Sorry this has taken so long but as I often do after seeing a gig, I thought I'd write up my experience after attending a Ghost concert. I saw Ghost at the First Direct Arena in Leeds on November 23rd so more than enough time has passed for me to mull over the night and dwell on opinions I may have held right after seeing them perform.
First of all, let's discuss the warm up bands.
The first band to hit the stage were Tribulation, a Swedish Heavy Metal band with Gothic elements and a very similar aesthetic to the headliners in regards to stage design. Admittedly, I was pretty excited after hearing them for the first time. They kicked things off with a song called "Nightbound" which has some strong riffs and a good rhythm. Not only that but the band seemed pretty damn entertaining; the green floodlights cast haunting shadows of the band against the venue's walls and the lead guitarist was dancing around the stage without missing a single beat. These guys seemed like a worthy warm up band!
Then the vocalist opened his fucking mouth.
Oh.
...oh no.
He's a growler.
Every single track was delivered with a Death Metal growl, ruining many songs that could've been salvaged with a vocalist who could actually sing. Don't get me wrong, guttural growling is a talent if done properly (which it was). However, it's also good to showcase more than one pitch when singing. It also got a little ridiculous when the vocalist started talking to the audience in exactly the same growling voice. However, terrible vocals aside, the band had personality and their music seemed perfect for a Ghost gig.
Once again, the guitarist was the life of the party and I'd recommend watching some videos of this band performing live just so you can seem them prancing about as they play. I don't recommend the band until they shitcan the growling vocal style in favour of one more melodic but at least the evening started off OK.
Then the second warm-up band came on.
Oh.
...oh fuck no.
The second warm-up band were All Them Witches, an American Stoner Metal band that were pretty damn minimalist in comparison to Tribulation. They started playing "Funeral For A Great Drunken Bird" and I'm pretty sure they were still playing it about 35 minutes later on account of all their songs sounding exactly the fucking same. The same droning guitar, the same dull percussion, the same nonsensical lyrics and boring vocals. They also had absolutely no stage presence, often remaining rooted to the same spot where they stood for the entire gig.
Fortunately, there were some positives. The guitarist broke into some semi-decent shreddy solos towards the end of their set so they're somewhat technically proficient. However, it was all at the service of a completely forgettable, tiresome jam that apparently contained eight different songs. I would not recommend this band at all. Maybe their studio work is decent and maybe they're all genuinely cool guys but the impression I got from their show was that they're pretentious and tedious without being talented enough as a team to justify it. Ghost should've had this band come on first followed by Tribulation, as that would've been the more appropriate progression of talent.
As you can imagine, my experience so far had been pretty weak. Both bands had added to my belief that modern bands pick shit warm-up acts and I was already feeling pretty tired. It's also a bit of a red flag when bands pick more than one warm-up act, as it suggests they're either totally full of themselves or shit. I'd heard Ghost put on utterly incredible shows live so my expectations were already starting to seem poorly judged.
Then Ghost came on.
Oh.
...oh?
They were fucking amazing.
Ghost played a set of twenty songs over two hours and I can honestly say I wish they'd played more. From "Rats" at the start to "Square Hammer" at the end, they were electrifying. I actually recorded footage from their opening song and listening to it again several days after seeing them, I was still shocked at how similar it sounded to the studio recording. After the anonymous band of ghouls got the crowd on their feet with roaring riffs, the frontman Tobias Forge sauntered to the front to address his congregation. A while ago, someone asked me if there's ever been a frontman as charismatic as Freddie Mercury and whilst I didn't have an answer at the time, I fucking do now!
Tobias really knows how to work a crowd. He can flawlessly perform each track he single-handedly wrote and recorded but his movement across the stage and interactions with each band member are what really makes him stand out. There were many moments where he'd engage in some back & forth with one of the guitarists without altering the performance of the song or making it feel rehearsed in any way; each movement felt organic and mystifying to watch. As for banter in between songs, Tobias didn't disappoint there either. His on-stage persona has the perfect blend of humour and flamboyance without getting too sucked into himself like some Heavy Metal frontmen can often do.
As for the music? What do you want me to say, it was perfect. Absolutely perfect. The band nailed the material off Prequelle (what I was there to hear) and managed to enhance their older material to the point where studio recordings don't quite cut it for me anymore. Ghost put on quite possibly the greatest live show I've ever seen (either that or an incredibly close second) and if you can get tickets to see them, I strongly recommend it. Tobias is working on a new album and if that's as good as Prequelle, you'd be a fool to miss out on the chance to see them live. It would seem my "astronomically high" expectations I held were worth it in the end, although it is a shame they didn't pick better warm-up acts. Maybe Tobias intentionally chose shitty ones to make his band sound better by comparison, although that would be kinda dickish. Besides, I would strongly doubt that Tobias is the kind of musician to screw over the little guy.
Then I found out about the lawsuits.
Oh.
...ah well, they still kicked ass.
Showing posts with label Metal. Show all posts
Showing posts with label Metal. Show all posts
Tuesday, 3 December 2019
Saturday, 31 August 2019
Fear Inoculum - Tool
The day has arrived. Fans have been waiting what feels like an eternity for new material and it's finally here! That's right, it's a brand new blog post from me!
Before Tool decided to pull their heads out of their arses and bring their music to iTunes/Spotify, I didn't really have a strong opinion of them. I knew three of their songs through Guitar Hero and thought they all sounded kinda repetitive, like each song had a great riff but the band didn't know what to do with it other than milk it until the raw teet was producing nothing but dust. It was only after listening to their back catalogue earlier this month that I realised that's the majority of Tool songs; a great 5-6 minute song with five minutes of unnecessary droning around it.
Fans of Tool will be delighted to know that Fear Inoculum, their first album in 13 years, continues the trend of songs going on far too long to the point that the band reach Josh Homme levels of pretentiousness without showing the necessary technical proficiency to justify 15 minute Prog Metal odysseys about the number seven ("7empest"). But let's look at the positives first, shall we? For kick off, album opener, lead single and title track "Fear Inoculum" is easily the best song on the record.
It may be 10 minutes long and only six of those are worth listening to but the eerie delayed riff, build up of each instrument and fantastic bass (a staple of the best Tool songs thanks to Justin Chancellor/Paul D'Amour) are perfect for fans of their previous albums and newcomers introduced to the band due to their sudden willingness to be heard by actual people alike. It should also be noted that regardless of musical taste, this album is clearly the band's artistic vision; flawed and uncompromising like all great works of art should be, even though I'm sure many diehards were already hitting the message boards with rants about Maynard Keenan selling out after they posted their music online.
However, even the most incandescent, red-faced fan pounding their keys in rage over the disappointment of this album would have the makings of a solid argument if they used the words "tedious", "pompous" or "dull" in the midst of their frothing tirade. It doesn't matter if you love Prog Metal or not, this album is hard work to listen to. To actually sit through all 90 minutes actively listening to a band musically masturbating with the same drawn-out, simplistic melodies recycled and reworked you've heard by the fourth track requires the kind of discipline most monks who vow to spend their lives in celibate silence strive to achieve.
One sign of the band's obvious self-importance comes in the form of multiple soundscapes acting as interludes between the longer, Proggier tunes ("Litanie contre la Peur", "Legion Inoculant", "Chocolate Chip Trip", "Mockingbeat"). It's bad enough when bands flood albums with pointless 40 second tuneless wankfests - looking at you, Slipknot - but these tracks range from two to almost five minutes in length. They could've written actual songs that last that long but instead put their creative and musical talents into minimalist nonsense.
A great example of an album utilising short interludes to act as bridges between tracks is "FX" from Vol. 4 - Black Sabbath. After "Changes", a piano ballad about dealing with a break-up, you need a short breather before returning to roaring Heavy Metal in the form of "Supernaut". However, not only is "FX" less than two minutes long but it's also placed between two tracks that are worlds apart from each other in tone and sound. To the casual listener, every song on the Tool album sounds similar enough to not warrant the pointless procedurally generated audio files that take up 14% of the album.
The remaining 86% consists of tracks containing interchangeable strum patterns to atypical time signatures ("Descending"), multiple endings to extend an already padded song length ("Invincible") and the occasional great riffs that trick you into thinking a song is good because the band were clever enough to use them at the start and end ("Pneuma"). It's commendable that the band refused to bow to the temptations of a commercial sounding record in a time where once respectable Rock bands have decided to pair themselves with Pop producers but ultimately, it's a tough album to get into and definitely not one I'd lose sleep over if I never heard again.
For people who enjoy listening to albums as an immersive experience where they shut the curtains and seal themselves off from the rest of the world to take in the majesty of the music, this album might be pretty good. To everyone else, nothing on the album stands out as exceptional. Title track aside, the music is forgettable and nothing you haven't already heard from Tool already. I rate the album 3/10 largely for the ambition and effort. Sure, there are some musical highlights like the four-minute guitar solo that's intricately composed and not horrible to listen to but when it's encased in a 15 minute track, you're unlikely to want to listen to it again.
Much like anal sex, I recommend listening to Fear Inoculum at least once as an experience. You may find that you're more into it than you previously assumed but it's more likely that you'll not get anything out of it that you couldn't get from other places. Be warned though, you should only give it a go if you're in the right mood and can stomach pure shit.
Before Tool decided to pull their heads out of their arses and bring their music to iTunes/Spotify, I didn't really have a strong opinion of them. I knew three of their songs through Guitar Hero and thought they all sounded kinda repetitive, like each song had a great riff but the band didn't know what to do with it other than milk it until the raw teet was producing nothing but dust. It was only after listening to their back catalogue earlier this month that I realised that's the majority of Tool songs; a great 5-6 minute song with five minutes of unnecessary droning around it.
Fans of Tool will be delighted to know that Fear Inoculum, their first album in 13 years, continues the trend of songs going on far too long to the point that the band reach Josh Homme levels of pretentiousness without showing the necessary technical proficiency to justify 15 minute Prog Metal odysseys about the number seven ("7empest"). But let's look at the positives first, shall we? For kick off, album opener, lead single and title track "Fear Inoculum" is easily the best song on the record.
It may be 10 minutes long and only six of those are worth listening to but the eerie delayed riff, build up of each instrument and fantastic bass (a staple of the best Tool songs thanks to Justin Chancellor/Paul D'Amour) are perfect for fans of their previous albums and newcomers introduced to the band due to their sudden willingness to be heard by actual people alike. It should also be noted that regardless of musical taste, this album is clearly the band's artistic vision; flawed and uncompromising like all great works of art should be, even though I'm sure many diehards were already hitting the message boards with rants about Maynard Keenan selling out after they posted their music online.
However, even the most incandescent, red-faced fan pounding their keys in rage over the disappointment of this album would have the makings of a solid argument if they used the words "tedious", "pompous" or "dull" in the midst of their frothing tirade. It doesn't matter if you love Prog Metal or not, this album is hard work to listen to. To actually sit through all 90 minutes actively listening to a band musically masturbating with the same drawn-out, simplistic melodies recycled and reworked you've heard by the fourth track requires the kind of discipline most monks who vow to spend their lives in celibate silence strive to achieve.
One sign of the band's obvious self-importance comes in the form of multiple soundscapes acting as interludes between the longer, Proggier tunes ("Litanie contre la Peur", "Legion Inoculant", "Chocolate Chip Trip", "Mockingbeat"). It's bad enough when bands flood albums with pointless 40 second tuneless wankfests - looking at you, Slipknot - but these tracks range from two to almost five minutes in length. They could've written actual songs that last that long but instead put their creative and musical talents into minimalist nonsense.
A great example of an album utilising short interludes to act as bridges between tracks is "FX" from Vol. 4 - Black Sabbath. After "Changes", a piano ballad about dealing with a break-up, you need a short breather before returning to roaring Heavy Metal in the form of "Supernaut". However, not only is "FX" less than two minutes long but it's also placed between two tracks that are worlds apart from each other in tone and sound. To the casual listener, every song on the Tool album sounds similar enough to not warrant the pointless procedurally generated audio files that take up 14% of the album.
The remaining 86% consists of tracks containing interchangeable strum patterns to atypical time signatures ("Descending"), multiple endings to extend an already padded song length ("Invincible") and the occasional great riffs that trick you into thinking a song is good because the band were clever enough to use them at the start and end ("Pneuma"). It's commendable that the band refused to bow to the temptations of a commercial sounding record in a time where once respectable Rock bands have decided to pair themselves with Pop producers but ultimately, it's a tough album to get into and definitely not one I'd lose sleep over if I never heard again.
For people who enjoy listening to albums as an immersive experience where they shut the curtains and seal themselves off from the rest of the world to take in the majesty of the music, this album might be pretty good. To everyone else, nothing on the album stands out as exceptional. Title track aside, the music is forgettable and nothing you haven't already heard from Tool already. I rate the album 3/10 largely for the ambition and effort. Sure, there are some musical highlights like the four-minute guitar solo that's intricately composed and not horrible to listen to but when it's encased in a 15 minute track, you're unlikely to want to listen to it again.
Much like anal sex, I recommend listening to Fear Inoculum at least once as an experience. You may find that you're more into it than you previously assumed but it's more likely that you'll not get anything out of it that you couldn't get from other places. Be warned though, you should only give it a go if you're in the right mood and can stomach pure shit.
Thursday, 31 January 2019
The RARRAMAMSPAs 2019
It was a smashing success last year so I'm bringing it back again, it is....
The Riffs And Raffs Rock And Metal (And Maybe Some Pop) Awards!
Since this is the second time I'm doing this, there'll be similarities and differences between the RARRAMAMSPAs from 2018. Namely, the award categories will contain a blend of old and new, as some categories may not apply as effectively to the last year's music. Once again, I feel it's necessary to remind you that these awards aren't meant to be taken seriously (just like every single awards show in the history of awards shows, yada yada yada) and that my opinion on albums I rate highly in this post might change throughout the course of the year.
With that in mind, let's celebrate a slight improvement over 2017's musical banquet!
The "Boston Zeppelin Through The Night" Award for
BEST ROCK ALBUM
The album I valued the most that belonged to the Rock genre, including various subgenres such as Southern Rock, Hard Rock and Shoegazing. It does NOT include Metal, Pop and their subgenres.
And the nominees are...
Prequelle - Ghost
Living The Dream - Slash, feat. Myles Kennedy & The Conspirators
Used Future - The Sword
Living The Dream - Uriah Heep
And the winner is...
Prequelle - Ghost for being the single greatest album I've listened to in a long, long time. Some may call this a Metal album but to me, it rides the line between Rock and Metal in a way that can include the better aspects of both genres...hence, it counts!
The "Screaming For Powerslave In Peace" Award for
BEST METAL ALBUM
The album I valued the most that belonged to the Metal genre, including various subgenres such as Hair Metal and that's about it. It does NOT include Rock, Pop and their subgenres.
And the nominees are...
Firepower - Judas Priest
Thunderbolt - Saxon
The Sacrament Of Sin - Powerwolf
Used Future - The Sword
And the winner is...
Prequelle - Ghost for being the SINGLE GREATEST ALBUM I've listened to in a long, long time that contains aspects of Rock AND Metal so fuck you, it wins this one as well. Go listen to Prequelle and tell me I'm wrong. If I had to pick one from the list above to win, I guess it'd be The Sacrament Of Sin - Powerwolf for being a very close runner-up though.
The "Sgt. Pepper's Thriller Sounds" Award for
BEST POP ALBUM
The album I valued the most that belonged to the Pop genre. Pop albums may contain songs with a Rock twist or be recorded by Rock bands so long as it's very clearly a Pop album.
And the nominees are...
Simulation Theory - Muse
Attention Attention - Shinedown
Some Generic Noise - A Sexy Glistening Womanhole
Breathy Acoustic Moaning - A Sexy Pouty Manboy
And the winner is...
