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.
Showing posts with label Folk. Show all posts
Showing posts with label Folk. Show all posts
Thursday, 19 July 2018
Saturday, 11 March 2017
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.
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.
Saturday, 29 October 2016
Solas - The Answer
No Halloween themed post this year. Instead, another album review from the band that I believe I've reviewed more than any other on this blog; The Answer. If I'm honest, I'm still sort of coming to terms with this album's content and whether or not I support it so my final verdict may be in flux for a while. Until then, here's what I thought of the band's sixth studio album in ten years, Solas.
If you cast your mind back to my Raise A Little Hell review, you may recall me commenting that every odd numbered album from The Answer is great, implying the even numbered ones are lacking something. Whilst this will always be open to debate, I believe no album simultaneously supports and destroys my claim better than this one. Solas is not your typical Hard Rock revival album by The Answer. In fact, it's the complete opposite of their last release which, regardless of personal taste, is admirable from a creative point of view. However, on a less positive note, Solas could well be The Answer going through their experimental phase, which is never a good sign.
Unlike the majority of tracks by the band, Solas lacks the powerful riffs and well-crafted solos that you'd expect a Rock band to produce. Instead, it sways more towards the Alternative side, populating the album with softer acoustic material that have swapped out the screeching fenders for delicate mandolins. The heaviest track on the album is the album opener, lead single and title track "Solas" but even that's not your typical upbeat tune from The Answer. It's darker, smokier, more ambitious and fundamentally different.
If you judge an album by its title track (which you're supposed to), it telegraphs the change in direction straight away and kills any hope of safe and tepid familiarity that bands can find themselves in danger of welcoming after four or five albums. If the rest of the album carried on with the mystical sound, I'd be in love with it. Unfortunately, things go from Alternative to Folk within about three tracks and once the first one's out of the way, they just keep on coming. I was afraid that "Beautiful World" signalled The Answer's transition into self-inflated, pretentious Muse territory. Turns out it's much worse.
The softer sound and instrumental choices result in music that resembles Mumford & Sons or some other name-droppable Indie barnyard shite peddlers ("Battle Cry", "In This Land"). It's too flimsy for a band of this calibre and whilst I can accept a band changing and adapting their sound over the years, this isn't the right way to go about it. The best songs on this album are the acoustic ones that have a bit of an edge to them, whether it's a Southern twist that gives fans something new but still rocks ("Demon Driven Man") or more of the aforementioned gritty Blues ("Tunnel").
On the other side of this are the odd filler tracks with a few watts pumped into them designed to remind listeners of what Hard Rock sounds like. Sadly, these sound as artificial as your average chart-based tween Rock outfits ("Left Me Standing", "Untrue Colour"), only providing brief moments of levity in this slog of an album. Again, my opinion on these tracks my improve over time but for now, I don't feel like they gel well with the album The Answer are clearly going for.
However, my personal favourite that I believe I'll still enjoy listening to years from now is "Light In Darkness", a bonus track and a demo version of a tune that may or may not be featured as a B-side or song on an upcoming album. Either way, it sounds like a perfect blend of soulful Folk-Rock that the album often misses the mark on and riff-based melodies that The Answer first hooked me with when I started to get into them about five or so years ago. As far as demos go, it's good enough to be a completed track in my eyes and it's nice to hear that Rory Gallagher's touch hasn't completely vanished from their sound just yet.
Solas is a good quality album if you're listening to it without any context about The Answer; in fact, it's a pretty great one if you're just listening to it as an album. However, as far as Rock albums go, it's a risk. The band are possibly trying to redefine themselves or maybe Cormac Neeson is just going through a rocky patch in his life right now. Either way, they took a chance in writing something noticeably different from what we're used to and I'm inclined to say it paid off.
Sure, it's not perfect and hopefully the next album will develop the tracks that do work whilst shitcanning the ones that belong on quirky American TV comedies. For now, I'm giving them a 7/10 as an act of generosity. Again, that rating could change as I rounded up a 6.5 to get that score but at least the album has some really strong tunes, unlike New Horizon. If any of you have heard the first three songs on this album and aren't sure if you should continue both with Solas and the band's career, my recommendation is to stick out both of them. The best songs are on the second half of the record and musically speaking, there's still a need for The Answer.
If you cast your mind back to my Raise A Little Hell review, you may recall me commenting that every odd numbered album from The Answer is great, implying the even numbered ones are lacking something. Whilst this will always be open to debate, I believe no album simultaneously supports and destroys my claim better than this one. Solas is not your typical Hard Rock revival album by The Answer. In fact, it's the complete opposite of their last release which, regardless of personal taste, is admirable from a creative point of view. However, on a less positive note, Solas could well be The Answer going through their experimental phase, which is never a good sign.
Unlike the majority of tracks by the band, Solas lacks the powerful riffs and well-crafted solos that you'd expect a Rock band to produce. Instead, it sways more towards the Alternative side, populating the album with softer acoustic material that have swapped out the screeching fenders for delicate mandolins. The heaviest track on the album is the album opener, lead single and title track "Solas" but even that's not your typical upbeat tune from The Answer. It's darker, smokier, more ambitious and fundamentally different.
If you judge an album by its title track (which you're supposed to), it telegraphs the change in direction straight away and kills any hope of safe and tepid familiarity that bands can find themselves in danger of welcoming after four or five albums. If the rest of the album carried on with the mystical sound, I'd be in love with it. Unfortunately, things go from Alternative to Folk within about three tracks and once the first one's out of the way, they just keep on coming. I was afraid that "Beautiful World" signalled The Answer's transition into self-inflated, pretentious Muse territory. Turns out it's much worse.
The softer sound and instrumental choices result in music that resembles Mumford & Sons or some other name-droppable Indie barnyard shite peddlers ("Battle Cry", "In This Land"). It's too flimsy for a band of this calibre and whilst I can accept a band changing and adapting their sound over the years, this isn't the right way to go about it. The best songs on this album are the acoustic ones that have a bit of an edge to them, whether it's a Southern twist that gives fans something new but still rocks ("Demon Driven Man") or more of the aforementioned gritty Blues ("Tunnel").
On the other side of this are the odd filler tracks with a few watts pumped into them designed to remind listeners of what Hard Rock sounds like. Sadly, these sound as artificial as your average chart-based tween Rock outfits ("Left Me Standing", "Untrue Colour"), only providing brief moments of levity in this slog of an album. Again, my opinion on these tracks my improve over time but for now, I don't feel like they gel well with the album The Answer are clearly going for.
However, my personal favourite that I believe I'll still enjoy listening to years from now is "Light In Darkness", a bonus track and a demo version of a tune that may or may not be featured as a B-side or song on an upcoming album. Either way, it sounds like a perfect blend of soulful Folk-Rock that the album often misses the mark on and riff-based melodies that The Answer first hooked me with when I started to get into them about five or so years ago. As far as demos go, it's good enough to be a completed track in my eyes and it's nice to hear that Rory Gallagher's touch hasn't completely vanished from their sound just yet.
Solas is a good quality album if you're listening to it without any context about The Answer; in fact, it's a pretty great one if you're just listening to it as an album. However, as far as Rock albums go, it's a risk. The band are possibly trying to redefine themselves or maybe Cormac Neeson is just going through a rocky patch in his life right now. Either way, they took a chance in writing something noticeably different from what we're used to and I'm inclined to say it paid off.
Sure, it's not perfect and hopefully the next album will develop the tracks that do work whilst shitcanning the ones that belong on quirky American TV comedies. For now, I'm giving them a 7/10 as an act of generosity. Again, that rating could change as I rounded up a 6.5 to get that score but at least the album has some really strong tunes, unlike New Horizon. If any of you have heard the first three songs on this album and aren't sure if you should continue both with Solas and the band's career, my recommendation is to stick out both of them. The best songs are on the second half of the record and musically speaking, there's still a need for The Answer.
Friday, 26 August 2016
Showdown: Homages/Rip Offs 3
Apologies if you've read most of these on my previous Homages/Rip Offs post but you can consider this my extra post for the month.
The aim of this opinion-based post is to compare two separate songs by different bands and establish whether I believe the latter was written as a homage to the original, a shameless rip off or its own entity that just happens to sound like an older tune. If you think I'm being too harsh with my comparisons or believe I've missed a better example by either band in the round, let me know via the comment section or Twitter.
ROUND ONE: Mason Williams vs. Electric Light Orchestra
Classical Gas - An instrumental piece that uses an orchestral accompaniment whilst the main melody is played on an acoustic stringed instrument. It's a lovely tune with various easily recognisable guitar sections that will stick with you even if you only listen to the track once or twice. So what am I comparing it to?
First Movement (Jumping Biz) - An instrumental piece that uses an orchestral accompaniment whilst the main melody is played on an acoustic stringed instrument. It's a pretty deep cut in ELO's back catalogue but if you can make it this far into their slog of a debut album, you're rewarded with a nice little Folk track that seems to be heavily inspired by "Classical Gas", often going as far as to straight up copy some sections.
