‘Song 2’ was originally released in 1997 on Blur’s fifth album, titled ‘Blur’. There’s lots of interesting stories that go along with the song. At first it was just a slower acoustic piece Damon Albarn was messing around with and the now famous ‘woo-hoo’ was whistled. Their guitarist Graham Coxon suggested speeding it up and crushing the volume really loud. They then asked their record company to release it as a single, more or less just to mess with the record company executives as the song was pretty much a total departure from all the songs they had been successful with previously. The band was surprised by the fact that the record company released it and the amount of success the song had. I think one reason it was successful was by that time many people had become accustomed to the ‘quiet verse, loud chorus’ style. Numerous bands like Pixies had used this style before and Nirvana took it to a whole new level of public recognition. The name ‘Song 2’ was just a place holder name as it was the second track on the album. The band decided it would be fun to just keep that as the title.
We decided to cover this because, first, we’ve always loved the song (pretty much a requirement if we’re going to mess with it). Second, it presented a challenge to record it acoustically. How do you do the loud part to make it different than the verses? Blur crushes the chorus guitar part, but even more so the bass part, with huge mounds of distortion. This gives the original song a massive change in volume and dynamics. And another challenge is the chords in the verses and choruses are pretty much the same, so the dynamic change has to done using different instruments. For the verses we went with mandolins – the left and right channels are separate mandolin parts. The chords are the same, but the fingering is a bit different. There’s also a single string played on twelve string guitar in the verse. The mandolin parts go throughout the entire song, but when the chorus starts we added chords on twelve string guitar, six string guitar and a bass part (no distortion of course). Throughout the song percussion is simply a Indian hand drum for the bass and a wood block for the snare. We multi tracked all the vocals and put a lot of reverb and delay on them – the vocals on the original song are pretty straight forward.
Here’s Electrostatic Rhythm Pigs covering Blur’s ‘Song 2’:
‘Hash Pipe’ was released in 2001 on Weezer’s third album titled ‘Weezer’ but usually referred to as ‘The Green Album’ (since they’ve used ‘Weezer’ as the title of several albums). I’ve always liked the straight forward, hit you on the head with a hammer nature of the main riff. When it came out I was also fascinated that it was a radio single considering the title and the nature of the lyrics. It’s interesting that when I went to the the official video to relearn the song the video now says ‘revised’ and they’ve totally cut out the lyric line in the song with the words ‘hash pipe’. Not bleeped out words – the musical line is totally removed! Ummmm- OK.
Part of the reason we do the cover songs is to work on the recording process and song arrangement so we can apply what we learn to our own songs. Song arrangement is a process people don’t usually consciously think about when they listen to music, but it’s a very important part of making any song have a distinct sound and feel. For instance in ‘Hash Pipe’ even though we used acoustic instruments and don’t have a drum kit to drive the beat, the acoustic version we did sounds a bit denser to me. That’s a result of using a variety of instruments playing more arpeggiated parts. So while the original may have more straight forward power drive, an acoustic version may sound softer but still a bit ‘thicker’. That’s all part of the learning process. This version has two six string acoustic guitars, a twelve string acoustic, banjo, bass, wood block, shaker and tambourine and several tracks of vocals. The lead riff is done with mandolin and a six string banjo.
Electrostatic Rhythm Pigs cover Weezer’s ‘Hash Pipe’:
For Part 15 of our Messin’ With The Music’ series we decided to tackle ‘Lawyers’ Guns And Money’ by Warren Zevon. The song comes from Zevon’s 1978 album ‘Excitable Boy’. This was a huge album for Zevon and contained many of the songs people know from him – ‘Excitable Boy’, ‘Werewolves Of London’, ‘Roland The Headless Thompson Gunner’ as well as ‘Lawyers, Guns And Money’. There’s a lot of ways you can describe Zevon’s songwriting, but one part of his music that I always enjoy is the entertainment value of the lyrics. First, his vocal style makes the lyrics pretty easy to hear and understand. Many of the song lyrics are built as stories: some humor, some fun, some just out and out strange. He may be an acquired taste for some people, but you’ll absolutely recognize who it is when you hear them on the radio. Another cool thing about this album is the amazing amount of well known musicians who participated in the recording besides the ‘main band’: John McVie and Mick Fleetwood from Fleetwood Mac, Jackson Browne, Jeff Porcaro, Linda Ronstadt, J.D. Souther, Waddy Wachtel, Jennifer Warnes, Danny Kortchmar to name a few. Some of those names might not be as familiar, but if you look them up you’ll see how many well known songs and albums they’ve played on. Zevon was definitely a well respected musician among his peers.
