Crash Bandicoot N. Sane Trilogy, part one

The day's finally here. The Crash Bandicoot N. Sane Trilogy has been released on PS4 and all three PS1 Crash Bandicoot games have been gloriously remastered/remade in 4K. As a result, the game's soundtrack has also been given a polish so all the original tunes we grew up and fell in love with sound brand spanking new.
Since I'm a HUUUUUUUGE Crash Bandicoot and moderate video game music fan, this is a pretty big deal for me. Consequently, I'm dedicating three blog posts to looking at the retooled soundtracks for the Crash Bandicoot N. Sane Trilogy, starting with the rerecorded soundtrack for Crash Bandicoot. Since I'll be looking at each game's soundtrack in depth, I'm counting each of these as reviews and both the remakes and the originals will be getting scores, although I'll probably be discussing the N. Sane Trilogy music more.

Crash Bandicoot was a great little platformer with some catchy tunes but overall, it was a bit patchy. The gameplay was challenging through poor mechanics and the music was forgettable due to the simplicity of it. However, there were a couple of tunes that stood out and one of those was the game's main theme; N. Sanity Beach. The catchy xylophone rhythm, the tribal percussion that kicks into a full drumbeat, the "BWAAAAAAAAAAAARRRRR" that's become a staple of the franchise, it's all perfect and the N. Sane Trilogy does a fantastic job of recreating it.
They knew not to fuck around with the game's iconic theme and I respect that. However, it's a shame they weren't so cautious with the game's other main theme; the theme from the Great Hall. The original theme has comic elegance aided by a perfect mix. Whilst the rerecord is good, it just sounds  a little too farcical and I blame the overuse of brass for that. In fact, a few level soundtracks in this game use a bit too much brass (Hog Wild/Whole Hog, Temple Ruins/Jaws Of Darkness, Pinstripe Potoroo), giving it more of a Jazz feel and perhaps making some of the creepier levels a little less imposing.
However, if you're a fan of added percussion, you've got some treats lined up. Levels with subdued music still play just as well but now with improved music in the background. Slippery Climb is a well known level in the franchise for being so fucking difficult but now it's got another highlight; a funky song in the background. Sure, it might not make the level seem as scary when it sounds like you're listening to a mash-up between a Horror cartoon and a Salsa party but if you're going to listen to a tune over and over again due to dying on a challenging level, I'd rather listen to something enjoyable.

There's still a great variety of music across the game too, aided by the improved musical quality. Whilst there was always a clear difference between music in the jungle and music in the castle, the PS4 remakes amplify them. Take N. Brio's Theme or The Lab; the use of modern Rick & Morty-esque synth and enhanced stringed instruments really brings them to life whereas I recall the originals always being present but never really exciting. However, there are some examples where the enhanced music is a downside.
Part of the charm in the original Crash Bandicoot is the wacky, cartoon-like elements of the music but with a fresh soundtrack, these have been partially removed. The music in the Tawna Bonus Rounds used to have a fun melody but the N. Sane Trilogy version has replaced it with electric guitar, making it sound cleaner but also less memorable. The game could've benefited from keeping a few of the original instruments the same but I suppose it's a roll of the dice in terms of which ones work with most fans and which ones don't.
On the plus side, some of the music sounds spot on if you're after faithful recreations. The music in the Upstream/Up The Creek levels is damn near identical to the original and each of the boss themes (with the exception of Pinstripe) has been rerecorded perfectly, especially the Ripper Roo and Koala Kong themes. It's also interesting to hear the Papu Papu theme in full, since I usually only heard the first 20 seconds of it on account of him being such an easy boss.

