Lists

Playlist: Room Service

Hotels can be strange places. While they can represent a lavish lifestyle and living in the lap of luxury, they’re also mysterious, unsettling, and creepy. Why else do you think so many horror movies take place in them? Musicians spend most of their time in and out of hotel rooms around the world, so there are plenty of songs about hotels out there. While some of them view the hotel as a place of comfort or even a wild night, others see it as something mysterious and unnerving. Here are some of the more notable songs about hotels and what happens behind closed doors.

“Hotel Yorba” – The White Stripes

This early White Stripes song features the name of a real hotel in the band’s hometown of Detroit. They actually recorded the single version of this song in room 206 of the hotel. When they wanted to film the video inside the hotel, they weren’t allowed to and used various exterior shots instead. Upon initial release, the song was a hit in England before it was embraced stateside. Now, it’s considered a fan favorite, though for some reason I always disliked this song. Something about the bluegrass and the jaunty melody of the “1, 2, 3, 4” hook was annoying to me.

“Room 13” – Black Flag

Here we see a man on the brink of losing control. He’s at the point of snapping and is not sure whether or not he can make it in the world. At the same time, he wants to live and keeps begging for someone to “keep me alive/I don’t know if I can do it.” The song is brash, in your face, and outright brutal, much like Black Flag themselves. Not only is the song aggressive it leaves you wondering, what the hell is room 13? It’s never mentioned and leaves your mind to wander. Is it part of an insane asylum or prison? We’re never sure. All we know for sure is this guy is about to lose it.

“Hotel” – Cassidy ft. R. Kelly

Anybody actually remember the rapper, Cassidy? Probably not, but in 2003 he had one of the hottest hip hop songs. With R. Kelly by his side, Cassidy talks about using lush hotels to hold lavish parties and convince hotties to creep up to his hotel room. It’s similar to Chingy’s “Holidae In” and Cassidy knows this as he makes references to both that song and the iconic “Rapper’s Delight.” Honestly, it sounds like your typical rap song, but what made this one a hit was the unforgettable hook. Even if you didn’t really like the song you couldn’t help but sing the R. Kelly laced hook. You gotta admit, the man knows how to make earworm hooks.

“Room 21” – Hinder

I always saw Hinder as a sleazy band and they prove it with this song.  Sounding like a Motley Crue song, the band talks about being seduced by an irresistible woman and having a wild night in room 21. When the guy comes to the next morning, the mysterious woman is gone. He’s been used, but it was so good he doesn’t care. It’s the classic tale of excess, sex, and partying. It’s clearly meant to be a fun night to remember instead of a cautionary tale like the other songs on this list.

“Heartbreak Hotel (This Place Hotel)” – Michael Jackson

One of Jackson’s best and underrated songs, it’s about a strange hotel designed to break up couples. In it, the protagonist talks about taking his lover to what he thought would be a romantic night out and instead ends in heartache. The hotel implants two women in his room implying he’s cheating on his lover. He can’t convince her otherwise and he’s left alone. The upbeat music, Jackson’s wails, and the catchy hook distracts you from how weird this song is. A hotel made to break up couples? Just shows you never know what’s happening behind closed doors. To make the song even stranger the song title was later changed to “This Place Hotel” to avoid confusion with the Elvis Presley song.

“Room 309” – Creeper

If you’ve been following Creeper, then you’d know about the major story running across two EPs and their debut album. In a nutshell, the story follows the Callous Heart cult, the stranger, and paranormal investigator James Scythe trying to piece it all together. Room 309 is where James stays at The Dolphin Hotel in Southampton, UK. The story is so massive, it’s best to you check it all out here. As for the song itself, it’s one of the heaviest on the album and packs a major punch, showing off Creeper’s heavier side.

“Twilight Hotel” – Quiet Riot

This quintessential 80s rock band takes us to the titular hotel where “anything goes” and your wildest fantasies will be fulfilled. Frontman Kevin DuBrow sings about a “secret rendezvous” in this place that seems too good to be true. Even though it holds unbridled pleasures, there’s still an air of apprehension about the place. Appearing on their third album, QIII, the song is a typical rock ballad filled with big hooks and shredding guitars. Surprisingly, it’s not as sappy or cheesy as other ballads of the era.

“Room 409” – Bullet For My Valentine

Sometimes you don’t want to know what’s waiting for you in a room as this Bullet song explains. Frontman Matt Tuck sings about a guy walking into Room 409 and finding his girlfriend with another man. Rather than walking out the door, he goes in upset and ready to unleash his violent rage. It’s clear things aren’t going to end well with Tuck singing “[You] said his name and I came in your direction /Now I can choose what to do with both of you.” This territory isn’t new for Bullet. They have lots of songs about getting revenge on a cheating lover, but this one is probably their best.

“Chelsea Hotel #2” – Leonard Cohen

There are plenty of songs about the infamous Chelsea Hotel, but this one is about a once in a lifetime meeting. In 1968, Leonard Cohen was staying at the New York hotel working on his music. At 3 AM he ran into a woman in the elevator and proceeded to strike up a conversation. Turns out, the woman was none other than Janis Joplin. They apparently spent the night together, but their affair would be forgotten in the morning. Cohen penned this song about their meeting in 1971 not too long after her death. It’s a bittersweet account of a night spent together that’s all too fleeting.

“Hotel California” – The Eagles

The mother of all hotel songs. You can’t have a hotel playlist without this Eagles classic.

