We all love a good guitar solo. Even if you're not particularly fond of Rock music as a genre, chances are you can appreciate a well placed, well structured solo.
However, it's easier than you may think to balls up a solo in the middle of a great song. It's not a cardinal sin but it's definitely the difference between your Free Birds and your I Want To Break Frees. Much like my piece detailing Dos and Don'ts of Compilation Albums, this post will look at the highs and lows of some solos along with common misconceptions and perhaps even a few underrated gems.
Naturally, you may disagree with some of my opinions regarding good/bad solos but hopefully, you'll agree with the points I'm trying to make about solos in general. Right, here we go!
DO get the first few notes right
It doesn't matter if you've got the next Hendrix playing lead and he reckons it's his magnum opus, if he gets those first few notes wrong then he may as well not bother. In fact, that's probably why the solo for "One Vision" - Queen is so short and shitty, because Brian May fucked up before it even began. Anyway, getting back on topic, this is quite a simple step but that doesn't mean it can't go wrong. "(Don't Fear) The Reaper" - Blue Oyster Cult is one of the few songs where I prefer the radio edit with the solo omitted and why's that? The dodgy start to the solo.
You're probably sat there thinking "But musical taste is subjective, how can you define what is and isn't a good start to a solo?" Good point. It's tough to define something that's around about 90% personal taste but the rule still applies. Don't be one of those few bands who mess up at the first hurdle, even though it probably won't affect the rest of the song provided it has a hell of a good riff to fall back on.
DO let your solo last the right amount of time
I would say a good solo lasts approximately the length of a verse and a chorus but there are many exceptions which are either longer or shorter than that combination. However, they still abode by this rule and found just the right amount of time to last before returning to the song. If your solo is too short, it may feel like all the build-up has been a waste of time, e.g. "Pull Me Under" - Dream Theater or "Master Of Puppets" - Metallica, whereas a solo that goes on and fucking on can be considered arrogant like the guitarist is just polishing his cock up and down the fretboard for his own ego, e.g. "Stranglehold" - Ted Nugent.
Compare these songs to others that have nailed the time frame for their instrumental. "Catch Your Train" - Scorpions is a tidy 22 seconds but considering the amount of work that's going on throughout the entire song, it's a perfect example of getting it just right in a designated solo-slot. Also "Wanted Dead Or Alive" - Bon Jovi. Bursts in after the second chorus and takes you neatly onto the third without disturbing the rhythm.
DO more than just "shred"
So many aspiring guitarists or young fans of the genre seem to think that the more complicated and furious a solo sounds, the better it is. Yeah, it demonstrates technical know-how but that means sweet F.A if you can't tie it together with a great melody and some self-control. Whilst these mental solos may be fun to play on Guitar Hero, they often fail to make Top 10 lists written by anyone above the age of 15. That being said, shredding is always welcome provided it doesn't make 100% of the solo.
Take "Rainbow In The Dark" - Dio, a song which goes all out and damn near busts a nut during the middle of the solo. However, it still takes a breather every now and then to replace a clusterfuck of notes with actual music. Compare this to the work of Orianthi or rather two of her more popular songs "According To You" and "Suffocated". The soloing is bland, soulless and there for the sake of it, not because it adds any power or depth to the song. They're also what I call "Roofie Solos" in that after listening to it, you can't remember anything that happened...all you know is that you've been screwed.
DON'T prematurely blow your load
OK, so we've established that you can show off your skills during your solo. Do you break straight into shredding like a greyhound at a track?
NO! Christ, no!
Build up to the shredding, give the listener a chance to grow accustomed to the sound of your guitar before you start wailing on them. There are plenty of songs with excellent solos that get progressively more intense until they peak, simmer down and return to the song again. To name a few:
"My Sharona" - The Knack
"Tornado Of Souls" - Megadeth
"A Farewell To Kings" - Rush
"Hitch A Ride" - Boston
Those are just some examples of songs with great solos that start out small before escalating towards greatness. How about some songs that do the complete opposite and go out guns blazing in the first bar, leaving the solo nowhere else to go and therefore plateauing at the worst possible part:
"Crazy Train" - Ozzy Osbourne
"Mr Crowley" - Ozzy Osbourne
"Believer" - Ozzy Osbourne
OK, so you get the picture. I've made my thoughts about Randy Rhoads clear as day on this blog and he's definitely at the top of the list of guitarists who get away with this shite.
DON'T recycle your material
Writing a good solo must be pretty difficult, presumably explaining why a lot of mainstream modern Hard Rock bands tend to skip them altogether. I can understand why some guitarists who are perhaps lacking the same imagination and talent as their idols resort to using similar riffs, hooks and/or licks across different songs. This especially applies to ones who are currently on their 12th album and have likely been told by a producer to listen to their older material and original influences to help catch the fire that they once had or some tosh.
However, what I can't understand is why some guitarists not only get away with but also feel happy knowing that they've recycled elements of a solo they've already used. If Randy Rhoads was the representative of the last item on this list, Joel O'Keeffe of Airbourne is the champion of this one. Even without trying, you'll stumble across songs on their second album, No Guts No Glory, starting with the same 2-3 sustain notes before breaking into a shred and some songs even have the same shredding pattern ("Born To Kill", "Raise The Flag" and "Back On The Bottle" to name a few).
Granted there are several solos that are slightly different, even if they are similar to OTHER solos he's recorded, and technically all of them are well played and fun to listen to but it still feels cheap as if he wanted to rush through the creative process regardless of how good the songs actually were. Besides, if other bands can come up with amazing solos several decades after their first album, it just shits on the quality of a group who have run out of ideas just over five years into their career*.
DON'T just repeat the vocal melody on guitar
So the last point was about not reusing material and this point is also about not reusing material, yes I recognise the irony or hypocrisy or whatever you want to call it. However, I still feel they deserve their own subheadings. Both are examples of laziness in songwriting whereas this adds even less to the song. At least an existing solo might work better with the other track or introduce the listener to a brilliant piece of music in case they only hear one of the songs but using the same vocal refrain on guitar is just rehashing something that you can be 100% certain the listener has heard.
Perhaps this point has annoyed me so much because there's no sensible way you can defend it and yet it exists on songs that are critically acclaimed. The solo in "Smells Like Teen Spirit" - Nirvana is probably the most well known example. I can live with people insisting that the track is "good" in any way but when idiots start putting the solo anywhere near "Top Guitar Solo" lists, it feels like they're all in on some shite joke that I missed out on.
Other solos are unlikely to make the same level of acclaim but the earlier mentioned "I Want To Break Free" - Queen, "Madness" - Muse and "Back In The USSR" - The Beatles** are also guilty of phoning it in when it comes to the guitar solo. For the same reasons of the last point, it feels completely cheap and pisses all over the effort of the rest of the band. I can kind of understand guitarists feeling the need to copy the vocal line on a filler track when they're up against time constraints and can't come up with a good enough original solo but those songs are all fairly well known!
Anyway, that's a handy guide for any aspiring guitarists out there. Does it tell you how to write a hit or a guaranteed chart topping solo? No, although I imagine nailing your scales and arpeggios will do you a world of favours.
However, if you're in the middle of writing a solo, ask yourself if you've shamelessly plagiarised another tune or gone in guns blazing within the first few seconds. If you have, it's back to the fret board with you!
* In the interest of fairness, I should also mention that Airbourne aren't the only band who do/have done this. Not that anyone has listened to any of the other songs on The Final Countdown - Europe but "Rock The Night" and "Love Chaser" share almost exactly the same intro to the solo and damn near the same musical formula too. For this sin, they're doomed to be remembered for only one song despite having several others that are just as good if not better.
** Many years ago, I claimed "Back In The USSR" - The Beatles was one of my favourite guitar solos. However, I also claimed that the organ solo in "Highway Star" - Deep Purple was one of my favourite guitar solos so I think it's fair to say that I had no idea what I was talking about back then.
Thursday, 30 April 2015
Monday, 27 April 2015
Tenology: My Favourite Tracks From SSB Wii U
Don't worry, this won't be the only blog post I do this month.
In November, Super Smash Bros for Wii U was released and was met with mostly positive reviews. Whilst I think the game would've been better as a single title rather than split across 3DS & Wii U resulting in two full priced titles that on their own are only OK, this blog post isn't about me reviewing it. It's about my 10 favourite songs from the game, similar to a post I did a while ago about Super Smash Bros Brawl.
In terms of the game's soundtrack, I personally believe Brawl had a greater collection of original songs and that if this game didn't include most of Brawl's better tunes then the soundtrack would've been a bit of a letdown. However, it's now time to look at the 10 original songs from Super Smash Bros for Wii U that I have set to max on My Music:
10. Gear Getaway - Donkey Kong
I'm not entirely sure why this song needed rerecording for Smash Bros as it sounds pretty damn similar to the original anyway. The Donkey Kong track I included in the SSBB post was indisputably improved by rerecording it whereas this track sounds like an unused version, rather than a sparkly new one. Either way, it's a cool little jungle tune that's equally fun to Smash to.
9. Pac-Man's Park/Block Town - Pac-Man
The main reason this remix is only at number 9 is because of the Block Town part. Kinda ruins the Pac-Man's Park intro that was used in Pac-Man's character trailer, if you ask me. However, it's still a great tune full of nostalgic sound effects and rocking guitars. Just a shame it doesn't fit the stage it's assigned to as well as other tracks.
8. Trophy Rush - Super Smash Bros for Wii U
A zany, wacky piece of music that goes on just a little bit too long to prevent it from being higher on this list. However, it takes the theme for Smash Bros Wii U (which is my personal favourite out of all four games) and toys with it gloriously, resulting in a frenzied yet composed piece of music fit for a match, a minigame, teaser trailer or hype-generating background music at E3.
7. Pedal Glider - PilotWings
At number 7, we have quite a calm remix that takes the original Reggae-inspired tune and turns it into awesome lift music. Some of you might think this isn't great fighting music and perhaps you'd be right BUT give it a minute or so and this soothing melody introduces some synth to the mix, giving it little bit more of a dynamic feel. It's not action packed and it's clearly not what I would call the best track but as far as unlockable songs go, it was a neat surprise.