Overall, the original music for Crash Bandicoot is appropriate (and much better than the Urban Chaos idea suggested in the planning stages for the game) but the N. Sane Trilogy really kicks it up a couple of gears. Themes from the original game that you heard but never really listened to due to their simplicity are now a bit more fleshed out and whilst the originals will probably always reign superior if there was a specific tune you loved, the dull tracks will be far more enjoyable to your ears now...which is what I predicted/hoped for months ago, so that's great!
In terms of ratings, I rate the original soundtrack 5/10 and the N. Sane Trilogy soundtrack 6/10. I haven't played the other two Crash remasters yet but if this is anything to go by, I've got a lot to look forward to. Then again, if the Halestorm cover EPs were anything to go by, it's that the first entry in the musical trilogy is usually the best. Ah well, guess I'll have to just play the games to find out!

How Did We Get So Dark? - Royal Blood

PREVIOUSLY ON RIFFSANDRAFFS.BLOGSPOT.COM

"A promising start from a band clearly destined for follow-up material and a taste of their talents as Rock musicians".

"I begrudgingly accept that this band have wings".

"At the risk of possibly contradicting myself somewhere, I believe music should be judged on the music and not the circumstances which brought it to my ears".

- IaSg14, Royal Blood - Royal Blood review

After listening to the debut, I was excited to hear the band's next effort. Generally, when a band explodes onto the Rock scene with a good debut, the follow up is almost certainly better due to the band finding their feet and getting a bit more confident in the studio. However, there are rare occasions where the debut is so good that the follow up can't possibly meet the same standard or the hype surrounding the debut has led to overconfidence and arrogance in either the studio executives overseeing the album or the band themselves, leading to a decline in quality due to the poor decisions consequently being made.
Royal Blood's follow up to their eponymous debut probably wouldn't have made quite the same impact if it was released as the first album instead but that's not to say it's a bad album. It's got some decent songs and if you liked the original, there's plenty for you to get stuck into. However, it doesn't start off with the strongest step. "How Did We Become So Dark?" is a pretty poor album and title track. There's nothing particularly memorable about it compared to some of their other tunes and whilst it doesn't have to rock my socks off, a good album opener for a band's second album should at least announce their return in some impressive way or form.
At least the band knew which songs on the album made the best singles. "Lights Out" kicks things off with a great intro and crunchy riff-based Rock that fans of Royal Blood's debut should enjoy. "Where Are You Now?" also showcases some of the subtle improvements the band have made to their own sound, tightening up some of the technical drumming and basswork. I've said in the past that bands don't need to innovate with every album (especially if they've only released about three or four) but it's still good to hear the band getting better at their craft and that deserves some respect.

Some tracks go a step further with the bass riffs and even introduce new tones/instruments ("Hook, Line & Sinker", "Hole In Your Heart") although at its core, this album is basically just Royal Blood (album) but with a different cover. The majority of songs sound like your basic modern Hard Rock tracks with elements still borrowed from Queens Of The Stone Age and Rival Sons. Sadly, unlike the first album, How Did We Become So Dark? fails to capture the best elements of those bands and end up sounding like terrible tributes or covers ("She's Creeping", "Look Like You Know").
One strength the album boasts is containing a great variety of tracks to say it's still just Mike Kerr and Ben Thatcher pumping out the Rock. It might sound like typical modern Hard Rock but the different structures, rhythms, tempos and everything in between make this something a bit more than your standard cash-in from 80s groups still clinging onto the Rock charts like a lizard on a breezy cliff. Unfortunately, for fans of Hard Rock with a bit more to it than percussion and a few fuzzy riffs, there's still nothing to entice new fans.
Royal Blood's music is still the same as it was when they first became the next big thing so if you want falsetto vocal screeching, double bass drum solos or even just a guitar, you're going to have to wait another couple of albums. Alternatively, you could find another band (as I don't see any of those things happening as long as Royal Blood are still mainstream artists) but if you were hoping for something more after their debut, you're going to be disappointed after you finish with album closer "Sleep", and not just because that song is boring as fuck.

