Tag Archives: acoustic

“(What’s So Funny ‘Bout) Peace, Love, and Understanding” (Elvis Costello Cover)

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By Chris Moore:

Hello and welcome to another all-new Laptop Session, brought to you by the music blog devoted to great new rock music. My acoustic cover song tonight is not a new rock song, but it is a classic by an artist that did release an excellent album this year. That artist is Elvis Costello and the song is “(What’s So Funny ‘Bout) Peace, Love, and Understanding.” I had actually planned on recording (and did, in fact) record a different song for my session tonight, but after I finished that one, I went on to this Elvis Costello tune and liked how it came out so much that I had to post it tonight. For whatever reason (the amount of time that I had been singing previously, the air conditioning taking all the moisture out of the air in the house, or my allergies), my voice was somewhat rough for this recording. Normally, that would be enough for me to put down the guitar and wait for another day. However, I think it worked for the emotion that is supposed to be conveyed by this track. Aside from the very end of this take when my voice is simply too shot to hit the notes I wanted to hit (please feel free to laugh at the ridiculous look on my face), I’m happy with how it came out.

This is one my favorite Elvis Costello songs of all time, and it’s a perfect track to bring to this music blog, as it has been recorded as a cover song previously by such bands as the Wallflowers. It’s a fairly simple song with simple chords, simple but great lyrics, and a simple message that I know Ringo Starr would love, and it translates very well to acoustic guitar. That being said, Jim and I did some research tonight and were shocked to find that although he is listed as #80 on the list of best rock artists ever, he has had very few songs chart well, especially on the Billboard Hot 100. It’s amazing that his most popular songs really aren’t as successful as you might expect for an artist of his standing. That either says something about him or, more likely, the system. (Especially considering that this is a system that barely recognizes the existence of such talented and influential acts as the Moody Blues…)

If you’re a regular viewer of the Laptop Sessions, you’ll get another dose of Elvis Costello very soon — his new rock music on this year’s Momofuku is some of my favorite from him and is easily in my personal top four or five albums of the year (and this is saying alot, as I’ve heard somewhere approaching fifteen new albums this year already!).

Whatever you do, don’t go too far…

See you next session!



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“The Wrestler” by Bruce Springsteen – Chords, Tabs, and How to Play

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“The Wrestler”
Bruce Springsteen

(Capo III)

C                                                                          F
Have you ever seen a one trick pony in the field so happy and free?
C                                                                                              G
If you’ve ever seen a one trick pony, then you’ve seen me.
Have you ever seen a one-legged dog making its way down the street?
If you’ve ever seen a one-legged dog, then you’ve seen me.

F                              C
Then you’ve seen me…  I come and stand at every door.
F                                           C
Then you’ve seen me…  I always leave with less than I had before.
F                                                                      C                         Am7
Then you’ve seen me.  Bet I can make you smile when the blood, it hits the floor…
G                                        F                             Am7
Tell me, friend, can you ask for anything more?
G                            F                           C
Tell me, can you ask for anything more?

Have you ever seen a scarecrow filled with nothing but dust and wheat?
If you’ve ever seen that scarecrow, then you’ve seen me.
Have you ever seen a one-armed man punching at nothing but the breeze?
If you’ve ever seen a one-armed man, then you’ve seen me.

CHORUS

C                                                         F                    C
These things that have comforted me, I drive away.
C                                    F                         C
This place that is my home, I cannot stay.
C                                     F                                C                Am7
My only faith’s in the broken bones and bruises I display…

Have you ever seen a one-legged man trying to dance his way free?
If you’ve ever seen a one-legged man, then you’ve seen me…

** These chords and lyrics are interpretations and transcriptions, respectively, and are the sole property of the copyright holder(s). They are posted on this website free of charge for no profit for the purpose of study and commentary, as allowed for under the “fair use” provision of U.S. copyright law, and should only be used for such personal and/or academic work. **

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“Automatic” (Weezer Cover)

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By Chris Moore:

Welcome to a fresh new Tuesday installment of the best acoustic cover song music blog series in the universe! That’s right — not just the country or the world, but the universe! Of course, I said the series is good, so that doesn’t guarantee that I’ll be any good, so you’ll just have to take your chances tonight…

Tonight’s music video is an acoustic cover from the new Weezer (Red Album). “Automatic” is track nine of ten — a powerhouse of an electric number with a great distortion guitar riff — and written by drummer Pat Wilson. I read that Wilson actually played the guitar for this one and frontman Rivers Cuomo sat at the drums. If you search YouTube videos like I did, you’ll find that there are some live versions of the songs from the Red Album already available and the one for “Automatic” is definitely worth checking out, if only for the alternative arrangement of the band.

