i don’t come from a musical family, so i have no idea where it comes from. All i can say is, as long as i remember, whether they actually existed in a song or not i’ve always had harmonies in my head for anything that was on. This of course grew as i began to listen to things outside of what my mother played in the house. Regardless if it was screaming hardcore/punk, folk or R&B, everything got a harmony attached to it.
With that, as i joined a few bands and recorded a solo project or two as a teenager, there were a few songs i had wanted to cover. i had this elaborate plan in my head around how i wanted to go about it, but of course, nothing panned out. Over the years i did do covers (mostly a capella, on ukulele and on piano); however, the particular songs i had longed to do were not among that list- until now.
The way my brain works- If i have a bit of time in my schedule, i will randomly want to create something, whether that’s writing or music. When i was taking a shower- because that’s most likely what happened- the idea arrived that i could actually cover a few of the songs i had wanted to cover since i was a sad/angry teenager who loved harmonies.
One of the songs at the top of that list is ‘Safari’ by the Breeders. A well-beloved song by fans and appreciators, it is the title track from the 1992-released four song EP. Both The Breeders and Pixies (Kim Deal’s band prior to The Breeders) were among some of my earliest musical influences (and you can still hear some of that in music i play today); they also contributed to the development of my massive Steve Albini appreciation.
A direct tribute to Black Sabbath, the video was a apt accompaniment to the seemingly trippy but glorious (no pun intended) layering, with every instrument holding a simultaneous clarity. My favorite part of the song is the ethereal/atmospheric first twenty seconds- i always play this on repeat. Even more favorite is Josephine Wiggs (who rarely if ever gets credited for being the amazing bassist she is) seemingly stopping short, as she realized she wasn’t supposed to keep playing. Whether or not it was intentional, she hits a note that gives everything this perfect touch. Teenage me (who wanted to cover the song) was destined to figure out a way to pay tribute, with whatever limited access to equipment i had.
So here we are, 33 years later… i’m not the greatest ‘musician’ so it’s obviously not as clean or ethereal, but my dream of covering the song has come true. The main difference between the cover and original is that, for some reason, i did not use any toms during the intro/chorus riff; i cannot tell you why. i also added some harmonies, because that is what i do. Because as (the) Buzzcocks once sang, there’s always a harmony in my head.
Released in 1993, Bubble And Scrape by Sebadoh is one i played on repeat in my portable cassette player, among their other albums. A mix of messy punk rock and lovelorn homemade folk, their music satiated a love i had for both noise and beautiful harmonies.
As someone who identified as hopelessly romantic at the time, Lou Barlow’s tales of lost and unrequited love resonated with me, and they balanced perfectly with Eric Gaffney and Jason Lowenstein’s surrealist and intoxication-inspired narratives. ‘Think (Let Tomorrow Bee)’, the album’s penultimate song, was one i played on repeat, as i thought about the hundreds of ways i could tell someone i had feelings for them but was too scared to, because every time i did it always ended in rejection. Because of this, most days i kept my feelings inside, with the songs to keep me company.
As the song is just guitar and vocals it would be much easier to cover, but it’s not something i ever got around to… until now, 32 years later. i had no idea how i was going to approach things, until i sat down at the drums. This then gave me a better (if not full) idea of how i would potentially approach the rest of the song. After this, i added the bass, then some guide vocals. This all helped me to navigate how i would approach the keys. After messing around, what ended happening was something that ended up being completely different from the original, with the intention of it being completely respectful to the sentiment.
“We made a conscious decision, that in fusing our songs with these kinds of… to some people erudite;but I’d say higher consciousness, kinda nerdy type topics… was a way of stimulating conversation outside of the music venue. As I went on in my academic career I did that in science and in lecturing and places like that. And it gives me just as big a thrill to hear about these kids who come up to us all the time and say, you know, ‘I’m studying biology now because of a song that you wrote’, or ‘I’m gonna be a philosopher because of the song that you wrote.'”
Greg Graffin, 2013
Anyone reading this blog regularly knows that Bad Religion is one of my all-time favorite bands; i’ve actually covered them a couple of times (here and here). There are a few of the band’s positions i don’t particularly agree with (for starters, i am politically quite a bit more to the left than its members (if you can believe that); also, i am neither an atheist nor agnostic). That said, while i believe a spiritual or religious practice is something that can be helpful or provide structure to one’s life, i also hold the belief that a secular society devoid of the toxic dogmatism that exists in some circles is a far more progressive and humanistic society. i am an advocate for science. Additionally, i do not hold the belief that evolution and nature (or even a belief in God (or a higher being)) are mutually exclusive. Even if one holds steadfast in a religious practice, asking constant questions should be crucial in that practice.