VERDICT - If it's not a homage, ELO must have done a bit of cheeky copying to come out with this track. Whilst I love "First Movement (Jumping Biz)" arguably more than "Classical Gas", I have to give the win to Mason Williams here for coming up with the tune that gave birth to my personal favourite. Plus, he didn't ruin Jeff Lynne's career by trying to sue him back in the early 70s.
ROUND TWO: Budgie vs. Red Hot Chili Peppers
Breadfan - For a Hard Rock band, Budgie didn't really play an awful lot of Hard Rock compared to bigger bands from a similar time period like Deep Purple and Led Zeppelin. However, when Budgie DID write a heavier song, it was a fucking belter. "Crash Course In Brain Surgery" could be one of my all-time favourite Hard Rock songs and the majority of "Breadfan" (killer riff definitely included) is so awesome that it deserves more recognition.
Around The World - I'm starting to get more into this band after listening to By The Way and The Getaway but I don't know if I'll ever listen to Californication, the album in which this is the title track of. However, I do quite like the intro and middle of this song...you know, the bits where Flea plays a tweaked version of the "Breadfan" riff on bass before the band break into a completely different song.
VERDICT - Budgie, easily. Both songs sound like two different tracks spliced together but at least both parts of Budgie's track are great, as opposed to the short lived intro and bridge of the RHCP one.
ROUND THREE: Judas Priest vs. Iron Maiden
Running Wild - I accused Judas Priest of borrowing from two different songs in the last Homages/Rip Offs post so it's time to give them a bit of well deserved praise for a change. Killing Machine is a great album and this is one of the album highlights (along with "Hell Bent For Leather", of course) but once again, it's the intro we're looking at here. Fans of Iron Maiden will immediately know what I'm getting at here but I still have to spell it out.
The Wicker Man - I bloody love this band but even I can't deny that it's practically the same fucking intro. Whilst I probably prefer this song overall, one of my favourite aspects of this track is the intro riff and now all I can think about when I hear it is how Judas Priest came up with it almost 30 years earlier.
VERDICT - It's tricky, as Judas Priest deserve the win for coming up with the riff first but Iron Maiden did write the better song. I'm giving the win to both Judas Priest and Iron Maiden for those reasons, even though we all know I probably would've just awarded it to Judas Priest if an inferior band had copied them.
ROUND FOUR: Rush vs. The Darkness
Red Barchetta - It may be a fan favourite but I'm not overly fond of this track. It's good but I wouldn't call it great compared to some of Rush's other songs like "Freewill" or even filler tracks off the first two albums. I will say that it's very Rush, though; it's a perfect microcosm of their Prog Rock sound, all backed up with a simple but powerful recurring four note tune.
Stuck In A Rut - Whilst this may be a completely different song in almost every aspect, there is one small but undeniable similarity. The Darkness couldn't help but accidentally use the same four note/chord combo for their chorus melody, albeit jazzed up a little bit to make it sound more like Aerosmith than Rush.
VERDICT - I like both songs for different reasons so, again, both Rush and The Darkness get the win for this round. I'm not sure if The Darkness intentionally copied Rush here, as they played "Tom Sawyer" through the speakers before they played when I saw them live but they may have heard this track after recording the Permission To Land album.
ROUND FIVE: Deep Purple vs. KISS
Burn - I've talked about this song enough on this blog but for those who can't remember, it's my all-time favourite track. Classic riff, great lyrics and excellent performances from each member of the band. That's all that needs to be said, really.
I Stole Your Love - The band have acknowledged that the main riff from this song was inspired by the riff from "Burn" so whilst it's not as identical as some of the comparisons on this list, it earns a place for being a homage. It's not as heavy as the Deep Purple track but as far as Hard Rock songs go, it's a decent little number that pisses all over most of the band's well known material. In fact, Love Gun is a pretty sweet album if you ignore the fact that it's KISS behind it.
VERDICT - Even though I like both songs, Deep Purple take the victory here for simply writing the better track.
ROUND SIX: Prince vs. Magnum
Little Red Corvette - Nope, still not sold on Prince. To me, his 80s Pop songs are about as iconic as literally every other generic 80s Pop song, this track included. The part of the song I'm comparing is the chorus, specifically the vocal delivery of the song's title. I have no idea if the rest of this song has any other similarities to 80s Pop or Rock because I can't bring myself to listen to more than about 40 seconds of it. Again, I'm still welcoming any recommendations of Prince tracks that show off his amazing guitar skills; please educate me on this man.
On A Storyteller's Night - Outside of recalling a couple of tracks from this album and "Too Many Clowns" released a couple of years ago, I couldn't tell you anything about Magnum. One thing I can tell you is that the chorus from this song, you know the bit where he sings "keep your nightlight burning", sounds a little too close to the Prince chorus for comfort.
VERDICT - Ugh, I don't know. Both songs are rubbish but I suppose Prince deserves to win just for beating Magnum to the punch by a couple of years. I was about about to make a "Punch And Judy" pun there but realised that was a song by Marillion, another relatively mediocre 80s Rock band..."Hooks In You" is pretty good though...and "Incommunicado".
ROUND SEVEN: Black Sabbath vs. Blue Oyster Cult
The Wizard - Black Sabbath have been mentioned quite a few times in these posts; probably because they're responsible for so many iconic riffs and melodies. This one isn't among that band's best riffs but it's pretty damn solid, even if it is played alongside a harmonica. Unfortunately the mix isn't great, seeing as how Tony Iommi's guitar is quite tricky to hear under the shrill noise of the harmonica, but if you listen closely, you can make out the riff in question.
Cities On Flame With Rock & Roll - I absolutely love this song, from the epic riff to the two solos. One of Blue Oyster Cult's best but quite clearly inspired by the previous Black Sabbath track. However, since the song is about the awesome power of Rock, maybe it was intentionally supposed to sound like a great example of Rock, similar to "R.O.C.K In The U.S.A." - John Mellencamp containing aspects of tunes by Neil Diamond and The Troggs.
VERDICT - "Cities On Flame With Rock & Roll" is clearly a homage, meaning the fact that Black Sabbath's song came first has no relevance in my books. Blue Oyster Cult get a well deserved win.
ROUND EIGHT: John Lennon vs. Oasis
Imagine - Out of all the post-Beatles careers from the Liverpool Four, John Lennon's is probably my second least favourite (did Ringo even have a solo career?). That being said, "Imagine" is a great lyrically driven song with an iconic piano melody carrying the majority of the song. It's not complex but it doesn't need to be as the song's message is the star.
Don't Look Back In Anger - Arguably Oasis' most popular song after "Wonderwall" and one of the highlights from the (What's The Story) Morning Glory album, along with the album opener and title track. It's no secret that the Gallagher brothers were heavily inspired by John Lennon and it really shines through in this song, seeing as how the first piano chords are basically a reworked version of the "Imagine" melody. However, the rest of the track stands apart from the 1971 hit so that's where the comparison ends.
VERDICT - I'm still on the fence as to whether this is a homage or a sly rip-off but at least Oasis came through on the rest of the song, even adding a solid guitar solo for good measure. "Imagine" is easily the far more influential song and even though I think I'd rather casually listen to "Don't Look Back In Anger", the win has to go to John Lennon.
ROUND NINE: T. Rex vs. Foo Fighters
Ballrooms Of Mars - Not a favourite of mine by any stretch but as far as softer songs by T. Rex go...yeah, I'm still not sold on it. It's too slow for my tastes but you don't have to like any of these songs to hear comparisons. The part of this song we're looking at is the introduction, or rather the combination and tone of instruments.
Up In Arms - I doubt Dave Grohl listened to this song and decided to copy it so I'm filing this under "Neither Homage or Rip Off", although you have to admit that both songs start off pretty damn similar. Luckily, this track gets a much needed energy injection around the 50 second mark and becomes a completely different song without lasting long enough for Dave to get all shouty. A highlight on The Colour & The Shape along with "New Way Home", easily trumping the lead singles off the album in my books.
VERDICT - No question, Foo Fighters win this. I don't believe they copied T. Rex and they wrote the better song, easy win.
ROUND TEN: Killing Joke vs. Motley Crue
Love Like Blood - Time to end the third of these posts with another semi-tenuous link. After the drums first come in, there's a guitar and bass melody that continues for the majority of the song. You could argue that this is where the song truly starts, as the guitar/synth intro don't really do much except establish the chord sequence. Either way, that guitar/bass melody and their particular rhythm is the key factor here.
