Showing posts with label AC/DC. Show all posts
Showing posts with label AC/DC. Show all posts

Sunday, February 15, 2015

You Shook Me

This is:

A) awesome.

2) proof that music—specifically, in this case, rock, but all genres, really—is a collaboration between artist and audience and that it does not belong just to the performer, not by a long stretch.

Just check out what happens when Matt Nathanson jokingly starts to play an AC/DC song and soon has to just hold on for dear life as it instantly spirals out of his control.


The bemused looks that pass between the guest and drummer at the very beginning, the look of utter astonishment on Nathanson's face when it takes off, the moment when he points at the guitarist questioning, and the guitarist nods, letting Nathanson know not to worry, that he's got the solo covered...amazing.

As a wise man once said,
Rock is art and a million other things as well—it's an indescribable form of communication and entertainment combined, and it's a two-way thing with very complex but real feedback processes as well. I don't think there's anything to match it.
(That same man also wrote, but did not sing, "it's the singer, not the song, that makes the music move along." He was right in both cases.)

Tuesday, May 6, 2014

A Hard Girls' Night

Nope.

Nope nope nope nope nope.


Look. My love of mashups is pure and true and well-documented. (Well...documented.) And, sure, John Lennon's and Paul McCartney's vocals sound great in just about any context, even laid atop an utterly witless piece of half-dimensional macho assdroolery. And yet...just...no. Dammit, no.

It's not like the Beatles are some untouchable artifact. Mash 'em with metal, with bubblegum, with funk, whatever. Just make it worthy and not a mash for mash's sake.

Mash 'em with something old:


(How the hell did they think to put those two songs together?)

Or something new:


(Most bizarrely underrated bassline ever.)

No, if you want to see what happens when this same creator takes a pair of great and almost totally unrelated songs (yeah, I know: Australia), witness the glory that is this:


Now that's how it's done.

Saturday, February 8, 2014

Highway to Hell

For all you zombies who thought, "you know what AC/DC really needs? A horn section."


Tom Morello looks like he's about ready to die of joy. And there's a certain delight to be had in watching Tom, Nils and Steve have themselves a little coolest headwear competition.

Thursday, June 7, 2012

Back in Black/Superstition

I love mashups. At their best, they can lead you to view the original source material in a new way, combine to create a discrete and valid artistic entity.

This is not that. This simply smooshes together the vocal line of one brilliant song with the powerhouse instrumental track of another recording. It doesn't really illuminate much, except, perhaps, to demonstrate yet again that there is no musical milieu in which you cannot place Stevie Wonder and have him utterly excel—and while that's not exactly news to anyone who's alert enough to tie his or her own shoes, well, some truths bear repeating.

On the other hand, the plethora of mashups featuring this backing track does emphasize just how powerful a piece of music it is. Furthermore, in this context, the final verse actually resembles some sort of proto-rap, with Brian Johnson spitting out words like a precursor to DMX.


 The horns are a nice touch, too.