Why bands release full-length cover albums is beyond mysterious. You’d think something would have been learned from the enormous failure that was The Spaghetti Incident. What does a band hope to achieve? Do they think that something will stick if they throw a bunch of shit out there? And it’s so rare that covers actually exceed the original, and only a couple of examples come to mind: Joe Cocker’s version of The Beatles’ “With A Little Help From My Friends,” Stone Sour’s cover of Chris Isaak’s “Wicked Game,” Jeff Buckley’s cover of Leonard Cohen’s “Hallelujah,” Hendrix doing Dylan’s “All Along the Watchtower,” and Metallica doing Diamond Head’s “Am I Evil?” OK, so the list could go on, but the point is that few bands are good enough to pull off a complete album of covers.

Usually it’s best if a band tries to make a song their own, but that can go two ways: it can rock, even if it’s a bit pretentious or it can suck because it is pretentious – or it just flat out sucks. Then again (I know it’s a bit wishy-washy here), straight up covers can work because the band can actually express the sentiments of the song (vocally and musically) or they can flop because, again, they suck.

The relatively unknown – scratch that – the unknown Vains of Jenna have done just what’s been criticized here; this little sleaze metal outfit from Sweden released an album of covers, Reverse Tripped, on April 5th. It’s not necessarily that the band sounds bad, but they are highly produced and bar-band caliber at best. Aren’t sleaze metal bands supposed to sound like they want to dominate an arena? Even as produced as this album is, Vains of Jenna will never compare to the explosiveness of such sleaze greats as G ‘N’ R or Motley Crue – hell, Warrant had more fire in their pinky fingers.

It makes no sense that Vains of Jenna have released an album of covers; they should be hungry enough to write, rock out on, and promote their own shit, not paying homage to their influences for a career that hasn’t happened yet. That’s like building a case against a country for having weapons of mass destruction after you’ve invaded it.

The bulk of Vains of Jenna’s Reverse Tripped includes songs from the ‘60s and ‘70s (highlights include “Mississippi Queen,” “Blowin’ in the Wind” and “The Sound of Silence” and the really low lights include “Smoke on the Water,” “Get Back,” and “Goodbye Yellow Brick Road.” There is a pretty cool Southern Louisiana-sounding version of the island-inspired ‘80s hit “Electric Avenue.” But, what really sinks this ship is the piggybacking attempt with Cee Lo’s hit, “Fuck You.” And what’s with the little slip into Rod Stewart’s “Maggie May”? Vains of Jenna even went so far as to include a radio edit version.

Vains of Jenna – Fuck You

Some of these songs could have served well on an album compiled of mostly original material, but Vains of Jenna chose to waste some pretty decent filler. There’s nothing wrong with covers; David Lee Roth once said something along the lines that: if covers are good enough for The Beatles, then they’re good enough for Van Halen. But I don’t think the majority of us want an entire album of ‘em.

Rock Hard!

Similar Artists:

Cinderella, Sleeze Beez, London Quire Boys, White Lion

Yell! Rating (x/5 Skulls):

[rating:1.5]

Artist

Vains of Jenna

Album:

Reverse Tripped

Year Released:

5 April 2011

Label:

Deadline Cleopatra Records

Genre

Sleaze Metal

Official URL:

Vains of Jenna

If you’re interested in seeing the whole nomination list, you should go to Grammy.com, but we’re only going to tell you about the Grammy nominations we really care about, because, well, everything else kind of sucks.

Below you’ll find the nominations for the following categories: Best Hard Rock Performance, Best Metal Performance, Best Rap Solo Performance, Best Rap Performance By A Duo Or Group, and Best Rap Album.

Now, we don’t want to complain or anything (yes we do), but why is it that there’s no Grammy nominations category for Best Metal Album? For Christ’s sake, there’s a category for Best Musical Album For Children. Is it because metal still isn’t a fully recognized genre? I guess we shouldn’t complain too much since Slayer, Megadeth, Iron Maiden, and Lamb of God are nominated for their performances.

