Made in the 80’s

Playlist: Vampires, and Monsters, and Ghosts, Oh My!

It’s my favorite time of year, Halloween! Keep the lights on and don’t look behind you, things are about to get spooky. This is the time that belongs to the creatures of the night that stalk their prey. Or maybe they just want some free candy, you never know. To get you in the mood for All Hallows Eve, here are some songs about our favorite hideous monsters.

“I Was a Teenage Werewolf” – The Cramps

Not all monsters are inherently bad. Some are just misunderstood. This Cramps song, based on the 1957 horror movie of the same name, talks about a young werewolf with his own problems. Like all good monsters, he doesn’t want to kill people, but he can’t help it. Throughout the song, he begs for someone to stop him and even pleads to “stop this pain” by the end of the song. It’s a slow-burning, rockabilly romp that reminds us no matter if you’re human or not, being a teenager sucks.

“Return of the Phantom Stranger” – Rob Zombie

A Halloween playlist isn’t complete without a Rob Zombie song. On this track from Hellbilly Deluxe, Zombie describes the goings-on of a mysterious creature only known as the Phantom Stranger. With Zombie’s low growl delivering the vocals and the lyrics mentioning a “shape-shifting” creature with a “wretched heart” that stalks throughout the night, it perfectly sets up a creepy tone. By the song’s end, you still don’t know what the Phantom Stranger is, but you know you don’t want to run into it. For more spooky times with Rob Zombie, check out “How To Make a Monster.”

“Would You Love a Monster Man?” – Lordi

This track by Finnish rock band Lordi doesn’t deny the horribleness of the monster in question. Instead, they ask is it possible for him to find love? Showing us another side of monsters, this creature just wants someone by his side as he terrorizes those around him. The track rages ahead assuring us that loving said monster isn’t a crime even though he readily admits he’ll kill just for the thrill of it.

“We Bite” – The Misfits

Seminal punk band The Misfits are unapologetic on this violent track. In under two minutes, the band screams about rampaging through the streets looking to rip out throats of the innocent. It’s unknown whether these are starving vampires or horrific creatures out for blood. Even though the song constantly repeats “I rip your throat/I drink your blood” it manages to be gruesome with the ferocity and brutal nature of the track. Then again it’s The Misfits; we wouldn’t expect anything less from them.

“Here Comes the Bride (The Bride of Frankenstein)” – Elvira

Elvira, Mistress of the Dark, has been a staple in all things horror since the creation of the character back in 1981. She’s done movies, comics, and even music. And her songs are wonderfully weird and cheesy. On this track from the 1994 collection, Elvira Presents Monster Hits, the Mistress of the Dark “sings” about the Bride of Frankenstein in all her horrible glory. The lyrics are corny with mention of her green pallor, stitched together body parts, and ghoulish nature while a gang cheerfully sings “Here comes the bride!” To make things cringy the song ends with a lame Shaft reference: “The Bride of Frankenstein! DUUUH!!/He’s one bad muther f-/(Shut your mouth)/Well I’m just talkin’ about Frankenstein.” It’s by no means a good song, but it’s hilariously entertaining.

“Bark At the Moon” – Ozzy Osbourne

This classic Ozzy track follows a creature, most likely a werewolf, as it terrorizes through town. The song tells the story of a creature the townspeople thought they got rid of when they buried him. He returns for vengeance and sets about causing chaos. It’s the perfect Halloween track that has a hilariously cheesy video to go with it. The clip depicts Ozzy as Dr. Jekyl and Mr. Hyde drinking a mysterious potion and transforming into a werewolf. Looking at it now it seems silly that anyone would think it’s scary or that Ozzy is actually evil. It looks like a cheap b-horror movie you watch for laughs.

“We Suck Young Blood” – Radiohead

A truly haunting song, it’s not actually about vampires. Apparently, it’s about the exploitation of Hollywood and how they suck the life out of young talent. Still, with the macabre lyrics, chilling music, and shivering vocals it could easily be applied to the creatures of the night. Yorke sounds vulnerable yet creepy as he sings “Are you sweet?/Are you fresh?/Are you strung up by the wrists?/We want the young blood.” And the moody piano melody is ripped from a Gothic film. The song never has to get violent or gruesome to depict the horror of what’s going on.

