“Roses are Free” is a bit of a transitional song for Ween. Contained on their first professional-sounding album, Chocolate and Cheese, it sounds closer to their earlier sound than just about any other track on that record, in part due to Gene’s high-pitched vocals. The song is a litany of advice, many of it absurd, which suggests that following social conventions without thinking may not get you anywhere.
As everyone from Rolling Stone to their hometown Philadelphia Inquirer have noted, Low Cut Connie’s Adam Weiner has been putting some of the best – strike that, the best – live streams of our quarantined era. In twice-weekly shows he calls “Tough Cookies,” Weiner, sometimes accompanied by guitarist Will Donnelly, strips down to his skivvies and plays a high-energy set with a whole lot of crowd participation – doubly impressive without an actual crowd. He also invites friends ranging from Dion to Big Freedia to join him (when’s he going to get his most famous fan in on the action?) If you haven’t watched one, you should; it’s at a whole different energy level than any other artist’s stream.
Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.
“War Pigs,” originally titled “Walpurgis” (defined as “Christmas for Satanists” by Black Sabbath bassist Geezer Butler), is the first track off Black Sabbath’s second studio album, 1970’s Paranoid, and is regarded by Guitar World magazine as the “greatest Heavy Metal song ever.”
The slow gravitational pulling power chord intro creates an atmosphere of an apocalyptic wasteland. The rolling darkness and muffled air-sirens continue until they are quickly halted with the most spine-tingling, D to E power chord transition in heavy metal history, not once, not twice, but thrice! Ozzy Osbourne gives us a piercing belt of “Generals gathered in their masses / just like witches at black masses,” and Toni Iommi continues the pattern after every Ozzy verse until Iommi’s power chords evolve into a wicked guitar riff. Bill Ward comes crashing in on drums, Geezer Buttler starts pounding his bass, and before you know it, you’ve bypassed “Luke’s Wall” (the song’s instrumental outro) and you’re riding shotgun with Lucifer on a thrill ride through hell.
In the Spotlight showcases a cross-section of an artist’s cover work. View past installments, then post suggestions for future picks in the comments!
Ween caters to no one. When it comes to creating music, they don’t care who you are, where you’re from, what you believe in, or what offends you. Ween’s goals are clear: they are going to make the music they want to make and have an absolute blast in the process. As a result of this approach, we all reap the tremendous benefits.
Almost as common as ghost, witch and vampire costumes on Halloween is the covers concert. Many bands will forgo their latest release or greatest hits and instead pop on a costume and break out the cover songs. Over the years bands like Phish and The Flaming Lips have become known for their Halloween concert festivities and cover sets of full albums or songs from a decade; this year we take a look at some of the other artists getting their spooky fun on.
When Amos Lee released Mission Bell in January, he had his first number one record. He also set a record for the lowest sales of any number-one record in history. So it goes these days. The relentless country-folk performer continues to push the product, though, with a new Live from SoHo session, out today on iTunes. In addition to four Mission Bell tunes and a couple old favorites, Lee and his band busted out two new covers for the occasion.