How Did We Become So Dark? is good but not for Rock fans still unconvinced by Royal Blood's material or those hopin the band would release a full-on masterpiece after a strong debut. It's an OK follow-up with some small improvements here & there but nothing that reaches out through the headphones and throttles your brain's pleasure centres until you're left slumped in drooling bliss, although I can forgive that as long as the promise is still there.
Royal Blood are still babies on the Rock scene so it's a little unfair to judge them on their ability to release smashing album after smashing album (unless you want another Oasis on your hands). However, I find myself struggling to recall any of the songs on this album a day after listening to them repeatedly for this review so by all means, judge them on their current inability to write more than one album's worth of great music. I rate this album 5/10 for the effort but if it had just one song that stuck in my mind in a positive way, it could've made a 6.

Showdown: Halestorm ReAniMate covers, part two

In part one of these posts, I looked at the collection of Halestorm EPs featuring a variety of Rock, Metal and Pop covers. Part one contained the entirety of ReAniMate: The Covers EP and the first half of ReAniMate 2.0: The Covers EP. Part two will contain the second half of ReAniMate 2.0: The Covers EP and, you guessed it, ReAniMate 3.0: The Covers EP.

EDIT: Forgot to add this Spotify playlist containing almost all of the songs (most originals, all covers). Feel free to listen to it as you read my write-ups, although you might have to skip down a few tracks!


ROUND TEN: Hell Is For Children
Pat Benatar - One of Pat Benatar's better songs, even though everyone always uses "Hit Me With Your Best Shot" as their go-to Benatar track..."Love Is A Battlefield" is pretty awesome too, although this is the superior Rock song in her collection. Decent intro but when the song kicks it up a notch and bursts into an awesome guitar solo, Pat rocks out with her cock out. A damn fine Hard Rock track.
Halestorm - If you read my previous post, you'll know that I've been impressed with Halestorm's covers (and Lizzy Hale's vocals) so far. However, ReAniMate 2.0 has suffered from a significant step down in quality and this song is no different. The opening guitar riffs sound terrible and the verses/choruses are worse than the original. As for the awesome outro solo, it doesn't sound organic. It feels more like it was taped on because the original song had one that worked. It's not bad but it's pretty artificial.
VERDICT - It's a firm win for Pat Benatar, but Halestorm always had a tough job nailing a song this good on their own terms.

ROUND ELEVEN: Gold Dust Woman
Fleetwood Mac - This song's grown on me significantly over time. It's a gritty Classic Rock number about sex and drugs and even though it isn't my favourite Fleetwood Mac song, it's top 10. Sure, it may go on a little bit too long but the slide guitar and vocals make this song amazing. Definitely gonna be tricky to top this version of the song.
Halestorm - Fuuuuuck, well played Halestorm! This cover is as fine as gold dust (sorry) and I'm so glad the band didn't decide to make it heavy. The mix of acoustic and electric is perfect and the song doesn't last too long, unlike the original. Lizzy Hale crushes the vocals and even if Halestorm still haven't demonstrated high ambitions yet, it's good to hear a cover being knocked out of the park on this EP.
VERDICT - Did you not read the last paragraph? Halestorm win, although Fleetwood Mac deserve a shout out too.

ROUND TWELVE: 1996
Marilyn Manson - This guy's music sucks. This song didn't suck as much as some of his other material but it still sucked pretty hard. If you like screaming vocals, Industrial guitar and noise, you'll probably like this and might be mentally inferior to a child.
Halestorm - Well goddamn, Halestorm have done it again! They've taken all the best aspects of the original, removed the terrible element and thus improved the song tenfold. It sounds like a proper Rock song instead of a weird guy jerking off to a bunch of weirder teenagers. The only thing it's lacking is a bit of a punch, as the mix is kinda flat, but it's still a great cover.
VERDICT - It would've taken a fuck of a strong effort for Marilyn Manson to win this. He would've had to sing better vocals, get a better guitar player, completely change his sound and not be a terrible musician aimed at school "outcasts and lone wolves". Since that didn't happen, Halestorm win this.

