Yeah, you read that right: some dude calling himself “Mighty Mike” mashed-up two classics that, on the surface, have absolutely, positively no business whatsoever being smushed together. And yet, this must be one of the best mash-ups I’ve ever heard. It works so well, my mind is just reeling right now.

Check out the epic awesomeness below.

Imagine-a-jump-john-lennon-vs.-van-halen by jackstanleywp

-AR

[via Badass Digest]

Spurred by a lazy crossword clue in The Onion (36 down, four letters: “Faith No More’s only hit”), MetalSucks contributor Anso DF dedicates every single day in August to celebration and exploration of the San Francisco alt-metal greats. Here we prove that history’s greatest band landed more than one commercial hit (crossword answer: “Epic” natch), we revel in FNM’s embarrassing wealth of winning album tracks (themselves often fit for chart topping), and we dip into the staggering best of the b-sides (ditto). Along the way, we survey the context of FNM’s big break (amid similarly seminal acts Jane’s Addiction, Nine Inch Nails, and Ween) to the post-Nevermind, panic-based recording industry in which the brilliantly versatile, fearless powerhouse band operated until their 1998 demise. It’s a dirty job, but someone’s gotta do it.

Song “From Out Of Nowhere”

Written by Patton (L); Gould, Bottum (M)

Released 1989

Appears on The Real Thing album

Produced by Matt Wallace

Guitars by Jim Martin

Key lyric ”Don’t know if I’ll laugh or cry.”

Single? Yes, The Real Thing’s first. And so life began.

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A few weeks ago, I saw Ghost live for the first time. And towards the end of the show, the band covered “Here Comes the Sun,” and I sent out this tweet, in which I declare their version of the song superior to that of The Beatles. I fucking love The Beatles, I’m not knocking them, but I have really never liked that song. It will surprise no one to learn that I have a hard time relating to the lyrics.

What I didn’t realize at the time was that Ghost have actually recorded and released the cover, as a bonus track for Opus Eponymous. So now everyone can hear it! It’s a great example of how to do a cover correctly, and that Replicants cover of The Cars’ “Just What I Needed,” the changes to the music completely change the entire mood of the piece and seem to give the lyrics new meaning.

Check it out:

Ghost’s Opus Eponymous is out now, and despite what Grim Kim believes, no, I do not think that they are the new Liturgy.

-AR

Thanks: Clint Kaio

When I heard about the Dream Theater-shaped hole in the life of drummer Mike Portnoy back in September, I wanted to pitch him on my long-gestating idea to form a killer Jellyfish cover band. I bet he’d be into it cuz of his Jellyfish super-fandom (he has cited 1993′s Spilt Milk as a top ten favorite album); and he’s a pro at pulling together all-star jams, like his awesomely fun tributes to The Who, The Beatles, and Led Zeppelin with guys like Paul Gilbert, Jason McMaster, and Dave LaRue; and lastly, The Ghosts At Number One (that’s my vote for our band name) could serve as a totally non-cynical tribute to another hardcore Jellyfish fan, the late Dimebag Darrell Abbott. And what better way to hip headbangers to irresistible non-metal jams? How could Mike say no to that? Can I call him Mike?

But, shit, while I was dicking around, gobbling drugs, and failing to corner, pressure, and/or threaten Portnoy about the Jellyfish idea, he teamed with qualified musicians he knows who actually, like, realize their ideas. Even if those ideas aren’t so great. Symphony X singer Russell Allen talks about Adrenaline Mob, one of Portnoy’s new bands:

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Whether you’re a tri-corner hat wearing Teabagger who thinks taxes are the work of the devil, a bleeding heart tree-hugging Lefty who believes The Man will take care of everything, or a corporate cocksucking conservative who believes GE deserves a $3.2 billion tax refund despite raking in more than $14 million in profit, today is inevitable.

Death (metal) and taxes.

Yes, normally in America, we must file our taxes by April 15. That was last Friday. Fortunately, for many of you slackers out there, Friday was also a Washington holiday to celebrate Emancipation Day; the day President Abraham Lincoln freed nearly 3,100 slaves in Washington D.C. in 1862, nine months before he signed the Emancipation Proclamation. Normally, this momentous occasion is observed on April 16 in D.C.; however, since that date fell on a Saturday this year, taxes get pushed back until today.

So, if you are reeling from your continuing procrastination, maybe you can find a few songs here to get you through the tedium (AKA the final hours before tonight’s filing deadline). Or, maybe you are already done with your paperwork and want to stroll down the aisle of taxing tunes and moneyed music.

