10 Bands Who Nailed Seemingly Impossible to Cover Rock +

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Top that? Challenge accepted.n

Read Moren”,”permalink”:”//loudwire.com/bands-nailed-impossible-rock-metal-song-covers/”,”image”:{“id”:520838,”url”:”//townsquare.media/site/366/files/2022/08/attachment-impossible_to_cover_songs_instagram.jpg”,”caption”:”Jeff Hahne, Getty Images / Catherine McGann, Archive Photos/Getty Images”}},”carbonMeta”:{“widePromotion”:false,”galleryBadge”:false,”disableInfiniteLoad”:false,”disableConcertWidget”:false,”disableInArticleAds”:false,”hideFromSearchEngines”:false,”addNofollow”:false,”overlookedTags”:false,”isGallery”:false,”isLaunchpadProfile”:false,”commentsEnabled”:true},”_crosspost_source_blog_id”:””,”tags”:[{“id”:1088,”slug”:”aerosmith”,”title”:”Aerosmith”,”description”:””,”post_count”:179,”link_url”:”//loudwire.com/tags/aerosmith/”,”feed_url”:”//loudwire.com/tags/aerosmith/feed/”,”term_taxonomy_id”:1097,”object_id”:0},{“id”:526,”slug”:”alice-in-chains”,”title”:”Alice in Chains”,”description”:”Though their earliest origins lay in ‘80s-style glam metal, Seattle’s Alice in Chains became one of the signature bands — along with Pearl Jam, Soundgarden, and Nirvana — associated with the 1990s’ Grunge movement. Signed to Columbia Records in 1989, AiC vocalist Layne Staley, guitarist Jerry Cantrell, bassist Mike Starr and drummer Sean Kinney developed a distinctive style blending melancholy vocal harmonies, downcast lyrics, and contrasting hard and soft elements — elements that reflected their inspired creative duality across two albums featuring mostly electric alternative metal (1990’s ‘Facelift’ and ’92’s ‘Dirt’) and two EPs of introspective acoustic music (’92’s ‘Sap’ and ’94’s ‘Jar of Flies’). By the second half of the ‘90s, drug abuse had torn the band apart: first leading to the replacement of Starr with new bassist Mike Inez (in 1993) and, later, Staley’s slow descent into heroin addiction (both musicians are now deceased), and a long hiatus from touring and recording. Finally, Cantrell, Kinney and Inez resurrected Alice in Chains with new singer/guitarist William DuVall in 2005, and have since toured consistently and released a pair of well-received LPs.”,”post_count”:347,”link_url”:”//loudwire.com/tags/alice-in-chains/”,”feed_url”:”//loudwire.com/tags/alice-in-chains/feed/”,”term_taxonomy_id”:535,”object_id”:0},{“id”:1414,”slug”:”amon-amarth”,”title”:”Amon Amarth”,”description”:””,”post_count”:98,”link_url”:”//loudwire.com/tags/amon-amarth/”,”feed_url”:”//loudwire.com/tags/amon-amarth/feed/”,”term_taxonomy_id”:1423,”object_id”:0},{“id”:432,”slug”:”avenged-sevenfold”,”title”:”Avenged Sevenfold”,”description”:”Avenged Sevenfold are one of the most successful American heavy metal bands of the third millennium, with an estimated 8 million copies sold of their six studio albums. First formed in 1999, in the Orange County town of Huntington Beach, California, A7X, for short, released a pair of independent albums, inspired primarily by the period’s metalcore trends, before moving to a major label for their breakthrough third album, ‘City of Evil,’ released in 2005. This saw the band, consisting of singer M. Shadows, guitarists Synyster Gates and Zacky Vengeance, bassist Johnny Christ and drummer James “The Rev” Sullivan, embracing a more traditional hard rock and metal sound that persists on subsequent releases. Sullivan died from a drug overdose in 2009, prompting the temporary recruitment of Dream Theater drummer Mike Portnoy for the recording of 2010’s ‘Nightmare.’ Another blockbuster album, 2013’s Billboard number one, ‘Hail to the King, followed in 2013 and introduced new drummer Arin Ilejay.”,”post_count”:516,”link_url”:”//loudwire.com/tags/avenged-sevenfold/”,”feed_url”:”//loudwire.com/tags/avenged-sevenfold/feed/”,”term_taxonomy_id”:439,”object_id”:0},{“id”:327,”slug”:”black-sabbath”,”title”:”Black Sabbath”,”description”:”Black Sabbath are the undisputed godfathers of heavy metal. Beginning with their eponymous debut and seminal sophomore LP, ‘Paranoid’ (both released in 1970), the quartet from Birmingham, England, coalesced the scattered contributions of numerous bands (from Blue Cheer to Led Zeppelin) into the powerful, uncompromising and surprisingly malleable style we recognize today. After a succession of influential albums, Sabbath guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward parted ways with singer Ozzy Osbourne in 1979, and, for a brief time, enjoyed nearly as much success with former Rainbow vocalist Ronnie James Dio, at the helm. But the band’s fortunes took a turn for the worse after Dio’s departure, steadily declining into obscurity while Osbourne’s solo career flourished, until a reunion of the original foursome was finally brokered for touring purposes in 1997, and, in 2013, for the recording of Black Sabbath’s latest album, ’13’ (minus Bill Ward). Now, with a career spanning nearly five decades, and through thick and thin, Black Sabbath remain the benchmark by which all heavy metal bands measure themselves.rnrn”,”post_count”:687,”link_url”:”//loudwire.com/tags/black-sabbath/”,”feed_url”:”//loudwire.com/tags/black-sabbath/feed/”,”term_taxonomy_id”:334,”object_id”:0},{“id”:786,”slug”:”death”,”title”:”Death”,”description”:””,”post_count”:65,”link_url”:”//loudwire.com/tags/death/”,”feed_url”:”//loudwire.com/tags/death/feed/”,”term_taxonomy_id”:795,”object_id”:0},{“id”:938,”slug”:”ghost”,”title”:”Ghost”,”description”:””,”post_count”:410,”link_url”:”//loudwire.com/tags/ghost/”,”feed_url”:”//loudwire.com/tags/ghost/feed/”,”term_taxonomy_id”:947,”object_id”:0},{“id”:23859,”slug”:”jefferson-airplane”,”title”:”Jefferson Airplane”,”description”:””,”post_count”:2,”link_url”:”//loudwire.com/tags/jefferson-airplane/”,”feed_url”:”//loudwire.com/tags/jefferson-airplane/feed/”,”term_taxonomy_id”:7141,”object_id”:0},{“id”:278,”slug”:”judas-priest”,”title”:”Judas Priest”,”description”:”Judas Priest is one of heavy metal’s most important bands — the ultimate defenders of the style for four decades running, through periods of both acclaim and scorn, and hard-ly any interruption along the way. Hailing from the same industrial metropolis as heavy metal forefathers Black Sabbath, Birmingham, England, Priest debuted in 1974 with ‘Rocka Rolla,’ to a modest reception; but steadily grew in prowess and prominence over the course of landmark albums like ‘Sad Wings of Destiny’ (1976), ‘Stained Class’ (1978), and ‘Hell Bent for Leather’ (1978). The latter also saw the group helping to define heavy metal’s visual iconography, largely based on vocalist Rob Halford’s penchant for metal-studded accessories and leather bondage gear, which, ironically, reflected his closeted gay lifestyle. Come 1980’s pivotal ‘British Steel’ LP, a slightly more accessible metal sound helped Judas Priest turn a commercial corner in America, and ensuing hit albums like ‘Screaming for Vengeance’ (1982), ‘Defenders of the Faith’ (1984) and ‘Turbo’ (1986) saw them conquer even the once elusive radio waves, to say nothing of MTV. Then, just as their creativity and relevance appeared to be waning near the close of the decade, Priest stunned all cynics by bouncing back with one of their best and fiercest albums in 1990’s ‘Painkiller.’ The group appeared poised to flourish throughout the ‘90s until Halford surprisingly left the band to pursue other musical projects, including Fight and 2ow. Priest’s remaining members, guitarists Glenn Tipton and K.K. Down-ing, bassist Ian Hill and recently recruited drummer Scott Travis waited nearly five years for Halford, but finally carried on with a new singer — former tribute band phenom Tim ‘Ripper’ Owens — and released two albums to mixed reviews. Then, following the example set a few years earlier by fellow British metal gods, Iron Maiden, Halford and Priest reunited for 2003’s ‘Angel of Retribution’ and resumed their all-conquering ways — even surviving Downing’s retirement in 2012 with the help of new guitarist, Richie Faulkner. In sum, when all is said and done Judas Priest will likely figure among the all-time greats in heavy metal history, alongside Black Sabbath, Iron Maiden and Metallica.”,”post_count”:596,”link_url”:”//loudwire.com/tags/judas-priest/”,”feed_url”:”//loudwire.com/tags/judas-priest/feed/”,”term_taxonomy_id”:284,”object_id”:0},{“id”:1454,”slug”:”led-zeppelin”,”title”:”Led Zeppelin”,”description”:””,”post_count”:200,”link_url”:”//loudwire.com/tags/led-zeppelin/”,”feed_url”:”//loudwire.com/tags/led-zeppelin/feed/”,”term_taxonomy_id”:1463,”object_id”:0},{“id”:344,”slug”:”metallica”,”title”:”Metallica”,”description”:”Metallica are arguably the most widely known and commercially successful heavy metal band of all time, with an estimated 120 million albums sold worldwide. Formed in Los Angeles, in 1981, before relocating to San Francisco two years later, Metallica helped both spearhead and define the thrash metal genre with a quartet of classic ‘80s albums. In the ‘90s, vocalist/guitarist James Hetfield, drummer Lars Ulrich, lead guitarist Kirk Hammett and bassist Jason Newsted (who replaced the deceased Cliff Burton, in 1986), embraced more accessible sounds and new compositional styles, to the chagrin of some diehard fans. But the band’s remarkable career momentum did not suffer until the early ‘00s, when an ill-advised skirmish with the file sharing network Napster combined with the poorly received ‘St. Anger’ album and assorted personal demons (all of them painfully documented by the infamous feature-length documentary, ‘Some Kind of Mon-ster’) to threaten the band’s future. Metallica duly recovered, however, with the help of new bassist Robert Trujillo, a back to basics LP (2008’s ‘Death Magnetic’) and a never flagging stadium-packing capacity across the globe. “,”post_count”:2320,”link_url”:”//loudwire.com/tags/metallica/”,”feed_url”:”//loudwire.com/tags/metallica/feed/”,”term_taxonomy_id”:351,”object_id”:0},{“id”:630,”slug”:”opeth”,”title”:”Opeth”,”description”:””,”post_count”:143,”link_url”:”//loudwire.com/tags/opeth/”,”feed_url”:”//loudwire.com/tags/opeth/feed/”,”term_taxonomy_id”:639,”object_id”:0},{“id”:2534,”slug”:”pink-floyd-2″,”title”:”Pink Floyd”,”description”:””,”post_count”:79,”link_url”:”//loudwire.com/tags/pink-floyd-2/”,”feed_url”:”//loudwire.com/tags/pink-floyd-2/feed/”,”term_taxonomy_id”:2575,”object_id”:0},{“id”:677,”slug”:”ronnie-james-dio”,”title”:”Ronnie James Dio”,”description”:”Ronnie James Dio is one of heavy metal’s most legendary lead vocalists, and undoubtedly its most well-traveled, having fronted no less than three classic bands, including the one that took his last name. Ronald James Padavona was born to sing on July 10, 1942, and his amazing trajectory took him from late ‘50s doo woo groups, through ‘60s British Invasion and psychedelia, until detouring into the boogie-woogie-driven classic rock of his early ‘70s rock band, Elf. But Dio’s big break arrived in 1975, when he was hired to front Ritchie Blackmore’s Rainbow for a trio of seminal studio LPs. He then replaced Ozzy Osbourne in Black Sabbath for a pair of equally lauded efforts. Come 1983, Ronnie was finally prepared to strike out on his own with Dio, and the band he recruited, featuring guitarist Vivian Campbell, bassist Jimmy Bain, drummer Vinnie Appice and keyboardist Claude Schnell, soon became a top concert draw, thanks to stellar albums like ‘Holy Diver’ and ‘The Last in Line.’ Dio’s popularity began to wane towards the end of decade, as a succession of lead guitarists (Craig Goldy, Rowan Robertson) passed through the group’s ranks, and Ronnie eventually put the band on ice for a couple of years to rejoin Black Sabbath for the ‘Dehumanizer’ album and tour. But this reunion, too, proved short-lived and typically acrimonious, so by 1993 Dio — the band — had been revived with the help of guitarist Tracy G, former Dokken bassist Jeff Pilson and the ever-dependable Appice. Over the ensuing decade, the group would record and tour in support of five well-received studio albums (weathering the occasional musician change up along the way), until Ronnie was lured back into the Sabbath fold yet again, this time under the Heaven & Hell moniker. After hitting the road to the delight of longtime fans, Heaven & Hell recorded three new songs for 2007’s ‘Black Sabbath: The Dio Years’ compilation, and then topped that with a complete album of new material in 2009’s ‘The Devil You Know.’ Tragically, Ronnie James Dio was diagnosed with stomach cancer later that same year, and would eventually pass away on May 16, 2010 — but not before leaving behind one of the most impressive legacies in heavy metal history.”,”post_count”:200,”link_url”:”//loudwire.com/tags/ronnie-james-dio/”,”feed_url”:”//loudwire.com/tags/ronnie-james-dio/feed/”,”term_taxonomy_id”:686,”object_id”:0},{“id”:19609,”slug”:”sanctuary”,”title”:”Sanctuary”,”description”:””,”post_count”:7,”link_url”:”//loudwire.com/tags/sanctuary/”,”feed_url”:”//loudwire.com/tags/sanctuary/feed/”,”term_taxonomy_id”:3136,”object_id”:0},{“id”:500,”slug”:”slayer”,”title”:”Slayer”,”description”:”Widely regarded as the ultimate thrash metal band, Slayer did much to introduce and establish the genre throughout the 1980s, alongside fellow Los Angeles natives Metal-lica and Megadeth, and New York’s Anthrax — collectively known as the Big Four. As the most extreme and lyrically controversial member of that exclusive musical club, Slayer at first attracted a relatively modest (but devout) fan base until breaking through to a broader audience with their monumental third album, 1986’s ‘Reign in Blood.’ The band proceeded to consolidate its dominant place in the heavy metal pantheon over the second half of that decade; and, unlike most peers, refused to alter its core sound throughout the more challenging 1990s. As the third millennium dawned, Slayer read-mitted original drummer Dave Lombardo and enjoyed a renewed period of recording and touring prosperity, leading up to 2013 and the drummer’s latest departure, just months prior to the shocking death of founding guitarist Jeff Hanneman. Nevertheless, remaining founding members, Kerry King (guitar) and Tom Araya (vocals/bass) show no signs of retiring Slayer, which is now rounded out by former Exodus guitarist Gary Holt and returning drummer Paul Bostaph.”,”post_count”:657,”link_url”:”//loudwire.com/tags/slayer/”,”feed_url”:”//loudwire.com/tags/slayer/feed/”,”term_taxonomy_id”:509,”object_id”:0},{“id”:535,”slug”:”system-of-a-down”,”title”:”System of a Down”,”description”:”System of a Down are an Armenian American quartet based out of Los Angeles, and one of the few major nu-metal bands whose popularity far exceed, and then outlived, largely unscathed, that particular style’s limited life span as a dominance musical force. Active in one shape or another since 1992, System of a Down was eventually championed by producer-to-the-stars, Rick Rubin, who signed them to his American Recordings in 1997. For a while, though, it seemed as though SOAD’s eponymous debut (a game-changing, critically acclaimed affair, once described as Faith no more jamming with Slayer) might prove too original and idiosyncratic to attract a mainstream audience. But, with the help of relentless touring over a near-three-year period and the resulting, snowballing word-of-mouth, System of a Down saw their 2001 sophomore LP, ‘Toxicity,’ explode straight to number one upon release, eventually selling an estimated 12 million copies worldwide. A collection of unfinished demos named ‘Steal this Album’ was released in late 2002, after MP3s of the songs were accidentally leaked, and the band’s popularity continued to build, up to and beyond, the dual release of ‘Mezmerize’ [SIC] and ‘Hypnotize’ in 2005, both of which also debuted at number one. The following year, SOAD initiated an official, four-year hiatus while its principals explored other projects, and the group reunited for touring purposes in 2010, with no immediate plans to record new material.”,”post_count”:363,”link_url”:”//loudwire.com/tags/system-of-a-down/”,”feed_url”:”//loudwire.com/tags/system-of-a-down/feed/”,”term_taxonomy_id”:544,”object_id”:0},{“id”:501,”slug”:”tool”,”title”:”Tool”,”description”:”Tool are one of the most successful progressive rock bands of the past twenty years. Armed with a distinct, instantly recognizable sound of their own making, a highly developed visual aesthetic, and marked by a stubborn disinterest in typical music industry standards of self-promotion, career development, never mind release product cycles (to the continued frustration of their patient fans), Tool have produced just four albums and one EP (all of them platinum-certified; two of them number ones, one a number two!) over a 15-year timespan, and nothing since 2006. Nevertheless, the group remains active, despite a myriad of side projects, and a commercial force to be reckoned with; their influence limited only by the difficulty experienced by other bands who would try and and duplicate Tool’s unique sound. Simply put, Tool is one of those rare rock bands that truly exists outside the bounds of passing tastes and musical trends.”,”post_count”:530,”link_url”:”//loudwire.com/tags/tool/”,”feed_url”:”//loudwire.com/tags/tool/feed/”,”term_taxonomy_id”:510,”object_id”:0},{“id”:728,”slug”:”type-o-negative”,”title”:”Type O Negative”,”description”:””,”post_count”:71,”link_url”:”//loudwire.com/tags/type-o-negative/”,”feed_url”:”//loudwire.com/tags/type-o-negative/feed/”,”term_taxonomy_id”:737,”object_id”:0},{“id”:2376,”slug”:”vader”,”title”:”Vader”,”description”:””,”post_count”:15,”link_url”:”//loudwire.com/tags/vader/”,”feed_url”:”//loudwire.com/tags/vader/feed/”,”term_taxonomy_id”:2416,”object_id”:0},{“id”:2048,”slug”:”yngwie-malmsteen”,”title”:”Yngwie Malmsteen”,”description”:””,”post_count”:33,”link_url”:”//loudwire.com/tags/yngwie-malmsteen/”,”feed_url”:”//loudwire.com/tags/yngwie-malmsteen/feed/”,”term_taxonomy_id”:2085,”object_id”:0}],”categories”:[{“id”:13,”slug”:”lists”,”title”:”Lists”,”description”:”Rock lists.”,”parent”:0,”post_count”:1994,”link_url”:”//loudwire.com/category/lists/”,”feed_url”:”//loudwire.com/category/lists/feed/”,”term_taxonomy_id”:13,”object_id”:0},{“id”:1560,”slug”:”metal”,”title”:”Metal”,”description”:””,”parent”:0,”post_count”:24294,”link_url”:”//loudwire.com/category/metal/”,”feed_url”:”//loudwire.com/category/metal/feed/”,”term_taxonomy_id”:1571,”object_id”:0},{“id”:6,”slug”:”news”,”title”:”News”,”description”:”Rock news.”,”parent”:0,”post_count”:44765,”link_url”:”//loudwire.com/category/news/”,”feed_url”:”//loudwire.com/category/news/feed/”,”term_taxonomy_id”:6,”object_id”:0},{“id”:22,”slug”:”original-features”,”title”:”Original Features”,”description”:””,”parent”:0,”post_count”:2977,”link_url”:”//loudwire.com/category/original-features/”,”feed_url”:”//loudwire.com/category/original-features/feed/”,”term_taxonomy_id”:22,”object_id”:0},{“id”:1559,”slug”:”rock”,”title”:”Rock”,”description”:””,”parent”:0,”post_count”:27088,”link_url”:”//loudwire.com/category/rock/”,”feed_url”:”//loudwire.com/category/rock/feed/”,”term_taxonomy_id”:1570,”object_id”:0}],”authors”:[{“id”:4613389,”slug”:”jordanblum”,”name”:”Jordan Blum”,”first_name”:”Jordan”,”last_name”:”Blum”,”nickname”:”jordanblum”,”description”:”Jordan Blum is a former Features Editor at PopMatters and a contributor to Kerrang!, Consequence, PROG, WhatCulture, Metal Injection, Record Collector, and more. He’s written books about Jethro Tull, Opeth, and Dream Theater. In his spare time, he likes to yell at strangers about how much Genesis sucked in the ’80s.”,”thumbnail”:”//townsquare.media/site/366/files/2023/04/attachment-225401502_10101805829445354_3728925166432797332_n1.jpg”,”url”:”//loudwire.com/author/jordanblum/”}],”post_more_meta”:{“meta”:””},”social”:{“email”:{“className”:”email share_link”,”href”:”mailto:?subject=Check out 10%20Bands%20Who%20Nailed%20Seemingly%20Impossible%20to%20Cover%20Rock%20%2B%20Metal%20Songs&body=http%3A%2F%2Floudwire.com%2Fbands-nailed-impossible-rock-metal-song-covers%2F%3Ftrackback%3Demail_flat_4″,”title”:”EMAIL”,”target”:”_self”},”reddit”:null,”readmore”:null,”comments_button”:null,”print”:{“href”:”javascript:window.print();”,”title”:”Print this page”},”showTop”:””,”fb”:{“href”:”http://www.facebook.com/sharer.php?u=http%3A%2F%2Floudwire.com%2Fbands-nailed-impossible-rock-metal-song-covers%2F%3Ftrackback%3Dfbshare_mobile”,”title”:”SHARE”,”target”:”_blank”},”tw”:{“href”:”http://twitter.com/intent/tweet?text=10%20Bands%20Who%20Nailed%20Seemingly%20Impossible%20to%20Cover%20Rock%20%2B%20Metal%20Songs%20http%3A%2F%2Floudwire.com%2Fbands-nailed-impossible-rock-metal-song-covers%2F%3Ftrackback%3Dtwitter_mobile%20%40Loudwire”,”title”:”TWEET”,”target”:”_blank”},”gp”:null,”pinterest”:{“className”:”pinterest share_link”,”name”:”tsq-pinterest”,”href”:”http://pinterest.com/pin/create/button/?url=http://loudwire.com/bands-nailed-impossible-rock-metal-song-covers/%3Ftrackback%3Dpinterest&media=http%3A%2F%2Floudwire.com%2Ffiles%2F2022%2F07%2Fattachment-Ghost-Metallica-Opeth-Alice-in-Chains.jpg%3Fw%3D1200%26h%3D0%26zc%3D1%26s%3D0%26a%3Dt%26q%3D89″,”title”:”Pin it!”,”target”:”_blank”,”count-layout”:”none”,”data-pin-custom”:true},”tumblr”:null,”instagram”:null,”is_article”:true},”nextArticle”:”//loudwire.com/red-hot-chili-peppers-chad-smith-audition/”,”pageUrl”:”/bands-nailed-impossible-rock-metal-song-covers/”,”blogId”:366,”domain”:”loudwire.com”,”crossPostAttributionBottom”:””,”podContent”:[{“type”:”singlePostText”,”data”:{“text”:”