SCORES (ReAniMate 2.0: The CoVeRs eP)
Originals - 3
Halestorm - 3

ReAniMate 2.0: The CoVeRs eP rating: 5/10

ROUND THIRTEEN: Still Of The Night
Whitesnake - The third and final EP (in this blog post) starts off with a hell of a track. This song has everything a top quality Hard Rock song needs: epic riff, rapid solo, catchy vocals and a decent outro. It's a shame the outro fades out and the slower section in the middle goes on a bit too long but otherwise, it's a killer track.
Halestorm - Clearly after the previous two EPs, the band realised that Lizzy Hale was the star of the show and as a result, this cover starts off with her vocals instead of the power chord slide on guitar. The rest of the song follows suit with an epic riff, a soft section in the middle and powerful percussion. Thankfully, the softer section has been cut down so it sounds more like a Hard Rock song.
VERDICT - Both versions are awesome and whilst I'll always love the original, I think I've got to give the win to Halestorm.

ROUND FOURTEEN: Damn I Wish I Was Your Lover
Sophie B. Hawkins - Is Lesbian Rock a genre? If it is, I imagine this song firmly belongs in it. Anyway, it's a decent song. Solid drumbeat, great vocals, some 90s Hip Hop elements because why the fuck not. Not much else to it other than that. Just flat out Lesbian Rock.
Halestorm - After removing the synth and amping up the guitars a little, Halestorm have turned Lesbian Rock into boring Hard Rock. It's not the best transition but it's a valid effort. However, there are dozens of better songs from the decade to cover that don't sound boring as fuck. It's even boring writing about it and I bet it's boring reading about it.
VERDICT - Both songs are boring but if you want 90s Pop Rock and 10s Hard Rock, Sophie B. Hawkins wrote the better song for the genre so she deserves the win.

ROUND FIFTEEN: I Hate Myself For Loving You
Joan Jett And The Blackhearts - Halestorm clearly picked the best songs for the first EP, huh. It's not a bad tune but it's as bland as Hard Rock with Punk and Blues elements gets. However, it was good enough for U2 to rip off with "When Love Comes To Town" so it must have some merit. Unfortunately, it has no merit for me.
Halestorm - As far as covers go, this one's pretty faithful. The guitar and vocals are all there, just plodding along to get to the end of the song. It sounds more like a tribute than the band attempting to take a song and make it their own but fans of the song should be pleasantly surprised.
VERDICT - I guess the Halestorm version's pretty good. I don't have anything against the original but there's only so excited I can get about bland music, regardless of how well it's covered.

ROUND SIXTEEN: Heathens
Twenty One Pilots - I'm starting to think Halestorm have a semi-shitty taste in music. Modern Pop with heavy guitars now and then is still modern Pop and even if the vocals and mix are decent, this song still sounds like something designed to be enjoyed by primarily assholes. However, it's a well known Pop song so I can understand why Halestorm would want to cover it.
Halestorm - This sounds more like a song suited for the film Suicide Squad, although I guess the Twenty One Pilots version makes sense seeing as how it sucks. The Halestorm version firmly plants it in the Hard Rock genre, even if it is shitty Rock. That seems to be one of the trends from these EPs, along with Lizzy Hale's awesome vocals. I'm starting to think Halestorm aren't as awesome as I've heard.
VERDICT - Even though Halestorm wins this round hands down, it's been a disappointing selection of covers so far. No matter, they still kick ass now and then.

