Showdown: Cover Versions, part 5

Part 5? Yeah, it's part 5.
More cover versions! This time, unlike the last two posts, we're going back to Rock/Metal covers of Rock/Metal/Pop songs; no WaveGroup covers this time. As always, I'll be writing about the original, then writing about the cover version before offering my verdict on which version is best and why. There's no real theme to this post. I'll try to pick famous cover versions or covers of famous songs (as usual) but other than putting the more well known covers first, it's a basically a free-for-all!
Also, underneath this post is an embedded Spotify playlist containing originals and covers so you can listen along if you want.

ROUND ONE: Bad Company
Bad Company - I think I've said this is "arguably" the band's signature song in the past but when your band literally shares the name of a song from an album that ALSO shares its name with the song, there's not really any argument to be had. It's a decent track, a little plain in comparison to some of their other tracks but if you want a vocally driven song with a catchy chorus and some nice piano melodies, look no further. It's just a shame the guitar solo in the outro is weak but you can't have everything.
Five Finger Death Punch - I'll admit that this song transitions well into a Five Finger Death Punch track and the band do a good job of knowing where to be heavy. The solo isn't as excessive as other contemporary Hard Rock/Metal covers (Black Label Society and Guns N' Roses could learn a thing or two) and this song has an actual outro instead of fading out during a solo. It's a great cover alright, although I'm still not entirely sold on it. Maybe I just dislike the sound of Five Finger Death Punch but even though I can't find anything wrong with it, I still don't want to listen to it again.
VERDICT - I'm really torn on this one because even though I'd rather listen to Bad Company's original, I feel like I have more positive things to say about Five Finger Death Punch's cover. I think I've got to go with my gut and say Bad Company take the win for having stronger (albeit fewer) positive aspects. Five Finger Death Punch still pulled out a great cover and it's not surprising that their version of this song is regarded to be one of their better tracks.

ROUND TWO: The Sound Of Silence
Simon & Garfunkel - As great as this song is, I feel like Arrested Development has kinda tainted it. I can't hear this song without thinking of "I've made a huge mistake" and Will Arnett but thankfully, those thoughts dissipate once the percussion comes in. Whilst this song might be overused in the media, it's still a brilliant vocally driven Classic Rock track. The lyrics were also referenced in "The Spirit Of Radio" - Rush ("and the words of the prophets were written on the studio walls, echoes with the sounds of salesmen") so it's got that going for it too.
Disturbed - Remember when the Internet went all fangirl over this cover as if it was the greatest fucking thing since that video of the cat saying "Oh long Johnson"? I'll admit, it starts off really well. The build up and use of piano to deliver the melody are fantastic, not to mention David Draiman's restrained vocals. However, there's something about this song that reminds me of those awful covers on The X Factor during "Rock week"; it just feels artificial, staged. Then it reaches the three minute mark and just becomes silly; Draiman starts growling and I completely lose interest. However, having listened to the whole song in one sitting after taking a break from the snippets I constantly used to hear over the radio, it's not bad.
VERDICT - Definitely Simon & Garfunkel. The introduction of percussion alone is better than any single part of the Disturbed cover and whilst Disturbed did try something interesting, I feel like they were just short of a perfect cover. But hey, at least I understand why people loved this cover so much now, even if I don't share the sentiment.

ROUND THREE: Am I Evil?
Diamond Head - There are many versions of this song but I think the one I prefer is the 1982 rerecording. You know, the one with the slightly slower intro (if it helps, I believe it was the one used in Guitar Hero: Metallica, NOT Brutal Legend). Anyway, the song is still awesome from start to finish. It's almost like an Ozzy-era Black Sabbath song but done properly, from the heavy "Evil" chords at the start to the chugging riff during the vocals. Easily the band's signature song and with songwriting talents like this, it's a shame we didn't get to see Diamond Head reach the heights of their contemporaries at the time.
Metallica - Metallica assembled and recorded many covers for Garage Inc. but arguably this is the most significant. They shot into the spotlight after playing a cover of "Am I Evil?" before they recorded Kill Em All and I've got to say, it's pretty damn good. They don't really change much about it yet successfully make the song sound like their own. It sounds like something they could have written themselves although if you heard the original first, you probably won't get much out of it.
VERDICT - Whilst it's not as night & day as the last round, the win goes to Diamond Head. Both versions are great and it probably depends on which one you heard first but in cases like this, I tend to favour the original. However, at least Metallica only have one official version of this track whereas Diamond Head have about three.

ROUND FOUR: Call Me The Breeze
J.J. Cale - This is a nice, easy going Blues Rock track by the guy Eric 'Boring' Clapton wishes he could've been. It's a fairly short little tune with a simple guitar solo and vocals throughout; nothing imposing and it fades out during the outro. Other than that, there's not really a lot to comment on. Moving on!
Lynyrd Skynyrd - I think a lot of people incorrectly assume this is a Skynyrd original in the same way people assume "Cocaine" is a Clapton original (it isn't and unsurprisingly, J.J. Cale's is much better). Lynyrd Skynyrd took the original and turned it ALL THE WAY up with a tasty guitar AND piano solo, not to mention brass accompaniment and an actual outro (which is pretty rare for Skynyrd's bigger songs). Every aspect of this song is better...so guess who's getting the win.
VERDICT - Lynyrd Skynyrd take a well deserved win right here. However, if we were comparing the J.J. Cale original with the Eric 'Boring' Clapton cover from a few years ago, J.J. would be taking home the win without a doubt.

ROUND FIVE: All Along The Watchtower
Bob Dylan - Did you know that this song was a Bob Dylan track before Hendrix covered it? I mean, you do if you played Guitar Hero 5 but yeah, here it is! Bob Dylan sounds like a comedian doing a Bob Dylan impression and the harmonica throughout gets annoying pretty fucking quickly. As for the acoustic guitar, it's basically an afterthought. In other words, this song is a little shitty although if you prefer Folk to Rock, you'll probably love it.
Jimi Hendrix - Arguably Hendrix's signature song and it isn't even his. However, the changes made to the overall structure and addition of all the guitar solos (not to mention Jimi's far superior vocal range) turn this into an iconic Rock song. Whilst I'm not hugely into the track in comparison to some of his other well known songs like "Castles Made Of Sand" and "Hey Joe", you can't deny that the opening chords that flow into the first guitar solo are just perfect.
VERDICT - Easily a win for Jimi Hendrix. Despite having a slower tempo and lasting a lot longer than the original, it's a straight up classic whilst the original deserves to fade into obscurity.

ROUND SIX: Back In Black
AC/DC - After Bon Scott died and the band found a replacement in the form of Brian Johnson, AC/DC wanted to come back with a powerful Rock anthem to show fans that they were still a pure Hard Rock machine. The band chose wisely with this song containing a wealth of epic riffs, sweet solos and raw vocals and whilst Bon Scott was truly the better vocalist, Brian's voice was at its finest at the start of his lengthy stretch with the band.
Living Colour - So you might be wondering why I chose this song/cover. To me, "Back In Black" is one of those iconic Rock songs that people will ALWAYS associate with AC/DC and to cover it is inviting disappointment...until I heard Living Colour try it. The guitar is spot on throughout and whilst the vocals get a little too screechy, I wanted to include this track in the list as a way of showing that good covers of this song can exist, not just tacky ones of AC/DC tracks that existed as alternatives to the original before the band became available on Spotify.
VERDICT - Even though I like the Living Colour version, I think we all agree that AC/DC knocked it out of the park with this track. If Living Colour's vocals weren't so abrasive, they may have taken home the win here but alas, it wasn't to be.

ROUND SEVEN: Helter Skelter
The Beatles - Music historians cite this song as one of the earliest influences for the Heavy Metal genre and whilst I can agree with that statement, anyone who calls this song Heavy Metal is a fucking idiot. At best, it's Hard Rock although even by Deep Purple standards, it's more like 60s Garage. Anyway, this song was about as heavy as The Beatles got with clashing symbols, screeching vocals and chugging guitar riffs. It's a decent track although not exactly in the band's wheelhouse. That being said, I'll take it over their trippy, psychedelic, circus nonsense.
Motley Crue - Fun fact: Motley Crue also toyed with the idea of recording a cover of "Paperback Writer", the far greater Beatles song, and did play that track live a few times. However, between the two songs, I'm glad "Helter Skelter" got the studio treatment. The Crue took the blueprints for a fine Hard Rock song and beefed it up a bit, transforming it into a decent Hair/Heavy Metal tune. It's just a shame that the lyrics about going down slides don't really make the same transition as the music.
VERDICT - Whilst I'd obviously pick The Beatles over Motley Crue for overall strength of music, I'm giving the win to Motley Crue here. Heavier song needs heavier music and The Beatles just fell a little short, although they came damn close to writing a full on Hard Rock song. Maybe in an alternate timeline where they kept going long after 1970, the band rerecorded it with the necessary power it deserves. However, until interdimensional travel exists, at least we've got Motley Crue's version.