Here are 10 bands who nailed seemingly impossible to cover rock and metal songs.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Here are 10 bands who nailed seemingly impossible to cover rock and metal songs.”}}}},”currentTextLength”:80,”runningCounter”:1,”cumulativePodTextLength”:80,”totalSimilarConsecutiveElements”:7,”totalTextLength”:1043},{“type”:”singlePostText”,”data”:{“text”:”

How dare you meddle with rock and metal perfection!”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”How dare you meddle with rock and metal perfection!”}}}},”currentTextLength”:51,”runningCounter”:2,”cumulativePodTextLength”:131,”totalSimilarConsecutiveElements”:7,”totalTextLength”:1043},{“type”:”singlePostText”,”data”:{“text”:”

There are some songs that should never be covered, be it because they were done perfectly the first time or because that initial version is irrefutably synonymous with its creator.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”There are some songs that should never be covered, be it because they were done perfectly the first time or because that initial version is irrefutably synonymous with its creator.”}}}},”currentTextLength”:180,”runningCounter”:3,”cumulativePodTextLength”:311,”totalSimilarConsecutiveElements”:7,”totalTextLength”:1043},{“type”:”singlePostInArticleAd”,”data”:{}},{“type”:”singlePostText”,”data”:{“text”:”

Well, that’s what many music fans believe, anyway. As usual, rules were meant to be broken, and that applies here, too.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Well, that’s what many music fans believe, anyway. As usual, rules were meant to be broken, and that applies here, too.”}}}},”currentTextLength”:126,”runningCounter”:4,”cumulativePodTextLength”:437,”totalSimilarConsecutiveElements”:7,”totalTextLength”:1043},{“type”:”singlePostText”,”data”:{“text”:”

Yes, many attempts to reimagine ostensibly untouchable compositions fail (just listen to Kayne West’s butchering of “Bohemian Rhapsody” or Scissor Sisters’ blasphemous revision of “Comfortably Numb”).”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Yes, many attempts to reimagine ostensibly untouchable compositions fail (just listen to Kayne West’s butchering of “Bohemian Rhapsody” or Scissor Sisters’ blasphemous revision of “Comfortably Numb”).”}}}},”currentTextLength”:242,”runningCounter”:5,”cumulativePodTextLength”:679,”totalSimilarConsecutiveElements”:7,”totalTextLength”:1043},{“type”:”singlePostText”,”data”:{“text”:”

READ MORE: 20 Most Unexpected Rock + Metal Covers”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”READ MORE: 20 Most Unexpected Rock + Metal Covers”}}}},”currentTextLength”:54,”runningCounter”:6,”cumulativePodTextLength”:733,”totalSimilarConsecutiveElements”:7,”totalTextLength”:1043},{“type”:”singlePostText”,”data”:{“text”:”

That said, the following 10 tracks prove how feasible it is to do it well. We aren’t saying that these versions are necessarily better than their predecessors; however, given how revered and definitive the originals became, these artists deserve applause for bravely and effectively giving it their all.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”That said, the following 10 tracks prove how feasible it is to do it well. We aren’t saying that these versions are necessarily better than their predecessors; however, given how revered and definitive the originals became, these artists deserve applause for bravely and effectively giving it their all.”}}}},”currentTextLength”:310,”runningCounter”:7,”cumulativePodTextLength”:1043,”totalSimilarConsecutiveElements”:7,”totalTextLength”:1043},{“type”:”singlePostList”,”data”:{“layout”:”standard”,”media_layout”:”bottomx”,”index_display”:”hide”,”desc_layout”:”top”,”bling_frequency”:3,”footer_title”:””,”footer_link_url”:””,”label”:””,”footer_link_target”:”_parent”,”footer_content”:”

Click here to view photo galleryn”,”footer_content_raw”:”[carbongallery id=”659d3cc4b3bdda6fa88ccd61″]”,”items”:[{“index”:”1″,”html_title”:”Vader, “Raining Blood””,”title_link”:””,”title_target”:null,”title”:”Vader, “Raining Blood””,”html_subtitle”:”Originally by Slayer”,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:”Originally by Slayer”,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”Slayer’s tune is extremely fast and vicious, so it’s a testament to the Polish death metal ensemble that they’re able to up the ante on both fronts. Aside from replacing the recurring weather effects with piercing guitar feedback, their slightly shorter live variation – from 1994’s Sothis EP – is quicker and nastier overall.rnrnFrontman Piotr “Peter” Wiwczarek infuses every lyric with throaty vehemence while his bandmates launch into a relentless stampede of bestial impatience. Interestingly, they redid it for 2008’s Lead Us!!! EP, wherein they added rainfall and polished the production. Neither outdoes Slayer’s offering, but both are very respectable efforts.”,”desc”:”

Slayer’s tune is extremely fast and vicious, so it’s a testament to the Polish death metal ensemble that they’re able to up the ante on both fronts. Aside from replacing the recurring weather effects with piercing guitar feedback, their slightly shorter live variation – from 1994’s Sothis EP – is quicker and nastier overall.n

Frontman Piotr “Peter” Wiwczarek infuses every lyric with throaty vehemence while his bandmates launch into a relentless stampede of bestial impatience. Interestingly, they redid it for 2008’s Lead Us!!! EP, wherein they added rainfall and polished the production. Neither outdoes Slayer’s offering, but both are very respectable efforts.n”,”media_layout”:”bottomx”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”Top that? Challenge accepted.”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=UMsKXeYqls8″,”media_type”:”video”,”media_video_embed”:””,”mediaPodContent”:[{“type”:”singlePostOembed”,”data”:{“title”:”Raining Blood”,”author_name”:”Vader – Topic”,”author_url”:”https://www.youtube.com/channel/UC1-c6gps9Mkyz0aYa9tFJNQ”,”type”:”video”,”height”:150,”width”:200,”version”:”1.0″,”provider_name”:”YouTube”,”provider_url”:”https://www.youtube.com/”,”thumbnail_height”:360,”thumbnail_width”:480,”thumbnail_url”:”https://i.ytimg.com/vi/UMsKXeYqls8/hqdefault.jpg”,”html”:””,”videoId”:”UMsKXeYqls8″}}],”blogId”:366,”contentRaw”:”Slayer’s tune is extremely fast and vicious, so it’s a testament to the Polish death metal ensemble that they’re able to up the ante on both fronts. Aside from replacing the recurring weather effects with piercing guitar feedback, their slightly shorter live variation – from 1994’s Sothis EP – is quicker and nastier overall.rnrnFrontman Piotr “Peter” Wiwczarek infuses every lyric with throaty vehemence while his bandmates launch into a relentless stampede of bestial impatience. Interestingly, they redid it for 2008’s Lead Us!!! EP, wherein they added rainfall and polished the production. Neither outdoes Slayer’s offering, but both are very respectable efforts.”,”content”:”

Slayer’s tune is extremely fast and vicious, so it’s a testament to the Polish death metal ensemble that they’re able to up the ante on both fronts. Aside from replacing the recurring weather effects with piercing guitar feedback, their slightly shorter live variation – from 1994’s Sothis EP – is quicker and nastier overall.n

Frontman Piotr “Peter” Wiwczarek infuses every lyric with throaty vehemence while his bandmates launch into a relentless stampede of bestial impatience. Interestingly, they redid it for 2008’s Lead Us!!! EP, wherein they added rainfall and polished the production. Neither outdoes Slayer’s offering, but both are very respectable efforts.n”,”crossPostAttributionBottom”:””,”rawContent”:”

Slayer’s tune is extremely fast and vicious, so it’s a testament to the Polish death metal ensemble that they’re able to up the ante on both fronts. Aside from replacing the recurring weather effects with piercing guitar feedback, their slightly shorter live variation – from 1994’s Sothis EP – is quicker and nastier overall.