Some of it is from metalheads, but most comes from the world of rock.

Figures, that’s where the real money is (was) made.

The Beatles – “Taxman” (Cartoon)

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Welcome to “Question of the Week,” a (sometimes) weekly debate amongst the MetalSucks staff regarding a recent hot button issue.

This week’s query was suggested by a reader identifying himself simply as “Andy” –

WHICH MODEL OF GUITAR IS THE MOST METAL?

The MS staff’s answers after the jump.

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Admit it: this picture makes you SO FUCKING HAPPY.

Recently, my friend sent me a YouTube link to a Bee Gees cover group. Excuse me, tribute band. That is the proper way of addressing them, as Mark Wahlberg taught us in Rock Star. I don’t like the Bee Gees. I don’t like disco. Disco is kind of terrible. Disco blows dogs for quarters. Disco is never amazing, especially not when KISS attempt it. To say I was a little confused would be an understatement. But my friends aren’t totally clueless to what I listen to, so I gave it a shot. It turned out it was a heavy metal Bee Gees tribute band. Okay, it was a little bit awesome. Weirdly enough, it worked. I only like thin-voiced men screeching when accompanied by equally high-pitched guitars, and that’s basically what heavy metal “Stayin’ Alive,” was. I turned it off about halfway through because, well, I still have my limits, but it kind of makes you stop and go, “Huh!” Metal just makes everything sound better.

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Watch out! These young bucks are taking over the world.

Yep yep, it’s my birthday. I’m using my “Get Out of Jail Free” card to steal a Mike Portnoy story away from Vince (who usually covers all things Dream Theater-releated), ’cause I know how to party hard, party hard, party hard, party hard, party hard, party hard… [fade out]

ANYWAY, from the perspective of someone who is not as obsessed with Dream Theater as my cohort, this whole Mike Portnoy thing is getting to be pretty pathetic — like, characters from a Woody Allen movie pathetic. Portnoy is like the dude who left his wife of however many years for a younger, hotter, albeit much stupider, woman, and when that woman inevitably got bored by his old saggy balls and inability to shtup ten times a day without the aid of a little blue pill, he begged his wife to take him back. And his wife, to her credit, has been in therapy since he left, and has a new sense of self-worth — so she told him to go suck an egg. And now he’s stuck with this goddamn motherfucking ridiculous Porsche that doesn’t even run right half the time and a big house with no one to fill it.

Mike Portnoy is understandably lonely.

So how he’s dealing with his loneliness? Is he getting some alone time to, y’know, really get to work on Mike Portnoy? Did he join JDate to try and meet someone new? Is he taking that Porsche around to all the hottest clubs in town in an effort to snag another youthful bippy?

Well, kind of — what he’s actually doing is going to the Senior Center for Singles Bingo Night. Which is to say, he’s reuniting Yellow Matter Custard, his Beatles cover band, for the first time in eight years. Gee, I wonder what the occasion is?

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[Like my colleague Vince Neilstein, I too feel compelled to share with you, the readers, some "under-appreciated gems" that deserve your attention and consideration for your personal "Best of 2010" lists. Some of these may have suffered from lack of promotion, or simply may have gotten lost in the shuffle amid higher profile releases. Hopefully this informal series will help rectify that -- and not give too much away in advance of the publications of the staff lists on December 16.]

Pantera, much like their cultural forebears The Beatles, assuredly will never reunite. Even if we could discount the untimely, cataclysmic death of “Dimebag” Darrell Abbott in 2004 at the hands of a mentally disturbed assassin whose very name doesn’t deserve repeating, the fractures that resulted in the band’s dissolution have only deepened with time, categorized by seemingly endlessly feuding between factions of the surviving members and their surrogates. This year’s expanded 20th anniversary reissue of Cowboys From Hell – coincidentally timed with a boxed reissue of John Lennon’s solo discography — provides a view of what we can expect as Pantera’s legacy matures and amplifies, namely that music industry machinery will take advantage of contractual opportunities while the estranged and quarreling factions collect deserved checks and dangle demos, live versions, and previously unreleased “vault tracks” (such as “The Will to Survive”) to disproportionately feed our insatiable hunger for more.

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For my opening salvo, I suppose I should mention that it has been a long break between blogs. I’ve been meaning to get back to it, but this summer has been a very busy one filled with the musical composition of the new God Forbid album as well as a new project I’ve been working on, in addition to the daily pursuit of living life and getting by. I hope to contribute more frequently in the near future.