ROUND SEVENTEEN: Fell On Black Days
Soundgarden - The best part of this song is probably the opening guitar riff, followed shortly by Chris Cornell's vocals in the chorus before he gets all shouty. The structure and mix have been well crafted too but it's the guitar that steals the show. It might be a well known Soundgarden song although it isn't one of my favourites. However, I can imagine it being a good Halestorm cover.
Halestorm - Lizzy Hale's vocals work surprisingly well in this song. The guitar is decent too with some neat effects used in the solo and there are many moments throughout the song where, if you didn't know any better, you could assume it was an alternate Soundgarden take. It's one of the closest things to an ambitious cover Halestorm have recorded for these EPs and even then, it's still not a big deal.
VERDICT - There's no other version of this song that does the material justice in the same way as the Soundgarden original so I have to award them the win. Props to Halestorm for still writing a good cover though.

ROUND EIGHTEEN: Ride The Lightning
Metallica - OK, I can forgive some of the song choices now. Most people would call Master Of Puppets the superior album and title track combo but I'd choose Ride The Lightning over that any day. This song contains awesome riffs, a badass solo and some of James Hetfield's angriest vocals recorded on a good Metallica track. A top quality Metallica tune to end the covers EP.
Halestorm - Oh God, that opening guitar sounds terrible. At least the verse riffing sounds better and Lizzy Hale rocks the fuck out of the vocals, although still doesn't come close to Hetfield in the chorus; she pretty much just shouts them. However, unlike most of the previous covers, the solo is a very faithful recreation of the original. Well played both literally and figuratively.
VERDICT - Hmmmmm, tough decision. Halestorm did a smashing job of covering this song but I have to give the win to the one, the only Metallica.

SCORES (ReAniMate 3.0: The CoVeRs eP):
Originals - 3
Halestorm - 3

ReAniMate 3.0: The CoVeRs eP rating: 4/10


FINAL SCORES:
Originals - 7
Halestorm - 11


Looks like Halestorm crushed the competition, although that's mostly down to their first EP. The other two were meh. If they record a fourth covers EP in another couple of years, hopefully they'll choose more 80s Pop songs and less modern shite to recreate.

Showdown: Halestorm ReAniMate covers, part one

Most of my Showdown posts have been focusing on a variety of artists but let's not forget that my very first Showdown post was looking at covers by one band and one band only. In this two part blog post, I'll be looking at three EPs by the band Halestorm covering a selection of Rock, Metal and occasionally Pop tunes in their awesome style before weighing up pros and cons of the originals against the covers and ultimately deciding which version of each track is superior.

Since there are 18 songs across all three EPs, I'm splitting this blog post into two parts containing nine songs each. That means part one (the post you're reading now) contains all of the songs on the first EP and three of the songs off the second one. I'll deliver an overall verdict for each EP and a final verdict for all 18 songs in part two.
Right, all clear? Thank fuck, let's get listening!

EDIT: Forgot to add this Spotify playlist of each song (original and cover, minus one original song). Feel free to listen to it as you read my write-ups!


ROUND ONE: Slave To The Grind
Skid Row - Not my favourite Skid Row track but a good Metal tune with heavy riffing and a catchy chorus. The solo's a little dull but I guess that's one of the drawbacks of moving from Hair Metal to Heavy Metal. Either way, it's got a punch to it and it's a good opening song to cover if the intention is to announce "Hey, we're fuckin' here!".
Halestorm - The difference in key hits you straight away but if I'm honest, I kinda like it. It makes the chorus sound a hell of a lot better and the main thing is the energy is still there. I expect I'm probably going to say this a lot but Lizzy Hale's vocals fucking rock and definitely keep up with the original. The guitar solo sounds a little beefed up as well so all in all, a great cover!
VERDICT - A very strong entry from Halestorm right out of the gate earns them a win here. They picked the right song to kick things off and whilst the Skid Row original is good, the Halestorm cover is fucking great!