“Release the Bats” – The Birthday Party

Serving as an influence on the then-emerging Goth scene, this track makes vampires seem cool and sexy. With a rockabilly swing, Nick Cave sings about a lady who doesn’t mind being bitten. She even hopes “those bats would bite.” Cave sounds delirious, yet thrilled as he screams “Release the bats! Release the bats” hoping vampires will come party with him. Cave and co thought vampires were cool long before Stephanie Meyers clumsily cashed in on the trend.

“Werewolves of London” – Warren Zevon

This classic rock track is surprisingly upbeat for a song about a werewolf on the loose. The lyrics follow a werewolf through the streets of London where he mutilates an old woman. But he also seems pretty mundane drinking Pina Coladas and searching for some good Chinese food. The song acts more of a warning saying when you hear him howling, you better stay away. And, as you would expect, the chorus features a bunch of howling. It’s one of Warren Zevon”s most well-known hits that started out as a joke.

“Night of the Vampire” – Roky Erickson

With a gloomy demeanor and a slow-burning guitar riff, this song was made for Halloween. There’s nothing creepy or gruesome about the track, but it gives off this sinister vibe. As Erickson sings about slipping in blood and painful vampire bites, you picture dead spooky forests covered in fog and a hooded figure in the distance. In 1997, Swedish death metal band Entombed covered the track for their self-titled EP. They put their gritty, hard edge spin on it, but the original reigns supreme.

“The Thing that Should Not Be” – Metallica

Leave it to Metallica to tackle one of horror’s most terrifying creatures: Cthulhu. In a mass of crunching guitars and intense percussion, James Hetfield describes the beast as lurking beneath the ocean waiting to cause destruction. Just staring at the creature will drive you insane as they point out in the song. The band references H.P. Lovecraft’s story “The Shadow Over Innsmouth” specifically. This wouldn’t be the only time Metallica has written about the great beast. They also spoke of the beast in Ride the Lightning‘s “Call of Ktulu.” Clearly, they’re big fans of the monster.

“Black Sabbath” – Black Sabbath

This song has already been featured on other Halloween playlists, but it fits right in. Its tolling church bells, Ozzy’s wailing, and the overall sense of doom make it an eerie song. While it may not be about one ghost, in particular, it’s based on an experience Geezer Butler had during the early days of the band. He woke up in the middle of the night and saw a spirit at the end of his bed. Whether it was real or just drugs, the image makes you shudder just thinking about it.

Which of these songs is your favorite? Which ones did I miss? Let me know in the comments!

Advertisements

Playlist: Stupid Songs that We All Loved

It’s easy for people to look at music today and claim it was better way back when. But they seem to forget there was a lot of questionable music back then too. Eras like the 80s and 90s were filled with tons of terrible songs, yet at the time, they were hits. Now, we recognize them are bad songs or “guilty pleasure,” but when they were first released they were popular despite how dumb they were. So let’s look back at stupid songs we all loved at one point.

“Achy Breaky Heart” – Billy Ray Cyrus

Though this song is now known as one of the worst songs of all time, it was actually a hit when it came out in 1992. Originally titled “Don’t Tell My Heart” it was first performed by The Marcy Brothers in 1991 but didn’t get much airplay. It wasn’t until Billy Ray Cyrus recorded his own version that the song exploded. It reached the number one spot on Billboard’s Hot Country Songs and peaked at number four on the Hot 100. And yes, I even liked it when I was a kid. It’s one of those song’s that’s terrible but has an earworm hook that burrows its way into your brain. It’s pretty bad with the stupid hook and Cyrus’ faux accent. For the longest time, we thought this was the worst thing Cyrus would give to the world. Boy, were we wrong.

“I’m Too Sexy” – Right Said Fred

Released in 1991, UK duo Right Said Fred earned a number one hit with this ridiculous song about being so sexy “it hurts.” What started as a joke between the two Fairbrass brothers turned into an international chart-topping single. The track makes fun of the superficiality and narcissism of being a supermodel. It’s another one of those songs that’s so stupid you end up liking it. You gotta admit, the opening line of “I’m too sexy for my shirt” is kind of hard to forget. Now considered one of the worst song’s of the 90s, it’s something most of would rather forget was ever a thing.

