Thank-you and welcome to my customs thread!
All of my customs will be posted here and in the database as well. I do my best to make my customs as good as they can be, so you can at the least you can expect legacy instruments, drum animations. however I will chart all the instruments to a song if I can (including harmonies). You're welcome to point out chart errors, song requests and the like. I also have a WIP thread that you can check-out which will give you an idea of what songs I'm working on (although that thread doesn't get updated very often).
Genesis - Harold the Barrel
In celebration of the big Genesis release a number of years ago, we got a new tune for ya!
Harold the Barrel!
This song a very piano lead with a lot of chords and energy to it. The guitars add some nice extra instrumentation where necessary and the drum perfectly compliment that high-energy piano playing. The bass fills in all the holes that the guitar can't get it, and at times can almost feel like it's from a different song. Vocals offer some cool harmonies, especially near the end of the track, with Phil and Peter singing almost against each-other at some points.
Another one to add to your Genesis set-lists!
Thank-you to AJFOne23 who was kind enough to do the Vocals and the venue for the track!
The very first song of the very first EP but the band TOOL! It's a great song with some nice arpeggios and some syncopated parts in the intro and the bridge, the verses have a 6/8 feel as Danny Carey opens the hi-hat every 3rd note. It's interesting comparing mid-to-late 90s Carey to modern Carey as he progressively uses less and less cymbals as the bands career went on. Guitars and bass are nice and phat and aggressive. Maynard's is top notch and has so much emotion in it. It's TOOL! You'll love it!
Another aggressive, in-your-face track. Just hows how much of a metal act TOOL really was back in the day as this song features some aggressive double bass work. The lyrics leave a little to be desired as Maynard sings about how he knows someone so well that they are practically "a part of him". Lyrics are a bit repetitive, but that doesn't really detract from the song since it is so short. This might be one of tools shortest songs (excluding the interludes on the other records).
Bo Burnham - From Gods Perspective
Bo Burnham! This actually a full band! Bo is a very funny comedian that writes "silly little songs" with him and his piano. This pro keys chart is (as far as i know) correct, however if someones says otherwise i have no reason to doubt them (i'm no keyboard player)
The War on Drugs - Red Eyes
I love this song! it's a great driving song, and one that i did see requested on a thread somewhere. Just a note the pro keys chart is a fake pro keys, so if anyone knows the real notes please contact me! i would love to have a real pro keys chart for this song!
Pro Keys track removed from this custom, since it's a fake Pro Keys track. If anyone wants to add a Pro-Keys chart just pm me and i'll send the project files.
Tool - Intermission
Freaking tool! Well, "tool". Yes this is the silly song that splits AEnima in half. There is not much to say really (lol). Anyway this from a midi i found on the eathernets so there shouldn't be any issues (save for rhythm). Well if you love tool check out DenVaktare's thread where he does almost exclusivily tool songs, here is a link to his thread: viewtopic.php?f=20&t=2750
Yes - Long Distance Runaround/The Fish (Schindleria Preamaturus) (Live)
The Yessongs version of Long Distance Runaround. What a bass track, if you are a bass player, get this song now! This is the 14 minute version that is from Yessongs and it has one of the longest bass solos i think i have ever heard, at one point in the song to becomes just a bass/drums jam session. Great stuff and i wish Yes was more like this with their live material.
Whiplash - Whiplash
Whiplash from the movie as a full band custom!
If anyone wants to add a Pro-Keys chart just pm me and i'll send the project files
Rush - Cinderella Man
The fourth song on the album, "Cinderella Man" is one of the few tracks that had the lyrics written by Geddy Lee since Neil became the primary lyricist. No one of my personal favourites off the album, but still a great track that even casual Rush fans should pick up!
Original conversion done by Farottone and Tadracing99
Thanks to ejthedj for providing the keys/prokeys chart!
Tool - Jimmy
Jimmy! IMO a forgotten song off the record since I don't think they have played it since the AEnima tour, but one of the best songs off the record. Not too challenging, but very, very moody, especially near the end.
Tool - Third Eye
Third Eye. Might be the best song off the album (AEnema gives it a run though). Early "jam" type songs that "The Grudge" and "Rosetta Stoned" do as well. A great number for all instrument, but especially drums.
Alvvays - Adult Diversion
Adult Diversion by an indie rock group from Toronto called Alvvays! (pronounced "Always")
Fun track, not too difficult, but has a nice upbeat tempo and a great song for your summer. In fact, the whole album is a great summer soundtrack, at the very least check them out. This is the first track off their debut album!