Frontman Piotr “Peter” Wiwczarek infuses every lyric with throaty vehemence while his bandmates launch into a relentless stampede of bestial impatience. Interestingly, they redid it for 2008’s Lead Us!!! EP, wherein they added rainfall and polished the production. Neither outdoes Slayer’s offering, but both are very respectable efforts.”,”podContent”:[{“type”:”singlePostText”,”data”:{“text”:”

Slayer’s tune is extremely fast and vicious, so it’s a testament to the Polish death metal ensemble that they’re able to up the ante on both fronts. Aside from replacing the recurring weather effects with piercing guitar feedback, their slightly shorter live variation – from 1994’s Sothis EP – is quicker and nastier overall.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Slayer’s tune is extremely fast and vicious, so it’s a testament to the Polish death metal ensemble that they’re able to up the ante on both fronts. Aside from replacing the recurring weather effects with piercing guitar feedback, their slightly shorter live variation – from 1994’s Sothis EP – is quicker and nastier overall.”}}}},”currentTextLength”:368,”runningCounter”:1,”cumulativePodTextLength”:368,”totalSimilarConsecutiveElements”:2,”totalTextLength”:730},{“type”:”singlePostText”,”data”:{“text”:”

Frontman Piotr “Peter” Wiwczarek infuses every lyric with throaty vehemence while his bandmates launch into a relentless stampede of bestial impatience. Interestingly, they redid it for 2008’s Lead Us!!! EP, wherein they added rainfall and polished the production. Neither outdoes Slayer’s offering, but both are very respectable efforts.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Frontman Piotr “Peter” Wiwczarek infuses every lyric with throaty vehemence while his bandmates launch into a relentless stampede of bestial impatience. Interestingly, they redid it for 2008’s Lead Us!!! EP, wherein they added rainfall and polished the production. Neither outdoes Slayer’s offering, but both are very respectable efforts.”}}}},”currentTextLength”:362,”runningCounter”:2,”cumulativePodTextLength”:730,”totalSimilarConsecutiveElements”:2,”totalTextLength”:730}],”uniquePodTypes”:[“singlePostText”],”images”:{“urls”:[],”galleryUrls”:[]}},{“index”:”2″,”html_title”:”Ghost, “Enter Sandman””,”title_link”:””,”title_target”:null,”title”:”Ghost, “Enter Sandman””,”html_subtitle”:”Originally by Metallica”,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:”Originally by Metallica”,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”Regardless of how divisive Metallica (aka The Black Album) is amongst Metallica fans, opener “Enter Sandman” is undeniably one of their biggest compositions. Thus, it took a lot of guts for the similarly polarizing Ghost to take a crack at it for 2021’s The Metallica Blacklist.rnrnImaginatively, they convert it into a pious piano ballad before erupting into a fiery yet typically danceable, swanky and luscious performance. It’s successfully compact, too, with an extraordinary compromise between faithfulness and idiosyncratic innovation. Although a few other acts – including Weezer, Juanes and Rina Sawayama – also copied “Enter Sandman” for the collection, Ghost topped them by a mile.”,”desc”:”

Regardless of how divisive Metallica (aka The Black Album) is amongst Metallica fans, opener “Enter Sandman” is undeniably one of their biggest compositions. Thus, it took a lot of guts for the similarly polarizing Ghost to take a crack at it for 2021’s The Metallica Blacklist.n

Imaginatively, they convert it into a pious piano ballad before erupting into a fiery yet typically danceable, swanky and luscious performance. It’s successfully compact, too, with an extraordinary compromise between faithfulness and idiosyncratic innovation. Although a few other acts – including Weezer, Juanes and Rina Sawayama – also copied “Enter Sandman” for the collection, Ghost topped them by a mile.n”,”media_layout”:”bottomx”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”Top that? Challenge accepted.”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=BTA6zBU0-4k”,”media_type”:”video”,”media_video_embed”:””,”mediaPodContent”:[{“type”:”singlePostOembed”,”data”:{“title”:”Ghost – “Enter Sandman” from The Metallica Blacklist”,”author_name”:”Ghost”,”author_url”:”https://www.youtube.com/@thebandGhost”,”type”:”video”,”height”:113,”width”:200,”version”:”1.0″,”provider_name”:”YouTube”,”provider_url”:”https://www.youtube.com/”,”thumbnail_height”:360,”thumbnail_width”:480,”thumbnail_url”:”https://i.ytimg.com/vi/BTA6zBU0-4k/hqdefault.jpg”,”html”:””,”videoId”:”BTA6zBU0-4k”}}],”blogId”:366,”contentRaw”:”Regardless of how divisive Metallica (aka The Black Album) is amongst Metallica fans, opener “Enter Sandman” is undeniably one of their biggest compositions. Thus, it took a lot of guts for the similarly polarizing Ghost to take a crack at it for 2021’s The Metallica Blacklist.rnrnImaginatively, they convert it into a pious piano ballad before erupting into a fiery yet typically danceable, swanky and luscious performance. It’s successfully compact, too, with an extraordinary compromise between faithfulness and idiosyncratic innovation. Although a few other acts – including Weezer, Juanes and Rina Sawayama – also copied “Enter Sandman” for the collection, Ghost topped them by a mile.”,”content”:”

Regardless of how divisive Metallica (aka The Black Album) is amongst Metallica fans, opener “Enter Sandman” is undeniably one of their biggest compositions. Thus, it took a lot of guts for the similarly polarizing Ghost to take a crack at it for 2021’s The Metallica Blacklist.n

Imaginatively, they convert it into a pious piano ballad before erupting into a fiery yet typically danceable, swanky and luscious performance. It’s successfully compact, too, with an extraordinary compromise between faithfulness and idiosyncratic innovation. Although a few other acts – including Weezer, Juanes and Rina Sawayama – also copied “Enter Sandman” for the collection, Ghost topped them by a mile.n”,”crossPostAttributionBottom”:””,”rawContent”:”

Regardless of how divisive Metallica (aka The Black Album) is amongst Metallica fans, opener “Enter Sandman” is undeniably one of their biggest compositions. Thus, it took a lot of guts for the similarly polarizing Ghost to take a crack at it for 2021’s The Metallica Blacklist.

Imaginatively, they convert it into a pious piano ballad before erupting into a fiery yet typically danceable, swanky and luscious performance. It’s successfully compact, too, with an extraordinary compromise between faithfulness and idiosyncratic innovation. Although a few other acts – including Weezer, Juanes and Rina Sawayama – also copied “Enter Sandman” for the collection, Ghost topped them by a mile.”,”podContent”:[{“type”:”singlePostText”,”data”:{“text”:”

Regardless of how divisive Metallica (aka The Black Album) is amongst Metallica fans, opener “Enter Sandman” is undeniably one of their biggest compositions. Thus, it took a lot of guts for the similarly polarizing Ghost to take a crack at it for 2021’s The Metallica Blacklist.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Regardless of how divisive Metallica (aka The Black Album) is amongst Metallica fans, opener “Enter Sandman” is undeniably one of their biggest compositions. Thus, it took a lot of guts for the similarly polarizing Ghost to take a crack at it for 2021’s The Metallica Blacklist.”}}}},”currentTextLength”:304,”runningCounter”:1,”cumulativePodTextLength”:304,”totalSimilarConsecutiveElements”:2,”totalTextLength”:748},{“type”:”singlePostText”,”data”:{“text”:”

Imaginatively, they convert it into a pious piano ballad before erupting into a fiery yet typically danceable, swanky and luscious performance. It’s successfully compact, too, with an extraordinary compromise between faithfulness and idiosyncratic innovation. Although a few other acts – including Weezer, Juanes and Rina Sawayama – also copied “Enter Sandman” for the collection, Ghost topped them by a mile.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Imaginatively, they convert it into a pious piano ballad before erupting into a fiery yet typically danceable, swanky and luscious performance. It’s successfully compact, too, with an extraordinary compromise between faithfulness and idiosyncratic innovation. Although a few other acts – including Weezer, Juanes and Rina Sawayama – also copied “Enter Sandman” for the collection, Ghost topped them by a mile.”}}}},”currentTextLength”:444,”runningCounter”:2,”cumulativePodTextLength”:748,”totalSimilarConsecutiveElements”:2,”totalTextLength”:748}],”uniquePodTypes”:[“singlePostText”],”images”:{“urls”:[],”galleryUrls”:[]}},{“index”:”3″,”html_title”:”Sanctuary, “White Rabbit””,”title_link”:””,”title_target”:null,”title”:”Sanctuary, “White Rabbit””,”html_subtitle”:”Originally by Jefferson Airplane”,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:”Originally by Jefferson Airplane”,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”Jefferson Airplane’s psych rock vibes are exceptionally far removed from Sanctuary’s trash metal ethos. Of course, that didn’t stop the latter band from tackling “White Rabbit” on 1988’s Refuge Denied, and luckily, they pulled it off.rnrnLengthier than the original, its opening features the biggest surprise, as the anticipated harsher percussion and feistier guitar work are complemented by vocalist Warrel Dane’s new preface (“Little Alice is on drugs again / They’ve bent her little mind”).rnrnAfterward, it’s a commendably one-for-one copy complete with fittingly histrionic singing and biting instrumentation. Dane’s final echoey chant (“She’s dead”) is a nice touch, too.”,”desc”:”

Jefferson Airplane’s psych rock vibes are exceptionally far removed from Sanctuary’s trash metal ethos. Of course, that didn’t stop the latter band from tackling “White Rabbit” on 1988’s Refuge Denied, and luckily, they pulled it off.n

Lengthier than the original, its opening features the biggest surprise, as the anticipated harsher percussion and feistier guitar work are complemented by vocalist Warrel Dane’s new preface (“Little Alice is on drugs again / They’ve bent her little mind”).n

Afterward, it’s a commendably one-for-one copy complete with fittingly histrionic singing and biting instrumentation. Dane’s final echoey chant (“She’s dead”) is a nice touch, too.n”,”media_layout”:”bottomx”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”Top that? Challenge accepted.”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=iftG6_8rg0I”,”media_type”:”video”,”media_video_embed”:””,”mediaPodContent”:[{“type”:”singlePostOembed”,”data”:{“title”:”White Rabbit”,”author_name”:”Sanctuary – Topic”,”author_url”:”https://www.youtube.com/channel/UCXbLJ1_Il3Mcfeb8-qBB2gw”,”type”:”video”,”height”:150,”width”:200,”version”:”1.0″,”provider_name”:”YouTube”,”provider_url”:”https://www.youtube.com/”,”thumbnail_height”:360,”thumbnail_width”:480,”thumbnail_url”:”https://i.ytimg.com/vi/iftG6_8rg0I/hqdefault.jpg”,”html”:””,”videoId”:”iftG6_8rg0I”}}],”blogId”:366,”contentRaw”:”Jefferson Airplane’s psych rock vibes are exceptionally far removed from Sanctuary’s trash metal ethos. Of course, that didn’t stop the latter band from tackling “White Rabbit” on 1988’s Refuge Denied, and luckily, they pulled it off.rnrnLengthier than the original, its opening features the biggest surprise, as the anticipated harsher percussion and feistier guitar work are complemented by vocalist Warrel Dane’s new preface (“Little Alice is on drugs again / They’ve bent her little mind”).rnrnAfterward, it’s a commendably one-for-one copy complete with fittingly histrionic singing and biting instrumentation. Dane’s final echoey chant (“She’s dead”) is a nice touch, too.”,”content”:”

Jefferson Airplane’s psych rock vibes are exceptionally far removed from Sanctuary’s trash metal ethos. Of course, that didn’t stop the latter band from tackling “White Rabbit” on 1988’s Refuge Denied, and luckily, they pulled it off.n

Lengthier than the original, its opening features the biggest surprise, as the anticipated harsher percussion and feistier guitar work are complemented by vocalist Warrel Dane’s new preface (“Little Alice is on drugs again / They’ve bent her little mind”).n

Afterward, it’s a commendably one-for-one copy complete with fittingly histrionic singing and biting instrumentation. Dane’s final echoey chant (“She’s dead”) is a nice touch, too.n”,”crossPostAttributionBottom”:””,”rawContent”:”

Jefferson Airplane’s psych rock vibes are exceptionally far removed from Sanctuary’s trash metal ethos. Of course, that didn’t stop the latter band from tackling “White Rabbit” on 1988’s Refuge Denied, and luckily, they pulled it off.

Lengthier than the original, its opening features the biggest surprise, as the anticipated harsher percussion and feistier guitar work are complemented by vocalist Warrel Dane’s new preface (“Little Alice is on drugs again / They’ve bent her little mind”).

