The Seven Song Itch - Grave Gothic Rock

My Goth friends, no…wait a minute…Goths don’t have friends.  They dwell in a dungeon somewhere living off of moldy cheese and really bad whine.  Okay, sorry for the pun. Now don’t go off moping about how no one understands you—at least you are not Emo right? (I really need to get around to compiling that list). Considering everything that I listen to, I tend to like my music on the dark side, so Goth really hits me where it counts.  For what seems like centuries, I’ve been schooled in the ways of the Goth, though I still consider myself a classic Punk Rocker (West Coast and UK represent).  At one point, someone told me that there were thirteen levels of Goth, but that’s too much hierarchy for me.  In fashion, it’s not always about black.  There is a myriad of levels and styles that include: pink, white, rainbow, and pixie, which sounds like a Care Bears cartoon or a bowl of Lucky Charms.  Most Goth’s that I know are relatively happy people; they just embrace the melancholy of this life as well as their past lives.  The Cure and Siouxsie And The Banshees are typically credited as the gateway to Goth, but there are a lot more groups out there.  As with every style of music, there will always be sub (dungeon) categories, and this one is no exception.  These iconic tunes can send you down the dark and lowly path that is known as Goth Rock.

Playlist for Grave Goth Rock

1. Bauhaus – “Lagartija Nick”(1982)

Bauhaus consisted of Peter Murphy (vocals), Daniel Ash (guitar), Kevin Haskins (drums), and David J (bass guitar).  In 1983 Peter Murphy began a solo career while the other members continued as Tones on Tail and, later, Love and Rockets.  This song is the turning point of this group as they started to evolve from an experimental art band to a more rock sound.  Yes, the pinnacle song for this group is “Bela Lagosi is Dead,” but I like this song better.

2. The Cult – “She Sells Sanctuary”(1985)

Since their earliest form in Bradford during 1981, the band has had various line-ups, and the longest-serving members are Ian Astbury (vocalist) and Billy Duffy (guitarist), the band's two songwriters.  This song is taken off of their breakthrough record, “Love” and has laid the groundwork for their mainstream presence.  Though typically not viewed as Goth, the themes of punk and psychedelic mysticism seem to find a place in this dark genre…and this song just rocks!

3. Fields Of The Nephilim – “Preacher Man”(1987)

I was introduced to this band though a mutual Skinny Puppy fan.  She liked the distorted vocals and I liked the macabre nature of the sound.  The band's name refers to a Biblical race of giants or angel-human hybrids, known as the Nephilim. Although they have not received substantial mainstream success, the band's seminal sound has proved highly influential, especially in the genre of gothic rock.  Lead vocalist Carl McCoy formed the band in 1984 and then reformed it with new members in 1997.  The band had a "dust and death" image, associated with characters from Sergio Leone's Spaghetti Westerns and often wore cowboy dusters with a weather-beaten look during photoshoots.

4. The Sisters of Mercy – “This Corrosion” (1987)

Formed in 1980, the name of the band was influenced by Robert Altman's film “McCabe & Mrs. Miller” (1971), which featured the Leonard Cohen song "Sisters of Mercy."  The group has released three original studio albums, of which the last was released in 1990. Each album was recorded by a different line-up; singer and songwriter Andrew Eldritch and the drum machine called Doktor Avalanche are the only consistent members of the group.  They ceased recording for record labels in 1993 (and have yet to form their own Indy label), but still tour and write songs for their live audience.  This song, in my humble opinion, is the pinnacle Goth anthem, as it features a gospel choir mixed in with some dark and gloomy vocals.  It is almost bouncy and it lasts for what seems like an eternity.

5. The Mission U.K. – “Deliverance”(1990)

In 1986, Wayne Hussey (vocals and guitar), Craig Adams (bassist), Mick Brown (drums), and Simon Hinkler (guitarist) formed a band called The Sisterhood, but changed the name to The Mission (a.k.a. The Mission UK for US audiences) due to the protests of Andrew Eldritch of The Sisters of Mercy.  Aside from Hussey, the line-up has changed several times during the years, but still maintains a kind of romantic renaissance sound that still has a melancholy flavor.  This song, taken from their album, “Carved In Sand,” should really be listened to with the previous track on the record, but then again you really need to listen to the entire record in order to experience The Mission UK at their full brilliance.