“Higher” – Creed

Creed is one of those bands no one wants to admit they liked at one point. Sort of like Limp Bizkit. Before becoming of the music’s biggest jokes, they were one of the most successful acts of the late 90s. This song, along with the sappy “With Arms Wide Open” helped their second album, Human Clay, reach platinum status eleven times. Kind of disturbing when you think about it. This pseudo rock song was inescapable when it first came out. It was all over the radio and the lame video received lots of airplay on MTV. Listening to it now, it’s hard to think how anyone took this song seriously. Frontman Scott Stapp sounds like he has a sinus infection while singing and though the band denied their religious connotations, it’s pretty easy to hear all over this song.

“Blue” – Effiel 65

There are some songs whose origin and popularity can’t be explained. Why the hell was Effiel 65’s “Blue” a chart topping hit in 1999? We still have no idea. With a generic dance beat, the most memorable lyric in the mindless “da bee dee da” the singer keeps mumbling over and over. The rest of the lyrics are baffling as the singer goes onto talk about having a blue girlfriend, house, and dog. Why blue? Is he literally blue or is this supposed to be a clumsy metaphor? These are questions we’ll probably never have answers for. Even though the song is terrible, you couldn’t but singing it whenever it played. As a kid, I thought the song was weird, yet would happily sing it in the car whenever it came on.

“Rico Suave” – Gerardo

Everyone talks about how awful today’s music is and how things were better in the 80s and 90s. But then you remember a dark time in 1990 when Gerardo gave us the travesty that is “Rico Suave.” Looking back at it, it seems like a bad joke: the cringy lyrics, the mindless hook, and the questionable mariachi band in the video. While it never hit number one, it did reach as high at number two on Billboard’s Hot Rap Track and number seven on the Hot 100. The song is unbelievably bad making you question who actually bought it when it came out. While it can be a fun song to take the piss out of when hanging out with definitely not something you listen to for pleasure.

“Barbie Girl” – Aqua

This is one of those songs that could only exist in the 90s. In 1997, Danish group Aqua dropped this annoying song on the unsuspecting masses. And it took off. Supposedly a commentary poking fun at the superficiality of the doll, it’s a song you hate to get stuck in your head. The hook manages to be infectious, yet completely annoying. Her voice is too squeaky, while the guy’s faux gruffness comes off as slightly creepy. The single charted number one around the world and even caught the ire of Mattel, who later tried to sue the band. When this song came out, I remember teachers trying to ban us from singing it because it was supposedly dirty. And then someone went and made the Ken song, which all the boys in class loved singing.

“Party All the Time” – Eddie Murphy

Hot off the heels of Beverly Hills Cop, someone convinced Eddie Murphy to get in the recording booth and make this stupid song. The sad thing is as dumb as it is, it’s really catchy. Part of that has to do with the inane repetitive hook and the help of funk master Rick James. Listening to the song and watching Murphy trying so hard in the recording booth, you’d think it was an elaborate joke. That’s probably what people were hoping. Unfortunately, it was all too real and even led Murphy to record an album. And it was a commercial success. Murphy tried to have another hit single in the 90s with “Whaazup with You” with some help from Michael Jackson. While Jackson saves the song a little bit, it’s more atrocious than this. At least it gave us a killer Children of Bodom cover.

“Ice Ice Baby” -Vanilla Ice

Vanilla Ice is a hard phenomenon to explain today. Looking back at his biggest hit, it’s clearly bad. It’s one of those songs hipsters like ironically. But back in 1990, Rob van Winkle was the hottest rapper around. This song, which stole the riff from “Under Pressure” and led to a hilarious Vanilla Ice moment, graced the top of the charts around the world making his international debut To The Extreme, a success. It sold 15 million copies and spent 16 weeks at the top of the Billboard 200. A short time later, people realized the song was dumb and Vanilla Ice was pretty lame. It didn’t help that Jim Carey poked fun at him and his lame dance moves in a great In Living Color sketch.

“Macarena” – Los del Rio

We all knew this was coming, so let’s get it over with it. The Macarena was one of those inexplicable fads of the 90s. What started out as an obscure dance song soon exploded around the world thanks to the stupid dance associated with the song. Soon the dance was being done at proms, weddings, and in your mom’s backyard. The best videos on America’s Funniest Home Videos were Macarena failures. It prompted several parodies, including a memorable one from the Animaniacs. It was so popular my school even made kids in an assembly do it on stage. Soon, the fad died out with slap bracelets, frosted tips, and JNCO Jeans. But with so many 90s trends coming back into fashion, maybe this duo is prime for a comeback. Let’s hope not.