6. Air Man Theme - Mega Man
I remember hearing this in the My Music section of the 3DS version & getting a little bit more excited for the Wii U game, if only for the greater music collection. Mega Man 2 is well known for having a lot of awesome tunes, even if they are 8-bit. However, hearing the revamped version of the Air Man level with guitars, keyboards and drums a-plenty makes it all the better. Bonus points for making this sound like even more of an aerial-battle anthem!
5. Ballad Of The Goddess/Ghirahim's Theme - Legend Of Zelda
Another brilliant tune from the Legend Of Zelda series remixed into a perfect fighting song yet ruined slightly by the needless attachment of an antagonist theme, see also Song Of Storms and the truly terrible Saria's Song/Middle Boss Battle. Fans of Skyward Sword will remember the moment in the game when you first start shredding the Ballad Of The Goddess after acquiring the Goddess Harp in what has to be the single worst use of the Motion Plus controls in the entire game, if not history. The harp melody Link plays can be heard in the string arrangement during this track & if I had to pick a favourite moment/reason why this song is number 5, that would be it. I like it a lot.
4. Minor Circuit Theme - Punch Out!
Suppose I should mention that I do slightly prefer the original from Punch Out Wii although this remix does have a few cool additions. For example, the "Oh yeah!"'s that crop up every now and then. However, this polished Rock remix of the Minor Circuit theme is obviously gonna be great brawling music, considering it came from a fighting game and has been beefed up for another fighting game! I definitely feel like working out to this song...well, I would if I ever felt like working out. Ever.
3. Battle! Trainer (Pokemon X/Y) - Pokemon
Ignoring the fact that this song is mapped to my favourite stage in the Wii U version & was used in Greninja's announcement trailer after a Smash Bros Nintendo Direct which kicked all kinds of ass, everything about it rocks! The fluttering scales, the stabbing strings, the general excitement of it all really. Unlike most of the other songs in the game, I haven't tired of this one yet. I can still bang it on repeat and listen to it for a lengthy period of time which is one of the key qualities of top notch game music.
2. The Valedictory Elegy - Baiten Kaitos
I'm still not sure if I prefer this remix or the original from Baiten Kaitos Origins overall. What I do know is this is easily my favourite song to listen to whilst fighting on Gaur Plains, even if it is the only one that doesn't come from the game linked to the stage. The high pitched violin might sound annoying at first but once you get used to it and appreciate what is easily the game's most "epic" piece of music, you'll find you can't fight without it.
1. Mega Man 2 Medley - Mega Man
At first, I was disappointed they mixed the Mega Man 2 opening music with Dr Wily Stage 1-2 but I guess it's better to have a piece of music with a sensible length rather than shorter tracks that lose appeal quicker. So what can I say about this tune, other than I've bugged the crap out of my girlfriend by playing it so often? Well, the synchronised mix of heavy guitars and classic synth gives it a fresh yet simultaneously nostalgic quality whilst the heavy chugging and punchy beat in the background adds the mechanic element of Mega Man. I mean, that's what I would say if I was trying to sound well informed. Truth is it's just fucking great. It has everything a good fighting song should have and is entirely responsible for me checking out more music from the Mega Man series.
Sorry for another video game post but it was either this or me ranting about the new Guitar Hero game, which I'll probably do at some point this year or the next. Stay tuned for another post before May that won't be about video games...although it may be ranting still.
In November, Super Smash Bros for Wii U was released and was met with mostly positive reviews. Whilst I think the game would've been better as a single title rather than split across 3DS & Wii U resulting in two full priced titles that on their own are only OK, this blog post isn't about me reviewing it. It's about my 10 favourite songs from the game, similar to a post I did a while ago about Super Smash Bros Brawl.
In terms of the game's soundtrack, I personally believe Brawl had a greater collection of original songs and that if this game didn't include most of Brawl's better tunes then the soundtrack would've been a bit of a letdown. However, it's now time to look at the 10 original songs from Super Smash Bros for Wii U that I have set to max on My Music:
10. Gear Getaway - Donkey Kong
Fun idea, meh execution
I'm not entirely sure why this song needed rerecording for Smash Bros as it sounds pretty damn similar to the original anyway. The Donkey Kong track I included in the SSBB post was indisputably improved by rerecording it whereas this track sounds like an unused version, rather than a sparkly new one. Either way, it's a cool little jungle tune that's equally fun to Smash to.
9. Pac-Man's Park/Block Town - Pac-Man
The main reason this remix is only at number 9 is because of the Block Town part. Kinda ruins the Pac-Man's Park intro that was used in Pac-Man's character trailer, if you ask me. However, it's still a great tune full of nostalgic sound effects and rocking guitars. Just a shame it doesn't fit the stage it's assigned to as well as other tracks.
8. Trophy Rush - Super Smash Bros for Wii U
It took the Internet about half a minute to work this technique out
A zany, wacky piece of music that goes on just a little bit too long to prevent it from being higher on this list. However, it takes the theme for Smash Bros Wii U (which is my personal favourite out of all four games) and toys with it gloriously, resulting in a frenzied yet composed piece of music fit for a match, a minigame, teaser trailer or hype-generating background music at E3.
7. Pedal Glider - PilotWings
Wonder what's going through the mind of the pilots during all of this
At number 7, we have quite a calm remix that takes the original Reggae-inspired tune and turns it into awesome lift music. Some of you might think this isn't great fighting music and perhaps you'd be right BUT give it a minute or so and this soothing melody introduces some synth to the mix, giving it little bit more of a dynamic feel. It's not action packed and it's clearly not what I would call the best track but as far as unlockable songs go, it was a neat surprise.
6. Air Man Theme - Mega Man
I could probably do a Tenology post of the best Air Man remixes too
I remember hearing this in the My Music section of the 3DS version & getting a little bit more excited for the Wii U game, if only for the greater music collection. Mega Man 2 is well known for having a lot of awesome tunes, even if they are 8-bit. However, hearing the revamped version of the Air Man level with guitars, keyboards and drums a-plenty makes it all the better. Bonus points for making this sound like even more of an aerial-battle anthem!
5. Ballad Of The Goddess/Ghirahim's Theme - Legend Of Zelda
Continuing the theme of uninspired LoZ stages
Another brilliant tune from the Legend Of Zelda series remixed into a perfect fighting song yet ruined slightly by the needless attachment of an antagonist theme, see also Song Of Storms and the truly terrible Saria's Song/Middle Boss Battle. Fans of Skyward Sword will remember the moment in the game when you first start shredding the Ballad Of The Goddess after acquiring the Goddess Harp in what has to be the single worst use of the Motion Plus controls in the entire game, if not history. The harp melody Link plays can be heard in the string arrangement during this track & if I had to pick a favourite moment/reason why this song is number 5, that would be it. I like it a lot.
4. Minor Circuit Theme - Punch Out!
Just a man and his will to survive...
Suppose I should mention that I do slightly prefer the original from Punch Out Wii although this remix does have a few cool additions. For example, the "Oh yeah!"'s that crop up every now and then. However, this polished Rock remix of the Minor Circuit theme is obviously gonna be great brawling music, considering it came from a fighting game and has been beefed up for another fighting game! I definitely feel like working out to this song...well, I would if I ever felt like working out. Ever.
3. Battle! Trainer (Pokemon X/Y) - Pokemon
Why the hell weren't you Mewtwo?
Ignoring the fact that this song is mapped to my favourite stage in the Wii U version & was used in Greninja's announcement trailer after a Smash Bros Nintendo Direct which kicked all kinds of ass, everything about it rocks! The fluttering scales, the stabbing strings, the general excitement of it all really. Unlike most of the other songs in the game, I haven't tired of this one yet. I can still bang it on repeat and listen to it for a lengthy period of time which is one of the key qualities of top notch game music.
2. The Valedictory Elegy - Baiten Kaitos
Or should it be "valedictory elegy" without caps? Don't care either way.
I'm still not sure if I prefer this remix or the original from Baiten Kaitos Origins overall. What I do know is this is easily my favourite song to listen to whilst fighting on Gaur Plains, even if it is the only one that doesn't come from the game linked to the stage. The high pitched violin might sound annoying at first but once you get used to it and appreciate what is easily the game's most "epic" piece of music, you'll find you can't fight without it.
1. Mega Man 2 Medley - Mega Man
This guy, am I right?
At first, I was disappointed they mixed the Mega Man 2 opening music with Dr Wily Stage 1-2 but I guess it's better to have a piece of music with a sensible length rather than shorter tracks that lose appeal quicker. So what can I say about this tune, other than I've bugged the crap out of my girlfriend by playing it so often? Well, the synchronised mix of heavy guitars and classic synth gives it a fresh yet simultaneously nostalgic quality whilst the heavy chugging and punchy beat in the background adds the mechanic element of Mega Man. I mean, that's what I would say if I was trying to sound well informed. Truth is it's just fucking great. It has everything a good fighting song should have and is entirely responsible for me checking out more music from the Mega Man series.
Sorry for another video game post but it was either this or me ranting about the new Guitar Hero game, which I'll probably do at some point this year or the next. Stay tuned for another post before May that won't be about video games...although it may be ranting still.
Monday, 30 March 2015
Raise A Little Hell - The Answer
Cast your mind back to October 2013, when I reviewed the last album by The Answer entitled New Horizon...or just follow that link.
If you can't be arsed to do that, I basically said that the album was OK but nothing special. I also said that I had confidence The Answer would return with another belting album.
Well, it seems like this is it!
If I was rating albums entirely based on how cool the cover looks, this would be resting on a solid 10. Not just that but unlike New Horizon, the title actually reflects the album's content. Album opener "Long Live The Renegades" sets the tone perfectly and whilst it may not be the best choice to release as a single, it reminds you that these guys are all about the Riff Based Rock. So is this just another repackaged collection of decent Hard Rock like New Horizon?
Well, yes and no.
