Prince, Sting and Gabriel covering their own songs

Most covers don’t do much for me. There’s always an attempt to bring something new to a song that’s so well loved in it’s original form and most of them fall apart. I already spent several minutes of my day listening to POP ECT’s cover of The Beach Boys classic, “God Only Knows” and it didn’t work at all for me. It sounded like the group had some spare time on their hands, so why not? And it’s that kind of attitude, especially about cover songs, that really bothers me. If something is already proven great, and you don’t have anything particularly interesting to bring to the song, then just leave it alone.

There’s a point where covers get really tricky. And that’s when the artist is covering their own material. Sting released an entire record like this titled Symphonicities in 2010 where he found a way to butcher his own songs by turning all of them into classical music. Some of these tracks are decent, but there’s some terrible moments here (“Roxanne“, “Every Little Thing She Does is Magic“). Sting’s career has been an interesting one, and he’s made plenty of questionable choices over the years, but Symphonicities sounds like a guy who’s run out of ideas.

Peter Gabriel has done this as well with his record, New Blood, but there’s something about how obviously passionate Gabriel is here that puts his record above Sting’s. New Blood is filled some very great string work that can be really moving. Gabriel’s reinvention of his own work sounded very fresh to me, and while I wasn’t a fan of the entire thing, there were plenty of moments that that work in a very powerful way. Oddly enough, when Gabriel used this technique to cover other people’s songs on Scratch My Back many of the songs didn’t work with Gabriel sounding too emotive.

Prince has suddenly released a cover of his song, “Let’s Go Crazy” from his classic 1984 record, Purple Rain. The original track was filled with synths that gave it a strong dance feel. But this new version destroys whatever was left from the original for a blues rock sound. It’s shocking how much Prince still sounds great on vocals, I can’t even tell that he’s aged. There’s even a moment on this reinvention of “Let’s Go Crazy” that puts in a taste of Edger Winter’s “Frankenstein”, and it sounds very natural tossed in the mix. This version sounds fantastic, and it makes me hopeful that Prince will give us some more music in the near future.

It’s interesting to see these artists reinterpret their own work, but I don’t exactly understand why they do it. Did they have a problem with the original, do they feel like the song has a life beyond what was originally released? I wish I could sit here and give all these guys applause of being adventurous and taking tracks that are already part of their body of work and redoing them, giving them a fresh take. But I can’t help but notice that some of these are sloppy, and kind of cheesy. But if anyone is going to justify a song, shouldn’t it be the artists that originally did the songs in the first place? These artists have more of a right to cover their tracks than anyone else, so why not? But I can also see how doing this might be nothing but a run for some money.

Vampire Weekend: “Diane Young” and “Step” TRACK REVIEWS

Vampire Weekend have a new record, Modern Vampires of The City, coming out on May 7th and two songs have been released. “Diane Young” is one of the most energetic songs Vampire Weekend has ever put out with it’s early Elvis Costello sound, horns, fast looped drums and a really awesome guitar solo. There’s lots of great things going on with “Diane Young” and it’s hard to notice everything with the entire song going on such a high energy. The next track, “Step”, sounds like a very mature version of their first record but it’s too mature. This group has never been the kind of group to write songs with the intention of serious lyrics or maturity. The use of harpsichord doesn’t fit in, and just like the songs off their debut, it sounds like some Wes Anderson soundtrack ripoff. Only this time, it’s worse with the slower mood and lame lyrics. It’s nice to see Vampire Weekend really extending themselves on “Diane Young”, and then failing with “Step”. I’m not sure what the rest of Modern Vampires of The City holds, but I can’t see myself enjoying the record if there’s more tracks like “Step”.

“Diane Young” rating: 8 out of 10.

“Step” rating: 3 out of 10.

Ishi: “Mother Prism”

Dallas group, Ishi has a new record on the way, and their new single “Mother Prism” is exactly what I was needed from the group, and I hope the rest of their upcoming record is as textured as this track. “Mother Prism” sounds quite a bit like what Ishi put out their previous LP, but there’s more care in every element of the song. From the songwriting to the vocals and production. There’s a great strong bass line that doesn’t hit too hard, but carries the groove perfectly. Synthesizers and some guitar float in and out of the song and give a nice brightness to the song. And just like Ishi’s best songs, the chorus, while being very simple, is insanely catchy. Their new album, Digital Wounds, will be out on May 3rd.

A Re-evaluation of Bowie’s “Where Are We Now”

I reviewed this David Bowie song when it showed up, and I wasn’t too crazy about it at the time. And while I’m still not too crazy about it, re-listening to it tonight, I can’t help but feel that I was misunderstanding the song. There’s a very bright, sound and sentimental lyrics on “Where are We Now”, and I have a personal problem with that, because I’ve never really latched onto love songs.

Me and everyone else who are hating on “Where Are We Now” are just trying to put Bowie into some sort of musical box, we all think of Bowie as a outrageous character, brimming with flamboyancy and innovation. The Bowie on “Where Are We Now” isn’t interested in any of that, and he shouldn’t be. He’s proven enough at this point in his career.