For our version the main instrument holding down the song is a twelve string guitar. We recorded it twice and panned the tracks hard left and right. For these acoustic versions this is a common way we start the songs as it builds a good stereo field and makes the song sound full. If you had drums and electric guitars, they would usually handle that part of the recording. There is a six string guitar and a six string banjo. Besides the chords during the vocals, they play riffs in between the vocal parts, sort of mirroring the guitar that plays on the original song after the second verse. We also added mandolin and bass parts. There are duo vocals on this song – we actually sang both live in the same room at the same time. That was a lot of fun. We’d usually add some percussion, but with the banjo and guitar playing riffs, it seemed pretty full and more percussion wasn’t necessary.
Electrostatic Rhythm Pigs cover Warren Zevon’s ‘Lawyers, Guns and Money’:
After sending out the October Grapevine last week, I was listening to other music showing up in my internet feed. I came across this video of Tommy Emmanuel. I had heard of him before – he’s pretty well known as a virtuoso guitar player. He’s mostly known as an acoustic guitar finger picker. This video is of him playing Classical Gas, a song that was big when I was younger. My guitar teacher had me learn the basics of it. I watched this video, probably with my mouth open in awe the whole time. Our series Messin’ With The Music was based on trying to redo songs acoustically and pretty much ‘live’ by recording the tracks straight through, showing the sounds you can create using just that format. Tommy Emmanuel takes the acoustic guitar and pushes it to the limit. The speed, accuracy and timing is other worldly. This video shows how much sound and style you can produce with one acoustic instrument. There’s even a guitar bend he does that sounds like a whammy bar on an electric guitar. And the timing in and out of it is perfect. Enjoy.
Welcome to another entry in our Messin With The Music series. The recording of this song comes with an interesting history. ‘How Many More Times’ is a Led Zeppelin classic from their first album. It is also the first song we actually recorded for the series. Electrostatic Rhythm Pigs, like most bands, has gone through a number of band member changes. We had spent a lot of years always trying to have a full band together that was capable of playing live. Each time someone would leave or a new musician came in it’s practically like starting over. We had electronically released our ‘Celebrity Prostitution’ EP, staying with a garage rock, punk blues sound. This time we decided to just work on our own and concentrate on recording. The question became – what style of music should we do? On many sites or internet radio when you post a song you’re asked to pick a style of music it represents – usually from a drop down list. It’s difficult to categorize yourself. I’d much rather let someone else make that call. We’ve never stuck to a very specific style, although I guess you could put it generically under ‘rock’. So, just for fun, we decided to create a category and try to fit some music in to it. Thus was born Dark Americana Shoegaze. We wanted to work on figuring out instrumentation, arrangements and recording. We thought the best way to do this was to start by covering songs (although we do have a number of originals in various stages of completion). That way we could concentrate on aspects other than writing the song – and we’d get to play songs we already really liked.
We didn’t have any pre-conceived recording methods yet, other than keeping a ‘live’ feel – no autotune, no quantizing of drums or other instruments, no cut and paste of parts. With that in mind we got to work on ‘How Many More Times’. There was a lot of structural change to do. We certainly couldn’t copy Led Zeppelin’s eight minute and twenty eight second version. So we cut it down to a number of shortened verses, did a short piece to represent the long instrumental in the middle and another section for ‘The Hunter’. To keep the Dark Americana Shoegaze idea some verses are electric guitar based, some acoustic instrument based and some a combination. The vocal tracks tie all the different parts together. To get a big, full sound most of the instruments and vocals were multi tracked with multiple mics. If you listen you can hear a number of different electric guitar sounds, two bass lines and multiple banjo and mandolin tracks at different parts of the song. We stacked a lot of vocal tracks. When we finished recording we were looking at forty eight tracks. This was going to take a while to mix and master. We decided we wanted to get a song out quickly so we picked another song – ‘It’s Gonna Be A Long Night’ by Ween and moved to what became our more standard method to put it out quicker – one mic, one track for most instruments. That went well so we picked another song, then another, then another. ‘How Many More Times’ went on the back burner. When the pandemic put our recording on pause it seemed like a good time to finally put this song together. I will say that this is probably the ‘strangest’ cover we’ll ever put out, so it may be a ‘love/hate’ experience for listeners. Might do another Led Zeppelin tune in a bit more straight forward fashion in the future. It was certainly an interesting experience mixing it. So here it is. Hope you enjoy it. As always we encourage comments, feedback and suggestions.