6. Concrete Blonde – “Bloodletting (The Vampire Song)”(1990)

There are three stories on how this band got their name.  Labelmate Michael Stipe (REM) suggested the name describing the contrast between their hard rock music and introspective lyrics. A "Concrete Blonde" is also a derogatory term for the heavily hair-sprayed, permed and big haired appearance adopted by "Sunset Strip Metal" bands, such as Poison and Ratt, and during an MTV interview Johnette Napolitano (vocals) stated that it’s just "two words that sound good together." This song is homage to Anne Rice’s novel “Interview With The Vampire”; how much more Goth can you get?

7. Type O Negative – “Black No.1 (Little Miss Scare-All)”(1993)

Also known as the Drab Four, in homage to the Beatles nickname the Fab Four, this band never really felt like they were great, but they were greatly loved.  This track is taken off of their “Bloody Kisses” record and is considered a classic Goth song.   Type O Negative's final lineup prior to Peter Steels’s (vocals) death in 2010 included Kenny Hickey (guitars), Josh Silver (keyboards), and Johnny Kelly (drums). The tongue is firmly planted in the cheek, as lots of Goth’s consider this song somewhat of a parody of the scene, but it’s not really off the mark. 

Bonus Videos:

Siouxsie And The Banshees – “Happy House”

The Cure – “Primary”

 Epilogue: List ‘o’ Goth types (Just for fun) 

The Trad Goth, The Romantic Goth, The Cyber Goth, The Fetish Goth, The Hippy Goth, The J-Goth, The Rivethead, The Perky Goth, The Mopey Goth, The Deathrocker, The Baby Bat, The Corp Goth, The Victorian Goth, The Medieval Goth, The Metalhead, The Emo Goth, The Vampire Goth, The Geek Goth, The Gothabilly, The Cabaret Goth, The Steampunk Goth, The Faerie Goth, and The Tribal Goth.

The Seven Song Itch - Interpretive Female Covers

Awards season is coming to a close, and I can’t help but get a bit of nostalgia as last year’s music comes back for a reprise.  In their acceptance speeches, artists thank managers, engineers, and other people that are important to them.  Influences are mentioned and then there is the moment in the broadcast where we remember those who have died this past year and reflect upon their contribution of the musical landscape. At these moments, I remember the songs that I’ve grown up with and how they affect my life.  If you ask these artists, some would cite influences that you would have never suspected in the development of their own sound.  The Rolling Stones, as well as AC/DC, cite many blues artists as being essential in their development.  Even Martina McBride did a show on CMT called Crossroads and praised the music of Pat Benetar.  The two divas spent the whole broadcast, mixing it up, by dueting each others music while putting their own spin on the songs.  Seeing Ms. McBride sing, “Promises in The Dark,” a classic rock star anthem, with Ms. Benetar gave me chills.  I thought about how jaded some people get when an contemporary artist covers another artist’s song and that the complaint is that it’s not as good as the original, or that the cover artist is just being uncreative.  There are two schools of thought about covers; one, is it true the original and/or two, does it bring something new to the song?  I tend to go back and forth between these two schools depending upon a myriad of factors and it would take too much time, and a lot of debate, to convey what I really like about a song.  I offer the artists of Motown (The record Label) as a concise example on what other artists, in the same genre, can do with the same song.  Even the Beatles began their career covering other contemporaries in developing their own sound.  So, in lieu of that discussion, I’ve come up with a list of seven songs that I think fall into both camps.  Some take the song into a new direction, which I like, while others are very respectful to the original composition.  And what makes this list all the more interesting is that it that all of these covers are done by female artists, when the originals were sung by males.

