DISCLAIMER: The following blog post is a work of opinion. Any of the comments in this post about one song "ripping off" another song are not to be taken as serious allegations or statements of fact.
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It's another Showdown and this time, it's NOT about Cover Versions!
Ever noticed how some songs have remarkably similar riffs or chord sequences to others? How about those songs where you swear that there must have been a little bit of cheeky plagiarism involved? This blog post will examine whether the songs that may have creatively borrowed elements from others are greater than the original track they may be paying homage to/shamelessly ripping off.
Obviously, the original song deserves credit for being original and IF any of these songs are actually responsible for stealing, the thieves should be fucking ashamed. However, since I'm not absolutely 100% certain that any of these homages/rip offs are homages/rip offs, I'm going to judge each of the songs in these rounds as individual tracks linked only by similarities of varying magnitudes.
Right, let's get this started & hope I don't get sued!
ROUND ONE: Tom Petty vs. The White Stripes
Mary Jane's Last Dance - I love this song and wish I could hear the version that actually ends instead of fading out during the solo. Released for the first time on a Greatest Hits compilation in the 90's, this song about drugs, death or whatever you want it to be (according to guitarist Mike Campbell) stands toe to toe with some of Petty's signature songs in my opinion. The section of this song I'm comparing to the next one is a guitar riff around the 2:30 mark after the second chorus.
Fell In Love With A Girl - Some of you may be wondering why I picked this song as opposed to "Dani California" - Red Hot Chili Peppers, a song that actually gained notoriety after a radio station accused it of stealing the chord progression and vocal delivery from Tom Petty. Simply put, Jack White's vocal melody around the 45 second mark has always bothered me due to its similarity to Petty's guitar riff. Also, not that I'm fanning the flames or anything but a riff in "Blue Orchid" also first played around 45 seconds reminds me of the bassline from "Richard III" - Supergrass around 1:26 in...but that comparison is a little bit forced, even for me.
VERDICT - I don't think Jack White was paying homage to Tom Petty but I do believe White listens to Petty and has heard the song before. In my opinion, I believe White possibly borrowed the riff without realising but even if he didn't, I'd still award the win to Tom Petty for writing the better song.
ROUND TWO: Spirit vs. Led Zeppelin
Taurus - Still the subject of an ongoing court case, the opening acoustic guitar arpeggios do sound a fuck of a lot like the ones from Led Zeppelin's and quite possibly Classic Rock's most adored song. As far as the rest of the song goes, it's completely different to the rest of Led Zepp's track but other songs by Page and Plant do echo the psychedelic sound from this instrumental.
Stairway To Heaven - You might think the solo is overrated and you might think Led Zeppelin have created far better songs but come on, those first few notes are fucking perfect and the song deserves its place in Rock history for that AND Bonham's respective intros. It does sound a little stolen but at least the rest of the song stands apart. Just as well really, I don't want to hate Stairway as much as Robert Plant does.
VERDICT - OK, first of all, I believe Led Zepp did a bit of cheeky riff pinching. The fact that it sounds just tweaked enough to legally use makes me picture the band sat around a vinyl player with a guitar listening to Spirit thinking of ways they can get away with it, not to mention an entire fucking Wikipedia article dedicated to listing songs Led Zeppelin have creatively rearranged/covered. That being said, I'm giving the win to Led Zeppelin because we all know we'd rather rock out to "Stairway To Haven" over "Taurus", although I think Spirit deserve a writing credit at the very least.
ROUND THREE: Tommy Tutone vs. Bruce Springsteen
867-5309/Jenny - The song about a prostitute that ruined some poor sod's phone number. It took me a few listens to get into this track but it's reached the point now where I've created my own dance for the chorus involving a complex sequence of hand and finger movements. Anyway, I like this song & the chord progression that Springsteen copied. It's a standard little Pop Rock number, nothing else to say.
Radio Nowhere - This used to be the only Bruce Springsteen song I actually liked and then I heard the song that he fucking ripped off. You only have to listen to the first few seconds (which is all I ever recommend listening to of any Bruce Springsteen song as he usually hasn't opened his mouth by that point) to hear the similarity.
VERDICT - Springsteen's song came out in the late 2000's and by that point, you could argue that he'd made enough of a career to rely on greatest hits instead of stealing others. Plus, Tommy Tutone were actually honoured to have their only hit plagiarised by The Boss so for being good sports and writing a better song, Tommy Tutone get the win here.
ROUND FOUR: Queen vs. Muse
Bohemian Rhapsody - Widely hailed as Queen's best track boasting some of the most instantly quotable lyrics of any Classic Rock song. If I'm laying my cards on the table, I can take it or leave it. The first two and a half minutes before Brian May wakes up are too dull for me but once the song gets to the Wayne's World part, I'm hooked. In fact, it's that headbanging part with the epic riff that I believe Muse were heavily inspired by when they wrote their greatest song.
Knights Of Cydonia - I heard this song before Guitar Hero III: Legends Of Rock but I reckon it's fair to say that game made me fall in love with it...that and the music video. Either way, it's not as pompous as some of Muse's other material; it's just a great Rock song that also features vocal harmonies during a section with minimal music before building up to a climactic final section lead by a heavy riff. I wonder where they got that idea...
VERDICT - Unlike previous songs, it's not a specific riff or chord progression that Muse reworked into their own tune. It's more a case of them being inspired to borrow the same structure from another hugely popular Rock hit which, in my eyes, is more of them taking inspiration than writing a homage or rip off. Also, I easily prefer "Knights Of Cydonia" so the win goes to Muse.
ROUND FIVE: Rod Stewart vs. Wolfmother
Every Picture Tells A Story - Fun fact, my girlfriend and I actually made this "our song". Unlike her though, I'm not a big Rod Stewart fan. I find his voice a little grating but I'll admit that it fits bloody well in this song. Great mix of instruments and notable for being one of the few, if not only, songs I can think of that introduces the chorus in the outro fade out. It's also a fine song to drive to, provided you find the right roads on a warm summer afternoon.
Best Of A Bad Situation - Christ, where do I start? You may remember I briefly compared this to Rod Stewart in my recent review of the new album but once you actually dissect it, the similarities just keep on coming. The sudden introduction of vocals and the acoustic melody? Referencing falling in love with Asian culture? "Spent some time feeling sore" as opposed to "inferior"? "She wouldn't give me the time of day"? Even the song's title references a line in Rod Stewart's track ("Make the best out of the bad, just laugh it off"), come on!
VERDICT - If Andrew Stockdale comes out and says the comparisons are coincidental, he's full of shit. There are far too many references to "Every Picture Tells A Story" for this to be an accident but at the same time, I wouldn't call it a rip off. It sounds like he's tried to write an unofficial sequel to that song and is either banking on people not knowing enough about Classic Rock to get away with it or is hoping those who have heard it have positive connotations with it and enjoy it even more as a result. Either way, it's a win for Rod Stewart purely on the basis that Rodders did this song first, even though I do like Wolfmother's track a lot.
ROUND SIX: Killing Joke vs. Nirvana
Eighties - A punchy example of early Pop Punk before the rise of Green Day and the like. It's a good track, although a little repetitive for me to enjoy it as much as other hits of the time. I'm surprised they managed to drag the song out for nearly four minutes, if I'm honest. I guess that's what happens when you have a killer riff that will inspire a certain young Grunge frontman in years to come.
Come As You Are - "Hey Dave, reckon if I slow down the riff for this song and add a couple of notes here and there we could get away with calling it our own track?" That might sound like a bit of an unrealistic conversation but considering the band were aware of similarities between this song and "Eighties" before they released it as a single, I can't imagine it going any differently. Killing Joke heard similarities too and were rightfully pissed off at Nirvana for this plagiarism.
VERDICT - Oh, definitely Killing Joke. Even if Nirvana didn't directly steal the riff, they knew their song was too similar to "Eighties" and did nothing about it...well, they cashed in on it I guess but that was it.
ROUND SEVEN: The Gun vs. Judas Priest
Race With The Devil - You might know this better as a cover by Girlschool but the songs are still more or less the same, minus a few extra solos here and there. This song has a section around the 1:09 point where the guitars and brass play a few chords whilst the vocalist manically laughs. It's probably my least favourite part of the song but I'm bringing it up because there's another song that has a remarkably familiar sound.
Hell Bent For Leather - Remember that intro before the main riff that's also played before and after the solo? Remember how it sounds almost exactly like the chord progression in "Race With The Devil"? Well take my word for it, it does! I guess this is overkill but the first half of the riff that's played after Rob Halford sings "Hell bent, hell bent for leather" sounds a lot like the last quarter of the riff from "Stormtroopin'" - Ted Nugent too.
VERDICT - Whilst there's no doubt in my mind that Judas Priest took heavy inspiration from The Gun (especially since Judas Priest have actually covered "Race With The Devil"!), I do prefer "Hell Bent For Leather" as a song so Judas Priest get the win this round, although they also get a disapproving glare from me.
ROUND EIGHT: Eagles Of Death Metal vs. Pearl Jam
Speaking In Tongues - Solid riff, great solo, wacky vocals and a suitable finish. It's songs like this that make me like this band, even if their last album was dull. It was also released two years before the next song so it's probable that any similarities were unintentional...that being said, they still exist so they're suitable for this blog post.
World Wide Suicide - Same drumming, same fade-in intro and a hell of a similar chord sequence. Yes, both of these bands are Alternative and both of them probably have the same fans but is this a homage or rip off? In my opinion, it's neither. Both songs are similar and that's about it.
VERDICT - Tricky decision. I actually want to give the win to both Eagles Of Death Metal and Pearl Jam for creating two great songs that sort of sound like each other. Before I move onto the penultimate round, I just want to give a quick shout out to the album "World Wide Suicide" comes from, also titled Pearl Jam. It's a fantastic Alternative album and whilst it's a completely different style of music to the Grunge tunes the band used to write, I would personally rate that record equal to if not higher than Ten.
ROUND NINE: Iggy Pop vs. Jet
Lust For Life - One of the few well known Iggy Pop songs that isn't terrible and even then it gets repetitive pretty fast. It's still great to listen to the first couple of minutes though, especially that drum rhythm paired with the bass.
Are You Gonna Be My Girl? - Admit it, you ALL saw this one coming. Drum intro? Yup. Catchy bassline? Got it. Any other similarity? Well, there's not too much of them but come on, they couldn't have done much more to make you think of "Lust For Life" when hearing this song if they tried. They've also got another song called "She's A Genius" that sounds a hell of a lot like "My Sharona" - The Knack so this band don't have the best reputation when it comes to coming up with "original" music, even if they do have a bunch of other songs.
VERDICT - I like both songs but I only dislike Iggy Pop's music having listened to one of his double disc compilation albums (I'm indifferent to Jet's). Personal opinions aside though, I do prefer the Iggy Pop song so he gets the win. Plus, his came first and whilst I'm sure Jet didn't actively copy "Lust For Life", their lack of creativity resulted in writing a song sounding just like it.
ROUND TEN: Lynyrd Skynyrd vs. Blackfoot
Free Bird - We all know how the solo goes for "Free Bird" by now, right? We all know those first few notes and most of us will probably know how the rest of the solo goes too. The guitar duel builds up as the song progresses with each musician giving it their all to create one of the most iconic guitar solos there will ever be. You'd have to be a fool to try and copy it and pass it off as your own.
Highway Song - This is Blackfoot's obligatory 7+ minute epic that all Southern Rock bands worth their salt have to record. However, the difference between this and "Fall Of The Peacemakers" - Molly Hatchet or "Ramble Tamble" - Creedence Clearwater Revival is that those songs don't copy the solo from the most well known Southern Rock epic of all time. You listen to the first few notes of "Highway Song" after the vocalist stops singing and tell me Blackfoot had no idea what they were doing when they wrote that track. Still not convinced? Listen to the rest of the solo and count the number of times you think "This sounds like Skynyrd".