The Killers - All These Things That I've Done
Now Official DLC
All These Things That I've Done! Honestly a little surprised this never got a DLC or C3 release (oh never mind). This might be there best song? The whole album is great so get it if you can, with all the outstanding tracks having a RB release of some form (save for "Jenny Was a Friend of Mine", great song). Anyway this is a full band custom with 3-part harmonies and a Pro-Keys chart (yay)! Both of which are transposed off an online source so there may be some inaccuracies, if that's the case just let me know!
Fixed vocal track to stop crashing game
- Fixed harmonies
- Fixed pro-keys
- Fixed metadata to match official DLC
I'd like to thank proletarian who initially brought the vocal issue to my attention, and to Bansheeflyer who helped a lot with the vocals, pro keys, and overall play-testing.
The Killers - Jenny Was a Friend of Mine
I would like to thank samjjones who initially brought the RPP to my attention, along with narutostarwars123456, who charted the original bass, guitar and drum tracks. I made some chart fixes, and added vox and keys. I would also like to thank Bansheeflyer who helped a lot with play-testing, and just aiding me through vocals and keys.
Slint - Glenn
Slint, a band no one knows! But i like them, so screw it! This is from there untitled EP that came out in 1994, haveing a grand total of two songs (both of which are untitled on the CD) it spans a total of 13 minutes (the EP, that is)! I'm also working on various other Slint songs, if you would like to know which ones, check out my WIP thread! As a little note, this does contain CAT EMH even though it doesn't say in the visualizer.
Tool - Triad
What is there to really say about this song? Well, it's one of the most challenging drum experiences i've ever had playing this game. Not in a "this part is stupidly fast" but just that para-diddle is one of the most challenging and yet rewarding experiences i've had playing the game, drummers especially pick this one up!
Now this song was done in collaboration with oscarj08, who did the drum chart and graciously let me add the other instruments to make it a FB custom. This custom also marks oscarj08 charting retirement, that is not to say he is finished, but all of his post-retirement charts will be set as contributions.
Tool - Triad (Live)
The live version! Personally I think this song is harder than the studio version since it contains two drum solos, but that is just my opinion. Not much to really add to this that wasn't said about the studio version, pick it up!
Totorro - Home Alone
The first track off of their 2014 album of the same name. This song is short, but very fun and makes me wish that the band would do a longer version of this song. Either way pick it up, and if you like it, the rest of the album is like this so check them out!
Chavez - Unreal is Here
I don't know that much about this band. But it's another case of "i want more". These guys were a part of the indie rock 90s scene that sprang about with the like of Slint and June of 44. This is off their second (and last album). They did release something in 2006, but it's literally everything they have recorded up to that time. The band is apparently still active (even if they haven't dropped a new album in 20 years) so maybe, with some luck, the'll go back into the studio.
Jeff Beck - Scatterbrain (Live)
Yeah. This is the version thats in GH5, and it's just as hard (if not harder). This defiantly on of the hardest drum songs for Rock Band in my opinion. Most of the changes from the GH5 version are in the drum track, i did my best to add in the ghost notes and in general just clean up the drum track, the bass and guitar track i also went through, but they are closer to the GH5 version than the drum track. Fun fact; The bass player at the time when they recorded this was only 22 years old!
Note there is a keyboard part so if anyone would like to work on the keyboard chart, I'll gladly send you the files and stuff.
Spinal Tap - (Listen to the) Flower People
Yep. Spinal Tap! The best band in the world. This is a song recorded back in 1967 when they were a psychedelic pop-rock group. This song has a similar feel to stuff The Monkeys would be putting out around that same time.
This song was included in their 1982 album "Smell the Glove", as a bonus track since they were running out of new material to put on the album. This album sparked much controversy over it's heavily censored cover, the original cover [according to Bobbi Flekman] was "a greased, naked woman on all fours with a dog collar around her neck and a leash, and a man's arm extended out... holding on to the leash and pushing a black glove in her face to sniff it."
I don't know sounds ok to me.
Either way Marty Di Bergi did a great documentary of the band at that time covering the North American leg of the "Smell the Glove" tour [Dubbed "Smell the Tour", if my sources are correct]. This is a great song from the band, and one that will last a lifetime
just a note this is not the reggae version that was released as DLC, this is the original version.
Tool - Opiate
The last track off of Tool debut EP, and features Paul D'Amour on bass! The song is about the notion that "religion is the opiate of the masses". And like many other Tool songs - like "Rosetta Stoned", the title of the song is perfect. It took me a while to realize what the title of the song actually meant, until I thought about that quote. I could go into a thing about how "Rosetta Stoned" is also a clever, perfect title, but that's not what you are here for!