Dr. Feelgood - I once read a review where someone accused this song of being a horrible rip off of "Walk This Way" - Aerosmith which, compared to this link, is fucking pushing it. Instead of copying them, I chose two songs that I actually think sound alike...at least as far as the guitar rhythm in the introduction goes. As is often the case, the rest of the song stands far apart from Killing Joke's track but it's weird to hear two different songs from two completely different bands with one similarity, especially when compared to the other Killing Joke song I discussed on this blog which Nirvana clearly copied.
VERDICT - I like both songs (one a hell of a lot more than the other) and there's only about four years difference between both tracks so I don't think it's a question of Motley Crue ripping off Killing Joke. However, I do think it's a question of which song I prefer in general which makes Motley Crue an easy winner.
The other post for this week will likely be video game related but I'll try to tie it into Rock music as well. If I hear any other tracks that suit these posts, I'll be sure to include them underneath; knowing my luck, I'll probably hear another five in the next couple of days.
The aim of this opinion-based post is to compare two separate songs by different bands and establish whether I believe the latter was written as a homage to the original, a shameless rip off or its own entity that just happens to sound like an older tune. If you think I'm being too harsh with my comparisons or believe I've missed a better example by either band in the round, let me know via the comment section or Twitter.
ROUND ONE: Mason Williams vs. Electric Light Orchestra
Classical Gas - An instrumental piece that uses an orchestral accompaniment whilst the main melody is played on an acoustic stringed instrument. It's a lovely tune with various easily recognisable guitar sections that will stick with you even if you only listen to the track once or twice. So what am I comparing it to?
First Movement (Jumping Biz) - An instrumental piece that uses an orchestral accompaniment whilst the main melody is played on an acoustic stringed instrument. It's a pretty deep cut in ELO's back catalogue but if you can make it this far into their slog of a debut album, you're rewarded with a nice little Folk track that seems to be heavily inspired by "Classical Gas", often going as far as to straight up copy some sections.
VERDICT - If it's not a homage, ELO must have done a bit of cheeky copying to come out with this track. Whilst I love "First Movement (Jumping Biz)" arguably more than "Classical Gas", I have to give the win to Mason Williams here for coming up with the tune that gave birth to my personal favourite. Plus, he didn't ruin Jeff Lynne's career by trying to sue him back in the early 70s.
ROUND TWO: Budgie vs. Red Hot Chili Peppers
Breadfan - For a Hard Rock band, Budgie didn't really play an awful lot of Hard Rock compared to bigger bands from a similar time period like Deep Purple and Led Zeppelin. However, when Budgie DID write a heavier song, it was a fucking belter. "Crash Course In Brain Surgery" could be one of my all-time favourite Hard Rock songs and the majority of "Breadfan" (killer riff definitely included) is so awesome that it deserves more recognition.
Around The World - I'm starting to get more into this band after listening to By The Way and The Getaway but I don't know if I'll ever listen to Californication, the album in which this is the title track of. However, I do quite like the intro and middle of this song...you know, the bits where Flea plays a tweaked version of the "Breadfan" riff on bass before the band break into a completely different song.
VERDICT - Budgie, easily. Both songs sound like two different tracks spliced together but at least both parts of Budgie's track are great, as opposed to the short lived intro and bridge of the RHCP one.
ROUND THREE: Judas Priest vs. Iron Maiden
Running Wild - I accused Judas Priest of borrowing from two different songs in the last Homages/Rip Offs post so it's time to give them a bit of well deserved praise for a change. Killing Machine is a great album and this is one of the album highlights (along with "Hell Bent For Leather", of course) but once again, it's the intro we're looking at here. Fans of Iron Maiden will immediately know what I'm getting at here but I still have to spell it out.
The Wicker Man - I bloody love this band but even I can't deny that it's practically the same fucking intro. Whilst I probably prefer this song overall, one of my favourite aspects of this track is the intro riff and now all I can think about when I hear it is how Judas Priest came up with it almost 30 years earlier.
VERDICT - It's tricky, as Judas Priest deserve the win for coming up with the riff first but Iron Maiden did write the better song. I'm giving the win to both Judas Priest and Iron Maiden for those reasons, even though we all know I probably would've just awarded it to Judas Priest if an inferior band had copied them.
ROUND FOUR: Rush vs. The Darkness
Red Barchetta - It may be a fan favourite but I'm not overly fond of this track. It's good but I wouldn't call it great compared to some of Rush's other songs like "Freewill" or even filler tracks off the first two albums. I will say that it's very Rush, though; it's a perfect microcosm of their Prog Rock sound, all backed up with a simple but powerful recurring four note tune.
Stuck In A Rut - Whilst this may be a completely different song in almost every aspect, there is one small but undeniable similarity. The Darkness couldn't help but accidentally use the same four note/chord combo for their chorus melody, albeit jazzed up a little bit to make it sound more like Aerosmith than Rush.
VERDICT - I like both songs for different reasons so, again, both Rush and The Darkness get the win for this round. I'm not sure if The Darkness intentionally copied Rush here, as they played "Tom Sawyer" through the speakers before they played when I saw them live but they may have heard this track after recording the Permission To Land album.
ROUND FIVE: Deep Purple vs. KISS
Burn - I've talked about this song enough on this blog but for those who can't remember, it's my all-time favourite track. Classic riff, great lyrics and excellent performances from each member of the band. That's all that needs to be said, really.
I Stole Your Love - The band have acknowledged that the main riff from this song was inspired by the riff from "Burn" so whilst it's not as identical as some of the comparisons on this list, it earns a place for being a homage. It's not as heavy as the Deep Purple track but as far as Hard Rock songs go, it's a decent little number that pisses all over most of the band's well known material. In fact, Love Gun is a pretty sweet album if you ignore the fact that it's KISS behind it.
VERDICT - Even though I like both songs, Deep Purple take the victory here for simply writing the better track.
ROUND SIX: Prince vs. Magnum
Little Red Corvette - Nope, still not sold on Prince. To me, his 80s Pop songs are about as iconic as literally every other generic 80s Pop song, this track included. The part of the song I'm comparing is the chorus, specifically the vocal delivery of the song's title. I have no idea if the rest of this song has any other similarities to 80s Pop or Rock because I can't bring myself to listen to more than about 40 seconds of it. Again, I'm still welcoming any recommendations of Prince tracks that show off his amazing guitar skills; please educate me on this man.
On A Storyteller's Night - Outside of recalling a couple of tracks from this album and "Too Many Clowns" released a couple of years ago, I couldn't tell you anything about Magnum. One thing I can tell you is that the chorus from this song, you know the bit where he sings "keep your nightlight burning", sounds a little too close to the Prince chorus for comfort.
VERDICT - Ugh, I don't know. Both songs are rubbish but I suppose Prince deserves to win just for beating Magnum to the punch by a couple of years. I was about about to make a "Punch And Judy" pun there but realised that was a song by Marillion, another relatively mediocre 80s Rock band..."Hooks In You" is pretty good though...and "Incommunicado".
ROUND SEVEN: Black Sabbath vs. Blue Oyster Cult
The Wizard - Black Sabbath have been mentioned quite a few times in these posts; probably because they're responsible for so many iconic riffs and melodies. This one isn't among that band's best riffs but it's pretty damn solid, even if it is played alongside a harmonica. Unfortunately the mix isn't great, seeing as how Tony Iommi's guitar is quite tricky to hear under the shrill noise of the harmonica, but if you listen closely, you can make out the riff in question.
Cities On Flame With Rock & Roll - I absolutely love this song, from the epic riff to the two solos. One of Blue Oyster Cult's best but quite clearly inspired by the previous Black Sabbath track. However, since the song is about the awesome power of Rock, maybe it was intentionally supposed to sound like a great example of Rock, similar to "R.O.C.K In The U.S.A." - John Mellencamp containing aspects of tunes by Neil Diamond and The Troggs.
VERDICT - "Cities On Flame With Rock & Roll" is clearly a homage, meaning the fact that Black Sabbath's song came first has no relevance in my books. Blue Oyster Cult get a well deserved win.
ROUND EIGHT: John Lennon vs. Oasis
Imagine - Out of all the post-Beatles careers from the Liverpool Four, John Lennon's is probably my second least favourite (did Ringo even have a solo career?). That being said, "Imagine" is a great lyrically driven song with an iconic piano melody carrying the majority of the song. It's not complex but it doesn't need to be as the song's message is the star.
Don't Look Back In Anger - Arguably Oasis' most popular song after "Wonderwall" and one of the highlights from the (What's The Story) Morning Glory album, along with the album opener and title track. It's no secret that the Gallagher brothers were heavily inspired by John Lennon and it really shines through in this song, seeing as how the first piano chords are basically a reworked version of the "Imagine" melody. However, the rest of the track stands apart from the 1971 hit so that's where the comparison ends.
VERDICT - I'm still on the fence as to whether this is a homage or a sly rip-off but at least Oasis came through on the rest of the song, even adding a solid guitar solo for good measure. "Imagine" is easily the far more influential song and even though I think I'd rather casually listen to "Don't Look Back In Anger", the win has to go to John Lennon.