Playlist: Remembering Chris Cornell

Last month we lost one of the best voices in rock, Chris Cornell. The news came as a shock to fans and those who knew him best. Many are still trying to make sense of the situation and come to terms that he’s gone. He may no longer be with us, but at least we have the gift of his unforgettable music. Not only did he make wonderful music with Soundgarden and on his own, he recorded various covers throughout his career. Whether with Soundgarden or solo, Cornell gave us some of the most chilling and unforgettable covers reminding us why he was a phenomenal singer. To remember Cornell, let’s look at some of his best cover songs.

“Come Together” – Beatles cover from 

Soundgarden takes this psychedelic Beatles song and turns it into a gritty, dirty affair. They bring in the down tuned guitars, sludgy riffs, and screeching guitars, slowing things down and making everything heavy as hell. They manage to turn the song into a bonafide rocker making you want to bang your head and stick up those devil horns. If you didn’t know anything about The Beatles, you’d be convinced Soundgarden were the originators. It may be gritty, yet Cornell’s vocals keep the soulful vibe of the original.

“Whole Lotta Love” – Led Zeppelin cover from Guitar Heaven The Greatest Guitar Classics of All Time

When you get one of music’s greatest guitar players along with one of rock’s greatest vocalists, you know you’re in for something good. In 2010, Carlos Santana and Chris Cornell teamed up for a rousing cover of Led Zeppelin’s “Whole Lotta love.” While it’s very true to the original, you can’t deny how much it just fucking rocks. Santana lights up the guitar making the iconic riff sound sweeter and sexier. Cornell easily gives Robert Plant a run for his money. He hits every note perfectly reminding you what a great singer he was. The Led Zeppelin version will always be great, but Cornell and Santana almost have them beat with their cover. Why didn’t they do a whole album together?

“Billie Jean” – live Michael Jackson cover

Lots of artists cover this Michael Jackson hit, but no one else brings you to tears with it like Chris Cornell. With only his vocals and an acoustic guitar, his rendition is absolutely haunting. Cornell manages to bring out the underlying darkness of this song that you often forget once you hear that iconic beat. He sings the song as if he’s been through this hell himself. His vocal delivery is so powerful and so intense, it would bring tears to your eyes before his untimely death. Not to mention the violent way he plays the guitar rousing a great reaction from the crowd. It’s not only a memorable performance, it shows how versatile he was as a musician.

“Girl U Want” – Devo cover from “Outshined” single

For the b-side on the “Outshined” single, Soundgarden covered this frantic Devo track. They suck all the bouncy energy and fun vibe out of it and turn it into a sludge fest. Everything is slowed down and played heavily as if the guitar’s a sopping wet with mud. Their version is heavy and somewhat dark with the haunting way Cornell delivers the lyrics. It’s a far cry from Devo’s version; if it wasn’t for the guitar riff you wouldn’t even know they were the same song. They definitely stamped the song with their gritty, raw rock sound.

“Nothing Compares 2 U” – live Sinead O’Connor cover

Cornell had a knack for making his covers sound haunting and somber. So it’s surprising that he managed to make this Prince song sound even sadder. That’s not to say it isn’t lovely. The acoustic rendition is as beautiful as the original and Cornell’s gruff vocals are perfectly suited for the song. There’s even a country vibe to it at times, but it doesn’t last long. Since the instrumentation is subdued, it gives you the chance to hear his singing, which is mesmerizing. It’s enough to give you chills, especially with his untimely passing.

“Imagine” – John Lennon cover from Songbook

The thing about Cornell’s covers is they’re straightforward and simplistic, but it’s his voice that makes them outstanding. It’s no different with this John Lennon classic. This song always had a melancholic mood to it, but when Cornell sings it, it’s enough to break your heart. Here we get the best of both worlds; he gives us a taste of his gruff, powerful vocals he’s known for, but we mostly hear his softer, gentler crooning, which is beautiful. Again, he doesn’t try to make the song his own. Rather he adds his chilling vocals for an unshakeable effect.

“Waiting for the Sun” – Doors cover from Echo of Miles: Scattered Tracks Across the Path

For Soundgarden’s cover of this Doors song, things start out muted and somewhat psychedelic. Cornell sounds like he’s mumbling through the lyrics. Just when you’re ready to nod off, the band kicks into high gear and lets it rip. The distorted guitars, throbbing bass, and pounding drums add a much needed dose of adrenaline to the song. It takes a drug induced classic to something that kicks ass. Whenever you hear that brief pause before everything explodes you’re left waiting in anticipation, waiting for the sweet release. When it finally comes, it’s the most satisfying moment.

“Dear Prudence” – live Beatles cover

Cornell puts his spin on yet another Beatles hit. Cornell is known for his powerful vocals, but for this cover, we get to hear a softer side. With a gentle acoustic guitar setting the mood, Cornell croons this classic never missing a beat. He sounds downright sweet when he hits those high notes at the end of the verses. His quiet, subdued delivery makes the song beautiful. It shows Cornell’s impressive range; he had the chops to make us rock out, but his croons also bring tears to your eyes.