The problem is that whether political, ideological or religious, some of the staunchest ‘believers’ refuse to ask questions. This is the ultimate proclamation of the band. Not all members of Bad Religion are even staunch atheists- there exists a spectrum of relative belief and non-belief in what society collectively holds as ‘God’. The statement is clear, even on their first album, How Could Hell Be Any Worse?:
It’s all right to have faith in god But when you bend to their rules and their fucking lies That’s when I start to have pity on you.
You’re living on a mound of dirt, But you can’t explain your reason for existence So you blame it on god.
So much hatred in this world and you can’t decide Who’s pulling the strings So you figure it’s god.
Your whole life foreshadows death And you finally realize you don’t want to die alone So you’ll always have god.
How we are meant to view (the specifically Christian interpretation of) God is based on individual perceptions and convenience. It is never consistent.
While Greg Graffin exclaims he “ain’t no deist” in the song ‘Materialist’ from The Process Of Belief, there are the additional lyrics: “The process of belief is an elixir when you’re weak/ I must confess, at times I indulge it on the sneak.”
i hold pretty strong political positions. That said, while i don’t identify as a Marxist-Leninist or Stalinist i am a person who honors dialectical and historical materialism, therefore it would make little sense of me to not ask questions of even beliefs or ideologies i hold. This is how we progress in accordance to particular material conditions at any given time. Nothing about life is static. (And i do see a connection between religion/spirituality and revolution, since it is material by its very nature, despite hardcore religious folks choosing to leave that out).
Despite not being an atheist or agnostic, i think the questions the band asks (not only of themselves, but the listener) are extremely critical. One also doesn’t necessarily have to wholly agree with a band’s views to enjoy them- as long as those views are not harmful and inhumane.
Additionally, the songs are well-crafted. ————————————————————————————————————————
The first BR (as they will herein and interchangeably be called) album i ever heard was No Control, and i immediately fell in love. The album was released one day before i turned 13, but of course, i heard it a few years later at the age of 15 or 16. i was an angry young punk kid back then, but i’ve always had an incredibly soft spot for harmonies, and always sang them to songs that didn’t have them. i used to also watch the Flipside-released concert a lot, where they did many of the songs from both their first (self-titled) EP, as well as their first album.
When Graffin, in an interview with Rolling Stone in 1994 said that “(f)olk music usually has an emphasis on the lyrics and melody. And those lyrics are usually relevant in some way. And it’s populist in scope, which is also true of Bad Religion,” this makes total sense to me. He added, “So it’s more meant to draw some parallels between the two. And I think even my voice and my delivery can be thought of as a little bit folky.”
No Control satiated my desire to have music that was both critical of society, as well as carry impressive harmonies. It also further encouraged my love of reading, and the teenage me had to constantly pick up a dictionary or thesaurus, as the lyrics educated me on new words. i played that cassette what seemed like every day, among additionally getting their other albums. Their songs lent to various subjects i was passionate about at the time (and still am)- the Earth’s destruction due to human apathy, callousness and plundering of resources; fervent right-wing religious nationalism; and of course, the refusal to ask questions of the societies we live in, and the practices we partake in.
And the palaces now stand where the coffins all were laid, And the times we see ahead, we must glaze with rosy hues, For we don’t wish to admit what it is we have to lose. Millenia incoming, the modern age is here. It sanctifies the future, yet renders us with fear.
As i was coming to actively resist was was taught to me, Change Of Ideas was a much welcomed song in my life. ————————————————————————————————————————
Graffin, the band’s co-founder, lead vocalist and primary co-writer (as well as its longest-serving member in their 43-year existence) received a Bachelor of Science from UCLA, as well as a Ph.D in zoology from Cornell University. In addition to being in a punk band, he alternates as a professor and lecturer. i was not aware of this fact when i first got into his band, but in all my years of listening to them it makes absolute sense.
He has written university-based dissertations, as well as several books which are a reflection of his humanist/naturalist ideas. While Do What You Want reflects on the collective joys and struggles of the band; Population Wars and Anarchy Evolution emphasize the connections between community, art and science. Punk Paradox, as a memoir, leans even more on the personal and contemplative. Even as, again, i am not a ‘nonbeliever’, his writing ropes you in and takes you on a journey. As a person who is a writer and loves writing… a lot (yet still struggles with the label); as a person who is a better writer than speaker; and as a person who is attracted to particular styles of writing (including the various ways people alter traditions of language), Graffin certainly has a way with words.
How he makes a connection between a mosh pit and the punk community and evolutionary biology in chapter 7 of Anarchy is incredibly compelling. In chapter 6 of Population he recounts a story of a woman sneezing close to him on a plane, utilizing this as an example of how population wars are also an internal, biological factor. He follows this with a fascinating experience he had visiting a cathedral in Cologne, Germany: “I may not “believe,” but I can respect the human achievement involved in the building of it, especially considering that work started in 1248, centuries before the first bulldozer or high-rise crane.”