Yes, it's still The Answer right down to the core. You've got tracks like "Last Days Of Summer", "The Other Side" and "Red" which have adapted the style of artists like Rory Gallagher into their own beefed up brand of Heavy Blues. On top of that, there's an acoustic number, "Strange Kinda' Nothing", neatly placed at the album's halfway point as a sort of intermission from the other Hard Rockers. On the surface, it's something that fans of Revival and Everyday Demons will enjoy. However, once you start to dissect it, you'll find a slight change in musical direction.
There are songs such as "Cigarettes & Regret", "Raise A Little Hell" and "Whiplash" that sound like they were inspired by contemporary American Rock bands such as Soundgarden, Audioslave and Queens Of The Stone Age. I suppose this isn't too big of an observation, as some of the songs on New Horizon shared similarities with 90's bands too. However, I'd argue that the connection is more apparent on this album. It might just be that they're developing something they previously experimented with or it could be that their producer wanted this album to reach American audiences. Either way, it's not a criticism.
The songs are all well written and pack a punch that's unlikely to fade after a few listens. The album is full of riffs and solos that sound like they were conceived with the sole purpose of being played on Guitar Hero, which isn't surprising considering that's where the band really shot into the public eye about seven years ago. If you enjoy air-guitaring or even just imagining yourself playing along to music whilst listening to it, you're almost certainly going to enjoy Raise A Little Hell.
In fact there's only really one glaring fault which I doubt I can blame the band for, as I feel it's something the record label had the final say on. If you buy the ordinary album, you get 12 tracks. That's pretty good BUT if you shell out another £7 or so, you get the Deluxe Edition.
So what's on this Deluxe Edition? For the extra cash, I assume it's an entire disc packed with bonus material for the fans. Nope! It's six extra songs. Six...and three of them are acoustic versions of tunes already on the first disc. So really, you're getting three new songs, meaning that if you want the whole album and those three songs, you need to pay an extra disproportionate amount. The only reason I'm making a big deal of this is because those three tracks happen to be better than most of the basic album.
"Feel Like I'm On My Way", "Flying" and "I Will Follow On" could have quite easily replaced three of the other songs and made the album a lot stronger. Since this isn't the first time a band have tried to justify releasing an extra disc with about 20 minutes worth of extra material for the price of an additional album, I'm expressing my desire to see this little trend of milking the fans crawl away and die like a diseased rodent. Either release them as digital-only singles to promote the album or create more material to warrant a second disc/Deluxe Edition.
Anyway, apologies for going off tangent there. As I was saying, Raise A Little Hell follows the unspoken rule of every odd-numbered album by The Answer being great. As is the case with most of the albums I've reviewed, I'd recommend this to people who are comfortable with what they know and like. In this case, it's previous material from The Answer and American Modern Rock. I would rate it higher than 8/10 if the three bonus tracks were part of the main album but sadly, the extra 2 points are part of my Deluxe Edition review that costs an extra half hour of your time and comes with me paraphrasing things I've already said but without any adjectives.
If you can't be arsed to do that, I basically said that the album was OK but nothing special. I also said that I had confidence The Answer would return with another belting album.
Well, it seems like this is it!
If I was rating albums entirely based on how cool the cover looks, this would be resting on a solid 10. Not just that but unlike New Horizon, the title actually reflects the album's content. Album opener "Long Live The Renegades" sets the tone perfectly and whilst it may not be the best choice to release as a single, it reminds you that these guys are all about the Riff Based Rock. So is this just another repackaged collection of decent Hard Rock like New Horizon?
Well, yes and no.
Yes, it's still The Answer right down to the core. You've got tracks like "Last Days Of Summer", "The Other Side" and "Red" which have adapted the style of artists like Rory Gallagher into their own beefed up brand of Heavy Blues. On top of that, there's an acoustic number, "Strange Kinda' Nothing", neatly placed at the album's halfway point as a sort of intermission from the other Hard Rockers. On the surface, it's something that fans of Revival and Everyday Demons will enjoy. However, once you start to dissect it, you'll find a slight change in musical direction.
There are songs such as "Cigarettes & Regret", "Raise A Little Hell" and "Whiplash" that sound like they were inspired by contemporary American Rock bands such as Soundgarden, Audioslave and Queens Of The Stone Age. I suppose this isn't too big of an observation, as some of the songs on New Horizon shared similarities with 90's bands too. However, I'd argue that the connection is more apparent on this album. It might just be that they're developing something they previously experimented with or it could be that their producer wanted this album to reach American audiences. Either way, it's not a criticism.
The songs are all well written and pack a punch that's unlikely to fade after a few listens. The album is full of riffs and solos that sound like they were conceived with the sole purpose of being played on Guitar Hero, which isn't surprising considering that's where the band really shot into the public eye about seven years ago. If you enjoy air-guitaring or even just imagining yourself playing along to music whilst listening to it, you're almost certainly going to enjoy Raise A Little Hell.
In fact there's only really one glaring fault which I doubt I can blame the band for, as I feel it's something the record label had the final say on. If you buy the ordinary album, you get 12 tracks. That's pretty good BUT if you shell out another £7 or so, you get the Deluxe Edition.
So what's on this Deluxe Edition? For the extra cash, I assume it's an entire disc packed with bonus material for the fans. Nope! It's six extra songs. Six...and three of them are acoustic versions of tunes already on the first disc. So really, you're getting three new songs, meaning that if you want the whole album and those three songs, you need to pay an extra disproportionate amount. The only reason I'm making a big deal of this is because those three tracks happen to be better than most of the basic album.
"Feel Like I'm On My Way", "Flying" and "I Will Follow On" could have quite easily replaced three of the other songs and made the album a lot stronger. Since this isn't the first time a band have tried to justify releasing an extra disc with about 20 minutes worth of extra material for the price of an additional album, I'm expressing my desire to see this little trend of milking the fans crawl away and die like a diseased rodent. Either release them as digital-only singles to promote the album or create more material to warrant a second disc/Deluxe Edition.
Anyway, apologies for going off tangent there. As I was saying, Raise A Little Hell follows the unspoken rule of every odd-numbered album by The Answer being great. As is the case with most of the albums I've reviewed, I'd recommend this to people who are comfortable with what they know and like. In this case, it's previous material from The Answer and American Modern Rock. I would rate it higher than 8/10 if the three bonus tracks were part of the main album but sadly, the extra 2 points are part of my Deluxe Edition review that costs an extra half hour of your time and comes with me paraphrasing things I've already said but without any adjectives.
Monday, 23 February 2015
Sons Of Guns - Razzmattazz
We're on the second month of 2015 and already I've found a proper gem of an album for Rock fans out there.
Hailing from Germany, this band claim they're influenced by Hard Rock, Blues and NWOBHM and my God, is it apparent from their material.
From the album opener and title track, it's abundantly clear that AC/DC have been a colossal influence on these trouble boys. In fact, I reckon you could easily compare "Play Ball" off AC/DC's last piece of shit with "Sons Of Guns" except the latter isn't a flat, powerless tune with a noticeably generic drumbeat and a forgettable riff. Saying that, it's hardly the best track of the lot and as far as album openers go in comparison to the rest of the record, it's pretty weak.
The next track, "Down On My Knees", is also quite average, plodding along like a slightly heavier Status Quo song before fading out and away into obscurity. However, from here, Sons Of Guns certainly grows a pair and delivers the goods. Tracks such as "Bullshit", "Demolition Man" and "Devil's Crotch" are instant driving classics whilst others like "Around And Around" and "Bang Your Head" are heavy foot stompers.
Whilst AC/DC are the obvious source of inspiration for the band's vocalist and guitarist, Tom Schaupp, there are a few picks that may feel quite familiar to 70's and 80's Hard Rock fans. "Kung Fu" starts off with a raw tribal drumbeat similar to Van Halen's "Everybody Wants Some!!" and "Fuck You", as well as being a supremely better use of the obscenity than Cee Lo Green's soulless yet ubiquitous anthem for the unforgivably moronic, might remind you of ZZ Top's "Cheap Sunglasses".
Meanwhile, on the lyrical side of the album, it would seem the band have once again taken the 70's/80's Hard Rock approach and written purely intellectual ditties about topics such as falling in love with a stripper ("Honey Bunny") and...uhhh, falling in love with a different stripper ("Don't Loose/Lose My Number"). As I said in my review for World On Fire - Slash, sometimes it's great to listen to a hot rockin' track that isn't trying to tell about five different stories in the lyrics and just wants to give you something easy to belt out during a gig. Besides, getting poetic with the lyrics can always wait until a later album, as this is only their 2nd LP.
Fans of Riff-Based Rock with plenty of hair round the gonads would be wise to give Sons Of Guns a listen and even though the soloing lacks the ferocious energy some Hard Rock bands can boast and the first couple of songs fall a bit flat, fortunately it's a case of getting the worst ones out of the way as the entire collection of tunes definitely set the bar high for future releases to live up to, which is why I give the record a 9/10.
Whilst modern bands such as White Wizzard and Airbourne have more or less just copied Iron Maiden and AC/DC respectively with their sound, it's clear that Razzmattazz have borrowed ideas from multiple bands to create music that definitely isn't unique in the slightest but is undoubtedly awesome.
After all, how does that expression go again? If you borrow from multiple sources, you're doing research but if you borrow from just one source without changing or improving anything, you're Kid Rock.
From the album opener and title track, it's abundantly clear that AC/DC have been a colossal influence on these trouble boys. In fact, I reckon you could easily compare "Play Ball" off AC/DC's last piece of shit with "Sons Of Guns" except the latter isn't a flat, powerless tune with a noticeably generic drumbeat and a forgettable riff. Saying that, it's hardly the best track of the lot and as far as album openers go in comparison to the rest of the record, it's pretty weak.
The next track, "Down On My Knees", is also quite average, plodding along like a slightly heavier Status Quo song before fading out and away into obscurity. However, from here, Sons Of Guns certainly grows a pair and delivers the goods. Tracks such as "Bullshit", "Demolition Man" and "Devil's Crotch" are instant driving classics whilst others like "Around And Around" and "Bang Your Head" are heavy foot stompers.