I love to see when the bands I love switch it up a bit and allow other members to take the center stage, if only briefly. Some great bands that have done this on a regular basis are the Band, the Beatles, the Beach Boys, the Barenaked Ladies, the Moody Blues, and — now — Weezer! Still, many of my favorite musicians and bands are really one-man shows with a band to support them. Take Jakob Dylan (Wallflowers) and Adam Duritz (Counting Crows) just for a couple examples. Dylan and Duritz are two of my favorite songwriters, and although I like their bands, it is really their songwriting and lead singing that makes me love the bands and continue to buy their albums.

Even as I’m writing this, I can only think of one real exception to this songwriter-over-band preference of mine. Namely, Matchbox Twenty. I love Matchbox Twenty, and I have since their first album. I have bought every album and even loved their recent EP. But I just didn’t understand why Rob Thomas had to go off separately and try a solo career. For all intents and purposes, he really IS Matchbox Twenty. I mean, up until the EP, he wrote literally every song on each of their releases!

Exception aside, I have thoroughly enjoyed the new Weezer album, and I hope you have too. If you haven’t, you should really check it out. I found that the first couple tracks threw me a bit at first, but I quickly fell in love with a number of the songs — such as “Though I Knew” (a previous Laptop Session I recorded) and “Miss Sweeney” (a bonus track on the special edition).

Well, I’m off to do some work to promote all the great things happening here at the music blog. If you haven’t already, you should really check out the past couple days’ worth of posts — there is some great stuff, and much of it is FREE! There are live concert tracks, TNA pictures, and of course, great acoustic cover songs!

See you next session!



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The Weekend Review: March 2012 Report

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Wrecking Ball (Bruce Springsteen)

Producer: Ron Aniello & Bruce Springsteen

Released: March 5, 2012

Rating:  2 / 5 stars

Top Two Tracks: “We Take Care of Our Own” & “This Depression”

Diverging from the string of excellent albums Springsteen has been releasing steadily since his return from a seven year hiatus (with 2002’s The Rising), Wrecking Ball comes across as a bunt where his past several albums have felt more like full-force swings aimed at the fences.  It’s not so much that this is a bad album: it is, just as disappointingly, a mediocre album.  Most songs fall into one beat from the opening bars on, often establishing a chorus line that becomes the repetitive chant throughout.  There are standouts, such as the album opener “We Take Care of Our Own” and “This Depression.”  And, of course, the tone and textures of Springsteen’s Americana sound are impressively rendered, incorporating acoustic and electric elements intermittently, as well as choir-style background singers (see: “Shackled and Drawn” to begin with) and other cultural textures (see: Death to My Hometown, itself perhaps a frown of an update to his 1985 hit “My Hometown,” then the seventh top ten hit off Born in the U.S.A.).  Still, these elements are not enough to lift Wrecking Ball into any real sense of artistic accomplishment, nor does it live up to the rock music energy and promise of the Bruce Springsteen & the E-Street Band performance of “We Take Care of Our Own” at the Grammys earlier this year.

 

 

 

Port of Morrow (The Shins)

Producer: Greg Kurstin & James Mercer

Released: March 20, 2012

Rating:  4 / 5 stars

Top Two Tracks: “Simple Song” & “No Way Down”

Fresh off his 2010 collaboration with Danger Mouse as the indie duo Broken Bells, James Mercer returns with the Shins to deliver an alt pop/rock punch in Port of Morrow.  From the fast-paced opener “Rifle’s Spiral” to the lead single and album standout “Simple Song,” through three more excellent though more understated tracks, to the second standout “No Way Down” (which, unlike “Simple Song,” requires little warm-up to get up to full speed), and up to the subsequent ballad “For A Fool” and then the quirky, sonically unique “Fall of ’82,” finally arriving at the penultimate “40 Mark Strasse,” there isn’t a clunker in the set.  The final track feels, like so many title tracks throughout history, like a bonus track or a tack-on rather than a full member of the record.  The Shins are certainly guilty of finding a sound and falling into it, destined to draw claims of “the Shins are a good song,” and yet when you like the sound – as I certainly do – it’s difficult to criticize the nine tracks of gorgeous, bright, modern alt rock music that await you on Port of Morrow.

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