In a passage evocative of a BR lyric, he adds: “I stand next to a teenager speaking Spanish; he’s wearing cutoff shorts and a T-shirt that says “Hellfest 2013.” We are joined by a noisy gang of Americans, talking loudly about their visit to the Cathedral of the Saint John the Divine in New York last Christmas for a new-age music concert performed by Paul Winter. In fact, it seems that most of the visitors from distant lands were simply eager to marvel at the grandiosity of the building. I noticed, furthermore, that only a very small percentage of people who enter this “active place of worship” seem interested in any kind of traditional prayer or pilgrimage.” ———————————————————————————————————————-
While all members throughout the history of the band have had a hand in co-writing a song or two, Brett Gurewitz has been the other primary songwriter, making him and Graffin, according to some, the ‘Lennon and McCartney of punk.’ While he took a leave of absence for a few years (focusing largely on running Epitaph Records (among other things)), his presence and influence has always been powerful. Gurewitz currently doesn’t tour extensively with the band but still creates with them. While Graffin’s pen game is indicative of his time and tenure as a professor (and evolutionary biologist), ‘Mr. Brett’ is no slouch when it comes to the five dollar words. His less than veiled nod to pop sensibilities and keen wit (plus slight sentimentality) are a perfect balance to Graffin’s biting sarcasm and folk influences.
The reason why Bad Religion are so effective as a musical and cultural entity/institution though, cannot simply be because of these two. Jay Bentley (who spent a bit of time in T.S.O.L.)’s effective, walking bass lines, as well as the positive energy he displays on stage and off can never be understated. Guitarists Brian Baker, Greg Hetson and Mike Dimkich (who have history in Minor Threat/Dag Nasty, Circle Jerks and the Cult respectfully- Hetson is no longer in BR) have given the band specific texture and layers that aren’t necessarily common among their peers; Jay Ziskrout, Pete Finestone, Bobby Schayer, Brooks Wackerman (whose roots are in jazz and currently plays with Avenged Sevenfold) and Jamie Miller are all important contributing factors to the drumming legacy of the band. While you can hear distinct personalities in each of them (particularly the longer-serving drummers); there is a simultaneous seamlessness that hasn’t been interrupted.
“When it comes down to it, songwriting is self-control. Most of what you spend your day doing, you have to throw away at the end of the day. It’s not good enough. You think it sounds cool, but it’s just not good enough. It’s hard work. It’s not fun. It can be torture, but when you get a song right it’s the most life-affirming thing. It’s pure elation.”
Greg Graffin
The other reason for the band’s effectiveness is because the lyrics display a significant timelessness. Despite a very thinly veiled cynicism overlooking the subject matter, there is also more than a glimmer of optimism. On The Gray Race (their second album from the Atlantic Records period), chapter 17 of Do What You Want describes Graffin stating in interviews that the album is “the band’s most emotional album.”
“Although it’s not a concept album, the title track serves as an organizing principle for the rest of the record. The gray race is the human species because we are the only species on the planet that can see things in terms other than black-and-white, e.g., fight or flight, kill or be killed, et cetera. Humans can perceive a middle ground that encompasses a wide range of emotions like love, empathy, kindness , and other altruistic impulses, i.e., the feelings that give life meaning. Despite this ability, our species continually creates systems that encourage (if not enforce) a black-and-white duality to existence that is responsible for war, sickness, starvation, and a host of other maladies that could be prevented if we worked together as a species. This album’s message is simple: either we have to create new ways of coexisting in the world or we are doomed to destroy one another.”
It is here i will mention Paul Dedona (bass) or Davy Goldman (drums)’s contributions to the much-maligned second (album) release, Into The Unknown. Synth heavy, it was an incredible departure for the band to take, after releasing a seminal, heavily lauded inaugural album. i would personally compare this to the public’s unfavorable reception upon the release of Lou Reed and Metallica’s Lulu (and St. Anger, to a degree). And just like with those two albums, i actually really like Into The Unknown. While the band has performed a couple of the songs live within the past 10 or so years, the album seems to be largely ignored in their sets, from what i can see.