Well it's fucking Prequelle - Ghost, isn't it? Who cares about Pop albums on this blog, fact of the matter is Prequelle was the best album of the year. It was so good that an album traversing three different musical genres deserves three separate awards for doing them so perfectly. Out of the albums on the list above, I guess Attention Attention - Shinedown is the best although it really stretches the definition of Pop. Then again, so does Prequelle so feel free to give your own personal award to whichever you think deserves it the most although if it's not Prequelle, I'll be very disappointed.
The "Generation Lulu Or Bust" Award for
MOST PATHETIC ALBUM
The album that could've been decent (or maybe even great) if the band got their shit together and one or more members didn't absolutely phone it in. It's anyone's game in the genre department and once again, you're in the wrong part of the Internet if you want to read about Pop.
And the nominees are...
Simulation Theory - Muse
Post-Apocalypto - Tenacious D
Anthem Of The Peaceful Army - Greta Van Fleet
The Music Made Me Do It - Ted Nugent
And the winner is...
Post-Apocalypto - Tenacious D, hands down. Greta Van Fleet have only released EPs so a disappointing first album isn't quite as pathetic as a fourth record by a band who very clearly rushed the songwriting process to whack something out before the end of the year. The same can be said for Muse, a band familiar with releasing poor albums, and Ted Nugent, an artist who hasn't fallen from the mountain of grace so much as tumbled off a footstool. Mind you, Ted Nugent was very close to winning this one if not for Tenacious D's utter failure.
The "Tyranny And Caress Of Miracles" Award for
MOST UNDERRATED ALBUM OF LAST YEAR
The album from 2017 that deserved some love in last year's RARRAMAMSPAs but took me an entire year to realise it. Rock and Metal albums only in this post, as I don't think any Pop albums are underrated (especially not modern ones).
And the nominees are...
The Mission - Styx
About Time - Horisont
The Knight Of Rebellion - Dream Troll
From The Fires - Greta Van Fleet
And the winner is...
About Time - Horisont. Maybe if Anthem Of The Peaceful Army wasn't so mediocre, From The Fires would've taken this win. However, an album that immediately grabbed me and encouraged me to check out more of the band is definitely one that should've been featured in last year's blog post...although it still probably would've lost to Pinewood Smile - The Darkness.
Now onto the awards for musical moments!
The "Planet Classic Blabbermouth" Award for
BEST NEWS STORY
This award goes to the news story that I'm most proud of bringing to you. The story that I think has the best details and most imaginative series of events that totally happened.
And the nominees are...
Bruce Springsteen Finishes 148 Hour Concert
Kirk Hammett To Face Pedal Abuse Charges
Led Zeppelin Are Not Touring Or Recording New Music
K.K. Downing "Still Upset" Over Starbucks Argument
And the winner is...
Led Zeppelin Are Not Touring Or Recording New Music. I like all of these articles but every time I see a tweet about Jimmy Page's new interview or something like that, I'm always reminded of this universal, evergreen article. The Bruce Springsteen one is a close second, mind.
The "Number Of Flames With Rock Of The Night" Award for
BEST RIFF
This award goes to the song with the most awesome riff played on guitar in 2018. Any songs from the Rock, Metal and Pop genre are eligible although let's face it, Pop ain't winning no riff competition. As for which riffs I'm counting (as many great Rock songs feature at least 3 distinguishable riffs), I'm mostly looking for riffs that carry the song's main melody rather than decent ones used sporadically throughout the track
And the nominees are...
"Firepower" - Judas Priest
"Dance Macabre" - Ghost
"Fire And Forgive" - Powerwolf
"Rats" - Ghost
And the winner is...
"Rats" - Ghost. They are REALLY cleaning up tonight, huh.
And finally
The "Master Of Sex Magik...But Who's Buying" Award for
PEOPLE'S FAVOURITE BLOG POST
This award goes to the Riffs And Raffs blog post written/posted in 2018 that had the most views, even if it wasn't my personal favourite or even best piece of writing. Yes, this award might be a little self-congratulatory but fuck it, this is my BBQ so I get to choose the meat.
And the winner is...
Rapid Fire: Motorhead, David Bowie, Tom Petty with 3097 views!
Again, most (if not all) of these are probably bot/spam so if I had to guess, the post with the most actual views is probably this one after I asked people to read it on Twitter. Anyway, numbers!!
Before I finish up, I just wanted to say a few final words regarding blog post plans for the upcoming year.
Over the last couple of years, I set myself the challenge of writing at least one blog post a week (or an equivalent average) to keep my mind focused and my writing talents alive. However, fans of this blog will probably know that most of the blog posts I submitted in 2018 were all done in the last week of the month, hastily typed up just to meet the quota for the year. This was mostly because I was busy with other commitments but I also think it's because I didn't really have a lot to write about towards the end of the year, particularly when Rock/Metal news stories died down and album releases weren't as common.
As a result, I've decided to reduce the amount I'll be posting on this blog.
Don't worry, I'M NOT STOPPING!
I still intend to post album reviews, periodic Here Is The News satire pieces and everything else I usually write. I just won't be posting them as often. There are two main reasons for my decision:
Firstly, whilst I still enjoy writing certain blog posts, I felt that rushing out four posts in a week because I'd left it so late due to lack of inspiration throughout the month didn't result in quality writing. Sure, some of the posts were great but towards the end of the year, I felt like I was scraping the barrel a little. I'd rather write a blog post that I'm proud of after a brilliant idea comes to me than whack out filler posts for the sake of it.
Secondly, people close to me know that I want to get into screenwriting as a profession and I've always told myself that until I can actually get my shit together, writing blog posts helps me improve and keeps me actively doing the thing I want to do for a living. Unfortunately, after some introspection, I feel like I've been using that as an excuse to not pursue my dream. I've set myself the goal of actually writing and submitting a proper script this year (which is coming along nicely, by the way) so I'd rather dedicate my writing energy to that over a series of blog posts about which songs I like in Guitar Hero/Rock Band games.
As I said up above, I WILL STILL BE SUBMITTING BLOG POSTS THROUGHOUT THE YEAR although I'm not going to put a number on exactly how many I intend to write or when I intend to write them. In the meantime, if you want to hear me casually talk about music you can always follow me on Twitter (where I'll be sharing new blog posts) OR check out my Twitch streams where I play Clone Hero and other video games, frequently discussing music and other topics.
Well then, now that that's out of the way, let's try to enjoy 2019 before it's too late!
The Riffs And Raffs Rock And Metal (And Maybe Some Pop) Awards!
Since this is the second time I'm doing this, there'll be similarities and differences between the RARRAMAMSPAs from 2018. Namely, the award categories will contain a blend of old and new, as some categories may not apply as effectively to the last year's music. Once again, I feel it's necessary to remind you that these awards aren't meant to be taken seriously (just like every single awards show in the history of awards shows, yada yada yada) and that my opinion on albums I rate highly in this post might change throughout the course of the year.
With that in mind, let's celebrate a slight improvement over 2017's musical banquet!
The "Boston Zeppelin Through The Night" Award for
BEST ROCK ALBUM
The album I valued the most that belonged to the Rock genre, including various subgenres such as Southern Rock, Hard Rock and Shoegazing. It does NOT include Metal, Pop and their subgenres.
And the nominees are...
Prequelle - Ghost
Living The Dream - Slash, feat. Myles Kennedy & The Conspirators
Used Future - The Sword
Living The Dream - Uriah Heep
And the winner is...
Prequelle - Ghost for being the single greatest album I've listened to in a long, long time. Some may call this a Metal album but to me, it rides the line between Rock and Metal in a way that can include the better aspects of both genres...hence, it counts!
The "Screaming For Powerslave In Peace" Award for
BEST METAL ALBUM
The album I valued the most that belonged to the Metal genre, including various subgenres such as Hair Metal and that's about it. It does NOT include Rock, Pop and their subgenres.
And the nominees are...
Firepower - Judas Priest
Thunderbolt - Saxon
The Sacrament Of Sin - Powerwolf
Used Future - The Sword
And the winner is...
Prequelle - Ghost for being the SINGLE GREATEST ALBUM I've listened to in a long, long time that contains aspects of Rock AND Metal so fuck you, it wins this one as well. Go listen to Prequelle and tell me I'm wrong. If I had to pick one from the list above to win, I guess it'd be The Sacrament Of Sin - Powerwolf for being a very close runner-up though.
The "Sgt. Pepper's Thriller Sounds" Award for
BEST POP ALBUM
The album I valued the most that belonged to the Pop genre. Pop albums may contain songs with a Rock twist or be recorded by Rock bands so long as it's very clearly a Pop album.
And the nominees are...
Simulation Theory - Muse
Attention Attention - Shinedown
Some Generic Noise - A Sexy Glistening Womanhole
Breathy Acoustic Moaning - A Sexy Pouty Manboy
And the winner is...
Well it's fucking Prequelle - Ghost, isn't it? Who cares about Pop albums on this blog, fact of the matter is Prequelle was the best album of the year. It was so good that an album traversing three different musical genres deserves three separate awards for doing them so perfectly. Out of the albums on the list above, I guess Attention Attention - Shinedown is the best although it really stretches the definition of Pop. Then again, so does Prequelle so feel free to give your own personal award to whichever you think deserves it the most although if it's not Prequelle, I'll be very disappointed.
The "Generation Lulu Or Bust" Award for
MOST PATHETIC ALBUM
The album that could've been decent (or maybe even great) if the band got their shit together and one or more members didn't absolutely phone it in. It's anyone's game in the genre department and once again, you're in the wrong part of the Internet if you want to read about Pop.
And the nominees are...
Simulation Theory - Muse
Post-Apocalypto - Tenacious D
Anthem Of The Peaceful Army - Greta Van Fleet
The Music Made Me Do It - Ted Nugent
And the winner is...
Post-Apocalypto - Tenacious D, hands down. Greta Van Fleet have only released EPs so a disappointing first album isn't quite as pathetic as a fourth record by a band who very clearly rushed the songwriting process to whack something out before the end of the year. The same can be said for Muse, a band familiar with releasing poor albums, and Ted Nugent, an artist who hasn't fallen from the mountain of grace so much as tumbled off a footstool. Mind you, Ted Nugent was very close to winning this one if not for Tenacious D's utter failure.
The "Tyranny And Caress Of Miracles" Award for
MOST UNDERRATED ALBUM OF LAST YEAR
The album from 2017 that deserved some love in last year's RARRAMAMSPAs but took me an entire year to realise it. Rock and Metal albums only in this post, as I don't think any Pop albums are underrated (especially not modern ones).
And the nominees are...
The Mission - Styx
About Time - Horisont
The Knight Of Rebellion - Dream Troll
From The Fires - Greta Van Fleet
And the winner is...
About Time - Horisont. Maybe if Anthem Of The Peaceful Army wasn't so mediocre, From The Fires would've taken this win. However, an album that immediately grabbed me and encouraged me to check out more of the band is definitely one that should've been featured in last year's blog post...although it still probably would've lost to Pinewood Smile - The Darkness.
Now onto the awards for musical moments!
The "Planet Classic Blabbermouth" Award for
BEST NEWS STORY
This award goes to the news story that I'm most proud of bringing to you. The story that I think has the best details and most imaginative series of events that totally happened.
And the nominees are...
Bruce Springsteen Finishes 148 Hour Concert
Kirk Hammett To Face Pedal Abuse Charges
Led Zeppelin Are Not Touring Or Recording New Music
K.K. Downing "Still Upset" Over Starbucks Argument
And the winner is...
Led Zeppelin Are Not Touring Or Recording New Music. I like all of these articles but every time I see a tweet about Jimmy Page's new interview or something like that, I'm always reminded of this universal, evergreen article. The Bruce Springsteen one is a close second, mind.
The "Number Of Flames With Rock Of The Night" Award for
BEST RIFF
This award goes to the song with the most awesome riff played on guitar in 2018. Any songs from the Rock, Metal and Pop genre are eligible although let's face it, Pop ain't winning no riff competition. As for which riffs I'm counting (as many great Rock songs feature at least 3 distinguishable riffs), I'm mostly looking for riffs that carry the song's main melody rather than decent ones used sporadically throughout the track
And the nominees are...
"Firepower" - Judas Priest
"Dance Macabre" - Ghost
"Fire And Forgive" - Powerwolf
"Rats" - Ghost
And the winner is...
"Rats" - Ghost. They are REALLY cleaning up tonight, huh.
And finally
The "Master Of Sex Magik...But Who's Buying" Award for
PEOPLE'S FAVOURITE BLOG POST
This award goes to the Riffs And Raffs blog post written/posted in 2018 that had the most views, even if it wasn't my personal favourite or even best piece of writing. Yes, this award might be a little self-congratulatory but fuck it, this is my BBQ so I get to choose the meat.
And the winner is...
Rapid Fire: Motorhead, David Bowie, Tom Petty with 3097 views!
Again, most (if not all) of these are probably bot/spam so if I had to guess, the post with the most actual views is probably this one after I asked people to read it on Twitter. Anyway, numbers!!
Before I finish up, I just wanted to say a few final words regarding blog post plans for the upcoming year.
Over the last couple of years, I set myself the challenge of writing at least one blog post a week (or an equivalent average) to keep my mind focused and my writing talents alive. However, fans of this blog will probably know that most of the blog posts I submitted in 2018 were all done in the last week of the month, hastily typed up just to meet the quota for the year. This was mostly because I was busy with other commitments but I also think it's because I didn't really have a lot to write about towards the end of the year, particularly when Rock/Metal news stories died down and album releases weren't as common.
As a result, I've decided to reduce the amount I'll be posting on this blog.
Don't worry, I'M NOT STOPPING!
I still intend to post album reviews, periodic Here Is The News satire pieces and everything else I usually write. I just won't be posting them as often. There are two main reasons for my decision:
Firstly, whilst I still enjoy writing certain blog posts, I felt that rushing out four posts in a week because I'd left it so late due to lack of inspiration throughout the month didn't result in quality writing. Sure, some of the posts were great but towards the end of the year, I felt like I was scraping the barrel a little. I'd rather write a blog post that I'm proud of after a brilliant idea comes to me than whack out filler posts for the sake of it.
Secondly, people close to me know that I want to get into screenwriting as a profession and I've always told myself that until I can actually get my shit together, writing blog posts helps me improve and keeps me actively doing the thing I want to do for a living. Unfortunately, after some introspection, I feel like I've been using that as an excuse to not pursue my dream. I've set myself the goal of actually writing and submitting a proper script this year (which is coming along nicely, by the way) so I'd rather dedicate my writing energy to that over a series of blog posts about which songs I like in Guitar Hero/Rock Band games.
As I said up above, I WILL STILL BE SUBMITTING BLOG POSTS THROUGHOUT THE YEAR although I'm not going to put a number on exactly how many I intend to write or when I intend to write them. In the meantime, if you want to hear me casually talk about music you can always follow me on Twitter (where I'll be sharing new blog posts) OR check out my Twitch streams where I play Clone Hero and other video games, frequently discussing music and other topics.
Well then, now that that's out of the way, let's try to enjoy 2019 before it's too late!
Monday, 31 December 2018
Tenology: My Ten Favourite Rock/Metal Songs Of 2018
Well, here we are again. End of the year which means it's time to look back at all the new albums and singles I've enjoyed throughout 2018 and present them in a list of no particular order. That's right, this is NOT a "Top 10" post where the first or last song in the entry is the greatest song of the year, nor is it a ranking list of my favourite songs after listening to every Rock/Metal album released. There will be omissions and there will be no real reason for putting the ten songs I've picked in the specific order listed below, other than "because I wanted to do it this way".
Fortunately, I'll probably cover those omissions in a 2020 blog post in a similar manner to the one I'm planning for early 2019 where I'll be looking at songs from 2017 that I really enjoyed yet didn't listen to until some time in 2018. Got that? No? Too bad. One last thing before I start: I've included a Spotify playlist at the bottom of this post so you can listen to all the songs I've rated (honourable mentions and all!) whilst reading about why I liked them. It's also an opportunity for you to hear songs I really liked and would recommend in case you missed them. Right, let's do this!
