Whenever you decide to pick up some classics, you’re always playing with fire a bit. No matter how hard you try to put your own twist on it, you have to remember that people already have a version of that song that they like, so you’re already playing it perfectly. If you reach that sweet spot, you may find yourself doing something even better than the first time around.
First of all, are these covers any better than the original? Probably not. There are definitely some changes being made that might rub some listeners the wrong way, and these certainly won’t be for everyone. What they bring is a different perspective on the classics, which ends up coming across quite well when they try to incorporate the song into their own style.
Although the original might contain some of the things you’ll find in most rock and roll tracks, the beauty of these covers is that they turn the original upside down, bringing in different instruments that weren’t present on the original or change the lyrics to make them more relevant for the time. Because even though you’re paying homage to your favorite artists, you’re not a cover band. You are an artist and you must bring some extension of yourself to everything you do.
Not every band that tops the charts has to be dyed in rock wool fans. You’re going to want to tap into whatever genre you like as a musician and find a way to make it work in the context of your band. That means weirder sounds, experimentation, and in Muse’s case, going back way before rock and roll was even a thing.
Having already shaken Radiohead comparisons on most of Origin of Symmetry, Matthew Bellamy tries his hand at singing the jazz standard Feeling Good towards the end of the record…with a twist. Given that this entire album was defined by its glitchy spatial sounds that Muse would become known for, you can tell they go for an otherworldly vibe of the band setup, as Matt takes up the keyboard before Dom and Chris burst in with a classic rock style rhythm section.
The highlight of the whole song, however, has to be the breakdown section on one of the last verses, where Matt gets rid of his usual crooning and performs the rest of the song singing through a megaphone, letting his voice be consumed by lots of static. the weather. While the original version of this song was a classy piece of jazzy pop music, this title sounds almost tongue-in-cheek near the end of the song. If anything, this is the soundtrack to the feeling of being part of an alien invasion.