VERDICT - I love both songs but Jesus, you'd have to be fucking crackers to think I wasn't giving this one to Lynyrd Skynyrd, not just for coming first but for creating the better song. Admittedly, I enjoy the softer half of "Highway Song" more than the softer half of "Free Bird" but there's no contest when it comes to the main event.
Do you agree with my comparisons? How about ones I've missed? If there are any songs you think were subtle homages or just plain rip offs of others, let me know on Twitter or in the comments. Next time, I might review the new Anthrax album or I might come up with another random post like this. I haven't done a video game one in a while so I might have a go at one of those soon. Either way, there's stuff in the works!
Friday, 26 February 2016
Saturday, 20 February 2016
Heavy Crown - Last In Line
Sorry guys, still no Hidden City review. Instead of choosing an album I preferred to review like I did last week, I've done the exact opposite and reviewed one that I strongly disliked. Oh, and I probably won't review it next week either so don't hold your breath...in fact, that's a pretty solid summary of Hidden City in itself. Anyway, time for this slightly longer and arguably less positive review.
At first, I had high hopes for this album, as would anyone who loves Heavy Metal. The original lineup to Dio (minus the awesome vocalist/guy the band was named after, of course) writing and recording a new album together after 30 years or so. It should've been fantastic, as Holy Diver and The Last In Line (the album this band have named themselves after) are great and I don't believe that it was Ronnie James Dio alone who made those albums what they are...at least, I didn't until I listened to Heavy Crown.
Kicking off this damp record is "Devil In Me", a limp opener that starts off with promise but rapidly becomes a flop as soon as the drums come in. The way I see it, there are two ways you can make a slow Metal song. You can either make it epic by adding powerful drums, thunderous guitar riffs and maybe some accompanying strings OR you can make it flat and hope the riffs or lyrics are catchy enough to be enjoyable. This song does neither, making it a mediocre track but an appropriate album opener as the rest of the album follows the same patterns.
Most of the songs sound like they could've been salvaged if there was someone in the band with a suitable creative vision but I'm guessing that person was supposed to be Vivian Campbell, the guitarist who joined Dio after most of the best songs on Holy Diver had been written. I'm not saying he's a bad songwriter and I would never call him a bad guitarist but he's definitely no Ronnie James Dio when it comes to making iconic Metal. It's pretty clear after listening to this album and reading through his discography that he's aged into more of a Hard Rock guitarist, especially with songs like "Burn This House Down" that contain a minimal amount of guitar throughout the verses or "In Flames", a bonus track placed halfway through the album for some fucking reason.
There are some good points though. At least Campbell's guitarwork is still tight, albeit uninspired and unlikely to win any new fans of the genre. Also, new vocalist Andrew Freeman has the right kind of rough pipes for a Metal album and recently deceased bassist Jimmy Bain did the job of Hard Rock/Metal bass player well, although he was no Steve Harris or Geddy Lee. I'm aware this isn't really something that should influence the album's quality in a review but it should be said that this band haven't released a stupid amount of special editions of this record either, so this isn't just a cynical cash grab. They actually wanted to release a collection of their music for people to enjoy but were sadly held back by themselves.
The tragedy in this is that literally getting the band back together, especially one as notable in the world of Metal as Dio's old band, can only set expectations high. I don't believe that they wanted to exploit this reunion to get better sales, as I've barely heard this album being publicised in comparison to other comeback albums such as Def Leppard's Def Leppard, but it doesn't do them any favours. As I said before, there are tracks that are almost great like "Orange Glow" and "I Am Revolution" but just lack that spark that sets them apart from superior modern Heavy Metal revival bands like Jake E. Lee's Red Dragon Cartel. If I had to blame one singular factor for this, I'd point the finger at Vinny Appice.
His drumming sounds soulless and restrained, even during faster tracks such as "Martyr" and "Already Dead", resulting in an album that lacks any of the power that proper Metal deserves. However, I could also blame the album's average sound on the overall depreciation in Campbell's creative and technical talent but I feel like he's done quite well considering he beat cancer not that long ago. Maybe this is an album that grows on you over time but judging by the straight forward nature of each track and complete absence of any Prog Metal elements, I reckon it's a safer bet to assume this is just a dud record and not a future classic in 20 years.
Just to reiterate, Heavy Crown is a solid effort. The band have tried and I guess that's more admirable than if they'd accidentally created a better album by phoning it in. Sadly, I don't believe in a world where trying and failing deserves better praise than not trying and succeeding so I have to give this a rating of 3/10. I wouldn't even recommend this to Hard Rock fans who want to get into Metal as the songs are so bland that it's probably more likely to turn them off the genre.
Ironically, Last In Line's debut is probably their last in line as they're wondering whether they should continue without the bassist. Personally, I have no problem with that as I can't say I'm looking forward to any future release they may or may not produce unless they recruit a visionary bass playing frontman sent by God as reparation for taking Lemmy from us.
At first, I had high hopes for this album, as would anyone who loves Heavy Metal. The original lineup to Dio (minus the awesome vocalist/guy the band was named after, of course) writing and recording a new album together after 30 years or so. It should've been fantastic, as Holy Diver and The Last In Line (the album this band have named themselves after) are great and I don't believe that it was Ronnie James Dio alone who made those albums what they are...at least, I didn't until I listened to Heavy Crown.
Kicking off this damp record is "Devil In Me", a limp opener that starts off with promise but rapidly becomes a flop as soon as the drums come in. The way I see it, there are two ways you can make a slow Metal song. You can either make it epic by adding powerful drums, thunderous guitar riffs and maybe some accompanying strings OR you can make it flat and hope the riffs or lyrics are catchy enough to be enjoyable. This song does neither, making it a mediocre track but an appropriate album opener as the rest of the album follows the same patterns.
Most of the songs sound like they could've been salvaged if there was someone in the band with a suitable creative vision but I'm guessing that person was supposed to be Vivian Campbell, the guitarist who joined Dio after most of the best songs on Holy Diver had been written. I'm not saying he's a bad songwriter and I would never call him a bad guitarist but he's definitely no Ronnie James Dio when it comes to making iconic Metal. It's pretty clear after listening to this album and reading through his discography that he's aged into more of a Hard Rock guitarist, especially with songs like "Burn This House Down" that contain a minimal amount of guitar throughout the verses or "In Flames", a bonus track placed halfway through the album for some fucking reason.
There are some good points though. At least Campbell's guitarwork is still tight, albeit uninspired and unlikely to win any new fans of the genre. Also, new vocalist Andrew Freeman has the right kind of rough pipes for a Metal album and recently deceased bassist Jimmy Bain did the job of Hard Rock/Metal bass player well, although he was no Steve Harris or Geddy Lee. I'm aware this isn't really something that should influence the album's quality in a review but it should be said that this band haven't released a stupid amount of special editions of this record either, so this isn't just a cynical cash grab. They actually wanted to release a collection of their music for people to enjoy but were sadly held back by themselves.
The tragedy in this is that literally getting the band back together, especially one as notable in the world of Metal as Dio's old band, can only set expectations high. I don't believe that they wanted to exploit this reunion to get better sales, as I've barely heard this album being publicised in comparison to other comeback albums such as Def Leppard's Def Leppard, but it doesn't do them any favours. As I said before, there are tracks that are almost great like "Orange Glow" and "I Am Revolution" but just lack that spark that sets them apart from superior modern Heavy Metal revival bands like Jake E. Lee's Red Dragon Cartel. If I had to blame one singular factor for this, I'd point the finger at Vinny Appice.
His drumming sounds soulless and restrained, even during faster tracks such as "Martyr" and "Already Dead", resulting in an album that lacks any of the power that proper Metal deserves. However, I could also blame the album's average sound on the overall depreciation in Campbell's creative and technical talent but I feel like he's done quite well considering he beat cancer not that long ago. Maybe this is an album that grows on you over time but judging by the straight forward nature of each track and complete absence of any Prog Metal elements, I reckon it's a safer bet to assume this is just a dud record and not a future classic in 20 years.
Just to reiterate, Heavy Crown is a solid effort. The band have tried and I guess that's more admirable than if they'd accidentally created a better album by phoning it in. Sadly, I don't believe in a world where trying and failing deserves better praise than not trying and succeeding so I have to give this a rating of 3/10. I wouldn't even recommend this to Hard Rock fans who want to get into Metal as the songs are so bland that it's probably more likely to turn them off the genre.
Ironically, Last In Line's debut is probably their last in line as they're wondering whether they should continue without the bassist. Personally, I have no problem with that as I can't say I'm looking forward to any future release they may or may not produce unless they recruit a visionary bass playing frontman sent by God as reparation for taking Lemmy from us.
Friday, 12 February 2016
Victorious - Wolfmother
Two new albums of interest have been released in the last week via streaming services: Hidden City - The Cult and Victorious - Wolfmother. Rather than try to compare two clearly different albums without technically reviewing either of them, I've decided to focus this week's time and attention on the album that I actually preferred listening to. I may or may not review Hidden City but if you want me to, let me know.
It's fair to say I was already excited for this album after listening to the first two tracks released from it but now I've given the whole thing a listen, I'm glad to say my excitement was well founded. Victorious is exactly what you should expect from a Wolfmother record and fits right in with the band's short but strong back catalogue. Distorted guitar? Fuzzy bass? Heavy drumming? Apocalyptic organ riffing? Falsetto vocals? That's five checks!
Unfortunately, despite bigging it up in that opening paragraph, the album starts off on a fairly weak note in the form of "The Love That You Give". Don't get me wrong, it's not a bad track. It's solid, yes, but not spectacular or powerful enough to warrant the first place on the tracklist. To me, this 4th record is the band's triumphant return to making Wolfmother albums (even if it is mostly Andrew Stockdale, but then wasn't that always the case with Wolfmother?) and after hearing "Victorious" again, that would've been a far more suitable album opener.
It's punchy both musically and lyrically, it's got the classic galloping rhythm and it has enough epic riffs to challenge the average Black Sabbath song. It's the perfect way to announce to the world that these Aussie bastards are back, not a two and a half minute filler track that could've been omitted from the album without any real decline in overall quality. Luckily, that's the only major problem in my eyes although I should probably address something that most music snobs will consider a flaw when applied to this band.
Their "sound".
For some reason, Wolfmother get an unjustified amount of shit for sounding like a 70's retro act. Personally, I feel like that's an easy label to pin on the band and scathing comparisons between some of Wolfmother's better known songs and Hard Rock tracks from 40 years ago tend to be tenuous at best. Their music may be based around heavy riffs and falsetto vocals but those are just two staples of Rock music that the band happen to use; that argument could be applied to practically any modern Rock band with the right tropes at your disposal.
Also, why is it bad to sound good? It's like teenagers calling those older groups "Dinosaur Bands". Guess what? Dinosaurs are fucking awesome.
The reason I bring this up before I get too off-topic is because this album isn't just cheap nostalgia for fans cursing the fact that they were born too late to see Led Zeppelin in their prime. In fact, some of the songs are downright modern, reminding me of what I'd imagine The White Stripes would sound like if they were actually awesome ("Baroness") or the kind of contemporary-Alternative tune you'd hear during the credits of an award winning bittersweet Indie flick ("Pretty Peggy"); the latter of those two examples being a welcome break from the clashing drums and dynamic guitars but hardly experimental by the band's standards when you remember songs like "Vagabond".
I've always felt like Wolfmother were influenced by 70's styles but the actual sound of their music is a great blend of old and new. There are tracks on this album that may borrow inspiration from RBR (Riff-Based-Rock) or Classic Rock artists such as Budgie or Rod Stewart ("The Simple Life" and "Best Of A Bad Situation" respectively) but if you travelled back in time with these tracks on vinyl and played it for someone in 1976, it'd be like showing a Victorian shopkeeper a copy of Alan Moore's Watchmen.