1. "When The Curtain Falls" - Greta Van Fleet
When I reviewed Anthem Of The Peaceful Army a couple of months ago, I was largely indifferent to the majority of the songs due to how disappointing it was in comparison to the band's EP From The Fires. However, there were some songs I really liked and my favourite had to be lead single, "When The Curtain Falls". Great riff, shrill vocals and catchy melodies throughout, not to mention a decent solo to play us out. If you liked From The Fires but haven't listened to Anthem Of The Peaceful Army yet, you're probably better off listening to this song and maybe a handful of others instead of the whole album. Personal taste will depend on the other songs I'd recommend but regardless of what you're into, I'll always recommend this one.
2. "Firepower" - Judas Priest
Another song from an album I reviewed on the blog; don't worry, there'll be some tracks I haven't discussed before here too. The latest Judas Priest album was essentially a love letter to fans of the band's earlier material, combining good aspects of Painkiller, Screaming For Vengeance and British Steel with a modern twist. "Firepower" is a great title track and album opener with awesome riffs and fantastic vocals, exactly what was needed to remind fans that the band could still kick ass. There were other belters on the album too and who knows, maybe you'll see a few more in this post...
3. "Venom Of Venus" - Powerwolf
I only just finished writing about The Sacrament Of Sin, a great Power Metal album that contains a load of great tunes with heavy riffing and mild solos. However, for an album that's strength lies in its melodic nature, "Venom Of Venus" was the track that got me invested more than any other. The vocals steal the show, although the rest of the band bring the thunder too. However, I was also tempted to include "Fire & Forgive", "The Sacrament Of Sin" or "Fist By Fist (Sacralize Or Strike)" on this list too, although I feel like this song will stick with me longer than those.
4. "Fuchsia Machu Picchu" - Joachim Cooder
...who? Yeah, I heard this song on the radio one day and loved it. Great thumping rhythm, nice vocals, funky riffs and mystical accompaniments. I guess this is more of a Rock song than Pop, although it's probably the closest thing to Pop on this list. I haven't listened to any other songs by Joachim Cooder but if I hear something else by him/them (?) that I like, I'll be sure to check more tunes out. Until then, at least we've got this strange little number that I bet none of you ever expected to see on this list.
5. "Miasma" - Ghost
I'm mixing the formula up a bit by putting my number one favourite song of the year (from my number one favourite album of the year, as reviewed here) at the midway point of the post, rather than at the end like the last two from 2016/2017. This instrumental is fucking great and just goes from strength to strength as the song progresses. By the three minute mark, the song's taken off and before you know it, there are solos played on not just guitar and synth but also a fucking saxophone. This Metal instrumental finds a way of making a saxophone solo sound badass and for that reason alone, it deserves a spot on this list.
6. "Necromancer" - Judas Priest
Hey, look at that, Judas Priest showed up again! Revisiting some of my favourite songs from 2018 (a list that previously had about 30 different tracks in it), I tried to give songs by a wider variety of artists a chance but at the end of the day, I found myself enjoying multiple Judas Priest tracks over ones by Shinedown and Saxon. Whilst "Firepower" is probably my number one favourite off the album, "Necromancer" is a very close second. The faster tempo in the verse to give the song a driving rhythm is great and come on, if there's one thing Judas Priest knows how to do it's write awesome themes for their own mythological characters.
7. "Firewalker" - King Zebra
This was another song recommended to me that I ended up loving. Granted it might be a little similar to some of the others on this list (you can tell I definitely have a specific taste!) but when a band I've never heard of gets my attention as fast as King Zebra did with this song, I know they're worth mentioning. Fortunately for them, their song was great enough to earn a place on the full list and not just the honourable mentions so if you like NWOTHM, check this song out!
8. "Sugar Cane" - Slash, feat. Myles Kennedy & The Conspirators
This song nearly didn't make it in the list! I completely forgot about this album until I started writing the post and after revisiting a few tracks that I remembered enjoying, I found myself wanting to come back to this song over all the others. Awesome Slash riffs, fantastic Myles Kennedy vocals in the chorus and a vibe that makes it sound like the perfect song to fucking jam to in a live gig. There are some other decent tracks on the Slash album too (that I mention in my review found here) but "Sugar Cane" is probably my favourite from it.
9. "Whatever" - Thundermother
Another new song that I heard on the radio once and forgot about for a while until revisiting all of the year's best tunes. Imagine if Halestorm were just a little bit better musically and you've got "Whatever" - Thundermother. You get the same raw vocal talent but with the added benefit of better solos, percussion and general song structure. It's a shame that Thundermother seem to be going through somewhat of a tempestuous period with changing lineups and whatnot but fingers crossed the lineup from this album sticks around for some time!
10. "Rats" - Ghost
I mean, you should've seen this one coming. Even if "Miasma" is my favourite song of the year, "Rats" is a very strong second best from Prequelle. I've talked about the track before but in short, it's got everything needed to make a perfect anthematic Rock song. If you read this blog, you must've heard the song by now. You must know that I fucking love this song and album so it's no surprise that it's on this list.
What MIGHT be a surprise are some of these honourable mentions (in alphabetical order):
"Book Of Thoth" - The Sword
I thought the latest album by The Sword was OK (review here) and had several tracks I was considering for the coveted spot of an honourable mention here. However, in the end, I went with "Book Of Thoth" for containing the heavy riffs I associate with The Sword and some interesting guitar playing too. It's a more memorable song than some of my other favourites from Used Future but it's not quite as good as the tracks listed above. At least not to me, anyway.
"Dance Macabre" - Ghost
Got to fit Ghost in one last time (go fucking listen to Prequelle). Whilst "Miasma" and "Rats" are worthy of a place in the main list, I felt like I couldn't justify three Ghost songs when there were other tracks that needed a place too. Sadly for "Dance Macabre", that meant one song had to be an honourable mention and this ABBA-esque Hard Rock tune drew the short straw. Don't get me wrong though, I still love the track and would recommend it without a moment's hesitation.
"Flame Thrower" - Judas Priest
Yup, same situation with Judas Priest. I liked Firepower and multiple songs on the album grabbed me in an incredibly pleasurable way but I couldn't put three songs off it in the list, hence "Flame Thrower" ending up here instead. I think it was easier moving this song here because I'm not really into the intro that much but once the percussion comes in, everything gets much better.
"Grazed By Heaven" - Uriah Heep
Definitely my favourite song from Living The Dream and probably the most accessible track to casual fans of the band, since it has the Hard Prog sound of guitar/organ harmonies. However, it also boasts some great lengthy solos too so if you only listen to one song from the album, make sure it's this one...which will probably happen anyway, since it's the album opener and lead single.
"The New Day" - Greta Van Fleet
The last song in the post and it's another repeat band! I may have been a bit frosty to their recent album but damn, I love this song's main riff. It's like a glorious blend of early Rush and peak Led Zeppelin...and then the vocals come in. They're so fucking bad in this song, they remind me of Steve Smith from American Dad (played by Scott Grimes) when he does a pained, high pitched scream. Those vocals can work in Hard Rock tracks but when you've got a more Folksy, acoustic-guitar driven melody and softer percussion, you need more delicate vocals. If I could travel across the multiverse and find a version of this song with identical music but someone more tactful than Josh Kiszka behind the mic, this song easily would've made the main ten.
That's it for 2018! I hope you've enjoyed what I've offered on the blog and will (hopefully) continue to offer throughout 2019 too!
Happy New Year to everyone who gives a shit about that sort of thing and see you all in January!
Fortunately, I'll probably cover those omissions in a 2020 blog post in a similar manner to the one I'm planning for early 2019 where I'll be looking at songs from 2017 that I really enjoyed yet didn't listen to until some time in 2018. Got that? No? Too bad. One last thing before I start: I've included a Spotify playlist at the bottom of this post so you can listen to all the songs I've rated (honourable mentions and all!) whilst reading about why I liked them. It's also an opportunity for you to hear songs I really liked and would recommend in case you missed them. Right, let's do this!
1. "When The Curtain Falls" - Greta Van Fleet
When I reviewed Anthem Of The Peaceful Army a couple of months ago, I was largely indifferent to the majority of the songs due to how disappointing it was in comparison to the band's EP From The Fires. However, there were some songs I really liked and my favourite had to be lead single, "When The Curtain Falls". Great riff, shrill vocals and catchy melodies throughout, not to mention a decent solo to play us out. If you liked From The Fires but haven't listened to Anthem Of The Peaceful Army yet, you're probably better off listening to this song and maybe a handful of others instead of the whole album. Personal taste will depend on the other songs I'd recommend but regardless of what you're into, I'll always recommend this one.
2. "Firepower" - Judas Priest
Another song from an album I reviewed on the blog; don't worry, there'll be some tracks I haven't discussed before here too. The latest Judas Priest album was essentially a love letter to fans of the band's earlier material, combining good aspects of Painkiller, Screaming For Vengeance and British Steel with a modern twist. "Firepower" is a great title track and album opener with awesome riffs and fantastic vocals, exactly what was needed to remind fans that the band could still kick ass. There were other belters on the album too and who knows, maybe you'll see a few more in this post...
3. "Venom Of Venus" - Powerwolf
I only just finished writing about The Sacrament Of Sin, a great Power Metal album that contains a load of great tunes with heavy riffing and mild solos. However, for an album that's strength lies in its melodic nature, "Venom Of Venus" was the track that got me invested more than any other. The vocals steal the show, although the rest of the band bring the thunder too. However, I was also tempted to include "Fire & Forgive", "The Sacrament Of Sin" or "Fist By Fist (Sacralize Or Strike)" on this list too, although I feel like this song will stick with me longer than those.
4. "Fuchsia Machu Picchu" - Joachim Cooder
...who? Yeah, I heard this song on the radio one day and loved it. Great thumping rhythm, nice vocals, funky riffs and mystical accompaniments. I guess this is more of a Rock song than Pop, although it's probably the closest thing to Pop on this list. I haven't listened to any other songs by Joachim Cooder but if I hear something else by him/them (?) that I like, I'll be sure to check more tunes out. Until then, at least we've got this strange little number that I bet none of you ever expected to see on this list.
5. "Miasma" - Ghost
I'm mixing the formula up a bit by putting my number one favourite song of the year (from my number one favourite album of the year, as reviewed here) at the midway point of the post, rather than at the end like the last two from 2016/2017. This instrumental is fucking great and just goes from strength to strength as the song progresses. By the three minute mark, the song's taken off and before you know it, there are solos played on not just guitar and synth but also a fucking saxophone. This Metal instrumental finds a way of making a saxophone solo sound badass and for that reason alone, it deserves a spot on this list.
6. "Necromancer" - Judas Priest
Hey, look at that, Judas Priest showed up again! Revisiting some of my favourite songs from 2018 (a list that previously had about 30 different tracks in it), I tried to give songs by a wider variety of artists a chance but at the end of the day, I found myself enjoying multiple Judas Priest tracks over ones by Shinedown and Saxon. Whilst "Firepower" is probably my number one favourite off the album, "Necromancer" is a very close second. The faster tempo in the verse to give the song a driving rhythm is great and come on, if there's one thing Judas Priest knows how to do it's write awesome themes for their own mythological characters.
7. "Firewalker" - King Zebra
This was another song recommended to me that I ended up loving. Granted it might be a little similar to some of the others on this list (you can tell I definitely have a specific taste!) but when a band I've never heard of gets my attention as fast as King Zebra did with this song, I know they're worth mentioning. Fortunately for them, their song was great enough to earn a place on the full list and not just the honourable mentions so if you like NWOTHM, check this song out!
8. "Sugar Cane" - Slash, feat. Myles Kennedy & The Conspirators
This song nearly didn't make it in the list! I completely forgot about this album until I started writing the post and after revisiting a few tracks that I remembered enjoying, I found myself wanting to come back to this song over all the others. Awesome Slash riffs, fantastic Myles Kennedy vocals in the chorus and a vibe that makes it sound like the perfect song to fucking jam to in a live gig. There are some other decent tracks on the Slash album too (that I mention in my review found here) but "Sugar Cane" is probably my favourite from it.
9. "Whatever" - Thundermother
Another new song that I heard on the radio once and forgot about for a while until revisiting all of the year's best tunes. Imagine if Halestorm were just a little bit better musically and you've got "Whatever" - Thundermother. You get the same raw vocal talent but with the added benefit of better solos, percussion and general song structure. It's a shame that Thundermother seem to be going through somewhat of a tempestuous period with changing lineups and whatnot but fingers crossed the lineup from this album sticks around for some time!
10. "Rats" - Ghost
I mean, you should've seen this one coming. Even if "Miasma" is my favourite song of the year, "Rats" is a very strong second best from Prequelle. I've talked about the track before but in short, it's got everything needed to make a perfect anthematic Rock song. If you read this blog, you must've heard the song by now. You must know that I fucking love this song and album so it's no surprise that it's on this list.
What MIGHT be a surprise are some of these honourable mentions (in alphabetical order):
"Book Of Thoth" - The Sword
I thought the latest album by The Sword was OK (review here) and had several tracks I was considering for the coveted spot of an honourable mention here. However, in the end, I went with "Book Of Thoth" for containing the heavy riffs I associate with The Sword and some interesting guitar playing too. It's a more memorable song than some of my other favourites from Used Future but it's not quite as good as the tracks listed above. At least not to me, anyway.
"Dance Macabre" - Ghost
Got to fit Ghost in one last time (go fucking listen to Prequelle). Whilst "Miasma" and "Rats" are worthy of a place in the main list, I felt like I couldn't justify three Ghost songs when there were other tracks that needed a place too. Sadly for "Dance Macabre", that meant one song had to be an honourable mention and this ABBA-esque Hard Rock tune drew the short straw. Don't get me wrong though, I still love the track and would recommend it without a moment's hesitation.
"Flame Thrower" - Judas Priest
Yup, same situation with Judas Priest. I liked Firepower and multiple songs on the album grabbed me in an incredibly pleasurable way but I couldn't put three songs off it in the list, hence "Flame Thrower" ending up here instead. I think it was easier moving this song here because I'm not really into the intro that much but once the percussion comes in, everything gets much better.
"Grazed By Heaven" - Uriah Heep
Definitely my favourite song from Living The Dream and probably the most accessible track to casual fans of the band, since it has the Hard Prog sound of guitar/organ harmonies. However, it also boasts some great lengthy solos too so if you only listen to one song from the album, make sure it's this one...which will probably happen anyway, since it's the album opener and lead single.
"The New Day" - Greta Van Fleet
The last song in the post and it's another repeat band! I may have been a bit frosty to their recent album but damn, I love this song's main riff. It's like a glorious blend of early Rush and peak Led Zeppelin...and then the vocals come in. They're so fucking bad in this song, they remind me of Steve Smith from American Dad (played by Scott Grimes) when he does a pained, high pitched scream. Those vocals can work in Hard Rock tracks but when you've got a more Folksy, acoustic-guitar driven melody and softer percussion, you need more delicate vocals. If I could travel across the multiverse and find a version of this song with identical music but someone more tactful than Josh Kiszka behind the mic, this song easily would've made the main ten.
That's it for 2018! I hope you've enjoyed what I've offered on the blog and will (hopefully) continue to offer throughout 2019 too!
Happy New Year to everyone who gives a shit about that sort of thing and see you all in January!
Tuesday, 23 October 2018
Showdown: Homages/Rip Offs 6 - Video Game edition Level 2
Is the title confusing enough for you?
Basically, two years ago I wrote a blog post looking at similarities between 10 Rock/Metal songs and 10 video game tunes whilst offering my opinion on whether the latter piece of music was a knowing wink to the original, a surreptitious copy of an existing track or a pure coincidence. Well, I'm doing another one! I'll also be giving my verdict on which song I believe is better based on personal taste, which came first and which tune sounds more appropriate for its medium.
Listed in each round will be the band and video game franchise, followed by the specific song and level or piece of music from aforementioned video game. I'll try to mention the game and (if I can find the information online) composer for said piece of music. There won't be a Spotify playlist for this as most of the video game tunes won't be available but I will include links to the video game music for you to listen to, if you want to compare as you read.
