Blog 08

Original: https://m.youtube.com/watch?v=SHeM5GUYgZU#

Cover: https://m.youtube.com/watch?v=L4hgmTzRCko

The original song is “Reasons” by Earth, Wind, and Fire. The cover is sung by a guy that goes by the name Brandon Wattz. The original song includes a beautiful range in notes. Almost to where as a listener you are basically going along for a ride with Philip Bailey who was the lead singer of this song. From falsetto singing to pure and raw emotion Phillip Bailey connects with the listener. However, there are times where it is hard to understand him, but not in a bad way. In fact, it is a good thing because it is something as a listener you may have never heard or do not hear often and you learn to appreciate it.

When it comes to cover songs it is hard to like them because there is always constant comparison to the original, and in all honesty many listeners would rather just listen to the original song. This is also the feeling of the author in the Studio 1A piece when he says ,  “While taking on another artist’s hit can seem like an easy way to please fans, it can also be a risk. Covering a song invites a comparison to the original. When done right, it’s a beautiful tribute that can become a hit all its own.” This is exactly what Brandon Wattz was able to do. He paid tribute to the original song by not trying to switch it up too much. Instead, he uses his range, and ability to falsetto and adds his own little tang things the song while also keeping the original feeling and soul. At times he was so good that as a listener it was easy to get flashbacks to the voice of Philip Bailey. That is what a cover song is designed to be, and the people in the comment section below seemed to agree as well.

Future Hendrix, an extremely well known rapper/ songwriter, uses a sample from Tommy Butler’s “Prison Song” in his Billboard Top 100 song “Mask Off.” Future takes the flute melody from the beginning of Butler’s “Prison Song” and loops it throughout his rap. While the two songs are different, contextually and thematically, this almost mystical flute harmony is seen predominantly throughout the two. The greatest difference between the two songs is their context. Tommy Butler wrote “Prison Song” in 1978 as a part of his musical Selma. This song, and Selma in its entirety, serves as a testimony to Dr. Martin Luther King Jr. and the civil rights movement. On the other hand “Mask Off” has a much less sentimental meaning, talking not about civil rights, but about drugs, sex, and money. “Mask Off” uses “Prison Song” for the entire premise of the song, regardless of their alarmingly different subject matters. However, Future chose to sample from Butler purposeful and in order to incorporate black culture into his song. This deliberate inclusion touches on the concept of the “sonic color line.” The sonic color line is defined as the connection between sound and the racial divide in American culture. Butler, and Future with his sample, craft songs that embody the culture and history of African American people in America. Future allows his listeners to understand the serious and emotional nature of “Prison Song,” which gives a voice to struggling African Americans, while straying away from the more serious subject matter of the song. “Mask Off” is a modernized way of portraying black culture through sound, using the sample to truly show the discrimination and color divide that even stretches into the sonic world. On the other hand, this sampling could be seen as disrespectful, taking a song drenched in emotional context and making it about drugs. Personally, I don’t think Future made “Mask Off” in a disrespectful manner, but it is important to note the contextual differences of the two songs.

https://www.youtube.com/watch?time_continue=21&v=rMB-wx7LmdQ

Original – https://www.youtube.com/watch?v=FTQbiNvZqaY

Cover – https://www.youtube.com/watch?v=E4c7EE8_IX0

The iconic and well known Africa by Toto, originally release in 1982, has made a comeback in recent years thanks to the internet meme community. In 2018, Weezer released their cover of the song, opening with a slight “Island in the Sun” vibe. The cover version contains slightly more aggressive vocals all throughout the song. The Weezer version also uses a guitar with more gain/distortion to complement the adjustment in the vocals. There appears to be more volume going into the recording device in the cover version, as the original sounds more reserved. The difference in the instruments themselves between the two songs is best highlighted in the bridge of the song. Toto seems to have a more traditional, wind based instrument playing the lead in the bridge of the original version. Weezer, on the other hand, uses a more modern, synth sounding instrument to play the leading during the bridge, giving the piece a more modern sound. Although the presentation of the music and lyrics are indubitably distinct, the fundamentals remain constant. The differences in the two versions are easily noticeable and make the song unique to each artist, but also keep some fundamental and stylistic aspects that dont change the song into a completely different song. Also, both versions of the song emphasize the line “I bless the rains down in Africa.”  The lyrics are also identical between the two version of Africa, unlike the example of Taylors Swifts cover of “September” where she alters one of the lyrics from the original Earth Wind & Fire version.