If you’ve followed my articles in the past, you may notice that I often address music history, and pertaining to this site, heavy music specifically. I have a great respect for artistic pioneers and the roots of where the most admirable and brilliant music stems from. I was the type of kid who would read liner notes and interviews by my favorite bands to find out who influenced them. I would always want to climb that musical family tree to see where it lead.

In my process of discovery, there was a common thread that jumped out at me that has been consistent through metal and rock history.  There seemed to be an intercontinental ping-pong match between the USA and Europe in terms of trailblazing the cutting edge of whatever musical genre was the dominant force of the time. This goes way back before metal existed — and yet, it has helped shape the musical landscape that exists today. The torch keeps being symbolically passed from one shore to the other.

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Musicians are strange creatures. Their work hours and habits are almost always odd, hygiene is often suspect, and sanity questionable.

If I had to point out one thing that ties all musicians together, it would be inspiration, often drawn from a simple but strong love for music. Inspiration comes from all varieties of thoughts and experiences though, and most will agree that it is a mystical and almost spiritual matter that is difficult to qualify. For me, personally, my inspiration is the most important thing I have in life because it guides all of my goals and efforts to blast through them. Although it may be oriented around music for whatever reason, the specifics of what I am inspired to do are not crystal clear. It is not instrument, genre, or socially based. It is just to create.

I have always been in awe of musicians that are able to look past the world’s conceptions of genre. For some bands, it is absolutely correct for them to do their thing 100% their way and use their tested process over and over, record after record. I don’t mean being stale, either… Development and growth between records is an assumed necessity for me to take a band seriously. Examples of bands that know their sound or process well and tend to stick to it (with great results) would include bands like Meshuggah, Megadeth, Behemoth, Muse, Deftones, and even more progressive bands like The Mars Volta, Opeth, and Dream Theater. But the musicians that REALLY get me thinking these days are ones who understand how to take a complete 180 degree turn: drop the world’s, or maybe just critics’, perception on its head, and use new influences from a completely different angle. It is almost as if they side-step into a bizarro dimension and are running two or more separate careers. Musicians that can accomplish this demonstrate a certain type of understanding and mental clarity that is all too rare. Here are some of my favorite examples:

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I’ll admit it: I still do check Blabbermouth from time to time. Hard not to. It’s kind of a metal institution at this point. Here and there, when they publish first week numbers, I’ll read those if they concern a band I like, or am curious about for whatever reason.

I’m not a Demon Hunter fan, but I was down at Audiohammer when Jason Suecof was mixing their record, and so I’m familiar with their new record by twist of circumstance. (Believe me, I would have never gone looking on my own.) Anyways, when their first week numbers were published, I decided to check on that, and goddamn guys. 14k approximately. That’s what Suicide Silence does. That’s what DevilDriver does. That’s what bands that tour all the time and are always in the media do. Good for them. Congrats dudes.

Here’s why I find this interesting. Demon Hunter has never really been a touring act. They’ve never really been in the media too much before the present.  So what explains them selling records on par with bands that are always out there hustling? To answer this, I thought about what some bands in the past have pulled off without too much touring.

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First of all, I think we can all agree on one thing: without Jimi Hendrix, there would be no such thing as heavy metal. The man revolutionized guitar playing, and is one of the few musicians who inarguably influenced literally everyone who came after him. Period.

So. It’s almost the fortieth anniversary of the man’s death, and I think all the legal issues surrounding his estate have finally been cleared up, which must be why there’s an abundance of cash-ins new Hendrix products being released in the coming months: for one thing, there’s going to be a new album of previously unreleased studio recordings, entitled Valleys of Neptune; you can watch the video for the title track, which wants really, really badly to appeal to stoners aging or otherwise, above. And then there’s gonna be a Hendrix-themed iPod for yuppies who want the world to know that they like good music.

On top of all of that, Hendrix’s sister, Janie – who controls his estate – apparently let it slip in a recent interview that there’s an edition of the video game Rock Band in the works which will center around her late brother. I guess Rock Band: The Beatles must have sold well despite the fact that rhythm games’ fifteen minutes are just about up.

Of course we have no way of knowing what Hendrix himself would have made of such a game, but… fuck it, I’d play it. If you can’t get right and pretend that you’re the rock god you’ll never actually be, why go on living?