Time for another brawl!
ROUND ONE: Mega Man vs. Ghost
Dr. Wily's Castle - The theme from the final level of Mega Man 2 (released 1988) was composed by Takashi Tateishi and is considered one of gaming's most iconic themes. It's been remixed countless times by YouTubers and professional video game composers and is a pretty damn awesome piece of a music from a game full of great tunes. The galloping rhythm and melody played throughout is the focus here. Remember how it sounds, although anyone who's heard this tune probably doesn't need to try too hard to recall the melody.
Miasma - This is easily my favourite song off the most recent Ghost album, Prequelle. It's an instrumental featuring heavy riffs, synth melodies and a saxophone solo. However, after the percussion kicks in, we get treated to a guitar solo followed by the synth one. After the synth solo, we get a second guitar solo that contains a galloping riff incredibly similar to the main melody from Dr. Wily's Castle. There are subtle differences but the overwhelming similarities are undeniable. However, it's still an incredible song from what will almost certainly be the best album of the year.
VERDICT - Considering it's one small part of a great song and Ghost don't strike me as a band wanting to cater to old school gamers, I don't think they intentionally copied the theme from Mega Man 2 or intended it as a homage. It's almost certainly coincidence so the question now is which tune do I think is better? It's a hard choice but I'm gonna give the win to Ghost due to the quality of the instrumentation. Full band will always beat 8-bit and that's a fact.
ROUND TWO: Black Sabbath vs. Spider-Man
The Mob Rules - There were two Black Sabbath songs I could've chosen for this blog post but in the end, I went with this one. It's the title track off the band's second album with Ronnie James Dio as the vocalist, notable for its great guitar riff played throughout the song. However, unlike previous entries, we're not just focusing on specific part of the original track here. We're focusing on the riff, the percussion, the pre-chorus melody and the guitar solo.
Boss Theme 3 - This is the third Boss Theme from Spider-Man and Venom: Maximum Carnage for the SNES, released in 1994. Composers Chris Jojo and Tony Williams must've been big fans of 80s Heavy Metal as the comparisons to this tune and the Black Sabbath one stack up more than quite possibly any other example in these video game posts. Quite possibly most shocking of all is that the game doesn't even credit Black Sabbath for pinching their song, although I suppose it's a lot easier to deny plagiarism if you don't own up to it.
VERDICT - Absolutely a rip-off. Not just a rip-off but one done as a shitty MIDI file. The win goes to Black Sabbath for creating the song, making it sound awesome and for not getting due credit...although if it were a fist fight, Spider-Man would definitely win.
ROUND THREE: Surfaris vs. Spongebob Squarepants
Wipe Out - A classic Surf Rock tune with an iconic guitar riff and 12-bar Blues structure. It's also notable for the rolling drumbeat in between the riffs...and the vocal introduction of manic laughter followed by the words "wipe out", although we don't need to worry about that here. If the name of the song or band wasn't a dead giveaway, the sound should immediately make you think of surfing and having fun on the beach. It's a summer hit and the fact that it's mostly instrumental means it's easy to rework for video games.
Goo Lagoon - The beach level from Spongebob Squarepants: Battle For Bikini Bottom, a 3D platformer with music composed by Jimmy Levine. As I mentioned before, it's easy to be inspired by instrumental Surf Rock when writing video game music set on a beach where people surf (and presumably rock) so it's no real surprise that there are elements of "Wipe Out" here. Whilst it's not the most overt homage, the signs are definitely there.
VERDICT - I mean, I've already told you, haven't I? It's clearly a homage as none of the main riffs are directly lifted and the Blues chord progression is so damn common that it would be ridiculous to accuse Jimmy Levine of stealing the idea from "Wipe Out". That being said, I'm giving the win to Surfaris. I'd rather listen to "Wipe Out" than the Goo Lagoon level music, although I don't dislike it. The game actually has a colourful collection of fun tunes to listen to.
ROUND FOUR: Duran Duran vs. Double Dragon
Girls On Film - One of Duran Duran's biggest hits with a catchy chorus and, more importantly, intro riff. The guitar chords and their progression are key here, as that's what we'll be comparing. It's not a favourite of mine, even as far as 80s Pop Rock goes, but I don't hate the song. It's passable but it's no "Hungry Like The Wolf" or "Rio", that's for damn sure.
Intro Theme - The intro to Battletoads & Double Dragon for the SNES contains a similar sounding guitar riff despite being released in 1992, about 11 years after the Duran Duran single. Composer David Wise has acknowledged similarities to other 80s Pop Rock in his compositions (such as using the same equipment as "In The Air Tonight" - Phil Collins during a level from Donkey Kong Country 2, I believe) so this riff might be a little more than coincidence.
VERDICT - I think there may have been a cheeky bit of intentional or unintentional riff pinching going on, as this game seems to have very little to do with "Girls On Film" - Duran Duran so I can't see it being a homage or pure coincidence. Whilst the original song did come up with the riff over a decade before the game, I'm giving the win to Double Dragon as I prefer the heavier sound to it. If it was rerecorded with modern instruments, it'd definitely be the better tune.
ROUND FIVE: Alice In Chains vs. Doom
Them Bones - I've never been a big fan of Alice In Chains and the few songs of theirs that I generally enjoy listening to tend to need some form of modification (e.g. speeding up "Man In The Box" 25%) but I still know and admire aspects of this song. The guitar riff is heavy and evil, slowly ascending before plummeting back down again. It's the main riff and chorus that we're paying attention to for this comparison.
Bye Bye American Pie - Despite having spookier accompanying instruments and a less polished sound than the full band sound of Alice In Chains, the chords are seemingly identical in this piece of music from Doom 2 released just two years after "Them Bones". Composer Robert Prince didn't even credit Alice In Chains for this song either, another reason why I believe this is less of a homage and more of the other one.
VERDICT - This is another song that I reckon was a bit of a rip-off considering how similar it is without even crediting the original songwriters. However, if I had to choose which one I think fits its chosen medium better (90s Grunge vs. spooky song in FPS), I prefer the quality of the video game song. It sounds grittier and doesn't contain annoying vocals so the win goes to Doom.
ROUND SIX: Tina Turner vs. Super Smash Bros
Nutbush City Limits (The 90s Version) - Most people probably know the punchier version of this song from the 70s but in 1991, Tina Turner rerecorded this track with a slower tempo and a heavier emphasis on piano. The opening piano chords followed by the Dance Pop synthetic percussion and musical effects might sound familiar to Nintendo fans, as we'll discuss in a moment, but they also turn this song firmly into a Pop track. I debated including it here due to it not being a Rock song but hey, when you hear what I'm comparing it to, you'll understand why it needed talking about.
Targets! - Yep, the Target Smash song from Super Smash Bros. Melee sounds JUST like the 90s version of "Nutbush City Limits", what with the identical piano chords and synth accompaniments. Granted this tune is a little faster and has more guitar in it but it's pretty damn similar all the same. As the tracks progress, more differences emerge but the opening does all the damage necessary in my eyes.
VERDICT - I doubt composer Hirokazu Ando listened to Tina Turner before whacking out this tune so I'm chalking it up to coincidence rather than homage or rip-off. As for which song is better, I'm giving the win to Super Smash Bros simply because I have fond memories of Target Smash (and the Home Run Contest) thanks to this tune. Since it's a coincidence, I have no need to award Tina Turner the win for coming up with the song first and since it's a Dance Pop song instead of a Rock one, I'm not overly fond of the track itself. An easy decision.
ROUND SEVEN: Glenn Frey vs. P.O.W. - Prisoners Of War
The Heat Is On - The classic 80s Pop Rock tune with the saxophone riff and the awesome chorus, notable for its use in Beverly Hills Cop. However, since then it's earned the right to stand up on its own feet via radio play and use in other media. It might not be the most badass 80s Pop Rock song in existence but it doesn't need to be. It's fast, it's catchy and it's got a consistent rhythm that's perfect for car chases and whatever kind of antics you're bound to get into listening to this song.
Boss Battle 2 - Let's face it; not many readers here will know the game P.O.W. - Prisoners Of War on the NES from 1988 (a popular year in this blog post) but some gamers online have made the connection between the Glenn Frey single and a particular melody from the second boss battle theme in this game. It might not be the main focus of the tune but when it crops up, you know damn well that it was lifted from "The Heat Is On". I'm not sure which composer out of Kazuhiro Nishida, Toshikazu Tanaka and Yoko Osaka decided to borrow this melody but the deed has been done.
VERDICT - Definitely Glenn Frey. Whilst the tune in P.O.W. - Prisoners Of War is cute, it doesn't hold a candle to the 80s classic.
ROUND EIGHT: Pink Floyd vs. Rayman
Shine On You Crazy Diamond - This is a long-ass song that has multiple different musical sections but this Prog Rock epic by overrated Prog Rock outfit Pink Floyd contains a slow, four note guitar riff around the four minute mark. It also contains plenty of moody, atmospheric background noise that you usually hear during ambient sections in video games...but it's mostly the four guitar notes we're interested in.
The Bayou - Along with being one of the best 3D platformers in existence, Rayman 2: The Great Escape also contains a level with a long piece of music featuring moody, atmospheric background noise and four guitar notes played in a similar fashion. Composer Eric Chevalier has supposedly been inspired by other bands in his work before but I wouldn't be surprised if Pink Floyd was on that list too.
VERDICT - I don't think this was a rip-off or a homage, as the two pieces of music stand apart more than they stand together. However, I do think it's likely that Eric Chevalier was unintentionally inspired by Pink Floyd and composed a piece of music containing a similar riff. I'm giving the win to Rayman for creating a) the better assortment of creepy music and b) the shorter song.
ROUND NINE: Crash Bandicoot vs. Rob Zombie
The Eel Deal (Hidden) - In Crash Bandicoot 2: Cortex Strikes Back, there are hidden sections in the sewer levels (The Eel Deal, Sewer Or Later and Hangin' Out) that have a thick, heavy bass riffing and percussion effects that sound a little like a clanging piano, not to mention the Techno sound of musical accompaniments. The comparison I'm going to make with the Industrial sound of this tune composed by Mutato Muzika might be a little bit forced but try to stick with me.
Never Gonna Stop (The Red Red Kroovy) - Rob Zombie is known for heavy Industrial music but the section that plays when Rob starts singing reminded me of the music from Crash Bandicoot, particularly the piano melody. As I said before, it's not quite as clear-cut as previous comparisons I've made and whilst there isn't a specific riff or melody that's been copied, it's more about the general sound of the song in comparison to the music from Crash Bandicoot.
VERDICT - Neither a homage or rip-off, absolutely a coincidence. Rob Zombie might be aware of Crash Bandicoot in some way or another but his song sounds closer to his own style of music than a hidden tune from a 90s video game. I'm gonna give the win to Rob Zombie for this one as I prefer his song to this specific tune from Crash Bandicoot 2: Cortex Strikes Back, although on the whole I definitely prefer the music in Crash to the music on a Rob Zombie album.
ROUND TEN: Friendship vs. Mario
Let's Not Talk About It - This little known track from 1979 contains a piano riff that fans of gaming (or just anyone who's been alive within the last 20 years) will almost certainly recognise straight away. There's nothing else you need to know, just that this contains a series of notes played in a curiously specific way that sounds exactly like...
Underground Theme - ...the Underground Theme from Super Mario Bros! Video game legend Koji Kondo composed the classic melody which has stuck with the Mario series ever since it was first released in 1985. However, even though it contains a different string of notes after the initial six, the tune is identical and it's enough for me to raise an eyebrow at the very least.
VERDICT - There's no way Nintendo intended the Underground Theme to be a homage to a 70s band nobody heard of and whilst most people would consider it a coincidence, I also think there's a small possibility that Koji could've heard "Let's Not Talk About It" in passing and figured it was the perfect match for the game he was working on. That being said, I'm awarding the win to Mario as the Underground Theme has become one of Nintendo's iconic tunes and even if it was pinched from a lesser known Rock song, Nintendo certainly used the track in the better way.
COMING SOON (as in, within a month or so): A series of posts about the music from Spyro The Dragon and the Spyro: Reignited Trilogy, similar to ones I wrote about the Crash Bandicoot: N. Sane Trilogy last year.
Basically, two years ago I wrote a blog post looking at similarities between 10 Rock/Metal songs and 10 video game tunes whilst offering my opinion on whether the latter piece of music was a knowing wink to the original, a surreptitious copy of an existing track or a pure coincidence. Well, I'm doing another one! I'll also be giving my verdict on which song I believe is better based on personal taste, which came first and which tune sounds more appropriate for its medium.
Listed in each round will be the band and video game franchise, followed by the specific song and level or piece of music from aforementioned video game. I'll try to mention the game and (if I can find the information online) composer for said piece of music. There won't be a Spotify playlist for this as most of the video game tunes won't be available but I will include links to the video game music for you to listen to, if you want to compare as you read.
Time for another brawl!
ROUND ONE: Mega Man vs. Ghost
Dr. Wily's Castle - The theme from the final level of Mega Man 2 (released 1988) was composed by Takashi Tateishi and is considered one of gaming's most iconic themes. It's been remixed countless times by YouTubers and professional video game composers and is a pretty damn awesome piece of a music from a game full of great tunes. The galloping rhythm and melody played throughout is the focus here. Remember how it sounds, although anyone who's heard this tune probably doesn't need to try too hard to recall the melody.
Miasma - This is easily my favourite song off the most recent Ghost album, Prequelle. It's an instrumental featuring heavy riffs, synth melodies and a saxophone solo. However, after the percussion kicks in, we get treated to a guitar solo followed by the synth one. After the synth solo, we get a second guitar solo that contains a galloping riff incredibly similar to the main melody from Dr. Wily's Castle. There are subtle differences but the overwhelming similarities are undeniable. However, it's still an incredible song from what will almost certainly be the best album of the year.
VERDICT - Considering it's one small part of a great song and Ghost don't strike me as a band wanting to cater to old school gamers, I don't think they intentionally copied the theme from Mega Man 2 or intended it as a homage. It's almost certainly coincidence so the question now is which tune do I think is better? It's a hard choice but I'm gonna give the win to Ghost due to the quality of the instrumentation. Full band will always beat 8-bit and that's a fact.
ROUND TWO: Black Sabbath vs. Spider-Man
The Mob Rules - There were two Black Sabbath songs I could've chosen for this blog post but in the end, I went with this one. It's the title track off the band's second album with Ronnie James Dio as the vocalist, notable for its great guitar riff played throughout the song. However, unlike previous entries, we're not just focusing on specific part of the original track here. We're focusing on the riff, the percussion, the pre-chorus melody and the guitar solo.
Boss Theme 3 - This is the third Boss Theme from Spider-Man and Venom: Maximum Carnage for the SNES, released in 1994. Composers Chris Jojo and Tony Williams must've been big fans of 80s Heavy Metal as the comparisons to this tune and the Black Sabbath one stack up more than quite possibly any other example in these video game posts. Quite possibly most shocking of all is that the game doesn't even credit Black Sabbath for pinching their song, although I suppose it's a lot easier to deny plagiarism if you don't own up to it.
VERDICT - Absolutely a rip-off. Not just a rip-off but one done as a shitty MIDI file. The win goes to Black Sabbath for creating the song, making it sound awesome and for not getting due credit...although if it were a fist fight, Spider-Man would definitely win.
ROUND THREE: Surfaris vs. Spongebob Squarepants
Wipe Out - A classic Surf Rock tune with an iconic guitar riff and 12-bar Blues structure. It's also notable for the rolling drumbeat in between the riffs...and the vocal introduction of manic laughter followed by the words "wipe out", although we don't need to worry about that here. If the name of the song or band wasn't a dead giveaway, the sound should immediately make you think of surfing and having fun on the beach. It's a summer hit and the fact that it's mostly instrumental means it's easy to rework for video games.