“Cop Killer” – live Body Count cover

Did Soundgarden really cover Body Count’s controversial 1992 song? It sounds too good to be true, but they actually did during one of their Lollapalooza sets. After an impassioned speech from Cornell about exercising your power and not letting others tell you what you can’t do, the band launches into the notorious song. Everything about the performance sounds mad as hell; Matt Cameron beats away at the drum as if trying to break them, while the guitars sound like they’re screeching on their last breath. Cornell gives it his all rallying the crowd for a call to arms. During an unforgettable break, Cornell reassures us the song’s not about killing others, it’s about fighting for your rights. He then launches into a “fuck the police” chant. It’s an exciting, heart-pounding moment that riles you up and gets you ready to fight. Too bad the performance hasn’t been cleaned up and remastered for an official release.

“Hotel California” – live Eagles cover

“Hotel California” is one of those songs everyone knows is good, but no one listens to thanks to the radio playing it to death. Cornell’s acoustic cover makes the song exciting again. It’s a simple, straightforward rendition, but as always, it’s Cornell’s vocals that take it to another level. The grittiness of his vocals makes it sound like he knows what this person’s been through. He adds this harrowing vibe to the song and makes it fresh again. His version reminds you how good the song is. He can’t outdo the original, but his version comes close.

“Thank You” – Sly and the Family Stone cover from John Peel BBC Session 

Soundgarden gets funky for this cover. With a thick bass groove that sounds like it’s summoning Flea, the band lays down a heavy dose of funk mixing it with their heavy, dirty sound. The result is a stellar cover that more people should be talking about. As soon as that opening riff hits and Cornell lets out that wild scream you can’t help but nod your head with an intense feeling of “hell yes!” The band leaves their unmistakable mark on the song, but they manage to keep the soul of the original. And just when you thought the song couldn’t get any sicker, bassist Hiro Yamamoto gives us a hot solo. It’s not only Soundgarden’s best cover, it’s one of the best cover songs out there.

“I Will Always Love You” – live Whitney Houston

You wouldn’t expect a rocker like Chris Cornell to cover this Whitney Houston classic. Performed during a 2012 concert, his version is stripped back with only him and his acoustic guitar. He doesn’t try any fancy tricks with it or even try to make it his own. He just sings it straight. It’s his honest, passionate delivery that makes it so great. Even though the poor audio quality of the Youtube videos, you can hear how amazing he sounds. He holds those soaring notes with ease and his vocals are just as powerful as Houston’s. Though you would expect the cover to make you sad after his death, in a weird way it’s reassuring as if it’s a message to fans and family. His love will always be with us through the music.

Thank you for the wonderful music, Chris Cornell. You won’t be forgotten.

Playlist: Play It Again

Ever wonder why some artists feel the need to re-record their big hits? Sometimes it’s to record with a new lineup, other times it’s for legal reasons. But more often than not it feels like a cheap cash cow and is almost always a bad idea. While some bands have gotten away with re-recordings that aren’t terrible, they never live up to the original. Let’s take a listen to some of the best and worst re-recorded hit songs.

“Boys Don’t Cry” – The Cure

The Cure have a lot of notable songs in their lengthy catalog, but this is their most iconic. Taken from their debut album, Three Imaginary Boys, the song received moderate praise upon original release. Over time, the single garnered more praise and acclaim quickly becoming a Cure staple. When Robert Smith revisited the band’s singles for their 1986 compilation cassette, Staring at the Beach, Smith and co-headed back into the studio to re-record the classic. Known as “New Voice New Mix” the new version sounds very similar to the original. The biggest difference is Smith’s mature and more playful vocal take. Though it doesn’t sound bad, it still doesn’t match the charm of the original. It seems the band knows this as the new version was only used for the companion video. Otherwise, it has not been officially released on subsequent Cure collections.

“Shout at the Devil” – Motley Crue

Normally, there is no reason why a band should re-record their songs, especially when they’re considered classics. Usually, it ends up a disaster. Sadly, this is the outcome of Motley Crue’s “Shout at the Devil 97.” The original is a staple of heavy metal and helped launched their career. It remains one of their best songs. In 1997, the band reunited with Vince Neil, who left 1992 and released their seventh album, Generation Swine. To celebrate Neil’s return the band decided to re-record the song. And it’s…weird. While the vocals are largely unchanged, the music sounds nothing like the original. It’s hard to even pick out the tracks’ notable riff. Is this supposed to be a heavy metal version? It’s like they wanted to prove how bad and edgy they were and this is the result. Best avoid this version at all costs.

“Ace of Spades” – Motorhead

If there’s one song that represents being a badass, heavy metal, and the awesomeness of Mr. Lemmy Kilmister, it’s “Ace of Spades.” It’s not only the band’s most well-known song, it’s often listed as one of the best songs ever. And with good reason. Everything about it from the iconic riff to Lemmy’s gruff vocals makes it kick ass. The song is pretty much perfect, so why mess with it? When Rockband wanted to use the song for their game, the band re-recorded it and branded it “Ace of Spades 08.” There’s nothing bad about it; it sounds pretty close to the original. But it’s just not the same. Hearing it you know something’s off and it’s a little disappointing. At least Motorhead didn’t try to rebrand the song, unlike the Crue boys.

“Every Day is Halloween” – Ministry

Ministry’s early work is spotty at best. Before they found their abrasive, brutal industrial sound they sounded more like a faceless new wave band. It wasn’t until this song that they began finding their sound. Though the band would have bigger hits later on, this song still played an important role for both the group and fans. It’s still considered a favorite in their catalog. But perhaps Al Jourgensen thought it wasn’t heavy enough. He “fixed” this by re-recording the song in 2010. This version sounds more in tune with later Ministry, but it also sounds like a mediocre cover. The grinding guitars, fast tempo, and new vocals suck out everything that made the original great. This just sounds like another boring metal song trying too hard to be edgy.