Aside from one relatively forgettable psychedelic Hard Rocker ("Happy Face"), the rest of the album consists of songs that could've easily been written and recorded during any of the previous studio sessions, which is great news for fans. Overall, the album also feels more focused due to the slightly reduced number of tracks. The hit-to-meh ratio is stronger and if Stockdale decides to take another lengthy break and gradually release practically every song as a single like he did with the band's debut, I reckon he could get away with it based on the radio-friendly nature of each track.
At this point in the band's career, I think it's fair to say you know if you like Wolfmother or not. Victorious isn't a turning point in the band's sound or quality of written material but if you've bought the album because you know you like Wolfmother's music, you won't be disappointed with what you get. If I had to rate this for Wolfmother and Hard Rock fans, it's an easy 9/10. If you listened to "Victorious" and "City Lights" and liked what you heard, the rest of the album will almost certainly be right up your street as well.
However, on a non-personal and purely neutral level, the quality of this music doesn't push any boundaries or have the same wow factor that earlier tracks like "Woman" or "Dimension" did when they first dropped so I feel like rating it that high (or higher than critically acclaimed albums I've talked about on here in the past) pisses all over any kind of scale I use to score albums, hence my rating of 7/10. It's an album that rocks, plain and simple. It might not be perfect but it'll give me joy when listening to it, just like the first two albums and hopefully many more to come!
It's fair to say I was already excited for this album after listening to the first two tracks released from it but now I've given the whole thing a listen, I'm glad to say my excitement was well founded. Victorious is exactly what you should expect from a Wolfmother record and fits right in with the band's short but strong back catalogue. Distorted guitar? Fuzzy bass? Heavy drumming? Apocalyptic organ riffing? Falsetto vocals? That's five checks!
Unfortunately, despite bigging it up in that opening paragraph, the album starts off on a fairly weak note in the form of "The Love That You Give". Don't get me wrong, it's not a bad track. It's solid, yes, but not spectacular or powerful enough to warrant the first place on the tracklist. To me, this 4th record is the band's triumphant return to making Wolfmother albums (even if it is mostly Andrew Stockdale, but then wasn't that always the case with Wolfmother?) and after hearing "Victorious" again, that would've been a far more suitable album opener.
It's punchy both musically and lyrically, it's got the classic galloping rhythm and it has enough epic riffs to challenge the average Black Sabbath song. It's the perfect way to announce to the world that these Aussie bastards are back, not a two and a half minute filler track that could've been omitted from the album without any real decline in overall quality. Luckily, that's the only major problem in my eyes although I should probably address something that most music snobs will consider a flaw when applied to this band.
Their "sound".
For some reason, Wolfmother get an unjustified amount of shit for sounding like a 70's retro act. Personally, I feel like that's an easy label to pin on the band and scathing comparisons between some of Wolfmother's better known songs and Hard Rock tracks from 40 years ago tend to be tenuous at best. Their music may be based around heavy riffs and falsetto vocals but those are just two staples of Rock music that the band happen to use; that argument could be applied to practically any modern Rock band with the right tropes at your disposal.
Also, why is it bad to sound good? It's like teenagers calling those older groups "Dinosaur Bands". Guess what? Dinosaurs are fucking awesome.
The reason I bring this up before I get too off-topic is because this album isn't just cheap nostalgia for fans cursing the fact that they were born too late to see Led Zeppelin in their prime. In fact, some of the songs are downright modern, reminding me of what I'd imagine The White Stripes would sound like if they were actually awesome ("Baroness") or the kind of contemporary-Alternative tune you'd hear during the credits of an award winning bittersweet Indie flick ("Pretty Peggy"); the latter of those two examples being a welcome break from the clashing drums and dynamic guitars but hardly experimental by the band's standards when you remember songs like "Vagabond".
I've always felt like Wolfmother were influenced by 70's styles but the actual sound of their music is a great blend of old and new. There are tracks on this album that may borrow inspiration from RBR (Riff-Based-Rock) or Classic Rock artists such as Budgie or Rod Stewart ("The Simple Life" and "Best Of A Bad Situation" respectively) but if you travelled back in time with these tracks on vinyl and played it for someone in 1976, it'd be like showing a Victorian shopkeeper a copy of Alan Moore's Watchmen.
Aside from one relatively forgettable psychedelic Hard Rocker ("Happy Face"), the rest of the album consists of songs that could've easily been written and recorded during any of the previous studio sessions, which is great news for fans. Overall, the album also feels more focused due to the slightly reduced number of tracks. The hit-to-meh ratio is stronger and if Stockdale decides to take another lengthy break and gradually release practically every song as a single like he did with the band's debut, I reckon he could get away with it based on the radio-friendly nature of each track.
At this point in the band's career, I think it's fair to say you know if you like Wolfmother or not. Victorious isn't a turning point in the band's sound or quality of written material but if you've bought the album because you know you like Wolfmother's music, you won't be disappointed with what you get. If I had to rate this for Wolfmother and Hard Rock fans, it's an easy 9/10. If you listened to "Victorious" and "City Lights" and liked what you heard, the rest of the album will almost certainly be right up your street as well.
However, on a non-personal and purely neutral level, the quality of this music doesn't push any boundaries or have the same wow factor that earlier tracks like "Woman" or "Dimension" did when they first dropped so I feel like rating it that high (or higher than critically acclaimed albums I've talked about on here in the past) pisses all over any kind of scale I use to score albums, hence my rating of 7/10. It's an album that rocks, plain and simple. It might not be perfect but it'll give me joy when listening to it, just like the first two albums and hopefully many more to come!
Saturday, 6 February 2016
Live Shows: Dos & Don'ts
Part of supporting your favourite bands comes down to seeing them play live whenever they go on a certain tour, whether it's to promote a new album or just to remind everyone that the frontman isn't dead yet. Most of the time, bands get it spot on. They come out, they rock the house and leave to play again another day. However, there are a few bands that manage to successfully fuck it up and it pains me to say that it's often the older bands that think they're too famous to make mistakes.
This blog post is designed to highlight the parts of live gigs that bands SHOULD and SHOULDN'T be allowed to get away with. As always, it's all opinion based but it'd be great if some bands guilty of the Don'ts take these on board before their next performance. Let me know if you're one of those bands or if you just agree/disagree with that I've said.
DO engage in banter with the audience between songs
It's not exactly the main reason people go to gigs but it's a great break in between songs if the band has a frontman with charisma. It can be as simple as telling them brief stories about songs or asking if any of them have been to one of their gigs before, as long as it's not just "Here's one of our songs. Here's another song. Thank you for having us. Here's our latest single". I would say that the banter should be kept outside of the songs but I saw The Darkness recently and they frequently stopped tracks to tell jokes and piss about with the audience. It actually made the show more entertaining than if they just came out and played a set, so I guess it can work on occasion. However, I doubt it'd go down well at a Genesis or Opeth gig.
DO pick a good warm-up band
I'm sure I've mentioned it on this blog before but I have a theory that only "old" bands have good warm-up acts. Any time I go to see a band that started around the 70's or 80's, they always get a great warm-up. Iron Maiden got Sweet Savage, Deep Purple got Cheap Trick, Judas Priest got Saxon. However, whenever I see a band that became popular within the last 10 years or so, the warm-up is ALWAYS terrible. The Darkness got some twats playing the same boring Blues song over and over, Tenacious D got an annoying cunt dressed as a Sasquatch who thought he was incredible, Muse got about three different Indie acts who rocked about as hard as a used snot rag.
I'm not saying that bands like Royal Blood could get AC/DC as their opening act but surely there are better bands than all the ones that seem to be picked. I should also mention that sometimes older bands do pick shitty warm-ups, like the one before Motley Crue and Alice Cooper. I suppose the message here should probably be Don't Pick Bands Your Kids Like/You're Mates With If They Sound Nothing Like Your Music.
DO play an encore
I suppose I should add "unless the audience fucking hate you" but assuming the show goes well and the audience give you well deserved applause at the end, an encore is a must for any headline act. Not sure how many songs to perform? It's always 2 or 3, but here's a handy guide detailing the quantity of tracks played and a translation of what it represents:
No songs/encore: "We couldn't be fucked to do the thing that's kind of expected from every band by now because we don't care about you as a paying audience".
1 song: "There, we've done your precious encore. Now fuck off so we can go home".
2-3 songs: "Thank you, have a great night! We certainly did!"
4+ songs: "We could've included these in the main show but decided to include crap off our recent albums instead and had to put a bunch of tracks you wanted to hear after the main show finished".
2nd encore: "AREN'T WE THE GREATEST BAND IN THE WORLD?! TELL US HOW GREAT WE ARE SO WE CAN MASTURBATE SOME MORE!!"
DON'T neglect fan favourites
I can understand the reasoning behind bands choosing to omit some of their signature songs after decades of playing them. However, these bands need to remember that some of their fans will be experiencing them playing live for the first time. Sure, the venue will contain seasoned concert-goers but some of those will be bringing their kids along and some of them may even be adults who have recently discovered their music thanks to Spotify or some other music streaming service. They may have better songs but part of seeing a band live IS hearing at least one of their big songs performed there in person.
Bands that decide to cut songs that audiences love to hear just because they're bored of playing them or want to swap them out for new singles that they're plugging have forgotten the main reason they're playing live in the first place, or at least the reason they should be playing. It's understandable if the band doesn't enjoy playing 30-year old songs anymore but I'm pretty sure they can stomach one song in a 90 minute set.
DON'T make the audience do all the work
We've all heard anecdotes about bands/frontmen who get the audience to sing along for the majority of the chorus, the kind of egotistical twats who can only get off when they hear a stadium full of fans chanting their name or lyrics. In fact, it's probable that most of us have been to those gigs. For me, it was a Judas Priest gig where Rob Halford sung literally none of "Breaking The Law". I paid to hear a talented Metal vocalist sing the song, not a stadium full of drunk wankers! Don't get me wrong, I have no issue with the vocalist pointing the mic towards the crowd every now and then, especially if the audience are as loud as the band anyway. My problem is vocalists who do it for every bloody line.
DON'T get cute with your performance
I'll admit that I could be in the minority here but when I see a band live, I want to hear them playing the song off the album. I don't want to hear them playing a new solo, I don't want to hear them trying something new with the vocals and I definitely don't want to hear a fucking acoustic rendition just so the drummer can have a piss. There are some examples where adding some backing vocalists or maybe speeding the tempo up slightly can improve the song but when bands actively think "Hey, let's try something different with this one" and experiment by mixing another song into the middle of it (e.g. Whitesnake covering Deep Purple's "Burn" with "Stormbringer" clumsily wedged in the middle or David Coverdale/Glen Hughes screeching "AH! AH! AH! AH!" before the solos), it sounds less like a band performing for a crowd and more like a band performing for themselves so they don't get bored.
Coming soon: REVIEWS! There's quite a few albums coming out this month so if you want to read lots of reviews on here, keep checking back every weekend! If you want me to write other posts, request some on Twitter or the comment section!
This blog post is designed to highlight the parts of live gigs that bands SHOULD and SHOULDN'T be allowed to get away with. As always, it's all opinion based but it'd be great if some bands guilty of the Don'ts take these on board before their next performance. Let me know if you're one of those bands or if you just agree/disagree with that I've said.
DO engage in banter with the audience between songs
It's not exactly the main reason people go to gigs but it's a great break in between songs if the band has a frontman with charisma. It can be as simple as telling them brief stories about songs or asking if any of them have been to one of their gigs before, as long as it's not just "Here's one of our songs. Here's another song. Thank you for having us. Here's our latest single". I would say that the banter should be kept outside of the songs but I saw The Darkness recently and they frequently stopped tracks to tell jokes and piss about with the audience. It actually made the show more entertaining than if they just came out and played a set, so I guess it can work on occasion. However, I doubt it'd go down well at a Genesis or Opeth gig.