Goo Lagoon - The beach level from Spongebob Squarepants: Battle For Bikini Bottom, a 3D platformer with music composed by Jimmy Levine. As I mentioned before, it's easy to be inspired by instrumental Surf Rock when writing video game music set on a beach where people surf (and presumably rock) so it's no real surprise that there are elements of "Wipe Out" here. Whilst it's not the most overt homage, the signs are definitely there.
VERDICT - I mean, I've already told you, haven't I? It's clearly a homage as none of the main riffs are directly lifted and the Blues chord progression is so damn common that it would be ridiculous to accuse Jimmy Levine of stealing the idea from "Wipe Out". That being said, I'm giving the win to Surfaris. I'd rather listen to "Wipe Out" than the Goo Lagoon level music, although I don't dislike it. The game actually has a colourful collection of fun tunes to listen to.
ROUND FOUR: Duran Duran vs. Double Dragon
Girls On Film - One of Duran Duran's biggest hits with a catchy chorus and, more importantly, intro riff. The guitar chords and their progression are key here, as that's what we'll be comparing. It's not a favourite of mine, even as far as 80s Pop Rock goes, but I don't hate the song. It's passable but it's no "Hungry Like The Wolf" or "Rio", that's for damn sure.
Intro Theme - The intro to Battletoads & Double Dragon for the SNES contains a similar sounding guitar riff despite being released in 1992, about 11 years after the Duran Duran single. Composer David Wise has acknowledged similarities to other 80s Pop Rock in his compositions (such as using the same equipment as "In The Air Tonight" - Phil Collins during a level from Donkey Kong Country 2, I believe) so this riff might be a little more than coincidence.
VERDICT - I think there may have been a cheeky bit of intentional or unintentional riff pinching going on, as this game seems to have very little to do with "Girls On Film" - Duran Duran so I can't see it being a homage or pure coincidence. Whilst the original song did come up with the riff over a decade before the game, I'm giving the win to Double Dragon as I prefer the heavier sound to it. If it was rerecorded with modern instruments, it'd definitely be the better tune.
ROUND FIVE: Alice In Chains vs. Doom
Them Bones - I've never been a big fan of Alice In Chains and the few songs of theirs that I generally enjoy listening to tend to need some form of modification (e.g. speeding up "Man In The Box" 25%) but I still know and admire aspects of this song. The guitar riff is heavy and evil, slowly ascending before plummeting back down again. It's the main riff and chorus that we're paying attention to for this comparison.
Bye Bye American Pie - Despite having spookier accompanying instruments and a less polished sound than the full band sound of Alice In Chains, the chords are seemingly identical in this piece of music from Doom 2 released just two years after "Them Bones". Composer Robert Prince didn't even credit Alice In Chains for this song either, another reason why I believe this is less of a homage and more of the other one.
VERDICT - This is another song that I reckon was a bit of a rip-off considering how similar it is without even crediting the original songwriters. However, if I had to choose which one I think fits its chosen medium better (90s Grunge vs. spooky song in FPS), I prefer the quality of the video game song. It sounds grittier and doesn't contain annoying vocals so the win goes to Doom.
ROUND SIX: Tina Turner vs. Super Smash Bros
Nutbush City Limits (The 90s Version) - Most people probably know the punchier version of this song from the 70s but in 1991, Tina Turner rerecorded this track with a slower tempo and a heavier emphasis on piano. The opening piano chords followed by the Dance Pop synthetic percussion and musical effects might sound familiar to Nintendo fans, as we'll discuss in a moment, but they also turn this song firmly into a Pop track. I debated including it here due to it not being a Rock song but hey, when you hear what I'm comparing it to, you'll understand why it needed talking about.
Targets! - Yep, the Target Smash song from Super Smash Bros. Melee sounds JUST like the 90s version of "Nutbush City Limits", what with the identical piano chords and synth accompaniments. Granted this tune is a little faster and has more guitar in it but it's pretty damn similar all the same. As the tracks progress, more differences emerge but the opening does all the damage necessary in my eyes.
VERDICT - I doubt composer Hirokazu Ando listened to Tina Turner before whacking out this tune so I'm chalking it up to coincidence rather than homage or rip-off. As for which song is better, I'm giving the win to Super Smash Bros simply because I have fond memories of Target Smash (and the Home Run Contest) thanks to this tune. Since it's a coincidence, I have no need to award Tina Turner the win for coming up with the song first and since it's a Dance Pop song instead of a Rock one, I'm not overly fond of the track itself. An easy decision.
ROUND SEVEN: Glenn Frey vs. P.O.W. - Prisoners Of War
The Heat Is On - The classic 80s Pop Rock tune with the saxophone riff and the awesome chorus, notable for its use in Beverly Hills Cop. However, since then it's earned the right to stand up on its own feet via radio play and use in other media. It might not be the most badass 80s Pop Rock song in existence but it doesn't need to be. It's fast, it's catchy and it's got a consistent rhythm that's perfect for car chases and whatever kind of antics you're bound to get into listening to this song.
Boss Battle 2 - Let's face it; not many readers here will know the game P.O.W. - Prisoners Of War on the NES from 1988 (a popular year in this blog post) but some gamers online have made the connection between the Glenn Frey single and a particular melody from the second boss battle theme in this game. It might not be the main focus of the tune but when it crops up, you know damn well that it was lifted from "The Heat Is On". I'm not sure which composer out of Kazuhiro Nishida, Toshikazu Tanaka and Yoko Osaka decided to borrow this melody but the deed has been done.
VERDICT - Definitely Glenn Frey. Whilst the tune in P.O.W. - Prisoners Of War is cute, it doesn't hold a candle to the 80s classic.
ROUND EIGHT: Pink Floyd vs. Rayman
Shine On You Crazy Diamond - This is a long-ass song that has multiple different musical sections but this Prog Rock epic by overrated Prog Rock outfit Pink Floyd contains a slow, four note guitar riff around the four minute mark. It also contains plenty of moody, atmospheric background noise that you usually hear during ambient sections in video games...but it's mostly the four guitar notes we're interested in.
The Bayou - Along with being one of the best 3D platformers in existence, Rayman 2: The Great Escape also contains a level with a long piece of music featuring moody, atmospheric background noise and four guitar notes played in a similar fashion. Composer Eric Chevalier has supposedly been inspired by other bands in his work before but I wouldn't be surprised if Pink Floyd was on that list too.
VERDICT - I don't think this was a rip-off or a homage, as the two pieces of music stand apart more than they stand together. However, I do think it's likely that Eric Chevalier was unintentionally inspired by Pink Floyd and composed a piece of music containing a similar riff. I'm giving the win to Rayman for creating a) the better assortment of creepy music and b) the shorter song.
ROUND NINE: Crash Bandicoot vs. Rob Zombie
The Eel Deal (Hidden) - In Crash Bandicoot 2: Cortex Strikes Back, there are hidden sections in the sewer levels (The Eel Deal, Sewer Or Later and Hangin' Out) that have a thick, heavy bass riffing and percussion effects that sound a little like a clanging piano, not to mention the Techno sound of musical accompaniments. The comparison I'm going to make with the Industrial sound of this tune composed by Mutato Muzika might be a little bit forced but try to stick with me.
Never Gonna Stop (The Red Red Kroovy) - Rob Zombie is known for heavy Industrial music but the section that plays when Rob starts singing reminded me of the music from Crash Bandicoot, particularly the piano melody. As I said before, it's not quite as clear-cut as previous comparisons I've made and whilst there isn't a specific riff or melody that's been copied, it's more about the general sound of the song in comparison to the music from Crash Bandicoot.
VERDICT - Neither a homage or rip-off, absolutely a coincidence. Rob Zombie might be aware of Crash Bandicoot in some way or another but his song sounds closer to his own style of music than a hidden tune from a 90s video game. I'm gonna give the win to Rob Zombie for this one as I prefer his song to this specific tune from Crash Bandicoot 2: Cortex Strikes Back, although on the whole I definitely prefer the music in Crash to the music on a Rob Zombie album.
ROUND TEN: Friendship vs. Mario
Let's Not Talk About It - This little known track from 1979 contains a piano riff that fans of gaming (or just anyone who's been alive within the last 20 years) will almost certainly recognise straight away. There's nothing else you need to know, just that this contains a series of notes played in a curiously specific way that sounds exactly like...
Underground Theme - ...the Underground Theme from Super Mario Bros! Video game legend Koji Kondo composed the classic melody which has stuck with the Mario series ever since it was first released in 1985. However, even though it contains a different string of notes after the initial six, the tune is identical and it's enough for me to raise an eyebrow at the very least.
VERDICT - There's no way Nintendo intended the Underground Theme to be a homage to a 70s band nobody heard of and whilst most people would consider it a coincidence, I also think there's a small possibility that Koji could've heard "Let's Not Talk About It" in passing and figured it was the perfect match for the game he was working on. That being said, I'm awarding the win to Mario as the Underground Theme has become one of Nintendo's iconic tunes and even if it was pinched from a lesser known Rock song, Nintendo certainly used the track in the better way.
COMING SOON (as in, within a month or so): A series of posts about the music from Spyro The Dragon and the Spyro: Reignited Trilogy, similar to ones I wrote about the Crash Bandicoot: N. Sane Trilogy last year.
Thursday, 30 August 2018
Tenology: Even More Terrible Rock/Metal Lyrics
Another Tenology post about lyrics? Darn straight, although this one isn't about Mondegreens; it's about poorly thought through lyrics in the world of Rock and Metal. This is the third one of these posts I've done so some of the songs might be deep cuts and some of the lyrics might not be as bad as "terrible". However, if the lyrics are poor, the lyrics are poor and this is where we get to laugh at them!
1. "I'll Be There For You" - The Rembrandts
"When it hasn't been your day, your week,
your month or even your year"
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Kicking this list off is the popular theme to the TV show Friends, notable for the introductory guitar riff, rapid claps in the verse and catchy chorus. However, there's one line that's always bothered me when I think about it. For those who don't know the song (...what, they might exist!), the first verse talks about how crappy life can be for you. It then talks about when life is stuck in second gear and how you haven't had a good day, week, month or "even" year...and that's where I take issue. I get that the rhyme works well but if you think about it, shouldn't "even" go before day? Years are longer than months, weeks and days so it'll be a lot harder for it to be "your" year than "your" month, week or day. Since days are the shortest, it's therefore logically the easiest for it to be good for you so "even" should come before day. I admit that I'm splitting hairs with this line so let's look at a song with lyrics that we can all agree are terrible.
2. "Debora" - Tyrannosaurus Rex
"Oh Debora, always look like a zebra"
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Most of you may know this song from the film Baby Driver and how Edgar Wright named a character Deborah just so he could include a scene where the characters laugh about this lyric...and with good reason! The rhyme of "Debora" and "Zebra" is so godawful that it makes you wonder why anyone would even bother forcing it to begin with. Choose a different rhyme scheme or something; imagine how bad "Eleanor Rigby" would've been if The Beatles tried to find rhymes for that name. Not only that but has any woman in the history of humanity ever been complimented by the comparison of her to a striped horse-like creature, or indeed non-striped for that matter? Just a terrible, terrible lyric.
3. "She's A Genius" - Jet
"She only listens to the radio,
To see who's alive"
Whilst I'm aware that these lyrics aren't meant to be taken literally, I believe there's an argument to be made for their inclusion in this post regardless of how you interpret them. First, there's the literal meaning; girl literally uses the radio to determine who's still alive, which simply doesn't work. Then there's the figurative meaning; girl listens to the radio to know who's popular, which means she's got a shit taste in music because she only cares about what everyone else likes. I dunno about you about if I'm going to try to convince listeners that a girl is a genius through song, I wouldn't want to establish her terrible taste in music before I've even reached the first chorus!
4. "Falling In Love (Is Hard On The Knees)" - Aerosmith
"'Cause falling in love is so hard on the knees"
This is the second time a song from Nine Lives has appeared in a blog post detailing terrible lyrics but this time, we're not mocking poor rhyme schemes and nonsensical sentences. This time, we're looking at Aerosmith's ability to create the most ridiculous, cringeworthy, eighth-grade lyrics about romance that one of the supposedly "wildest" Rock bands in the world just keeps on pumping out. This is the kind of lyric that sounds like part of a joke on The Simpsons about an ageing Rock band on their 50th anniversary world tour; they may as well have called the song "Make Love Or Make My Supper" or "Sleep With Me Before I Fall Asleep In My Armchair During A Countdown Repeat".
5. "Sweet Little Sister" - Skid Row
"She blew my mind behind the record machine...
...She's my sweet little, sweet little sister"
OK, this one requires some context. First up, I absolutely love this song. It's my favourite Skid Row song (yes, even over "18 And Life" and "Youth Gone Wild") and for the most part, the vocal delivery and lyrics are pretty damn great. However, whenever I listen to it, there's always something in the back of my mind that doesn't sit right after hearing the above two lines at the start and chorus of the song. When you factor in Skid Row's general image and musical style,"She blew my mind behind the record/wrecking machine" can only be taken as a sexual metaphor but "She's my sweet little, sweet little sister" implies that "she" is related to him. Even if it's not the intended denotation, the connotation that the singer is getting oral pleasure from his sister still exists all because he sung "she's my" instead of "she's A" or "she's YOUR sweet little sister". I still love the song, though.
6. "Lonely Is The Night" - Billy Squier
"Lonely is the night when you find yourself alone"
Billy Squier coming in with the piping hot observations. "Lonely is the night when you find yourself alone"? No fuckin' shit, Billy! What other pearls of wisdom have you got for us, "Teapots are useful only when they contain tea"? "A sport is not a sport if it's not a sport"? Once again, it's unfortunate that this terrible lyric not only belongs to Squier's signature song but is also the very first line he sings. Take note: if you're going to write a song with the intention of making it a radio hit, don't drop the ball in the opening line.
7. "Diggin' Me Down" - Ozzy Osbourne
"How will I know you, Mr. Jesus Christ"
This lyric probably doesn't deserve to be called "terrible" but let's face it, it's still a bit naff. Saying "Mr. Jesus Christ" is the kind of thing a child or stereotypical Latin American maid would do, certainly not the Prince Of Darkness. There's always been an element of silliness in Ozzy Osbourne lyrics but this is one of the few examples that made me laugh out loud when I heard it. However, since it's (probably) Ozzy's last studio album and it contains a collection of awesome Metal music, I can forgive him for saying "Mr. Jesus Christ". Besides, at least Ozzy seems aware of his silliness, unlike his Heavy Metal counterpart, Ronnie James Dio. Speaking of Dio...
8. "Stargazer" - Rainbow
"There's no sun in the shadow of the wizard"
Look out Billy Squier, looks like there's a contender for the Most Obvious Lyrics In Rock award that I've just created. I remember reading a quote about Dio that said something along the lines of "He never overestimated himself, nor underestimated himself". I agree with the second part. Ronnie's lyrics, whether they're from his time in Rainbow, Black Sabbath or Dio, contained fantastic mythological imagery but sometimes, he took himself a bit too seriously. Take this lyric: the declaration that shadows contain no sunlight is dumb but by adding something about wizards in there, Dio tried to pass it off as something majestic and awesome. Once you take a step back and listen to the lyrics without realising that it's Dio singing them, a lot of his material just sounds ridiculous. Of course, a lot of it sounds awesome too but that's not what this post is about.
9. "Uh! All Night" - KISS
"Well, we work all day and we don't know why"
This album came out in the mid-80s, well into KISS' career as Shock Rock superstars. By this point, they will have made shitloads of cash on tours, music and (most importantly) merchandise. In other words, they were comfortably wealthy. As a result, lines like "we work all day and we don't know why" come across as a little...well, Let-Them-Eat-Cakey. KISS strike me as a band that would question why people would work all day if they don't like it, completely unaware that the average blue-collar fan of Rock needs to work to survive. If they want to write songs about getting laid, that's one thing, but trying to connect with the average Joe working 9-5 to make ends meet is a bad idea for a band like KISS. Bands like Bachman-Turner Overdrive and Lynyrd Skynyrd can write those songs, KISS can't.