Whilst AC/DC are the obvious source of inspiration for the band's vocalist and guitarist, Tom Schaupp, there are a few picks that may feel quite familiar to 70's and 80's Hard Rock fans. "Kung Fu" starts off with a raw tribal drumbeat similar to Van Halen's "Everybody Wants Some!!" and "Fuck You", as well as being a supremely better use of the obscenity than Cee Lo Green's soulless yet ubiquitous anthem for the unforgivably moronic, might remind you of ZZ Top's "Cheap Sunglasses".
Meanwhile, on the lyrical side of the album, it would seem the band have once again taken the 70's/80's Hard Rock approach and written purely intellectual ditties about topics such as falling in love with a stripper ("Honey Bunny") and...uhhh, falling in love with a different stripper ("Don't Loose/Lose My Number"). As I said in my review for World On Fire - Slash, sometimes it's great to listen to a hot rockin' track that isn't trying to tell about five different stories in the lyrics and just wants to give you something easy to belt out during a gig. Besides, getting poetic with the lyrics can always wait until a later album, as this is only their 2nd LP.
Fans of Riff-Based Rock with plenty of hair round the gonads would be wise to give Sons Of Guns a listen and even though the soloing lacks the ferocious energy some Hard Rock bands can boast and the first couple of songs fall a bit flat, fortunately it's a case of getting the worst ones out of the way as the entire collection of tunes definitely set the bar high for future releases to live up to, which is why I give the record a 9/10.
Whilst modern bands such as White Wizzard and Airbourne have more or less just copied Iron Maiden and AC/DC respectively with their sound, it's clear that Razzmattazz have borrowed ideas from multiple bands to create music that definitely isn't unique in the slightest but is undoubtedly awesome.
After all, how does that expression go again? If you borrow from multiple sources, you're doing research but if you borrow from just one source without changing or improving anything, you're Kid Rock.
Friday, 23 January 2015
Tenology: My Ten Favourite Rock/Metal Songs Of 2014
If you're like me when it comes to opinions about music journalism then chances are you find posts on blogs/websites along the lines of "Ten Best Songs Of [A YEAR/DECADE]" to be all the same. A bunch of Indie songs, some generic pop and usually Kanye Fucking West.
NOT THIS ONE!
Rather than pretend to be some sophisticated tosser who is all about how deep and lyrically influential music is, I plan on writing about my 10 favourite songs of the year that fall strictly within the Rock/Metal parameter...though chances are I'll still sound like a snob at times. There's a strong possibility that none of them will be on any official Top Songs Of 2014 lists as the spaces on those lists are reserved for paragraphs overly praising how great David Bowie is for releasing an album over 30 years after he stopped making good music or how innovative and talented the Foo Fighters are for capturing the pure, raw sound of Dave Grohl stroking his dick across eight songs.
Anyway, here are the songs that came out within the last 12 months that I would recommend to people above all other upcoming bands/artists. Once again, I remind you that these are in no order of greatness as I think they're all awesome:
1. "30 Years To Life" - Slash
One of the singles off World On Fire (I'll just leave this little review here for anyone who may have missed it) and probably my favourite song from the album. Granted it starts off a little shaky but luckily it soon finds its feet after the intro. The reason I preferred this song to others on the album probably comes down to the reprise at the end. The song's continual build-up manages to turn the worst part of the track into the best, leaving you with good memories of the tune you just heard...at least it did for me, anyway.
2. "1000hp" - Godsmack
Time for a bit of Metal! I don't know much about the music of Godsmack but I do know this song has about as much power as you can possibly want for modern Metal. My favourite aspect of this song is easily the way each drum beat in the intro and verse sounds like a hefty punch. In fact, the drumming throughout the whole song is as tight as a banker's pocket but when you listen to the track, you'll know what I mean. Some may argue that it sounds stiff but I'd rather that than it sounding sloppy and overly reliant on cymbal crashes.
Oh yeah, and the other band members are great too.
3. "Crash Landing" - Toseland
Whilst all the pictures of the guy make him look like a self-obsessed cunt too big-headed even for TOWIE, his music definitely earns its place here. Unlike other entries in this list where one or two instruments clearly dominate the others, this song is a perfect example of how each member of the band contributes an even share towards making a great tune. Yes, the guitar and vocals tend to stand out more but once you listen to the drums and bass all the way through, you'll realise they're pulling their weight just as much as Mr Essex himself.
4. "Deceived" - Red Dragon Cartel
More Metal! From the opening riff, you know you're gonna be in for a treat and luckily, the rest of the song delivers! If anything, it sounds like some modern Ozzy Osbourne but with about 30% more balls (you can thank the work of ex-Ozzy guitarist Jake E. Lee for those balls!). The only thing I would say is that the song kind of ends on a low note, despite building up so much energy. If it had the outro it deserved, I'd definitely recommend it above most other tracks on this list.
5. "Dragonaut" - Judas Priest
The only notable song on the entire fucking album. However, it's a hell of a song! You've got everything you could want from Judas Priest on it (aside from a bit more Halford falsetto but at least the band knew it wouldn't suit this song before they said "Fuck it, do it anyway" for the title track). I was tempted to leave it off this list until I realised that I've been listening to it regularly since I first purchased it in July. That makes it a top song, in my books.
6. "Heaven Knows" - The Pretty Reckless
The first song on this list that isn't all about speed and action but that doesn't mean it's not powerful. With plenty of explosive and arguably "epic" moments, this memorable track will get your feet stomping and if you don't end up humming along, chances are the chorus will stick around in your head later on that day. I'm surprised this song hasn't been used in more ads for TV shows or films, if I'm honest.
7. "Looking At You" - Uriah Heep
I was tempted to review Uriah Heep's latest album, Outsider, on this blog but decided against it in the end. If you want a shortened version, all you need to know is that there are three songs that stand out (and two of those were singles). "One Minute", "Can't Take That Away" and this one. All the others generally sound like Whitesnake knock-offs whereas "Looking At You" boasts some fine work from all instruments, particularly bass and keys.
8. "Midnight Meditation" - The Vintage Caravan
Above all else, it's the main guitar riff and drum combo that I enjoy more than the wailing vocals and fuzzy bass. Sadly, the rest of the album this came from isn't worth discussing but at least this shining jewel could be found in the grey slop that was Voyage. What I would say about the song is that it seems to go on a little bit too long. The bridge in the middle with the guitar solo is cool but perhaps the final verse could've been trimmed or adapted into an outro.
9. "Remember Me" - Black Stone Cherry
Gun to head, if I was forced to pick my favourite song of the year then this would probably be it. It's comparable to a lot of modern Hard Rock songs that rely on heavy chords and shouting but unlike those, the chords are accompanied by individual guitarwork and the shouting is fuelled by emotion rather than the need to sing about something. The only major downside to this song is that the album version contains about one minute and twenty seconds of atmospheric and unnecessary feedback at the end. It completely ruins the otherwise fantastic tune, but not enough for it to be omitted from this list.
10. "Too Many Clowns" - Magnum
I can't say I'm too fond of Magnum as their older songs are a little bit too synthy for my tastes. This song, however, has next to none of that. It's just good ol' Rock! If anything, this song sounds like ZZ Top or even Status Quo if they were fucking awesome as opposed to just awesome*. Raspy vocals perfect for Hard Rock and heavy riffing make up for the weak solo and I knew once this album came out, I had to have the song.
So those are my 10 favourite tracks released in 2014 BUT I've picked five others that deserve a mention and a listen from you if you've agreed with at least 7/10 of my choices so far:
"A Shot At Redemption" - H.E.A.T
Quite similar to "Heaven Knows" but not as grand or imposing. Instead, it beefs up the fretwork and increases the tempo to footstomping speed. If I'd ordered this list in terms of greatness, I reckon this would've made #11.
"Calling Out" - Electric River
If I'm ever involved in a dynamic motorbike chase across a near-futuristic motorway then I'd probably want this song to be playing. This song is probably more appropriate than some of the others on my list as it sounds more like Modern Rock compared to, say, Uriah Heep.
"Electric Man" - Rival Sons
I should really thank radio station Planet Rock for playing many of these songs as they're my primary source for discovering new music. The reason I bring them up now is because they've caught onto Rival Sons and have played many of their tunes from previous albums, as well as this great one. Whilst this isn't my favourite song by the band in general, it's definitely my favourite they've released this year that I've heard.
"The Outlaw" - The Treatment
A song presumably written with the sole intent of kicking ass, "The Outlaw" would've fought it out with "Deceived" on my list. I think the line "I'm the Outlaw, don'tcha know" in the chorus stopped this song from making the list. Other than that lyric, it's a great track.
"Two Doves On A Lake" - Archie Bronson Outfit
Quite kooky and definitely Wolfmotherish, this song was just a little bit too off-the-wall for my list. Not that that's a bad thing, of course. I like songs that are a bit different as much as ones that stick to conventions but in this case, I preferred the aforementioned tracks to this one. However, I would say fans of Stoner Metal and Hard Prog check this song out. Who knows, maybe other material by the Archie Bronson Outfit are worth a listen in general!
So that's my brief musical summary of 2014. We had highs and lows but what about 2015?
Well, we've got new albums from Metallica, Def Leppard, Queen featuring some other guy, possibly Iron Maiden, Saxon and other bands too, not to mention all the new acts who'll release their debuts this year and quite possibly a few other surprises along the way too.
Here's to another year of monthly blog posts! Hooraaaaaay!
*on occasion
NOT THIS ONE!
Rather than pretend to be some sophisticated tosser who is all about how deep and lyrically influential music is, I plan on writing about my 10 favourite songs of the year that fall strictly within the Rock/Metal parameter...though chances are I'll still sound like a snob at times. There's a strong possibility that none of them will be on any official Top Songs Of 2014 lists as the spaces on those lists are reserved for paragraphs overly praising how great David Bowie is for releasing an album over 30 years after he stopped making good music or how innovative and talented the Foo Fighters are for capturing the pure, raw sound of Dave Grohl stroking his dick across eight songs.
Anyway, here are the songs that came out within the last 12 months that I would recommend to people above all other upcoming bands/artists. Once again, I remind you that these are in no order of greatness as I think they're all awesome:
1. "30 Years To Life" - Slash
One of the singles off World On Fire (I'll just leave this little review here for anyone who may have missed it) and probably my favourite song from the album. Granted it starts off a little shaky but luckily it soon finds its feet after the intro. The reason I preferred this song to others on the album probably comes down to the reprise at the end. The song's continual build-up manages to turn the worst part of the track into the best, leaving you with good memories of the tune you just heard...at least it did for me, anyway.