The Todd Rundgren-produced The New America is another album that tends to be lower on peoples’ BR lists- including the band, based on their not-so-positive experiences with Rundgren (who was a childhood hero of Graffin’s) among other things. Bad Religion is one of those bands where i have all of their studio albums; at this point they have 17 of them. And like with Metallica, there are some albums i connect with more than others, yet i do not dislike any of them at all. ————————————————————————————————————————
Although i had covered a couple of their songs on this blog (as mentioned), and even suggested that a fuller post would be done in the future; it was a conversation i had with my friend Christian (who i discovered was a lover of BR as well) that inspired the actual idea to do it sooner than later. The seed that got the conversation with him was actually my last post, where i opined that a certain section of Metallica’s ‘Spit Out The Bone’ sounded like it would be welcome as a Bad Religion song.
In the course of struggling to figure out which songs i was going to cover, an idea began to flourish. Knowing they downtune their songs live (as many do), i recognized that more than a few of them happen to be in my favorite key of all time: F sharp minor, or F#m.
This has been my favorite key in the whole world since a child, but i had no idea what it was called until more recently, to be honest. i cannot read music, and i would not be able to play back a note if you asked me what it was- except this one, i suppose. i also cannot play a barre chord on the guitar to save my life, and apparently an F#m is difficult to play for many guitar players, from the little research i did.
Now that i had a premise though, i had to choose a collection of songs. Initially i was going to play either the drums or bass (as usual), but i made the decision to go all out and deconstruct the songs in my own way- primarily in F#m. This is the first post i’ve ever done on this site, where all of the songs posted are with instruments completely played by me, from the ground up. There were a few late nights/early mornings spent in the St. Anger room, where jesse poked their head in occasionally to say hello. It intrigues me (and simultaneously makes me laugh) how there’s a whole room of instruments, and jesse has no inclination to play anything in it. i’m definitely interested in seeing more information on the science of humans who have no interest in playing and/or listening to music at all. ———————————————————————————————————————-
The first thing i realized in the middle of the process of choosing songs is the inevitability of this being a multi-part tribute to this band. They have too many great songs. i am not an advanced (jazz-based) drummer like Brooks Wackerman; i cannot give rousing solos like Greg Hetson; and my singing and writing skills are not as solid as Greg Graffin’s. But i still wanted to do it.
Because i love this band.
One of my favorite things about this band is the harmonies, so i wanted to honor them in this way as well. i opted for trying a ‘Golden Shower Of Hits’ (if you will) via an a capella medley: ’True North’ (True North); ‘Better Off Dead’ (Stranger Than Fiction); ‘Only Rain’ (The Dissent Of Man); ‘My Poor Friend Me’ (Recipe For Hate); and ‘Slumber’ (Stranger Than Fiction).
One thing i will say about recording vocals is that singing through random and sudden physical pain (and occasional internal amputated limb itching that you cannot scratch) is interesting. i am not the greatest singer either, so among the ‘Oozin’ aahs’ you will hear some voice cracks, and some ‘interesting’ notes.
In the Rolling Stone issue mentioned above, Graffin also said this: “We actually try to keep opinions out of it, usually. Our music is just based on relevant issues, that’s all I can say. Politics are all about getting people to think your way. It’s subtle or sometimes overt coercion, and that’s the opposite of what Bad Religion are all about.” While they didn’t necessarily talk consistently about specific political parties in their music at the time of the interview, i’ve always seen the band’s content as being staunchly political, as everything we do is informed by politics. Environmentalism and a heavy critique on right wing cristofascism are indeed political subjects.
That said, in terms of the common perception people have when it comes to ‘politics’, the band were also pretty decisive in their wrath for the Bush and Trump administrations specifically, and made songs (and you could say albums) barely concealing said wrath. Evidence of this altered trajectory over the years was made from Brett Gurewitz in 2019: “In this time of tribal nationalism, dissent, as a form of political speech, is vital to democracy.” In 2016 one of the t-shirts repping the ‘Vox Populi’ tour had a not-so favorable position on both Trump and Hillary Clinton- a position i definitely agree with the band on. I tend to have a rule on not wearing t-shirts of tours i have not seen (and it’s hard to catch a show of theirs since they tend to sell out immediately), but this is the one occasion i can think of, in terms of breaking that rule. i saw BR for the first time ever this year actually, at the Download Festival (in the UK). There were only a handful of bands i wanted to see (Metallica, The HU and Soul Glo were among the three i caught out of the handful, but i missed most of them based on how inaccessible the area was… While i HEARD THEIR SET from the outside, I MISSED MUNICIPAL WASTE- BOOOO); Bad Religion were added pretty soon before the festival to replace The Distillers. Things were made better when i ended up meeting these men from Nottingham, who were also massive BR fans. We all danced and screamed the lyrics together and celebrated life- one of the men was a cancer survivor.
i’m speaking of this because The Empire Strikes First is, for all intents and purposes, a decisively political album (in the way politics is usually addressed- the song ‘Let The Eat War’ even includes the overtly political Sage Francis (who was also an artist on Epitaph around this time)).