DO pick a good warm-up band
I'm sure I've mentioned it on this blog before but I have a theory that only "old" bands have good warm-up acts. Any time I go to see a band that started around the 70's or 80's, they always get a great warm-up. Iron Maiden got Sweet Savage, Deep Purple got Cheap Trick, Judas Priest got Saxon. However, whenever I see a band that became popular within the last 10 years or so, the warm-up is ALWAYS terrible. The Darkness got some twats playing the same boring Blues song over and over, Tenacious D got an annoying cunt dressed as a Sasquatch who thought he was incredible, Muse got about three different Indie acts who rocked about as hard as a used snot rag.
I'm not saying that bands like Royal Blood could get AC/DC as their opening act but surely there are better bands than all the ones that seem to be picked. I should also mention that sometimes older bands do pick shitty warm-ups, like the one before Motley Crue and Alice Cooper. I suppose the message here should probably be Don't Pick Bands Your Kids Like/You're Mates With If They Sound Nothing Like Your Music.
DO play an encore
I suppose I should add "unless the audience fucking hate you" but assuming the show goes well and the audience give you well deserved applause at the end, an encore is a must for any headline act. Not sure how many songs to perform? It's always 2 or 3, but here's a handy guide detailing the quantity of tracks played and a translation of what it represents:
No songs/encore: "We couldn't be fucked to do the thing that's kind of expected from every band by now because we don't care about you as a paying audience".
1 song: "There, we've done your precious encore. Now fuck off so we can go home".
2-3 songs: "Thank you, have a great night! We certainly did!"
4+ songs: "We could've included these in the main show but decided to include crap off our recent albums instead and had to put a bunch of tracks you wanted to hear after the main show finished".
2nd encore: "AREN'T WE THE GREATEST BAND IN THE WORLD?! TELL US HOW GREAT WE ARE SO WE CAN MASTURBATE SOME MORE!!"
DON'T neglect fan favourites
I can understand the reasoning behind bands choosing to omit some of their signature songs after decades of playing them. However, these bands need to remember that some of their fans will be experiencing them playing live for the first time. Sure, the venue will contain seasoned concert-goers but some of those will be bringing their kids along and some of them may even be adults who have recently discovered their music thanks to Spotify or some other music streaming service. They may have better songs but part of seeing a band live IS hearing at least one of their big songs performed there in person.
Bands that decide to cut songs that audiences love to hear just because they're bored of playing them or want to swap them out for new singles that they're plugging have forgotten the main reason they're playing live in the first place, or at least the reason they should be playing. It's understandable if the band doesn't enjoy playing 30-year old songs anymore but I'm pretty sure they can stomach one song in a 90 minute set.
DON'T make the audience do all the work
We've all heard anecdotes about bands/frontmen who get the audience to sing along for the majority of the chorus, the kind of egotistical twats who can only get off when they hear a stadium full of fans chanting their name or lyrics. In fact, it's probable that most of us have been to those gigs. For me, it was a Judas Priest gig where Rob Halford sung literally none of "Breaking The Law". I paid to hear a talented Metal vocalist sing the song, not a stadium full of drunk wankers! Don't get me wrong, I have no issue with the vocalist pointing the mic towards the crowd every now and then, especially if the audience are as loud as the band anyway. My problem is vocalists who do it for every bloody line.
DON'T get cute with your performance
I'll admit that I could be in the minority here but when I see a band live, I want to hear them playing the song off the album. I don't want to hear them playing a new solo, I don't want to hear them trying something new with the vocals and I definitely don't want to hear a fucking acoustic rendition just so the drummer can have a piss. There are some examples where adding some backing vocalists or maybe speeding the tempo up slightly can improve the song but when bands actively think "Hey, let's try something different with this one" and experiment by mixing another song into the middle of it (e.g. Whitesnake covering Deep Purple's "Burn" with "Stormbringer" clumsily wedged in the middle or David Coverdale/Glen Hughes screeching "AH! AH! AH! AH!" before the solos), it sounds less like a band performing for a crowd and more like a band performing for themselves so they don't get bored.
Coming soon: REVIEWS! There's quite a few albums coming out this month so if you want to read lots of reviews on here, keep checking back every weekend! If you want me to write other posts, request some on Twitter or the comment section!
Saturday, 30 January 2016
Dystopia - Megadeth
Let's face it, we were all disappointed with Super Collider when it first dropped two and a half years ago. It had some decent material but was deemed too commercial overall for a Megadeth album. The smart thing for a band to do in this position would be to take the criticisms on board and try to create a record that not only avoids the pitfalls of the last album but also accentuates the positives of it too.
Cut to last week when Megadeth released Dystopia, an album that more or less does exactly that.
Straight away, "The Threat Is Real" delivers an aggressive punch of pure Heavy Metal, just what the band needed to reassert themselves as a dominant force. It's easily the best choice to be the album opener but unlike "Kingmaker", it's not a complete prick tease. The rest of Dystopia manages to keep up with the pace set by this opening track and the commercial modern Rock sound staining the previous album has been replaced with modern Thrash Metal instead, just as it should be.
Luckily, just because the band are confidently pumping out modern music doesn't mean they've neglected Metal from the past...specifically, Metal that they created. There are several songs that sound as though Dave Mustaine wanted to recreate the greatness of their more popular material such as lead single "Fatal Illusion", which I've previously compared to "Peace Sells" on this blog already, or title track "Dystopia", a standard tune that probably would've been stronger if it didn't have the same basic structure as "Hangar 18" beat for beat.
Despite these connections, it's not just money for old rope. Sure, there may be similar lyrical topics about war politics and the evil American government ("Post American World", "Lying In State") and a handful of songs beginning with acoustic guitar before breaking into heavier riffing and double bass drumming ("Bullet To The Brain", "Conquer Or Die") is about as experimental as the album gets but minor similarities aside, the band are able to record music that stands on its own feet.
There's a healthy mix of fast-paced shredders and slower more melodic foot stompers, making it perfect for the Heavy Metal fan who enjoys variety. Remember, at the end of the day, this album is a collection of Metal and that's what the band set out to achieve. The only duff choice in the track listing is a cover of Fear's "Foreign Policy" right at the end, the album equivalent of a gymnast performing a quadruple somersault but stumbling over on the landing and accidentally headbutting every single judge in the process.
Clocking in at under two and a half minutes, it's the sort of song that'd normally be banished to the realm of post-album release B-sides but has instead made it onto the main tracklist. It ends the album on a weak note (especially after "The Emperor") and gives the impression of musical regression when played after every other track. Fortunately, even during this unnecessary cover, the band are on top form through all eleven tracks. Dave Mustaine's vocals are as gravelly and consistent as they have been for the last decade and Kiko Loureiro's guitar work is on par with Mustaine's in both technical skill and prominence in the mix. However, therein lies one of the album's minor flaws.
Whilst David Ellefson has proven his worth throughout his career with the band, his bass on this album is almost non-existent. If it's not mimicking the guitar melody, it's being overshadowed by it. Similarly, Chris Adler's drumming is fantastic on this album (if you like heavy use of double bass) but could've been mixed in with the rest of the music a little bit better. The album is definitely more preferential towards the two guitarists but fortunately, it doesn't ruin the overall quality unless you were looking forward to an album that showcases the talents of the entire band...like Rust In Peace.
Despite all the recent deaths in the world of music, at least January gave us one blessing in the form of this album. Dystopia is a proper Heavy Metal album right down to the core and in my opinion was worth the release of the previous album if only to guide Dave Mustaine into writing this one. I give it an 8/10 and recommend it to fans of the genre, especially fans of Countdown To Extinction. I feel like this rating is representative of the music on the standard edition of the album but if you own one of the many Deluxe Editions with a whopping one or maybe even two extra tracks, this could change*.
The only thing that seemingly won't change any time soon is the trend of record labels and bands fleecing their customers/fans by releasing up to four editions of the same album, all with different track listings and none for sale in the same location, unless you either pay through the nose for an unjustified amount of new content or decide to just pirate it and suffer through news of ageing Rock stars lecturing journalists about how fans wanting to hear as much music by their favourite bands in one place hurts the industry as opposed to those same stars being too chickenshit to stand up to their greedy record producers, who absolutely do not care about just how empty they can make our wallets.
FUCK ME, that was a mouthful!
* *takes a deep breath*
Cut to last week when Megadeth released Dystopia, an album that more or less does exactly that.
Straight away, "The Threat Is Real" delivers an aggressive punch of pure Heavy Metal, just what the band needed to reassert themselves as a dominant force. It's easily the best choice to be the album opener but unlike "Kingmaker", it's not a complete prick tease. The rest of Dystopia manages to keep up with the pace set by this opening track and the commercial modern Rock sound staining the previous album has been replaced with modern Thrash Metal instead, just as it should be.
Luckily, just because the band are confidently pumping out modern music doesn't mean they've neglected Metal from the past...specifically, Metal that they created. There are several songs that sound as though Dave Mustaine wanted to recreate the greatness of their more popular material such as lead single "Fatal Illusion", which I've previously compared to "Peace Sells" on this blog already, or title track "Dystopia", a standard tune that probably would've been stronger if it didn't have the same basic structure as "Hangar 18" beat for beat.
Despite these connections, it's not just money for old rope. Sure, there may be similar lyrical topics about war politics and the evil American government ("Post American World", "Lying In State") and a handful of songs beginning with acoustic guitar before breaking into heavier riffing and double bass drumming ("Bullet To The Brain", "Conquer Or Die") is about as experimental as the album gets but minor similarities aside, the band are able to record music that stands on its own feet.
There's a healthy mix of fast-paced shredders and slower more melodic foot stompers, making it perfect for the Heavy Metal fan who enjoys variety. Remember, at the end of the day, this album is a collection of Metal and that's what the band set out to achieve. The only duff choice in the track listing is a cover of Fear's "Foreign Policy" right at the end, the album equivalent of a gymnast performing a quadruple somersault but stumbling over on the landing and accidentally headbutting every single judge in the process.
Clocking in at under two and a half minutes, it's the sort of song that'd normally be banished to the realm of post-album release B-sides but has instead made it onto the main tracklist. It ends the album on a weak note (especially after "The Emperor") and gives the impression of musical regression when played after every other track. Fortunately, even during this unnecessary cover, the band are on top form through all eleven tracks. Dave Mustaine's vocals are as gravelly and consistent as they have been for the last decade and Kiko Loureiro's guitar work is on par with Mustaine's in both technical skill and prominence in the mix. However, therein lies one of the album's minor flaws.
Whilst David Ellefson has proven his worth throughout his career with the band, his bass on this album is almost non-existent. If it's not mimicking the guitar melody, it's being overshadowed by it. Similarly, Chris Adler's drumming is fantastic on this album (if you like heavy use of double bass) but could've been mixed in with the rest of the music a little bit better. The album is definitely more preferential towards the two guitarists but fortunately, it doesn't ruin the overall quality unless you were looking forward to an album that showcases the talents of the entire band...like Rust In Peace.
Despite all the recent deaths in the world of music, at least January gave us one blessing in the form of this album. Dystopia is a proper Heavy Metal album right down to the core and in my opinion was worth the release of the previous album if only to guide Dave Mustaine into writing this one. I give it an 8/10 and recommend it to fans of the genre, especially fans of Countdown To Extinction. I feel like this rating is representative of the music on the standard edition of the album but if you own one of the many Deluxe Editions with a whopping one or maybe even two extra tracks, this could change*.
The only thing that seemingly won't change any time soon is the trend of record labels and bands fleecing their customers/fans by releasing up to four editions of the same album, all with different track listings and none for sale in the same location, unless you either pay through the nose for an unjustified amount of new content or decide to just pirate it and suffer through news of ageing Rock stars lecturing journalists about how fans wanting to hear as much music by their favourite bands in one place hurts the industry as opposed to those same stars being too chickenshit to stand up to their greedy record producers, who absolutely do not care about just how empty they can make our wallets.