2. "1000hp" - Godsmack
Time for a bit of Metal! I don't know much about the music of Godsmack but I do know this song has about as much power as you can possibly want for modern Metal. My favourite aspect of this song is easily the way each drum beat in the intro and verse sounds like a hefty punch. In fact, the drumming throughout the whole song is as tight as a banker's pocket but when you listen to the track, you'll know what I mean. Some may argue that it sounds stiff but I'd rather that than it sounding sloppy and overly reliant on cymbal crashes.
Oh yeah, and the other band members are great too.
3. "Crash Landing" - Toseland
Whilst all the pictures of the guy make him look like a self-obsessed cunt too big-headed even for TOWIE, his music definitely earns its place here. Unlike other entries in this list where one or two instruments clearly dominate the others, this song is a perfect example of how each member of the band contributes an even share towards making a great tune. Yes, the guitar and vocals tend to stand out more but once you listen to the drums and bass all the way through, you'll realise they're pulling their weight just as much as Mr Essex himself.
4. "Deceived" - Red Dragon Cartel
More Metal! From the opening riff, you know you're gonna be in for a treat and luckily, the rest of the song delivers! If anything, it sounds like some modern Ozzy Osbourne but with about 30% more balls (you can thank the work of ex-Ozzy guitarist Jake E. Lee for those balls!). The only thing I would say is that the song kind of ends on a low note, despite building up so much energy. If it had the outro it deserved, I'd definitely recommend it above most other tracks on this list.
5. "Dragonaut" - Judas Priest
The only notable song on the entire fucking album. However, it's a hell of a song! You've got everything you could want from Judas Priest on it (aside from a bit more Halford falsetto but at least the band knew it wouldn't suit this song before they said "Fuck it, do it anyway" for the title track). I was tempted to leave it off this list until I realised that I've been listening to it regularly since I first purchased it in July. That makes it a top song, in my books.
6. "Heaven Knows" - The Pretty Reckless
The first song on this list that isn't all about speed and action but that doesn't mean it's not powerful. With plenty of explosive and arguably "epic" moments, this memorable track will get your feet stomping and if you don't end up humming along, chances are the chorus will stick around in your head later on that day. I'm surprised this song hasn't been used in more ads for TV shows or films, if I'm honest.
7. "Looking At You" - Uriah Heep
I was tempted to review Uriah Heep's latest album, Outsider, on this blog but decided against it in the end. If you want a shortened version, all you need to know is that there are three songs that stand out (and two of those were singles). "One Minute", "Can't Take That Away" and this one. All the others generally sound like Whitesnake knock-offs whereas "Looking At You" boasts some fine work from all instruments, particularly bass and keys.
8. "Midnight Meditation" - The Vintage Caravan
Above all else, it's the main guitar riff and drum combo that I enjoy more than the wailing vocals and fuzzy bass. Sadly, the rest of the album this came from isn't worth discussing but at least this shining jewel could be found in the grey slop that was Voyage. What I would say about the song is that it seems to go on a little bit too long. The bridge in the middle with the guitar solo is cool but perhaps the final verse could've been trimmed or adapted into an outro.
9. "Remember Me" - Black Stone Cherry
Gun to head, if I was forced to pick my favourite song of the year then this would probably be it. It's comparable to a lot of modern Hard Rock songs that rely on heavy chords and shouting but unlike those, the chords are accompanied by individual guitarwork and the shouting is fuelled by emotion rather than the need to sing about something. The only major downside to this song is that the album version contains about one minute and twenty seconds of atmospheric and unnecessary feedback at the end. It completely ruins the otherwise fantastic tune, but not enough for it to be omitted from this list.
10. "Too Many Clowns" - Magnum
I can't say I'm too fond of Magnum as their older songs are a little bit too synthy for my tastes. This song, however, has next to none of that. It's just good ol' Rock! If anything, this song sounds like ZZ Top or even Status Quo if they were fucking awesome as opposed to just awesome*. Raspy vocals perfect for Hard Rock and heavy riffing make up for the weak solo and I knew once this album came out, I had to have the song.
So those are my 10 favourite tracks released in 2014 BUT I've picked five others that deserve a mention and a listen from you if you've agreed with at least 7/10 of my choices so far:
"A Shot At Redemption" - H.E.A.T
Quite similar to "Heaven Knows" but not as grand or imposing. Instead, it beefs up the fretwork and increases the tempo to footstomping speed. If I'd ordered this list in terms of greatness, I reckon this would've made #11.
"Calling Out" - Electric River
If I'm ever involved in a dynamic motorbike chase across a near-futuristic motorway then I'd probably want this song to be playing. This song is probably more appropriate than some of the others on my list as it sounds more like Modern Rock compared to, say, Uriah Heep.
"Electric Man" - Rival Sons
I should really thank radio station Planet Rock for playing many of these songs as they're my primary source for discovering new music. The reason I bring them up now is because they've caught onto Rival Sons and have played many of their tunes from previous albums, as well as this great one. Whilst this isn't my favourite song by the band in general, it's definitely my favourite they've released this year that I've heard.
"The Outlaw" - The Treatment
A song presumably written with the sole intent of kicking ass, "The Outlaw" would've fought it out with "Deceived" on my list. I think the line "I'm the Outlaw, don'tcha know" in the chorus stopped this song from making the list. Other than that lyric, it's a great track.
"Two Doves On A Lake" - Archie Bronson Outfit
Quite kooky and definitely Wolfmotherish, this song was just a little bit too off-the-wall for my list. Not that that's a bad thing, of course. I like songs that are a bit different as much as ones that stick to conventions but in this case, I preferred the aforementioned tracks to this one. However, I would say fans of Stoner Metal and Hard Prog check this song out. Who knows, maybe other material by the Archie Bronson Outfit are worth a listen in general!
So that's my brief musical summary of 2014. We had highs and lows but what about 2015?
Well, we've got new albums from Metallica, Def Leppard, Queen featuring some other guy, possibly Iron Maiden, Saxon and other bands too, not to mention all the new acts who'll release their debuts this year and quite possibly a few other surprises along the way too.
Here's to another year of monthly blog posts! Hooraaaaaay!
*on occasion
Thursday, 4 December 2014
Rock Or Bust - AC/DC
There's a great scene in 'This Is Spinal Tap' where the band are shown negative reviews of one of their albums, the last one consisting of only two words ("Shit Sandwich"). I reckon I can top that and summarise AC/DC's latest album, Rock Or Bust, in just one.
Bust.
For those of you wanting a more in-depth critique, feel free to carry on reading.
Rock Or Bust is the 15th studio album from AC/DC but the first not to feature veteran guitarist, Malcolm Young. This is quite a significant departure as many consider Malcolm to be the life-blood of the band. It's his ability to create iconic riffs that have made the Aussie/Scottish rockers what they are today and whilst this isn't the first great loss the band has faced, it's definitely one that put the future of the group into question. However, rather than accept defeat, they carried on with determined faces and recorded this album...but perhaps they should've retired after all.
The album opener/title track is average at best. A slow plodding rhythm and an easily forgettable riff set the tone for the rest of the record. Cliff Williams' bass playing is unsubstantial and Phil Rudd's drumming is practically lifeless, although I guess organising murder really takes it out of you. Thankfully, Brian Johnson's vocals are still raw but I'd be lying if I said he makes any of the songs stand out. As for Stevie's guitar playing, he's certainly no Malcolm. His playing is bland, uninspired and sounds like something a mediocre guitarist would play to warm up before a gig.
If you think I'm being too harsh, here's an experiment for you.
Have you heard their first single, "Play Ball"? If not, follow this link and listen to the whole song, start to finish. Don't carry on reading this, pop out of this blog for a couple of minutes and give the song a try. When it's finished, come back here.
Heard it?
Right, now it's time for the test.
If you've heard the song several times before, you might do quite well but if you've heard it less than twice then here's your challenge:
Can you recall any of what you've just heard other than the words "Let's Play Ball"?
Don't be surprised if you can't, it's easily one of the most unremarkable Rock songs I've ever heard and it took me about four listens to remember the chorus alone.
Whose fucking idea was it to release that as the first single?! Surely, with Malcolm gone, you'd want a dynamic song to show people that you're still awesome and can bring the thunder on demand, not some limp Dance-Rock mush that has no fire or passion in the slightest? What's worse is the rest of the album more or less sticks to the same pattern. It's all too safe and timid, like they made this album for the easily fucking offended.
Admittedly, there are a couple of songs that capture the essence of the band's glory days. "Rock The House" is one that fans of "Back In Black" may appreciate and "Baptism By Fire" will likely get your foot tapping to the rhythm but other than that, the album is quite simply boring. Songs start to sound almost identical to their predecessors ("Sweet Candy"), tracks with powerful names carry the explosive energy of a diet pill induced follow-through ("Got Some Rock & Roll Thunder" and "Dogs Of War") and the final song, "Emission Control"...well, it says quite a bit about an ageing Hard Rock band when the closing track on an album fades out, let's just put it that way.
I would talk about how previous AC/DC songs have had memorable solos as well as classic riffs for every aspiring guitarist whereas Rock Or Bust is completely devoid of talented soloing BUT I believe the album was intentionally recorded without complex guitarwork* so I won't fault them for that. What I will fault them for is creating a pointless album that sounds like a bunch of old boys trundling out tired music who have lost the key component to what made them great in the first place, hence my score of 2/10.
What's most annoying about this album is that I really struggled to think of who to recommend this to. Even shite albums like 13 - Black Sabbath appeal to people who like their Metal covered in sludge but Rock Or Bust is just anemic sound. It's not even Rock, it's fucking Wood. If you did enjoy listening to it then I'm pleased for you but if you reckon you could look me in the eyes and tell me that this is an album Hard Rock fans should seek out then you, good sir or madam, are a bloody liar.