ROUND EIGHT: Oops I Did It Again
Britney Spears - For years, I thought this and "...Baby One More Time" were the exact same song. Ya know, because they sound identical. Anyway, apparently this is a different song that uses other words? Either way, it's still a generic Pop song with piano chords, basic percussion, lyrics designed by a committee to make teenage girls want to be her and horny dads want to fuck her. Whilst I'm generally not a fan of Pop music (or Britney Spears), this song certainly isn't "Toxic".
Children Of Bodom - Children Of Bodom have done some great little covers over their years but I think this is the one that everyone knows.  A Melodic Death Metal cover of a Pop song. Vocally, this song is absolute shite outside of the chorus although I'm guessing that's kinda the point; it feels like it was performed sarcastically and you know what? I can dig that. Musically, it's one of the lesser Children Of Bodom tracks but they still managed to fit a solid guitar solo into it.
VERDICT - Children Of Bodom did something fun and unique with a bland song so they deserve a win. I also recommend their covers album Skeletons In The Closet if you want some other decent tunes of theirs, provided you like Melodic Death Metal.

ROUND NINE: Smoke On The Water
Deep Purple - One of the most iconic guitar riffs of all time and also one of the most basic Deep Purple/Richie Blackmore songs. Admittedly, it's a pretty great riff and there are some decent Ian Gillan vocals but other than that, it's an underperforming Hard Rock track. Weak guitar solo and goes on way too long but it's still an OK song if you haven't heard many other Deep Purple tunes. However, I bet there are bands who could do a fantastic cover of this song...
The Flaming Lips - ...just not these guys. If you haven't heard The Flaming Lips cover of "Smoke On The Water", part of me wants to recommend it just to hear how fucking terrible it is. It's the height of experimental hipster shit and once those vocals come in, you know you're in for something terrible. Similar to the Children Of Bodom song, this feels like a piss-take although unlike their Britney Spears cover, this just sounds awful.
VERDICT - I picked this song because I knew The Flaming Lips did a shite cover that you needed to know about. Obviously Deep Purple get the win and OK, maybe this entry is a little one sided so in the interest of balance, let's have a well known song with an amazing cover.

ROUND TEN: Cheap Sunglasses
ZZ Top - If you've been reading my blog for a while, you'll probably know my opinion of "Cheap Sunglasses" and indeed, early ZZ Top. Great songs but absolutely terrible mixes; flatter than day old coke and in dire need of a remaster. However, ignoring technical flaws, the song's bloody good. Great riffs, fun lyrics and a decent solo; an awesome Blues Rock track. If the mix was better, this would be the perfect Rock song.
The Sword - Now THIS is what I'm talking about. Proper dynamics whilst still keeping the grit and Blues aspects. Granted it's more like Heavy Metal than Hard Rock now but The Sword have taken this song and ramped it up. Hopefully ZZ Top will hear this and be inspired to rerecord/remaster their back catalogue one day. The Sword have also done a smashing cover of "Cold Sweat" - Thin Lizzy although because that was a B-side to one of their singles, it's harder to find online.
VERDICT - Definitely The Sword although I still like ZZ Top's original a lot.


As stated above, here's a Spotify playlist of all the songs discussed in this post so you can listen along and decide whether I'm making some good points or are just completely full of shit...or ya know, somewhere in the middle.

Showdown: The Salentino Cuts - UFO

Yeah, I went with Showdown again.
Earlier this month, I wrote a post looking at a new Motorhead covers album, discussing the original songs and their covers before offering my verdict on which version I thought was superior for each track. I'm basically doing the exact same thing here, only this time looking at all the covers on the new UFO album.

I've also included a Spotify playlist of all the original songs and their covers at the bottom of this post, something I did once and then forgot to do for all subsequent Showdown posts. Maybe I'll go back and add them in at some point.
My verdicts are usually based on which song I enjoy listening to more but I can also factor in how creative the cover is or which track is better suited for the genre, e.g. an original Pop track covered by a Metal band might win if I feel like it's a better Pop song than a Metal one. With that in mind, let's get listening!

ROUND ONE: Heart Full Of Soul
The Yardbirds - Probably my second favourite song by this band with "Turn Into Earth" being number one, "Over Under Sideways Down" being number three. It's got some excellent vocals but is mostly built around a great guitar melody that only came about because Eric Boring Clapton wanted to focus more on Blues Rock than Pop Rock and his replacement, a little known guitarist called Jeff Beck, is a much better musician. Beck wanted to experiment with different sounds blended with 60s Rock so there's an Indian-twang to the riff. All in all, a top notch song from the 60s that isn't by The Beatles, The Who or The Rolling Stones.
UFO - Not entirely sure why the band spelled this wrong on their album but oh well, let's look past that and focus on this terrible cover. The guitar riff sounds stiff, the tempo is too slow and the vocals lack the mysticism required by the song, instead sounding tired and too Bluesy. At least the solo's been beefed up a bit, along with the guitar during the chorus, but overall this is a very poor cover to open your album with, even if the song you're covering is great.
VERDICT - Hands down The Yardbirds take this one. There's nothing redeemable enough about the UFO cover to even make me consider it winning. Great start!

ROUND TWO: Break On Through (To The Other Side)
The Doors - Another psychedelic hit, this song's best known for its vocals in the chorus and organ solo, although it's got some decent guitar riffs throughout too. It's a punchy tune that crams a lot into two and a half minutes and definitely stands out in the band's collection of iconic Psychedelic Rock as being one of their heavier tracks.
UFO - Straight away, I prefer the drum rhythm and sound of the organ and guitar together. Vocals are still poor (they would be compared to Jim Morrison's) but they don't suck as much as the last track. The guitar's a little dull in the chorus too but it's pretty sweet in the outro, giving it an extra kick. I just wish the band wasn't let down by Phil Mogg's godawful vocals.
VERDICT - Both tracks have their ups and downs but I'm going to give this one to UFO. It's never going to replace the original but it does "rock" a hell of a lot more than The Doors' version, even if the chorus is weaker. If you could combine Morrison's vocals with UFO's music, you'd probably have the perfect track.

ROUND THREE: River Of Deceit
Mad Season - I'd never heard of this song or band before this covers album but I thought it was alright. It could've been a bit shorter as I felt like the soft guitar melodies only carried the song so far and the track didn't need to build up to anything like typical 90s Alternative tracks do (think "Shine" - Collective Soul or "Closing Time" - Semisonic) so there wasn't really a reason for it to last over five minutes. Either that or make the outro a bit different to give listeners something new to enjoy.
UFO - Even though the guitar is similar to the original, I love the underlying synth and bass in this cover. It definitely stands out a bit more than the Mad Season track without drawing attention away from the other musicians. As for the vocals, I like them in this cover. They suit the tone of the song and their aged quality adds an extra layer to the lyrical nature of the song. It sounds like Mogg's pipes are best suited for the slower, more delicate Rock songs than heavy ones.
VERDICT - Despite a troublesome start, UFO are coming in with the wins here. As I said before, I enjoyed the original but if I had to listen to just one of these versions again, I think I'd pick the cover. I simply got more out of that version than the original.

ROUND FOUR: The Pusher
Steppenwolf - I usually stop paying attention to this song after the line "You know, I smoked a lot of grass". Not as an anti-drugs thing, I just find that the song becomes incredibly fucking dull after that great opening line. It follows a slight variation of the Blues Chord Progression but unlike other bands/artists that rely on Blues rhythms (e.g. Rory Gallagher), there isn't the talented soloing or interesting music in between the boring vocals to keep things fresh. Combine this with a length that's almost pushing six minutes and you've got yourself a bland ol' tune.
UFO - Well...it's a little bit faster than the original, so at least it's got that going for it? Seriously though, it's a pretty faithful cover so fans of the Steppenwolf version may get some joy out of this one. Also, there are some improvements to the guitar in between verses so people in a similar position to me who find the original lacking something might like this cover. For me though, it's still not enough to make me want to listen to it again.
VERDICT - I'm giving this to UFO again but only by a little. They've taken a meh song and made it a little less meh, earning it a win in my books. However, I feel they also deserve some kudos for not going for the obvious cover of "Born To Be Wild", a track that has been cursed to always produce terrible covers ever since The Cult ruined it.

ROUND FIVE: Paper In Fire
John Mellencamp - Back to footstompers then! This track's a belter if you like Rock with a Southern touch without becoming full-on Southern Rock, although the accordion sounds a little silly if you pay too much attention to it. It's a pretty straightforward Rock song once you strip back all the instruments but it doesn't feel like it's missing additional sections or solos. It works and it rocks, making it a great track.
UFO - Fuck me, that intro is spot on! The band use the instruments they've got to replicate a near identical opening riff and it sounds brilliant! We even get a tidy little guitar solo that fits perfectly into the melody and makes me question whether or not I'll be able to hear with original without missing it. Sadly, it pains me to say that even with the band on top form, Phil Mogg takes a shit all over the mic once again. He can't sing quick enough to keep up with the band so we get certain lyrics sung long after the music has moved onto the next section, like a lagging Youtube video with desynced audio.
VERDICT - UFO could've won this one if Mogg wasn't past his prime but as both songs stand, John Mellencamp performed the superior track.