We’re back with another ‘messed’ song for your enjoyment. There’s a bit of a story with this one. ‘Seven Nation Army’ was actually recorded before most of the other songs that have been posted. Recording these covers did start with one idea we have maintained with all the songs – recording the tracks straight through to keep it having a more ‘live’ feel. With this song we did what we often do with our own studio songs – record multiple tracks of each instrument for a more ‘full’ sound. So most of the instruments on ‘Seven Nation Army’ were tracked several times (although each separate track is recorded straight through). We also used multiple mics on the acoustic instruments, adding even more tracks.
This tune has twelve string guitar, mandolin, banjo and six string guitar. The percussion is the floor tom from our drum kit and a shaker. Each instrument was tracked several times (except the percussion). Two more mandolin parts were added in the one instrumental section as a ‘lead’ instrument. When we finished recording I realized it would take a while to mix correctly so we decided to record another song without all the multi tracking and multiple mics. And when we finished that song we thought of another, then another……… So it took quite a while to get back to mixing ‘Seven Nation Army’.
As we continue messin’ with songs I’m sure more electric instrumentation while come in to play along with a bunch of other ideas. As always, hit us up with comments and questions if you have any. Hope you enjoy.
Electrostatic Rhythm Pigs play The White Stripes ‘Seven Nation Army’:
So it’s time to throw another tune on the fire. We kept the same setup for this endeavor: same mic through the same pre-amp and compressor right in to the board – do the tracks straight through. To do what we wanted to with this song, we did add a few more tracks. So as you listen you’ll hear: 12 string guitar, 2 mandolin tracks, six string banjo (‘banjitar’ if you must), 5 string banjo, bass, washboard, tambourine, and cajon. We wanted to keep the fun feel so we tracked a bunch of vocals.
Soooooo………what does that give you? Our version of ‘Ballroom Blitz’ by The Sweet. I always thought the idea of Glam was over the top fun. Absolutely, wonderfully ridiculous. (If by some weird space/time issue you haven’t heard the original you must check it out). Hope you enjoy listening to it as much as we enjoyed making it.
You can listen here on SoundCloud too:
Leave it to Les Claypool. How many bands is that man in? He always seems to be looking for something new to do, and here’s the newest thing – Duo De Twang. A down home bass and guitar duo mining the Americana stream. So far they’ve pretty much stuck to covers, some from his bands, some from other folks, but – oh my – what fun covers they are.
First a live clip from Soundcheck with a cover of Primus’s ‘Wynonna’s Big Brown Beaver’. For you bass players out there, sit back and enjoy. This video shows how much ground you can cover playing with two people. For anyone in to recording, amazingly clean sound for a live take.
And just for fun, a cover of ‘Stayin Alive’. There’s a combo for you – Les Claypool, down home pickin’ and disco. Yeee Haaa!
Well, thought we’d throw everyone some free swag considering it’s the holidays (any holiday you believe in is fine with me). So we recorded a cover from one of our favorite bands, The Gun Club and put it on SoundCloud for you free. So you can have ‘Ghost On The Highway’ for your listening pleasure as a download (did I mention it’s free?). We had a lot of fun recording it – it’s pretty much a ‘studio live’ version. Hope you enjoy hearing it as much as we enjoyed doing it.
– Pass it along to all your friends – (hint – it’s free)
Sometimes I think I spend too much time in the studio. Maybe I don’t get out enough. Not sure how I missed this cover version considering I’m a Led Zeppelin and Yeah Yeah Yeahs fan. There is the possibility that someone did tell me about it and I don’t remember. The mind is a terrible thing to waste….. Uhmmm…… Where were we……..
Oh yeah, Immigrant Song…