This track has a pretty standard metal feel too it, although the arrangement is very unusual. All there verses kinda sound the same and it's almost as if every verse could be the chorus, given that they are always repeated twice and with such a flow that it immediately wiggles it's way into you head and never leaves. The bridge section - which is quite short - opened guest opportunities for the song. Back in the mid-90's Tool would have guest sings like Layne Staley, Tricky, Heitham Al-Sayed, and I think Zack de la Rocha, although that my have been a different tool song. My personal favorite is one that they did live in Paris in 2006, where the whole bridge is done by the guest vocalist and it's just amazing.
I had that pleasure of seen Tool live in Hamilton on May, 28th. And what they did with Opiate on that show (and by extension the whole tour) was to put the Maynard rant in the middle of the song. It's really interesting stuff and it's like listening to a whole new song. Instead of going into the traditional bridge section they turned it into a jam session that I can only assume are working parts for new material. This was not to brag about how I've seen Tool live (lol), but just to give another example about how they use the track as a foundation and a blueprint to do cool segues and explore new musical ideas.
One a final note. I'd recommend getting this EP on vinyl, if only for the soul reason that side B is double grooved, so you don't know if you are gonna get the actual track, or if you are gonna get the hidden track (if you don't know what double grooves are, just google it, it's really cool and I wish more bands would use it). As for this custom, YES the hidden track is there, but it's called a hidden track for a reason...
Arcade Fire - The Suburbs
Arcade Fire's first song off their (objectively) best album. Taking the best elements of their two previous efforts "Funeral" and "Neon Bible", this album hits an emotional note that just resonates with any person who feels stuck in the suburbs ("Sprawl II" is a great example of this). I don't really know what else to add...
The highlights of this track is the bass and keys part, which really carry the song and provide most of the melody. The drums provide a rock solid foundation that feels rigid and loose at the same time. The guitar is a little buried, but provides that extra instrumentation that fills in the gaps and contributes to that loose feel. The vocals sit on top, giving us a bleak melancholy look at life in the suburbs.
Carly Rae Jepsen - Higher
MGMT - Electric Feel
A classic by MGMT. The memorable bass line will infest you mind and you'll be humming it for days. The highlights for this song are definitely the bass and keys track. It's kind of hard for me to explain what makes this song work for me, It's just really easygoing and carefree (with lyrics like "do what you feel now" i guess that makes sense). It's one of MGMT's best, so be sure to pick this one up.
This is an upgrade from Vx_'s custom. I got permission to upload this to the DB with the necessary upgrades. Should Vx_ return he'll get control over the custom again.
Guitar & Keys: Vx_
Yes - The Prophet
An underrated track of the second album. I've heard it described as song which hints at their future career, and i can understand why. This song features multiple sections in its (relatively) short duration. This song does have a verse, chorus feel to it, but what makes it different is that there is a 2 minute keys intro which could be compared to Genesis' "Watcher of the Skies". The verses feature bass in a more prominent role, with the keys and guitar taking a step back. The track ebbs and flows, and concludes with a instrumental section that beautifully ties the track together. If you're looking to get into more early early "Yes", I'd start with this song.
Emerson, Lake & Palmer - Karn Evil 9: 2nd Impression
Part 2/3. What to say about this epic piece of composition. This is an instrumental section of the song, featuring some mind-blowing piano playing from the late great Keith Emerson (RIP) and great bass playing by the wonderful Greg Lake (RIP).
This song is essentially one long piano solo which also has guitar and bass underneath it, which - while being the rhythm section - almost seem to be playing an entirely different song with specific moments of synchronicity between the three instruments. It balances the improve approach of jazz musicians, while also have highly orchestrated and specific hits. Carl Palmer's playing is really a great example of this. The drums bounce between orchestral style playing (that is to say, not "keeping the beat") to straight forward rock beats that ground Keith and Greg's playing to a foundation.
There's a lovely little video on youtube of the three of them learning this song during the "Brain Salad Surgery" sessions. It's really cool and gives some insight into how the song came together (and those accents... so British).
Pro-Keys is Expert-only, and a special thank-you to AJFOne23 for providing me with the 5.1 tracks for this custom.