ROUND SIX: Rock Candy
Montrose - Montrose are probably better known for having a couple of their songs covered by Iron Maiden but they were a decent 70s Hard Rock band with a guitarist capable of rocking out awesome riffs and excellent solos; a guitarist so good they literally named the band after him. This track contains a perfect example of the former and a solid one of the latter but of all the Montrose tracks known in the Rock community, this is probably the most popular one. It's a little too slow and basic for my tastes but I can understand the appeal.
UFO - Once I reached the end of this track, I had that weird moment of realisation that I'd just listened to a song that I can't remember anything about, as if I'd been the victim of a Men In Black neuralizer. Whilst this isn't the first time this has happened (most songs off Rock Or Bust - AC/DC have that effect), it's a surefire indicator that you've wasted your time on a boring song. Even though UFO haven't done much with the source material, it just sounds mediocre compared to the crunching guitar and raw Hagar vocals in the original.
VERDICT - It's really tricky to decide on a winner when I don't particularly care for either track but I will say that the Montrose original kept me listening from start to finish, unlike the UFO cover. So I suppose Montrose deserve the win for that alone.

ROUND SEVEN: Mississippi Queen
Mountain - Another Blues-based Rock song with an iconic guitar riff/intro. However, unlike some of the previous entries, this song's probably a bit better known to your average music fan. It opens with cowbell and a guitar riff that may have unintentionally inspired one of many riffs for "Seek And Destroy" - Metallica. After that, there are a few tame solos, heavy chords and raw vocals, all following another variation of the Blues Chord Progression. It's a decent tune, definitely Mountain's most well known.
UFO - Once again, the tempo's been slowed down slightly (presumably to make things easier for Phil Mogg) and even though the weight of those guitar riffs is spot on, the small guitar fills throughout the verses sound distracting more than anything else. At least the vocals aren't awful, although as I said before, I get the feeling that the musicians had to compromise in order to accommodate Phil Mogg's lack of energy. I accept that there's not a lot you can do with this song to vastly improve it but UFO found a way of making it slightly worse.
VERDICT - I wouldn't willingly choose either song to listen to but at least the Mountain original has some balls, which are needed in a song like this. Mountain rules, UFO drools, let's keep trucking on.

ROUND EIGHT: Ain't No Sunshine
Bill Withers - An interesting choice for this album, seeing as how it's pretty far from any genre of Rock out there. Despite having a majestic string accompaniment and a great piano melody, the song's carried by Bill's soulful vocals and delivery of 26 I Knows in what sounds like a single breath. It's much shorter than I originally remembered but it's still a lovely if not slightly depressing song. Now let's listen to the UFO cover.
UFO - OK, admittedly, this isn't the utter trainwreck I thought it would be based on the previous songs. The music's handled well and it doesn't have an inappropriate solo crammed in but guess what all-important factor ruins things? Yup, it's Phil Mogg and his inability to sing songs the band (and presumably him) have agreed to cover! His voice works throughout most of the track but once it gets to the I Knows, he has to pause in between, ruining the flow and use of the I Knows in the first place. I genuinely don't know why they chose to cover a song they couldn't cohesively record but oh well, it is what it is.
VERDICT - Don't cover a song you can't fucking play/sing unless you're making it your own. Bill Withers takes the win.

ROUND NINE: Honey Bee
Tom Petty - I hadn't heard this song before writing this post either but I can see why UFO covered it. It's got a heavy riff (for Tom Petty) and a slow tempo. Musically, it sounds like a beefed up Rod Stewart song and desperately needed an extra section to prevent it from going stale about halfway through. Fortunately, it deviates from typical Tom Petty tracks by containing an actual outro instead of fading out during the guitar solo so I suppose it's at least got one thing going for it.
UFO - Yup, definitely a suitable choice for the band to cover. Vocally undemanding and perfect for synchronised guitar/bass riffing. Rather than end on a lengthy solo, UFO cut it out, resulting in a shorter track that doesn't really grate on you. It's a solid cover from the band that basically fucked up everything else although that's what happens when they cover a basic song.
VERDICT - A shorter length made this song at least partly tolerable so UFO get a long awaited win. They're gonna have to go some to win this overall but maybe they've saved the best until last...maybe.

ROUND TEN: Too Rolling Stoned
Robin Trower - I feel like I've heard a bunch of songs with "rolling stoned" in the title that are all different so I'm not sure if this is a new one for me. It's a passable but uninteresting Rock song until things slow down a bit and transition into full blown Blues territory; then it turns to shit. This seven and a half minute song is boring as shit unless you're into your Bluesy guitar soloing with some dull cheering in the background to give it the impression of being a live recording. I'm actually struggling to remember anything before the Blues section so fuck this song.
UFO - Thankfully, UFO didn't outright skip the Rock part of this song like I felt they might (although they still went Bluesy at the halfway point). It's got an air of Deep Purple and Whitesnake about it in the first half with some great soloing and suitably aged vocals. The second half passes a bit quicker than the original Blues breakdown (or at least feels like it does) so admirers of Blues soloing that can't be arsed to sit through Blues soloing are better off with this track.
VERDICT - Once again, UFO did a solid cover and removed the shitty elements. I'm not saying they made this song great but UFO get a win for not making a bad song worse. Oh, and they actually had an outro instead of fading out. Nice one, lads.

ROUND ELEVEN: Just Got Paid
ZZ Top - An early one from ZZ Top before they got synth involved. A Bluesy Southern track that probably would've been better without muting the riff. At least the mix isn't flat dogshit like most early ZZ Top tracks but it's still a very plain track. Once you've got past the riff, the rest of the song is pretty much just filler with a hollow solo and outro that would be copied and improved in "Hard To Handle" - The Black Crowes, an example of an awesome cover, something I've given up hope of finding on this album.
UFO - Damn, maybe I was right about saving the best tracks until the end. The guitar riff has been improved and those drums are just what the doctor fucking ordered. Phil Mogg still struggles to keep up with the rest of the band but his voice fits like a glove. Since it's a ZZ Top song, we don't get much in the way of vocals so the guitarist is free to play away. The band also went ahead and cut this song short too; I can't say this with certainty but I'm guessing it's because they only had short periods of time to record songs in between visiting Phil Mogg at the nursing home.
VERDICT - UFO have found their groove again! The song simply sounds more like a Rock song when they play it (although it's still average by conventional standards).

ROUND TWELVE: It's My Life
The Animals - Last song on the list, although not to be confused for the Bon Jovi track! Not the strongest song by The Animals but hey, it's got a lot of bass/guitar and the vocals are simple. There isn't much to say about it other than it feels a lot longer than 3:09 when you listen to it. I'm not saying a guitar or organ solo could've improved it but I understand why songs with guitar/organ solos by this band are better known.
UFO - Fucking hell, they had to slow this down for Phil and he still sounds like a lost old coffin dodger. The fact that a pensioner is singing "It's my life, I'll do what I want" is a little distracting and maybe this is just me but even the musicians sound bored at this point. It would've been good to hear at least one song that the band did something interesting with but nope, it's all just paint by numbers. This is Rock music for boring tossers (see Rip It Up - Thunder).
VERDICT - Tough call but I'm handing the last win to The Animals. Their song doesn't sound like a musical parody designed to show us that old people are still relevant and UFO have been given enough sympathy wins.

FINAL SCORES:
UFO - 6
Originals - 6

Wow. OK, I didn't expect that. I mean, I knew UFO wouldn't win but I'm actually surprised to see they tied with the originals after the shit they put onto that album, although maybe that's just because they picked a dull bunch of songs. To their credit, they did arrange them as best as they could on the tracklist but Mogg's limited vocals resulted in poor choices. I rate The Salentino Cuts 2/10 and wouldn't recommend it to anyone that still has a pulse.
As I said earlier, here's the Spotify playlist for you to listen to (I hesitate to say 'enjoy') as you read my verdicts.

Showdown: Homages/Rip Offs 5

Yep, looks like there are more songs that sound sort of similar to each other! This time, instead of comparing two different songs by two different bands, I'm looking at comparisons by the same artist. This is a rule I've followed whilst making all the previous Homages/Rip Offs posts but for the fifth edition, I've decided to mix it up a bit. Did bands want to pay homage to their popular material or did they run out of inspiration and unintentionally (or intentionally?) copy some of their earlier work?
There are several posts online about bands that all sound the same and it would've been easy for me to scour them and pick a bunch of tunes out. However, whilst this post does contain some well known bands that are historically adept at releasing the same album over and over, it also contains a few of my own picks that I've heard over the years. It should also be noted that this post (and all previous/future ones) are the work of opinion. Despite my language, I'm not categorically stating that a band did rip themselves or anyone else off. Right then, let's get started!