Afterward, it’s a commendably one-for-one copy complete with fittingly histrionic singing and biting instrumentation. Dane’s final echoey chant (“She’s dead”) is a nice touch, too.”,”podContent”:[{“type”:”singlePostText”,”data”:{“text”:”

Jefferson Airplane’s psych rock vibes are exceptionally far removed from Sanctuary’s trash metal ethos. Of course, that didn’t stop the latter band from tackling “White Rabbit” on 1988’s Refuge Denied, and luckily, they pulled it off.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Jefferson Airplane’s psych rock vibes are exceptionally far removed from Sanctuary’s trash metal ethos. Of course, that didn’t stop the latter band from tackling “White Rabbit” on 1988’s Refuge Denied, and luckily, they pulled it off.”}}}},”currentTextLength”:277,”runningCounter”:1,”cumulativePodTextLength”:277,”totalSimilarConsecutiveElements”:3,”totalTextLength”:772},{“type”:”singlePostText”,”data”:{“text”:”

Lengthier than the original, its opening features the biggest surprise, as the anticipated harsher percussion and feistier guitar work are complemented by vocalist Warrel Dane’s new preface (“Little Alice is on drugs again / They've bent her little mind”).”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Lengthier than the original, its opening features the biggest surprise, as the anticipated harsher percussion and feistier guitar work are complemented by vocalist Warrel Dane’s new preface (“Little Alice is on drugs again / They've bent her little mind”).”}}}},”currentTextLength”:282,”runningCounter”:2,”cumulativePodTextLength”:559,”totalSimilarConsecutiveElements”:3,”totalTextLength”:772},{“type”:”singlePostText”,”data”:{“text”:”

Afterward, it’s a commendably one-for-one copy complete with fittingly histrionic singing and biting instrumentation. Dane's final echoey chant (“She’s dead”) is a nice touch, too.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Afterward, it’s a commendably one-for-one copy complete with fittingly histrionic singing and biting instrumentation. Dane's final echoey chant (“She’s dead”) is a nice touch, too.”}}}},”currentTextLength”:213,”runningCounter”:3,”cumulativePodTextLength”:772,”totalSimilarConsecutiveElements”:3,”totalTextLength”:772}],”uniquePodTypes”:[“singlePostText”],”images”:{“urls”:[],”galleryUrls”:[]}},{“index”:”4″,”html_title”:”Amon Amarth, “Aerials””,”title_link”:””,”title_target”:null,”title”:”Amon Amarth, “Aerials””,”html_subtitle”:”Originally by System of a Down”,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:”Originally by System of a Down”,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”The best covers often come when a band goes way beyond their wheelhouse, which is what Amon Amarth did with this iTunes edition bonus track for 2011’s Surtur Rising. They immediately dove into gloomier territory via somewhat altered introductory arpeggios. Then, they filter SOAD’s template into their emblematic melodic death metal exuberance.rnrnJohan Hegg’s guttural recital, alongside the persistently furious arrangement, leads to a less nuanced and heartrending result, but their dynamic anger is nonetheless enticing and praiseworthy. Best of all, their distinctiveness shines through, yielding a better option than merely doing an exact copy just to prove they can.”,”desc”:”

The best covers often come when a band goes way beyond their wheelhouse, which is what Amon Amarth did with this iTunes edition bonus track for 2011’s Surtur Rising. They immediately dove into gloomier territory via somewhat altered introductory arpeggios. Then, they filter SOAD’s template into their emblematic melodic death metal exuberance.n

Johan Hegg’s guttural recital, alongside the persistently furious arrangement, leads to a less nuanced and heartrending result, but their dynamic anger is nonetheless enticing and praiseworthy. Best of all, their distinctiveness shines through, yielding a better option than merely doing an exact copy just to prove they can.n”,”media_layout”:”bottomx”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”Top that? Challenge accepted.”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=VnoGQMJKDr4″,”media_type”:”video”,”media_video_embed”:””,”mediaPodContent”:[{“type”:”singlePostOembed”,”data”:{“title”:”Aerials”,”author_name”:”Amon Amarth – Topic”,”author_url”:”https://www.youtube.com/channel/UCOtqJNbDV4s4HI1h1YStWIw”,”type”:”video”,”height”:150,”width”:200,”version”:”1.0″,”provider_name”:”YouTube”,”provider_url”:”https://www.youtube.com/”,”thumbnail_height”:360,”thumbnail_width”:480,”thumbnail_url”:”https://i.ytimg.com/vi/VnoGQMJKDr4/hqdefault.jpg”,”html”:””,”videoId”:”VnoGQMJKDr4″}}],”blogId”:366,”contentRaw”:”The best covers often come when a band goes way beyond their wheelhouse, which is what Amon Amarth did with this iTunes edition bonus track for 2011’s Surtur Rising. They immediately dove into gloomier territory via somewhat altered introductory arpeggios. Then, they filter SOAD’s template into their emblematic melodic death metal exuberance.rnrnJohan Hegg’s guttural recital, alongside the persistently furious arrangement, leads to a less nuanced and heartrending result, but their dynamic anger is nonetheless enticing and praiseworthy. Best of all, their distinctiveness shines through, yielding a better option than merely doing an exact copy just to prove they can.”,”content”:”

The best covers often come when a band goes way beyond their wheelhouse, which is what Amon Amarth did with this iTunes edition bonus track for 2011’s Surtur Rising. They immediately dove into gloomier territory via somewhat altered introductory arpeggios. Then, they filter SOAD’s template into their emblematic melodic death metal exuberance.n

Johan Hegg’s guttural recital, alongside the persistently furious arrangement, leads to a less nuanced and heartrending result, but their dynamic anger is nonetheless enticing and praiseworthy. Best of all, their distinctiveness shines through, yielding a better option than merely doing an exact copy just to prove they can.n”,”crossPostAttributionBottom”:””,”rawContent”:”

The best covers often come when a band goes way beyond their wheelhouse, which is what Amon Amarth did with this iTunes edition bonus track for 2011’s Surtur Rising. They immediately dove into gloomier territory via somewhat altered introductory arpeggios. Then, they filter SOAD’s template into their emblematic melodic death metal exuberance.

Johan Hegg’s guttural recital, alongside the persistently furious arrangement, leads to a less nuanced and heartrending result, but their dynamic anger is nonetheless enticing and praiseworthy. Best of all, their distinctiveness shines through, yielding a better option than merely doing an exact copy just to prove they can.”,”podContent”:[{“type”:”singlePostText”,”data”:{“text”:”

The best covers often come when a band goes way beyond their wheelhouse, which is what Amon Amarth did with this iTunes edition bonus track for 2011’s Surtur Rising. They immediately dove into gloomier territory via somewhat altered introductory arpeggios. Then, they filter SOAD’s template into their emblematic melodic death metal exuberance.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”The best covers often come when a band goes way beyond their wheelhouse, which is what Amon Amarth did with this iTunes edition bonus track for 2011’s Surtur Rising. They immediately dove into gloomier territory via somewhat altered introductory arpeggios. Then, they filter SOAD’s template into their emblematic melodic death metal exuberance.”}}}},”currentTextLength”:358,”runningCounter”:1,”cumulativePodTextLength”:358,”totalSimilarConsecutiveElements”:2,”totalTextLength”:690},{“type”:”singlePostText”,”data”:{“text”:”

Johan Hegg’s guttural recital, alongside the persistently furious arrangement, leads to a less nuanced and heartrending result, but their dynamic anger is nonetheless enticing and praiseworthy. Best of all, their distinctiveness shines through, yielding a better option than merely doing an exact copy just to prove they can.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Johan Hegg’s guttural recital, alongside the persistently furious arrangement, leads to a less nuanced and heartrending result, but their dynamic anger is nonetheless enticing and praiseworthy. Best of all, their distinctiveness shines through, yielding a better option than merely doing an exact copy just to prove they can.”}}}},”currentTextLength”:332,”runningCounter”:2,”cumulativePodTextLength”:690,”totalSimilarConsecutiveElements”:2,”totalTextLength”:690}],”uniquePodTypes”:[“singlePostText”],”images”:{“urls”:[],”galleryUrls”:[]}},{“index”:”5″,”html_title”:”Type O Negative, “Black Sabbath (From the Satanic Perspective)””,”title_link”:””,”title_target”:null,”title”:”Type O Negative, “Black Sabbath (From the Satanic Perspective)””,”html_subtitle”:”Originally by Black Sabbath”,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:”Originally by Black Sabbath”,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”The first album in the two-part Nativity in Black: A Tribute to Black Sabbath series is full of awesome adaptations, but Type O Negative’s delivery of “Black Sabbath” is hard to beat.rnrnWhereas the original is characteristically brooding yet calmingly hypnotic, the American troupe’s embellishment is packed with trademark goth/doom metal graveness and playful strangeness. What’s more – and as the title implies – they alter the lyrics significantly amidst cleverly alluding to Black Sabbath’s narration. (For instance, “Big black shape with eyes of fire” becomes “I am the shadow – with the eyes, eyes of fire.”) It’s an ingenious reworking.”,”desc”:”

The first album in the two-part Nativity in Black: A Tribute to Black Sabbath series is full of awesome adaptations, but Type O Negative’s delivery of “Black Sabbath” is hard to beat.n

Whereas the original is characteristically brooding yet calmingly hypnotic, the American troupe’s embellishment is packed with trademark goth/doom metal graveness and playful strangeness. What’s more – and as the title implies – they alter the lyrics significantly amidst cleverly alluding to Black Sabbath’s narration. (For instance, “Big black shape with eyes of fire” becomes “I am the shadow – with the eyes, eyes of fire.”) It’s an ingenious reworking.n”,”media_layout”:”bottomx”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”Top that? Challenge accepted.”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=2_uAHLWNa_w”,”media_type”:”video”,”media_video_embed”:””,”mediaPodContent”:[{“type”:”singlePostOembed”,”data”:{“title”:”Black Sabbath (From the Satanic Perspective)”,”author_name”:”Type O Negative – Topic”,”author_url”:”https://www.youtube.com/channel/UCQoU8LdqW0z9M7VqOGTM8_g”,”type”:”video”,”height”:150,”width”:200,”version”:”1.0″,”provider_name”:”YouTube”,”provider_url”:”https://www.youtube.com/”,”thumbnail_height”:360,”thumbnail_width”:480,”thumbnail_url”:”https://i.ytimg.com/vi/2_uAHLWNa_w/hqdefault.jpg”,”html”:””,”videoId”:”2_uAHLWNa_w”}}],”blogId”:366,”contentRaw”:”The first album in the two-part Nativity in Black: A Tribute to Black Sabbath series is full of awesome adaptations, but Type O Negative’s delivery of “Black Sabbath” is hard to beat.rnrnWhereas the original is characteristically brooding yet calmingly hypnotic, the American troupe’s embellishment is packed with trademark goth/doom metal graveness and playful strangeness. What’s more – and as the title implies – they alter the lyrics significantly amidst cleverly alluding to Black Sabbath’s narration. (For instance, “Big black shape with eyes of fire” becomes “I am the shadow – with the eyes, eyes of fire.”) It’s an ingenious reworking.”,”content”:”

The first album in the two-part Nativity in Black: A Tribute to Black Sabbath series is full of awesome adaptations, but Type O Negative’s delivery of “Black Sabbath” is hard to beat.n

Whereas the original is characteristically brooding yet calmingly hypnotic, the American troupe’s embellishment is packed with trademark goth/doom metal graveness and playful strangeness. What’s more – and as the title implies – they alter the lyrics significantly amidst cleverly alluding to Black Sabbath’s narration. (For instance, “Big black shape with eyes of fire” becomes “I am the shadow – with the eyes, eyes of fire.”) It’s an ingenious reworking.n”,”crossPostAttributionBottom”:””,”rawContent”:”

The first album in the two-part Nativity in Black: A Tribute to Black Sabbath series is full of awesome adaptations, but Type O Negative’s delivery of “Black Sabbath” is hard to beat.