10. "Sex On Fire" - Kings Of Leon
"You, your sex is on fire"
No, I don't like this song. In fact, I'd even say that I hate it. It's bland and safe, exactly the opposite of what good Rock should be. However, we're not here for the tepid guitarwork or dull percussion in the verse; we're here for the lyrics in the chorus, namely the line that contains the title of the song. I'm guessing he's saying that they're having a cracking shag as opposed to the literal interpretation of spontaneous genitalia combustion but the term "your sex is on fire" sounds like something from a Steel Panther or Red Hot Chili Peppers track, definitely not the kind of lyric that belongs in a song like this. It's over the top and almost a parody of the kind of shit Hair Metal bands would write, yet Kings Of Leon seem to be delivering it non-ironically? I don't know and I don't care enough about the band to actually research whether this was meant to be a piss-take in the same way "(You've Got To) Fight For Your Right (To Party)" - Beastie Boys was. All I know is I don't much care for the lyric...or song...or band...Youth And Young Manhood was a good album though.
One day, I need to write a blog post about GOOD lyrics in Rock/Metal, as I've definitely been thinking of a couple recently. Maybe in October, as I don't want to do too many lyric-based Tenology posts in a short space of time.
1. "I'll Be There For You" - The Rembrandts
"When it hasn't been your day, your week,
your month or even your year"
One of the most 90s-est album covers ever...*clap-clap-clap-clap-clap*
Kicking this list off is the popular theme to the TV show Friends, notable for the introductory guitar riff, rapid claps in the verse and catchy chorus. However, there's one line that's always bothered me when I think about it. For those who don't know the song (...what, they might exist!), the first verse talks about how crappy life can be for you. It then talks about when life is stuck in second gear and how you haven't had a good day, week, month or "even" year...and that's where I take issue. I get that the rhyme works well but if you think about it, shouldn't "even" go before day? Years are longer than months, weeks and days so it'll be a lot harder for it to be "your" year than "your" month, week or day. Since days are the shortest, it's therefore logically the easiest for it to be good for you so "even" should come before day. I admit that I'm splitting hairs with this line so let's look at a song with lyrics that we can all agree are terrible.
2. "Debora" - Tyrannosaurus Rex
"Oh Debora, always look like a zebra"
Oh Marc Bolan, you never did get the hang of the lyrics part of songwriting
Most of you may know this song from the film Baby Driver and how Edgar Wright named a character Deborah just so he could include a scene where the characters laugh about this lyric...and with good reason! The rhyme of "Debora" and "Zebra" is so godawful that it makes you wonder why anyone would even bother forcing it to begin with. Choose a different rhyme scheme or something; imagine how bad "Eleanor Rigby" would've been if The Beatles tried to find rhymes for that name. Not only that but has any woman in the history of humanity ever been complimented by the comparison of her to a striped horse-like creature, or indeed non-striped for that matter? Just a terrible, terrible lyric.
3. "She's A Genius" - Jet
"She only listens to the radio,
To see who's alive"
I wonder if the girl this song's about is called Sharona...
Whilst I'm aware that these lyrics aren't meant to be taken literally, I believe there's an argument to be made for their inclusion in this post regardless of how you interpret them. First, there's the literal meaning; girl literally uses the radio to determine who's still alive, which simply doesn't work. Then there's the figurative meaning; girl listens to the radio to know who's popular, which means she's got a shit taste in music because she only cares about what everyone else likes. I dunno about you about if I'm going to try to convince listeners that a girl is a genius through song, I wouldn't want to establish her terrible taste in music before I've even reached the first chorus!
4. "Falling In Love (Is Hard On The Knees)" - Aerosmith
"'Cause falling in love is so hard on the knees"
No, this isn't a Rolling Stones lyric...although the song does contain a different Rolling Stones lyric
This is the second time a song from Nine Lives has appeared in a blog post detailing terrible lyrics but this time, we're not mocking poor rhyme schemes and nonsensical sentences. This time, we're looking at Aerosmith's ability to create the most ridiculous, cringeworthy, eighth-grade lyrics about romance that one of the supposedly "wildest" Rock bands in the world just keeps on pumping out. This is the kind of lyric that sounds like part of a joke on The Simpsons about an ageing Rock band on their 50th anniversary world tour; they may as well have called the song "Make Love Or Make My Supper" or "Sleep With Me Before I Fall Asleep In My Armchair During A Countdown Repeat".
5. "Sweet Little Sister" - Skid Row
"She blew my mind behind the record machine...
...She's my sweet little, sweet little sister"
It's either "record" or "wrecking" machine; my argument still remains
OK, this one requires some context. First up, I absolutely love this song. It's my favourite Skid Row song (yes, even over "18 And Life" and "Youth Gone Wild") and for the most part, the vocal delivery and lyrics are pretty damn great. However, whenever I listen to it, there's always something in the back of my mind that doesn't sit right after hearing the above two lines at the start and chorus of the song. When you factor in Skid Row's general image and musical style,"She blew my mind behind the record/wrecking machine" can only be taken as a sexual metaphor but "She's my sweet little, sweet little sister" implies that "she" is related to him. Even if it's not the intended denotation, the connotation that the singer is getting oral pleasure from his sister still exists all because he sung "she's my" instead of "she's A" or "she's YOUR sweet little sister". I still love the song, though.
6. "Lonely Is The Night" - Billy Squier
"Lonely is the night when you find yourself alone"
I'm ashamed to say that it took way too long for me to notice this lyric
Billy Squier coming in with the piping hot observations. "Lonely is the night when you find yourself alone"? No fuckin' shit, Billy! What other pearls of wisdom have you got for us, "Teapots are useful only when they contain tea"? "A sport is not a sport if it's not a sport"? Once again, it's unfortunate that this terrible lyric not only belongs to Squier's signature song but is also the very first line he sings. Take note: if you're going to write a song with the intention of making it a radio hit, don't drop the ball in the opening line.
7. "Diggin' Me Down" - Ozzy Osbourne
"How will I know you, Mr. Jesus Christ"
I want to see a fight between Mr. Jesus Christ and Mr. Crowley
This lyric probably doesn't deserve to be called "terrible" but let's face it, it's still a bit naff. Saying "Mr. Jesus Christ" is the kind of thing a child or stereotypical Latin American maid would do, certainly not the Prince Of Darkness. There's always been an element of silliness in Ozzy Osbourne lyrics but this is one of the few examples that made me laugh out loud when I heard it. However, since it's (probably) Ozzy's last studio album and it contains a collection of awesome Metal music, I can forgive him for saying "Mr. Jesus Christ". Besides, at least Ozzy seems aware of his silliness, unlike his Heavy Metal counterpart, Ronnie James Dio. Speaking of Dio...
8. "Stargazer" - Rainbow
"There's no sun in the shadow of the wizard"
I'm beginning to think maybe RJD wasn't the lyrical wordsmith the entire Metal community says he was
Look out Billy Squier, looks like there's a contender for the Most Obvious Lyrics In Rock award that I've just created. I remember reading a quote about Dio that said something along the lines of "He never overestimated himself, nor underestimated himself". I agree with the second part. Ronnie's lyrics, whether they're from his time in Rainbow, Black Sabbath or Dio, contained fantastic mythological imagery but sometimes, he took himself a bit too seriously. Take this lyric: the declaration that shadows contain no sunlight is dumb but by adding something about wizards in there, Dio tried to pass it off as something majestic and awesome. Once you take a step back and listen to the lyrics without realising that it's Dio singing them, a lot of his material just sounds ridiculous. Of course, a lot of it sounds awesome too but that's not what this post is about.
9. "Uh! All Night" - KISS
"Well, we work all day and we don't know why"
KISS: Undisputed champions of writing songs about shagging
This album came out in the mid-80s, well into KISS' career as Shock Rock superstars. By this point, they will have made shitloads of cash on tours, music and (most importantly) merchandise. In other words, they were comfortably wealthy. As a result, lines like "we work all day and we don't know why" come across as a little...well, Let-Them-Eat-Cakey. KISS strike me as a band that would question why people would work all day if they don't like it, completely unaware that the average blue-collar fan of Rock needs to work to survive. If they want to write songs about getting laid, that's one thing, but trying to connect with the average Joe working 9-5 to make ends meet is a bad idea for a band like KISS. Bands like Bachman-Turner Overdrive and Lynyrd Skynyrd can write those songs, KISS can't.
10. "Sex On Fire" - Kings Of Leon
"You, your sex is on fire"
Remember when Kings Of Leon used to be a Rock band? Then they wrote this fucking song
No, I don't like this song. In fact, I'd even say that I hate it. It's bland and safe, exactly the opposite of what good Rock should be. However, we're not here for the tepid guitarwork or dull percussion in the verse; we're here for the lyrics in the chorus, namely the line that contains the title of the song. I'm guessing he's saying that they're having a cracking shag as opposed to the literal interpretation of spontaneous genitalia combustion but the term "your sex is on fire" sounds like something from a Steel Panther or Red Hot Chili Peppers track, definitely not the kind of lyric that belongs in a song like this. It's over the top and almost a parody of the kind of shit Hair Metal bands would write, yet Kings Of Leon seem to be delivering it non-ironically? I don't know and I don't care enough about the band to actually research whether this was meant to be a piss-take in the same way "(You've Got To) Fight For Your Right (To Party)" - Beastie Boys was. All I know is I don't much care for the lyric...or song...or band...Youth And Young Manhood was a good album though.
One day, I need to write a blog post about GOOD lyrics in Rock/Metal, as I've definitely been thinking of a couple recently. Maybe in October, as I don't want to do too many lyric-based Tenology posts in a short space of time.
Thursday, 19 July 2018
Showdown: Cover Versions, part 5
Part 5? Yeah, it's part 5.
More cover versions! This time, unlike the last two posts, we're going back to Rock/Metal covers of Rock/Metal/Pop songs; no WaveGroup covers this time. As always, I'll be writing about the original, then writing about the cover version before offering my verdict on which version is best and why. There's no real theme to this post. I'll try to pick famous cover versions or covers of famous songs (as usual) but other than putting the more well known covers first, it's a basically a free-for-all!
Also, underneath this post is an embedded Spotify playlist containing originals and covers so you can listen along if you want.
ROUND ONE: Bad Company
Bad Company - I think I've said this is "arguably" the band's signature song in the past but when your band literally shares the name of a song from an album that ALSO shares its name with the song, there's not really any argument to be had. It's a decent track, a little plain in comparison to some of their other tracks but if you want a vocally driven song with a catchy chorus and some nice piano melodies, look no further. It's just a shame the guitar solo in the outro is weak but you can't have everything.
Five Finger Death Punch - I'll admit that this song transitions well into a Five Finger Death Punch track and the band do a good job of knowing where to be heavy. The solo isn't as excessive as other contemporary Hard Rock/Metal covers (Black Label Society and Guns N' Roses could learn a thing or two) and this song has an actual outro instead of fading out during a solo. It's a great cover alright, although I'm still not entirely sold on it. Maybe I just dislike the sound of Five Finger Death Punch but even though I can't find anything wrong with it, I still don't want to listen to it again.
VERDICT - I'm really torn on this one because even though I'd rather listen to Bad Company's original, I feel like I have more positive things to say about Five Finger Death Punch's cover. I think I've got to go with my gut and say Bad Company take the win for having stronger (albeit fewer) positive aspects. Five Finger Death Punch still pulled out a great cover and it's not surprising that their version of this song is regarded to be one of their better tracks.
ROUND TWO: The Sound Of Silence
Simon & Garfunkel - As great as this song is, I feel like Arrested Development has kinda tainted it. I can't hear this song without thinking of "I've made a huge mistake" and Will Arnett but thankfully, those thoughts dissipate once the percussion comes in. Whilst this song might be overused in the media, it's still a brilliant vocally driven Classic Rock track. The lyrics were also referenced in "The Spirit Of Radio" - Rush ("and the words of the prophets were written on the studio walls, echoes with the sounds of salesmen") so it's got that going for it too.
Disturbed - Remember when the Internet went all fangirl over this cover as if it was the greatest fucking thing since that video of the cat saying "Oh long Johnson"? I'll admit, it starts off really well. The build up and use of piano to deliver the melody are fantastic, not to mention David Draiman's restrained vocals. However, there's something about this song that reminds me of those awful covers on The X Factor during "Rock week"; it just feels artificial, staged. Then it reaches the three minute mark and just becomes silly; Draiman starts growling and I completely lose interest. However, having listened to the whole song in one sitting after taking a break from the snippets I constantly used to hear over the radio, it's not bad.
VERDICT - Definitely Simon & Garfunkel. The introduction of percussion alone is better than any single part of the Disturbed cover and whilst Disturbed did try something interesting, I feel like they were just short of a perfect cover. But hey, at least I understand why people loved this cover so much now, even if I don't share the sentiment.
ROUND THREE: Am I Evil?
Diamond Head - There are many versions of this song but I think the one I prefer is the 1982 rerecording. You know, the one with the slightly slower intro (if it helps, I believe it was the one used in Guitar Hero: Metallica, NOT Brutal Legend). Anyway, the song is still awesome from start to finish. It's almost like an Ozzy-era Black Sabbath song but done properly, from the heavy "Evil" chords at the start to the chugging riff during the vocals. Easily the band's signature song and with songwriting talents like this, it's a shame we didn't get to see Diamond Head reach the heights of their contemporaries at the time.
Metallica - Metallica assembled and recorded many covers for Garage Inc. but arguably this is the most significant. They shot into the spotlight after playing a cover of "Am I Evil?" before they recorded Kill Em All and I've got to say, it's pretty damn good. They don't really change much about it yet successfully make the song sound like their own. It sounds like something they could have written themselves although if you heard the original first, you probably won't get much out of it.
VERDICT - Whilst it's not as night & day as the last round, the win goes to Diamond Head. Both versions are great and it probably depends on which one you heard first but in cases like this, I tend to favour the original. However, at least Metallica only have one official version of this track whereas Diamond Head have about three.
ROUND FOUR: Call Me The Breeze
J.J. Cale - This is a nice, easy going Blues Rock track by the guy Eric 'Boring' Clapton wishes he could've been. It's a fairly short little tune with a simple guitar solo and vocals throughout; nothing imposing and it fades out during the outro. Other than that, there's not really a lot to comment on. Moving on!
Lynyrd Skynyrd - I think a lot of people incorrectly assume this is a Skynyrd original in the same way people assume "Cocaine" is a Clapton original (it isn't and unsurprisingly, J.J. Cale's is much better). Lynyrd Skynyrd took the original and turned it ALL THE WAY up with a tasty guitar AND piano solo, not to mention brass accompaniment and an actual outro (which is pretty rare for Skynyrd's bigger songs). Every aspect of this song is better...so guess who's getting the win.
VERDICT - Lynyrd Skynyrd take a well deserved win right here. However, if we were comparing the J.J. Cale original with the Eric 'Boring' Clapton cover from a few years ago, J.J. would be taking home the win without a doubt.
ROUND FIVE: All Along The Watchtower
Bob Dylan - Did you know that this song was a Bob Dylan track before Hendrix covered it? I mean, you do if you played Guitar Hero 5 but yeah, here it is! Bob Dylan sounds like a comedian doing a Bob Dylan impression and the harmonica throughout gets annoying pretty fucking quickly. As for the acoustic guitar, it's basically an afterthought. In other words, this song is a little shitty although if you prefer Folk to Rock, you'll probably love it.
Jimi Hendrix - Arguably Hendrix's signature song and it isn't even his. However, the changes made to the overall structure and addition of all the guitar solos (not to mention Jimi's far superior vocal range) turn this into an iconic Rock song. Whilst I'm not hugely into the track in comparison to some of his other well known songs like "Castles Made Of Sand" and "Hey Joe", you can't deny that the opening chords that flow into the first guitar solo are just perfect.
VERDICT - Easily a win for Jimi Hendrix. Despite having a slower tempo and lasting a lot longer than the original, it's a straight up classic whilst the original deserves to fade into obscurity.