“Melt With You” – Modern English

Though Modern English found more success in the UK they’ll forever be known as the one-hit wonders who gave us this 80s classic in the States. Constant airplay on MTV and playing over the end credits of Valley Girl helped it become a hit. It eventually reached number 7 on Billboard’s Top Tracks chart. The band re-recorded the track for their 1990 album, Pillow Lips. While you can hear some slight vocal variations, the changes are minimal. The same can’t be said for the 2010 version of the song. Recorded for the I Melt With You soundtrack, this version is harrowing. It takes all the bouncy, fun nature out of the song. Instead, it sounds stark, dark, and haunting. The 1983 version is still superior, but there’s something oddly beautiful about the 2010 rendition.

“Missing You” – John Waite

John Waite has a notable career as the singer for Bad English and The Babys, but he’s best remembered for this 80s ballad. It’s a typical sappy song about getting over someone, but not really getting over them. It proved to be a major hit and topped the charts in several countries. He’s gone on to release other successful singles, but none as big as this. In 2007, he re-recorded the track with Allison Krauss for her album A Hundred Miles or More: A Collection. It’s nothing earth-shattering, but it’s not terrible. It’s okay at best. Krauss doesn’t sound horrible singing and Waite sounds pretty much the same. It’s a very vanilla rendition of the song that makes you wonder why it had to happen in the first place.

“In This Paradise”- London After Midnight

This track from LAM’s debut album, Selected Scenes from the End of the World, has a Gothic, mysterious nature with the tolling bells and Sean Brennan’s vampiric vibe. There’s a dark romanticism to it that’s alluring, yet mysterious. But the album received a limited release and as a result was reissued several times in the States and Europe. For the 2003 re-release, Brennan re-recorded various songs from the album, including this track. The most notable change is the better sound quality. It no longer sounds like the track is muffled. Brennan also tightens up his vocals and the instrumentation, though the dancing guitar riff found in the original is missing here. It’s actually a decent update but is still missing the tantalizing vibe of the original.

“Everybody Have Fun Tonight” – Wang Chung

This Wang Chung hit is one of those mindless pop songs from the 80s. You know it’s bad, but like it because it has a catchy, memorable hook. Whether or not you actually like it, you’ll be singing along with it. Besides, the song has a positive message: have fun tonight. Who can’t get behind that? At least listening to it is better than watching the nauseating video. The 2010 re-recorded version doesn’t change much, but there’s something missing. It doesn’t sound as upbeat and energetic as the original. It sounds like a Wang Chung cover band is performing instead. And they try to spice up the song with soulful backup singers, but it falls flat. The whole thing sounds deflated. So if you have to listen to the song, stick with the original. Just don’t ask what “everybody wang chung tonight” means. The band doesn’t know either.

“I Remember You Two” – Skid Row

Skid Row’s third single is a cut and dry power ballad. It has sappy lyrics, soothing acoustic guitars, and the “edgy” hard guitars meant to show you it’s not a cheesy love song even though it is. The band re-recorded the song in 2003 with new lead singer Johnny Solinger as “I Remember You Two.” Re-recording hit songs with a new singer is never a good idea. No matter how decent the singer is, it will never live up to the original. Sadly, this isn’t the only problem this version has. Rather than sticking with the power ballad formula, the band “update” it to be heavier giving a lame “punk rock” sound. This along with the over the top vocals make it sound like your dad’s cover band instead of Skid Row. This is why re-recording songs is almost always a bad idea.

“I Was Made for Lovin’ You” – KISS

Sometimes when a band changes its lineup, they feel it’s time to recapture the magic of classic hits with their “amazing” new members. Skid Row already showed us why this is a bad idea, yet bands keep doing it. Look to KISS’ Kiss Klassics, an entire album of re-recorded hits featuring their 2008 lineup of Paul Stanely, Gene Simmons, Tommy Thayer, and Eric Singer. All of their biggest hits are re-recorded with less enthusiasm and energy as before. “I Was Made for Lovin’ You” shows you just how bad the album is. Not only does the whole thing sound unenthusiastic and boring, Stanely clearly can’t hit those high notes during the bridge. That wouldn’t be a problem if his attempt actually sounded good; it just sounds sad.

“Your Sweet 666” – HIM

Originally found on their debut album, this track was later re-recorded for their breakout LP, Razorblade Romance. Unlike many of the tracks here, the two versions are obviously different from one another. The original sounded like it came from the depths of Hell with Ville Valo’s deep vocals and the hard, distorted guitars. The later version is lighter in tone featuring more keys and fewer guitars in the mix overall. Rather than sounding heavy, this one has more of a traditional rock tone with a bit of glam mixed in. Though some fans prefer the new version, the first packs a heavier punch. With its Gothic nature, dark tones, and haunting vibe, the original stands out with its dramatic, Hellish vibe fitting in with HIM’s long-running themes of love and death. The latter version sounds like another typical rock song and isn’t as exciting as the original.

“I’m Your Man” – Wham!