Whereas the original is characteristically brooding yet calmingly hypnotic, the American troupe’s embellishment is packed with trademark goth/doom metal graveness and playful strangeness. What’s more – and as the title implies – they alter the lyrics significantly amidst cleverly alluding to Black Sabbath’s narration. (For instance, “Big black shape with eyes of fire” becomes “I am the shadow – with the eyes, eyes of fire.”) It’s an ingenious reworking.”,”podContent”:[{“type”:”singlePostText”,”data”:{“text”:”

The first album in the two-part Nativity in Black: A Tribute to Black Sabbath series is full of awesome adaptations, but Type O Negative’s delivery of “Black Sabbath” is hard to beat.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”The first album in the two-part Nativity in Black: A Tribute to Black Sabbath series is full of awesome adaptations, but Type O Negative’s delivery of “Black Sabbath” is hard to beat.”}}}},”currentTextLength”:205,”runningCounter”:1,”cumulativePodTextLength”:205,”totalSimilarConsecutiveElements”:2,”totalTextLength”:732},{“type”:”singlePostText”,”data”:{“text”:”

Whereas the original is characteristically brooding yet calmingly hypnotic, the American troupe’s embellishment is packed with trademark goth/doom metal graveness and playful strangeness. What’s more – and as the title implies – they alter the lyrics significantly amidst cleverly alluding to Black Sabbath’s narration. (For instance, “Big black shape with eyes of fire” becomes “I am the shadow – with the eyes, eyes of fire.”) It’s an ingenious reworking.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Whereas the original is characteristically brooding yet calmingly hypnotic, the American troupe’s embellishment is packed with trademark goth/doom metal graveness and playful strangeness. What’s more – and as the title implies – they alter the lyrics significantly amidst cleverly alluding to Black Sabbath’s narration. (For instance, “Big black shape with eyes of fire” becomes “I am the shadow – with the eyes, eyes of fire.”) It’s an ingenious reworking.”}}}},”currentTextLength”:527,”runningCounter”:2,”cumulativePodTextLength”:732,”totalSimilarConsecutiveElements”:2,”totalTextLength”:732}],”uniquePodTypes”:[“singlePostText”],”images”:{“urls”:[],”galleryUrls”:[]}},{“index”:”6″,”html_title”:”Ronnie James Dio Yngwie Malmsteen, “Dream On” “,”title_link”:””,”title_target”:null,”title”:”Ronnie James Dio + Yngwie Malmsteen, “Dream On” “,”html_subtitle”:”Originally by Aerosmith”,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:”Originally by Aerosmith”,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”This one comes from 1999’s Tribute to Aerosmith: Not the Same Old Song and Dance, and it mirrors their cut very closely (it even has an identical runtime). In fact, it’s almost indistinguishable from the prior version at the start. It doesn’t take long, however, for Malmsteen to leave his mark with some shredding before Dio kicks off the initial verse via his usual operatic coarseness.rnrnFrom there, Malmsteen’s six-string theatrics and Dio’s stacked harmonies continue to add heft and individuality while collaborators Stu Hamm (bass), Gregg Bissonette (drums) and Paul Taylor (guitars/keyboards) ensure an impressively accurate and intense homage.”,”desc”:”

This one comes from 1999’s Tribute to Aerosmith: Not the Same Old Song and Dance, and it mirrors their cut very closely (it even has an identical runtime). In fact, it’s almost indistinguishable from the prior version at the start. It doesn’t take long, however, for Malmsteen to leave his mark with some shredding before Dio kicks off the initial verse via his usual operatic coarseness.n

From there, Malmsteen’s six-string theatrics and Dio’s stacked harmonies continue to add heft and individuality while collaborators Stu Hamm (bass), Gregg Bissonette (drums) and Paul Taylor (guitars/keyboards) ensure an impressively accurate and intense homage.n”,”media_layout”:”bottomx”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”Top that? Challenge accepted.”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=Fj0410Ehipo”,”media_type”:”video”,”media_video_embed”:””,”mediaPodContent”:[{“type”:”singlePostOembed”,”data”:{“title”:”Yngwie Malmsteen – Dream On Aerosmith – Yngwie Malmsteen – Dio”,”author_name”:”Official Yngwie Malmsteen”,”author_url”:”https://www.youtube.com/@officialyngwiemalmsteen622″,”type”:”video”,”height”:113,”width”:200,”version”:”1.0″,”provider_name”:”YouTube”,”provider_url”:”https://www.youtube.com/”,”thumbnail_height”:360,”thumbnail_width”:480,”thumbnail_url”:”https://i.ytimg.com/vi/Fj0410Ehipo/hqdefault.jpg”,”html”:””,”videoId”:”Fj0410Ehipo”}}],”blogId”:366,”contentRaw”:”This one comes from 1999’s Tribute to Aerosmith: Not the Same Old Song and Dance, and it mirrors their cut very closely (it even has an identical runtime). In fact, it’s almost indistinguishable from the prior version at the start. It doesn’t take long, however, for Malmsteen to leave his mark with some shredding before Dio kicks off the initial verse via his usual operatic coarseness.rnrnFrom there, Malmsteen’s six-string theatrics and Dio’s stacked harmonies continue to add heft and individuality while collaborators Stu Hamm (bass), Gregg Bissonette (drums) and Paul Taylor (guitars/keyboards) ensure an impressively accurate and intense homage.”,”content”:”

This one comes from 1999’s Tribute to Aerosmith: Not the Same Old Song and Dance, and it mirrors their cut very closely (it even has an identical runtime). In fact, it’s almost indistinguishable from the prior version at the start. It doesn’t take long, however, for Malmsteen to leave his mark with some shredding before Dio kicks off the initial verse via his usual operatic coarseness.n

From there, Malmsteen’s six-string theatrics and Dio’s stacked harmonies continue to add heft and individuality while collaborators Stu Hamm (bass), Gregg Bissonette (drums) and Paul Taylor (guitars/keyboards) ensure an impressively accurate and intense homage.n”,”crossPostAttributionBottom”:””,”rawContent”:”

This one comes from 1999’s Tribute to Aerosmith: Not the Same Old Song and Dance, and it mirrors their cut very closely (it even has an identical runtime). In fact, it’s almost indistinguishable from the prior version at the start. It doesn’t take long, however, for Malmsteen to leave his mark with some shredding before Dio kicks off the initial verse via his usual operatic coarseness.

From there, Malmsteen’s six-string theatrics and Dio’s stacked harmonies continue to add heft and individuality while collaborators Stu Hamm (bass), Gregg Bissonette (drums) and Paul Taylor (guitars/keyboards) ensure an impressively accurate and intense homage.”,”podContent”:[{“type”:”singlePostText”,”data”:{“text”:”

This one comes from 1999’s Tribute to Aerosmith: Not the Same Old Song and Dance, and it mirrors their cut very closely (it even has an identical runtime). In fact, it’s almost indistinguishable from the prior version at the start. It doesn’t take long, however, for Malmsteen to leave his mark with some shredding before Dio kicks off the initial verse via his usual operatic coarseness.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”This one comes from 1999’s Tribute to Aerosmith: Not the Same Old Song and Dance, and it mirrors their cut very closely (it even has an identical runtime). In fact, it’s almost indistinguishable from the prior version at the start. It doesn’t take long, however, for Malmsteen to leave his mark with some shredding before Dio kicks off the initial verse via his usual operatic coarseness.”}}}},”currentTextLength”:409,”runningCounter”:1,”cumulativePodTextLength”:409,”totalSimilarConsecutiveElements”:2,”totalTextLength”:684},{“type”:”singlePostText”,”data”:{“text”:”

From there, Malmsteen’s six-string theatrics and Dio’s stacked harmonies continue to add heft and individuality while collaborators Stu Hamm (bass), Gregg Bissonette (drums) and Paul Taylor (guitars/keyboards) ensure an impressively accurate and intense homage.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”From there, Malmsteen’s six-string theatrics and Dio’s stacked harmonies continue to add heft and individuality while collaborators Stu Hamm (bass), Gregg Bissonette (drums) and Paul Taylor (guitars/keyboards) ensure an impressively accurate and intense homage.”}}}},”currentTextLength”:275,”runningCounter”:2,”cumulativePodTextLength”:684,”totalSimilarConsecutiveElements”:2,”totalTextLength”:684}],”uniquePodTypes”:[“singlePostText”],”images”:{“urls”:[],”galleryUrls”:[]}},{“index”:”7″,”html_title”:”Death, “Painkiller””,”title_link”:””,”title_target”:null,”title”:”Death, “Painkiller””,”html_subtitle”:”Originally by Judas Priest”,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:”Originally by Judas Priest”,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”The closing track of Death’s final studio album (1998’s The Sound of Perseverance), “Painkiller” is essentially the group’s swan song. As a remarkably precise emulation of the Judas Priest classic, it’s quite an impressive way to cap off their legacy.rnrnSure, the singing is arguably a tad less shrill (and a tad more sinister), the absence of some production theatrics – such as a lack of dual vocals – makes it more straightforward and the flashy guitar work halfway in is marginally different. Nevertheless, it’s a highly meticulous recreation that infuses enough of Death’s DNA to fit alongside the rest of the record.”,”desc”:”

The closing track of Death’s final studio album (1998’s The Sound of Perseverance), “Painkiller” is essentially the group’s swan song. As a remarkably precise emulation of the Judas Priest classic, it’s quite an impressive way to cap off their legacy.n