“The Safety Dance” – Men Without Hats

Play this song for someone under 20 now and they’d probably wonder if it was a joke. Listening to the song and watching the weird video now, it’s still not all that clear if it is a joke. Written about bouncers trying to stop kids from pogo dancing in clubs, the song is baffling. The lyrics are weird with the odd yet memorable line “we can dance/we can dance/everyone look at your hands” while the music sounds like it was inspired by a Renaissance Fair. It’s one of the weirdest songs from the 80s, yet it was successful. It reached the top spot on Billboard’s Hot Club Play and peaked at number three on the Hot 100. And to think, for years people thought it was a song about safe sex.

“Watch Me” – Silento

Dance crazes are something the world should’ve left behind with the “Cha Cha Slide.” But somehow we all get swept up in them when a new one pops up every few years. When Silento hit the scene with “Watch Me” everyone from your mom to Jimmy Fallon started singing the mindless song. The track is nothing but different hip-hop dances phrases (Stanky Legg, Crank That) mashed together repeatedly throughout. And no matter how hard you try, it’s almost impossible not to “whip” and “nae nae” when you hear it. Even the Nickelodeon remix was catchy. I had to change the channel every time it came on so it wouldn’t get stuck in my head. It’s by no means good, but with a simple chorus and fun music, the song is hard to ignore even if you hate it. The track ended up in the number three spot on the Billboard Hot 100 where it stayed for six consecutive weeks. Thankfully, people seem to have forgotten the dance, but it makes me wary for the next dance craze.

“What the Fox Say” – Ylvis

This is one of those rare instances where an obviously terrible song turns into a big hit. Norwegian comedy duo Ylvis recorded “What the Fox Say” as an “anti-hit” for their comedy show Tonight With Ylvis. It didn’t take long for the video to hit Youtube and explode all over the internet. It was a song designed to be terrible and hilarious, yet it turned out to be successful. It’s reached platinum status in the States and peaked at number six on the Billboard Hot 100. The song is nothing but random noises and generic dance music, proving that the internet gets obsessed with the weirdest things. Since the song was everywhere, I couldn’t find the humor in it and just found it to be another mindless, terrible song. Luckily, the duo said they don’t have plans to make a sequel.

There are more lovably stupid songs out there, so which ones did I miss? Which of these songs is your guilty pleasure? Let me know in the comments!

Michael Jackson’s Moonwalker

Moonwalker is a weird, ambitious project by Michael Jackson. Released in 1988, the video is a collection of short segments all featuring Jackson. There’s no continuous narrative; just a lot of weirdness. The singer wanted the movie to be screened in theaters, but the budget fell through and was released straight to video instead. A video game of the same name was also released as a tie-in, but that’s for another day. To celebrate Jackson’s 59th birthday I wanted to look back on this movie, which is still one of my favorites.

It used to fill up many bored afternoons when I was a kid and it’s still something I love watching today. Whenever I need a good laugh or just want to smile, I put this on and get lost in Jackson’s weird, wonderful world for a little bit. It’s full of flaws and portions of it are ridiculous as hell, but it’s charming and a lot of fun. It’s hard to imagine this doing well in theaters since there really isn’t a plot. It’s more like a collection of segments all involving Jackson. Still, it’s an interesting project that reminds us what a visionary he was.

The film starts with a powerful performance of “Man in the Mirror” making you think that it’s a concert film. Then it goes straight into the best part, the retrospective. Following Jackson from the Jackson 5 all the way up to Bad, it’s a fun, creative look back at the music and career defining moments. This part has always been my favorite for the popping effects, different animation styles, and the great energy. Highlights include a Claymation Jackson 5 singing “ABC,” a stop-motion robot joining Jackson on “Dancing Machine,” a mini “Human Nature” video, and a creepy ode to “Ben.” Throughout, we also see related memorabilia, award ceremonies, and magazine covers showing what a big deal the singer was at his peak.

Once we reach the Bad era, we see condensed versions of “The Way You Make Me Feel” and “Dirty Diana” before getting to ”Badder.” The strange segment features a bunch of kids recreating the “Bad” video with scary accuracy. This has always been another one of my favorite parts. I still love separating the good kids from those who just don’t have it (looking at you midriff kid). Did we need kids to recreate this video? No, but it’s charming and cute. Try not cracking up at the ten-year old with a five o’clock shadow.