Wham’s 1985 single proved to be another hit for the duo and one of their last before their split in 1986. Just like their other singles, this one is upbeat and fun, making you want to dance as soon as you hear the bouncy beat. It also has a killer hook of “baby/I’m your man” that you can’t help but sing out. It’s one of those typical fun 80s songs that puts you in a good mood. When it was time for a Wham! greatest hits album in 1996, George Michael decided to update the hit with an R&B spin. And it’s…something. The sound is completely different with elements of funk, rap, and R&B. Hearing hype men shout “who da man” at the beginning leaves you scratching your head. The whole thing sounds like a cover from the Backstreet Boys. Rather than breathing new life into the song, it’s a sad attempt at trying to be relevant.

“Paradise City” – Slash

This is another sad attempt of trying to update a classic. With Slash and Axl Rose not on speaking terms, Slash decided to release his debut solo album in 2010. The previous year, he released the single “Sahara,” which featured this GNR classic as the b-side. You can’t fault Slash for wanting to reinvent one of the band’s biggest hits – he’s part of the reason the why the song is so popular. But you would think he’d enlist a viable rock singer for vocals. Instead, he recruits Fergie and Cypress Hill. Why? is the only thing you’ll ask yourself when hearing this terrible rendition. This is one case where rap and rock don’t get along. And when was the last time Cypress Hill were relevant? Fergie’s screeching in the background just makes matters worse. It’s not worth sitting through this crap to hear Slash’s killer licks. Just stick with the original.

Which re-recorded hits did I miss? Let me know in the comments!

Playlist: Remembering Prince

April 21, 2016, the world lost one of music’s iconic and talented musicians, Prince. He was truly a legend who left a huge impression on music with his style, songs, and vision. He was a versatile artist who constantly pushed boundaries and challenged perceived notions of music. Since he was bigger than life, even though he only stood 5’3, you don’t picture him working with a lot of other artists or even performing covers. His music is so good, why should he play other people’s songs? But, surprisingly, Prince extended himself to various musicians and created memorable, yet underrated duets. At the same time, he also put his funky, sexy spin on songs you’d never guess he’d play. So let’s remember the late Prince by looking back at some of his most notable duets and covers.

“Love Song” – Madonna + Prince

When listening to Madonna’s landmark album Like a Prayer it’s easy to gloss over this smoldering track. The sexy ballad features the two music icons being seductive with one another. It’s a smooth, sexy track meant to put you in the loving mood. So how did the two end up working together? “We were friends and talked about working together, so I went to Minneapolis to write some stuff with him, but the only thing I really dug was ‘Love Song’ […]” With its funky groove and steamy lyrics, it’s more of a Prince song. It sounds like something that belongs on one of his albums and doesn’t mesh well with the pure pop of the rest of the album. You would think a song featuring two of the biggest acts of the 80s would get more attention. But the track couldn’t really compete with massive singles “Like a Prayer” and “Dear Jessie.”

“Creep” – Radiohead

You don’t expect someone like Prince to do too many covers, especially considering how many hits he has in his catalog. But during his headlining set at 2008 Coachella, he pulled out a number of them. He played The Beatles’ “Come Together,” Santana’s “Soul Sacrifice,” The B-52’s “Rock Lobster,” and Sarah McLachlan’s “Angel.” But the most talked about moment was his blazing cover of Radiohead’s “Creep.” Though the elements of the original are there, he turns the track into something completely his own. When he pulls out the extended solos and falsetto vocals, it doesn’t even sound like the same song. It’s amazing to listen to especially since he never played any of the band’s songs before. But of course, Prince wasn’t happy when footage of the cover went live online. He ordered the video to be taken down, which Radiohead reverted since it’s their own song.

“Waiting Room” – No Doubt + Prince

This is another unexpected Prince collaboration. Found on No Doubt’s Rock Steady, it’s got a bit of groove, it’s kind of soulful with a dash of synth and pop. Thanks to Prince’s work on the track, it sounds nothing like the band’s previous or later material. Apparently, Prince agreed to work on the track as a favor to the band since Gwen Stefani appeared on his track “So Far, So Pleased.” They sent him the track and he completely rewrote it. His influence can be heard all over the song. If it wasn’t for Stefani’s lead vocals, you would swear it’s a Prince song. It’s one of the weirder, yet satisfying options from No Doubt’s 2001 album.

“Best of You” – Foo Fighters

Prince’s 2007 Super Bowl Half-Time performance was the first time I realized just how versatile and insanely talented he was. We know how hard Prince rock’s his own material, but not too many other songs. That changed when he busted out renditions of “Proud Mary,” “All Along the Watch Tower,” and Foo Fighter‘s “Best of You.” You wouldn’t expect to hear falsetto shrills in a Foo Fighters song, but Prince truly made that track along with the others he featured all his own. He infused them with his attitude, flair, and a healthy dose of soul like no one else ever could. Though some people didn’t think he was worthy of handling the show, his performance is still hailed as one of the best in Superbowl history. Watching it now, it still gives you chills, especially when he busts out “Purple Rain” during an epic downpour.

“A Love Bizzare” – Shelia E + Prince

Prince was so unique and had a style unlike any other that his essence pours out of every song he writes. This duet with his protégé Shelia E, features the Purple One on background vocals and on bass. But even though Shelia E is the focus of the song, it’s undeniably a Prince song. With its upbeat funky groove, irresistible hook, and sultry lyrics it could’ve come from any of his albums. Though his contribution is kind of downplayed on the studio version, the live version has his flamboyance all over it. Like so many of his tracks, this one is fun, energetic, and sexy. Then again, what Prince song isn’t sexy?