ROUND TWO: Bad Romance
Lady Gaga - I don't mind Lady Gaga as a person; she seems pretty cool and the fact that she's a fan of Heavy Metal means that her music isn't your typical Pop shite. However, at the end of the day, it is still modern Pop and even though I like some of her tunes ("Applause" being the only one at the time of typing this), "Bad Romance" isn't a song I like listening to. The vocal melody she sings throughout reminds me too much of the intro to "Self Esteem" - The Offspring (a much better song!) and the music is just generic beats and synth. It's a vocally driven song, so I have high hopes for the cover!
Halestorm - See, this is what Lady Gaga could've released if she didn't sell out her musical taste for the easier opportunity for fame. Not only does this song sound fucking sweet now but Lizzy Hale pisses all over Lady Gaga's vocals. In fact, the entire band deserve a shout out here. They've taken generic Pop music and done the best they possibly could've done with the source material. It might not sound like an amazing Metal song but it's a hell of a good cover that treats the original with respect whilst also injecting new life into it.
VERDICT - Halestorm all the way. No doubt in my mind. Hopefully Lady Gaga has listened/will listen to their version and think "maybe I should write more tunes like this" before ultimately deciding she'd rather make a fuckton of cash selling more Pop singles.

ROUND THREE: Hunger Strike
Temple Of The Dog - I didn't want to write about this song/band/album in my recent Chris Cornell post because honestly, I fucking hate it. It's slow, it's depressing and the vocal duet does nothing for me. It might have some fine Grunge riffs but the soft guitar melodies mixed with the pained screeches of Chris Cornell are off putting. It's also a song in which nothing happens. It ends as it starts and by the time it's finished, you'll want your time back...or at least I did.
Halestorm - This song sounds like something you'd hear during the credits of a Michael Bay film. By that, I mean it sucks. It's a good effort and if you like the original, you'll probably enjoy aspects of it but Grunge fans likely won't. It's a bit too upbeat and whilst each band member is on top form (yes, including Lizzy Hale), it's nothing to write home about.
VERDICT - Tough call. I'm not a fan of either track but if I have to choose based on a mix of which track I'd rather listen to again and which track I personally believe is the stronger recording, I feel like awarding the win to both bands. However, since I'm trying to avoid this, I'm going with Halestorm due to personal taste. The Temple Of The Dog original is a better Alternative/Grunge track but at least the Halestorm cover doesn't fill me with the urgent need to switch the song off.

ROUND FOUR: Out Ta Get Me
Guns N' Roses - I didn't even remember this song off Appetite For Destruction and chances are I still won't remember it a week from now but if you want typical GNR, you get it here. Solid Slash work, Axl doing his thang, Steven Adler keeping the song together on drums and the rest of the band enjoying the ride. Personal opinions on Axl Rose aside, this is an OK Hard Rock filler track. Not "You Could Be Mine" or "Anything Goes" level but it's passable.
Halestorm - Musically, this sounds about as close as you can get to classic GNR. Vocally, it shits all over Axl; then again, the automated voice narration on laptops would give that washed up tosser a run for his money BUT AXL OPINIONS ASIDE, this is a great cover. Unfortunately, it's also a relatively easy cover. I'm not sure why the band picked this track as it's possibly one of the safest GNR songs to cover if you were worried about not doing the band justice; it would've been neat to hear them cover a bigger song, especially with the band's track record so far.
VERDICT - Definitely Halestorm. Guns N' Roses did a decent job of writing a middle-of-the-road Rock song but Halestorm kicked it up a notch.

ROUND FIVE: All I Wanna Do Is Make Love To You
Heart - We've had mediocre modern Pop, now it's time for mediocre 90s Pop! The weird thing is, this Heart song isn't even an original Heart track. It's based off a song from the 70s called "All I Want To Do Is Make Love To You" but with different lyrics. It's as radio friendly as an advert for PPI and it's as lame as Christian Hip Hop so why Halestorm would want to cover it is beyond me.
Halestorm - Yup, it's still rubbish. Of all the awesome Heart songs they could've picked, Halestorm went for one from their dull Pop phase. It might have heavier music and vocals but it still sounds like mid 2000s dirge from the likes of Paramore and other crap tween bands masquerading as Rock.
VERDICT - There wasn't a single aspect of either song I liked so I'm giving the win to Heart. Both songs are dull but at least Heart's version is closer to a good Pop song than Halestorm's cover is to a good Rock song, if that makes sense.