The album’s cover is interesting, because while it is an image of a man with praying hands, his hands also look bomb-like.
My favorite Bad Religion song of all time as i write this is ‘To Another Abyss,’ which comes from this album. While it is ultimately a song that can be read as a critique of the effects, dynamics, machinations and inhumanity of imperialist war; i also see it as a mini-treatise of sorts, conveying the feeling of living in a place which is incongruous to pretty much everything you stand for ideologically, politically and humanistically; this place you reside (and were most likely born in) is not home, and it ultimately never has been home.
This actually was not an easy song to sing. i have so much respect for Mr. Graffin and his vocal abilities. It just seems so effortless for him.
i did vocals (obviously), and played bass, guitar, drums and keys.
The Process Of Belief is generally seen by the community of fans and admirers as the band’s ‘return to form’; it is also their first album released on Epitaph in nine years (since Recipe For Hate), as well as the point we see Brett Gurewitz’ return as a full member of the band, plus the introduction of Brooks Wackerman. While it is indeed one of my favorite albums from the band, i don’t see their other albums as any less.
‘Bored & Extremely Dangerous’ (the album’s closer) is a heartbreaking song. While it wasn’t nonexistent, the current pervasiveness of the conversation and questions regarding ‘men and boys being left behind, contributing to their isolation and lonliness,’ incels, school/etc. shooters and the like were not as common in 2002 (when this album was released). The lyrics are succinct, and while the song is simultaneously a critique of the human subject in the song and the pernicious culture which births such humans; it is also a very empathetic reading:
A room and empty shelf A book on mental health I look for inner wealth By punishing myself I’m bored to the extreme This world of foolish dreams Disillusion I am not who I seem to be Yeah sure I might do harm And bare my right to arm RETRIBUTION If only someone would listen to me Listen to me
This song is interesting in that it pulls a King Crimson (Or early post-Genesis Peter Gabriel, or something musically similar) and places a bunch of experimental and environmental sounds and echoes in the middle of the song, for about a minute. When they’ve done the song live, Greg Graffin (who has three solo country and folk-influenced albums, which i also have) performs the song on acoustic guitar, while the second half is the whole band, electrically.
i love punk music so much. Your favorite punk bands don’t only listen to punk music. If this were the case, it wouldn’t be particularly interesting as a whole.
i of course, did not include this experimental part when i covered it, and arranged it in a way where the song (hopefully) flows without it. i played bass, vocals, drums, and some (messy) power chords on the guitar.
‘American Jesus’ (from Recipe For Hate) was a song i always wanted to cover, but i wasn’t sure how i was going to address it. i can play the opening riff on guitar- to me, it is one of the greatest riffs of all time- but i cannot play it consistently at 182 BPM, which the song is, without immediately messing it up.
Given the subject of the song, i wanted to open (and only open) with a church organ sound. What ended up happening was that the keys were the thing to drive the song, and i was able to play the riff fast in that way. In the end, the song (ironically, perhaps) ended up sounding similar to what a band like T.S.O.L. would do… or maybe Catholic Discipline?
Bad Religion, again, musically contributed to a conversation that was not as pervasive (though still existent) as it is now, back in 1993. Christian nationalism is very real (to the point where hardcore evangelical folks in the U.S. now find Jesus… JESUS- to be too liberal. i mean, if you actually take what was written about Jesus literally, the man waged a praxis of socialist principles. The fact that there are people who consider themselves Christians, yet are opposed to the teachings of someone they claim to worship and consider God… This should tell you a lot about the driving principles and ideologies of this country).
If i was suddenly dropped into a random city in the U.S. without any knowledge of its customs, i’d certainly think wholly negatively of Christianity. How it’s generally performed and perceived here (and spread around the world) is incredibly traumatizing and isolating to anyone on the political and social margins.
About the song, when i first heard it it reminded me solidly of the Ramones, so of course in the cover i did i had to give a little nod. i sang (of course) and played keys, bass and drums.
While i was working on the cover i was messing around, and found some pretty cool effects, and playing the ‘American Jesus’ riff reminded me of Kraftwerk. i also added a djembe effect. Pictured in the photo montage are a few of the instruments Kraftwerk used over the years: a Vako Orchestron, a prototype of the Synthanorma sequencer, a Minimoog, and a Maestro Rhythm King (MK-1). It’s a fairly meditative song, in comparison to all the punk you just heard.
This post is dedicated to my fellow lovers of Bad Religion: Bryan, Christian, José, the men from Nottingham, and Chris.