Here is a Playlist of the covers, as well as the originals.  Interpretive Female Covers

1. Tina Arena–“Only Women Bleed”

(2009—Original by Alice Cooper, 1975)

The original madman of the seventies, Alice Cooper composed this ballad back in 1975 as a part of his first solo effort, “Welcome To My Nightmare.”  Originally it was listed as, “Only Women,” and did not include the “Bleed” part because it was thought to have been too visceral for audiences at the time.  This is a profound song because it is one of the first that addresses an abusive marriage in music.  Tina’s vocal, as well as the musical arrangement, really pulls at your heart and coveys a more personal view of a woman experiencing marital abuse.  Alice’s version is brutal, but Tina’s interpretation is more intimate—it still gives me chills.

2. The Bird and the Bee-“How Deep Is Your Love” 

(2008—Original by Bee Gees, 1977)

This song hails from seminal movie, “Saturday Night Fever,” back when Disco was king.  Though I’m not really a fan of this genre, I’ve always found The Bee Gees lyrics cut straight to the heart of the matter, with some exceptions of course.   Both versions of this song have a dreamy aspect to the music, but The Bird and the Bee’s version has a pillow talk feel, while the original version has a late night romantic candle light diner vibe.  I don’t know why, it just feels that way.

3. Katie Melua–“Just Like Heaven” 

(2005—Original by The Cure, 1987)

This is a gentile version of The Cure’s gothic love ballad.  Katie’s version has simple and playful nature, which is present in the original version, but doesn’t shout it out from the edge of a cliff.    I love both of these songs equally.  Sometimes you want the world to know that you are in love, and sometimes you just want one person to know.  Either way, this song is truly, Just Like Heaven.

4. No Doubt-“It’s My Life” 

(2003—Original by Talk Talk, 1984)

This song originally came out in the heyday of the New Romantic Movement and contemporaries like Ultravox, Visage, Duran Duran, Spandau Ballet, ABC and Boy George (of Culture Club).  This music was a staple in the very diverse decade of the 80s.  The both versions of this song sound similar, but No Doubt’s version inspires intrigue.  I always thought that the original song had a kind of self-deprecating sense (no offense), in that it comes across like Mark Hollis is complaining.  Now, I love Mr. Hollis’s voice because it has an angelic aspect, however, with the newer version, Gwen Stefani’s black widow portrayal in this video has all the scandal and none of the crime, well at least for her supposed victims.

5. Sixpence None The Richer–“Don`t Dream It`s Over” 

(2003–Original by Crowded House, 1986)

This was Crowded House’s breakthrough single, but Leigh Nash’s vocal gives it a more bright tone.  Her version doesn’t stray too far from the original, but takes on a different feel with a female voice.  It’s more of a reassuring sentiment rather than I warned you tone.  This may not be the intention of the song, and this is only my opinion, but the song has a profound message about relationships, and I wanted to highlight the lyrics of this song.

6. DJ Sammy–“Heaven” 

(2002–Original by Bryan Adams, 1984)

Ah yes, the power ballads of the 80s make me wanna wave a cigarette lighter among other fans in a stadium.  The original Brian Adams version has this wide-open sound, and there are several versions of the DJ Sammy remake, but I like the ‘candlelight’ mix of this record.  It has a simple arrangement, and sometimes that’s all you need for a great song.

7. Atomic Kitten–“The Tide is High” 

(2002–Original by The Paragons 1967)

Atomic Kitten was first conceived in 1997 by Andy McCluskey of 1980s band Orchestral Manoeuvres in the Dark.  The original line-up featured, Liz McClarnon, Kerry Katona and Heidi Range (now in the group Sugababes), but Range decided to quit due to artistic differences, and was replaced by Natasha Hamilton.  Yeah, Blondie did a cover of this song back in 1980, which I love, but the original version was recorded in 1967 and performed by The Paragons.  Atomic Kitten’s version still has the Reggae flavor, but is infused with pop sensibilities that make the song practically gallop.  It’s wonderful how music can cross lines and combine two flavors that may not appear to have something in common and produce something fun.  It’s like when Punk Rock groups started to incorporate Reggae into their sound (Look up The Clash) and in response to this, SKA and other genres of music were born—but that’s another list.