When listening to the two pieces, the audience quickly draws their attention to the changes in rhythm and style. The instrumentation changes and almost goes away from the beat of the original song in the cover song. Nelly uses multiple singers which is heard in both pieces but in different ways. In the initial piece the audience can hear the main singers voice(Nelly) which is backed up by different voices in the background. The cover opens with three voices being heard singing the same words in almost harmonic tone. This distinction causes the change in sound we hear towards the beginning of the cover piece. Although much mechanical voice alterations weren’t done to the voices of the singers, their voices still seemed to resonate and “reticulate the human voice” by allowing the rhythm to be paired with the lyrics of the song (Weheliye 516). Weheliyye describes how the machines used to effect the vocal presentation of a song can help emphasize the meaning of the song by adding non human effects to specific words and phrases. The song “Ride With Me”, by Nelly, uses little to no machines to edit the voice, but the use of the beat and unique sounds that resonate with the ear help create that dramatic emphasis on the different repetitive phrases such as “oh why do I live this way?” that parallels with the beat of the music. We use this example to highlight how the author, Nelly, uses his beats and instrumentation in the original to add flow to the words while the cover is seen to sometimes go off beat with its words which creates the conflict of focus on whether the audience should be focused on the lyrics or the background music.

In the mid 1970’s Bob Marley released the famous reggae song, “No Woman, No Cry”, and nearly 20 years later The Fugees released a very similar cover of the track. When first listening the thing I immediately noticed was the beat change along with the speed. In the original song, the beat is relatively slow with not very much exaggeration of the instruments in the background other than a clear organ/piano. In the cover, the song has the same rhythm but it is sung faster with a more hip hop influenced beat. Instead of the piano/organ instrument that was most noticeable in the original version, the cover has a noticeable percussion element while maintaining a very similar guitar sound to the original. Vocally, other than the speed change,The Fugees in their cover seem to make an effort to replicate the emotion and sound of Marley’s voice in the original song. Both songs have vocals that are drawn out into an almost throaty sound at points as well as tempo changes from long slow words to faster singing. Also in the original piece it seems as if the singing itself was the key element of the song and what the focus was on while the beat just sort of hung around in the background. This makes the listener focus heavily on the words being sung. In The Fugees cover the instrumental is more present and almost seems to take the focus off the words to a point and allow the listener to just appreciate the sounds of the drums without thinking about the words quite as much. Finally, although not very important, is the changing of the original lyrics involving Trenchtown to Brooklyn in the cover. This is just to differentiate the song and covers roots and the way the music flows with the vocals reflects this as well. Hip-hop is a primarily american genre and the Fugees have a clearly hip-hop style drum beat in the background of their cover while the original maintains a traditional jamaican roots style beat.

 

We have talked a decent amount about sampling and covers, but we have not talked about the middle ground between the two: namely, interpolation. Interpolation is a method of hip-hop sampling in which an artist takes a melody or a set of lyrics from an older songs and re-performs the melody and/or lyrics back again on their own in a different song context. Even though interpolation is closer to sampling in terms of replaying a small portion of a song in a new context, it is closer to to a cover, (as discussed in the Studio 1A blog) because it can either be a great representation of the original song, or it can trigger a costly lawsuit (as happened to Drake in YG’s hit Who Do You Love), or it can end up overshadowing the original song, as happened with Notorious B.I.G. posthumous mega-hit, Hypnotize.

In the song, Biggie interpolates a line from a Slick Rick (another seminal rapper) song: La-Di-Da-Di. The song’s hook (La-Di-Da-Di, we like to party) has been sampled many times in hip-hop music, but Biggie takes a different line. When Slick Rick says “Ricky Ricky Ricky, can’t you see? Somehow your words just hypnotize me, and I just love your jazzy ways, oh MC Rick my love is here to stay,” Biggie changes the line to the (now ubiquitous) “Biggie Biggie Biggie, can’t you see? Somehow your words just hypnotize me, and I just love your flashy ways, I guess that’s why they’re broke and you’re so paid.”

When Notorious B.I.G. changed the line, (it was to be originally performed by him, but it ended up being performed by singer Pamela Long) he made it even more famous then it’s original location. Many people now don’t even know about the Slick Rick song where the line came from. It is interesting to observe instances in music where a sample, interpolation or cover ends up being more famous in its sampled, interpolated or covered location, and why this phenomenon happens.