Once mini-Jackson is done with his dance off, adult Jackson returns and proceeds to be chased down by weird, unsettling big headed people. Again, a very weird part of the film, but it’s a blast to watch. Even Jackson looks like he’s having a good time with a big smile rarely leaving his face. While on the run, he runs into a talking Statue of Liberty, chubby twin bikers who he’s clearly disgusted by, Stephen Spielberg losing his shorts, and a bunch of screaming fans. It’s a creative romp taking the piss out of Hollywood and obsessive fandom.

So how does Jackson make it out of this situation? With the help of his friend, Spike. He suits up as a Jackson-esque bunny and leads into the “Speed Demon” video. This is where the Claymation shines. Spike turns into different celebrities of the era, like Pee Wee, Tina Turner, and Sylvester Stallone. And there are clever jokes throughout the segment, like a stop at “Frank in a Box” named after his manager Frank DiLeo and even Jack Nicholson in the car chasing him. The video ends with a memorable dance off between Spike and Jackson. Yes, the whole thing is weird, but it’s imaginative. You get so sucked into the world you don’t even question how a bunny costume came to life. It perfectly shows off the child-like wonder Jackson often flaunted throughout his life.

After an interlude featuring the stop-motion “Leave Me Alone” video, we get to the extended “Smooth Criminal” segment. Sigh. Even as a kid I never really liked this part. Though the segment does look pretty slick, it’s confusing, poorly acted, and makes no sense. It follows Jackson and a group of homeless kids as they go up against Mr. Big (Joe Pesci) because Jackson found his drug den…or something. It’s not really clear why Mr. Big is trying to kill him. Also, it’s never clear what kind of world we’re in. Why are the kids homeless? Where are all the other adults? Why exactly does Mr. Big want to get kids high? And we can’t ignore that Jackson is somehow magical in this world. During the video, he turns into a car, a rocket ship, and a giant fucking robot. And the kids never find this strange. They go along with it as if it’s not weird for a man to turn into a fucking car.

They’re also never sure how to feel about Jackson. At one point he’s their friend and are concerned with finding him. When Katie finds him and points it out the other kids respond “so?” When he turns into a robot they act a little surprised but never bother to bring it up again. And when he flies over them as the rocket ship at the end, they say “Bye Michael” as if he just got on a bus. And let’s not forget how Club 30 is an abandoned, dusty place when the kids find it. But Jackson walks in and it’s a hopping bar from the 20s, which he proceeds to start trouble in. What exactly is going on here?

After defeating Mr. Big and his faceless soldiers, Jackson comes back after Katie makes a wish and whisks the kids away to a precarious backstage area with sparking plugs never explaining to the kids what the fuck just happened. Suddenly, he’s on stage performing “Come Together” in front of John Lennon’s kid. What is even happening? No bothers to pull him aside and say “Michael, what are you exactly?” The kids just take it as is and we’re supposed to say “this is fine.”

Honestly, it was hard to sit through this segment again. The entire time I wanted to skip straight to “Smooth Criminal” and turn off the rest. While I was willing to never question anything in the first segments, I couldn’t suspend my disbelief here. Perhaps if there was a flowing story to follow it wouldn’t be so bad. But there is little explanation for anything we see. The “Smooth Criminal” video itself is great, minus the weird breakdown, but the “story” around it is mind boggling. Jackson isn’t the worst actor, but he’s by no means amazing. The highlight is when he turns into the ultimate transformer. The special effects haven’t aged all that well, but there’s something about it that’s still unsettling, especially when he starts shooting crotch rockets. Otherwise, it plays out like bad drug trip starring the King of Pop.

Moonwalker is a unique, yet weird experience tailor made for Jackson fans. For casual fans or anyone who doesn’t like him, it looks like a vain, unintelligible film. It’s a long ad for the Bad album, fans will find it a fun trek through Jackson’s career and his imagination. While the first half of the movie shows off the creative flair the singer had videos, even though it all falls apart with the bigger “story.” It makes sense for Jackson to come up with something so bonkers because it sounds like something a ten-year-old would dream up. This is a movie you don’t take seriously. You’re there to enjoy the cool visuals, Jackson’s dancing, and the kick ass music. If you take it for what it is, you’ll find an anthology that’s a blast to watch especially with friends.

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!