ROUND NINE: T. Rex vs. Foo Fighters
Ballrooms Of Mars - Not a favourite of mine by any stretch but as far as softer songs by T. Rex go...yeah, I'm still not sold on it. It's too slow for my tastes but you don't have to like any of these songs to hear comparisons. The part of this song we're looking at is the introduction, or rather the combination and tone of instruments.
Up In Arms - I doubt Dave Grohl listened to this song and decided to copy it so I'm filing this under "Neither Homage or Rip Off", although you have to admit that both songs start off pretty damn similar. Luckily, this track gets a much needed energy injection around the 50 second mark and becomes a completely different song without lasting long enough for Dave to get all shouty. A highlight on The Colour & The Shape along with "New Way Home", easily trumping the lead singles off the album in my books.
VERDICT - No question, Foo Fighters win this. I don't believe they copied T. Rex and they wrote the better song, easy win.
ROUND TEN: Killing Joke vs. Motley Crue
Love Like Blood - Time to end the third of these posts with another semi-tenuous link. After the drums first come in, there's a guitar and bass melody that continues for the majority of the song. You could argue that this is where the song truly starts, as the guitar/synth intro don't really do much except establish the chord sequence. Either way, that guitar/bass melody and their particular rhythm is the key factor here.
Dr. Feelgood - I once read a review where someone accused this song of being a horrible rip off of "Walk This Way" - Aerosmith which, compared to this link, is fucking pushing it. Instead of copying them, I chose two songs that I actually think sound alike...at least as far as the guitar rhythm in the introduction goes. As is often the case, the rest of the song stands far apart from Killing Joke's track but it's weird to hear two different songs from two completely different bands with one similarity, especially when compared to the other Killing Joke song I discussed on this blog which Nirvana clearly copied.
VERDICT - I like both songs (one a hell of a lot more than the other) and there's only about four years difference between both tracks so I don't think it's a question of Motley Crue ripping off Killing Joke. However, I do think it's a question of which song I prefer in general which makes Motley Crue an easy winner.
The other post for this week will likely be video game related but I'll try to tie it into Rock music as well. If I hear any other tracks that suit these posts, I'll be sure to include them underneath; knowing my luck, I'll probably hear another five in the next couple of days.
Sunday, 31 July 2016
Showdown: Homages/Rip Offs 2
Back again for more songs that sort of sound like something else!
Once again, this is a work of opinion and is in no way accusing these songs of blatant and borderline offensive plagiarism, no matter how sure I sound or how direct I am in calling these artists out on their alleged thievery.
If you can't remember how Showdown posts go, please refer to the first Homages/Rip Offs post. All you need to really know is that for this post, I'm not just considering songs that are officially Homages/Rip Offs; any song that has a notable similarity is fair game to me. Now that you've done that, let's get comparing!
ROUND ONE: The Rolling Stones vs. Buffalo Springfield
(I Can't Get No) Satisfaction - I once saw an interview with a Rock producer where he called Keith Richards "the riff master" because of this song and all I wanted to shout was "Fuckin' why?!" Everything about this song is just shit to me, from the mediocre riff that gets old real fast to the dull vocals. However, personal opinion aside, this song is regarded as one of the band's signature hits...so who would think of ripping it off? Neil Young, that's who!
Mr. Soul - Granted this song came before "Jumpin' Jack Flash" (a much better version of the previous Rolling Stones song) so I can't touch the vocal delivery here. What I can touch is the song's main riff, a shoddily tweaked impersonation by a band that are far too tepid to be considered Classic Rock in my books. Maybe it's because nobody wants to take Mr Young to court but I'm surprised none of the Stones have got the lawyers involved here, especially if the Spirit lads can with Led Zepp. Sure, they might have lost but there's no fucking doubt here, right?
VERDICT - I hate both songs equally but I'm giving the win to The Rolling Stones, as their riff clearly came first and "Mr. Soul" isn't good enough to justify the cheeky riff pinching that may or may not have gone on...but probably did.
ROUND TWO: Bad Company vs. Arctic Monkeys
Feel Like Makin' Love - One of the great Classic Rock tracks that perfectly blends soft and heavy guitar to make an awesome song. It's also got a pretty sweet guitar solo during the fade out that often gets ignored in favour of the chorus riff. Anyway, it's that heavy chorus riff that I'm focusing on in this post. It's pretty damn iconic and I defy anyone who's heard this song to listen to those three power chords and not belt out "Feel like makin'!" or at least hum it/sing it in your head. Can't be done, seriously.
Arabella - I discussed this song on my Rock Band 4 blog post and yes, I compared it to Bad Company's track there too. The riff actually fits this song well and I don't feel like the band are trying to steal some of Bad Company's cred in the slightest (although they are trying to steal some of Black Sabbath's cred). This one might not be my favourite Arctic Monkeys track but it's decent, I'll give it that.
VERDICT - This time, I like both songs but not equally. The win goes to Bad Company for what I believe is the far superior song and use of the heavy riff, especially in that outro where the band just fucking go for it. Whilst I may have accused the Arctic Monkeys of plagiarism in my RB4 post, claiming that their song "pretty much rips off the chorus without shame", I'm starting to reconsider my opinion. I think the only thing the band are guilty of is not knowing a freaking awesome Classic Rock track before recording "Arabella"...that and the "War Pigs" moment from that video link.
ROUND THREE: Gary Glitter vs. The Black Keys
Rock And Roll (Part 2) - It's a shame we can't remember Gary Glitter for this song instead of the whole Vietnamese paedophilia scandal (you know, that whole thing) but that's the way it goes. Sometimes, you make enough of an impact for people to remember you for your music instead of being a bit of a crazy prick and sometimes, a couple of hits aren't enough to wipe away the reputation of a nonce. Gary should've written some more iconic Pop hits if he wanted people to remember him fondly, something like "Purple Rain" or "Thriller".
Howlin' For You - Chances are this is a similar situation to the last songs I compared but if you listen to the first couple of bars of each song, the similarities are there. Solo drum intro? Yep. Same drum rhythm? Oh yeah. Same bass intro? Well, no, not exactly but both songs introduce bass next (if you ignore Gary's random yelling, since that's not really an instrument) and both riffs are kinda close. I could forgive these guys if it was just the drum intro but man, those first bass notes add that little element of doubt.
VERDICT - You probably think I'm going with Gary Glitter, right? I mean, his song predates the other by over a good couple of decades and I will always choose singing along to that guitar riff over the one in "Howlin' For You", a song with all the energy of a piece of incidental music in a dull roadhouse bar scene on TV. HOWEVER, I have to give the win to The Black Keys for slightly hypocritical reasons. I don't believe they intentionally stole the riff and I reckon on this occasion, it was purely chance that these lads rewrote the intro to a much better song before passing it off as their own. The main difference between this and the last round, though, is that Paul Rodgers never travelled abroad to fuck a kid.
ROUND FOUR: Neil Diamond vs. The Romantics
Cherry Cherry - I'm not a huge Neil Diamond fan but damn, I love this song. Everything about the mix and song's structure is flawless, it's a masterclass on how to create a catchy Pop/Rock song without sticking a soulless guitar solo in the middle or sellotaping two different songs in the same key together. It's basically the same riff throughout but it doesn't get stale or grating at any time, unlike the first song in this post. Both that and the bass riffs easily stand out, making them pretty hard to copy, right?
What I Like About You - Another case where I love this song but I'm not overly fond of the band. It's a party song but it also has pretty similar riffs to "Cherry Cherry" after the guitar intro. Whilst it's not illegal to use similar chord structures to other songs (see "4 Chords" - Axis Of Awesome), I think it's fair to say that at least one of The Romantics likes a bit of Neil Diamond.
VERDICT - Tricky one. I reckon I like both songs equally for separate reasons so I'll have to give it to Neil Diamond for being the first to write the song. Once again, I'd like to reiterate that I doubt The Romantics set out to copy this song or write it as a homage but I do think they'd heard the track and maybe even subconsciously let that bleed through into their music, which is OK in my books as long as their inspiration doesn't go unrewarded in one way or another.
ROUND FIVE: The Beatles vs. 10cc
Dear Prudence - It's not one of the band's hits (and it didn't even have Ringo on drums) but it was one of John Lennon's favourites. The song is instantly recognisable by the guitar melody, the swaying rhythm created by the bass and the psychedelic vibe aided by the gradual build up of the backing vocals...but enough about how great this song is, let's look at the bit that 10cc copied.
Feel The Benefit - I don't know if the band paid to use the identical fucking guitar melody in the intro but up until about a minute in, the song is just a flat rip off of "Dear Prudence", albeit with a slightly different guitar tone (but still similar enough to conjure memories of the Beatles track). The rest of this 11 minute song is a progressive Art Rock number until it comes back to the intro melody again towards the end, just like "Dear Prudence" does!