Sure, the singing is arguably a tad less shrill (and a tad more sinister), the absence of some production theatrics – such as a lack of dual vocals – makes it more straightforward and the flashy guitar work halfway in is marginally different. Nevertheless, it’s a highly meticulous recreation that infuses enough of Death’s DNA to fit alongside the rest of the record.n”,”media_layout”:”bottomx”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”Top that? Challenge accepted.”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=JArjr-IxzlI”,”media_type”:”video”,”media_video_embed”:””,”mediaPodContent”:[{“type”:”singlePostOembed”,”data”:{“title”:”Painkiller”,”author_name”:”Death – Topic”,”author_url”:”https://www.youtube.com/channel/UCBtumM97cGWGtM0n2A9A8NQ”,”type”:”video”,”height”:150,”width”:200,”version”:”1.0″,”provider_name”:”YouTube”,”provider_url”:”https://www.youtube.com/”,”thumbnail_height”:360,”thumbnail_width”:480,”thumbnail_url”:”https://i.ytimg.com/vi/JArjr-IxzlI/hqdefault.jpg”,”html”:””,”videoId”:”JArjr-IxzlI”}}],”blogId”:366,”contentRaw”:”The closing track of Death’s final studio album (1998’s The Sound of Perseverance), “Painkiller” is essentially the group’s swan song. As a remarkably precise emulation of the Judas Priest classic, it’s quite an impressive way to cap off their legacy.rnrnSure, the singing is arguably a tad less shrill (and a tad more sinister), the absence of some production theatrics – such as a lack of dual vocals – makes it more straightforward and the flashy guitar work halfway in is marginally different. Nevertheless, it’s a highly meticulous recreation that infuses enough of Death’s DNA to fit alongside the rest of the record.”,”content”:”

The closing track of Death’s final studio album (1998’s The Sound of Perseverance), “Painkiller” is essentially the group’s swan song. As a remarkably precise emulation of the Judas Priest classic, it’s quite an impressive way to cap off their legacy.n

Sure, the singing is arguably a tad less shrill (and a tad more sinister), the absence of some production theatrics – such as a lack of dual vocals – makes it more straightforward and the flashy guitar work halfway in is marginally different. Nevertheless, it’s a highly meticulous recreation that infuses enough of Death’s DNA to fit alongside the rest of the record.n”,”crossPostAttributionBottom”:””,”rawContent”:”

The closing track of Death’s final studio album (1998’s The Sound of Perseverance), “Painkiller” is essentially the group’s swan song. As a remarkably precise emulation of the Judas Priest classic, it’s quite an impressive way to cap off their legacy.

Sure, the singing is arguably a tad less shrill (and a tad more sinister), the absence of some production theatrics – such as a lack of dual vocals – makes it more straightforward and the flashy guitar work halfway in is marginally different. Nevertheless, it’s a highly meticulous recreation that infuses enough of Death’s DNA to fit alongside the rest of the record.”,”podContent”:[{“type”:”singlePostText”,”data”:{“text”:”

The closing track of Death’s final studio album (1998’s The Sound of Perseverance), “Painkiller” is essentially the group’s swan song. As a remarkably precise emulation of the Judas Priest classic, it’s quite an impressive way to cap off their legacy.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”The closing track of Death’s final studio album (1998’s The Sound of Perseverance), “Painkiller” is essentially the group’s swan song. As a remarkably precise emulation of the Judas Priest classic, it’s quite an impressive way to cap off their legacy.”}}}},”currentTextLength”:293,”runningCounter”:1,”cumulativePodTextLength”:293,”totalSimilarConsecutiveElements”:2,”totalTextLength”:689},{“type”:”singlePostText”,”data”:{“text”:”

Sure, the singing is arguably a tad less shrill (and a tad more sinister), the absence of some production theatrics – such as a lack of dual vocals – makes it more straightforward and the flashy guitar work halfway in is marginally different. Nevertheless, it’s a highly meticulous recreation that infuses enough of Death’s DNA to fit alongside the rest of the record.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Sure, the singing is arguably a tad less shrill (and a tad more sinister), the absence of some production theatrics – such as a lack of dual vocals – makes it more straightforward and the flashy guitar work halfway in is marginally different. Nevertheless, it’s a highly meticulous recreation that infuses enough of Death’s DNA to fit alongside the rest of the record.”}}}},”currentTextLength”:396,”runningCounter”:2,”cumulativePodTextLength”:689,”totalSimilarConsecutiveElements”:2,”totalTextLength”:689}],”uniquePodTypes”:[“singlePostText”],”images”:{“urls”:[],”galleryUrls”:[]}},{“index”:”8″,”html_title”:”Avenged Sevenfold, “Wish You Were Here””,”title_link”:””,”title_target”:null,”title”:”Avenged Sevenfold, “Wish You Were Here””,”html_subtitle”:”Originally by Pink Floyd”,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:”Originally by Pink Floyd”,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”It’d be foolish to try outshining the warm perfection of Pink Floyd’s “Wish You Were Here.” Thankfully, Avenged Sevenfold’s attempt – from 2016’s The Stage – doesn’t.rnrnInstead, it radiates the affection and accuracy of a pluckier homage. Granted, they leave out the preliminary radio chatter of the 1975 rendition, and the percussion, vocals and mid-song guitar solo are a bit heavier, but virtually everything else is as loyal as possible.rnrnEven the piano work is spot on, whereas the marching drums near the end provide a resourceful change. So, kudos to A7X for respectfully helping introduce Pink Floyd to a younger generation.”,”desc”:”

It’d be foolish to try outshining the warm perfection of Pink Floyd’s “Wish You Were Here.” Thankfully, Avenged Sevenfold’s attempt – from 2016’s The Stage – doesn’t.n

Instead, it radiates the affection and accuracy of a pluckier homage. Granted, they leave out the preliminary radio chatter of the 1975 rendition, and the percussion, vocals and mid-song guitar solo are a bit heavier, but virtually everything else is as loyal as possible.n

Even the piano work is spot on, whereas the marching drums near the end provide a resourceful change. So, kudos to A7X for respectfully helping introduce Pink Floyd to a younger generation.n”,”media_layout”:”bottomx”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”Top that? Challenge accepted.”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=GwrnjtW-rfk”,”media_type”:”video”,”media_video_embed”:””,”mediaPodContent”:[{“type”:”singlePostOembed”,”data”:{“title”:”Avenged Sevenfold – Wish You Were Here”,”author_name”:”AvengedSevenfoldVEVO”,”author_url”:”https://www.youtube.com/@AvengedSevenfoldVEVO”,”type”:”video”,”height”:113,”width”:200,”version”:”1.0″,”provider_name”:”YouTube”,”provider_url”:”https://www.youtube.com/”,”thumbnail_height”:360,”thumbnail_width”:480,”thumbnail_url”:”https://i.ytimg.com/vi/GwrnjtW-rfk/hqdefault.jpg”,”html”:””,”videoId”:”GwrnjtW-rfk”}}],”blogId”:366,”contentRaw”:”It’d be foolish to try outshining the warm perfection of Pink Floyd’s “Wish You Were Here.” Thankfully, Avenged Sevenfold’s attempt – from 2016’s The Stage – doesn’t.rnrnInstead, it radiates the affection and accuracy of a pluckier homage. Granted, they leave out the preliminary radio chatter of the 1975 rendition, and the percussion, vocals and mid-song guitar solo are a bit heavier, but virtually everything else is as loyal as possible.rnrnEven the piano work is spot on, whereas the marching drums near the end provide a resourceful change. So, kudos to A7X for respectfully helping introduce Pink Floyd to a younger generation.”,”content”:”

It’d be foolish to try outshining the warm perfection of Pink Floyd’s “Wish You Were Here.” Thankfully, Avenged Sevenfold’s attempt – from 2016’s The Stage – doesn’t.n

Instead, it radiates the affection and accuracy of a pluckier homage. Granted, they leave out the preliminary radio chatter of the 1975 rendition, and the percussion, vocals and mid-song guitar solo are a bit heavier, but virtually everything else is as loyal as possible.n

Even the piano work is spot on, whereas the marching drums near the end provide a resourceful change. So, kudos to A7X for respectfully helping introduce Pink Floyd to a younger generation.n”,”crossPostAttributionBottom”:””,”rawContent”:”

It’d be foolish to try outshining the warm perfection of Pink Floyd’s “Wish You Were Here.” Thankfully, Avenged Sevenfold’s attempt – from 2016’s The Stage – doesn’t.

Instead, it radiates the affection and accuracy of a pluckier homage. Granted, they leave out the preliminary radio chatter of the 1975 rendition, and the percussion, vocals and mid-song guitar solo are a bit heavier, but virtually everything else is as loyal as possible.

Even the piano work is spot on, whereas the marching drums near the end provide a resourceful change. So, kudos to A7X for respectfully helping introduce Pink Floyd to a younger generation.”,”podContent”:[{“type”:”singlePostText”,”data”:{“text”:”

It’d be foolish to try outshining the warm perfection of Pink Floyd’s “Wish You Were Here.” Thankfully, Avenged Sevenfold’s attempt – from 2016’s The Stage – doesn’t.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”It’d be foolish to try outshining the warm perfection of Pink Floyd’s “Wish You Were Here.” Thankfully, Avenged Sevenfold’s attempt – from 2016’s The Stage – doesn’t.”}}}},”currentTextLength”:229,”runningCounter”:1,”cumulativePodTextLength”:229,”totalSimilarConsecutiveElements”:3,”totalTextLength”:690},{“type”:”singlePostText”,”data”:{“text”:”

Instead, it radiates the affection and accuracy of a pluckier homage. Granted, they leave out the preliminary radio chatter of the 1975 rendition, and the percussion, vocals and mid-song guitar solo are a bit heavier, but virtually everything else is as loyal as possible.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Instead, it radiates the affection and accuracy of a pluckier homage. Granted, they leave out the preliminary radio chatter of the 1975 rendition, and the percussion, vocals and mid-song guitar solo are a bit heavier, but virtually everything else is as loyal as possible.”}}}},”currentTextLength”:272,”runningCounter”:2,”cumulativePodTextLength”:501,”totalSimilarConsecutiveElements”:3,”totalTextLength”:690},{“type”:”singlePostText”,”data”:{“text”:”

Even the piano work is spot on, whereas the marching drums near the end provide a resourceful change. So, kudos to A7X for respectfully helping introduce Pink Floyd to a younger generation.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Even the piano work is spot on, whereas the marching drums near the end provide a resourceful change. So, kudos to A7X for respectfully helping introduce Pink Floyd to a younger generation.”}}}},”currentTextLength”:189,”runningCounter”:3,”cumulativePodTextLength”:690,”totalSimilarConsecutiveElements”:3,”totalTextLength”:690}],”uniquePodTypes”:[“singlePostText”],”images”:{“urls”:[],”galleryUrls”:[]}},{“index”:”9″,”html_title”:”Opeth, “Would?””,”title_link”:””,”title_target”:null,”title”:”Opeth, “Would?””,”html_subtitle”:”Originally by Alice in Chains”,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:”Originally by Alice in Chains”,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”Taken from 2008’s “Burden” single and the Watershed sessions, Opeth’s “Would?” is a lovingly devoted cover of the Alice in Chains staple. Naturally, it’s more elegant and less, well, grungy, with frontman Mikael Åkerfeldt’s angelically pained crooning serving as a nice contrast to the late Layne Staley’s gruffer outline.rnrnMoving onto the arrangement, it’s correspondingly mellower (especially in regard to Martín Méndez’s subtler bass playing), with revised guitar solos that lean toward the Swedes’ signature gothic despair. Honestly, it wouldn’t be wrong to prefer it over the original since Opeth does such a fine job making it their own.”,”desc”:”