Speaking of Slayer, this is their fifth Grammy nomination (and their third Grammy if they win). Here’s what Tom Araya had to say about the latest nomination:

I admit, I’m excited and kind of surprised. To have Slayer’s music recognized by an organization as traditional as the Grammys—five times now—is like that gold star that someone puts up by your name. It’s unexpected, but it’s cool.

We’re excited too.

For the rappers on the list, we should point out that Eminem (feat. Rihanna) is up for Record of the Year with “Love the way you Lie” and Jay-Z & Alicia Keys are up for “Empire State of Mind” in the same category. Also, Eminem’s Recovery is up for Album of the Year.

The event takes place on February 13th, 2011. Until then, enjoy this brief list of Grammy nominations that Yell! Magazine thinks are relevant.

Best Hard Rock Performance

“A Looking In View” – Alice In Chains
“Let Me Hear You Scream” – Ozzy Osbourne
“Black Rain” – Soundgarden
“Between The Lines” – Stone Temple Pilots
“New Fang” – Them Crooked Vultures

Best Metal Performance

“El Dorado” – Iron Maiden
“Let The Guilt Go” – Korn
“In Your Words” – Lamb of God
“Sudden Death” – Megadeth
“World Painted Blood” – Slayer

Best Rap Solo Performance

“Over” – Drake
“Not Afraid” – Eminem
“How Low” – Ludacris
“I’m Back” – T.I.
“Power” – Kanye West

Best Rap Performance By A Duo Or Group

“Shutterbugg” – Big Boi & Cutty
“Fancy” – Drake, T.I. & Swizz Beatz
“On To The Next One” – Jay-Z & Swizz Beatz
“My Chick Bad” – Ludacris & Nicki Minaj
“Lose My Mind” – Young Jeezy & Plies

Best Rap Album

The Adventures Of Bobby Ray – B.o.B
Thank Me Later – Drake
Recovery – Eminem
The Blueprint 3 – Jay-Z
How I Got Over – The Roots

Credit: Aftermath

This is Black Sabbath’s second, and most popular, album. Paranoid is always mentioned as Sabbath’s masterpiece and is considered ‘the’ album that made heavy metal a musical genre. When you ask an informed listener what should be your first purchase when starting a heavy metal library they will usually mention this album.

Taking what they did on their debut release, tightening it up by reducing the length of each song, and putting breaks between each track, Sabbath gave you the feeling that this album was the structured version of their freestyle debut. Although some of the songs were longer than the four minute mark that radio likes, the singles released off this album were still short enough to get air play. “War Pigs,” “Paranoid” and “Iron Man” were all given airplay where it counted, that is, in their homeland of the UK. These three songs, because of that, are the most recognized songs by the band.

Because it took a while for the US to catch up to Sabbath’s first album, Paranoid wasn’t released until early ’71 in the States. None of the albums songs did as well as they did in the UK but since Warner released “Paranoid” and “Iron Man” as singles more than a year apart, the album stayed on the charts a lengthy period of time (close to 2 years) and sold four million copies.

Black Sabbath put forth some eerie and just plain spooky, imagery with the lyrics to these songs. One of the first bands to take people’s fear of the future through advancements in technology, “Iron Man” was the first sci-fi song I heard in heavy rock. Describing a man who time travels to save the world from disaster only to come back and begin to exterminate those he was trying to save, “Iron Man” was a tour de force in metal history.

“War Pigs” was a brutal song, describing the apocalypse brought on by politician’s love for war. War and the apocalypse became two universal themes in heavy metal because of this song. “Number of the Beast” and “Disposable Heroes” would be two good examples. Drug use is another theme in rock music and Sabbath added to it with songs like “Hand of Doom” and “Fairies Wear Boots.”

I have always enjoyed albums that feel more like a whole than albums that don’t. Paranoid, when compared to the band’s first album, does not feel as intimate. It feels more like a singles album rather than fluid journey through 40 minutes of uninterrupted music. For that reason, I think Black Sabbath (their first album) is better and is their best album overall.