VERDICT - Yeah, The Beatles easily get this one. I like the 10cc song (the intro, at least) but prefer "Dear Prudence" overall.
ROUND SIX: Dio vs. Foo Fighters
Holy Diver - One of Dio's, hell, one of METAL's most iconic songs with a heavy riff and great vocal delivery. I wouldn't call it the best song on the album (the whole album is awesome, if you're wondering) but it has its moments, the intro riff being one of them.
Something From Nothing - I'd probably love this song if it didn't have that goofy clavinet section in the middle. As it stands, I think it's a decent Foo Fighters track...a decent track that borrows the same riff from "Holy Diver" but still a decent track. I'd probably rate the album fairly highly too if it didn't feel like the band jerking off in my ears.
VERDICT - I doubt Dave Grohl is blissfully unaware of "Holy Diver" or the song's main riff so Dio get the win for this one. I'm not saying he plagiarised it but a man with a gift for coming up with great Rock riffs like Mr Grohl should've spent a little longer fooling around with riffs before finalising this track. Funnily enough, this isn't the only Dio track I could've written about. "Battle Lines" - The Temperance Movement full on copies the intro to "The Last In Line" but I doubt the band even know who Dio is, let alone what one of his title tracks sounds like.
ROUND SEVEN: Black Sabbath vs. Alice Cooper
Paranoid - One of the three classic Black Sabbath tracks that every Rock fan should know. A pretty straightforward track with a simple riff and a solid solo (even if it does sound a little off on repeat listens). Since it was one of the earliest classic Metal tracks, it's pretty obvious that its influence and subsequent similarity to other tracks is a given by this point.
Dirty Diamonds - I'll admit this connection is a little forced but once the intro has finished, the guitar riffs in the verse sound like a mix between the "Paranoid" intro and verses. Other than those superficial connections, there's no real relation between either track...told you it was a little forced.
VERDICT - Clearly, Alice Cooper didn't steal or intend for this song to be a subtle wink towards Black Sabbath. It just sounds a little like it, that's all. As for which one is my favourite, it's tricky to say. "Paranoid" is a classic but since I've heard it so many times, I'd rather listen to "Dirty Diamonds" now. Both are great songs in their own right so both Black Sabbath and Alice Cooper get the win here.
ROUND EIGHT: The Who vs. One Direction
Baba O'Riley - Named after two of Pete Townshend's musical and philosophical mentors, this song has multiple iconic moments that are easily recognisable. The opening batshit keyboard solo, the three piano power chords, the introduction of Keith Moon's drums, the line "out here in the fields", the list goes on. It may sound like I'm just naming shit from the song but the fact of it is each of those components are all iconic moments in Rock, just like all the various moments of "Won't Get Fooled Again". My point is that anyone invested in Rock music should know at least the intro to this song.
Best Song Ever - Oh. Granted One Direction aren't proper Rock but the opening to their hit song "Generic Shite Written To Make A Fuckton Of Cash #8" is clearly designed to remind older listeners of "Baba O'Riley". I'm not entirely sure why, as "Baba O'Riley" isn't even The Who's best song ever and I doubt there's a single 1D fan who could tell you anything about The Who (most would probably reply "The Who?" to being told about them), but there it is.
VERDICT - The Who win, hands down. My theory is some shitbag executive had the genius idea of ripping off one of the biggest Rock bands in the world due to their ability to create an iconic hit that's stood the test of time and after they were found out, they claimed that it was an intentional homage even though it would be completely wasted on 100% of the band's demographic.
ROUND NINE: The Hollies vs. Rush
Look Through Any Window - I believe I've mentioned The Hollies before on this blog but if I haven't, they have a special place in my heart as one of the first Rock bands I got into as a child. This song opens with a guitar riff played with what sounds like a chorus or clean tone (not as harsh as overdrive or crisp as acoustic) and revisits said riff just before a key change later on. The rest of the song is good too but it's that opening riff/tone that I'm focused on.
Time Stand Still - It might not be the same string of notes or exactly the same tone but you have to admit, the intro to this song does sound pretty similar. The speed at which the notes are played are a little slower too but the sound of the same basic melody is there. As for the rest of the song? Yeah, it's completely different.
VERDICT - There's no way Rush wrote "Time Stand Still" as a homage or cheeky rip off. It's its own song that happens to share a similar riff at the start and that's that. Both songs are great tracks in their own genres so, once again, the win goes to both The Hollies and Rush. If I had to pick the genuinely better song, I think I'd go with Rush just for the lyrics. Musically, I'm happy with both though.
ROUND TEN: Saxon vs. Metallica
Heavy Metal Thunder - What's that? You thought I was going to talk about "Princess Of The Night" and "Seek & Destroy"? I was tempted, as I'm pretty sure it's been confirmed that Metallica basically stole the riff from that, but instead opted for a comparison many of you probably haven't made. This song isn't one of the band's biggest known tracks but it's got a great rhythm and a sweet riff before the solo/outro. It's those two factors that I believe heavily inspired this next song.
The Four Horsemen - Yes, I know this song was technically written by Dave Mustaine and a much faster version appears on Megadeth's debut as "The Mechanix". However, Metallica rearranged it and came out with a longer (and better) track that, according to James Hetfield, also contains a section inspired by the main riff from Lynyrd Skynyrd's "Sweet Home Alabama". However, the song's rhythm and main intro riff that occasionally gets repeated throughout does have slight similarities to Saxon's track, potentially another case where a great song bleeds through subconsciously and affects the songwriting.
VERDICT - Saxon are awesome but if I had to pick a better song, I'd definitely go with Metallica here. Their riff and rhythm combo sound similar to "Heavy Metal Thunder" but I feel like they've done enough with the rest of the song to justify their clear inspiration.
Once again, let me know if you agree or disagree with my comparisons and/or verdicts via the comment section or Twitter. I'm not sure what my next post will be about (maybe another Rapid Fire one) but if I don't get one posted next week due to being away for a few days, I'll get two up the next week.
UPDATE: So about a week after posting this, I either discovered or remembered FOUR different pairs of similar songs that would've been much better than some of the tracks I included here.
Rather than write up another post and scrape the bottom of the barrel for six more homages/rip offs, I'm adding the four tracks here as a bonus. When I can bring that number up to ten, I'll move all the extra songs here into a third homages/rip offs post (along with any others that I haven't included). With that, here are some more similar sounding songs!
UPDATE UPDATE: Yeah, those songs aren't here anymore. I've taken the eight that I added here and pasted them into a new Showdown post, as well as adding two others. If you want to read them again, you'll find the new post here.
Once again, this is a work of opinion and is in no way accusing these songs of blatant and borderline offensive plagiarism, no matter how sure I sound or how direct I am in calling these artists out on their alleged thievery.
If you can't remember how Showdown posts go, please refer to the first Homages/Rip Offs post. All you need to really know is that for this post, I'm not just considering songs that are officially Homages/Rip Offs; any song that has a notable similarity is fair game to me. Now that you've done that, let's get comparing!
ROUND ONE: The Rolling Stones vs. Buffalo Springfield
(I Can't Get No) Satisfaction - I once saw an interview with a Rock producer where he called Keith Richards "the riff master" because of this song and all I wanted to shout was "Fuckin' why?!" Everything about this song is just shit to me, from the mediocre riff that gets old real fast to the dull vocals. However, personal opinion aside, this song is regarded as one of the band's signature hits...so who would think of ripping it off? Neil Young, that's who!
Mr. Soul - Granted this song came before "Jumpin' Jack Flash" (a much better version of the previous Rolling Stones song) so I can't touch the vocal delivery here. What I can touch is the song's main riff, a shoddily tweaked impersonation by a band that are far too tepid to be considered Classic Rock in my books. Maybe it's because nobody wants to take Mr Young to court but I'm surprised none of the Stones have got the lawyers involved here, especially if the Spirit lads can with Led Zepp. Sure, they might have lost but there's no fucking doubt here, right?
VERDICT - I hate both songs equally but I'm giving the win to The Rolling Stones, as their riff clearly came first and "Mr. Soul" isn't good enough to justify the cheeky riff pinching that may or may not have gone on...but probably did.
ROUND TWO: Bad Company vs. Arctic Monkeys
Feel Like Makin' Love - One of the great Classic Rock tracks that perfectly blends soft and heavy guitar to make an awesome song. It's also got a pretty sweet guitar solo during the fade out that often gets ignored in favour of the chorus riff. Anyway, it's that heavy chorus riff that I'm focusing on in this post. It's pretty damn iconic and I defy anyone who's heard this song to listen to those three power chords and not belt out "Feel like makin'!" or at least hum it/sing it in your head. Can't be done, seriously.