Arcade Fire - Neighborhood #3 (Power Out)
Custom by MrBurpler
Vocals by yaniv297
In episode three of our Neighbourhood series (#4 is on the album too, but wouldn’t be a great RB fit so isn’t charted here), this time we tell the story of an unfortunate power shortage in our town. “Power Out” is an epic, powerful and relentless track - and an absolute showstopper live. It kicks up firing on all cylinders, with a driving disco beat (drummers, prepare to work on that one!) and firing guitars, while later bass takes the lead in a fuzzy riff. Vocalist Win Butler absolutely spits out the stressful lyrics - “What’s the plan??” he screams as he describes as he goes out to “pick a fight with anyone”, before screaming in an iconic moment “Nothing’s hid from us kids!”.
Somehow, the song reaches it’s emotional climax when taking a step back to a melodic chorus, “when the power’s out in the heart of man”, before exploding into full on rock and roll madness again. A classic moment in Arcade Fire’s discography.
Arcade Fire - Sprawl II (Mountains Beyond Mountains)
Custom by MrBurpler
Vocals and keys by yaniv297
“Sprawl II” is a key track, and possibly the best track, in “The Subrubs”. Soundwise, it’s quite an unusual departure from Arcade Fire’s usual indie rock sound, taking a strong synthpop direction, and vocally led by the great Régine Chassagne. “Sprawl II” is a hugely emotional tune, discussing suburban life, and the difficulties of growing up in it. It became an instant fan favorite, a necessity on every Arcade Fire show, and widely regarded as one of Arcade Fire’s best songs.
Procol Harum - Conquistador (Live)
The live version recorded with the Edmonton Symphony Orchestra back in 1972. This song features haunting lyrics that paint a, not-so-good-look on the future. A great song for the keys and has a very fun drum chart. Arpeggios from the bass and guitar keep the chorus thumping and the orchestra adds that extra bit of sound to fill out the room (or headphones).
The artwork for this album is really cool as well, being a cartoonist rendition of the actual stage. And after seeing the setup of the stage you can picture the concert in your brain as the album plays. Everything has good separation but also works as a gear to make the song come together.
Now I'm pretty sure the only reason I'm aware of this song is because of a Canadian radio law that states about 30% (something like that?) of a radio stations songs have to be Canadian. So we tend to hear a lot more Rush, The Band, Tragically Hip, then our red white and blue counterparts. Since this song features the Edmonton Symphony Orchestra I imagine that qualified the song to fit as part of that 30%. And seeing as how the band is British you get hit two birds with one stone with this track!
In fact, I know this version of the song more then the studio version!
Check it out! It's a great tune (and cheap on vinyl too!)
King Crimson - Easy Money
Just makin' easy money!
The opening track to side b of the legendary album that essentially re-invented the band. The only real composed parts are the very beginning and end of the track. This track is basically just a blueprint for improvisation. I'd highly recommend the box-sets that document the band during this time period ("Starless" and "The Road To Red"). It has every single soundboard recording of the band during this time. It's a crazy amount of content.
This song is really fun on all instruments, even if it's not the most challenging song in the world. Drums have some fun para-diddle fills and the guitar part has some fun arpeggios and what-not. It's a great challenging song without being frustratingly hard to play... at least in-game. It's another classic song from a classic band!
The King Crimson Collection Pt2 - Larks' Tongues in Aspic
One of the best instrumentals by the legendary King Crimson! Where do you start with a song like this, It's the first album to feature Bill Burford on drums, and he lays on it. It's heavy playing, but in Bill's signature style, the distinct "pop" of his snare drum, the way he effortlessly transitions from one section of the song to the next. Now this track does have Jamie Muir on percussion and I tried to add as much of his contribution as i could with out sacrificing play-ability of the track.
The guitar sound on this is incredible, it's heavy without being muddy and washed out, and it has that attack that really get's you in the groove of the song even tho there's hardly a bar of 4/4 in it at all. Guitars provide the clean and heavy top end which leaves the bass guitar to really fill in the bottom and just be nice a phat. John Wetton's bass sound fills in those low frequencies perfectly. Everything is just so clear, no instrument overshadows the next.
Finally we have the violin part by David Cross which really adds to the more mellow sections of the songs then gets out of the way when the main riff comes in full throttle! But then the bridge sections come in, with the meanest most aggressive playing of a violin I have ever heard. That violin solo almost makes the whole song, I have never heard anything like it, full in-your-face aggressive, like angry playing. I could only imagine being in the studio when they were recording that.
This song a perfect example of building tension and releasing it, It's a perfect example of KC at (possibly) their heaviest, I have nothing but good things to say about this track.
A special thank you to AJFOne23 for providing the venue that really rockets this custom into the stratosphere.
The King Crimson Kollection Pt3 - Red
And the rivers ran RED... and were as KING CRIMSON.