* Malcolm Young had composed these tracks with Angus before leaving the band due to Dementia. My theory is that they're deliberately quite short and simplistic to make it easier for him, since the producer and band mates likely recognised his failing mental health before his departure. I dunno, I could be reading too much into it but as I said, I'm not deducting or adding points for just a theory.
Bust.
For those of you wanting a more in-depth critique, feel free to carry on reading.
Rock Or Bust is the 15th studio album from AC/DC but the first not to feature veteran guitarist, Malcolm Young. This is quite a significant departure as many consider Malcolm to be the life-blood of the band. It's his ability to create iconic riffs that have made the Aussie/Scottish rockers what they are today and whilst this isn't the first great loss the band has faced, it's definitely one that put the future of the group into question. However, rather than accept defeat, they carried on with determined faces and recorded this album...but perhaps they should've retired after all.
The album opener/title track is average at best. A slow plodding rhythm and an easily forgettable riff set the tone for the rest of the record. Cliff Williams' bass playing is unsubstantial and Phil Rudd's drumming is practically lifeless, although I guess organising murder really takes it out of you. Thankfully, Brian Johnson's vocals are still raw but I'd be lying if I said he makes any of the songs stand out. As for Stevie's guitar playing, he's certainly no Malcolm. His playing is bland, uninspired and sounds like something a mediocre guitarist would play to warm up before a gig.
If you think I'm being too harsh, here's an experiment for you.
Have you heard their first single, "Play Ball"? If not, follow this link and listen to the whole song, start to finish. Don't carry on reading this, pop out of this blog for a couple of minutes and give the song a try. When it's finished, come back here.
Heard it?
Right, now it's time for the test.
If you've heard the song several times before, you might do quite well but if you've heard it less than twice then here's your challenge:
Can you recall any of what you've just heard other than the words "Let's Play Ball"?
Don't be surprised if you can't, it's easily one of the most unremarkable Rock songs I've ever heard and it took me about four listens to remember the chorus alone.
Whose fucking idea was it to release that as the first single?! Surely, with Malcolm gone, you'd want a dynamic song to show people that you're still awesome and can bring the thunder on demand, not some limp Dance-Rock mush that has no fire or passion in the slightest? What's worse is the rest of the album more or less sticks to the same pattern. It's all too safe and timid, like they made this album for the easily fucking offended.
Admittedly, there are a couple of songs that capture the essence of the band's glory days. "Rock The House" is one that fans of "Back In Black" may appreciate and "Baptism By Fire" will likely get your foot tapping to the rhythm but other than that, the album is quite simply boring. Songs start to sound almost identical to their predecessors ("Sweet Candy"), tracks with powerful names carry the explosive energy of a diet pill induced follow-through ("Got Some Rock & Roll Thunder" and "Dogs Of War") and the final song, "Emission Control"...well, it says quite a bit about an ageing Hard Rock band when the closing track on an album fades out, let's just put it that way.
I would talk about how previous AC/DC songs have had memorable solos as well as classic riffs for every aspiring guitarist whereas Rock Or Bust is completely devoid of talented soloing BUT I believe the album was intentionally recorded without complex guitarwork* so I won't fault them for that. What I will fault them for is creating a pointless album that sounds like a bunch of old boys trundling out tired music who have lost the key component to what made them great in the first place, hence my score of 2/10.
What's most annoying about this album is that I really struggled to think of who to recommend this to. Even shite albums like 13 - Black Sabbath appeal to people who like their Metal covered in sludge but Rock Or Bust is just anemic sound. It's not even Rock, it's fucking Wood. If you did enjoy listening to it then I'm pleased for you but if you reckon you could look me in the eyes and tell me that this is an album Hard Rock fans should seek out then you, good sir or madam, are a bloody liar.
* Malcolm Young had composed these tracks with Angus before leaving the band due to Dementia. My theory is that they're deliberately quite short and simplistic to make it easier for him, since the producer and band mates likely recognised his failing mental health before his departure. I dunno, I could be reading too much into it but as I said, I'm not deducting or adding points for just a theory.
Sunday, 30 November 2014
World On Fire - Slash featuring Myles Kennedy & The Conspirators
Before I talk about the latest album from Slash and Myles Kennedy, I'd first like to tell you about the latest tour from Slash and Myles Kennedy...or at least one of the shows from the tour.
Without going into too much detail about the dire warm-up performance from California Breed (although mostly Glenn Hughes) as you can read my condensed rant on Twitter, Slash played with his band for damn nearly two hours last night. For most bands, that would've been a real slog to sit through and, if I'm honest, it's probably my only small complaint. However, Slash and crew kept the majority of the audience* enthralled from start to finish, playing a variety of hits from past solo albums with a few select fan favourites from his days in Guns N' Roses.
The band were easily capable of recreating tunes from solo albums to a near pitch-perfect quality and even the GNR covers sounded close to identical to the originals from 1987. In fact, I would say that seeing Slash play live now is as close to the perfect Guns N' Roses gig we'll ever get. Myles was more than capable of covering Axl Rose, hitting all the correct notes without all the unnecessary, irritating shit Axl does. It's no surprise Slash chose Myles to become his permanent vocalist, since he's basically what Axl would sound like if he wasn't the aural equivalent of scraping a knuckle on a cheese grater.
Of course the rest of the band nailed their respective parts too but it was easily a combination of powerful vocals and furious fretting that made the night spectacular. That and the fantastic decade-spanning setlist. So with that in mind, what did I think of their latest album?
Before you read this review, I need to make one thing even clearer than I've already made it.
I don't like Axl Rose.
Not in the slightest.
I think he's fucking terrible.
He may be technically skilled but that means sod-all if the finished product sounds like a rooster. That's like commending someone for being a technically proficient arsonist or BNP spokesperson.
No, this isn't because of the whole Activision lawsuit thing. I actually agreed with him on that one. I don't like him because he's the single driving force behind my ambivalence towards Guns N' Roses. I know for a fact that I would enjoy them a lot more if he had no influence or purpose in the band, although sadly I can't prove it. All I can do is base my theories on the last five years of Slash's musical career.
I had a theory a while ago that Axl Rose ruined Hard Rock but I've since adapted that into a hypothesis that Axl Rose only tainted Hard Rock, merely ruining Guns N' Roses and his reputation. Some of their songs have awesome riffs but hearing Axl rasp "motherfucker" pisses them down. Thankfully, Slash's solo work is slowly trying to make up for it, almost like a spoilt child's dad apologising to the other parents at a birthday party for spawning such a little cunt.
I came close to forgiving and forgetting after hearing Apocalyptic Love for the first time last year. It's full of Hard Rock, pure and simple. The slower songs still pack a punch and manage to sound softer without going into handbag sporting Aerosmith territory. So with that in mind, I was looking forward to Slash's follow up to see if he would continue with more of the same or develop his sound into something new.
Interestingly enough, he's managed to do both.
World On Fire starts off with an aptly named explosive bang, doing what every great album opener does by setting the bar high. Fortunately, the band manage to maintain that high (unlike Judas Priest did with their latest offering) with a strong collection of face melters and headbangers. If there's one thing you can learn from Slash's music (and let's face it, you're unlikely to learn more than one or two things), it's that he's the Ronseal of Hard Rock. He does exactly what it says on the tin...uhh, album.
The songs don't contain metaphors concealed within another metaphor mirroring art under the pretence of bollocks and if that's what you strive for in music then go cream yourself over David fucking Bowie like all the other tossers out there who say things like "Bravo" without sarcasm. Slash's music is straight forward, down to Earth and fucking awesome. It doesn't need to be analysed, it just needs to be heard and that's something that remains constant throughout all three of his solo albums.
Whilst the debut had a series of guest musicians, making it easily comparable to previous album which introduced Myles Kennedy & The Conspirators as 'the band', the main difference between this and Apocalyptic Love is the number of songs that feel slightly less guitar-oriented. Whilst it's clear Slash's signature is scrawled across the record, it certainly feels like the band have had more input with the creation of this material. You've got your slower, more ensemble based songs like "Battleground", "The Unholy" and "Dirty Girl" along with ones crying to be played on a six-string such as "Bent To Fly", "Avalon" and "Withered Delilah".
It's a healthy mix of weight distribution among the band and a winning formula that's kept Slash in fresh leather pants and drug abuse for over 20 years. Personally, I preferred Apocalyptic Love and would recommend that album to anyone who likes Riff-Based Rock. It's an hour of Guitar Hero music and there will always be room in my iTunes library for that. However, World On Fire is a must-listen to anyone who likes Hard Rock as there's something for most preferences, whether you favour vocally driven belters or heavy drumming tracks. The biggest downside is that there isn't as much repeat value but that may be down to personal taste.
I rate it 8/10 for having many enjoyable tracks that don't disappoint or feel like carbon copies at first listen. I'm mostly just relieved that Slash didn't feel the need to include shite covers and 8 minute piano ballads, as I'm almost certain Axl pricking Rose pushed for during the GNR days. It honestly wouldn't surprise me to learn that Axl was responsible for all of GNR's cruddiest tracks but I'm too apathetic about the band to want to research my claims so I'll just remain in blissfully ignorant hate until someone puts me straight.
Are you gonna be that someone? Have anything else to add to the Axl debate? Feel free to voice opinions in the comments...unless you're a fanboy. If you are an Axl Rose fanboy and/or GNR purist, feel free to run far away-ay-ay-ay-ay.
* Except for a boy in front of me who was using his mum's shoulder as a pillow throughout the second half, poor little bunny.
Of course the rest of the band nailed their respective parts too but it was easily a combination of powerful vocals and furious fretting that made the night spectacular. That and the fantastic decade-spanning setlist. So with that in mind, what did I think of their latest album?
Before you read this review, I need to make one thing even clearer than I've already made it.
I don't like Axl Rose.
Not in the slightest.
I think he's fucking terrible.
He may be technically skilled but that means sod-all if the finished product sounds like a rooster. That's like commending someone for being a technically proficient arsonist or BNP spokesperson.
No, this isn't because of the whole Activision lawsuit thing. I actually agreed with him on that one. I don't like him because he's the single driving force behind my ambivalence towards Guns N' Roses. I know for a fact that I would enjoy them a lot more if he had no influence or purpose in the band, although sadly I can't prove it. All I can do is base my theories on the last five years of Slash's musical career.