EDIT: Forgot to add a Spotify playlist containing each song (original and cover) at the bottom of this post. Feel free to listen to it as you read my write-ups!

ROUND ONE: Stevie Ray Vaughan vs. Stevie Ray Vaughan
Pride And Joy - I fucking hate this song. Generic Blues played by an incredible guitarist is still boring as fuck and no talented fretwork can save that. This song has it all: bland Blues chord progression, uninspired lyrics, forgettable solos and the rest of the band doing fuck all of merit. The final turd on this shit mountain is that the song came out in the 80s, just under thirty years after the rest of the music scene realised Blues Rock was getting a little stale. For some reason, it's a fairly well known song in the world of Rock but not many people know about the next track.
I'm Cryin' - It's the same fucking song. The exact same structure with the same bland guitar solos off the same fucking album. Don't get me wrong, there are some belters on the Texas Flood album but was SRV so unimaginative that he couldn't even write a different melody for his band to fill one more space on the setlist? Some might defend this track by mistaking it for a reprise but they need to realise that this is an entirely different song created by SRV just before the end of the album. I can understand one of these songs existing, not both.
VERDICT - The fact that both songs are more or less identical (right down to the outro) makes me think this can't be lazy songwriting. It feels to me like this is a really stupid attempt at a Homage but even if you like "Pride And Joy", why the hell would anyone want the same song twice but rehashed with new lyrics and a few tweaked solos? If you're going to copy yourself as blatantly as SRV did here, either pull a Bon Jovi and change it enough so that it is a new song ("Blaze Of Glory" is a rewritten "Wanted Dead Or Alive") or wait a couple of years to rerecord/remix it.

ROUND TWO: ZZ Top vs. ZZ Top
Got Me Under Pressure - You could probably argue that a song as average as this could be compared to lots of ZZ Top songs, since they weren't exactly the strongest bands when it came to Riff Based Rock or even technical work. They just released solid Southern/Blues Rock and whilst this isn't one of the best songs off Eliminator, it's a decent little tune with a notable little riff in the chorus. It's that riff that we're paying attention to for this next song.
Planet Of Women - Same tempo? More or less. Same sound? Yup. Same song? No. There are enough differences in the intros for both songs to justify their existence...until the verse starts and that familiar little riff comes in again. It took me a few listens when I first heard these songs to realise that ZZ Top had repackaged that melody but once you play them side by side, the similarities are undeniable.
VERDICT - Oh this is a Rip Off. As I said earlier, ZZ Top aren't the greatest songwriters and I can imagine their desire to replicate the success of Eliminator with their follow up, Afterburner, may have led to a bit of cheeky riff pinching. To say these albums were released consecutively, it's no wonder ZZ Top are relying on their greatest hits nowadays.

ROUND THREE: Disturbed vs. Disturbed
Indestructible - Disturbed are one of those bands that manage to get away with releasing the same material over and over again so really, I could've picked any two songs for this list. As a result, I've chosen one of their popular songs that contains their typical rhythm and riffing combined with stabbing vocals in sync with the percussion.
The Vengeful One - OK, so the drum intro is a bit different but as soon as that guitar comes in, you know it's a Disturbed song. I should say that whilst the comparisons are clear, these songs are still great. You can argue "if it ain't broke, don't fix it" but to me, the best songs Disturbed released are the ones that broke the mold. "Perfect Insanity" and "The Infection" still sound like Disturbed but they don't rely on the standard Disturbed rhythm, if that makes sense.
VERDICT - It's a tricky decision as I feel like both Homage and Rip Off could apply here. On the one hand, Disturbed clearly have a sound that they're trying to recreate with their singles but on the other, it's kind of lazy to listen to the same rhythm time after time after time. If I had to choose one, I'm going with Homage as I imagine it's a case of "if it ain't broke, don't fix it" rather than poor songwriting. The fact that they can still record covers like "The Sound Of Silence" shows they are willing to try new material out but they also want to make music for their fans.

ROUND FOUR: The Kinks vs. The Kinks
All Day And All Of The Night - I prefer this song to "You Really Got Me". Better riff and better solo, even if the other song's a bit heavier. It's a standard riff that carries the entire song but thankfully the band were great enough to add some strong vocals into the mix too. As far as 60s Garage Rock goes, it's pretty damn good. Problem is The Kinks are one of those bands that were strongest in their youth and by the time the 80s rolled around, the pool of ideas was a little shallow.
Destroyer - This song starts off alright but it doesn't take long until the riff from "All Day And All Of The Night" creeps in. Not only that but the vocal melody from the former song's chorus is copied almost identically in the bridge before the chorus (albeit with different lyrics). If you haven't heard "Destroyer" but like "All Day And All Of The Night", I'd recommend giving it a listen as it's still a good tune.
VERDICT - The Kinks have acknowledged that "Destroyer" is a Homage to their previous work, especially since the song contains lyrics about Lola. It's a shame that the riff pretty much had to carry this song but there are worse songs The Kinks could've turned to for inspiration, like "Waterloo Sunset".

ROUND FIVE: Ramones vs. Ramones
Blitzkrieg Bop - Another band that released one incredible track and fucking coasted on it for the majority of their career. Punchy rhythm, monotone vocals and lots of chords; all staples of a good Ramones song. Ramones might be one of Punk's greatest icons but when you compare their material to what Punk stood for, it all sounds a bit tame. It's also quite telling that this song is used in adverts for a company that sells kitchen supplies now, further proof that Punk is and always will be a joke genre.
Rockaway Beach - Whilst all the standard Punk tropes are there, I think I prefer this song to "Blitzkrieg Bop". The verse and chorus may be mediocre but there's a little bridge that contains an awesome riff, one that a better band would've turned into a backing melody underneath a guitar solo.
VERDICT - Once again, I could've picked any song by the Ramones to compare to "Blitzkrieg Bop"...except some of their stuff from the late 80s that nobody really cared about, but all their hits stem from one popular song so I reckon that's a good cause for the Rip Off label. At least Ramones had some positive influence on the world, as they were a big inspiration to Lemmy. Speaking of Lemmy...

ROUND SIX: Motorhead vs. Motorhead
Ace Of Spades - Motorhead's most famous song and, as always, not one of their best. However, it is generally the song that everyone compares the band's other material to. Fast tempo, furious bass, grumbling vocals and relatively forgettable guitar solos. It's a good song that acts as a test for whether or not Motorhead are the band for you but it's important to note there are other songs in the band's discography that are even better with all the same beats.
Iron Fist - Such as this one! I think I've talked about this track on the blog before when discussing rerecordings (as the 2008 version used for Guitar Hero: World Tour DLC has much better guitar AND it doesn't fade out!) but if I'm comparing it to "Ace Of Spades", I will say that the solos are probably stronger in this track. The guitar melody might be a little bit better in "Ace Of Spades" but I love the chorus for this song. If I really took each song apart, I'd probably come to the conclusion that I love both songs equally but until that day, "Iron Fist" is my favourite.
VERDICT - Unlike Ramones and Disturbed, Motorhead were never about releasing hits. Lemmy just wanted to play Rock & Roll and each album reflects that. Granted most albums are pretty fucking similar, almost to an AC/DC level, but I reckon Homage best describes this comparison. Lemmy wrote music that he wanted to play for people who wanted to listen to it, hence the band's typical sound.

ROUND SEVEN: Cheap Trick vs. Cheap Trick
I Want You To Want Me - Another song I discussed in a previous post (live versions)! You don't need to hear me talk about it again; blah blah bubblegum Rock blah blah At Budokan is better. What we're listening to here is the bouncy rhythm and the song's title. I'd tell you to commit them to memory but since you're reading the text in front of you, your hippocampus can sit this one out.
How Are You? - Once the soft piano intro has passed, the bouncy rhythm kicks in. To me, this in itself doesn't warrant a valid comparison but about two thirds of the way through, Robin Zander sings "I want you, need you, love you, want you to want me", even throwing in "remember?" before the next line. Cheap Trick knew that this song had similarities to one of their biggest hits and not only carried on regardless but went ahead and shined a light on it. A ballsy move but does it pay off?
VERDICT - To me, yes. "How Are You?" is a much better song that feels like the band's second studio attempt at "I Want You To Want Me" before they rerecorded the whole of In Color anyway. However, there are still many, many differences between both songs so I don't think it's a simple Homage. I think the band added the aforementioned lyrical reference after the song was written as a way of lampshading their Rip Off. Still a great song, though.

