure. In your OP you mention the Ma7 of the bVI chord, and I think this is a pretty big clue. In those songs that sit squarely in the minor i and then move down to that bIV, they often keep the i as the upper structure, and this makes them feel way more minor-y and "1"-like. But melody helps too, and in the case of that Pretenders song, so does the bass riff. It really feels like a IV, when it hits that A, and her melody really feels "E"-like, to the point where if you ever played an E chord, it would sound like home, whereas the C#m is sort of an open question. I'd believe you if you ended on it, but I'd still sort of assume an "E" in the mix. Sort of like the intro to "Brandy," (same key), where there's just no question to the ear that we're moving toward a home key we haven't heard yet. Flip-side example is Layla or Watchtower where that second chord is clearly going to move back to the first one and feel at home there.

I think there are i-bIV’s that are i-bIV’s, meaning when they get back to that first minor chord they are at rest, and i-bVI’s that are really vi-IV’s even they never get to a I, meaning that only if they hit a I would they feel at rest. That Pretenders song sounds like a very strong vi-IV. It just happens to modulate to a new key before it ever lands “home” on an E chord.

What is your keyboard(s)?

To me it's the NS3 in a walk.

I will say that it takes a very secure woman (or person) to be with a musician. We're a little like firefighters in that we have this whole separate "home" life with the people we play music with. But more difficult is how "voluntary" a lot of our time looks. People play instruments for a hobby, so from the outside it can look like you're just hanging around poking around on your instrument INSTEAD of poking around on your woman, when you're actually working and using the unstructured time as something constructive and necessary. My ex was a musician and even though "practice culture" was definitely part of her mindset, she never did get used to me going off and sitting at the piano when she had other preferences for how I used my time. I toured Europe with a blues singer the year we got divorced (after the split), and that nicely paid tour is in some of our divorce papers as showing how neglectful I was. In any other field (including her classical world), that would have been evidence of accomplishment and ambition. So yeah...it's a thing.

I couldn't agree more. I hate when "local" bands use tracks. The whole point of watching a local band, IMO, is to see how they figure out a way to play something. As I said above, for whatever reason it doesn't bother me for solos or duos, particularly one I'm the keyboardist for , UNLESS there was just no reason to use a track and you did it anyway. Why not use one for "Smooth Operator," it only makes it groovier. On the flip side, why would you ever use one for "At Last," it only covers it in cheese. Maybe 25% is the threshold I feel OK about. Then it starts to feel downscale and useless. Any dancing singer you see in a large-scale context is lip-syncing. You just can't sing up to the level people demand while you're dancing. I have to just decide not to know that I know that, to enjoy the show. You've basically never seen a live-performed Super Bowl performance in your lifetime. Maybe Prince? I can't remember if he was tracked too, but my sense of him is that he'd be the one to say "take it or leave it." Everyone else has to sign a contract agreeing that their performance will be prerecorded (the day before, I believe, is the custom), including vocals. Sometimes you're only hearing the pre-recorded vocals, sometimes you're hearing a mix, some much more occasional times you're hearing all live vox. But you will never, ever, hear live musicians playing behind the singer. That beautiful chamber ensemble performance at Obama's inauguration? Pre-taped. All of the performances were. It was cold that day, and not only is it impossible to keep strings in tune and play them well with cold hands, but all you'd have heard if it was live would have been wind across mic membranes. People would be amazed how much of their understanding of "liveness" is based on willful self-delusion.

(Billy Preston was accounted for in the set-up question.)

Two I can think of are John Lennon and Paul McCartney.