Metallica were babies when they released their first two albums, Kill ‘Em All (July 25) and Ride The Lightning (July 27) respectively. And now as they’ve grown to be elders, they can look back at the much-cherished work they created and produced 39 and 38 years ago. In figuring out what to do for this post to commemorate this occasion, i realized i covered most of the songs off the albums. After this post, i will only have two songs left from KEA, and no songs left from Lightning.
i’m laughing listening to KEA though, because after 30 years of listening to that album, i didn’t notice all the dope things Cliff Burton was doing on bass until much, much later. The bass tends to be low in the mix with this band (one of the biggest critiques i have about the earlier albums), but if you listen carefully, he is doing these amazing runs and trills and counter-rhythms. There’s a reason the dude had his own song on their first album (‘Anesthesia (Pulling Teeth’))- one of the few times a bassist is highlighted in a metal band. You think he’s playing with the rhythm guitar, but he’s off doing something else.
‘No Remorse’ (from KEA) is a perfect example of this. You need a really good system or headphones to really hear what Cliff is doing. The intro riff one of my top 3 on that whole album; they write so many riffs they just stick them in random spots, making the song a little more interesting. Any performances they do of the song in more recent years, they take out that whole bridge, which is a part i love. The song also has the beloved (at least by me) rhythmic illusion. i can’t be the only one who counts differently when the verse riff initially comes in.
i also always have to laugh because in the final verse, Hetfield sings “We are ready to kill all comers,” but it always gets misheard as “all drummers.” i messed up a bit here, but what is life if you don’t make mistakes once in a while?
i wanted to switch it up a bit for the final song on KEA, ‘Metal Militia’. Instead of following along with the thrash original, i decided to make it swing a bit. Does that make the song less metal? Perhaps.
Or perhaps the song is now more metal. Hmmmmmmmm…
This next song, i have been avoiding. It was the final song left from Ride The Lightning, so i figured the best way to do it was to not be on camera.
As i was creating the base for ‘Fade To Black’ (which was drums), i omitted vocals so i would be able to get through the song. i played as much to the song as possible, but it was the only thing i did that relatively ‘matched’ the song. Even without the vocals you could still hear some bleedthrough (as well as my own head singing the song), so it took everything out of me not to break down. The more i worked on the song i did leave the vocals in, but i ended tuning them out just so i could, again, get through the song.
i took musical cues (obviously), but like most of these covers i do from scratch, they end up sounding not very much like the original…. because i know how to play to my limitations. i know what lane i can go in musically, while at the same time doing my best to honor the original- which is what i hope i’ve done, and continue to do.
The song (which originally was said to be about getting some instruments stolen) has taken a life (if you can say that) of its own. James Hetfield is now describing the song in recent times as being about ending one’s life; he’s also been regularly announcing that those who are struggling in whatever way are not alone, and to please find someone to speak to. The first time i can recall him speaking to not being alone was at the 40th anniversary shows in 2021. i was taken aback (and figured, as i mentioned at the time) that there were a few things he said at the shows that seemed to indicate he was going through something. When he announced this year on stage in Brazil about his mental health struggles, i figured my hunch was correct.
What he said at the 40th Anniversary show didn’t hit me until the next day, and i kept a lot of my thoughts inside until i couldn’t anymore. And i cried rivers.
As a person who has on several occasions attempted to end my life; as a person who struggles every day with depression, the song is extremely difficult for me to listen to. The lyrics speak succinctly about the very feelings i had when i’ve made attempts, and even when i’ve thought about doing it. Many days are better than others, and some days i just don’t feel like even getting out of bed. Even though i’ve learned to like myself at the age of 39 (and love myself at the age of 42), i still ask myself some days (as i am about to be 46) if it’s all worth it. i do live with survivor’s guilt (as a person who almost died but survived an accident that forever altered my body); i feel like people see me as better than i actually feel about myself, when it comes to some things. i found out ways i can manage all of these complex feelings and experiences, but none of it is easy.
One thing that really does help is playing and creating music. i really do hope anyone who reads these posts and listens understands the respect i aim and hope to give these beautiful songs that have meant so much to me.
(All instruments- drums, guitar, bass and keys are by me, except for lead solo (Hammett- one of his greatest) and vocals (Hetfield))
It has been some week… i was pretty wiped out from getting a booster (which will be helpful since i’m actually going to see Metallica next month- Wheeeeeeeeee); i also was pretty busy with meetings and organizing work, where i wasn’t able to get a post in. Also… My brain since the accident randomly decides to shut down, and there’s points where i don’t seem able to do things in effective ways. It’s also much more difficult to understand, for example, group chats, in the way i used to be able to. i am wondering if this is a latent effect of a concussion.
So of course, there are times when i’m playing instruments, and i will get really extreme brain farts, despite me playing the same part a minute prior. Playing music and writing have been really helpful for my brain’s activity. Thinking about all of this sometimes gives me massive depression; i am definitely grateful to the universe that i am still able to process things as much as i can, and that i didn’t suffer as much damage to my brain as i could have.