ROUND SIX: I Want You (She's So Heavy)
The Beatles - I've talked about this track before on my post on The Beatles: Rock Band but the summary is I hate it. It goes on for FUUUUCKING AGES at the end and the rest of the song, regardless of how good the bass is, fails to redeem it. Once again, I find myself asking why Halestorm chose this song to cover out of all the great Beatles tracks that would've transitioned into incredible Metal versions but I reckon the answer may have something to do with the fact that it costs an arm, a leg and a gallon of leprechaun blood to license The Beatles so this could've been one of the cheaper tunes.
Halestorm - Hats off to Halestorm, this cover actually has its moments during the shittier slow bits. It sounds like good Ozzy Osbourne and unlike the original, there's actually more happening. Lizzy's belting out vocals and the instrumental mix changes. However, the verses are weak. They don't sound right on a Metal song.
VERDICT - Halestorm took a terrible song and made it a bit weak. Even if it's still ultimately a loss, they did the best they could and therefore Halestorm have earned a win. They can pin it to their fridge, seeing as how much better wins are occupying their metaphorical mantle.

SCORES (ReAniMate: The CoVeRs eP):
Originals - 1
Halestorm - 5

ReAniMate: The CoVeRs eP rating: 8/10

ROUND SEVEN: Dissident Aggressor
Judas Priest - We're onto the second covers EP now and once again, Halestorm have picked a solid song to start things off. It's not as powerful as some of their later songs but it's got a good driving rhythm and some classic 70s Metal riffing. Halford's vocals in the chorus are good, though. A nice little back and forth with himself, which is also a good way to figuratively describe his attitude to performing "Breaking The Law" live nowadays...he jerks off, basically.
Halestorm - The music sounds heavy and the guitarwork is impressive although for once, Lizzy Hale's vocals don't quite do it for me. Her back and forth in the chorus sounds poorly mixed but otherwise, she kicks ass. However, compared to previous covers, it's a bit of a step down and I think Slayer's cover of this song is better overall.
VERDICT - I've got to give it to Judas Priest here. They wrote and performed a good song and whilst the Halestorm cover isn't bad, it doesn't bring anything new and exciting to the table like they did with other covers.

ROUND EIGHT: Get Lucky
Daft Punk - This song is catchy, I'm not denying that. However, it's also a bit...bland. It sounds like the kind of song written to be used in the background of a thirty second advert for Bet365, not something for millions of fans to purchase and listen to for four-six minutes (depending on which version you buy). However, if you like Funk, you'll probably get a kick out of this.
Halestorm - Not a bad cover! I love what the band have done with the guitar, giving it a "Dr. Feelgood" vibe with some little melodies in the verse and chorus (not to mention the small but tidy solo). As a joke cover (think some of the Children Of Bodom covers), this song rocks. As an attempt at a Metal version of a Pop song, it's meh with some strong elements.
VERDICT - It's obvious, isn't it? Halestorm gave us a fun Metal cover and a passable Metal song if you don't know much Metal.

ROUND NINE: Shoot To Thrill
AC/DC - The Iron Man 2 song in all its glory. Some good riffs and a catchy chorus, although the song does go on a little bit too long. However, the best parts of the song are probably the intro riffs and the outro solo...in other words, the bits used in Iron Man 2. Considering this song was on the first album released after Bon Scott's death, it's a pretty good tune to give fans confidence that the band could still Rock.
Halestorm - Of all the AC/DC songs to cover, this one's a good choice. Well known and easy to faithfully recreate. The main difference lies in the vocals (what a shocker!) and whilst I'm not the biggest fan of Brian Johnson, Lizzy Hale's voice sounds a bit tame here. I was expecting something a bit heftier from her but she must've recorded this cover on an off day. Shame.
VERDICT - The problem with covering AC/DC is that no matter how heavy your instruments or different your vocals, it will always sound like an AC/DC song due to Angus' ability to create iconic and signature riffs. Your only option is to try and match AC/DC's quality without changing too much, which is sadly what Lizzy Hale tried to do on vocals, hence AC/DC winning this round.


