My dad can’t see the similitude between these two songs, whereas I think the resemblance is obvious.
What is your opinion?
Over half of all songs composed in this world are about love. But love… is not only bright and sunny. This volume explores some darker, barbaric aspects of love — closely related to insanity, death, or filled with some strange fetishes. Be a cat or a dog, make yourself a sandwich and enjoy the chill running down your spine from this whole lotta love.
- Led Zeppelin — Whole Lotta Love
- The Stooges — I Wanna Be Your Dog
- Blue Cheer — Sandwich
- Pink Fairies — Do It
- Sir Lord Baltimore — Helium Head (I Got Love)
- Atomic Rooster — And So To Bed
- Gong — Witch’s Song / I Am Your Pussy
- The Beatles — I Want You (She’s So Heavy)
- Morgen — Love
- Jericho — Kill Me With Your Love
Play time: 59min 32s
Next release: Unnkerr Swéghléoðras: Part 3 — Single Edition
Previous release: Unnkerr Swéghléoðras: Part 1 — Distant Melodies
We are all familiar with Jefferson Airplane‘s psychedelic rendition of Alice in Wonderland: White Rabbit. And there are many interesting covers of it around—almost as many as for Beatles‘ Yesterday. In this post, I’ve picked a list of most interesting ones, loosely ordered from the 60’s to today, 16 videos to take up all of your free time. So get ready for an ultimate psychedelic ride.
And, well, the Woodstock version deserves to be included too. The voice here is simply too magnificent.
Technically, the JA version is not the original one, since The Great Society had already been touring with White Rabbit, but they never released any studio albums. Grace Slick was part of their team though, and she’s singing in this live version too, which is perhaps the most psychedelic one.
A french White Rabbit cover, titled La Justice. I wonder how accurate the translation of the lyrics is, at least certain key words like “logic” and “proportion” are there. The quality of the recording could have been better, but I find that the french language fits this song really well.
A very gentle 60’s cover by the Flying Karpets.
A not so gentle 10-minute long acid punk version by The Last Word, which claims the title of the creepiest version with ease.
A decent cover by another 80’s punk band Mo-Dettes.
A 90’s house remix version. Usually not my type of music, but I found myself enjoying this one.
Now what’s this style of music, I don’t even know. Blue Man Group, something electronic, yet experimental and done with enthusiasm. Has lots of new components added to the song, and they work.
This one by Shakespears Sister sounded like rubbish first, but it ended up pretty interesting. Moreover, I’ve never seen this particular animation, which I thought was really nice.
A perhaps somewhat musically lacking, yet a very distinct version by Enon.
This one is a surprisingly well made web cam recording of the song. Couldn’t have guessed it’d be this good.
And finally something completely different to release all the built-up tension. Hope you enjoyed the ride!
So Grooveshark was shut down two weeks ago on Friday, forever. Together with its playlists, databases and broadcasts. I still haven’t completely gotten over it. Yet my knowledge and passion for music remains—so I thought I might employ a similar tactic to Rich Aftersabbath and release my own one hour mixes of songs from different artists. Rich has done a great job of compiling rare heavy psych, yet it doesn’t always need to be rare, heavy or psych, does it?
This first release is called Distant Melodies and consists solely of progressive material. For now, the medium I’m using is Youtube, perhaps later I’ll change to something better. I’ve tried to choose best quality I could find. Enjoy!
Unnkerr Swéghléoðras: Part 1 — Distant Melodies
- Weed — My Dream
- Yes — Then
- Starcastle — Diamond Song (Deep is the Light)
- Julian Jay Savarin — Child of the Night
- Emerson Lake & Palmer — In the Beginning
- Jade Warrior — Lady of the Lake
- Camel — La Princesse Perdue
- Greenslade — Sundance
- Caravan — But Where for the Caravan Would I?
- Premiata Forneria Marconi — Impressioni di Settembre
Play time: 1h 3min 34s
If you have a moment to spare, I would love to hear your thoughts on this project. Thanks!
Next release: Unnkerr Swéghléoðras: Part 2 — The Dark Book of Love
Queen sure are a difficult band. For every part on their debut album that I loved, there was a part that I hated. A ratio of one poor song to one great piece is not a bad one, you might think, but I would have been relieved if that were the case, since the instances of enjoyment and disgust occurred multiple times within each of the songs. How am I supposed to deal with that? Doing All Right and Liar are both examples of pieces that start off the wrong foot, but correct their stance as they move on. Also, it is easy to understand how Queen got their attention and fame; their sound is unique and the musical skills of the band’s members are unquestionable, even though those two traits combined do not necessarily add up to good music.
This is the third album by Iron Butterfly, in which they continue to practice their art as the pioneers of heavy psych. In spite of the trademark distorted guitar and organs, the sound on this album is warm and gentle, yet might appear somewhat monotonous to some, since the songs are lacking hooks to be remembered by. Still, this is a more than fitting chill-out album suitable for a lazy mood, one that soothes your mind on the background while not asking for any unnecessary attention.
First of all I need to mention that I’m not the utmost Rush fan. There’s something about their style that just doesn’t seem right. Still, Rush is a band highly appreciated by many, so I thought I needed to get over it and have a listen to their albums. As I sail through the years, I’ll try to understand whether there is actually something wrong with Rush, or whether there is just something wrong with me.
What may have spawned that feeling is that Rush seem to have a quite distinguishable style, and their sound is different from that of the other bands. Therefore it might be easy to take a stance for or against this band.
