"What It's Like" ~nsfw~ , by Everlast

Songs
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Generic bandlab link goes direct to track:

NSFW warning, language. He uses an f-bomb in the beginning, but, reflects on the a-holes that would say that to a “begger” - when no comments are necessary.

  • So, another android phone only experiment to produce a quick track, then using only BandLab DAW to assemble the then, “dubs”. (Again, all 1st take 1 pass, etc.) Again too - in this one, caught more guitar than vocal; tried to correct it, can’t, adding the second vocal was a bad idea, so just kept it at his “refrains”.

And too, this would fall under “acoustic simplified” (my evolved “thesis” that developed this rocktober - since not doing his much longer - all verses, embellishments, lyrics - and if did would tend to kinda be a bit to negative, possibly. I’m not a fan of the “OG” stuff, image; but, like certain works of his.)

I probably shudda sub’d the f-bomb, however-again - it reflects on the a-hole’s in the world that would say, or do that - versus to just keep walking, no comments required (any “begger” might say).

  • I find it interesting that, while listening to a song, get an impression, but how it may change when covering it. I kinda didn’t realize how “negative” this song was until did it just now. Also, for me anyway - I think it would be challenging to cover his, this song and come off as “him”. I don’t know why, just seems that way; and with so many “idiomatic” isms of “him”.
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the f-word doesn’t bother me at all. I don’t know the original but I found your commentary interesting – that you realized the song was more negative by covering it. Covering a song really can often cast lyrics in a new light. Nice cover! The guitar is pretty here. I like the tone.

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The guitar sounds really good and the vocals just come through. I don’t know the original but I read the lyrics and they are pretty hard hitting.

I’ve been thinking about how difficult it is to cover a song that is both lyrically idiomatic and performed either as rap or ‘song speak’ as this one is(I’d use the proper German term but can’t remember it exactly without googling and I’m on a train with poor network ha!). With the first, I think one could bluff ones way through the lyrics if there is a strong melody, a simple example of this is keeping the original pronouns used in a song even if the singer is of a different gender. But anything that gives away too much of the original performer’s real (spoken) voice presents the question of mimic or use own voice- either would make an awkward listen. I suppose this is why none of us (or anyone?) covers Eminem or Jay -Z!
Of course the opposite is true if you want to speak your way through a song- it didn’t stop William Shatner’s recording career , or Rex Harrison in various musicals.

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Oh, thank you for commenting. It’s tough to mix ones own work, esp with these limits. Also, it’s so challenging, for me anyway, to comment back - since don’t want to be misunderstood in anyway, and wind up over explaining - my ocd-ism : ) lol!

Your analysis is great to read - with so much there about how “we” *all can approach stuff - (and for me, relate it back to “me” - what to do).

  • You comment about Deutsche made me think and look and came up with some funny stuff, imo:
  • Alles hat ein Ende, nur die Wurst hat zwei (well, not a word, but a phrase)

It’s an interesting literal language, so specific - was a requirement at one time in order to “major” in math - I understand.

An Austrian relative (spoke English and Russian/Ukrainian too), first time in the USA I had to warn that she did in fact sound rude, but was not; then said in response, I’m not! rude (?!). Yes, I said, but you will sound rude with your Austrian-American sentence structure. Add in that she was 19 yo, stunning - and it made for interesting entertainment to watch her in social situations : ) lol!!! omg… (Some say, they all sound like they’re mad at everyone : ) ) … anyway… I digress… - I have a cold, am on cold-meds so, this is “that” in part, ocd w/o a filter : )

  • Yes to all you say.

I kind of got lucky in ad ho process of this, in the moment, maybe? - to consider, I can’t do this as a 5 min track. Heck, I didn’t want it this long, and was shooting for a 3 Verse, 2 min “demo” of only core lyrics.

I noticed he jumped to (if accurate, per “that” performance) 7 lines from 6, then back. (He may not have? - didn’t “count” time - he may have “double timed” it - my answer to my Julliard Pianist when accused folks of 6 beats in a 4/4 measure : ) lol!! Anyway, I didn’t dive into it that deeply - just passing notice stuff).

  • And, what I “did”, to me, looked like? - what I envisioned his first draft to be (if can image that w/o asking him). Often, some “producer” says - okay, good stuff, add more (?) more is better? Heck, with 3 verses, it’s 3+ min at that tempo.

Yes, imo too - it does not or should not “copy” the original. “Hey Joe” - when JH covered it, and etc., others… Led Zep, when covered “When the Levy Breaks”… and again, etc. other.

I’m not a “fan” -fan of Led Zep, but when I"ve heard some live bands cover their versions live - they’re “great” tracks/songs.

  • Risking going on to long here…:
    This makes me think back to, as a kid when I said to anyone, “teach me to solo” and was handed a Circle of Fifths… “wtf?” : ) (apologies hahh…)… I’m like 12 yo ish… or then shown a Keyboard, or “patterns” (now the full pentatonic map is everywhere in total an “is” a real thing that show many connections - octaves, triads, connections, flips to major/to minor/to modes - making no Note “wrong” in a context or any as a passing tone (if explained that way - most often is not as I’ve observed it).

  • So, what was missing? A hook/melody. One day, I hear a “solo” - I’ll say “mocking” the lyrics and the bulb went on. Yes, without a “melody”, it’s just a scale.

  • It sounds “idiotically” simple to comment - I have no fear in that regard : ) lol! However, no one *DID! : ) hahhh… and it “sounded” like a scale, not a solo; or “plugged” in gimmicks. (like Tapping unless really serves the song)

However, as some “lecture” - e.g., at a “blues” jam - folks are going to expect to hear “certain” riffs/licks; moreover, with only 5 - 7 Notes, there’s only so many anyway : )

  • Yet, we don’t get bored or it sounds repetitive it seems?

But I do remember E. Clapton commenting he would “wonder” (“feared” on stage) how many folks heard him repeating the same old stuff - or similar words. Eh, it’s a different context (every track is a different container) - I think explains it ? or what I think when am seeking it. Why does sugar (arguably) taste good in Coke, and better in Chocolate? Same sugar.

Recently a bunch of E. Clapton Ai live stuff popped up, very obscure and - wow, it’s almost “embarrassing” ? (so to speak) how he starts… “running the neck” in penta-form, “feeling” his way into the grove moment, takes minutes (long time on stage : ) lol!!) and then - all of a sudden even to his style of “shred” - pure picking, pull offs and hammer on’s since that pick can’t catch those - a “natural” “run”, as I call it. And, for/with him, it is that Lyric/Melody too… - he’s not relying 100% on “solo” skills like a Malmsteen may *have to (not knocking that, valuing it - just their realities maybe). I think I’d rather have the lyric/melody too since find oddly placed, syncopated, single Note Dynamics more interesting - and seems like what “sells” interest in folks listening, too.

But, we or I am getting to analytical I suppose. But, your comment, so full of depth - and succinct inspired this.

I think when I see the tiny elements that moved me ahead, I still get “excited”. But, it is different for all - so my moments won’t “matter” necessarily to anyone else. No matter how technically proficient one can be, then a Bach or Beethoven, BB King - will come along and just dilute all of “that” - and shift it too breaking the box with a “simple”, 3-note melody.