Like a Version - Volume 16

Like a Version is a series of compilation albums, consisting of Australian bands covering famous pop songs. The series began in 2005, and volume 16 was released in 2020.

Ain't nobody got time for me to blather on about all 40 songs (myself included!), so here's some notable mentions...

Welcome to the Black Parade (by Alex Lahey): This song is single-handedly the reason that I purchased this album, and it delivers in spades. It takes a highly captivating song, strips away all the over-produced Hollywood nonsense, and trades the cartoon caricatures for a great sense of authenticity. Brilliant.

I Touch Myself (by Lime Cordiale): A quirky interpretation that trades nicely on the original's catchiness.

Say So (by Polish Club): I'm not familiar with the original, but this version has a nicely syncapated 6/8 groove.

Knowing Me Knowing You (by Angie McMahon): Nicely understated version of the ABBA classic.

Heart-shaped Box (by Hermitude): The sparse yet toe-tapping groove works a treat and makes me enjoy this more than Nirvana's original.

Dance Monkey (by Milky Chance): A quirky and captivating re-interpretation of the original... or maybe I'm just a sucker for anything with an accented offbeat...

Mr Brightside (by Hauskey): I really enjoy The Killer's original version (plus the added irony that it was written by the drummer who left the band afterwards), but this laid-back version feels flat and lacks the orchestration that makes the original sparkle.

Bags (by Dominic Fike): Another one I'm completely unfamiliar with, but the indie-rock groove kicks things off nicely. It goes off into the weeds each time after the chorus, but thankfully this doesn't last too long.

Love is in the Air (by Stella Donnelly): Initially I thought it wasn't a patch on the magnificent energy of the original, but slowly the beautiful vocals are working their way into my affections.

Get Free (by Northlane): Sadly, this adds very little compared to the original.

Don't Start Now (by Azure Ryder): Despite the lack of any particularly memorable moments, this is beautifully crafted pop perfection.

Righteous (by Stand Atlantic): This is probably my favourite r&b song (which is quite a short list) before cranking it up into a rock power-ballad.

California (by Japanese Wallpaper): Wonderful feelgood vibes, like cruising down the PCH on a perfect sunny day. Same goes for Mr Bluesky (by Alex the Astronaut).

When the War is Over (by Jarryd James): Too energetic for its sorrowful lyrics IMHO.

Unwritten (by Maddy Jane): I've forgotten the original, but judged in isolation this song perfectly blends emotion with pop catchiness.

Parlez Vous Francais (by Mickey Kojak): White Stripes (The Hardest Button To Button) meets Basement Jaxx. Brilliant.

Blackfella/Whitefella (by Bad Dreems): Generic styling ala Midnight Oil, but one can't complain when it works this well.

Don't Look Back in Anger (by Yours Truly): Re-interpreting an all-time favourite song of mine is always fraught with danger, but I also dig this more eclectic version. The pre-chorus's chord progression and chorus's lyrics are highlights, as per the original.

Forever Young (Tones and I): The whispy, directionless original holds no appeal to me whatsoever, but this cover has enough craziness make it an interesting experience.

Favourite songs

Welcome to the Black Parade, Knowing Me Knowing You, Heart-shaped Box, Dance Monkey, Bags, Love is in the Air, Blinding Lights, Lady Marmalade, Soaked, Don't Start Now, Righteous, California, No Diggity, Mr Bluesky, 1901, Unwritten, Parlez Vous Francais, Blackfella/Whitefella, Don't Look Back in Anger, Forever Young

Final thoughts

Before doing this post, I was slightly dreading having to pick through all 40 songs. But the list of Favourite Songs shows that there's plenty of wheat amongst the chaff here.

Nightwish - Showtime, Storytime

Nightwish are a symphonic metal band who formed in 1996. Showtime, Storytime is a live album released in 2013, two years after the Imaginarium album. 

So, recently I was taking the Dropkick Murphy's to task because I couldn't understand their lyrics. But... ummm... the inconvenient truth here is that most of the time I can't distinguish Nightwish's lyrics either. In my defence though, Ms Jansen's vocal's are a tad more musical than a bunch of angry middle-aged Irish guys...

Without further ado, Dark Chest of Wonders is an excellent, high-energy way to kick off proceedings.

Wish I Had An Angel has many great Nightwish ingredients, however the slightly uncouth male vocals are a letdown for me (this is compared with Ms Jansen, and living up to that standard is a huge ask). On the other hand, the male vocals work very nicely in I Want My Tears Back, and the pipes are also a good addition to inject some variety.

She's My Sin is a case of "don't bore us, get to the chorus" (thanks, Divinyls). It's verses aren't particularly memorable, however the immensely powerful chorus single-handedly carries the song. The extra intensity of the final chorus is the icing on the cake.

There's a nice contrast provided by the softer verses and bridge of Ghost River. Personally I find the breakdown at the start of the pre-chorus is awkward and disjointed, however it does serve its purpose by allowing the song to build nicely into the chorus. The instrumental Last of the Wilds also features a nice ebb and flow, has a catchy melody for the pipes and is a great way to lead us into the intermission.

Ever Dream kicks off with a wonderfully simple piano-and-vocals opening, which later blossoms into an incredibly powerful and catchy chorus. Speaking of choruses, the melody of Storytime's chorus is utterly infections. As for the other bits of the song... well, they do an adequate to fill in time before the next hit of that wonderful drug. Bless the Child also features an hugely powerful chorus, perhaps my favourite on the album. It's all quite simple, but with incredibly vivid and hauntingly beautiful imagery. The first half of the chorus wafts across the moors at night... before being joined by an army of rock angels playing at full noise. Also, I really dig the slow-burn build-up through the intro.

Romanticide kicks off with great energy through the verses, courtesy of some excellent guitar riffs. Unfortunately, the energy tapers off in the chorus and the latter parts of the song, however maintaining a Ramones-esque style for about five minutes would probably get quite monotonous. While I'm nit-picking, the second half of Ghost Love Score somehow seems a bit cobbled together. Before this, though, it settles into a nicely contrasting slow-paced feel once it settles in after the intro. And then it builds up perfectly into each chorus, thanks to powerful and haunting vocals.

Amaranth follows a familiar - but enjoyable - recipe, before exploding into another chorus for the ages.

Last Ride of the Day takes a while to get into its groove, and the chorus is very different to the others. But it's definitely worth persevering for, especially when it cranks up another gear for an epic ending.

Overall, this live album manages to achieve a mostly-crisp sound, while still capturing the sense of a grand occasion (complete with fireworks at various times). And while the kick-drum sounds a bit 'slappy', all is forgiven for the sublime sounds of the lead vocals. Speaking of the live concert, the banter between songs varies between endearing and awkward, but it adds to the feeling of a genuine, real-life event.

Favourite songs

Dark Chest of Wonders, Ghost River, Ever Dream, Storytime, Last of the Wilds, Bless the Child, Amaranth

Final thoughts

This album is an easy sell for me, since the style is a novelty for me that I really enjoy. This is a metal-genre take on Meat Loaf's sublimely overblown fantasy Wagnerian-rock (an official genre, apparently), and I can think of no higher compliment than that.