“Every Day is a Winding Road” Sheryl Crow + Prince

Any artist collaborating with Prince should know once he makes an appearance, he steals the show. That’s what happened during this live collaboration with Sheryl Crow. The two performed a hard-edge version of her hit “Every Day is a Winding Road.” Prince does backup vocals and shreds away on his iconic guitar. Shortly after this performance, Prince recorded his own version of the track for this 1999 album Rav Un2 The Joy Fantastic. If you’re lucky enough to find this version, you’ll find a completely different song. It’s funky, slinky, and downright sexy, which you don’t expect from a Crow song. It’s soulful and makes you want to dance. The cover is so good, Crow should hand it over to Prince to be rightfully his. On the same album, the two collaborate on the track “Baby Knows,” which has this cool rock, funk swing to it. If you want to hear it, you better pick up the record; they’re impossible to find online.

“Why Should I Love You?” – Kate Bush + Prince

Kate Bush is an iconic figure in alt rock. Her music is often dreamy, otherworldly, and elegant. So it’s a bit unexpected to learn she worked with Prince. The song, which appeared on her comeback album The Red Shoes, starts out with an air of whimsy and airy and quickly turns into a Prince jam. Seems to be the usual pattern with Prince collaborations. Apparently, Bush sent him the track back in 1991 so he could add background vocals. He not only added vocals but a lot of instrumentation. Since it sounded so different, Bush wasn’t sure what to do with it. They worked on it for two years trying to make it fit Bush’s sound. Clearly, it didn’t work.

“A Case of You” – Joni Mitchell

Prince is known for his sexy, funky style, but on this Joni Mitchell, we get to hear a different side. While it still has an air of sensuality, the track is absolutely gorgeous. It’s an intimate moment with Prince and a piano that’s unforgettable. Hearing his soaring falsetto vocals and the classy tinkling piano keys leave you in awe. We all know Prince was such an amazing guitar player, it’s often easy to forget what a versatile musician he was. This cover shows the beauty and elegance he could add to songs, whether they were his or not. This version is a stark difference from Mitchell’s original folk stylings.

“Love is a Losing Game” – Amy Winehouse + Prince

This haunting and somber track from Amy Winehouse’s final album Back to Black, received the Prince treatment several times live. Footage of this is difficult to find, but luckily, the two eventually teamed up for a powerful rendition of the song. Winehouse joined Prince onstage in 2007 during his final show at London’s O2 Arena. He leaves her to take care of the vocals while he tears it up on guitar. In case you forgot what a badass he is on guitar, you’re quickly reminded on this track. It’s an unforgettable collaboration, though you can’t help but feel a little sad since both musicians passed on unexpectedly.

“Honky Tonk Woman” – Rolling Stones

Prince started performing this song live in 1993, but his version was never officially released. Previously, it could only be found on the Japanese version of The Undertaker. The cover received a wider release when Warner Bros. shared rehearsal footage of Prince performing the track shortly after his death. He turns the song into a scorching number with meaty guitars and a bad ass solo. If you needed more proof of what a genius Prince was at playing guitar, just watch this video where he shreds away with an “I make this look good” look on his face.

“Give Em What they Love” – Janelle Monae + Prince

Prince doesn’t easily hand out compliments and didn’t hide it when he didn’t like someone. But he did admire Janelle Monae, who looked up to him. Luckily, the two worked together for this track from Monae’s second album, The Electric Lady. Not only does Prince play guitar, he also provides co-lead vocals on the track. The song is already is already hot with Monae’s passionate vocals and seductive demeanor. But having Prince sing his signature falsetto makes the track even sexier. Plus, it’s funny to hear Prince utter the term “chicken head.” It’s funky, has a healthy dose of attitude, and makes you feel sexy as hell.

“One of Us” – Joan Osbourne

Prince covered Osbourne’s sole hit for his 1996 album, Emancipation and played it live in concert. With this track, he takes you to church. His soulful delivery, cries for the crowd to join him, and his passionate singing makes it feel like you’re in the middle of a sermon. You want to close your eyes, sway your arm in the air, and shout “preach!” as he’s singing. While there’s nothing wrong with the original, Prince’s version is superior especially with the fiery guitar solo that gives it an extra edge. He even uses the track to take a dig at his former label, Warner Bros. by changing the line “Just a slob like one of us” to “Just a slave like one of us.” This shows if Prince had a problem with you, he’d let you know it in the sassiest way.

“Shhh” – Tevin Campbell

There’s no question about it; Prince was a sexy mother. Just about everything he did dripped with sex. He does the impossible on this Tevin Campbell cover; inject a song that’s about getting in on and make it 100 times dirtier. No, he doesn’t change any lyrics or anything like that. It’s all in his over the top delivery. Hearing his falsetto cries of pleasure you’d swear he was having sex while recording the song. If that wasn’t enough to get you hot and bothered, the blazing guitar solo will do the trick. He takes a typical 90s slow jam and turns it into a sex romp. Only Prince could somehow make a sexy song even sexier.

“Crimson and Clover” – Tommy James and the Shondells 

If you thought Joan Jett made this song rock, you haven’t heard Prince’s version. For the most part, it’s a straightforward cover with Prince being playfully coy during the breakdown of “I think I love you” and blowing kisses into the mic. It’s not until the solo where he makes this song sizzle. In case you needed a reminder what an awesome guitar player he was, Prince make sure you remember with this performance. He makes the guitar burn and blaze like he’s Jimi Hendrix. It leaves you stunned the way he makes the guitar whine, scream, and trill. The cover appeared on his album LOtUSFLOW3R, but it’s his performance of the track on Ellen that gets a nod here.