ROUND EIGHT: Rise Against vs. Rise Against
Prayer Of The Refugee - I have no idea why this band are so fucking popular. It's angsty teen Rock that sounds heavier/better than angsty teen Rock but worse than actual Rock. Anyway, Rise Against are another band that the Internet reckoned were guilty of releasing structurally identical songs between albums and after listening to a few choice tunes, I'm inclined to agree. This song starts off slow but kicks it up a notch during the chorus with heavier guitar, screaming vocals and a faster tempo (not to mention a shit guitar solo).
Savior - Slow intro, increased tempo with heavier guitars, screeching/"more passionate" vocals as the song progresses and generally dull guitar throughout. I guess this music is closer to what Punk should be rather than the Ramones but it still feels a little too "stadium" to me. The structure is too well composed to represent the voice of a rebellious generation; it sounds like music written to sell shirts and arena tickets to teenagers, defeating the entire purpose of Punk. But enough ranting, let's look at the verdict.
VERDICT - Basing my decision off the same reasons as previous entries, I feel like Rise Against deserve the label Homage here. I may not care for their music but this is a clear case of the band that's found its perfect style and is running with it, not one that's musically uninspired.

ROUND NINE: Ozzy Osbourne vs. Ozzy Osbourne
Crazy Train - I'll admit that this comparison is probably just me but I'm interested to see if anyone else agrees. "Crazy Train" is easily Ozzy's most popular song and whilst I'm not a fan of it personally due to Randy Rhoads' crappy solo/Ozzy's rubbish vocal melody in the chorus, I fucking love the main riff and can appreciate why people adore this song. However, the style of guitar playing in the verse might sound familiar to people who've listened to Ozzy's later work. Lots of strumming punctuated by the odd chord.
Bark At The Moon - I chose this track to compare but honestly, there are a bunch I could've picked. "I Don't Know", "Miracle Man", "Over The Mountain", "Let Me Hear You Scream"; all released across a variety of albums but all containing that similar guitar rhythm. This is probably one of the reasons why I feel Ozzy's a little bit overrated as a Metal artist; some of his stuff's great but it also feels like he's trying to recreate "Crazy Train" over and over.
VERDICT - It might just be that Ozzy likes songs with that particular rhythm or it might be that there's only so much creativity the Prince Of Darkness has. Either way, I'm going with Rip Off on this one as each track stands far enough apart from each other to rule out the possibility of Homages. That's my theory and I know it's probably an unpopular one...so I'll end this post with one that the Internet has unanimously agreed on.

ROUND TEN: Nickelback vs. Nickelback
How You Remind Me - I don't completely subscribe to the herd mentality that Nickelback are the worst band in the world but I will admit to fucking despising this song. It's as bland, safe and generic as you can get in the world of Rock with no redeeming features. A strong statement but I'm not the only one who thinks so; there was a story a while ago about a man who realised that "How You Remind Me" and the next song contain the exact same structure and sound, putting his findings on the Internet to the delight of millions of anti-fans.
Someday - Listening to this song on its own is dull enough but when you compare it to the former track, the comparisons just keep on coming. Same beats, same sound, same performance from every member of the band. Both tracks even end with a solitary guitar outro too, which is usually the final piece of evidence I require. Nickelback have commented on the similarities, claiming that their music will sound the same because they write all their songs with the same goal in mind or some horseshit, but I don't think they could've said anything to save themselves from the online mockery.
VERDICT - Nickelback have released plenty of songs that hail from the same dull cosmos of Rock/Wood but sound different so it's a little suspicious that these two songs have the same structure as well as the same sound. I'm going with Rip Off here but not because I don't like Nickelback (you can judge me all you want but "Burn It To The Ground" fucking rocks).


I might write another post of Homages/Rip Offs by the same artists in the months to come so if you have any recommendations, let me know. The only thing I will say is that I'm not looking for similar songs by different bands with at least one member that's the same, e.g. Richie Blackmore in Deep Purple and Rainbow with guitar solos in "Stormbringer" and "Stargazer".
Anyway, here's the Spotify playlist if you fancy hearing each song as you read/reread this post!

Showdown: Live Versions

Time for another Showdown and this time, it's not video game related!
Last time I did a Showdown post, I covered songs that had been rerecorded by the same artist and, if you hadn't guessed by the title already, this time I'm looking at live versions of songs compared to the studio original.
It's fairly common knowledge that studio versions tend to be better than live versions when you're listening to the songs casually. However, even though most live versions are only awesome when you're there at the gig witnessing the band truly bringing the thunder to their well loved material, some are so incredible that they actually surpass the quality of the studio versions and become known as the greater track overall. I'll be discussing the studio and live versions of some of those songs along with a few I've thrown in that aren't as well known.
Whilst some live performances from random gigs throughout history may have been out of this world and easily trounce the originals, I'll only be counting songs from live albums that have been officially released to make it easier for you to find should you wish to listen along as you read. For the first time in a Showdown post, I've included a Spotify playlist link at the bottom of this post to make it easier for you to enjoy the music. As for the format of this post, it'll stay the same but I'll make a note of the albums (studio and live) I'm writing about in each round.
Right, let's get started!

ROUND ONE: "I Want You To Want Me" - Cheap Trick
Original (In Color) - Arguably the band's signature song and a fine piece of Bubblegum Pop Rock. It showcases the band's ability to take influence from The Beatles and still sound like their own entity but if we're being honest, it's a bit wet. It might have a catchy rhythm and all but fuck me, that guitar solo is just pathetic, isn't it? Fortunately the rest of the album has enough belters to make up for this one but how well did this song translate into a live Rock show?
Live Version (At Budokan) - Now THIS is what the song should've been. Chugging guitar throughout, a faster tempo, prominent bass and a proper set of guitar solos. The differences are small but the transformation is hugely effective, making this a perfect example of how to go off book with your live performance and make the song better instead of pissing off all the fans who just wanted to hear you play your best tracks without getting cute.
VERDICT - It has to be the Live Version, doesn't it? I mean, there's no way you can listen to the original and call it the superior version after hearing the band absolutely crush it at Budokan...ohhhh, that's where the name of the live album comes from!

ROUND TWO: "Old Man" - Neil Young
Original (Harvest) - I wouldn't call myself a fan of Neil Young by any stretch but damn, I love this song. Definitely one of Neil Young's strongest tracks and it deserves to be more well known than pretty much every other song of his you hear on the radio. The only part of the song I would consider weak would be the backing vocalists, as they're unnecessary in this recording. Everything else has a purpose and adds to the song in some way but the backing vocals arguably ruin what would've been an otherwise perfect mix.
Live Version (Live At Massey Hall 1971) - Fun fact, this live version actually came out before the studio version so I guess this is technically the original, huh...or rather the live at the BBC version is. Anyway, I chose this track to compare because I'd heard this is an excellent performance (even if it does start with Neil moaning at someone). I'm inclined to halfway agree with that sentiment, as Neil's playing is spot on and his vocals are far more passionate than they come across in the studio version. However, because it's part of an acoustic set, it's missing the crucial ingredient that the other instruments would've provided.
VERDICT - It's a tough call but ultimately, I'm going to give it to the Original. Vocally, the live version is superior but musically (where it counts, in my opinion), it comes as close as it can but doesn't reach the mark. If I could splice this version with one that has piano, bass and drums, I think I'd have the perfect "Old Man", as the casting agent said to the director.

ROUND THREE: "Lazy" - Deep Purple
Original (Machine Head) - A fan favourite and a great example of how fucking amazing Jon Lord & Richie Blackmore were. Deep Purple are mostly known for Hard Rock or a bit of Prog but this Bluesy number off one of their biggest albums shows each member of the Mk II band at their peak...well, except Ian Gillan. Presumably he was out having a crafty fag for the first half of this track but everyone else brings it. This song's definitely grown on me over time and whilst it's still not one of my favourite Deep Purple tracks, it's easily one of their strongest.
Live Version (Made In Japan) - Another popular live album from Asia that stands toe to toe with the band's studio material. The track length may exceed ten minutes and the first minute of that is what I assume to be the band trying to connect to dial-up Internet using a buggered fax machine and an amp BUT once the band stop tossing about and start to play the song, it becomes something special. With beefed up performances from each band member, this version is often considered the superior of the two, even if they do get bored towards the end and piss about for a bit.
VERDICT - I'm going against popular opinion here and siding with the Original. Whilst the live version has some excellent performances, I can't be doing with what's basically the band jerking off when there's a perfectly suitable and catchy studio version available. However, I can imagine the Made In Japan performance was fucking incredible to watch live.

ROUND FOUR: "Folsom Prison Blues" - Johnny Cash
Original (With His Hot And Blue Guitar) - Carrying on the Blues theme with this short number from Johnny Cash, many people will know this song due to the line about the man in Reno. They might also confuse it for "I Walk The Line" as they both have a similar guitar melody. Personally, I prefer this track's music and lyrics but it's a little too slow and basic for me to truly enjoy. Still, compared to other examples of Blues from the decade, this is a great song.
Live Version (At Folsom Prison) - I think the overall performance at the prison is more notable than this actual recording but as far as live versions go, this is pretty decent. Again, the tempo is sped up and musically the solos are a bit more energetic but otherwise, it's practically just the same as the studio version. Oh, and you know how the prisoners all cheer during the Reno bit? Yeah, that didn't happen. It was added afterwards. Still, makes for a good moment in the song.
VERDICT - If you couldn't tell, I'm not really gushing over either of them but it's a clear win for the Live Version here. I decide the victor mostly based on which version I'd rather listen to and if I could only choose one for the rest of my life, I think I'd get the most out of the one recorded at Folsom Prison...oohhhhhh, I just got the name for this album as well!