Arabella - I discussed this song on my Rock Band 4 blog post and yes, I compared it to Bad Company's track there too. The riff actually fits this song well and I don't feel like the band are trying to steal some of Bad Company's cred in the slightest (although they are trying to steal some of Black Sabbath's cred). This one might not be my favourite Arctic Monkeys track but it's decent, I'll give it that.
VERDICT - This time, I like both songs but not equally. The win goes to Bad Company for what I believe is the far superior song and use of the heavy riff, especially in that outro where the band just fucking go for it. Whilst I may have accused the Arctic Monkeys of plagiarism in my RB4 post, claiming that their song "pretty much rips off the chorus without shame", I'm starting to reconsider my opinion. I think the only thing the band are guilty of is not knowing a freaking awesome Classic Rock track before recording "Arabella"...that and the "War Pigs" moment from that video link.
ROUND THREE: Gary Glitter vs. The Black Keys
Rock And Roll (Part 2) - It's a shame we can't remember Gary Glitter for this song instead of the whole Vietnamese paedophilia scandal (you know, that whole thing) but that's the way it goes. Sometimes, you make enough of an impact for people to remember you for your music instead of being a bit of a crazy prick and sometimes, a couple of hits aren't enough to wipe away the reputation of a nonce. Gary should've written some more iconic Pop hits if he wanted people to remember him fondly, something like "Purple Rain" or "Thriller".
Howlin' For You - Chances are this is a similar situation to the last songs I compared but if you listen to the first couple of bars of each song, the similarities are there. Solo drum intro? Yep. Same drum rhythm? Oh yeah. Same bass intro? Well, no, not exactly but both songs introduce bass next (if you ignore Gary's random yelling, since that's not really an instrument) and both riffs are kinda close. I could forgive these guys if it was just the drum intro but man, those first bass notes add that little element of doubt.
VERDICT - You probably think I'm going with Gary Glitter, right? I mean, his song predates the other by over a good couple of decades and I will always choose singing along to that guitar riff over the one in "Howlin' For You", a song with all the energy of a piece of incidental music in a dull roadhouse bar scene on TV. HOWEVER, I have to give the win to The Black Keys for slightly hypocritical reasons. I don't believe they intentionally stole the riff and I reckon on this occasion, it was purely chance that these lads rewrote the intro to a much better song before passing it off as their own. The main difference between this and the last round, though, is that Paul Rodgers never travelled abroad to fuck a kid.
ROUND FOUR: Neil Diamond vs. The Romantics
Cherry Cherry - I'm not a huge Neil Diamond fan but damn, I love this song. Everything about the mix and song's structure is flawless, it's a masterclass on how to create a catchy Pop/Rock song without sticking a soulless guitar solo in the middle or sellotaping two different songs in the same key together. It's basically the same riff throughout but it doesn't get stale or grating at any time, unlike the first song in this post. Both that and the bass riffs easily stand out, making them pretty hard to copy, right?
What I Like About You - Another case where I love this song but I'm not overly fond of the band. It's a party song but it also has pretty similar riffs to "Cherry Cherry" after the guitar intro. Whilst it's not illegal to use similar chord structures to other songs (see "4 Chords" - Axis Of Awesome), I think it's fair to say that at least one of The Romantics likes a bit of Neil Diamond.
VERDICT - Tricky one. I reckon I like both songs equally for separate reasons so I'll have to give it to Neil Diamond for being the first to write the song. Once again, I'd like to reiterate that I doubt The Romantics set out to copy this song or write it as a homage but I do think they'd heard the track and maybe even subconsciously let that bleed through into their music, which is OK in my books as long as their inspiration doesn't go unrewarded in one way or another.
ROUND FIVE: The Beatles vs. 10cc
Dear Prudence - It's not one of the band's hits (and it didn't even have Ringo on drums) but it was one of John Lennon's favourites. The song is instantly recognisable by the guitar melody, the swaying rhythm created by the bass and the psychedelic vibe aided by the gradual build up of the backing vocals...but enough about how great this song is, let's look at the bit that 10cc copied.
Feel The Benefit - I don't know if the band paid to use the identical fucking guitar melody in the intro but up until about a minute in, the song is just a flat rip off of "Dear Prudence", albeit with a slightly different guitar tone (but still similar enough to conjure memories of the Beatles track). The rest of this 11 minute song is a progressive Art Rock number until it comes back to the intro melody again towards the end, just like "Dear Prudence" does!
VERDICT - Yeah, The Beatles easily get this one. I like the 10cc song (the intro, at least) but prefer "Dear Prudence" overall.
ROUND SIX: Dio vs. Foo Fighters
Holy Diver - One of Dio's, hell, one of METAL's most iconic songs with a heavy riff and great vocal delivery. I wouldn't call it the best song on the album (the whole album is awesome, if you're wondering) but it has its moments, the intro riff being one of them.
Something From Nothing - I'd probably love this song if it didn't have that goofy clavinet section in the middle. As it stands, I think it's a decent Foo Fighters track...a decent track that borrows the same riff from "Holy Diver" but still a decent track. I'd probably rate the album fairly highly too if it didn't feel like the band jerking off in my ears.
VERDICT - I doubt Dave Grohl is blissfully unaware of "Holy Diver" or the song's main riff so Dio get the win for this one. I'm not saying he plagiarised it but a man with a gift for coming up with great Rock riffs like Mr Grohl should've spent a little longer fooling around with riffs before finalising this track. Funnily enough, this isn't the only Dio track I could've written about. "Battle Lines" - The Temperance Movement full on copies the intro to "The Last In Line" but I doubt the band even know who Dio is, let alone what one of his title tracks sounds like.
ROUND SEVEN: Black Sabbath vs. Alice Cooper
Paranoid - One of the three classic Black Sabbath tracks that every Rock fan should know. A pretty straightforward track with a simple riff and a solid solo (even if it does sound a little off on repeat listens). Since it was one of the earliest classic Metal tracks, it's pretty obvious that its influence and subsequent similarity to other tracks is a given by this point.
Dirty Diamonds - I'll admit this connection is a little forced but once the intro has finished, the guitar riffs in the verse sound like a mix between the "Paranoid" intro and verses. Other than those superficial connections, there's no real relation between either track...told you it was a little forced.
VERDICT - Clearly, Alice Cooper didn't steal or intend for this song to be a subtle wink towards Black Sabbath. It just sounds a little like it, that's all. As for which one is my favourite, it's tricky to say. "Paranoid" is a classic but since I've heard it so many times, I'd rather listen to "Dirty Diamonds" now. Both are great songs in their own right so both Black Sabbath and Alice Cooper get the win here.
ROUND EIGHT: The Who vs. One Direction
Baba O'Riley - Named after two of Pete Townshend's musical and philosophical mentors, this song has multiple iconic moments that are easily recognisable. The opening batshit keyboard solo, the three piano power chords, the introduction of Keith Moon's drums, the line "out here in the fields", the list goes on. It may sound like I'm just naming shit from the song but the fact of it is each of those components are all iconic moments in Rock, just like all the various moments of "Won't Get Fooled Again". My point is that anyone invested in Rock music should know at least the intro to this song.
Best Song Ever - Oh. Granted One Direction aren't proper Rock but the opening to their hit song "Generic Shite Written To Make A Fuckton Of Cash #8" is clearly designed to remind older listeners of "Baba O'Riley". I'm not entirely sure why, as "Baba O'Riley" isn't even The Who's best song ever and I doubt there's a single 1D fan who could tell you anything about The Who (most would probably reply "The Who?" to being told about them), but there it is.
VERDICT - The Who win, hands down. My theory is some shitbag executive had the genius idea of ripping off one of the biggest Rock bands in the world due to their ability to create an iconic hit that's stood the test of time and after they were found out, they claimed that it was an intentional homage even though it would be completely wasted on 100% of the band's demographic.
ROUND NINE: The Hollies vs. Rush
Look Through Any Window - I believe I've mentioned The Hollies before on this blog but if I haven't, they have a special place in my heart as one of the first Rock bands I got into as a child. This song opens with a guitar riff played with what sounds like a chorus or clean tone (not as harsh as overdrive or crisp as acoustic) and revisits said riff just before a key change later on. The rest of the song is good too but it's that opening riff/tone that I'm focused on.
Time Stand Still - It might not be the same string of notes or exactly the same tone but you have to admit, the intro to this song does sound pretty similar. The speed at which the notes are played are a little slower too but the sound of the same basic melody is there. As for the rest of the song? Yeah, it's completely different.
VERDICT - There's no way Rush wrote "Time Stand Still" as a homage or cheeky rip off. It's its own song that happens to share a similar riff at the start and that's that. Both songs are great tracks in their own genres so, once again, the win goes to both The Hollies and Rush. If I had to pick the genuinely better song, I think I'd go with Rush just for the lyrics. Musically, I'm happy with both though.