Which ones of these Prince covers/duets is your favorite? Which ones did I miss? Let me know in the comments!

 

Playlist: Worst Grammy Performances

Let’s face it, the Grammys aren’t as good as they used to be. Ratings show this and people all across the internet proclaim it. Though the ceremony may not be what it used to be, it’s still responsible for some of music’s biggest and weirdest moments. Performances from Michael Jackson, Beyonce, Adele, Celine Dion, and Shania Twain are considered the best in Grammy history. But the Grammys don’t always get it right. Sometimes they have some real stinkers. With the Grammys a month away, let’s take a break from remembering the awesome performances and look at some of the worst Grammy performances instead.

“Pants on the Ground” – General Larry Platt (2010)

Remember in 2010 when one man stumbled on the American Idol stage and sang “Pants on the Ground?” It was funny for about a week. But E! and the Grammys thought the odd song was so funny, they invited General Larry Platt to perform on the red carpet. And it’s…something. I don’t know what’s worse seeing General Platt struggling to come up with more lyrics on the spot or the random Rock Band drumset in the background. Watching him hop on one foot while holding a handful of belts, you realize this is the end of the weird phenomenon. Even the people on the red carpet look confused, not knowing what to make of the performance. It’s like watching someone make “Chocolate Rain” jokes in 2017. Hopefully, he didn’t spend all his earnings on more belts.

“Same Love”  – Macklemore, Ryan Lewis, Mary Lambert, and Madonna (2014)

The Grammys are constantly struggling to stay relevant. They’re still getting off on the unexpected collaborations idea, which leads to great and questionable performances. In 2014, they decided to invite Macklemore and Ryan Lewis to perform “Same Love,” which has a well meaning message of tolerance. But instead of just letting Roger Klotz rap, they decided to wed 33 couples live on stage with Queen Latifah leading the service. There are so many questions with the biggest one being why? When did Queen Latifah get ordained to wed people? Why is Madonna lazily singing “Open Your Heart?” Why the fuck did 33 people just get married at the Grammys? The spectacle is strange, bizarre, and seems more like a ploy for high ratings rather than taking a stand. But I guess the Grammys got what they wanted; it’s something you won’t ever forget.

“Synthesizer Showdown” – Stevie Wonder, Herbie Hancock, Howard Jones, and Thomas Dolby (1985)

Back in the 80s, music made entirely with synthesizers was a wild crazy trend. Since it was new at the time the 1985 Grammys dedicated a performance to it. But rather than invite one of the many pioneers of synth music to perform, they threw a bunch of them together for a massive, puzzling performance. Howard Jones, Thomas Dolby, Herbie Hancock, and Stevie Wonder perform bits and pieces of songs you recognize while the rest of it is hard to make it. It starts okay at first with groovy synth beats with an odd robotic voice asking everyone to introduce themselves. But when the track transitions to the upbeat, pop-infused “Go Home” things fall apart. Everything starts to clash and sound sour and Dolby awkwardly moves on stage wondering if he’s even plugged in. He then starts playing the part of wacky conductor as the group finishes, oddly, with “America the Beautiful.” The entire thing is so cringy to sit through. It’s great that the Grammys wanted to recognize synth musicians at a time when no else wanted to, but making them all play together was clearly a bad idea.

“Girl You Know It’s True” – Milli Vanilli (1990)

Milli Vanilli is one of those groups you can’t believe is real. They look like some bad creation from a comedy show. And, yes, they won a Grammy showing that the award show hasn’t known what good music for over 20 years. Though this isn’t the duo’s infamous performance when they were outed for lip synching, this one is pretty terrible. The two do nothing but hop around stage and shuffle their feet in what’s supposed to be dance moves. And if you watch carefully, it’s clear they’re not actually singing. Plus, the song is fucking terrible. As everyone knows, shortly after their questionable Grammy win, they had to give it back when the world found out they were lying. What’s funny about this incident is everyone thinks they got in trouble for lip synching, which is an accepted practice today. But what really got them in hot water was the fact it wasn’t their voices at all. The two could barely speak English, so the record company enlisted Charles Shaw to handle vocals. The duo never recovered from the incident and in 1998 Rob Pilatus died of an accidental drug overdose. A pretty sad end to a pretty terrible band.

“Numb, Encore, & Yesterday” – Jay -Z, Linkin Park, and Paul McCartney (2006)

When Linkin Park and Jay-Z reminded the world that rock and rap mashup to create some pretty kick ass music, everyone flipped. Their collaborative effort, Collision Course, has sold 2 million copies to date. So of course, the Grammys wanted to show them some love. What’s sad about this performance is it’s actually pretty good. Jay-Z and Linkin Park surprisingly sound great together and their performance is strong. It’s when they decide to include the Beatles when things go wrong. Chester Bennington starts singing “Yesterday” and prompts Paul McCartney to step out and join him. And man, does it fucking suck. The two are completely off key and end up clashing notes. It’s almost enough to make your ears bleed. Jay-Z even seems to take a jab at the collab ending the performance by saying “Doesn’t it sound like beautiful music?” No, no it doesn’t.