I had a theory a while ago that Axl Rose ruined Hard Rock but I've since adapted that into a hypothesis that Axl Rose only tainted Hard Rock, merely ruining Guns N' Roses and his reputation. Some of their songs have awesome riffs but hearing Axl rasp "motherfucker" pisses them down. Thankfully, Slash's solo work is slowly trying to make up for it, almost like a spoilt child's dad apologising to the other parents at a birthday party for spawning such a little cunt.
I came close to forgiving and forgetting after hearing Apocalyptic Love for the first time last year. It's full of Hard Rock, pure and simple. The slower songs still pack a punch and manage to sound softer without going into handbag sporting Aerosmith territory. So with that in mind, I was looking forward to Slash's follow up to see if he would continue with more of the same or develop his sound into something new.
Interestingly enough, he's managed to do both.
World On Fire starts off with an aptly named explosive bang, doing what every great album opener does by setting the bar high. Fortunately, the band manage to maintain that high (unlike Judas Priest did with their latest offering) with a strong collection of face melters and headbangers. If there's one thing you can learn from Slash's music (and let's face it, you're unlikely to learn more than one or two things), it's that he's the Ronseal of Hard Rock. He does exactly what it says on the tin...uhh, album.
The songs don't contain metaphors concealed within another metaphor mirroring art under the pretence of bollocks and if that's what you strive for in music then go cream yourself over David fucking Bowie like all the other tossers out there who say things like "Bravo" without sarcasm. Slash's music is straight forward, down to Earth and fucking awesome. It doesn't need to be analysed, it just needs to be heard and that's something that remains constant throughout all three of his solo albums.
Whilst the debut had a series of guest musicians, making it easily comparable to previous album which introduced Myles Kennedy & The Conspirators as 'the band', the main difference between this and Apocalyptic Love is the number of songs that feel slightly less guitar-oriented. Whilst it's clear Slash's signature is scrawled across the record, it certainly feels like the band have had more input with the creation of this material. You've got your slower, more ensemble based songs like "Battleground", "The Unholy" and "Dirty Girl" along with ones crying to be played on a six-string such as "Bent To Fly", "Avalon" and "Withered Delilah".
It's a healthy mix of weight distribution among the band and a winning formula that's kept Slash in fresh leather pants and drug abuse for over 20 years. Personally, I preferred Apocalyptic Love and would recommend that album to anyone who likes Riff-Based Rock. It's an hour of Guitar Hero music and there will always be room in my iTunes library for that. However, World On Fire is a must-listen to anyone who likes Hard Rock as there's something for most preferences, whether you favour vocally driven belters or heavy drumming tracks. The biggest downside is that there isn't as much repeat value but that may be down to personal taste.
I rate it 8/10 for having many enjoyable tracks that don't disappoint or feel like carbon copies at first listen. I'm mostly just relieved that Slash didn't feel the need to include shite covers and 8 minute piano ballads, as I'm almost certain Axl pricking Rose pushed for during the GNR days. It honestly wouldn't surprise me to learn that Axl was responsible for all of GNR's cruddiest tracks but I'm too apathetic about the band to want to research my claims so I'll just remain in blissfully ignorant hate until someone puts me straight.
Are you gonna be that someone? Have anything else to add to the Axl debate? Feel free to voice opinions in the comments...unless you're a fanboy. If you are an Axl Rose fanboy and/or GNR purist, feel free to run far away-ay-ay-ay-ay.
* Except for a boy in front of me who was using his mum's shoulder as a pillow throughout the second half, poor little bunny.
Monday, 27 October 2014
Tenology: Ten Remixes I Want Added To Hyrule Warriors
Sorry everyone. It's another video game post.
For the second half of September, I've been spending my days playing 'Hyrule Warriors', the latest game in the Zelda franchise that departs from traditional gameplay in favour of 'Dynasty Warriors' battles, borrowing the characters, weapons and locations from the Zelda universe.
It's a fantastic game but the best thing about it is the music (which is also true to most other Zelda games). This game not only has a soundtrack combining Rock instruments with orchestral tunes but it also remixes existing Zelda tracks from past games into more exciting battle anthems.
Before you start to realise that I'm pretty much just repeating what I said about Super Smash Bros Brawl in a previous blog post, the point of this post isn't to tell you about my favourite tracks from this game. The reason you're still reading (and I'm still typing) is because I've picked 10 tunes that weren't used in 'Hyrule Warriors' that I'm hoping will be added along with the DLC after being remixed.
To give you an idea about the soundtrack of both Zelda games AND 'Hyrule Warriors', I've selected a couple of choice picks to compare the original and the remix.
First, there's the Boss Battle theme from 'Ocarina Of Time' followed by the 'Hyrule Warriors' version.
Then there's the Skyloft theme from 'Skyward Sword' and the 'Hyrule Warriors' mix, adding the Ballad Of The Goddess in there too to make it even more awesome.
As you can hear, they add some bitchin' guitars and successfully manage to improve tracks that were already damn good. Of course, these aren't the only pieces of music in the game but one of the few flaws about 'Hyrule Warriors' is that for a game that was essentially a love letter to console Zelda fans, the number of remixes from console Zelda games was not quite as high as it could've been.
So which tracks should've been added and given the 'Hyrule Warriors' treatment? In my opinion, the following ten (in no particular order):
1. Boss Theme - Majora's Mask
An obvious pick but still an awesome one. Personally, I prefer this Boss theme to the one from 'Ocarina Of Time', if only for the galloping rhythm. It works well in 'Majora's Mask' due to the time-based gameplay and often by the time you've finished a temple to reach the boss, you're racing against the clock to beat them before it's game over. It's a shame the game only had about 4 bosses (not including the final one) but for the upcoming 'Majora's Mask' DLC, a remix of this battle track with a chugging guitar rhythm would be amazing.
2. Dragon Roost Island - Wind Waker
Probably the best piece of music in the entire game despite not being featured as often as other tunes. Since 'Wind Waker' has a completely different art style to the other Zelda games and isn't really featured in 'Hyrule Warriors' (aside from a couple of pretty rubbish weapons you can get), it's unlikely we'll be seeing DLC featuring enemies and music from this game, even though fans would buy it in a heartbeat. However, a heavier remix of this calm island melody would be all kinds of awesome to fight to.
3. Mini Game Medley - Ocarina Of Time (1), Twilight Princess (2), Skyward Sword (3)
OK, I'm not sure how well this would translate as a song to fight to but if 'Hyrule Warriors' can have music from the 'Skyward Sword' Bazaar and 'Ocarina Of Time' House interiors then there must be a way of making a mix of mini game songs from the three main titles that went into making this game. The hardest one to translate would probably be the 'Skyward Sword' one, as it's the slowest. But hey, with a bit of creative reworking, it's surely possible!
4. Zant Boss Theme - Twilight Princess
One thing that stuck in my mind with 'Twilight Princess' was the fun boss fights. Not only did each one have their own music but they also felt more fun than previous installments, particularly Stallord who easily has one of the best boss fights in the whole Zelda series! However, the Zant fight was something special. It involved multiple battlefields taking place across a variety of stages from OTHER boss fights in the game, each with a variation of the same tune. If you listen to the whole piece, you can hear it becoming more frantic and crazed, much like the character of Zant as the game progresses. Anyway, considering he's playable in 'Hyrule Warriors', it would've been neat to have this tune properly remixed instead of the Twilight-y song they had which merely borrowed elements of this one.
5. Song Of Storms - Ocarina Of Time
Another iconic Zelda tune right here, and not just because it involves a paradox where you learn a song by travelling forward in time, learning it off a disgruntled windmill owner, travelling back and playing it to him, causing him to be disgruntled/learn the song in the first place (even though the song you learn is the exact one he's playing in his windmill all the time...). It's surprisingly catchy and even though various re-recordings of it are all awesome, the original played on the music box will always be the best. That being said, a heavier remix with guitars would certainly be appreciated, maybe if it's mixed with other songs you learn on the ocarina (although not the song from Ganondorf's Castle, like in Super Smash Bros Brawl).
6. Spooky Music - Majora's Mask
I couldn't think of a better name for this one, since the same tune is used repeatedly in different levels but with different instruments. The sample I've chosen is from Great Bay Coast, since it's the creepiest to me, but the Mountain Village at Snowhead is also good. Slow and haunting, this theme for each of the four corners of Termina carries the weight of death that lingers throughout this game. Looking back on it, 'Majora's Mask' might have the most depth of any Zelda game. Shame I didn't find it as fun as other titles, although I'd buy a 3DS re-release without hesitation.
7. Koloktos/Moldarach Battle - Skyward Sword
Easily my favourite action song from 'Skyward Sword' and quite possibly one of my top ten favourite Zelda boss battles (Koloktos, not Moldarach). To me, this is one of two songs from the game that prove it doesn't take Koji Kondo to make fantastic Zelda music. This song wouldn't require much of a change, just a few extra instruments and it's perfect for 'Hyrule Warriors'. It would've been cool to have Koloktos as one of the bosses to appear instead of The Imprisoned, which is a horrible boss fight in both games. Absolutely horrible and annoying. But sadly, it's also necessary.
8. Saria's Song - Ocarina Of Time
During Darunia's victory cut-scene, you can hear an orchestrated version of this tune being played. This is a nice nod to a scene from 'Ocarina Of Time' but honestly, it would've been much cooler to have a proper version of this classic Zelda song. Maybe if they decide to do Lost Woods DLC as an add-on to the Faron Woods level, they could spruce up this cheerful tune into a mystical remix (kinda like they did with the Sacred Grove in 'Twilight Princess').
9. Hidden Village - Twilight Princess
A Wild West type tune that, again, only plays a couple of times in the game but is able to strike a chord with the average player. With a bit of extra power and a slightly faster tempo, those acoustic guitars would transform into a great battle track, perfect for the Gerudo Desert stage (same could be said for the Gerudo Desert song, although I haven't included it on this list).