Cover – https://www.youtube.com/watch?v=20Ov0cDPZy8 

Original – https://www.youtube.com/watch?v=1lWJXDG2i0A 

“Free Fallin’” originally by Tom Petty pales in comparison to John Mayer’s cover of the song. In the original version, the song lacks interest. The vocals, while constant, lack interest, leaving it hard to listen to the melody and hard relax while listening. The raspy voice adds to the discomfort of the song; it sounds as though Petty is straining his voice when he is singing. The vocals lack range, leaving the song to feel monotone. The melody, which is dominated by a guitar, lacks any interest, leaving the listener feel like they are missing something. However, the cover by John Mayer give life to the song. The acoustic guitar adds variation and depth to the song that the music was missing. The overall melody of the song is emphasized by the smooth vocals and guitar. With the smooth melody, the song becomes easier to listen to, allowing the lyrics to become more apparent and gain more meaning than in the original version. The background vocals also add to the relaxed nature of the song that brings more ease in listening to the cover. When Mayer sings “free” about three and a half minutes into the song, there is a lightness underneath is words that Petty lacked. The weightlessness of Mayer’s voice in these moments places his cover above the original. The acoustic cover feels like it is from a “’technologically innocent’ era…, it lends an aura of increased ‘humanity’ and ‘soulfulness’ to the singer’s voice” (Weheliye 513). The cover adds a humanity that make the connection to the listener stonger. 

Taylor Swift is known for her peppy and uptempo songs, “Blank Space” being no exception. I Prevail, however, had a different idea when they decided to put their own spin on the hit in their cover of it for “Punk Goes Pop’s” sixth volume. I Prevail’s version of “Blank Space” is of a higher key, most likely due to the fact that Swift sings at a relatively low pitch compared to I Prevail’s lead singer Brian Burkheiser. Punk rock/metal music is also often of higher key, probably to give it a more sinister feel. The two songs have the same initial beat, but I Prevail soon deviates from Swift’s array of synthetic instruments, guitars and sleigh bells in favor of the electric guitar, drums and some piano here and there. The original lyrics weren’t really changed except for in a few spots such as “I can make the good guys bad for a weekend” being changed to “I can make the good girls bad for a weekend” and “you’re the king baby I’m your queen” being changed to “you’re the queen baby I’m your king” in the cover version. These are minuscule, almost unnoticeable changes and I didn’t even notice them until the third listen or so as the genre shift distracts from any lyric deviations at first. The original is significantly breathier and smoother than I Prevail’s short, jagged vocals, the emphasis on certain words different between the two songs although many of the vocal fluctuations remain the same. Vocal fluctuation is most noticeable when Burkheiser sings what is originally “oh my God, who is she” in Swift’s version but what becomes “oh my God, oh my God, who is she” with a new pause added after the first “oh my God”. The extreme emphasis on each of the words in “oh my God” before said pause makes the lyrics almost unrecognizable to someone familiar with the original and its lyrics. It is certainly weird to consider Swift’s lyrics in such a sinister, punky manner, but the music doesn’t completely throw the words off and instead makes one think of her song in a new light.

1A discusses the fact that no clear-cut formula for the perfect cover song exists. A cover can feel like a totally new song or like a new version of the original that highlights different characteristics than the first. I believe that how a cover is perceived has much to do with the band covering it as well as the audience listening to it. As someone who grew up with an appreciation for punk/metallic music, I believe that I Prevail’s spin on Taylor Swift’s “Blank Space” definitely works. How well it works, however, is up to personal opinion.

 

The opinion of cover songs tends to have a negative connotation towards the public, however they can actually highlight a popular aspect of the original that correlates with the public’s appreciation for it. For instance, I found Alien Ant Farm’s cover of, “Smooth Criminal”, by Michael Jackson to be an exceptional cover. Alien Ant Farm did not try to make the song their own, but instead made it a tribute to Michael Jackson with their own spin to it. Similarly, Israel Daramola discusses the factors that make up a good cover song in, “Taylor Swift’s ‘September’ Cover Is Completely Joyless,”. Daramola states it is not the act of someone else singing a previously recorded song that is the problem, but it is the lack of appreciation the cover gives to the original. As Daramola states, “nothing wrong with putting your own spin on something, but the best covers capture the beauty already hidden in the original.” Moreover, Alien Ant Farm’s cover keeps the tempo, lyrics, and even some of the choreography of the original the same. Alien Ant Farm did a complete tribute to the original and demonstrated how amazing the song is through playing it in a completely different genre. What I found to be the most interesting aspect of this cover was that I can still hear Michael Jackson’s “Voice” on the song. Although the song is played with as a heavy metal song instead of pop, the groove and soul from Michael Jackson in the original is still there.