-AR

[via Metal Insider]

I’m in my bunk. Everyone else is asleep. We’re riding through some windy dark mountain roads somewhere in Germany on the way to the next show. I’ve got “Ghost of Perdition” by Opeth blasting on my headphones. Figured that I would give that a spin. I haven’t really listened to them very much lately. I kinda burned out on them for a while. I never stopped loving their music, but I think I just had more than my brain could handle. When I got into after the release of Blackwater Park, all the way through the release of Ghost Reveries, I’d say that Opeth were on my iTunes at least once a day. They are a band that I’ve listened to, and listened to again, and again, and again. There’s always something new to find in their music. Not only did I listen my ass off but I went to their shows whenever possible. I saw them at least six times before I even met them. I ended up dating a member of their crew for a little while, so that meant more and more Opeth shows. Basically, I know my Opeth, and from the musicianship to the composition I think that they are one of the greatest bands of all time.

That said, I haven’t decided to listen to them in about a year before tonight. I just couldn’t bring myself to do it. Albums that I just absolutely love, I would consider and just be like, naaah. Maybe it’s the mental equivalent of a water-soluble vitamin like C. Once you have your dosage, the rest just gets released with your urine. Maybe your brain can only handle so much of one type of stimulus for so long before it shuts off to it. I mean that’s happened to me with other bands.

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He would have been 69 years old today.

I did an informal poll on Twitter to find good metal covers of Beatles songs, and while a number of people made creative suggestions and a lot of people were all into Beatallica n’ shit, the general consensus seemed to be that Motley Crue’s version of “Helter Skelter” still reigns supreme. So without further adieu…

Feel free to discuss your own favorite metal versions of songs originally by The Beatles below.

-AR

I don’t know how I missed this, but Bruce Springsteen turned sixty yesterday. SIXTY!!! And while The Boss obviously isn’t metal, he is really awesome. And far be it from me to miss an opportunity to post a video from my youth.

So here’s Springsteen doing The Beatles’ “Come Together” with a certain Hero Long Since Dead for the 1994 Rock N’ Roll Hall of Fame Induction of Elton John. For those of you who don’t remember, this really did seem cool fifteen years ago.

-AR

I haven’t done a blog in a while because the last blog I did really got me thinking about the mentality of people in the metal scene. Most particularly, the mentality of shit talking. We’re all guilty of it. I admitted to shit talking Bring Me The Horizon in magazines over in Europe when I was in God Forbid. I never heard them at that point. But now, I dig them and I feel pretty stupid for slagging them.

In my last blog I mentioned my excitement for the band Eryn Non Dae and how I was going to “borrow” some of their ideas for my new project. First of all, my last blog was PACKED with information about band business, touring and juicy tidbits of amazing knowledge :) But, the funny thing about the last blog was this guy ‘Jamie.’ Out of a five hundred word blog, he took the phrase “borrow ideas” and accused me and God Forbid of riding the coat tails of other popular bands. Killswitch was his biggest gripe. Then it was Opeth.

He claimed Gone Forever (2004) was a Killswitch rip and Earthsblood (2009) was an Opeth rip. This type of thing usually doesn’t bother me. In this instance I was fucking bothered. Jamie and I entered into a written brawl about the history of God Forbid and the intentions of our song writing for the last ten fucking years. Why would I waste my time to defend myself from this sort of claim?

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He looks a tad bit bored at first… but around the :30 mark his face lights up and he gets really into it, and by the end he’s having a smashing good time. It’s funny to see a drum legend playing a dumbed-down version of music that already has a really simple drum beat, and it’s hilarious when he fucks up at the end. I’d love to see him tear up some shit on the Expert level.

-VN

[Thanks: Brandon Marvin]

I’m not actually anti-Guitar Hero/rhythm games the way some people are, and this is only sorta kinda related to metal, but this satirical look into the making of Guitar Hero: The Beatles (not a real game, obviously) is too funny not to share.

-AR

[via CHUD]

Though recently convicted of murder, Phil Spector is regarded as one of the greatest music impresarios of the 20th century. His “Wall Of Sound” production style made him stand out from the pack, though the final results were not always met with appreciation by the artists with which he worked–perhaps the most noteworthy of these dissatisfied parties being The Beatles. Paul McCartney in particular loathed Spector’s approach on Let It Be, and a very different version of the album appeared in 2003. Whether or not such a revision will occur with Chris Cornell’s Timbaland-produced Scream remains to be seen, but an undeniably rock-centric version of his latest single certainly raises the question.

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