This is the first album by Rush, way before they went prog. The album starts with a driving piece, Finding My Way, perhaps the best song of the album. This blues drive continues then throughout the album, and the songs feel connected to each other — even though this is no concept album — and good mood is in the air. The Led Zeppelin influence seems evident, yet they fail to get close to Zeppelin‘s level of mastery. The guitar solos are ok, but they could have been much better, and the compositions miss that particular “hook” phrase to be remembered by. Anyway, there’s nothing particularly dissatisfying with their first album, although there’s no song that would really stand out either.
In this album the rising progginess can be heard right away in Anthem. As their first work was quite straightforward and not particularly interesting musically, I like how this album features more complex and entertaining guitar riffs. By Tor & The Snow Dog is their first song that could count as progressive, consisting of different parts and lasting for over 8 minutes, featuring nice stops and changes of pace, showing a glimple of the true potential the band possessed. Yet not all of the songs are quite that accomplished. The song by which the album was named, Fly By Night, meeked in comparison with the preceeding epic. Making Memories seemed more like a modern rock dilemma, something you end up listening to because there’s nothing better on the radio. I also appreciate the effort of making tribute to Tolkien with their song Rivendell, and the lyrics are fine too, but just a bunch of picked chords doesn’t cut it for a tune. And In The End came the outrageous mass-oriented whining I hate the most. All in all, the feeling I got from listening to Fly By Night didn’t match their debut album.
This album starts off a good foot with Bastille Day. The riff feels interesting but not too intimidating. I Think I’m Going Bald sounds just right, and the passages might be something that Zeppelin themselves would love to play. And with that I would say it’s their best song so far. But that was only until The Necromancer came along, a 12 minute epic, which they managed to keep sounding grave and stylish. In my opinion it could have used a little more decoration in the beginning, and the fast guitar solo in the middle stopped way too suddenly, but that is fine.
The progginess unexpectedly continues with The Fountain Of Lamneth, an even longer, 20 minute piece, which finally brings out the true colours of the band. It’s still partly very simple for my taste, the drum solo could have been better, and slow piece the fourth part of the epic, Panacea, is not exactly what I liked to hear, but far better in comparison to Rivendell, a similar piece in their previous album. Moreover, the six parts of the epic don’t fuse with each other but fade out before the next part, kind of slicing the song into little pieces. But those were all quite a trifle — all in all I enjoyed this work.
This album begins with 2112, the first piece I got to know Rush by. The beginning grabs the listener in right away, and doesn’t leave place for second thoughts. It’s great to see the band grow this much from their first proggy try-outs in Caress of Steel. Rush are more experimental than ever, the stops between the parts don’t feel too rushed (what a pun!) and even the solos fall right. 2112 is a true work of art.
Even judging by the rest of the songs on the album, Rush have become far more polished since their debut, especially their guitar solos have improved. A Passage to Bangkok is a goofy song, but it features tasty riffs, and has that “hook” to be remembered by. The Twilight Zone has become another favourite of mine, the whispering into the left ear works, and the band manages to create an eerie atmosphere. Sadly Tears fall into the same category with Rivendell and kind of ruin the whole mood, so I’m forced to only give 4/5 to this album.
A Farewell to Kings begins, well… With A Farewell to Kings. And with A Farewell to Kings thou canst see and hear how much, much better their guitar solos have become. The next ten-minute piece Xanadu also shows Rush have matured and continue to uphold the level they’ve achieved in 2112, or perhaps have gone even further. Closer to the Heart first starts like any other wimpy love song, but that mistake gets corrected along the way. Cinderella Man is nothing supreme, but demonstrates once again that Rush can handle those guitar solos now. Madrigal sounds just like in could be a part of the 2112 epic, so with nothing new to be heard there, I proclaim it to be the worst piece of the album. Otherwise this A Farewell to Kings was highly satisfactory, and the best one by Rush so far, ending with an amazing first “book” of Cygnus X-1, just to be continued with “Book II” in their next album, Hemispheres.
Rush have become steadily better, as you might see from the ratings I’ve given to their albums. And I’ve also seen Hemispheres a lot everywhere. I’m having high hopes for their perhaps best album. Can they hit the full mark? I can’t wait…
I guess I wasn’t left disappointed. I’m still amazed with the progress this band has made. They’ve grown into a full-fledged prog band, and their compositions on this album sound smooth and clean, yet powerful. Cygnus X-1 proved to be a whole lot better than 2112 even, which sounds still rough and unpolished. Practice makes the master, as they say. Rush have succeeded in creating their own universe with this album, and set the listener to experience a feeling well described by a quote “I am dead, and yet on board.”
What differs this Rush album (and partially A Farewell to Kings as well) from their earlier work is the variety of sounds they produce. Of course, that variety is not even close to the 40 instruments used by Gentle Giant in their album Acquiring the Taste, but the amount of sounds Rush use here provides them with a richer, more mesmerising sound.
Book II of Cygnus is followed by Circumstances, a wonderfully powerful song, then The Trees the have charmed my soul (“There is unrest in the forest”… love that rhyme), and finally La Villa Strangiato, a mesmerizing instrumental that has been one of my favourites for a long time already. This album doesn’t have anything that would displease me, and I know this sounds too good too be true, but this album deserves my full mark, and I’m happy to contribute to this little fairytale of a band slowly but steadily rising towards perfection.
So, what can I say about Rush in the end? I can say that I was wrong. They are a worthy band, and it seems like I had previously only stumbled upon their lesser, early works. I can’t wait to continue with Part II of their albums, especially Moving Pictures that is considered to be the peak of their age. Oh, and there are the Permanent Waves in between too. This should be grand!