ROUND TEN: Saxon vs. Metallica
Heavy Metal Thunder - What's that? You thought I was going to talk about "Princess Of The Night" and "Seek & Destroy"? I was tempted, as I'm pretty sure it's been confirmed that Metallica basically stole the riff from that, but instead opted for a comparison many of you probably haven't made. This song isn't one of the band's biggest known tracks but it's got a great rhythm and a sweet riff before the solo/outro. It's those two factors that I believe heavily inspired this next song.
The Four Horsemen - Yes, I know this song was technically written by Dave Mustaine and a much faster version appears on Megadeth's debut as "The Mechanix". However, Metallica rearranged it and came out with a longer (and better) track that, according to James Hetfield, also contains a section inspired by the main riff from Lynyrd Skynyrd's "Sweet Home Alabama". However, the song's rhythm and main intro riff that occasionally gets repeated throughout does have slight similarities to Saxon's track, potentially another case where a great song bleeds through subconsciously and affects the songwriting.
VERDICT - Saxon are awesome but if I had to pick a better song, I'd definitely go with Metallica here. Their riff and rhythm combo sound similar to "Heavy Metal Thunder" but I feel like they've done enough with the rest of the song to justify their clear inspiration.
Once again, let me know if you agree or disagree with my comparisons and/or verdicts via the comment section or Twitter. I'm not sure what my next post will be about (maybe another Rapid Fire one) but if I don't get one posted next week due to being away for a few days, I'll get two up the next week.
UPDATE: So about a week after posting this, I either discovered or remembered FOUR different pairs of similar songs that would've been much better than some of the tracks I included here.
Rather than write up another post and scrape the bottom of the barrel for six more homages/rip offs, I'm adding the four tracks here as a bonus. When I can bring that number up to ten, I'll move all the extra songs here into a third homages/rip offs post (along with any others that I haven't included). With that, here are some more similar sounding songs!
UPDATE UPDATE: Yeah, those songs aren't here anymore. I've taken the eight that I added here and pasted them into a new Showdown post, as well as adding two others. If you want to read them again, you'll find the new post here.
Sunday, 24 July 2016
Shout Out: The Traveling Wilburys Collection
I've been meaning to listen to these guys again since they appeared on Spotify without any fanfare but after doing a bit of research, I thought it might be best if I did a Shout Out blog post discussing their only two albums, or rather their 2007 compilation album featuring all of their tracks (including a few bonus ones).
Disc One of this three disc collection covers the band's first album, The Traveling Wilburys Vol 1. Before I talk about it, I should explain why this Folk Rock band are worth giving a toss about. The Traveling Wilburys were a supergroup of five established solo artists that released two albums, one in 1988 and one in 1990. The band consisted of George Harrison, Jeff Lynne, Roy Orbison, Bob Dylan and Tom Petty and probably would've recorded more material if not for the fact that the group's unofficial leader (Harrison) died in 2001. Plus, with Roy Orbison already being dead, a third album wouldn't feel like it came from the same band that gave us this collection.
Anyway, their first album was less Folk oriented and featured easily accessible Rock penned by George Harrison and Jeff Lynne. You'd be forgiven for assuming this was more of a Jeff Lynne side project than a brand new collaboration, as several tracks contain the typical ELO sound without the elaborate orchestra/synth effects ("Heading For The Light"). However, there are tracks containing clear influences from the rest of the group too, such as one of the few Folk tunes "Congratulations" sung and presumably mostly written by Bob Dylan and "Margarita" containing synth elements you'd expect from 80's Tom Petty, when it's not borrowing ideas from "You Better You Bet" - The Who.
There are two tracks that stand out though. Album opener "Handle With Care" and album closer/signature song "End Of The Line" (ignoring the two bonus tracks on the 2007 collection), as both songs successfully blend each member of the band's talents into creating the closest thing we have to The Traveling Wilburys' iconic sound, particularly in "End Of The Line" where each band member has a go at lead vocals. Overall, this album doesn't have much in the way of iconic Rock songs in the same way that each band member has in their own discography but considering the first and last tracks are well known enough to extract an "OHHHHHHH it's THEM!" from anyone who listens to them, it's an impressive debut.
1. Handle With Care
2. Dirty World
3. Rattled
4. Last Night
5. Not Alone Any More
6. Congratulations
7. Heading For The Light
8. Margarita
9. Tweeter And The Monkey Man
10. End Of The Line
11. Maxine (bonus track)
12. Like A Ship (bonus track)
ALBUM RATING - 7/10
Next up is the band's second album, Traveling Wilburys Vol 3...yes, you read that right, they deliberately named their second album Traveling Wilburys Vol 3 just to fuck with people, which is kind of brilliant if you ask me. The album itself is also a worthy follow up, despite losing Roy Orbison to a serious case of death, and what it lacks in easily accessible Rock it makes up for in easily accessible Folk. There's a certain quality to the album that makes it sound like something you'd listen to outdoors in your garden as the summer sun sets; it's very upbeat and pleasant, something the first album arguably lacked in comparison.
What's also notable is how the album seems to have shifted from sounding like it came from Jeff Lynne's fingers to George Harrison's. Indian influences have crept in ("The Devil's Been Busy") and whilst these guys were never a guitar band, it feels like the instrument has essentially replaced Roy Orbison as the fifth member. Album opener "She's My Baby" brings in Gary Moore on lead guitar to help confuse listeners into thinking they're about to enjoy a Rock album and even Folk tracks like "New Blue Moon" feature clearer guitar melodies than you'd expect from songs of the same genre.
I would personally rate the second album slightly higher than the first for delivering a strong follow up to a decent debut. The fact that Roy Orbison's crooning isn't present is one of the album's strengths and it's a shame they couldn't get their affairs in order to record a third album before George Harrison died eleven years later. Fortunately, the band ended their short lived career on a high note and whilst there are supergroups who were more successful and more likely to earn a place in the annals of Rock, this band deserve recognition a hell of a lot more than outfits like Chickenfoot.
Also, as a sidenote, the 2007 reissue features an ace cover of Del Shannon's "Runaway" with an introduction that sounds as note-perfectly close to the original as quite possibly any other cover version I've ever heard. This doesn't affect my verdict of the album as a whole but I thought I'd bring it up, just in case any of you are after a great cover version to tuck into.
1. She's My Baby
2. Inside Out
3. If You Belonged To Me
4. The Devil's Been Busy
5. 7 Deadly Sins
6. Poor House
7. Where Were You Last Night?
8. Cool Dry House
9. New Blue Moon
10. You Took My Breath Away
11. Wilbury Twist
12. Nobody's Child (bonus track)
13. Runaway (bonus track)
ALBUM RATING - 8/10
In the same way I'd recommend Rainbow to any fans Mk II/III Deep Purple, I'd definitely recommend The Traveling Wilburys to any fans of George Harrison, Jeff Lynne and, to an extent, Bob Dylan. The band manage to cobble together their own sound by blending the musical talents of each band member but none of their unique voices or skills get lost in the mix, providing a well-rounded musical experience.
Thursday, 24 December 2015
Tenology: Great Christmas(ish) Songs
Hurrah! It's Christmas 2015 and nobody seems to give a crap. Ah well, at least there are a few good Christmas tracks to listen to and I literally mean "a few". For the most part, Christmas music is terrible and even the decent tracks will sound like babies crying through bagpipes after several forced listens in supermarkets or on adverts.
However, much like good songs on Meat Loaf albums, you can find some great Christmas tracks among the shite if you know where to look. I had planned on writing a Tenology post about ten of those songs but at the time of writing this post, I couldn't find ten that I actually love listening to.
With that in mind, I've extended the parameters to include songs that sound like they fit in with the Winter season. I felt this was appropriate because it gives you something relatively festive to listen to if you're sick of Mariah Carey and Michael Buble, even if they aren't technically Christmas songs. Right, let's see how this goes!
1. "Merry Xmas Everybody" - Slade
Let's get this one out the way, as I'm sure some of you despise it. I really like Slade but get annoyed by the fact that this seems to be their most famous song. I guess it means none of the band will ever go poor due to Christmas licensing royalties but it's a shame that some of their Glam Rock or even Hard Rock tracks don't get the same level of attention. Anyway, I'm supposed to be talking about this song. Having seen Slade perform it live without Noddy belting out "IT'S CHRIIIIIIIIIIIISTMAAAAAAAAAS", I think it's fair to say Noddy Holder makes this song what it is. I like it but it's definitely towards the bottom of my top Christmas song list.
2. "Fight The Good Fight" - Triumph
The first Christmasish song in the list, mostly due to the intro having a choir, synth and acoustic guitar. It's a top notch Hard Rock song in general but it just seems to sound right around this time of year. Also, depending on your attitude towards Christmas, a song about keeping strong in the face of adversity might be right up your alley.
3. "Step Into Christmas" - Elton John
Most Christmas songs have some kind of musical or lyrical gimmick to make them stand out. Sadly, this is often the thing that gets on everyone's tits when overplayed. What's nice about this track is that as well as being a solid Glam Rock tune, there's nothing about it that gets up your nose. It's just a bog standard song that's pleasant to listen to, which is what most of us need to balance out the noise of everything else.