I’m in my twenties, have never been in a romantic relationship with anyone and I’ve never been to Belfast. Maybe because I can’t relate to what Bowie is singing about, “Where Are We Now” never hits me correctly. Bowie is quite old at this point, 66 to the exact, and I can’t help but feel like there’s no way that I can fully appreciate this song at my young age. Much like Scott Walker’s newest album, Bish Bosch, “Where Are We Now” could only come from an artist that has truly gone through several chapters in his life.

I keep returning again and again to “Where Are We Now”, there’s something inside of this song that I really love. Maybe it’s the entire song, maybe it’s the fantastic guitar tone mixed with those gorgeous strings. There’s a very specific mood to “Where Are We Now”, a quiet, simple, romantic, reflective mood runs through the whole song. And while I’m still not 100% behind Bowie on this one, I’ve grown to love this song as a whole, and hope that Bowie coming out of retirement isn’t just a one-off thing.

James Blake: “Retrograde” TRACK REVIEW

James Blake’s newest song, “Retrograde” takes him even further down R&B music with Blake sounding even more soulful than he did on his previous releases. The song starts off with some very simple vocals and keyboard. Then some handclaps come in and Blake starts singing with some bass and other higher keyboards creeping into the mix. The build to the chorus is perfect with a growing, accelerating synthesizer. “Retrograde” took me by surprise when I first heard it with it’s strong R&B sound and a more typical song structure than most of his previous work, but it’s one of his best songs yet.

Rating: 8 out of 10.

Paramore: “Now” TRACK REVIEW

At some point, Paramore got deducted from five members to three, and no one can tell the difference. Their new single, “Now”, still has Haley Williams and some other people hammering out some over produced rock song that never quite gets to where to the point it’s trying so damn hard to reach. The song starts off really great with some chugging bass, but the song falls off in the chorus with some really typical pop sounds going on, primarily with the effects on the vocals. Besides that, this is the same Paramore that has been playing for years now, if you’re familiar with the group, then you know what you’re going to get with “Now”.

Rating: 4 out of 10.

Prince- “Screwdriver” TRACK REVIEW

It’s a few years since Prince has put out anything, and even longer since Prince has put out anything worth listening to. His last few records didn’t do much and Prince has started to sound a bad imitation of himself.

Prince has never worked in a typical structure of releasing his material, and his new song, “Screwdriver” has come out of nowhere and there’s no word on a new Prince album. “Screwdriver” has plenty of the same stuff that have made Prince songs for years and the chorus is quite good and catchy. But there’s plenty of issues here. The lyrics don’t do much with Prince singing “I’m your driver, you’re my screw” might have sounded cool coming from him in the eighties, it just sounds bland today.

Prince’s voice also has a rougher edge to it towards the beginning of the song, and it’s really odd and doesn’t work at all. It’s rough to hear Prince trying not to age, but obviously aging. There’s some decent playing throughout, but there’s some acoustic guitar and some dirty electric guitar that get thrown in and they sound a mess. Although the song ends perfectly with a really cool, slick guitar solo. “Screwdriver” isn’t the best from Prince, but I do hope this leads to an album release.

Rating: 4 out of 10.

John Grant- “Pale Green Ghosts” TRACK REVIEW

John Grant’s new song takes him into a very different direction from his fantastic 2011 album, Queen of Denmark. While that record was more focused on seventies pop, “Pale Green Ghosts” takes it’s influence from eighties soundtracks like Giorgio Moroder. The dark, deep synths that start out the song set the mood perfectly and continue pulsating throughout the entire song. There’s some odd pauses and a horn section that will make you jump. Strings pop up towards the second half and take the song into an even darker area. Through all of this John Grant’s voice is almost sinister, it’s a complete shift from Queen of Denmark and it’s surprising how well this much darker sound works on “Pale Green Ghosts”.

Rating: 7 out of 10.

David Bowie- “Where Are We Now?” TRACK REVIEW

After ten years of silence, David Bowie is back with a new song “Where Are We Now?” from his upcoming album, The Next Day, due out on March 12th. The song has a very simple instrumentation and it doesn’t really build very well with the strings that come in during the chorus. Bowie sings about Berlin and it should have been very passionate, but noting really clicks. “Where Are We Now?” doesn’t invoke much emotion, and when Bowie tries to make it emotional it just falls flat. Of course, I’m glad that Bowie has given the world another album (I had assumed that he had retired) but the rest of the record is going have to be more than this flat, boring, old man ballad that is “Where Are We Now?”

Rating: 4 out of 10.

Atoms For Peace- “Judge Jury and Executioner” TRACK REVIEW

atoms for peace judge jury executioner

Thom Yorke fronted group, Atoms For Peace, have put out their second single from their upcoming album, AMOK, due out on February 25th. “Judge Jury and Executioner” is built around Flea’s bass line that grabs the song in the very first moments. Thom Yorke comes in with some high range vocals that fit perfectly into the groove. Yorke’s voice is also drifting around in the back and it has a eerie atmosphere that elevates “Judge Jury and Executioner” into King of Limbs territory, and that’s a very good thing. If the rest of AMOK is up to the quality of this song, it could end up being one of my favorite albums of 2013.

Rating: 8 out of 10.