That said, we are still here, and i guess there will be two ‘Metallica Fridays’ posts this week. Given that i hadn’t done any songs from the ‘Ktulu’ series yet, i figured i’d just put them all together.
Though i am aware of the legend of Cthulhu (primarily from Metallica, as well as some friends who were fond of the writings of H.P. Lovecraft), i always avoided any writings because of the author’s massively racist history, which friends of mine who enjoyed his writings struggled with (he infamously called a cat friend of his a certain racial epithet). While his views (very) slightly shifted towards the end of his life after the nazi rise to power (as well as whatever KKK fallout occurred at that time); looking into it though, his politics were still massively problematic. In the latter part of his life (the dude died in 1937), he still held massively anti-African and anti-Jewish beliefs. In a letter to Catherine Lucille Moore (dated 1936), he still believed in the concept of “biological inferiority” and the “sub species”. i know that many people tend to separate the art from the artist, regardless of how problematic the artist is. i listen to lots of music where the artists don’t necessarily share the same ideological framework as i do… however, there is a fine line i do have, when it comes to art, and racism is one of them.
Despite the fact that Lovecraft died believing in the pseudo-science of racial superiority on some level; the songs Metallica got out of his writings are quite good, so i guess i will stick with that. Just to make this easier, we will go chronologically.
‘The Call Of Ktulu’ is the first in the series, the final song hailing from 1984’s Ride The Lightning. As usual, i had a particular idea how i wanted to do this song, and it ended up as a whole different thing. Also as usual, the drum was the skeleton for the rest of the song. The keys came next, then bass, then guitar. i play guitar, but i am in no way, shape or form a guitarist… But i won’t say i’m a bassist or keyboardist either! Am i a drummer though? That’s up to you to answer.
i didn’t listen to the song at all while crafting this cover- so while the theme is obviously similar, it has a different feel. i’ve heard the song enough times to know how it goes, heh heh… It is always interesting to create something from memory, from scratch.
(Drums, keys, guitar and bass are all by me. The intro is by nature.)
‘The Thing That Should Not Be’ (from 1986’s Master Of Puppets) is the PERFECT Lars Ulrich song, and i took advantage of that. While he certainly is notorious for doing fills all over the place, i honestly don’t think he does as many as people joke about- at least not on record. The China cymbal is another story…
i honestly love his style (as most people who read this site know), and he is a major inspiration for what i do. His style is often imitated, but never duplicated. Really, NO ONE drums like the guy. That said, ‘Thing’ is fill city, for sure (just as songs like ‘Wherever I May Roam’ are). So of course i took that opportunity to just visit and chill in fill city. and even so, i still probably didn’t do as many fills as Lars. ‘Thing’ is a great Cliff Notes (no pun intended) edition of the Cthulhu/Ktulu legend. Metallica, as i keep saying, can write dope songs in their sleep.
‘Dream No More’ (from 2016’s Hardwired… To Self Destruct) is my absolute favorite of the ‘Ktulu’ trio. It is also my 24th favorite Metallica song of all time. The song is massively slept on, and goes hard. As the album is more of a nod to their NWOBHM roots, ‘Dream’ has got a Sabbath influence all over it. The pre-chorus riff, as well as the intro/bridge/almost end riff are among my favorites in their whole catalog. i mean, this whole song is filled with excellent riffs thoughout.
If i could only write a riff this good…
Interestingly, my primary influence for drumming this song is not Lars, but Stevie Wonder.
Yes, i know today is Saturday. It took a while to do the editing, , so i’m posting this later than usual.
As i’ve probably mentioned before, i have a lot of music floating around in my head. So many things sound like music to me. So of course (because i needed to laugh) i put on one of those James Hetfield ‘Yeah’ compilations. As i’m sitting there laughing a rhythm popped in my head, and an idea was born.
i am a huge fan of house music; i’ve made a series of house songs and remixes before, and several beats were experimented on before the one which ended up here. Hetfield is (to me) one of the greatest voices in rock/metal, but his voice is musical enough to fit in various spaces. i’m not sure that strict metal fans would be into something like this, but hopefully folks will enjoy it. Though it took a while to create it was a lot of fun to make.
i have a feeling the most diehard of Metallica fans will know the specific footage, as well as where all (or most) of the ‘Yeahs’ come from. There is such an amazing wealth of ‘Yeahs’; if i were to put them all in a song, it would be a half hour song (at least). It was difficult to choose. i felt inspired by doing this one, i thought about what songs i could do for the other dudes in the band.
