80s music

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!

H2O – Hall and Oates

Release Year: 1982

Rating: 7.5/10

Hall and Oates are a musical act I’ve grown to love over the years. I’ve always liked their hit singles, but I’ve grown to respect their contributions to music. And lately, I’ve been in a Hall and Oates mood. In the past two weeks, I watched all their videos online, saw countless interviews, and watched their Behind the Music special. I’ve covered Big Bam Boom, probably their biggest album, already so I wanted to look at another one of their successful records. This time, let’s look at the duo’s eleventh album H2O.

The album opens with one of their best singles “Maneater.” That slick opening beat, hot sax riff, and lyrics about a woman whose dangerous yet tempting, makes this one of their coolest songs. It’s dangerous yet sensual as the music slowly builds up and Hall begins singing about this “maneater.” It’s pop meshed with soul for that “Motown groove” making it so irresistible. Though the song sounds like it’s about a vicious woman, the duo said it was inspired by the greed and lust of New York in the 80’s. Years later, it’s still one of their best songs and a great example of what makes the duo so talented.

The next track “Crime Pays” is kind of weird, but fun to listen to. It’s pretty much their disco song. It has a funky groove, glistening keys, and an upbeat dance vibe that’s meant to get you moving. The music is the most notable thing about the song. It’s not as memorable or as interesting as the other tracks, but it still puts you in a good mood. It’s a quirky moment from the duo before they go back to laying out the catchy, ear worm jams. While “Guessing Games” and “Delayed Reaction” aren’t bad, they’re kind of typical for the band. Both are pretty straightforward pop songs, with the latter having a catchier, if not, simpler hook. The former is kind of dull. These songs don’t cause much of a reaction; maybe just a subtle nod of the head at times.

Daryl Hall constantly talks about growing up in Philadelphia and being influenced by soul and R&B music. These influences come out best on this album, especially on tracks like “Art of Heartbreak.” Though the song is about being a heartbreaker, the song sounds sleek and sexy with the opening dirty blues riff and Hall’s crooning vocals. For an extra air of cool, the hot sax makes a return for a sensuous groove. It’s an underrated Hall and Oates gem that lets them get in touch with the soul sound that launched their career. The R&B sound returns on the lukewarm “Open All Night.” It’s not a terrible song, but compared to the other tracks it doesn’t stand out. It’s a slow song about finding out a lover’s infidelity. It’s not bad, just a bit generic.

The album also includes hits “One on One” and “Family Man.” The former takes a bit to grow on you, but once it does, it never lets go. The soothing opening keys and Hall’s falsetto makes it sound like a lounge song from the 70s. And if you’re not used to Hall hitting those high notes, it comes off a little weird, but soon enough you’ll be singing “Whoooa, one on one/I wanna play that game tonight/One on one I know” with him. It’s a slow jam about getting some face time with your lover. To make sure you get in the mood, the sax comes in during the bridge adding a suave vibe to the song. It’s a Hall and Oates classic that never seems to get much attention.

Family Man” is actually a Mike Oldfield cover about a man being proposition by a prostitute. He resists by screaming “Leave me alone/I’m a family man!” The song has a rock vibe with beefy guitars with some weird muted music making it sound like they’re in the middle of a jungle for a moment of the song. What makes the Hall and Oates version stand out is how Hall’s vocals get more intense near the end, showing how this “family man” is about to lose it. And it has a hook that lodges itself in your head. I woke up one day with the hook repeating in my head. No joke.

Though the album is mostly solid, there are some real stinkers. And unfortunately, they’re both written by John Oates. “Italian Girls” is a throwaway track filled with Italian stereotypes while Oates sings “Where are the Italian girls?” It’s so upbeat and generic it almost plays like a comedy song from the 80s. Instead, it’s stuck on the tail end of the album bringing down the second half. The following track “At Tension” doesn’t sound cheesy, but it’s so unfitting. Oates’ back on vocals singing about war and the military. It’s out of place because most of the songs are about relationships. It’s also drawn out, slow, and boring making it a song you can’t wait to be over. Luckily, the end of the album is saved by the catchy slow jam, “Go Solo,” which finds Hall rightfully back on vocal duty.

H2O is just one of the numerous hit albums for this duo. Though it’s not as upbeat and fun as Big Bam Boom, it’s a solid record. Most of the songs are memorable and have that classic Hall and Oates touch that makes their music so irresistible. What I appreciate about the record is how it shows off more of their soul and R&B influences, which isn’t always easy to hear on tracks like “Out of Touch.” And if you needed proof that Daryl Hall is a stellar vocalist look no further than this album. He has an impressive range and his soulful crooning is like no other. There’s some filler along with flat out bad songs, but the album is enjoyable. If you have a Hall and Oates that needs scratching, this album will be your satisfaction.