Taken from 2008’s “Burden” single and the Watershed sessions, Opeth’s “Would?” is a lovingly devoted cover of the Alice in Chains staple. Naturally, it’s more elegant and less, well, grungy, with frontman Mikael Åkerfeldt’s angelically pained crooning serving as a nice contrast to the late Layne Staley’s gruffer outline.n

Moving onto the arrangement, it’s correspondingly mellower (especially in regard to Martín Méndez’s subtler bass playing), with revised guitar solos that lean toward the Swedes’ signature gothic despair. Honestly, it wouldn’t be wrong to prefer it over the original since Opeth does such a fine job making it their own.n”,”media_layout”:”bottomx”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”Top that? Challenge accepted.”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=AvqLaaXD_FY”,”media_type”:”video”,”media_video_embed”:””,”mediaPodContent”:[{“type”:”singlePostOembed”,”data”:{“title”:”Would?”,”author_name”:”Opeth – Topic”,”author_url”:”https://www.youtube.com/channel/UCPDNZZQOlPKYnL64i9cCXFA”,”type”:”video”,”height”:150,”width”:200,”version”:”1.0″,”provider_name”:”YouTube”,”provider_url”:”https://www.youtube.com/”,”thumbnail_height”:360,”thumbnail_width”:480,”thumbnail_url”:”https://i.ytimg.com/vi/AvqLaaXD_FY/hqdefault.jpg”,”html”:””,”videoId”:”AvqLaaXD_FY”}}],”blogId”:366,”contentRaw”:”Taken from 2008’s “Burden” single and the Watershed sessions, Opeth’s “Would?” is a lovingly devoted cover of the Alice in Chains staple. Naturally, it’s more elegant and less, well, grungy, with frontman Mikael Åkerfeldt’s angelically pained crooning serving as a nice contrast to the late Layne Staley’s gruffer outline.rnrnMoving onto the arrangement, it’s correspondingly mellower (especially in regard to Martín Méndez’s subtler bass playing), with revised guitar solos that lean toward the Swedes’ signature gothic despair. Honestly, it wouldn’t be wrong to prefer it over the original since Opeth does such a fine job making it their own.”,”content”:”

Taken from 2008’s “Burden” single and the Watershed sessions, Opeth’s “Would?” is a lovingly devoted cover of the Alice in Chains staple. Naturally, it’s more elegant and less, well, grungy, with frontman Mikael Åkerfeldt’s angelically pained crooning serving as a nice contrast to the late Layne Staley’s gruffer outline.n

Moving onto the arrangement, it’s correspondingly mellower (especially in regard to Martín Méndez’s subtler bass playing), with revised guitar solos that lean toward the Swedes’ signature gothic despair. Honestly, it wouldn’t be wrong to prefer it over the original since Opeth does such a fine job making it their own.n”,”crossPostAttributionBottom”:””,”rawContent”:”

Taken from 2008’s “Burden” single and the Watershed sessions, Opeth’s “Would?” is a lovingly devoted cover of the Alice in Chains staple. Naturally, it’s more elegant and less, well, grungy, with frontman Mikael Åkerfeldt’s angelically pained crooning serving as a nice contrast to the late Layne Staley’s gruffer outline.

Moving onto the arrangement, it’s correspondingly mellower (especially in regard to Martín Méndez’s subtler bass playing), with revised guitar solos that lean toward the Swedes’ signature gothic despair. Honestly, it wouldn’t be wrong to prefer it over the original since Opeth does such a fine job making it their own.”,”podContent”:[{“type”:”singlePostText”,”data”:{“text”:”

Taken from 2008’s “Burden” single and the Watershed sessions, Opeth’s “Would?” is a lovingly devoted cover of the Alice in Chains staple. Naturally, it’s more elegant and less, well, grungy, with frontman Mikael Åkerfeldt’s angelically pained crooning serving as a nice contrast to the late Layne Staley’s gruffer outline.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Taken from 2008’s “Burden” single and the Watershed sessions, Opeth’s “Would?” is a lovingly devoted cover of the Alice in Chains staple. Naturally, it’s more elegant and less, well, grungy, with frontman Mikael Åkerfeldt’s angelically pained crooning serving as a nice contrast to the late Layne Staley’s gruffer outline.”}}}},”currentTextLength”:390,”runningCounter”:1,”cumulativePodTextLength”:390,”totalSimilarConsecutiveElements”:2,”totalTextLength”:747},{“type”:”singlePostText”,”data”:{“text”:”

Moving onto the arrangement, it’s correspondingly mellower (especially in regard to Martín Méndez’s subtler bass playing), with revised guitar solos that lean toward the Swedes’ signature gothic despair. Honestly, it wouldn’t be wrong to prefer it over the original since Opeth does such a fine job making it their own.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Moving onto the arrangement, it’s correspondingly mellower (especially in regard to Martín Méndez’s subtler bass playing), with revised guitar solos that lean toward the Swedes’ signature gothic despair. Honestly, it wouldn’t be wrong to prefer it over the original since Opeth does such a fine job making it their own.”}}}},”currentTextLength”:357,”runningCounter”:2,”cumulativePodTextLength”:747,”totalSimilarConsecutiveElements”:2,”totalTextLength”:747}],”uniquePodTypes”:[“singlePostText”],”images”:{“urls”:[],”galleryUrls”:[]}},{“index”:”10″,”html_title”:”Tool, “No Quarter””,”title_link”:””,”title_target”:null,”title”:”Tool, “No Quarter””,”html_subtitle”:”Originally by Led Zeppelin”,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:”Originally by Led Zeppelin”,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”Led Zeppelin are one of the most celebrated – albeit controversial – classic rock acts, so pretty much everything they did is sacred. Considering how trippy, groovy and sublime “No Quarter” is, though, it’s only logical that Tool put their spin on it.rnrnRecorded during the Ænima sessions, it landed on 2000’s Salival box set, and the significantly extended duration exudes the quartet’s penchant for industrial psychedelia, alternative metal and the like. In particular, numerous lyrical alterations – in conjunction with plenty of proggy jamming and Maynard James Keenan’s familiar ethereal tone – transform it into a mind-bending journey as only Tool could provide.”,”desc”:”

Led Zeppelin are one of the most celebrated – albeit controversial – classic rock acts, so pretty much everything they did is sacred. Considering how trippy, groovy and sublime “No Quarter” is, though, it’s only logical that Tool put their spin on it.n

Recorded during the Ænima sessions, it landed on 2000’s Salival box set, and the significantly extended duration exudes the quartet’s penchant for industrial psychedelia, alternative metal and the like. In particular, numerous lyrical alterations – in conjunction with plenty of proggy jamming and Maynard James Keenan’s familiar ethereal tone – transform it into a mind-bending journey as only Tool could provide.n”,”media_layout”:”bottomx”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”Top that? Challenge accepted.”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=_ZKIfCJZvZo”,”media_type”:”video”,”media_video_embed”:””,”mediaPodContent”:[{“type”:”singlePostOembed”,”data”:{“title”:”Tool – No Quarter (FULL HD)”,”author_name”:”lovigab”,”author_url”:”https://www.youtube.com/@lovigab”,”type”:”video”,”height”:113,”width”:200,”version”:”1.0″,”provider_name”:”YouTube”,”provider_url”:”https://www.youtube.com/”,”thumbnail_height”:360,”thumbnail_width”:480,”thumbnail_url”:”https://i.ytimg.com/vi/_ZKIfCJZvZo/hqdefault.jpg”,”html”:””,”videoId”:”_ZKIfCJZvZo”}}],”blogId”:366,”contentRaw”:”Led Zeppelin are one of the most celebrated – albeit controversial – classic rock acts, so pretty much everything they did is sacred. Considering how trippy, groovy and sublime “No Quarter” is, though, it’s only logical that Tool put their spin on it.rnrnRecorded during the Ænima sessions, it landed on 2000’s Salival box set, and the significantly extended duration exudes the quartet’s penchant for industrial psychedelia, alternative metal and the like. In particular, numerous lyrical alterations – in conjunction with plenty of proggy jamming and Maynard James Keenan’s familiar ethereal tone – transform it into a mind-bending journey as only Tool could provide.”,”content”:”

Led Zeppelin are one of the most celebrated – albeit controversial – classic rock acts, so pretty much everything they did is sacred. Considering how trippy, groovy and sublime “No Quarter” is, though, it’s only logical that Tool put their spin on it.n

Recorded during the Ænima sessions, it landed on 2000’s Salival box set, and the significantly extended duration exudes the quartet’s penchant for industrial psychedelia, alternative metal and the like. In particular, numerous lyrical alterations – in conjunction with plenty of proggy jamming and Maynard James Keenan’s familiar ethereal tone – transform it into a mind-bending journey as only Tool could provide.n”,”crossPostAttributionBottom”:””,”rawContent”:”

Led Zeppelin are one of the most celebrated – albeit controversial – classic rock acts, so pretty much everything they did is sacred. Considering how trippy, groovy and sublime “No Quarter” is, though, it’s only logical that Tool put their spin on it.

Recorded during the Ænima sessions, it landed on 2000’s Salival box set, and the significantly extended duration exudes the quartet’s penchant for industrial psychedelia, alternative metal and the like. In particular, numerous lyrical alterations – in conjunction with plenty of proggy jamming and Maynard James Keenan’s familiar ethereal tone – transform it into a mind-bending journey as only Tool could provide.”,”podContent”:[{“type”:”singlePostText”,”data”:{“text”:”

Led Zeppelin are one of the most celebrated – albeit controversial – classic rock acts, so pretty much everything they did is sacred. Considering how trippy, groovy and sublime “No Quarter” is, though, it’s only logical that Tool put their spin on it.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Led Zeppelin are one of the most celebrated – albeit controversial – classic rock acts, so pretty much everything they did is sacred. Considering how trippy, groovy and sublime “No Quarter” is, though, it’s only logical that Tool put their spin on it.”}}}},”currentTextLength”:286,”runningCounter”:1,”cumulativePodTextLength”:286,”totalSimilarConsecutiveElements”:2,”totalTextLength”:740},{“type”:”singlePostText”,”data”:{“text”:”

Recorded during the Ænima sessions, it landed on 2000’s Salival box set, and the significantly extended duration exudes the quartet’s penchant for industrial psychedelia, alternative metal and the like. In particular, numerous lyrical alterations – in conjunction with plenty of proggy jamming and Maynard James Keenan’s familiar ethereal tone – transform it into a mind-bending journey as only Tool could provide.”,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Recorded during the Ænima sessions, it landed on 2000’s Salival box set, and the significantly extended duration exudes the quartet’s penchant for industrial psychedelia, alternative metal and the like. 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