FUCK ME, that was a mouthful!
* *takes a deep breath*
Friday, 22 January 2016
Showdown: Cover Versions, part 3
Another Showdown post? Alrighty then!
This one was requested via Twitter and the Showdown this time is between WaveGroup Sound cover versions of songs used in Guitar Hero/Rock Band games and the original versions.
For those of you who didn't know, the first five Guitar Hero games (not including handheld ones) and the first Rock Band game had a mix of original master recordings and recorded cover versions by a company called WaveGroup Sound.
I believe the two main reasons for this were either unavailable master recordings from certain bands such as Scorpions or Black Sabbath and cheaper licensing fees due to not using the actual recording of the song (although I'm not certain about that last one). What some of you may not be aware of is that WaveGroup Sound went to painstaking lengths in order to make their cover versions sound as close to the originals as possible.
They made sure they used the correct guitars so each riff would sound correct and even small details such as using the correct type of fan Ozzy speaks into to get the robotic vocal effect at the start of "Iron Man". Needless to say WaveGroup Sound were partly responsible for Guitar Hero taking off in the first place and some people have argued that a handful of WaveGroup Sound covers are actually better than the originals.
In this post, I'll be taking a look at 10 songs from GH and RB (although mostly GH) that were covered by WaveGroup Sound and deciding if they're stronger or weaker than the originals. The covers I'll be picking won't just be random choices though. Sometimes, in order to make an iconic song with a lengthy pause fit into the game and still be fun, WaveGroup added a solo from a live recording or played a few bass riffs on guitar instead.
I'll be choosing songs that I feel are either iconic Rock tracks that you'd never imagine would be covered well OR ones that have been tinkered with that may or may not improve the general quality of the song. If you prefer a WaveGroup Sound cover that I haven't included in this post, let me know on Twitter or in the comments so I can check it out, as it's been several years since I've heard many of these. Who knows, maybe I'll do a Cover Versions Part 3 Part 2 of these songs in the future!
Also, if you want to listen to any of these WaveGroup Sound covers that I mention, a Youtuber by the name of KyleGuichot seems to have uploaded most of them. Right then, let's get ready to rumble!
ROUND ONE: Spanish Castle Magic
The Jimi Hendrix Experience - I wouldn't call this one of Jimi Hendrix's most famous songs but it definitely has some great riffs and psychedelic lyrics. Obviously there's a solo and whilst it's hardly anything spectacular, it suits the song well. Overall, it's a solid pick for the game as it probably introduced people to a Hendrix song that wasn't "All Along The Watchtower" or "Voodoo Chile".
WaveGroup Sound - One of the first on-disc covers on the first Guitar Hero. So why did I pick this song? Two words: no vocals. Due to the Hendrix estate being complete bastards, they objected to anyone in a video game who wasn't Jimi Hendrix singing a Jimi Hendrix song (this was before they realised they were running out of cash and decided to license Jimi Hendrix's image to literally everything including a porno) so WaveGroup had to remove the vocals. On the plus side, the track does actually work well as an instrumental. In fact, many GH fans weren't aware that it had lyrics until the original song was released as Rock Band DLC.
VERDICT - Tricky decision, as both versions have the same strengths. If you like the vocals, you're obviously going to prefer the original but since I much prefer the music and the cover sounds almost identical, I'm giving the win to WaveGroup Sound.
ROUND TWO: Ziggy Stardust
David Bowie - I'm not a huge fan of David Bowie's Glam Rock vocals...or David Bowie in general, for that matter (just because he's dead doesn't mean I'm going to get all gooey over his material now). That being said, I love the main riff for this song. It's a largely uneventful song if you ignore that riff and as soon as you hear that first chord at the very first second, you know exactly which song you're listening to. A decent track!
WaveGroup Sound - Another Guitar Hero track. The vocalist was always going to have a hard time matching David Bowie on this track and sadly, they managed to sound even worse than him. However, one of the interesting points about this cover is that WaveGroup added a solo before the end. Not an amazing solo, as it starts off copying the vocal melody, but soon bursts into some mild shredding before adding some accompaniment to fake Bowie's vocals.
VERDICT - Both versions nail the riff and both versions have crummy vocals. Since the solo doesn't really enhance the track, I'm giving the win to David Bowie since his vocals aren't as bad as the WaveGroup Sound vocalist's. That's probably as close to a tribute as he's going to get on this blog.
ROUND THREE: Carry On Wayward Son
Kansas - Was this song famous before it was included in Guitar Hero 2? I knew about Classic Rock anthems like "More Than A Feeling" way before these games but it's only since GH2 that I started to hear this song being used everywhere. Anyway, it took me a few listens to get into the main riff (I still don't like how it ends) but let's be honest, that's not the best thing about the track. It's the vocal harmonies during the intro/chorus that make it special and nobody can ever recreate them...right?
WaveGroup Sound - ...yup, I was right! Not only do the vocal harmonies in the intro sound tame but the main riff is WAAAAY too heavy. One subtle difference in this cover is that the guitar melody in the first verse comes in a bit earlier, presumably to stop players from feeling bored during all of 15 seconds. There's also a different guitar melody during the third chorus. But yeah, poor palm muting and vocal work aside, it's nothing spectacular.
VERDICT - Well it's clearly Kansas, isn't it? Anyone who prefers the WaveGroup Sound cover has either never heard/has bad memories of the original or they're just being fucking awkward.
ROUND FOUR: Free Bird
Lynyrd Skynyrd - I could sit here and tell you all about this song but the truth is you already know it. If you don't, piss off and listen to it before coming back. It's the one with 4:39 of slide guitar and soft organ before bursting into 4:40 of epic guitar duelling. A perfect choice for the final encore of Guitar Hero 2, provided they don't mess up the cover.
WaveGroup Sound - Good news! They didn't mess up the cover! I mean, it's not as close to the original as the GH1 covers were (WaveGroup must've been going through some stuff during the GH2 sessions) but it's still damn good! The solos are all there and the guitarists didn't get cute with the sections of the solo either but the best thing BY A MILE is that they left the outro in. See, Lynyrd Skynyrd may be awesome but they have this incredibly annoying habit of fading out during solos. Luckily, WaveGroup Sound recorded a blitzkrieg of a Big Rock Ending (coming in at roughly 8:55) that ends with the false finish, just like Lynyrd Skynyrd played live. Probably one of GH2's strongest covers.
VERDICT - Very tricky to decide. The original obviously has the superior music quality but that outro in the cover is fantastic. I'm going to award the win to Lynyrd Skynyrd as I prefer their original overall and would rather listen to that than the cover, although I do recommend listening to the WaveGroup Sound cover's outro if you've not heard it!
ROUND FIVE: What I Like About You
The Romantics - I remember first hearing this song in an advert for Family Guy: The Video Game, which was probably the best thing about that pile of shit. The song itself is pretty cool, sounding a lot like "Cherry Cherry" - Neil Diamond but with a pointless harmonica solo in the middle. Overall, it's a decent song with catchy guitar but that's about it.
WaveGroup Sound - So here's a fun little factoid; The Romantics actually tried to sue Activision over this cover in Guitar Hero Encore: Rocks The 80's on the grounds that it sounded nothing like their song! The main difference comes from the inclusion of a sweet guitar solo that actually improves the song more than a pathetic lawsuit but it's an easy mistake to make by a band with many songs but only one that's considered memorable, I guess.
VERDICT - Giving this to WaveGroup Sound for adding a solo that fit in perfectly and sounds awesome, even if the music in the original recording does sound a little better than the cover.
ROUND SIX: Rock And Roll All Nite
KISS - Possibly the band's most famous song due to the chorus but I guess the main guitar riff is pretty cool too. I wouldn't really call it an iconic guitar song but it's definitely a well known Hard Rock hit, hence its inclusion in GH3. It's just a shame they didn't include the guitar solo that they often play at live gigs in the studio recording, as it fits like a glove.
WaveGroup Sound - Fortunately, someone at WaveGroup Sound has a brain in their head and realised "Hold on, why don't we just include it?". It's a faithful cover that includes the best elements from the studio original and live recordings by the band, although a friend of mine pointed out that it's a bit weird when the vocalist shouts "Come on!" and "I can't hear you!" like he's actually playing it live, since we know he would've been sat in a recording studio somewhere singing that to nobody.
VERDICT - I like some of KISS' material but I have to award this win to WaveGroup Sound for making what I would call a better Hard Rock song than one of the biggest Hard Rock bands/marketing franchises on the planet.
ROUND SEVEN: Train Kept A-Rollin'
Aerosmith - Originally a song by The Yardbirds but covered by Aerosmith on their 2nd album. Unlike the original, this song starts off quite slow but speeds up after a couple of solos. Overall, it's a great cover that the band have taken and made their own. It might not be my favourite Aerosmith song but it's always pretty cool to play on Rock Band.
WaveGroup Sound - I'm assuming WaveGroup recorded the cover of this song for RB1 but if they didn't, let's assume I'm talking about the correct artist. I've got to say, this could be one of the best covers on the list. The vocals are as good as (if not better) than Steven Tyler's and I like the fact that the cover sounds more like a studio version than the original, since Aerosmith included cheering before the tempo increases for some fucking reason.
VERDICT - Another tricky call to make. I prefer Joe Perry's guitar work but honestly, I think I'd rather listen to the cover more than the original. WaveGroup Sound net a well earned win!
ROUND EIGHT: My Sharona
The Knack - This song is a little similar to "Pump It Up" - Elvis Costello but it has a pretty special place in my heart, mostly due to the guitar solo being one of my all-time favourites. It has a decent structure, some cool bass and catchy lyrics too. It might be a one-hit wonder but I would argue that it has everything a top notch Rock song needs.
WaveGroup Sound - One of the earliest songs released as DLC for Rock Band and, in my opinion, one of the best. It's a shame they couldn't get the master recording but at least WaveGroup recorded the extended solo instead of the single edit version. Musically speaking, the solo is almost identical but there are a few differences here and there that I'm not overly fond of compared to the original though. However, it's still a decent cover.
VERDICT - Whilst I do love playing this song on Rock Band and enjoy listening to it as well, I have to give the win to The Knack. The cover doesn't really add or improve on anything but I thought it was worth mentioning for including the extended solo that not many people would know about if they were introduced to the song via radio or compilation album.
ROUND NINE: All The Young Dudes
Mott The Hoople - I was pretty surprised when this song was included on Guitar Hero: Aerosmith, as I honestly doubt anyone who worked on the ATVI GH games knows anything about this band. However, I love this song. It's an excellent track from start to finish and yes, I'm aware David Bowie wrote it.
WaveGroup Sound - First up, what a fantastic cover! Everyone involved deserves a fucking medal for sounding pitch perfect for the majority of the song but that's not where my adoration comes from. If you've listened to the original, you'll know that it repeats the second chorus until it fades out...but not here! After the second chorus, the band bursts into a bitching solo that carries through the final chorus until the song actually ends. As an additional extra, some fancy guitar licks are placed throughout the song (presumably to improve the guitar chart). In short, I fucking love this cover.
VERDICT - WaveGroup Sound, WaveGroup Sound, WaveGroup Sound, WaveGroup Fucking Sound! This is the only WaveGroup Sound cover I have on my phone and I honestly listen to this more than the original. If you love the original, you'd be a fool not to seek this cover out.
ROUND TEN: Black Betty
Ram Jam - Another one-hit wonder from the 70's that has a surprisingly fun solo, although it's more well known for the call & response in the verses. I'm not a huge fan of this song but I always appreciate hearing it every now and then. I also have no idea if Ram Jam have done any other decent songs but I feel like this song is good enough for me to give them a chance, if anyone has any recommendations.