That's part one! Part two will be with you soon!

Taster Session #8

Back to the classic format for this posts, I'm afraid. Five new Rock/Metal singles from albums coming out this year with a link for you to sample each track along with my personal verdict.

"Dig Down" - Muse         (listen here)
From the album ???? (??/??/????)

Apparently, this song was written as a way of saying "don't let all the shit that's happening in the world get you down" and what better way of communicating that sentiment than with a terrible song and a step backward for the band's musical quality. Drones had me hopeful that the band were realising they're actually a Rock band instead of a shitty hipster synth outfit but now they've decided to write music off The 2nd Law again. Bland, repetitive WUBWUBWUBs and Matt Bellamy's moaning vocals carry this song because no other fucker's bothering to bring the thunder. On the plus side, it still sounds like Muse at its heart, although not good Muse. Just Muse Muse.


"Run" - Foo Fighters         (listen here)
From the album Concrete And Gold (15/09/17)

So far, we're 0 for 2. The song starts off like your typical sensitive Foos track but once percussion and heavy guitar riffs come in, it turns to shit. Dave's screaming is easily the worst aspect of any Foo Fighters song (not to be confused with his singing or shouting vocals, just when he screeches) and they're used a fair bit throughout the track. The riffing and guitar melodies are incredibly average but then so was everything about "Everlong" and people adore that song for some fucking reason. However, the most disappointing aspect has to be the drumming during the verse. It sounds wrong. It doesn't match the heavy riffs and sounds like the kind of percussion you'd hear in a shitty football anthem, not Hard Rock single for one of the biggest modern Rock bands on the planet.


"Must Be Nice" - Nickelback         (listen here)
From the album Feed The Machine (16/07/17)

My Nickelback policy is simple. If it sucks, it sucks. If it rocks, it rocks. "How You Remind Me" sucks. "Burn It To The Ground" rocks. This song rocks. Great riffs, sweet solo, steady rhythm, typical Rock song structure. It's not exactly the band pushing any boundaries and the vocal delivery in the verse is a little off-putting with repeat listens but if you want a solid Rock song, this is a good track to listen to. On a side note, that album cover is pretty fucking cool too. If it didn't have Nickelback at the top, more people would probably pick it up. Finally, a song I enjoyed and would want to hear again!


"Great Heathen Army" - Iced Earth         (listen here)
From the album Incorruptible (16/06/17)

Gotta love that chanting, although the intro does go on a bit long. I haven't discussed Iced Earth much (if at all) on the blog but if you like your Metal fast and heavy, check them out. I think the easiest comparison would be Slayer mixed with Iron Maiden but you could probably apply that to any American Metal band that doesn't rely on their sensitivity to pad songs. The music's a little dull and mostly serves as background noise for the vocals here, which goes against traditional Metal values but at least it isn't crap. It's just a bit meh, which is a shame as I had high hopes for this band's new material.


"Paranoiac Personality" - Alice Cooper         (listen here)
From the album Paranormal (28/07/17)

Now, see, THIS is proper Heavy Metal! It reminds me of "Believer" - Ozzy Osbourne with the bassline at the start but the riffs are a lot better than whatever Randy Rhoads was doing. It's a decent Rock song, although I'm hoping the outro doesn't just cut out like that on the album. Based on this track, I'd be tempted to give the rest of the album a listen, as I don't believe I've ever actually sat and listened to a full Alice Cooper album from start to finish before. I've tried to sit through a couple but gave up part way through. Anyway, good song!


Coming soon: a Showdown post featuring Halestorm covers and their originals!