ROUND SIX: Back In Black
AC/DC - After Bon Scott died and the band found a replacement in the form of Brian Johnson, AC/DC wanted to come back with a powerful Rock anthem to show fans that they were still a pure Hard Rock machine. The band chose wisely with this song containing a wealth of epic riffs, sweet solos and raw vocals and whilst Bon Scott was truly the better vocalist, Brian's voice was at its finest at the start of his lengthy stretch with the band.
Living Colour - So you might be wondering why I chose this song/cover. To me, "Back In Black" is one of those iconic Rock songs that people will ALWAYS associate with AC/DC and to cover it is inviting disappointment...until I heard Living Colour try it. The guitar is spot on throughout and whilst the vocals get a little too screechy, I wanted to include this track in the list as a way of showing that good covers of this song can exist, not just tacky ones of AC/DC tracks that existed as alternatives to the original before the band became available on Spotify.
VERDICT - Even though I like the Living Colour version, I think we all agree that AC/DC knocked it out of the park with this track. If Living Colour's vocals weren't so abrasive, they may have taken home the win here but alas, it wasn't to be.
ROUND SEVEN: Helter Skelter
The Beatles - Music historians cite this song as one of the earliest influences for the Heavy Metal genre and whilst I can agree with that statement, anyone who calls this song Heavy Metal is a fucking idiot. At best, it's Hard Rock although even by Deep Purple standards, it's more like 60s Garage. Anyway, this song was about as heavy as The Beatles got with clashing symbols, screeching vocals and chugging guitar riffs. It's a decent track although not exactly in the band's wheelhouse. That being said, I'll take it over their trippy, psychedelic, circus nonsense.
Motley Crue - Fun fact: Motley Crue also toyed with the idea of recording a cover of "Paperback Writer", the far greater Beatles song, and did play that track live a few times. However, between the two songs, I'm glad "Helter Skelter" got the studio treatment. The Crue took the blueprints for a fine Hard Rock song and beefed it up a bit, transforming it into a decent Hair/Heavy Metal tune. It's just a shame that the lyrics about going down slides don't really make the same transition as the music.
VERDICT - Whilst I'd obviously pick The Beatles over Motley Crue for overall strength of music, I'm giving the win to Motley Crue here. Heavier song needs heavier music and The Beatles just fell a little short, although they came damn close to writing a full on Hard Rock song. Maybe in an alternate timeline where they kept going long after 1970, the band rerecorded it with the necessary power it deserves. However, until interdimensional travel exists, at least we've got Motley Crue's version.
ROUND EIGHT: Oops I Did It Again
Britney Spears - For years, I thought this and "...Baby One More Time" were the exact same song. Ya know, because they sound identical. Anyway, apparently this is a different song that uses other words? Either way, it's still a generic Pop song with piano chords, basic percussion, lyrics designed by a committee to make teenage girls want to be her and horny dads want to fuck her. Whilst I'm generally not a fan of Pop music (or Britney Spears), this song certainly isn't "Toxic".
Children Of Bodom - Children Of Bodom have done some great little covers over their years but I think this is the one that everyone knows. A Melodic Death Metal cover of a Pop song. Vocally, this song is absolute shite outside of the chorus although I'm guessing that's kinda the point; it feels like it was performed sarcastically and you know what? I can dig that. Musically, it's one of the lesser Children Of Bodom tracks but they still managed to fit a solid guitar solo into it.
VERDICT - Children Of Bodom did something fun and unique with a bland song so they deserve a win. I also recommend their covers album Skeletons In The Closet if you want some other decent tunes of theirs, provided you like Melodic Death Metal.
ROUND NINE: Smoke On The Water
Deep Purple - One of the most iconic guitar riffs of all time and also one of the most basic Deep Purple/Richie Blackmore songs. Admittedly, it's a pretty great riff and there are some decent Ian Gillan vocals but other than that, it's an underperforming Hard Rock track. Weak guitar solo and goes on way too long but it's still an OK song if you haven't heard many other Deep Purple tunes. However, I bet there are bands who could do a fantastic cover of this song...
The Flaming Lips - ...just not these guys. If you haven't heard The Flaming Lips cover of "Smoke On The Water", part of me wants to recommend it just to hear how fucking terrible it is. It's the height of experimental hipster shit and once those vocals come in, you know you're in for something terrible. Similar to the Children Of Bodom song, this feels like a piss-take although unlike their Britney Spears cover, this just sounds awful.
VERDICT - I picked this song because I knew The Flaming Lips did a shite cover that you needed to know about. Obviously Deep Purple get the win and OK, maybe this entry is a little one sided so in the interest of balance, let's have a well known song with an amazing cover.
ROUND TEN: Cheap Sunglasses
ZZ Top - If you've been reading my blog for a while, you'll probably know my opinion of "Cheap Sunglasses" and indeed, early ZZ Top. Great songs but absolutely terrible mixes; flatter than day old coke and in dire need of a remaster. However, ignoring technical flaws, the song's bloody good. Great riffs, fun lyrics and a decent solo; an awesome Blues Rock track. If the mix was better, this would be the perfect Rock song.
The Sword - Now THIS is what I'm talking about. Proper dynamics whilst still keeping the grit and Blues aspects. Granted it's more like Heavy Metal than Hard Rock now but The Sword have taken this song and ramped it up. Hopefully ZZ Top will hear this and be inspired to rerecord/remaster their back catalogue one day. The Sword have also done a smashing cover of "Cold Sweat" - Thin Lizzy although because that was a B-side to one of their singles, it's harder to find online.
VERDICT - Definitely The Sword although I still like ZZ Top's original a lot.
As stated above, here's a Spotify playlist of all the songs discussed in this post so you can listen along and decide whether I'm making some good points or are just completely full of shit...or ya know, somewhere in the middle.
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.
Thursday, 31 May 2018
Rapid Fire: Scorpions, Testament, White Wizzard
Our final post of the month is a quick look at three albums released across different decades that all share at least one common factor. In this case, it's striking album artwork and what better genre to represent high quality album art than Heavy Metal.
The first album comes from a band known for controversial album artwork that often had to be replaced by a less offensive images. That's right, it's NOT Cannibal Corpse because fuck them. It's Scorpions.
1. Blackout - Scorpions
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Of all the classic Scorpions albums I've listened to, this is probably my favourite. It also has the best album artwork with Lovedrive coming in at a close second. Anyway, when it comes to Heavy Metal from the 70s, Scorpions are arguably the gold standard. The perfect blend of Klaus Meine's vocals, guitar from one of the Schenkers and percussion from [INSERT DRUMMER HERE] (although Herman Rarebell's work on this album is a highlight) result in a sound that sounds a little more aggressive than typical Hard Rock but not quite as furious as 80s Metal; this is apparent from album opener and title track "Blackout", a fan favourite containing great riffs, a catchy chorus and an outro that maybe could've done without the scream.
From here, the album gives us a healthy variety of commercially oriented Pop Metal ("No One Like You"), slower power ballads that still rock ("When The Smoke Is Going Down"), chugging Heavy Metal ("China White") and fast paced bangers ("Dynamite"). This album has a good hit-shit ratio but the variety does mean fans of faster Heavy Metal might get a little bored during the more casual tracks like "Arizona". Likewise, listeners who want something to chill out to should probably find a different album (or genre) due to songs like "Now!" appearing and shaking you awake.
This album is an all-rounder and definitely a classic that I'd recommend to fans of the genre although it takes its strongest step in the first half. The latter half is made up of deep cuts and afterthoughts that likely won't win anyone over if they hadn't heard any of the album's main singles that all happen to come from the first half. Blackout isn't the best Heavy Metal album in existence but it's certainly a strong contender for one of Scorpions' finest records; definitely one of the best out of their golden years (Virgin Killer to Savage Amusement).
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The first album comes from a band known for controversial album artwork that often had to be replaced by a less offensive images. That's right, it's NOT Cannibal Corpse because fuck them. It's Scorpions.
1. Blackout - Scorpions
Of all the classic Scorpions albums I've listened to, this is probably my favourite. It also has the best album artwork with Lovedrive coming in at a close second. Anyway, when it comes to Heavy Metal from the 70s, Scorpions are arguably the gold standard. The perfect blend of Klaus Meine's vocals, guitar from one of the Schenkers and percussion from [INSERT DRUMMER HERE] (although Herman Rarebell's work on this album is a highlight) result in a sound that sounds a little more aggressive than typical Hard Rock but not quite as furious as 80s Metal; this is apparent from album opener and title track "Blackout", a fan favourite containing great riffs, a catchy chorus and an outro that maybe could've done without the scream.
From here, the album gives us a healthy variety of commercially oriented Pop Metal ("No One Like You"), slower power ballads that still rock ("When The Smoke Is Going Down"), chugging Heavy Metal ("China White") and fast paced bangers ("Dynamite"). This album has a good hit-shit ratio but the variety does mean fans of faster Heavy Metal might get a little bored during the more casual tracks like "Arizona". Likewise, listeners who want something to chill out to should probably find a different album (or genre) due to songs like "Now!" appearing and shaking you awake.
This album is an all-rounder and definitely a classic that I'd recommend to fans of the genre although it takes its strongest step in the first half. The latter half is made up of deep cuts and afterthoughts that likely won't win anyone over if they hadn't heard any of the album's main singles that all happen to come from the first half. Blackout isn't the best Heavy Metal album in existence but it's certainly a strong contender for one of Scorpions' finest records; definitely one of the best out of their golden years (Virgin Killer to Savage Amusement).
1. Blackout
2. Can't Live Without You
3. No One Like You
4. You Give Me All I Need
5. Now!
6. Dynamite
7. Arizona
8. China White
9. When The Smoke Is Going Down
ALBUM RATING - 7/10
Next up is an album from 1990, the last year of the truly great Heavy Metal album.
2. Souls Of Black - Testament
When choosing music for this post, it was between this album and Spreading The Disease - Anthrax but in the end, I went with Testament because I've already talked about Anthrax in a Rapid Fire post. Besides, this album needs addressing. First off, we have a fucking great album cover. Along with Spreading The Disease and Peace Sells...But Who's Buying?, it's artwork that I could get lost in and catches your eye when browsing the Metal section of your record store. Then we have the album opener "Face In The Sky" after acoustic intro "Beginning Of The End". Both tracks do a great job of creating atmosphere before giving you some damn fine Thrash Metal to get stuck into.
The album contains some exceptional material that could easily go toe to toe with some of Thrash Metal's finest moments but unfortunately, there's one glaring fault that prevents Souls Of Black from being a shining star: the godawful, horrifically flat mix. When all's said and done, you can compare Souls Of Black to other Metal albums released in the same year like Rust In Peace and Painkiller and the difference in audio quality is night and day. Producer Michael Rosen should be fucking ashamed for ruining what could've been a damn near perfect record, although the producer credits also list Testament as producing so the fault could lie with them too.
Either way, there are a lot of great songs here that are sullied by the terrible mix (as proven by the far superior rerecording of "Souls Of Black" used in Rock Band 2) but if you can get past that, there are plenty of jewels to be found in this trash can. Even when the tracks slow down to take a breather, they still maintain the raw aggression and awesome riffs needed for top notch Thrash. Maybe one day the entire album will get the rerecording treatment instead of just the title track but until then, I guess we'll have to make do with this swing and a miss.
1. Beginning Of The End
2. Face In The Sky
3. Falling Fast
4. Souls Of Black
5. Absence Of Light
6. Love To Hate
7. Malpractice
8. One Man's Fate
9. The Legacy
10. Seven Days Of May
ALBUM RATING - 7/10
The last album is a fairly modern one (2010) but was clearly inspired by Metal greats from the 80s.
3. Over The Top - White Wizzard
White Wizzard are an American NWOTHM band that MAY have listened to a lot of Iron Maiden and Anthrax whilst growing up, but I'm not completely certain about that. Regardless of their personal taste in music, the band's amplified bass, falsetto vocals and galloping rhythm definitely conjure memories of 80s Metal as demonstrated in album opener and title track "Over The Top". It's a great introduction to the band if you've never heard of them before (which is highly likely) but the real heavy hitters come later on, especially if you're a fan of riff-based Metal and backing vocals perfect for singing along during gigs.
Even though there are more than a few comparisons to their sources of inspiration, the band are easily able to stand up on their own feet. In fact, I'd argue that there's a case to be made that White Wizzard have taken those factors and improved them. Whilst there's the occasional proggy deep cut ("Iron Goddess Of Vengeance"), there are also tracks with mildly progressive elements ("High Roller") that don't go on anywhere near as long as those in modern Iron Maiden or Dream Theater songs, meaning that fans of Heavy Metal that remains tight and energetic will have a lot to enjoy in this album. There's also the fact that vocalist Wyatt Anderson can hit those high notes without sounding too rusty, something Bruce Dickinson is starting to lose if live gigs are anything to go by.
The only main downside to Over The Top is that a great Heavy Metal album has plenty of variety between fast tracks, moderately paced sluggers and slower, more emotional material. This album lacks the slower songs that allow the band to show off their musical talent, instead opting to rewrite the same song ("Live Free Or Die" and "Strike Of The Viper"). As a result, you might feel like the band are a bit one-note if you're not a fan of the song they clearly love. Fortunately, I love that song so this is a great album for me. I definitely recommend it if you want some good old fashioned Heavy Metal.
1. Over The Top
2. 40 Deuces
3. High Roller
4. Live Free Or Die
5. Iron Goddess Of Vengeance
6. Out Of Control
7. Strike Of The Viper
8. Death Race
9. White Wizzard
ALBUM RATING - 8/10
Next month: Hopefully posts that don't all come within the last week, although it does depend largely on personal issues resolving themselves.
Tuesday, 29 May 2018
Tenology: Great Song Uses In Video Games
Yes, it's a video game post but no, it's not about video game music!
Video games have come a long way over the last couple of decades, not just in terms of graphics and gameplay but also music use. When game developers decided to license actual songs instead of relying entirely on music specifically made for the title, most of the time it was just to offer additional background music (see GTA radio stations). However, now and then, the game developers knew that certain gameplay moments couldn't be experienced without a specific track playing and that's what this post is all about; a celebration of those times when a song came on, the stars aligned and all was right with the world just for a few minutes.
These moments don't occur that often, which is probably what makes them even greater, but in no particular order, here are ten times that video games reached the next level (no pun intended) with their uses of licensed music and/or songs by real bands recorded specifically for a game. Note: I'm not including songs licensed just for the game's soundtrack that are heard randomly and without purpose; these songs have to be heard at scripted events to be counted. I'm also not including songs from rhythm music games (Guitar Hero, Rock Band, etc) and I'm aiming to only include one song per game franchise, so no repeat uses of Saints Row tracks.
1. "Children Of The Elder God" - Poets Of The Fall
Used in Alan Wake (2010)
Alan Wake is a game about a writer trying to survive an attack by vicious, possessed creatures in a dark wood. It largely involves a lot of walking, some gun play and a bit of psychological horror. However, one section takes you to a stage in the middle of the woods where the fictional band Old Gods Of Asgard used to play. The game then treats you to a level where the stage lights up and monsters attempt to attack you whilst this song plays from start to finish. Needless to say, it's fucking awesome (if not a little out of place). The song is technically by Poets Of The Fall although I believe the track is credited to their fictional name in the game. Either way, the combination of the great song, the fun level and the welcome break from all the creepiness makes this a highly memorable moment.
2. "Opposites Attract" - Paula Abdul
Used in Saints Row IV (2013)
Saints Row started off as a fun little GTA clone but soon evolved into something much, MUCH better when Saints Row IV came around (although I hear Saints Row The Third is also fantastic). There are many great song uses in this game, including a side mission where you do a pole dance to "Simply Irresistible" - Robert Palmer and escape from an alien mothership to "What Is Love" - Haddaway. However, my personal favourite is a little more low key than those. You're driving with your friend on your way to start the mission (some shooting/fighting affair, no big deal) when "Opposites Attract" comes on over the radio. Your character and your friend then proceed to sing along, playing both parts regardless of which gender or voice actor you choose to play The Boss. It's a particularly fun little section in a game filled with over-the-top missions and music moments...it also helped me get into this song and inspired me to learn all of the lyrics too, although let's not dwell on that.