WaveGroup Sound - This was actually one of the last WaveGroup Sound covers before GH/RB became completely reliant on master recordings. It was released as DLC in 2008 and as far as covers go, it's incredibly strong. However, unlike cover versions in this list that add solos and such, this cover stays faithful to the original. For that reason, there aren't really many advantages over Ram Jam here.
VERDICT - If it wasn't obvious from that last sentence, Ram Jam win the last round although at least WaveGroup Sound ended their tenure on a high note.
So, after ten rounds, the scores are 5 all, thus proving that WaveGroup Sound are just as good as the originals...which I probably could've told you before you started reading but oh well!
Remember, I may do another one of these with more WaveGroup Sound covers although not for a while. If you want to see that happen, tell me which songs to compare as there are plenty to choose from.
This one was requested via Twitter and the Showdown this time is between WaveGroup Sound cover versions of songs used in Guitar Hero/Rock Band games and the original versions.
For those of you who didn't know, the first five Guitar Hero games (not including handheld ones) and the first Rock Band game had a mix of original master recordings and recorded cover versions by a company called WaveGroup Sound.
I believe the two main reasons for this were either unavailable master recordings from certain bands such as Scorpions or Black Sabbath and cheaper licensing fees due to not using the actual recording of the song (although I'm not certain about that last one). What some of you may not be aware of is that WaveGroup Sound went to painstaking lengths in order to make their cover versions sound as close to the originals as possible.
They made sure they used the correct guitars so each riff would sound correct and even small details such as using the correct type of fan Ozzy speaks into to get the robotic vocal effect at the start of "Iron Man". Needless to say WaveGroup Sound were partly responsible for Guitar Hero taking off in the first place and some people have argued that a handful of WaveGroup Sound covers are actually better than the originals.
In this post, I'll be taking a look at 10 songs from GH and RB (although mostly GH) that were covered by WaveGroup Sound and deciding if they're stronger or weaker than the originals. The covers I'll be picking won't just be random choices though. Sometimes, in order to make an iconic song with a lengthy pause fit into the game and still be fun, WaveGroup added a solo from a live recording or played a few bass riffs on guitar instead.
I'll be choosing songs that I feel are either iconic Rock tracks that you'd never imagine would be covered well OR ones that have been tinkered with that may or may not improve the general quality of the song. If you prefer a WaveGroup Sound cover that I haven't included in this post, let me know on Twitter or in the comments so I can check it out, as it's been several years since I've heard many of these. Who knows, maybe I'll do a Cover Versions Part 3 Part 2 of these songs in the future!
Also, if you want to listen to any of these WaveGroup Sound covers that I mention, a Youtuber by the name of KyleGuichot seems to have uploaded most of them. Right then, let's get ready to rumble!
ROUND ONE: Spanish Castle Magic
The Jimi Hendrix Experience - I wouldn't call this one of Jimi Hendrix's most famous songs but it definitely has some great riffs and psychedelic lyrics. Obviously there's a solo and whilst it's hardly anything spectacular, it suits the song well. Overall, it's a solid pick for the game as it probably introduced people to a Hendrix song that wasn't "All Along The Watchtower" or "Voodoo Chile".
WaveGroup Sound - One of the first on-disc covers on the first Guitar Hero. So why did I pick this song? Two words: no vocals. Due to the Hendrix estate being complete bastards, they objected to anyone in a video game who wasn't Jimi Hendrix singing a Jimi Hendrix song (this was before they realised they were running out of cash and decided to license Jimi Hendrix's image to literally everything including a porno) so WaveGroup had to remove the vocals. On the plus side, the track does actually work well as an instrumental. In fact, many GH fans weren't aware that it had lyrics until the original song was released as Rock Band DLC.
VERDICT - Tricky decision, as both versions have the same strengths. If you like the vocals, you're obviously going to prefer the original but since I much prefer the music and the cover sounds almost identical, I'm giving the win to WaveGroup Sound.
ROUND TWO: Ziggy Stardust
David Bowie - I'm not a huge fan of David Bowie's Glam Rock vocals...or David Bowie in general, for that matter (just because he's dead doesn't mean I'm going to get all gooey over his material now). That being said, I love the main riff for this song. It's a largely uneventful song if you ignore that riff and as soon as you hear that first chord at the very first second, you know exactly which song you're listening to. A decent track!
WaveGroup Sound - Another Guitar Hero track. The vocalist was always going to have a hard time matching David Bowie on this track and sadly, they managed to sound even worse than him. However, one of the interesting points about this cover is that WaveGroup added a solo before the end. Not an amazing solo, as it starts off copying the vocal melody, but soon bursts into some mild shredding before adding some accompaniment to fake Bowie's vocals.
VERDICT - Both versions nail the riff and both versions have crummy vocals. Since the solo doesn't really enhance the track, I'm giving the win to David Bowie since his vocals aren't as bad as the WaveGroup Sound vocalist's. That's probably as close to a tribute as he's going to get on this blog.
ROUND THREE: Carry On Wayward Son
Kansas - Was this song famous before it was included in Guitar Hero 2? I knew about Classic Rock anthems like "More Than A Feeling" way before these games but it's only since GH2 that I started to hear this song being used everywhere. Anyway, it took me a few listens to get into the main riff (I still don't like how it ends) but let's be honest, that's not the best thing about the track. It's the vocal harmonies during the intro/chorus that make it special and nobody can ever recreate them...right?
WaveGroup Sound - ...yup, I was right! Not only do the vocal harmonies in the intro sound tame but the main riff is WAAAAY too heavy. One subtle difference in this cover is that the guitar melody in the first verse comes in a bit earlier, presumably to stop players from feeling bored during all of 15 seconds. There's also a different guitar melody during the third chorus. But yeah, poor palm muting and vocal work aside, it's nothing spectacular.
VERDICT - Well it's clearly Kansas, isn't it? Anyone who prefers the WaveGroup Sound cover has either never heard/has bad memories of the original or they're just being fucking awkward.
ROUND FOUR: Free Bird
Lynyrd Skynyrd - I could sit here and tell you all about this song but the truth is you already know it. If you don't, piss off and listen to it before coming back. It's the one with 4:39 of slide guitar and soft organ before bursting into 4:40 of epic guitar duelling. A perfect choice for the final encore of Guitar Hero 2, provided they don't mess up the cover.
WaveGroup Sound - Good news! They didn't mess up the cover! I mean, it's not as close to the original as the GH1 covers were (WaveGroup must've been going through some stuff during the GH2 sessions) but it's still damn good! The solos are all there and the guitarists didn't get cute with the sections of the solo either but the best thing BY A MILE is that they left the outro in. See, Lynyrd Skynyrd may be awesome but they have this incredibly annoying habit of fading out during solos. Luckily, WaveGroup Sound recorded a blitzkrieg of a Big Rock Ending (coming in at roughly 8:55) that ends with the false finish, just like Lynyrd Skynyrd played live. Probably one of GH2's strongest covers.
VERDICT - Very tricky to decide. The original obviously has the superior music quality but that outro in the cover is fantastic. I'm going to award the win to Lynyrd Skynyrd as I prefer their original overall and would rather listen to that than the cover, although I do recommend listening to the WaveGroup Sound cover's outro if you've not heard it!
ROUND FIVE: What I Like About You
The Romantics - I remember first hearing this song in an advert for Family Guy: The Video Game, which was probably the best thing about that pile of shit. The song itself is pretty cool, sounding a lot like "Cherry Cherry" - Neil Diamond but with a pointless harmonica solo in the middle. Overall, it's a decent song with catchy guitar but that's about it.
WaveGroup Sound - So here's a fun little factoid; The Romantics actually tried to sue Activision over this cover in Guitar Hero Encore: Rocks The 80's on the grounds that it sounded nothing like their song! The main difference comes from the inclusion of a sweet guitar solo that actually improves the song more than a pathetic lawsuit but it's an easy mistake to make by a band with many songs but only one that's considered memorable, I guess.
VERDICT - Giving this to WaveGroup Sound for adding a solo that fit in perfectly and sounds awesome, even if the music in the original recording does sound a little better than the cover.
ROUND SIX: Rock And Roll All Nite
KISS - Possibly the band's most famous song due to the chorus but I guess the main guitar riff is pretty cool too. I wouldn't really call it an iconic guitar song but it's definitely a well known Hard Rock hit, hence its inclusion in GH3. It's just a shame they didn't include the guitar solo that they often play at live gigs in the studio recording, as it fits like a glove.
WaveGroup Sound - Fortunately, someone at WaveGroup Sound has a brain in their head and realised "Hold on, why don't we just include it?". It's a faithful cover that includes the best elements from the studio original and live recordings by the band, although a friend of mine pointed out that it's a bit weird when the vocalist shouts "Come on!" and "I can't hear you!" like he's actually playing it live, since we know he would've been sat in a recording studio somewhere singing that to nobody.
VERDICT - I like some of KISS' material but I have to award this win to WaveGroup Sound for making what I would call a better Hard Rock song than one of the biggest Hard Rock bands/marketing franchises on the planet.
ROUND SEVEN: Train Kept A-Rollin'
Aerosmith - Originally a song by The Yardbirds but covered by Aerosmith on their 2nd album. Unlike the original, this song starts off quite slow but speeds up after a couple of solos. Overall, it's a great cover that the band have taken and made their own. It might not be my favourite Aerosmith song but it's always pretty cool to play on Rock Band.
WaveGroup Sound - I'm assuming WaveGroup recorded the cover of this song for RB1 but if they didn't, let's assume I'm talking about the correct artist. I've got to say, this could be one of the best covers on the list. The vocals are as good as (if not better) than Steven Tyler's and I like the fact that the cover sounds more like a studio version than the original, since Aerosmith included cheering before the tempo increases for some fucking reason.
VERDICT - Another tricky call to make. I prefer Joe Perry's guitar work but honestly, I think I'd rather listen to the cover more than the original. WaveGroup Sound net a well earned win!
ROUND EIGHT: My Sharona
The Knack - This song is a little similar to "Pump It Up" - Elvis Costello but it has a pretty special place in my heart, mostly due to the guitar solo being one of my all-time favourites. It has a decent structure, some cool bass and catchy lyrics too. It might be a one-hit wonder but I would argue that it has everything a top notch Rock song needs.
WaveGroup Sound - One of the earliest songs released as DLC for Rock Band and, in my opinion, one of the best. It's a shame they couldn't get the master recording but at least WaveGroup recorded the extended solo instead of the single edit version. Musically speaking, the solo is almost identical but there are a few differences here and there that I'm not overly fond of compared to the original though. However, it's still a decent cover.
VERDICT - Whilst I do love playing this song on Rock Band and enjoy listening to it as well, I have to give the win to The Knack. The cover doesn't really add or improve on anything but I thought it was worth mentioning for including the extended solo that not many people would know about if they were introduced to the song via radio or compilation album.
ROUND NINE: All The Young Dudes
Mott The Hoople - I was pretty surprised when this song was included on Guitar Hero: Aerosmith, as I honestly doubt anyone who worked on the ATVI GH games knows anything about this band. However, I love this song. It's an excellent track from start to finish and yes, I'm aware David Bowie wrote it.
WaveGroup Sound - First up, what a fantastic cover! Everyone involved deserves a fucking medal for sounding pitch perfect for the majority of the song but that's not where my adoration comes from. If you've listened to the original, you'll know that it repeats the second chorus until it fades out...but not here! After the second chorus, the band bursts into a bitching solo that carries through the final chorus until the song actually ends. As an additional extra, some fancy guitar licks are placed throughout the song (presumably to improve the guitar chart). In short, I fucking love this cover.
VERDICT - WaveGroup Sound, WaveGroup Sound, WaveGroup Sound, WaveGroup Fucking Sound! This is the only WaveGroup Sound cover I have on my phone and I honestly listen to this more than the original. If you love the original, you'd be a fool not to seek this cover out.