ROUND FIVE: "Rock And Roll All Nite" - KISS
Original (Dressed To Kill) - Considering this song was released in the mid-70s, can we really call this a Hard Rock track? It sounds more like Classic Rock to me, especially when compared to songs like "Hotter Than Hell" and "Detroit Rock City". Anyway, it's the band's signature song and it's dumb, in a word. It has a great guitar riff but it's built around the same sentiment that the Beastie Boys made fun of in "(You Gotta) Fight For Your Right (To Party!)". When the fucking Beastie Boys are giving you shit, you know you need to rethink things.
Live Version (Alive!) - As far as live versions go, this is damn near identical to the studio version except for one key difference; an added guitar solo. Once you listen to this version, you won't be able to enjoy the original again without feeling like it's missing something. It just fits in so perfectly and gives the song that much needed kick. In fact, it's what the WaveGroup Sound based their cover on for Guitar Hero 3: Legends Of Rock (discussed in this blog post).
VERDICT - Obviously the Live Version. If you could edit out the sound of the audience (the single biggest problem with live recordings), you'd have a pretty damn good Hard Rock song right there. With the sound of cheering still in, it's just good.

ROUND SIX: "Young Man Blues" - The Who
Original (The House That Track Built) - This is the second song on this list where the studio "original" isn't actually the original version of this song. It was included on a compilation album about four years after the live album this came from was released and since then has been featured on a Tommy deluxe reissue and on Odds And Sods as a shitty alternative recording. Most people probably don't even know that the studio version exists but I reckon everyone who's heard it knows that it's a bit fucking weak.
Live Version (Live At Leeds) - Possibly the best example of an awesome recording aided by Keith Moon going apeshit on drums and definitely the superior version of the song. Added guitar solos, a tempo that suits the rhythm, more passion in the vocals and some fine bass playing from John Entwistle too. If not the greatest live recording in this list then definitely top three. Shame I've yet to hear another live version of a song by The Who that didn't make me want to self harm.
VERDICT - Weren't you reading? Live Version takes the win. The only positive thing I'll say about the studio version is that there's some guitar playing during the vocals that sounds alright but other than that, it's live all the way!

ROUND SEVEN: "Sunday Bloody Sunday" - U2
Original (War) - I like U2 on occasion but sadly, this song doesn't make my cut. There's something about The Edge's guitar playing that annoys me and Bono's whining voice doesn't help and since this song is largely just the same guitar and bass riffs on a cycle, it doesn't do much to please me. However, for fans of U2, it's probably their most U2ish song and a good example of the band's songwriting capabilities; they weren't about flashy solos or power, they just wanted to make what they considered good music.
Live Version (Under A Blood Red Sky) - This recording is regarded as one of the best live versions of a song and what I want to know is what the fuck was everyone else listening to? It's all over the fucking place! Larry Mullen and Adam Clayton sound completely out of sync on drums and bass and they come across like a high school band that didn't practise enough before their big show. If I liked the song, I might have a better reception of this track but as it stands, this sounds like absolute tosh to me. At least Bono still sounds like Bono, although it's debatable whether or not that's something that should be praised.
VERDICT - I don't like either track but it's definitely going to the Original here. An absolute mess of a recording with inconsistent drums that may or may not change tempo throughout. In order to know for certain, I'd have to listen to the live recording again and I need some fucking time after hearing it once.

ROUND EIGHT: "Free Bird" - Lynyrd Skynyrd
Original ((Pronounced 'Leh-'Nerd 'Skin-'Nerd)) - I don't really need to say anything about this, do I? We all know the song, we all know that the solo is amazing and every time I mention it on this blog, I have to say the same things about the song over and over again. It's an awesome song, even if the slower first half does get a bit dull when you've heard all the other Southern Rock epics out there.
Live Version (One More From The Road) - I've discussed this entire live album before and still think it's one of the best collections of music out there for anyone who likes Skynyrd's music. Every song on it's great to listen to but the track everyone agrees stands out is their 13-minute rendition of "Free Bird". Apparently, this what stoked the flames for the trope of everyone shouting "FREE BIRD!" at live shows, since Ronnie Van Zant asks the crowd what song they'd like to hear before they break into it. It's a fucking fantastic performance too with possibly the greatest big rock ending to any song ever recorded.
VERDICT - Jesus, this is tricky. The original is like stonehenge; it's an artifact that will stand the test of time and probably still be around longer than anything released today. However, that live version is spectacular and I still get chills when I listen to their big finale. I'd like to give the win to both on this one occasion but if I have to pick a winner, I'm going with the Original. The lead into the main riff during the solo is brilliant and whilst the outro on the live version may be superior, the lengthy ballad section at the start goes on just a bit too long for me (cut to about 6:27 for the good bit).

ROUND NINE: "Whipping Post" - The Allman Brothers Band
Original (The Allman Brothers Band) - Southern Rock followed by more Southern Rock, that's just how I roll. It's hardly the most famous Allman Brothers Band track but it was one of their first big songs. It starts off with an ominous bass riff before introducing a Wild West guitar riff that still remains one of their best contributions to music alongside "Jessica" and the solo in "Blue Sky". It's a Bluesy Southern Rock number but it's still pretty damn good.
Live Version (At Filmore East) - Buckle up, boys. If you thought the last live version was long, you ain't heard nothing yet! This rendition of "Whipping Post", despite having a faster tempo, clocks in at over 23 minutes long. Whilst this is an impressive feat for any live band, the tragic fallacy is that people assume this is an incredible live version of a song when really it's a pretty poor version compared to the original. Sure, the first half or so is great but then the band run out of steam and start jerking each other off for a while without knowing when to bloody end. This is one of those few times where faster tempos can make a song worse (see also "Hocus Pocus" - Focus).
VERDICT - An easier decision this time; Original takes the win again. Granted the solos in the live version are something every Rock fan needs to toughen up and listen to all the way through at least once (even if they can probably stop around the ten minute mark), I know which track I'd rather listen to again. It's a shame The Allman Brothers Band couldn't bring this fretting fury to the studio but at least they managed to capture their raw talent at Filmore East.

ROUND TEN: "Do You Feel Like We Do" - Peter Frampton
Original (Frampton's Camel) - Did you know a studio version of this song existed? You'd think it was another "Young Man Blues" what with all the hype around the live version but we'll get onto that in a bit. The studio original is noticeably slower and obviously lacks the middle talkbox section, instead introducing the outro solo a lot earlier. It's actually quite a decent tune and I'd recommend checking it out if you've only heard the live version.
Live Version (Frampton Comes Alive) - Another looooong live song but luckily, this is just 13 minutes as well. Regarded as possibly the most famous live recording on this list, a large portion of this song is dedicated to the credits jam between Frampton and "Buck-Man" on the keyboards before they eventually break into the glorious outro solo. Some people consider "Show Me The Way" to be the better live recording off the album but there's always something to be said for the last song on a band's live album. They've fed off the crowd's energy and now they're ready to release it one last time, hence "Do You Feel Like We Do".
VERDICT - I feel like both deserve some recognition here too but the win's going to the Live Version for taking the material provided in the song and using it more effectively than the studio original. If I could speed up the original just a little bit, I'd probably prefer that version but goddamn, Frampton needed to come alive in the studio that fateful day...OOOHHHHHH, now I get the album name, it's because the Allman Brothers recorded At Filmore East! Fuck, that one took a while to sink in.


Well it's been an educational blog post for some but was there anything I missed? Did I fail to include an even greater example of where the live recording was greater than the studio version or have I absolutely fucking nailed it, once again? Let me know in the comments or via Twitter.

As promised, here's the Spotify playlist for this post and I apologise if any of the verdicts were spoiled for you in scrolling down to the bottom of this post.

Rip It Up - Thunder

Did you guys know Thunder released a new album this month? Yeah, me neither which is odd considering I listen to a radio station where the lead vocalist is one of the DJs (yes, THAT Danny Bowes!!!!). I only found out about it after looking into album releases this year and after listening to it from start to finish, I realised why nobody's been promoting it.
Welcome to the review!