Stay tuned…
(All instruments and drum programming: me. All images and video courtesy of the internet)
i know i said ‘The God That Failed’ was the song that made me a fan of The Black Album (aka Metallica); however, ‘Through The Never’ has always been my favorite song on the album. i obviously always enjoyed it, but its significance holds a lot more to me since the accident. Not all of their songs are sad or angry (of course), but it’s one of the few Metallica songs that always put me in that happy place.
i have sketch of a tattoo inspired by the song. i have yet to get it because the person who regularly does my tattoos has been planning to custom make a piece for me.
‘Whiplash’ was a song i attempted practicing over the course of a few months, and was never able to get through it. What can i say? i’m a basic drummer. This was the first time i actually got through the whole song, and it was rough. My arms were killing me. i realize i didn’t always hit the crash on the ‘correct’ beat (and i know i messed up a couple of times), but look… i just tried to get through the song without falling over!
i’m already a pretty harsh critic of myself, but i have to say… the fact that i got through this song is an accomplishment. i usually can’t tell, but i actually realized as a result of finishing this song that my drumming, while not perfect (or on the level of my favorite drummers), is actually getting better.
‘Whiplash’ has one of my top 3 favorite riffs on Kill ‘Em All– the final one, with the 16th note ‘disco’ drums… i told y’all i was in love with the 16th note stuff in punk and metal. i love that they extend it during live shows. i also love the period when they did a tease of ‘Frayed Ends Of Sanity’ and ‘Wasting My Hate’ at the end of shows as well.
i game my arms a little break and kept it ‘back to (the very) basics’ for ‘Halo On Fire’, which is in my view, an extremely slept on song- the band only performed the song 90 times live. The song is one of their most cinematic, and in many ways, sorrowful.
Before the album version of the song i added a version of the intro they did during live performances, and added some keys there. That one was from 2018, in Stuttgart, Germany.
i know people like to clown Metallica for a variety of reasons, but if you actually sit and listen to their music, there’s something about it that is transcendent. There’s a reason they’ve been around for 40 years, and still going.
Before we get into things, i just wanted to say that i reconnected with the folks i was in my first band with (you can hear one of our songs in the first ever post i made). It was a very nice surprise. It was over 20 years since we all spoke. Apparently, they found me through this site.
So whoever is sharing this site with others, i appreciate you.
Now, i’m going to say something else you all probably know (especially since i make these posts every Friday), but in figuring out what songs to do this week i kept thinking, ‘Metallica is so good.’ i know they are ‘technically’ a metal band; however, the musical and lyrical content are shaped in ways that are relatable to many.
The songs i chose this week, i think fit that description.
i realized that i covered songs from every album (not including EPs, collaborations, live or covers albums) for these posts… except for Hardwired… To Self Destruct. It’s strange that i have already covered every album (because it doesn’t seem that way), and it’s strange that i haven’t done anything from Hardwired (because i love that album, as i love them all). i figured that ‘Moth Into Flame’ would be a good first song. It’s one of a handful of songs that discuss the ‘dangers of celebrity culture/fame.’ James Hetfield spoke in interviews how the lyrics were inspired by seeing Amy Winehouse.
It’s not a life i wish onto anybody.
It’s a pretty sad song, if you really think about it.
Onto more sad songs… A lot of people dub St. Anger as the band’s ‘therapy’ album; however, i maintain that Load (my favorite Metallica album) and ReLoad (my 4th favorite of theirs) walked so St. Anger could run. So many of those songs are tales of self-reflection, addiction, regret and so many other struggles.
‘Low Man’s Lyric’ has been interpreted as being about so many things, but that’s (again) what makes the music of Metallica so effective. i was thinking about how i could ‘reinterpret’ the song… Firstly, i don’t have a hurdy gurdy (the one thing which drives the main musical theme of the song). Secondly, i’m not the greatest musician. Third, i don’t have the equipment to do a ton of layering in the way the song deserves.
i asked myself how i could translate the pain of the song into something on the keyboard. i hope i did alright. Everything (except vocals and drums) is me.
‘Mama Said’ is my 4th favorite Metallica song of all time. Again, i was wondering how i would do justice to such a great song. This one was incredibly hard to do though (especially since i’m not the greatest singer or musician)- this is one of those songs that make me cry. i did have a bit of a chuckle though, listening to Lars’ drumming. His drumming is unmistakable, and this was also during the ‘Bob Rock’ period, so the sound was pretty massive.
This song means a lot to me though, and i did get a tattoo (on my palms) inspired by it):
The tattoo has long since faded. But what’s left of it still a reminder to let go, and be still. In order to grow, you must let go. You have to be able to take the things you learned in life, and not be paralyzed by the heartbreak of ‘what could have been.’ You have to be able to stop wanting love from those who don’t have the capacity to give it.