3. "Painkiller" - Judas Priest
Used in Brutal Legend (2009)
This song was almost going to be "Children Of The Grave" - Black Sabbath or "Through The Fire And Flames" - DragonForce but then I remembered the final boss. Whilst those songs had great uses in this third person hack n slash/RTS inspired by the art and music of Heavy Metal, the final battle of the game is amplified all the more by this epic battle anthem. It's a shame the final boss itself is a lame battle on its own but this song takes it to far higher levels. Hopefully one day we'll get a Brutal Legend 2 before all the Rock/Metal musicians die and the tracks are too expensive to license but hey, at least we can always relive this game.
4. "Still Alive" - Jonathan Coulton
Used in Portal (2007)
Portal is regarded as one of the greatest video games due to its unique puzzle solving elements and humour, although I've never actually played much of it myself. I played a bit on a demo and can't say I cared for it but there is one thing I enjoyed: the song used in the credits. Another track written specifically for the game that sung from the perspective of the game's AI antagonist; a hauntingly optimistic look at the game's events that fans have praised for over a decade. Whilst my enjoyment of the song has faded since I first heard it, I still acknowledge that it's a necessary factor in what makes Portal such a memorable game. It's rightfully taken its place in video game Pop culture, much like "the cake is a lie"...although I prefer "Still Alive".
5. "Gone Guru" - Lifeseeker
Used in Dead Rising (2006)
Yep, I'm even including Hip Hop songs in this list. Whilst I couldn't give a shit about the rapping throughout, the opening guitar notes will always make me think of the prison inmates fight from Dead Rising. Basically, you're stuck in a supermarket overrun with zombies and somehow, a bunch of prisoners have not only escaped but acquired a military vehicle with a machine gun on it. They then drive to the park section of the supermarket where they proceed to spend the majority of the game driving around attempting to kill you instead of looting or, say, escaping. However, every time you enter the park with the convicts around, this song plays...and my God, it is chilling.
See, the zombies in this game are pretty easy to kill. The convicts, however? Pain in the arse. Not only that but they are lethal to any survivors you've got with you, making them a genuine threat to survival that you often have to navigate your way around rather than take head on. Oh, and they respawn. What this means is even after you successfully kill them, you can revisit the park and immediately realise that you're in for a challenge...all because of "Gone Guru" and those opening guitar notes. It's one of the game's scariest moments, all thanks to a single song. Well played, Capcom.
6. "Bad Voodoo" - Kreeps
Used in Red Dead Redemption: Undead Nightmare (2010)
I'd probably be less inclined to include DLC expansions in this list if Undead Nightmare wasn't the single greatest DLC expansion to ever exist. Red Dead Redemption is a fun third person cowboy action game but Undead Nightmare mixes things up with the addition of zombies, completely changing the style of gameplay you might be used to and adding all new levels of fun to an already decent game. The music is creepy and atmospheric but towards the end of the game, you're tasked with riding to Mexico to seek someone out. You get on your horse, you start riding and BAM, this song comes in loud and proud. At first, it sounds like it could be part of the game's score but then the vocals come in as you storm across the fields of death. Most people claim "Far Away" - Jose Gonzales is a great use of licensed music in a game but I still love this song and use.
7. "She Changes Like The Weather" - Nic Armstrong
Used in Destroy All Humans! 2 (2006)
I loved this game when it first came out. Not just because destroying buildings and killing people as an alien was fun to a kid but the improvements made between DaH! and DaH!2 were phenomenal. New weapons, globetrotting locations, decent side missions, proper bodysnatching AND licensed music that sounded great. You'd think that a game taking place in the 60s would license a load of 60s Garage Rock but (presumably) to save on the costs, they instead went for modern music that SOUNDED like 60s Rock. One of the songs featuring prominently throughout the game is "She Changes Like The Weather", a sort of Beatlesque number with a catchy vocal melody. It can be heard near record shops AND towards the end of the game, it plays during a chaotic clash inside a moon base. Maybe it's just because the contrast of this peaceful sounding song and all the fighting going on reminds me of The Prisoner (they used "All You Need Is Love" - The Beatles during a gunfight in the final episode) but I loved hearing it during gameplay, even if it wasn't necessarily my favourite track licensed for the game. I also loved "Help You Ann" - Lyres playing during one of the side missions, although unfortunately that side mission can eat a dick.
8. "Ain't No Rest For The Wicked" - Cage The Elephant
Used in Borderlands (2009)
I'm not a big fan of FPS games but the intro to Borderlands was enough to convince me to give this a try. In the end, I gave it up because my PC couldn't handle it but enough about personal shit, let's talk music! The opening cinematic does an exceptional job of setting the tone, introducing the characters and giving us a snapshot of the world you're about to become a part of and it wouldn't be the same without the action choreographed to "Ain't No Rest For The Wicked". It's the perfect blend of gritty and wacky, just like Borderlands, and lyrically it's exactly the kind of message you need to understand everything you need to know about the characters. I've heard the second game has a decent use of "Short Change Hero" - The Heavy but this is the only game I've played of the Borderlands franchise, so this is the one that struck a chord with me.
9. "Mickey" - Toni Basil
Used in Lollipop Chainsaw (2012)
Another game with an underrated little soundtrack. Lollipop Chainsaw saw you playing as a cheerleader/zombie hunter who carried a comically oversized chainsaw and the still-alive severed head of her boyfriend as she aimed to save each member of her family from the undead. Whilst the game had several great licensed music uses (the Dead Or Alive song during the farm level was also a contender for this list), I never got tired of hearing "Mickey" play every time I powered up and entered sparkle mode or whatever the fuck it was called. It's a song that works not only as a cute little Pop number or the credits song but also as a battle anthem for tearing through zombies. Who knew?
10. "Get It Together" - The Go! Team
Used in LittleBigPlanet (2008)
I hated this game when I played it. I can't remember which level I got to but I remember the realistic gravity and 2D platforming did nothing but piss me off. However, there is one great thing about this game: the use of "Get It Together" - The Go! Team, a charming little Indie number used heavily in the game's promotion but also during some of the levels. The mediocre platforming sections are greatly improved by this quirky tune's presence and the fact that the song was previously associated with the game before appearing in a level makes the song feel like an accomplishment; you've earned the ability to hear this song as you play due to progressing to this point. Maybe I'm only thinking of it as an achievement because to me, playing the game for more than a couple of minutes was a slog, but either way I loved the track and am almost certain that this game...nah, it probably would've done well even without the licensed music.
Obviously there are other great uses of licensed tracks in video games that I've either neglected or simply didn't think were all that (yes, I'm aware of The Rolling Stones in Call Of Duty and yes, I've watched the introduction to Prey with "(Don't Fear) The Reaper"). If there are any music moments in games that you recommend and think I should check out, feel free to let me know in the comments or via Twitter.
Video games have come a long way over the last couple of decades, not just in terms of graphics and gameplay but also music use. When game developers decided to license actual songs instead of relying entirely on music specifically made for the title, most of the time it was just to offer additional background music (see GTA radio stations). However, now and then, the game developers knew that certain gameplay moments couldn't be experienced without a specific track playing and that's what this post is all about; a celebration of those times when a song came on, the stars aligned and all was right with the world just for a few minutes.
These moments don't occur that often, which is probably what makes them even greater, but in no particular order, here are ten times that video games reached the next level (no pun intended) with their uses of licensed music and/or songs by real bands recorded specifically for a game. Note: I'm not including songs licensed just for the game's soundtrack that are heard randomly and without purpose; these songs have to be heard at scripted events to be counted. I'm also not including songs from rhythm music games (Guitar Hero, Rock Band, etc) and I'm aiming to only include one song per game franchise, so no repeat uses of Saints Row tracks.
1. "Children Of The Elder God" - Poets Of The Fall
Used in Alan Wake (2010)
Alan Wake is a game about a writer trying to survive an attack by vicious, possessed creatures in a dark wood. It largely involves a lot of walking, some gun play and a bit of psychological horror. However, one section takes you to a stage in the middle of the woods where the fictional band Old Gods Of Asgard used to play. The game then treats you to a level where the stage lights up and monsters attempt to attack you whilst this song plays from start to finish. Needless to say, it's fucking awesome (if not a little out of place). The song is technically by Poets Of The Fall although I believe the track is credited to their fictional name in the game. Either way, the combination of the great song, the fun level and the welcome break from all the creepiness makes this a highly memorable moment.
2. "Opposites Attract" - Paula Abdul
Used in Saints Row IV (2013)
Saints Row started off as a fun little GTA clone but soon evolved into something much, MUCH better when Saints Row IV came around (although I hear Saints Row The Third is also fantastic). There are many great song uses in this game, including a side mission where you do a pole dance to "Simply Irresistible" - Robert Palmer and escape from an alien mothership to "What Is Love" - Haddaway. However, my personal favourite is a little more low key than those. You're driving with your friend on your way to start the mission (some shooting/fighting affair, no big deal) when "Opposites Attract" comes on over the radio. Your character and your friend then proceed to sing along, playing both parts regardless of which gender or voice actor you choose to play The Boss. It's a particularly fun little section in a game filled with over-the-top missions and music moments...it also helped me get into this song and inspired me to learn all of the lyrics too, although let's not dwell on that.
3. "Painkiller" - Judas Priest
Used in Brutal Legend (2009)
This song was almost going to be "Children Of The Grave" - Black Sabbath or "Through The Fire And Flames" - DragonForce but then I remembered the final boss. Whilst those songs had great uses in this third person hack n slash/RTS inspired by the art and music of Heavy Metal, the final battle of the game is amplified all the more by this epic battle anthem. It's a shame the final boss itself is a lame battle on its own but this song takes it to far higher levels. Hopefully one day we'll get a Brutal Legend 2 before all the Rock/Metal musicians die and the tracks are too expensive to license but hey, at least we can always relive this game.
4. "Still Alive" - Jonathan Coulton
Used in Portal (2007)
Portal is regarded as one of the greatest video games due to its unique puzzle solving elements and humour, although I've never actually played much of it myself. I played a bit on a demo and can't say I cared for it but there is one thing I enjoyed: the song used in the credits. Another track written specifically for the game that sung from the perspective of the game's AI antagonist; a hauntingly optimistic look at the game's events that fans have praised for over a decade. Whilst my enjoyment of the song has faded since I first heard it, I still acknowledge that it's a necessary factor in what makes Portal such a memorable game. It's rightfully taken its place in video game Pop culture, much like "the cake is a lie"...although I prefer "Still Alive".
5. "Gone Guru" - Lifeseeker
Used in Dead Rising (2006)
Yep, I'm even including Hip Hop songs in this list. Whilst I couldn't give a shit about the rapping throughout, the opening guitar notes will always make me think of the prison inmates fight from Dead Rising. Basically, you're stuck in a supermarket overrun with zombies and somehow, a bunch of prisoners have not only escaped but acquired a military vehicle with a machine gun on it. They then drive to the park section of the supermarket where they proceed to spend the majority of the game driving around attempting to kill you instead of looting or, say, escaping. However, every time you enter the park with the convicts around, this song plays...and my God, it is chilling.
See, the zombies in this game are pretty easy to kill. The convicts, however? Pain in the arse. Not only that but they are lethal to any survivors you've got with you, making them a genuine threat to survival that you often have to navigate your way around rather than take head on. Oh, and they respawn. What this means is even after you successfully kill them, you can revisit the park and immediately realise that you're in for a challenge...all because of "Gone Guru" and those opening guitar notes. It's one of the game's scariest moments, all thanks to a single song. Well played, Capcom.
6. "Bad Voodoo" - Kreeps
Used in Red Dead Redemption: Undead Nightmare (2010)
I'd probably be less inclined to include DLC expansions in this list if Undead Nightmare wasn't the single greatest DLC expansion to ever exist. Red Dead Redemption is a fun third person cowboy action game but Undead Nightmare mixes things up with the addition of zombies, completely changing the style of gameplay you might be used to and adding all new levels of fun to an already decent game. The music is creepy and atmospheric but towards the end of the game, you're tasked with riding to Mexico to seek someone out. You get on your horse, you start riding and BAM, this song comes in loud and proud. At first, it sounds like it could be part of the game's score but then the vocals come in as you storm across the fields of death. Most people claim "Far Away" - Jose Gonzales is a great use of licensed music in a game but I still love this song and use.
7. "She Changes Like The Weather" - Nic Armstrong
Used in Destroy All Humans! 2 (2006)
I loved this game when it first came out. Not just because destroying buildings and killing people as an alien was fun to a kid but the improvements made between DaH! and DaH!2 were phenomenal. New weapons, globetrotting locations, decent side missions, proper bodysnatching AND licensed music that sounded great. You'd think that a game taking place in the 60s would license a load of 60s Garage Rock but (presumably) to save on the costs, they instead went for modern music that SOUNDED like 60s Rock. One of the songs featuring prominently throughout the game is "She Changes Like The Weather", a sort of Beatlesque number with a catchy vocal melody. It can be heard near record shops AND towards the end of the game, it plays during a chaotic clash inside a moon base. Maybe it's just because the contrast of this peaceful sounding song and all the fighting going on reminds me of The Prisoner (they used "All You Need Is Love" - The Beatles during a gunfight in the final episode) but I loved hearing it during gameplay, even if it wasn't necessarily my favourite track licensed for the game. I also loved "Help You Ann" - Lyres playing during one of the side missions, although unfortunately that side mission can eat a dick.
8. "Ain't No Rest For The Wicked" - Cage The Elephant
Used in Borderlands (2009)
I'm not a big fan of FPS games but the intro to Borderlands was enough to convince me to give this a try. In the end, I gave it up because my PC couldn't handle it but enough about personal shit, let's talk music! The opening cinematic does an exceptional job of setting the tone, introducing the characters and giving us a snapshot of the world you're about to become a part of and it wouldn't be the same without the action choreographed to "Ain't No Rest For The Wicked". It's the perfect blend of gritty and wacky, just like Borderlands, and lyrically it's exactly the kind of message you need to understand everything you need to know about the characters. I've heard the second game has a decent use of "Short Change Hero" - The Heavy but this is the only game I've played of the Borderlands franchise, so this is the one that struck a chord with me.
9. "Mickey" - Toni Basil
Used in Lollipop Chainsaw (2012)
Another game with an underrated little soundtrack. Lollipop Chainsaw saw you playing as a cheerleader/zombie hunter who carried a comically oversized chainsaw and the still-alive severed head of her boyfriend as she aimed to save each member of her family from the undead. Whilst the game had several great licensed music uses (the Dead Or Alive song during the farm level was also a contender for this list), I never got tired of hearing "Mickey" play every time I powered up and entered sparkle mode or whatever the fuck it was called. It's a song that works not only as a cute little Pop number or the credits song but also as a battle anthem for tearing through zombies. Who knew?
10. "Get It Together" - The Go! Team
Used in LittleBigPlanet (2008)
I hated this game when I played it. I can't remember which level I got to but I remember the realistic gravity and 2D platforming did nothing but piss me off. However, there is one great thing about this game: the use of "Get It Together" - The Go! Team, a charming little Indie number used heavily in the game's promotion but also during some of the levels. The mediocre platforming sections are greatly improved by this quirky tune's presence and the fact that the song was previously associated with the game before appearing in a level makes the song feel like an accomplishment; you've earned the ability to hear this song as you play due to progressing to this point. Maybe I'm only thinking of it as an achievement because to me, playing the game for more than a couple of minutes was a slog, but either way I loved the track and am almost certain that this game...nah, it probably would've done well even without the licensed music.
Obviously there are other great uses of licensed tracks in video games that I've either neglected or simply didn't think were all that (yes, I'm aware of The Rolling Stones in Call Of Duty and yes, I've watched the introduction to Prey with "(Don't Fear) The Reaper"). If there are any music moments in games that you recommend and think I should check out, feel free to let me know in the comments or via Twitter.
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