No, don't be fooled by the cover. This isn't a Testament or Alter Bridge album; it's by Thunder. You know, Thunder; the band that gave us "Love Walked In" and a pretty mediocre cover of "Gimme Some Lovin'"? They're a fairly obscure outfit that have existed since the late 80s primarily due to their sound being too bland to really make a splash anywhere other than specialist Rock radio. Don't get me wrong, I do like this band to an extent. Laughing On Judgement Day is a great album but I wouldn't recommend it to anyone who strives for variety in their music and on the subject of variety (or rather "lack of"), let's talk about Rip It Up.
You might expect me to say something like "I was expecting something really heavy due to the album cover and song titles", as I have done on quite a few reviews and yes, whilst the album artwork does suggest something a bit more fierce than Backstreet Symphony or Wonder Days, I'm not going to get my hopes up when it comes to a band like Thunder that are most comfortable trotting out generic Rock. Between the tepid album opener "No One Gets Out Alive" that sounds like the band wanted to try something with a bit of energy but couldn't follow through and bland Blues Rock title track "Rip It Up" that felt more like a group of old friends casually jamming than attempting to produce a decent lead single, my low standards were just about met.
One positive thing I will say is that these two songs set the tone for the rest of the album perfectly. It's safe and boring, just like The Rolling Stones and Creed. You can hear good riffs and talented musicianship but none of it really rocks, it just sounds like incidental public domain Rock music you hear on adverts or TV shows. Some hack critics may refer to this music as "Dad Rock" but I strongly disagree; to call this "Dad Rock" is an insult to bands like Deep Purple and Motorhead that generally populate Father's Day compilation albums. If anything, this is Tosspot Pubgoer Rock; the sort of music that's enjoyed by that one tit at your local who always bangs on about how great Joe Bonamassa and Bruce Springsteen are*.

There are other tracks that sound like failed attempts to write Hard Rock such as "Shakedown" with heavier guitar/bass but are held back by the tame vocals from Danny Bowes (yes, THAT Danny Bowes!!!!) and drumming from Gary James, more on him in a bit. There's also "She Likes The Cocaine", no prizes for guessing what the lyrics are about. Usually songs about wild women and drugs have some kind of backbone but the music completely undermines the lyrical themes cancelling out anything this song could've had going for it and leaving you feeling absolutely neutral whilst listening to it. Some songs manage to get the correct balance and sound alright ("Heartbreak Hurricane", "The Chosen One") but only when you've been exposed to the tracks before it. Take them out of the album, compare them to any other modern Rock song by contemporary or ageing artists and chances are they'll fall flat.
When it comes to Rock, the bar has been set relatively high now and Thunder simply aren't able to reach it. However, when it comes to Blues Rock, Thunder can happily coast along in the passable territory of the genre with tracks like "In Another Life" and "Tumbling Down". The main reason for this is due to the limited talents of their drummer, Gary James. Whilst he may have been decent in the band's early days (and let's face it, he was no Chad Smith), Gary James lacks the ability or maybe just the stamina to take the band further with faster music and more complex rhythms. He's adept at playing basic beats so that's what the band are stuck with and even then, he can fuck it up.
"The Enemy Inside" could've been a belter, especially with the guitar riffs and vocals heavily inspired by The Who ("The Seeker" and "Relay" respectively) but the tempo needed to be double time instead of the usual slog of a speed. Then there's the album closer, "There's Always A Loser", a track that gets progressively heavier across the board with electric guitars being introduced over halfway through...at least it should get heavier if Gary James didn't start off with a John Bonham "Kashmir"/"When The Levee Breaks" rhythm that remains constant throughout the entire track. He should've started off simple, THEN pounded out those heavier beats to give the song more velocity as each band member gets into it.

Unlike most Rock albums, the second half of Rip It Up is actually stronger than the first and despite all the shit I've been giving it, the album doesn't contain many real fuck ups outside of weak percussion and vocals (YES, THAT DANNY BOWES!!!!!!). If Thunder were younger, they probably would've injected more passion into it but it's clear that they can't play heavy music anymore, begging the question as to why they'd bother trying in the first place. Ultimately the whole album is a weak entry into the Hard Rock genre, especially with bands like Black Star Riders and Rival Sons putting out high quality material on a fairly frequent basis.
I give this album a 3/10 and wouldn't really recommend it to fans of proper Rock music. Blues Rock enthusiasts/boring bastards might enjoy some tracks but I think it's time for Thunder to either adapt with the aid of a producer capable of pushing musicians to their creative and/or technical limits or bow out gracefully on their own terms. I say this based entirely on their studio efforts, not live performances. Maybe the band kick ass on stage when fuelled by thousands of cheering fans but if they can't bring at least a sizable fraction of that energy into the studio with them, they may as well not bother.


* "Bruce plays on stage for up to three hours at gigs!" Yeah, three hours of Bruce Springsteen songs. That's probably equivalent to one hour of Meat Loaf now shut the fuck up and get back to draining your fourth pint.

Taster Session #6

Back for another post and this time, it's a long one!
Previous Taster Session posts usually consist of me discussing five songs from albums coming out within the year before ultimately deciding whether I want to listen to the whole album based on that single. This time, I'm doing something a little different! Since we're coming up to the end of 2016 and there are still many, many, MANY albums I haven't listened to yet from this year, I thought it might be fun to look back over Rock/Metal releases that I haven't covered on the blog and listen to singles from those albums before deciding whether I should visit or review them.
However, after researching album releases for 2016, it turns out there were actually quite a few Rock/Metal albums that I haven't listened to and would consider discussing on here. 12, to be exact. As a result, instead of choosing five to discuss, I'm going to discuss ALL 12 OF THEM! Handy really, as it means I'll be writing about one track for every month of this absolute 9/11 of a year (although not every track/album came out across all 12 months).
So without further ado, let's listen to music I should've listened to months ago when everyone else was excited about it!

"Lazarus" - David Bowie         (listen here)
From the album Blackstar (08/01/16)

Remember when Bowie died and everyone thought that would be the shittest thing about this year? Anyway, even though "Lazarus" isn't the lead single off the album, I chose this because it's the song that everyone talked about after his death. I mean, I can't think why, it's not like the song's lyrics or tone have any kind of connection to mortality and anyone who can find a link must be some kind of genius capable of writing the best thinkpieces in all the land!
As for the song itself, I'm no fan but it's not bad. It's gloomy but appropriately so and even though you can call it depressing or morbid, there's a certain kind of bittersweet feeling you get from a well written "sad song" that, thankfully, "Lazarus" successfully pulls off. One good thing I will say about Bowie is that his voice definitely improved over time. He didn't suffer puberty like other Rock vocalists but it became less goofy and more mature, although you could argue that was the result of him dropping the Ziggy persona. I won't be listening to Blackstar anytime soon but I do intend to listen to some Bowie albums from the 70s, the decade where I feel his music had the most value. Speaking of artists who wrote a few great songs in the 70s but sodall else...


"Gardenia" - Iggy Pop         (listen here)
From the album Post Pop Depression (18/03/16)

Jesus, I can tell you right now that I won't be listening to this album. I remember hearing this track earlier this year and being incredibly bored by it then but I still decided to revisit it here due to it being the lead single off this album. You might ask why I'd consider listening to this album if I clearly have a preconceived dislike of Iggy Pop but that's not necessarily true. I think Iggy has some great songs that aren't "Lust For Life" or "The Passenger" (my fave of his is "Billy Is A Runaway") but for the most part, his material is a bunch of wank; I'm willing to be proven wrong but sadly, this song isn't the evidence I need.
I mean, come on, can we really call it an Iggy Pop track when it's basically just another product of a Josh Homme project with Iggy on vocals? Unlike Bowie's single, this just sounds dreary and repetitive. It's not even a shit song that grows on you over time, I've had a year to take this in and I still fucking hate it. I fundamentally believe Iggy Pop is an overrated Rock artist but hey, if you like Bowie's new material then you'll probably cum over this.


"No Direction Home" - Cheap Trick         (listen here)
From the album Bang, Zoom, Crazy... Hello (01/04/16)

Yeah, Cheap Trick released an album this year. I actually listened to about seven tracks of it before giving up. It wasn't terrible, it was just a bit bland for me. Cheap Trick have proven they can release great Rock songs ("Stiff Competition", "He's A Whore", "Clock Strikes Ten") and even solid modern tracks ("Sick Man Of Europe") but this single is just a bit too average for me to rate it highly. If you like Cheap Trick's sound, give it a listen as it's an enjoyable basic Rock song.
One day, I might complete Bang, Zoom, Crazy... Hello just to say I've listened to the album as I recall enjoying the first few songs but losing interest after the halfway point. As for "No Direction Home", it's OK. It also sounds like it unintentionally borrows ideas from "I Can't Explain" - The Who and "Fly By Night" - Rush. Can you hear the similarities in the music or am I just going mental? I mean, I am basically talking to myself so there's evidence for the latter...MOVING ON!


"Thank God For Girls" - Weezer         (listen here)
From the album Weezer (01/04/16)

Yup, Weezer released an album too. I can't say I'll listen to it as I have next to no interest in Weezer's full albums but I do like some of their songs. This track's alright although I can't say I enjoy it as much as their more Rock based songs; stuff off Weezer and a few tracks off Weezer, ya know (can you guess the colours?)? As an outsider who isn't part of the Weezer fanbase, I'm glad they've still remained a Rock band and haven't pulled a Muse, Kings Of Leon or Coldplay.
However, their sound is a bit too immature for me. No matter what they release, it'll always sound like it should be played as background music to teenagers being dropped off at high school during the opening scene of a film about how hard it is to be young and plagued with constant insecurity and erections. Still, at least their music always has energy to it, unlike the next artist.