10. Hyrule Field - Ocarina Of Time
Despite the fact that the first level takes place outside Hyrule Castle on the fields of Hyrule, the theme from 'Ocarina Of Time' is surprisingly absent. Instead, we get a rip-off of 'Mars, Bringer Of War' by Gustav Holst followed by a remix of the original Zelda theme (which is great, admittedly). However, I'll never forget the excitement at hearing this upbeat tune for the first time. Having left Kokiri Forest after getting my first ocarina, it marked a momentous occasion in-game for me...then I got stopped by that fucking owl, but that's another story. Either way, it'd be great to hear a thundering remix of Hyrule Field from 'Ocarina Of Time' as opposed to the inferior 'Twilight Princess' one we got instead.
So that's my list. It's not perfect and I'll be honest, I was struggling to think of ten songs that I'd want as remixes but alas, it was possible. Are there any tunes you think would make great 'Hyrule Warriors' remixes? Perhaps more songs from 'Wind Waker' or any of the handheld/pre 'Ocarina Of Time' games? Let me know in the comment section and I'll check them out/add them if I agree. It's unlikely the DLC will add new tunes but I really hope they do, since it'd be a shame to have levels, enemies and objectives based on 'Majora's Mask' without the music to complete the atmosphere.
Also, apologies for the video game related post after my last one. I plan on reviewing Slash's latest album for my November post but I'm not sure when that'll be posted. Possibly towards the end of the month as I'm seeing him live with my awesome girlfriend then. I might combine the album and gig into one mega-review...or I'll review the album before the gig and add an update to it after seeing him live.
Who knows? I certainly don't.
For the second half of September, I've been spending my days playing 'Hyrule Warriors', the latest game in the Zelda franchise that departs from traditional gameplay in favour of 'Dynasty Warriors' battles, borrowing the characters, weapons and locations from the Zelda universe.
It's a fantastic game but the best thing about it is the music (which is also true to most other Zelda games). This game not only has a soundtrack combining Rock instruments with orchestral tunes but it also remixes existing Zelda tracks from past games into more exciting battle anthems.
Before you start to realise that I'm pretty much just repeating what I said about Super Smash Bros Brawl in a previous blog post, the point of this post isn't to tell you about my favourite tracks from this game. The reason you're still reading (and I'm still typing) is because I've picked 10 tunes that weren't used in 'Hyrule Warriors' that I'm hoping will be added along with the DLC after being remixed.
To give you an idea about the soundtrack of both Zelda games AND 'Hyrule Warriors', I've selected a couple of choice picks to compare the original and the remix.
First, there's the Boss Battle theme from 'Ocarina Of Time' followed by the 'Hyrule Warriors' version.
Then there's the Skyloft theme from 'Skyward Sword' and the 'Hyrule Warriors' mix, adding the Ballad Of The Goddess in there too to make it even more awesome.
As you can hear, they add some bitchin' guitars and successfully manage to improve tracks that were already damn good. Of course, these aren't the only pieces of music in the game but one of the few flaws about 'Hyrule Warriors' is that for a game that was essentially a love letter to console Zelda fans, the number of remixes from console Zelda games was not quite as high as it could've been.
So which tracks should've been added and given the 'Hyrule Warriors' treatment? In my opinion, the following ten (in no particular order):
1. Boss Theme - Majora's Mask
And now you've got Odalwa's chant stuck in your head!
An obvious pick but still an awesome one. Personally, I prefer this Boss theme to the one from 'Ocarina Of Time', if only for the galloping rhythm. It works well in 'Majora's Mask' due to the time-based gameplay and often by the time you've finished a temple to reach the boss, you're racing against the clock to beat them before it's game over. It's a shame the game only had about 4 bosses (not including the final one) but for the upcoming 'Majora's Mask' DLC, a remix of this battle track with a chugging guitar rhythm would be amazing.
2. Dragon Roost Island - Wind Waker
Personally, I wasn't a huge fan of Wind Waker thanks to the boring fucking sailing parts
Probably the best piece of music in the entire game despite not being featured as often as other tunes. Since 'Wind Waker' has a completely different art style to the other Zelda games and isn't really featured in 'Hyrule Warriors' (aside from a couple of pretty rubbish weapons you can get), it's unlikely we'll be seeing DLC featuring enemies and music from this game, even though fans would buy it in a heartbeat. However, a heavier remix of this calm island melody would be all kinds of awesome to fight to.
3. Mini Game Medley - Ocarina Of Time (1), Twilight Princess (2), Skyward Sword (3)
Dunno about you but that's definitely how I would hold a panicked chicken. Right over my head
OK, I'm not sure how well this would translate as a song to fight to but if 'Hyrule Warriors' can have music from the 'Skyward Sword' Bazaar and 'Ocarina Of Time' House interiors then there must be a way of making a mix of mini game songs from the three main titles that went into making this game. The hardest one to translate would probably be the 'Skyward Sword' one, as it's the slowest. But hey, with a bit of creative reworking, it's surely possible!
4. Zant Boss Theme - Twilight Princess
Shame his awesome attacks couldn't quite properly transfer over to 'Hyrule Warriors'
One thing that stuck in my mind with 'Twilight Princess' was the fun boss fights. Not only did each one have their own music but they also felt more fun than previous installments, particularly Stallord who easily has one of the best boss fights in the whole Zelda series! However, the Zant fight was something special. It involved multiple battlefields taking place across a variety of stages from OTHER boss fights in the game, each with a variation of the same tune. If you listen to the whole piece, you can hear it becoming more frantic and crazed, much like the character of Zant as the game progresses. Anyway, considering he's playable in 'Hyrule Warriors', it would've been neat to have this tune properly remixed instead of the Twilight-y song they had which merely borrowed elements of this one.
5. Song Of Storms - Ocarina Of Time
I always thought the secret tunnel from his hut to the graveyard was a bit suspicious, kinda like Sweeney Todd
Another iconic Zelda tune right here, and not just because it involves a paradox where you learn a song by travelling forward in time, learning it off a disgruntled windmill owner, travelling back and playing it to him, causing him to be disgruntled/learn the song in the first place (even though the song you learn is the exact one he's playing in his windmill all the time...). It's surprisingly catchy and even though various re-recordings of it are all awesome, the original played on the music box will always be the best. That being said, a heavier remix with guitars would certainly be appreciated, maybe if it's mixed with other songs you learn on the ocarina (although not the song from Ganondorf's Castle, like in Super Smash Bros Brawl).
6. Spooky Music - Majora's Mask
The whole sequence with the dying Zora is made even more chilling thanks to the music
I couldn't think of a better name for this one, since the same tune is used repeatedly in different levels but with different instruments. The sample I've chosen is from Great Bay Coast, since it's the creepiest to me, but the Mountain Village at Snowhead is also good. Slow and haunting, this theme for each of the four corners of Termina carries the weight of death that lingers throughout this game. Looking back on it, 'Majora's Mask' might have the most depth of any Zelda game. Shame I didn't find it as fun as other titles, although I'd buy a 3DS re-release without hesitation.
7. Koloktos/Moldarach Battle - Skyward Sword
The boss that made water temples tolerable
Easily my favourite action song from 'Skyward Sword' and quite possibly one of my top ten favourite Zelda boss battles (Koloktos, not Moldarach). To me, this is one of two songs from the game that prove it doesn't take Koji Kondo to make fantastic Zelda music. This song wouldn't require much of a change, just a few extra instruments and it's perfect for 'Hyrule Warriors'. It would've been cool to have Koloktos as one of the bosses to appear instead of The Imprisoned, which is a horrible boss fight in both games. Absolutely horrible and annoying. But sadly, it's also necessary.
8. Saria's Song - Ocarina Of Time
This took me way too long to complete as a kid
During Darunia's victory cut-scene, you can hear an orchestrated version of this tune being played. This is a nice nod to a scene from 'Ocarina Of Time' but honestly, it would've been much cooler to have a proper version of this classic Zelda song. Maybe if they decide to do Lost Woods DLC as an add-on to the Faron Woods level, they could spruce up this cheerful tune into a mystical remix (kinda like they did with the Sacred Grove in 'Twilight Princess').
9. Hidden Village - Twilight Princess
"Right, time to find those feckin' cats!"
A Wild West type tune that, again, only plays a couple of times in the game but is able to strike a chord with the average player. With a bit of extra power and a slightly faster tempo, those acoustic guitars would transform into a great battle track, perfect for the Gerudo Desert stage (same could be said for the Gerudo Desert song, although I haven't included it on this list).
10. Hyrule Field - Ocarina Of Time
"Oh look, a pretty floweSHITSHITSHITSHITSHITSHITSHITSHITSHIT"
Despite the fact that the first level takes place outside Hyrule Castle on the fields of Hyrule, the theme from 'Ocarina Of Time' is surprisingly absent. Instead, we get a rip-off of 'Mars, Bringer Of War' by Gustav Holst followed by a remix of the original Zelda theme (which is great, admittedly). However, I'll never forget the excitement at hearing this upbeat tune for the first time. Having left Kokiri Forest after getting my first ocarina, it marked a momentous occasion in-game for me...then I got stopped by that fucking owl, but that's another story. Either way, it'd be great to hear a thundering remix of Hyrule Field from 'Ocarina Of Time' as opposed to the inferior 'Twilight Princess' one we got instead.
So that's my list. It's not perfect and I'll be honest, I was struggling to think of ten songs that I'd want as remixes but alas, it was possible. Are there any tunes you think would make great 'Hyrule Warriors' remixes? Perhaps more songs from 'Wind Waker' or any of the handheld/pre 'Ocarina Of Time' games? Let me know in the comment section and I'll check them out/add them if I agree. It's unlikely the DLC will add new tunes but I really hope they do, since it'd be a shame to have levels, enemies and objectives based on 'Majora's Mask' without the music to complete the atmosphere.
Also, apologies for the video game related post after my last one. I plan on reviewing Slash's latest album for my November post but I'm not sure when that'll be posted. Possibly towards the end of the month as I'm seeing him live with my awesome girlfriend then. I might combine the album and gig into one mega-review...or I'll review the album before the gig and add an update to it after seeing him live.
Who knows? I certainly don't.
Subscribe to:
Posts (Atom)