Should artists modernize their songs?

In 2012, Def Leppard decided to record two of their most famous songs again, Rock Of Ages and Pour Some Sugar on Me. Then they went on rerecording their hit album, Hysteria, in its entirety  They made this decision after a conflict with their record company : they wanted as much royalties on their digital back catalogue as they were getting on their physical discography. Universal wasn’t to accept.

The two subsequent singles were to be released through digital download platforms, such as iTunes/Amazon mp3/Google Music/Napster e.a.. Whatever reasons were behind this process, it is very interesting nonetheless, because it is quite rare that an artist records some songs a second time, years after the initial release. Well, duets on famous songs are quite frequent, especially in pop music or rab/RNB spheres, be it simultaneous with the initial release or later on. Think about the Michael Jackson Thriller 25 collaborations (ugh…better, don’t think about it) for example. Axl Rose allegedly recorded Appetite for Destruction again in 1999 with the then-current GN’R line-up, but the full album has yet to leak online.

But concerning rock music, it’s quite rarer. The Scorpions did it back in 2010 with their –apparently named by a 5 year old kid- Comeblack album, which featured both recordings of covers and modern version of some of their well-known songs. There were bonus tracks in some countries:  we lucky French had the (dis)pleasure to get a duet with Amandine Bourgeois (winner of a crappy TV show) on Still Loving You, with new lyrics added in French. It appears that France had a very special relationship with this song, which caused a real boost in child conceptions when it was released, back in 1984. I thought that was a good point for the band, so why “rewarding” us with a stupid duet and translated lyrics? I don’t know, maybe I’m over thinking it. To say it was forgettable is an understatement (in fact “better forgotten” is the best opinion I can have of the track, try it to see if you can disagree).

The modern versions of the songs weren’t bad, but they were pretty pointless and lackluster compared to their original counterparts. The VOCODER effect applied for the lead vocals of Rock You Like a Hurricane isn’t exactly what I would call a great way to modernize a song; and poor Klaus Meine sounds like he’s dying when singing the chorus of No One Like You. But it really could have been worse, at least the songs were well-produced, and, for a post 1995 CD, were mastered quietly.

So, let’s go back to Def Leppard. As I said earlier, the motivations are very different, and fans didn’t perceive the operation as a shameless and pointless cash-in from the band. The Scorpions fan forums broke into storms when Comeblack was released, here, fans welcomed the operation. Yeah, the motives were good, I agree. What are the results?

Well you can start by watching this simultaneous comparison video of Rock Of Ages on YouTube. 

Having listened to the 2 different versions of the tracks multiple times, it’s really a mixed bag.

The performances in themselves are quite peerless. The band sure knows how to play their hits really well, and the 2012 studio renditions are not far from being tempo-perfect. It really is impressive. Sure, Joe Elliott has even less vocal chops that he had back in the eighties, but honestly, he’s giving it all here. The question is, do you really want to listen to Pour Some Sugar on Me in 2013? (Except when you’re drunk or high, that doesn’t count - The German count-in of Rock of Ages gives this one a free pass)

The production in itself leaves a bit to be desired. For example, I’m not fond of electronic drums (I hate them, to be honest) but the new reverb effect is quite strange on Rock of Ages. I don’t know how to define it, ‘cause the effect was as strong on the original version. I think it has to do with the sonority of it, not its intensity. Oh well, to each his own, I guess.

The real problem is the mastering. It is a horrible mess. It’s horrendous, not in an ear bleeding way (Do you hear that, Lars?) but it’s too fucking loud. It’s too loud, guys. The levels are so shifted compared to the original releases that the songs loose all their punch. Drums sound flat, guitar licks sound flat, and the only thing that prevents lead vocals from sounding flat is the changed key that sounds a bit disturbing to the ears. You won’t hear dynamics at all on both songs, because the volume is too squashed. It’s a bit like your ears were crying for fresh air. Yeah, it can happen. Your head feels smashed on both sides.

Now, I know what you could say if you paid attention to my whole article. These re-recordings were specifically produced for digital download platforms; so compression, in a audio sense, is a given. But hell, if you’re trying to produce new versions of your old classics that can compete with them (and the performances hold up very well, no doubt about that), you’d better make them as listenable as the first time around. If you don’t, the operation can at best only be a huge “what if?”

As a whole, what if booth record company executives and artists started to consider music as a sonic delight again, and not some noise covering other noises through Apple headphones? Yeah, I know, won’t happen.