4. "Wanted Dead Or Alive" - Bon Jovi
I'll admit this link is a little tenuous but the gentle chimes at the start are enough for me to think of Christmas, which makes you ponder why they were included in the first place as they have nothing to do with the Wild West like the rest of the song. Next time you're at a festive market and hear wind chimes (assuming there's a stall selling wind chimes), imagine the rest of this song playing and you'll understand why I've included it on this list.
5. "In Dulci Jubilo" - Mike Oldfield
An instrumental Folk song with two guitar solos? Count me in! This is probably my second favourite Christmas song as, again, it's very difficult to get angry about any part of it. It's also one of the few Christmas songs I would ever want to dance to, if I had to dance. Sadly, because it's an instrumental, I get the feeling that it's often snubbed when it comes to Christmas tunes on the radio or TV. Luckily, it'll always have a place in my heart unless something horrible happens to me with this song playing in the background.
6. "Fooling Yourself (The Angry Young Man)" - Styx
It might not be to everyone's tastes but if you can stand Pop Prog, you'll probably enjoy this one next December. A combination of an upbeat rhythm with semi-festive sounding synth makes this more of a Christmasish song than some of Styx's other tracks such as "Mr Roboto" or "Renegade". Also, the final synth solo definitely sounds like something out of a Christmas tune.
7. "Merry Christmas Everyone" - Shakin' Stevens
I'll admit, this song is JUST starting to annoy me. It's the opening line, more than anything. "Snow is falling, all around me, children playing, having fun...". That hasn't been the case for the last, I dunno, five years at least. Snow never falls at Christmas and kids aren't having fun, they're all indoors either bored or checking the same three webpages over and over again. However, after that line, the song gets a lot better. It's merry, it's catchy and it's inoffensive...unless you're a touchy Muslim, of course.
8. "Good Company" - Queen
I may be clutching at straws here with this Beatlesque number but hear me out! Firstly, there's the lyrical content. It's telling you to take care of your close associates and "keep good company", something that some people definitely need to remember at Christmas. Secondly, there's the use of ukulele and a bouncy rhythm, making it sound like the kind of bubbly yet catchy song you'd expect to hear at Christmas. Thirdly, Brian May's guitar tones almost sound like woodwind instruments, something that isn't uncommon in a Christmas track. Finally, and this isn't really a valid point but I figure why not go for it, the album this track hails from was released on the 21st November, which is close enough to Christmas for me to feel it earns a place here.
9. "Father Christmas" - The Kinks
THIS is my favourite Christmas song. Fantastic riffs, awesome chorus, it's a proper rocking Christmas song that actually has the balls to reveal Santa Claus' identity in the first verse, which is probably one of the reasons you don't hear it on the radio. Bottom line is I love it to bits and have yet to get annoyed by it, especially since I only really listen to it one month a year...maybe two, if I stumble across it whilst listening to other Kinks songs.
10. "Killing In The Name" - Rage Against The Machine
Hey, this IS sort of a Christmas song! It was a Christmas No. 1 in the UK so it's as much of a Christmas song as any of the toss that comes from The X Factor every fucking year. It's the only time in the last decade that I've actually been excited to hear the Top 10 countdown for Christmas and I doubt anything will ever top the moment that I heard that first power chord from the song on the radio.
Are there any non Christmas songs that remind you of the festive season? Let me know in the comment section or on Twitter along with the reason why if you're not too busy preparing for tomorrow.
Have a merry Christmas and I'll see you next week for something different!
However, much like good songs on Meat Loaf albums, you can find some great Christmas tracks among the shite if you know where to look. I had planned on writing a Tenology post about ten of those songs but at the time of writing this post, I couldn't find ten that I actually love listening to.
With that in mind, I've extended the parameters to include songs that sound like they fit in with the Winter season. I felt this was appropriate because it gives you something relatively festive to listen to if you're sick of Mariah Carey and Michael Buble, even if they aren't technically Christmas songs. Right, let's see how this goes!
1. "Merry Xmas Everybody" - Slade
Let's get this one out the way, as I'm sure some of you despise it. I really like Slade but get annoyed by the fact that this seems to be their most famous song. I guess it means none of the band will ever go poor due to Christmas licensing royalties but it's a shame that some of their Glam Rock or even Hard Rock tracks don't get the same level of attention. Anyway, I'm supposed to be talking about this song. Having seen Slade perform it live without Noddy belting out "IT'S CHRIIIIIIIIIIIISTMAAAAAAAAAS", I think it's fair to say Noddy Holder makes this song what it is. I like it but it's definitely towards the bottom of my top Christmas song list.
2. "Fight The Good Fight" - Triumph
The first Christmasish song in the list, mostly due to the intro having a choir, synth and acoustic guitar. It's a top notch Hard Rock song in general but it just seems to sound right around this time of year. Also, depending on your attitude towards Christmas, a song about keeping strong in the face of adversity might be right up your alley.
3. "Step Into Christmas" - Elton John
Most Christmas songs have some kind of musical or lyrical gimmick to make them stand out. Sadly, this is often the thing that gets on everyone's tits when overplayed. What's nice about this track is that as well as being a solid Glam Rock tune, there's nothing about it that gets up your nose. It's just a bog standard song that's pleasant to listen to, which is what most of us need to balance out the noise of everything else.
4. "Wanted Dead Or Alive" - Bon Jovi
I'll admit this link is a little tenuous but the gentle chimes at the start are enough for me to think of Christmas, which makes you ponder why they were included in the first place as they have nothing to do with the Wild West like the rest of the song. Next time you're at a festive market and hear wind chimes (assuming there's a stall selling wind chimes), imagine the rest of this song playing and you'll understand why I've included it on this list.
5. "In Dulci Jubilo" - Mike Oldfield
An instrumental Folk song with two guitar solos? Count me in! This is probably my second favourite Christmas song as, again, it's very difficult to get angry about any part of it. It's also one of the few Christmas songs I would ever want to dance to, if I had to dance. Sadly, because it's an instrumental, I get the feeling that it's often snubbed when it comes to Christmas tunes on the radio or TV. Luckily, it'll always have a place in my heart unless something horrible happens to me with this song playing in the background.
6. "Fooling Yourself (The Angry Young Man)" - Styx
It might not be to everyone's tastes but if you can stand Pop Prog, you'll probably enjoy this one next December. A combination of an upbeat rhythm with semi-festive sounding synth makes this more of a Christmasish song than some of Styx's other tracks such as "Mr Roboto" or "Renegade". Also, the final synth solo definitely sounds like something out of a Christmas tune.
7. "Merry Christmas Everyone" - Shakin' Stevens
I'll admit, this song is JUST starting to annoy me. It's the opening line, more than anything. "Snow is falling, all around me, children playing, having fun...". That hasn't been the case for the last, I dunno, five years at least. Snow never falls at Christmas and kids aren't having fun, they're all indoors either bored or checking the same three webpages over and over again. However, after that line, the song gets a lot better. It's merry, it's catchy and it's inoffensive...unless you're a touchy Muslim, of course.
8. "Good Company" - Queen
I may be clutching at straws here with this Beatlesque number but hear me out! Firstly, there's the lyrical content. It's telling you to take care of your close associates and "keep good company", something that some people definitely need to remember at Christmas. Secondly, there's the use of ukulele and a bouncy rhythm, making it sound like the kind of bubbly yet catchy song you'd expect to hear at Christmas. Thirdly, Brian May's guitar tones almost sound like woodwind instruments, something that isn't uncommon in a Christmas track. Finally, and this isn't really a valid point but I figure why not go for it, the album this track hails from was released on the 21st November, which is close enough to Christmas for me to feel it earns a place here.
9. "Father Christmas" - The Kinks
THIS is my favourite Christmas song. Fantastic riffs, awesome chorus, it's a proper rocking Christmas song that actually has the balls to reveal Santa Claus' identity in the first verse, which is probably one of the reasons you don't hear it on the radio. Bottom line is I love it to bits and have yet to get annoyed by it, especially since I only really listen to it one month a year...maybe two, if I stumble across it whilst listening to other Kinks songs.
10. "Killing In The Name" - Rage Against The Machine
Hey, this IS sort of a Christmas song! It was a Christmas No. 1 in the UK so it's as much of a Christmas song as any of the toss that comes from The X Factor every fucking year. It's the only time in the last decade that I've actually been excited to hear the Top 10 countdown for Christmas and I doubt anything will ever top the moment that I heard that first power chord from the song on the radio.
Are there any non Christmas songs that remind you of the festive season? Let me know in the comment section or on Twitter along with the reason why if you're not too busy preparing for tomorrow.
Have a merry Christmas and I'll see you next week for something different!
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