ROUND TEN: Black Betty
Ram Jam - Another one-hit wonder from the 70's that has a surprisingly fun solo, although it's more well known for the call & response in the verses. I'm not a huge fan of this song but I always appreciate hearing it every now and then. I also have no idea if Ram Jam have done any other decent songs but I feel like this song is good enough for me to give them a chance, if anyone has any recommendations.
WaveGroup Sound - This was actually one of the last WaveGroup Sound covers before GH/RB became completely reliant on master recordings. It was released as DLC in 2008 and as far as covers go, it's incredibly strong. However, unlike cover versions in this list that add solos and such, this cover stays faithful to the original. For that reason, there aren't really many advantages over Ram Jam here.
VERDICT - If it wasn't obvious from that last sentence, Ram Jam win the last round although at least WaveGroup Sound ended their tenure on a high note.
So, after ten rounds, the scores are 5 all, thus proving that WaveGroup Sound are just as good as the originals...which I probably could've told you before you started reading but oh well!
Remember, I may do another one of these with more WaveGroup Sound covers although not for a while. If you want to see that happen, tell me which songs to compare as there are plenty to choose from.
Friday, 15 January 2016
Alone In The Universe - (Jeff Lynne's) ELO
Before I fully invested my time into discovering all sorts of Hard Rock and Metal songs, one of my favourite bands growing up was ELO. I still love the band now although after much thought I probably don't know enough of their B-sides to call them one of my favourites. That being said, when I found out that they'd released another studio album after 14 years of silence under the name Jeff Lynne's ELO (due to the fact that aside from a backing vocalist and shaker/tambourine operator, Jeff Lynne plays every instrument on every track), I knew I had to listen to it.
Of all the bands I enjoy listening to, I've never really been certain of the genre that ELO fall into. Many people seem to classify them as Prog Rock but compared to bands like Yes and Rush, ELO are definitely more of a Pop Rock band with Prog origins and elements here and there (sort of like Kansas but with less of a Classic Rock touch). However, after listening to Alone In The Universe, it's clear that the band have walked away from the Prog scene and embraced the Soft Rock/Pop label.
Lead single "When I Was A Boy" may not sound like it came from the same artist that wrote "Hold On Tight" or "Turn To Stone" but it's definitely an appropriate album opener. It tells you that whilst Jeff Lynne still wants to carry on as the fifth Beatle, singing a tune that sounds like a mix between "Let It Be" and John Lennon's "Imagine", he's no longer about synth riffs and bouncy rhythms like the band used to be. ELO have matured and so has their music.
If you listen to any ELO compilation, the majority of songs will probably sound very upbeat and radio friendly. This album is the opposite side of the same Soft Pop coin with tracks such as "When The Night Comes" and "I'm Leaving You" sounding perfect for modern radio but only for listeners who enjoy their music slow, mellow and a little bit depressing. In fact, I honestly wasn't expecting this to sound so glum both musically and lyrically, especially towards the end of the album where the bonus track "Blue" is a total downer compared to that other song of theirs with "Blue" in the title.
Fortunately, there are a couple of upbeat numbers placed at healthy intervals that contain some classic ELO hallmarks ranging from the synth usage to the style of drumming, giving them a bit more of a Rock vibe although still a little tame compared to what Jeff Lynne is capable of ("Ain't It A Drag", "One Step At A Time"). There's also a Bluesy number called "Fault Line" completely set apart from the rest of the album that's understandably demoted to another bonus track. Not that it's a terrible song, it's just a bit of a strange inclusion.
Luckily, everything else feels right at home, whether it's the other Blues track with more Prog elements ("Love And Rain") or the Soft Prog Pop Rock filler track for nostalgia seekers ("Dirty As A Bone"). It's a testament to Jeff Lynne's ability to not only showcase his various musical talents and utilise his signature sound but also adapt his sound and musical style to be more in line with contemporary Soft Rock ("The Sun Will Shine On You") without forgetting about his...let's say, Liverpudlian influences ("All My Life").
Fans of the band's greatest hits will probably find this material a little bit gloomy to become new classics but I get the feeling that this album wasn't written to appease the die-hard fans clutching their copy of A New World Record in anticipation. Jeff Lynne clearly wanted to write something that he cared about instead of just pumping out "Mr Blue Sky '15" so he could pay off his new car. Regardless of whether or not the music is what you want from ELO, they get points for trying something relatively new and adapting to the times.
Alone In The Universe is easily less upbeat than some of the band's stronger material but that doesn't mean the production or songwriting is weaker. Granted the majority of tracks sound like they end prematurely, almost as if Jeff Lynne wasn't sure how to end them so chose to fade them out, but overall the album is well made and could've been released in any decade of the band's career without sounding out of place.
It may not be to my tastes but I can appreciate Jeff Lynne's vision and applaud his return to the studio, so he gets a 7/10 from me. It maybe could've done with something a bit more cheerful and bouncy like "The Diary Of Horace Wimp" just to give more of a contrast to the slower moody songs and inject a bit more variety into the record but other than that and the fade outs, it's a good album if you're into Soft Rock. Hopefully Jeff Lynne WON'T adapt to the current trend of aging musicians and die next week though.
Of all the bands I enjoy listening to, I've never really been certain of the genre that ELO fall into. Many people seem to classify them as Prog Rock but compared to bands like Yes and Rush, ELO are definitely more of a Pop Rock band with Prog origins and elements here and there (sort of like Kansas but with less of a Classic Rock touch). However, after listening to Alone In The Universe, it's clear that the band have walked away from the Prog scene and embraced the Soft Rock/Pop label.
Lead single "When I Was A Boy" may not sound like it came from the same artist that wrote "Hold On Tight" or "Turn To Stone" but it's definitely an appropriate album opener. It tells you that whilst Jeff Lynne still wants to carry on as the fifth Beatle, singing a tune that sounds like a mix between "Let It Be" and John Lennon's "Imagine", he's no longer about synth riffs and bouncy rhythms like the band used to be. ELO have matured and so has their music.
If you listen to any ELO compilation, the majority of songs will probably sound very upbeat and radio friendly. This album is the opposite side of the same Soft Pop coin with tracks such as "When The Night Comes" and "I'm Leaving You" sounding perfect for modern radio but only for listeners who enjoy their music slow, mellow and a little bit depressing. In fact, I honestly wasn't expecting this to sound so glum both musically and lyrically, especially towards the end of the album where the bonus track "Blue" is a total downer compared to that other song of theirs with "Blue" in the title.
Fortunately, there are a couple of upbeat numbers placed at healthy intervals that contain some classic ELO hallmarks ranging from the synth usage to the style of drumming, giving them a bit more of a Rock vibe although still a little tame compared to what Jeff Lynne is capable of ("Ain't It A Drag", "One Step At A Time"). There's also a Bluesy number called "Fault Line" completely set apart from the rest of the album that's understandably demoted to another bonus track. Not that it's a terrible song, it's just a bit of a strange inclusion.
Luckily, everything else feels right at home, whether it's the other Blues track with more Prog elements ("Love And Rain") or the Soft Prog Pop Rock filler track for nostalgia seekers ("Dirty As A Bone"). It's a testament to Jeff Lynne's ability to not only showcase his various musical talents and utilise his signature sound but also adapt his sound and musical style to be more in line with contemporary Soft Rock ("The Sun Will Shine On You") without forgetting about his...let's say, Liverpudlian influences ("All My Life").
Fans of the band's greatest hits will probably find this material a little bit gloomy to become new classics but I get the feeling that this album wasn't written to appease the die-hard fans clutching their copy of A New World Record in anticipation. Jeff Lynne clearly wanted to write something that he cared about instead of just pumping out "Mr Blue Sky '15" so he could pay off his new car. Regardless of whether or not the music is what you want from ELO, they get points for trying something relatively new and adapting to the times.
Alone In The Universe is easily less upbeat than some of the band's stronger material but that doesn't mean the production or songwriting is weaker. Granted the majority of tracks sound like they end prematurely, almost as if Jeff Lynne wasn't sure how to end them so chose to fade them out, but overall the album is well made and could've been released in any decade of the band's career without sounding out of place.
It may not be to my tastes but I can appreciate Jeff Lynne's vision and applaud his return to the studio, so he gets a 7/10 from me. It maybe could've done with something a bit more cheerful and bouncy like "The Diary Of Horace Wimp" just to give more of a contrast to the slower moody songs and inject a bit more variety into the record but other than that and the fade outs, it's a good album if you're into Soft Rock. Hopefully Jeff Lynne WON'T adapt to the current trend of aging musicians and die next week though.
Friday, 8 January 2016
Tenology: My Ten Favourite Rock/Metal Songs Of 2015
Well, here we are. Just over a week into 2016 and so far, nothing feels that different (apart from the crushing absence of Lemmy). Rather than look at some of the albums that I didn't get a chance to listen to last year, I'm kicking things off the same I did last January; a list of 10 songs I loved from 2015, along with a few Honourable Mentions.
I suppose I should mention that any of the songs released in the last year that were included in the previous Taster Session post will be omitted from here, although it's safe to say I loved them. You may also find that several tracks listed here have been mentioned in other posts on this blog, although I'll try to stick to newer ones. As always, my Tenology posts are generally opinion based and these songs reflect what I enjoyed listening to throughout the year. I haven't listed them in order of greatness but you'll probably be able to tell which ones I favoured more than others from my write-up of each song.
It's also worth mentioning that there are bound to be several songs from 2015 that I will really like but have yet to listen to, so if you've got any recommendations then feel free to list them. Anyway, time to start another 2015 countdown!
1. "Cirice" - Ghost B.C.
Yes, I did mention this in a separate Taster Session post and yes, I still like it now as much as I did when I first wrote that. I should've listened to the whole album by now although I seem to recall this band releasing a song called "If You Have Ghosts" which is fucking terrible. I don't know what the original sounds like but it was almost enough for me to completely write off this band, as it sounds less like a Metal anthem and more like a generic Foo Fighters track. However, if you've heard that shitty cover and agree with me then you should know that this song is enough to make you forgive them.
2. "Cold, Clear Light" - Johnny Blazes And The Pretty Boys
OK, I talked about this one a little bit on the blog too. Basically, it's a great Blues track with a semi-decent couple of solos and an incredibly catchy melody. It's also very fun to play on Rock Band, if that kind of thing appeals to you. I'm not sure if the album this comes from (Soul Vernacular) is available on iTunes yet but if you want to buy this track, they have a Bandcamp where you can support them.
3. "Fire And Ice" - FM
Finally, a new song to talk about! I never really got into FM's earlier material but last year, they released another comeback album that actually contained many great tracks such as "Cold Hearted", "Diggin' Up The Dirt" and "Life Is A Highway". However, my favourite off Heroes And Villains is easily "Fire And Ice", a tune which borrows the piano refrain from Joe Cocker's "Woman To Woman" at the start but eventually breaks into its own song after the drums kick in. Definitely an underrated tune from 2015 in my books.
4. "Flying" - The Answer
Aaaand back to tracks already mentioned on the blog, specifically in my review of Raise A Little Hell - The Answer. I didn't spend much time talking about this song, as it was a bonus track on a deluxe edition, but I reckon it was probably my favourite new song by the band. It's a great driving song and deserved a spot on the main tracklist although I guess the band couldn't charge extortionate prices for three new songs if they weren't very good ones now, could they?
5. "High Country" - The Sword
As well as reviewing the new album released in August, I discussed this track in particular on yet another Taster Session post. It's not as heavy as some of their better known material but it's got some powerful riffs (including one that's a wee bit close to a certain Audioslave track) and I still enjoy listening to it. It's probably my favourite tune off the album too so it definitely belongs on this list.