The Fray- https://www.youtube.com/watch?v=LBTdJHkAr5A

Kanye West- https://www.youtube.com/watch?v=Co0tTeuUVhU

 

The concept of a cover-song first seems as a very blatant form of plagiarism. It is singing a song written by another artist and performing it as your own. Singers take a song and put their own spin on it, which allows the song to be listened to in a way that is different than the original. The Fray did this when they performed a cover-song of “Heartless” by Kanye West. Kanye West’s version is fast, loud, and full of beats and rhythm.  It is obvious that most of the sounds heard in this song are computer generated and Kanye West’s voice is very auto-tuned. This relates to ideas discussed by Alexander Weheliye in “Desiring Machines in Black Popular Music”. Weheliye mentions the large role that technology and electronics play in modern music, especially music such as Kanye West’s original version of “Heartless”. When listening to this version, a listener may not even realize how sad and heartbreaking the lyrics of the song actually are. The Fray performs the song in a completely different way. Their version is slower and is more acoustic than electronic. By slowing down the beat and words, listeners can hear and understand the message of the lyrics. It is completely subjective to say that one version is better than the other, which makes cover-songs so interesting. Cover songs and remixes show how versatile a song can be and how each person has a unique way of singing and performing the same song.

 

 

 

As an artist who often incorporates energy and soul into his music, Kanye West’s sample of Otis Redding in his song “Otis” is masterful. Redding’s 1966 hit “Try a Little Tenderness” is a piece of advice for men, examining the mind of a woman in a man’s sights. Redding, in the most recognizable portion of the song, sings the cleverly rhymed phrase, “squeeze her, don’t tease her, never leave her.” Kanye utilizes this rhyme scheme in “Otis” repeatedly, making an upbeat and catchy refrain to his rap piece. “Otis” opens with a portion of “Try a Little Tenderness” that is sing-songy and easy to hear and understand. It sets the tone for the rest of the song as it eases into the speedier pace that comes when Kanye and Jay Z enter. While “Otis” really only uses “Try a Little Tenderness” as a background beat and tone setter, seeing that none of the lyrics have anything to do with Redding’s, the sample of Redding makes “Otis” one of Kanye’s best and most popular hits. He honors the original music because he and Jay Z match, if not surpass,  the energy, passion, and rhythm that Otis Redding employs in his first song. Honoring the original music makes songs that utilize samples appealing to the ear because it gives the listener a reminder and taste of the original, while adding its own spin to the art. As Julia Craven states in her article on Huffington Post, Taylor Swift’s cover of Earth, Wind & Fire’s “September” “I ain’t having it. Swift lacks the passion, the liveliness, the rhythm and, frankly, the soul to properly honor the song.” Kanye and Jay Z embody all these aspects of Otis Redding’s original song in their sample, and because of it are successful in honoring the music.

 

https://youtu.be/Bjm920Fyo34     Taeyang (original)

https://youtu.be/DwDLjPLMJls    AKMU (cover)

*these videos are the lyric videos so that people can see where the lyrics were changed

 

During freshmen year, I could never quite figure out why I liked Akdong Musician’s (AKMU) version of “Eyes Nose Lips” more than Taeyang’s original song. After listening to both songs on repeat for this blog, I think I started formulating why.

Taeyang’s “Eyes Nose Lips” begins with an ominous piano as Taeyang apologizes to the lover addressed in the song. His voice comes off firm, upset, remorseful. About a minute in, the chorus starts, and Taeyang’s voice becomes desperate as he describes the “eyes, nose, and lips” of his lover and how he misses her. AKMU’s version starts with the same lyrics, but already the feel of the song is different as a more acoustic version plays, accompanied with drums and guitar. Paired with that is Chanhyuk’s voice, which sounds softer and more innocent, giving the sound more of a first love feel compared to Taeyang’s version which sounds like a deeper, longer relationship. Chanhyuk splits the first verse with his sister, Soohyun, whose sweet voice contributes to a more innocent, first love feel to the song. The introduction of another voice also makes the song sound as if it were sung from two points of view. The lyrics are the same up until the second verse. In the original, Taeyang focuses on reminiscing about his lover and wondering if he’ll still be able to run into her once and a while; it’s a verse about longing. Chanhyuk, however, echoes the end of the chorus “I’ll call you a memory,” and seems to advise himself to not let the break up consume him. Before this assignment, I wasn’t aware that AKMU had changed the lyrics, but it feels like their style so much more, musically and just experience wise as Taeyang is about ten years older than the brother/sister duo.