But for its recognized songs, and what it did for Black Sabbath and heavy metal as a whole, Paranoid will always be considered the most influential album by the band and its most loved by a majority of their fans.

Similar Artists:

Deep Purple, Ozzy Osbourne, Kiss, Dio, Rainbow, Savatage, Led Zeppelin, Rush, Frank Zappa, Blue Oyster Cult, Scorpions

Yell! Rating (x/5 Skulls):

[rating:4.5]

Artist

Black Sabbath

Album:

Paranoid

Year Released:

Sep 18, 1970

Label:

Warner Bros.

Genre

Pop/Rock

Official URL:

Black Sabbath

Except for Technical Ecstasy, this is Sabbath’s worse album. Made at a time when the band was more influenced by drugs than the muse, the album suffers the further it plays. Ozzy had left the band over artistic differences only to return and do this album and leave for good until the ’98 reunion.

The album is unfocused. Adding Jazz influences and average straight forward rock fodder embarrassed the band even more than the crap that Technical Ecstasy was two years earlier.

Although the album crashed, it is still Black Sabbath, and “Never Say Die” and “Johnny Blade” are two examples that remind us that, even at their worse, the band still can kick ass.

With Technical Ecstasy and Never Say Die!, Sabbath proved that drugs and egos can destroy even the greatest of bands.

Similar Artists:

Deep Purple, Ozzy Osbourne, Kiss, Dio, Rainbow, Savatage, Led Zeppelin, Rush, Frank Zappa, Blue Oyster Cult, Scorpions

Yell! Rating (x/5 Skulls):

[rating:2]

Artist

Black Sabbath

Album:

Never Say Die!

Year Released:

Oct 1978

Label:

Warner Bros.

Genre

Rock

Official URL:

Black Sabbath

Black Sabbath was considered by many as the genesis of heavy metal. Led Zeppelin added blues to the mix, taking from artists like Bo Didley, Muddy Waters, and others, but Sabbath took rock to the next level with just an all-out assault on your senses. Using Geezer Butler’s bass, Tony Iommi’s lead guitar, and Ozzy’s screaming voice as the catalyst for their dark and some would say satanic lyrics, Sabbath led rock into what is now considered the genre of heavy metal.

They formed in 1969, and for four years and five albums, they were the leaders of the newly formed genre to be continued shortly after with AC/DC, then Iron Maiden, and later on with Metallica. After Sabbath Bloody Sabbath they began their downward spiral and numerous lineup changes, starting with Osbourne’s departure in ’77. With Ronnie James Dio replacing him and Tony Iommi pretty much taking over the band, it led to a revolving door of band members that would make David Coverdale jealous. But for five albums, Jimmy Page’s guitar and Robert Plant’s voice would be the only rivals to Iommi’s and Osbourne’s for hard rock supremacy. No one rivaled Geezer as the king of the bass players.

Although most consider Paranoid Sabbath’s greatest achievement, it was with this self-titled debut that they accomplished genius. Paranoid had all the signature singles (“War Pigs,” “Iron Man,” and others), but their first album was their most ambitious. Throwing convention out the window the album was a sprawling masterpiece. Tracks that have no in-between breaks and occasionally passing the 10 minute mark in length, you heard the unfettered genius of both Iommi and Butler. The first purchase in a rock library may be a Beatles or Stones record, but this should be your first in a metal library.

Similar Artists:

Deep Purple, Ozzy Osbourne, Kiss, Dio, Rainbow, Savatage, Led Zeppelin, Rush, Frank Zappa, Blue Oyster Cult, Scorpions

Yell! Rating (x/5 Skulls):

[rating:5]

Artist

Black Sabbath

Album:

Never Say Die!

Year Released:

May 1970

Label:

Warner Bros.

Genre

Rock

Official URL:

Black Sabbath