"Can't Let You Do It" - Eric Clapton         (listen here)
From the album I Still Do (20/05/16)

I remember being tempted to actually listen to and discuss this album in a review when it came out. Can you fucking imagine that?! Anyway, this album features songs written by a string of Blues artists and creatively assembled by Eric Boring Clapton. I'm not sure whether it fits more into covers album or studio album but this song is definitely a new one. I believe it was the lead single and even though J.J. Cale never released it as a solo artist, he wrote it for Eric Clapton. Compared to some of his other tracks, it's got a bit of life in it. However, it's important to remember that Clapton is recording it so as a result, it's still fucking dull.
There is one advantage to Eric Clapton's career; it's given me an appreciation of J.J. Cale, as I probably wouldn't have bothered to check his material out if I only knew about him from Lynyrd Skynyrd's cover of "Call Me The Breeze". I've heard Clapton cover that song, "After Midnight" and "Cocaine" and all three of them are shite compared to Cale's versions so yeah, screw Eric Boring Clapton and screw this album.


"Beautiful Broken" - Heart         (listen here)
From the album Beautiful Broken (08/07/16)

Fun fact: this song was actually released in 2012 on a deluxe edition of a previous album and compared to this version, it sounds like a cruddy demo recording. The mix is a lot stronger and the guitars are noticeably heavier, probably down to the inclusion of James Hetfield (Metallica) as a guest musician on this track. Again, you could argue that this isn't really a new studio album if it's just a bunch of rerecordings thrown in with a few new songs. However, what you can't argue with is that this track is great and much better than the original.
I'm tempted to give this album a listen if the rest of Beautiful Broken is this strong, seeing as how they chose to make this rerecording of a deluxe edition extra the album opener, lead single and title track. Whether or not I'll review the album is yet to be decided but I think based on this initial taster, I'm inclined to give Heart the benefit of the doubt and tuck into the rest of this record at a later date.


"Show Me A Leader" - Alter Bridge         (listen here)
From the album The Last Hero (07/10/16)

I don't know why I don't listen to more Alter Bridge, as they have almost everything that I love about Hard Rock/Metal. It might be down to the fact that whilst I think I've enjoyed every song I've heard by the band, I don't really love any of them. This track follows the same patterns, as I like the riffs and chorus but I doubt I'll buy the track as it's just missing something that clicks with me. However, if you like your Rock heavy, check this song out. It starts off with a solid little introduction that still leaves something to the imagination and remains strong until the end.
I haven't listened to any Alter Bridge albums yet but maybe this will be the first I check out, as I thought this song was good. If you feel like you understand what I like and dislike in Rock/Metal, feel free to recommend any other songs/albums by Alter Bridge via Twitter or the comments section too.


"Bang Bang" - Green Day         (listen here)
From the album Revolution Radio (07/10/16)

Right off the bat, this song sounds a hell of a lot like "Girl's Not Grey" - AFI, which is a great thing. Then, just like every other Green Day song that could otherwise be salvaged, Billie Joe Armstrong opens his mouth and it all falls to shit. Admittedly, he sounds a bit less obnoxious in this song but hopefully he'll hit Rock puberty soon and won't sound like he's doing this in between studying for his midterms. As soon as that happens, I'm all up for giving Green Day a chance as musically, they're alright.
This song's quite good and after catching a brief listen of the title track, "Revolution Radio", I found myself enjoying what I heard too (after tuning out BJ's voice). You know what? I might just give this album a listen one day. If I can stomach Guns N' Roses after realising that Axl's a terrible fucking vocalist, maybe I can do the same for Green Day. Mind you, it'll be a fuckton harder if they continue to remain a Pop Punk band unlike other groups from the 90s who made the successful transition into full on Alternative or just plain Rock.


"The Stage" - Avenged Sevenfold         (listen here)
From the album The Stage (28/10/16)

Another album where I'm discussing the album opener, lead single and title track. Fortunately, Avenged Sevenfold have a decent track record so you don't have much to worry about. They're going through the Metal motions to the point that they're starting to become more progressive (musically and lyrically with themes about mankind and the universe) and even though they're going through a Spinal Tap situation regarding their drummers, it still sounds like A7X. However, the fact that their song of choice to be the album opener, lead single and title track is over eight minutes long makes it a bit of a slog to sit through.
The band remember their roots and dedicate a minute in the middle to become Sensitive Avenged Sevenfold, similar to "Master Of Puppets" - Metallica in that there's no real payoff to the build-up. However, that's eight-minute Metal for you. I'd recommend this if you like Avenged Sevenfold as the music is tight and the band still have "it". I'm personally torn as to whether or not I want to choose this as my first A7X album and might opt instead for City Of Evil before giving this a try if I'm feeling adventurous enough.


"Brotherhood Of The Snake" - Testament         (listen here)
From the album Brotherhood Of The Snake (28/10/16)

I have a mixed opinion of Testament. They're often considered the fifth band of The Big Four (of Thrash Metal) and whilst I like some of their material, their albums that I've listened to (Souls Of Black and The Ritual) have ranged from alright to shite. Since their early days, their sound has become a lot heavier and their music a lot more aggressive to the point where they sound more like a modern Metal band than an 80s/90s Thrash one. If you like your Metal angry and powerful, this is good for you because the album opener, lead single and title track packs a hefty wallop.
However, I doubt I'll listen to this whole album based on this song. I might cherry pick a few random Testament songs if they get recommended for having strong riffs (think "Electric Crown" level of epic riffing) but I have absolute zero interest in listening to Brotherhood Of The Snake until I accidentally stumble across a much better song from the album that piques my interest again.


"This House Is Not For Sale" - Bon Jovi         (listen here)
From the album This House Is Not For Sale (04/11/16)

I was tempted to review this album but since it took Bon Jovi and Spotify two weeks to get the album up, I chose to ignore them. However, this single was released on time so I can talk about it here. It's not quite as energetic or anthematic as some of his earlier songs (even "We Don't Run" from the Bridge Burning collection beats this) but it has a catchy chorus, even if it does sound like JBJ was trying to recapture some of the glory from "Livin On A Prayer". The big question is does the new guitarist, Phil X, meet the standard set by Richie Sambora before he become a druggie tosser? The small answer is not really, but he tries.
It's a solid little Rock number, even if it does reach the border between Rock and Pop, but based on this song, I'd recommend giving the album a try...HOWEVER, I've listened to the first five songs off the album and can confirm that this track is misleading. It sounds like generic Pop to the point where you can sing along to "Labor Of Love" with the lyrics from "Don't You (Forget About Me)" - Simple Minds. I'm not sure why Jon's chosen to release Pop instead of Rock now; maybe it's because he's losing his energy, maybe he just wants to get into teenage girl panties again but what I do know is this album probably isn't worth your time.


"Just Your Fool" - The Rolling Stones         (listen here)
From the album Blue & Lonesome (02/12/16)

Last on this list is a covers album by a band who probably should've jacked it in about 40 years ago. Similar to Eric Clapton's release, this is a Blues Rock covers album which means it shares the additional similarity of being fucking boring, as demonstrated by this album opener and lead single. I can understand a band like The Rolling Stones releasing a covers album of old Blues material as a passion project, their way of saying thank you to the artists that inspired them (which was likely the main inspiration for Eric Clapton's album). However, this feels more like the band attempting to be relevant again.
It's had somewhat of a big release despite the songs being basic and dull, probably all the band can physically play in a studio right now. If you like Blues Rock in all its boring glory, give this record a listen. For everyone who thinks The Rolling Stones had a couple of decent hits in the 60s, when they were almost stepping into Garage Rock territory, but then became shit after that when they were releasing mediocre Rock music for people who don't know what good Rock is like "Brown Sugar" and "Start Me Up", avoid Blue & Lonesome. At least this song's short so it has something going for it.

That's all 12 of them! If I had to assemble the songs into a ranked list in ascending order based on how much I enjoyed them when preparing for this post (the tracks, not the albums), it'd look something like this:

1. "Beautiful Broken" - Heart
2. "No Direction Home" - Cheap Trick
3. "Thank God For Girls" - Weezer
4. "Bang Bang" - Green Day
5. "Show Me A Leader" - Alter Bridge
6. "This House Is Not For Sale" - Bon Jovi
7. "Lazarus" - David Bowie
8. "The Stage" - Avenged Sevenfold
9. "Brotherhood Of The Snake" - Testament
10. "Can't Let You Do It" - Eric Clapton
11. "Just Your Fool" - The Rolling Stones
12. "Gardenia" - Iggy Pop

This list can and probably will change over time but for now, that's my ranking of all the undiscussed Rock/Metal singles I would've considered reviewing for this blog this year! I have to say, I didn't really love any of these songs so it's probably a good reason I didn't review the albums if these tracks were considered among the strongest by the bands. Anyway, if my maths is correct, there should be another 2-3 posts this year so expect one of them to be video game related.
The other(s)? Who knows? You'll have to revisit to find out!