“Across The Universe” – Slash, Bono, Billie Joe Armstrong, Norah Jones, Brian Wilson, Tim McGraw, Alicia Keys, and Steven Tyler (2005)

Allstar collaborations seem to only work on a massive scale. Look at “We Are the World” and “Do They Know It’s Christmas?” for successful examples. But it rarely works when it’s ten different artists from various genres for a sloppy tribute. Look at this 2005 performance for reference. As a tribute to John Lennon, a bunch of A-list musicians get together and perform “Across the Universe.” And it’s hard to tolerate. Individually they sound pretty good, when they’re not flubbing the lyrics. But once they start “harmonizing” together, it all goes to shit. Everyone starts singing in different keys while obviously looking at a teleprompter for reference. While Brian Wilson, Stevie Wonder, and Steven Tyler are off in their own world, Billie Joe Armstrong and Norah Jones look downright uncomfortable. They probably knew what a shit show this would be.

“Forget You” – Cee-Lo and Gwenyth Paltrow (2011)

Remember in 2011 when America’s most hated actor Gwyneth Paltrow tried to be a singer for a bit? Everyone realized how horrible it was, except for the Grammys. As if Cee Lo performing the smash hit “Forget You” in a peacock outfit surrounded by muppets wasn’t weird enough, he invites Paltrow on stage. Not only does she have zero singing talent, she awkwardly delivers out of place lines like “I’m tired of yo ass.” It’s hard to sit through the entire thing without cringing. It turned into one of the most talked about moments just because of how awful it was. The Grammys may be all about unimaginable collaborations, but this is one they should’ve passed on.

“The Exorcism of Roman” – Nicki Minaj (2012)

Nicki Minaj has a reputation for being a bit strange, but no one could predict what she would do at the 2012 Grammys. Debuting the new song “Roman Holiday” Minaj went full on exorcist for the performance. It starts with her growling at a priest and ends with her levitating in the air. In between is a bizarre short film where Minaj skitters up the wall in attempts to be scary. Instead, she looks like a raving maniac on stage. Sure, this may have been the point, but rather than being fun, campy, and theatrical the performance comes off as awkward and bad, like a painful b-horror movie. And since it featured religious themes, you know it pissed off the Catholic church. Even the producer of the Grammys hated the performance. Maybe if Minaj didn’t take the performance so seriously it could’ve worked. Otherwise, it’s painful to watch.

“Whaddup” – LL Cool J, Chuck D, Travis Barker, and Tom Morello (2013)

Hey, why don’t we get LL Cool J to perform at the Grammys? If this was the 80s or 90s then it wouldn’t sound so bad. But having LL Cool J rap on the 2013 ceremony isn’t desirable in the least. They even paired him with Chuck D, Travis Barker, and Tom Morlleo and the performance still sucked. The rapper struts across the stage, trying to own the place when clearly, the rap world has moved on without him. They even slapped on a lazy tribute to late Beastie Boy Adam Yauch, which was just as lame as the rest of the performance. Cool J is a lame host, why did they think he’d bring an A-game performance?

“Hey Ya” – Outkast (2004)

Remember when “Hey Ya” was so popular even Andrew 3000 got sick of it? So of course the Grammys wanted 3000 to perform the track during the 2004 ceremony. The performance would’ve been another ordinary moments in Grammy history if it wasn’t for one thing: the fucking costumes. For some reason Andre 3000 saw no issue with dressing himself and everyone on stage in stereotypical Native American gear. As if that wasn’t bad enough, they turn the “hey ya” hook into a pseudo Native American chant while the dancers creep out of the smoke filled hut. Everything about this performance is cringy. You just shake your head throughout the entire thing. Rightly so, 3000 didn’t get away with getup forcing CBS to apologize. Somehow this still  hasn’t  taught  celebrities  that  this   isn’t  a  good  idea.

Lemmy Tribute – Hollywood Vampires (2016)

A supergroup featuring Duff Mckagan, Alice Cooper, and Joe Perry sounds rad as all hell. Having Johnny Depp in the band? Eh, that could be cool. So how did they manage to deliver one of the dullest Grammy performances? They took the stage last year and it was one of the low points of the ceremony. Playing “As Bad As I Am” and “Ace of Spades” in tribute to Lemmy Kilmister, they didn’t sound all that bad. But watching them shamble across the stage and hearing Cooper growl the lyrics with little enthusiasm, it seemed like they didn’t want to be there. It’s actually kind of sad to watch. They look like a bunch of old guys trying desperately to hang on to their youth. And what the hell is up with Depp’s mumbling spoken word part? It left plenty of people confused, including Bruno Mars in the crowd, who didn’t seem to understand what was going on. It was a stinker of a television debut and reminds us why supergroups are rarely a good idea.

David Bowie Tribute – Lady Gaga (2016)

Never has a tribute performance drawn as much ire as Lady Gaga’s tribute to David Bowie at the 2016 Grammy Awards. Many felt the performance was underwhelming or just downright cheesy. Gaga, dressed as what’s supposed to be Bowie but looks more like ginger Elvis, performs a medley of the late singer’s hits. While things start out okay, it eventually turns into a terrible impression of Bowie. She hops around stage trying to sound like him in the most awkward way possible. It’s still baffling why Gaga was chosen to provide the tribute. Bowie has tons of peers that would’ve been more than happy to come together with a tribute. Instead, Lady Gaga carries the torch. It doesn’t make any sense. The performance was so bad even Bowie’s son and former drummer hated it. Let’s hope they do something more tasteful for the Prince tribute.

Which Grammy performances do you think are the worst? Let me know which ones I missed in the comments!