6. "Nearly Forgot My Broken Heart" - Chris Cornell
Another album I should probably check out after the rest. There's a strange sort of fairytale sound to this song thanks to the pizzicato strings and mandolin intro, two things you wouldn't expect to hear in a Rock song. However, Chris Cornell pulls through and creates a song that's both memorable and better after multiple listens. If you haven't heard this song yet, don't expect it to sound like Soundgarden 2 or even Soundgarden Lite, unless Soundgarden went through a soft Alternative Rock phase I'm unaware of.
7. "New Day Rising" - Von Hertzen Brothers
Possibly my favourite song of the year but only in single edit form as the album version goes on a bit too long. Great riffs, awesome vocals, good use of dynamics and I bet it fucking slays when performed live too. I know a few other tracks by this band and I like them too so maybe I should give an album of theirs a listen. If you like this song and want another track to check out, try "Insomniac".
8. "Open Fire" - The Darkness
If you like The Cult or the song "Hooks In You" - Marillion, you'll want to give this track a listen. I talked about it briefly in my review of the album Last Of Our Kind but one thing I can officially confirm is that this album (and this song) helped get me into The Darkness. At first, I couldn't stand the falsetto vocals but "Open Fire" focuses more on the guitar riffs and less on screeching every line. There's a bit of falsetto in the chorus but it fits in well with the rest of the song, unlike others where it just sounds forced. Definitely one of my favourite songs by the band as well as favourites of 2015!
9. "Reapers" - Muse
I was tempted to review Drones - Muse but ended up tweeting my thoughts about it instead. In short, it's a good album but there are still traces of Matt Bellamy's inflated ego littered throughout. However, one of the album highlights is the track "Reapers" which I suspect was originally meant to be the album's title track before they decided to change it to some wanky album outro. A top notch riff reminiscent of "Still Of The Night" - Whitesnake and some great guitar work too. The only downside is the unnecessary outro that sounds a bit like the end of "Blinded In Chains" - Avenged Sevenfold.
10. "Speed Of Light" - Iron Maiden
I may be ending the list on another track I've already discussed twice but goddamn, it's a strong track. Lyrically, it may not fit in with the album's main concepts but as far as singles go, it was enough to get me excited for their new album. At first, I wasn't sure about Bruce's vocals but those doubts were easily extinguished after multiple listens.
Before you tell me that I've missed a song or that one of those tracks doesn't belong on the list, here are some tracks that didn't quite make the cut but were still decent.
"Breakaway" - Inglorious
It's hardly one of the bigger songs of 2015 but among all the comeback albums and surprise singles, this track stood out for me. It's got a great riff, a driving rhythm and some solid vocals too although I wouldn't rate it in the top ranks of my favourite or even highly enjoyable songs. It's mediocre by Hard Rock standards but good for a few listens every now and then, thus making it into my Honourable Mentions.
"Demolition Man" - Razzmattazz
I reviewed the album this came from on the blog as well so that's probably the best place to go if you want to know more about this band. However, this is the song that introduced me to it and for another AC/DC tribute act, these guys definitely bring a punch worthy of the Honourable Mentions section.
"Martyr" - Last In Line
I haven't talked about these guys on the blog yet because I only found out about them a few weeks ago. Basically, Vivian Campbell (Dio & Def Leppard guitarist) has put together a supergroup named after Dio's second album and they'll hopefully be releasing an album entitled Heavy Crown this year. It's something that caught my attention because I seem to recall all the band members being pretty respectable musicians. However, out of both tracks they've released, this is probably the superior recording and even then it's not great. I'll keep an ear out for Heavy Crown but in case I forget, I thought I should mention it here too.
"Orphan" - Toto
I've been waiting to find another great Rock track from Toto for ages (ignoring "Hold The Line" and "Africa", of course) and these guys must have heard me. Unlike some of their more Pop or Prog oriented tracks, "Orphan" definitely belongs to the Rock genre and considering it was released over 30 years after the peak of their career, it's still as strong as their signature songs to me. If I had to expand this list of my favourite songs from 2015, I reckon this would be number 11.
"Sean" - Foo Fighters
In case you missed it, Dave Grohl and his backing band decided to release a 5-song EP of Foos tracks entitled Saint Cecilia that had been unassigned to previous albums but written throughout their career. Since they released it for free without any hype, I wasn't exactly expecting much. However, two tracks ended up on my phone after I listened to the whole EP (the other one being "The Neverending Sigh") and I would recommend listening to it if you preferred the Foo Fighters before they got all shouty and angry. It's a little bit short for it to make it onto the main list but it's still my favourite off the EP.
Next week, I'll try to review one of the albums released towards the end of last year. Either that or something to do with video games, depends on how much time I have.
I suppose I should mention that any of the songs released in the last year that were included in the previous Taster Session post will be omitted from here, although it's safe to say I loved them. You may also find that several tracks listed here have been mentioned in other posts on this blog, although I'll try to stick to newer ones. As always, my Tenology posts are generally opinion based and these songs reflect what I enjoyed listening to throughout the year. I haven't listed them in order of greatness but you'll probably be able to tell which ones I favoured more than others from my write-up of each song.
It's also worth mentioning that there are bound to be several songs from 2015 that I will really like but have yet to listen to, so if you've got any recommendations then feel free to list them. Anyway, time to start another 2015 countdown!
1. "Cirice" - Ghost B.C.
Yes, I did mention this in a separate Taster Session post and yes, I still like it now as much as I did when I first wrote that. I should've listened to the whole album by now although I seem to recall this band releasing a song called "If You Have Ghosts" which is fucking terrible. I don't know what the original sounds like but it was almost enough for me to completely write off this band, as it sounds less like a Metal anthem and more like a generic Foo Fighters track. However, if you've heard that shitty cover and agree with me then you should know that this song is enough to make you forgive them.
2. "Cold, Clear Light" - Johnny Blazes And The Pretty Boys
OK, I talked about this one a little bit on the blog too. Basically, it's a great Blues track with a semi-decent couple of solos and an incredibly catchy melody. It's also very fun to play on Rock Band, if that kind of thing appeals to you. I'm not sure if the album this comes from (Soul Vernacular) is available on iTunes yet but if you want to buy this track, they have a Bandcamp where you can support them.
3. "Fire And Ice" - FM
Finally, a new song to talk about! I never really got into FM's earlier material but last year, they released another comeback album that actually contained many great tracks such as "Cold Hearted", "Diggin' Up The Dirt" and "Life Is A Highway". However, my favourite off Heroes And Villains is easily "Fire And Ice", a tune which borrows the piano refrain from Joe Cocker's "Woman To Woman" at the start but eventually breaks into its own song after the drums kick in. Definitely an underrated tune from 2015 in my books.
4. "Flying" - The Answer
Aaaand back to tracks already mentioned on the blog, specifically in my review of Raise A Little Hell - The Answer. I didn't spend much time talking about this song, as it was a bonus track on a deluxe edition, but I reckon it was probably my favourite new song by the band. It's a great driving song and deserved a spot on the main tracklist although I guess the band couldn't charge extortionate prices for three new songs if they weren't very good ones now, could they?
5. "High Country" - The Sword
As well as reviewing the new album released in August, I discussed this track in particular on yet another Taster Session post. It's not as heavy as some of their better known material but it's got some powerful riffs (including one that's a wee bit close to a certain Audioslave track) and I still enjoy listening to it. It's probably my favourite tune off the album too so it definitely belongs on this list.
6. "Nearly Forgot My Broken Heart" - Chris Cornell
Another album I should probably check out after the rest. There's a strange sort of fairytale sound to this song thanks to the pizzicato strings and mandolin intro, two things you wouldn't expect to hear in a Rock song. However, Chris Cornell pulls through and creates a song that's both memorable and better after multiple listens. If you haven't heard this song yet, don't expect it to sound like Soundgarden 2 or even Soundgarden Lite, unless Soundgarden went through a soft Alternative Rock phase I'm unaware of.
7. "New Day Rising" - Von Hertzen Brothers
Possibly my favourite song of the year but only in single edit form as the album version goes on a bit too long. Great riffs, awesome vocals, good use of dynamics and I bet it fucking slays when performed live too. I know a few other tracks by this band and I like them too so maybe I should give an album of theirs a listen. If you like this song and want another track to check out, try "Insomniac".
8. "Open Fire" - The Darkness
If you like The Cult or the song "Hooks In You" - Marillion, you'll want to give this track a listen. I talked about it briefly in my review of the album Last Of Our Kind but one thing I can officially confirm is that this album (and this song) helped get me into The Darkness. At first, I couldn't stand the falsetto vocals but "Open Fire" focuses more on the guitar riffs and less on screeching every line. There's a bit of falsetto in the chorus but it fits in well with the rest of the song, unlike others where it just sounds forced. Definitely one of my favourite songs by the band as well as favourites of 2015!
9. "Reapers" - Muse
I was tempted to review Drones - Muse but ended up tweeting my thoughts about it instead. In short, it's a good album but there are still traces of Matt Bellamy's inflated ego littered throughout. However, one of the album highlights is the track "Reapers" which I suspect was originally meant to be the album's title track before they decided to change it to some wanky album outro. A top notch riff reminiscent of "Still Of The Night" - Whitesnake and some great guitar work too. The only downside is the unnecessary outro that sounds a bit like the end of "Blinded In Chains" - Avenged Sevenfold.
10. "Speed Of Light" - Iron Maiden
I may be ending the list on another track I've already discussed twice but goddamn, it's a strong track. Lyrically, it may not fit in with the album's main concepts but as far as singles go, it was enough to get me excited for their new album. At first, I wasn't sure about Bruce's vocals but those doubts were easily extinguished after multiple listens.
Before you tell me that I've missed a song or that one of those tracks doesn't belong on the list, here are some tracks that didn't quite make the cut but were still decent.
"Breakaway" - Inglorious
It's hardly one of the bigger songs of 2015 but among all the comeback albums and surprise singles, this track stood out for me. It's got a great riff, a driving rhythm and some solid vocals too although I wouldn't rate it in the top ranks of my favourite or even highly enjoyable songs. It's mediocre by Hard Rock standards but good for a few listens every now and then, thus making it into my Honourable Mentions.
"Demolition Man" - Razzmattazz
I reviewed the album this came from on the blog as well so that's probably the best place to go if you want to know more about this band. However, this is the song that introduced me to it and for another AC/DC tribute act, these guys definitely bring a punch worthy of the Honourable Mentions section.
"Martyr" - Last In Line
I haven't talked about these guys on the blog yet because I only found out about them a few weeks ago. Basically, Vivian Campbell (Dio & Def Leppard guitarist) has put together a supergroup named after Dio's second album and they'll hopefully be releasing an album entitled Heavy Crown this year. It's something that caught my attention because I seem to recall all the band members being pretty respectable musicians. However, out of both tracks they've released, this is probably the superior recording and even then it's not great. I'll keep an ear out for Heavy Crown but in case I forget, I thought I should mention it here too.
"Orphan" - Toto
I've been waiting to find another great Rock track from Toto for ages (ignoring "Hold The Line" and "Africa", of course) and these guys must have heard me. Unlike some of their more Pop or Prog oriented tracks, "Orphan" definitely belongs to the Rock genre and considering it was released over 30 years after the peak of their career, it's still as strong as their signature songs to me. If I had to expand this list of my favourite songs from 2015, I reckon this would be number 11.
"Sean" - Foo Fighters
In case you missed it, Dave Grohl and his backing band decided to release a 5-song EP of Foos tracks entitled Saint Cecilia that had been unassigned to previous albums but written throughout their career. Since they released it for free without any hype, I wasn't exactly expecting much. However, two tracks ended up on my phone after I listened to the whole EP (the other one being "The Neverending Sigh") and I would recommend listening to it if you preferred the Foo Fighters before they got all shouty and angry. It's a little bit short for it to make it onto the main list but it's still my favourite off the EP.
Next week, I'll try to review one of the albums released towards the end of last year. Either that or something to do with video games, depends on how much time I have.
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