Now rocking as a power trio with the last three albums costing the group a member. Buy the time this record came out King Crimson had only John Wetton on bass, Bill Bruford on drums and the master Robert Fripp leading the charge with David cross still making an appearance on the album, performing with them on tour, but having lost his official member status buy the time the record came out.
This album (and song), is sighted as an early form of heavy music. With the loud in-your-face guitars, the bottomless bass that almost just sounds like pure sub-woofer noise, and Bill's most "basic" playing within the king crimson catalog, it's not hard to see that connection with the band. In fact, I heard that this song (and album) is what influenced Kurt Cobain and helped lead to the sound of Nirvana. When I think of older heavy music, I think of Deep Purple, Black Sabbath, and Red by King Crimson.
Now unlike Larks' Tongues in Aspic Pt.2 this is an upgrade from the original Meander/Sideshow/oscarj08 chart. All tracks have some edits to them, with the bass and drums getting the most. There was also enough room where, although there isn't a keys part on the song I thought it would be fun to add it and I had the means to do so.
Once again a very special thank you to AJFOne23 for providing a spectacular venue for our eyes to feast on!
The King Crimson Kollection Pt4 - The Great Deceiver
The explosive opener to Starless and Bible Black. This song has a great main melody and makes great use of John Wetton, who was the bass player and the singer at the time this album came out. Relatively for a King Crimson tune, but it's a song you could put on repeat and listen to forever. This song features Bill Brufords signature drum style, playing exactly what is needed, not overplaying, not underplaying. Robert Fripp does a great job at being exactly where the guitar part is needed, it's pops out when it needs to, and holds back when necessary. The song ends on a mess of chorus/violin solo that is just crazy, then bam(!) the band stops and it's just Mr. Fripp strumming the guitar then he just stops playing as well. I'll never forget the first time I heard this song, the abrupt ending is PERFECT and I wouldn't have the song end in any other way (also the fact that Lament is the song after it just adds to how perfect that ending is).
A special thank you to AJFOne23 for not only doing the venue but also the pro-keys part, and for ironing out the harmonies!
The Mars Volta - Cotopaxi
Another Mars Volta classic. This song features a more typical or usual song structure that really wasn't a part of TMV's style (especially in the early days). Featuring energetic, bombastic playing from all members of the band, the bass and the drum part really shine in this track. Cedric Bixler-Zavala comes at this track with is usual high-octave/high-energy singing that i doubt anyone can sing along to, he's just singing way too high. Although Jon Theodor was out of the band at the point, Thomas Pridgen turns down the over-playing on this track while still maintaining the busy high-energy required for a Volta song. It's one of the shorter Volta songs, and although this might be "past their prime", this is still a great track to pick up!
King Crimson - In The Wake of Poseidon
In the wake of... KING CRIMSON!
The emotional height off the second LP. Now this album does have a very similar feel as the first record, and this song is in the same spot that "Epitaph" is on the first record; so given that they are so similar it's safe to assume that this song is trying to hit the same emotional "note" as "Epitaph". That's not to say it's a bad song, in fact non of the songs off their second album are bad, it just feels like a little copy and paste of the first record.
This song has some great use of the mellotron, acoustic guitar, and double bass drum work. the technical playing is there, but it never is the focus of the song. The guitars and extra instrumentation adds layers that serve to build up the song, and they don't distract from the emotional element of the track. My biggest complaint about modern prog is that they seem to have forgotten to connect with the listener on an emotional level (*cough Dream Theater*). This just proves to me that even when King Crimson is ripping of itself they still sound better then most newer bands out there. Greg Lake proves again to be possibly the best voice in all of prog rock. His voice carries so much emotion and feeling that seems to just come naturally. The vocal overdubs near the back end of the track perfectly build in conjunction with the mellotron, it all builds to a climax.... and then the needle rises from the turntable....
The Mars Volta - Tetragrammaton
The "epic" off of their third album. This song sees lots of different sections and is maybe a bit more structured of a Mars Volta song. This song isn't as balls to the wall as other song in there discography (or even off this album) but it still features some great drumming by their best drummer Jon Theodore, some great vocal passages and guitar riffs and licks that just make ya go "MMMMM". I also want to point out some really cool use of post-session editing (or whatever it's called) with the guitar track before the first verse. The idea to start the passage in mono and slowly separate the three note guitar pattern between the left and right channel is so cool and inventive- I wish more bands would do things like that.
King Crimson - Lament
The second track off of SABB. One of two songs off the record that was completely recorded in the studio. All the other tracks were recorded on the road and then overdubs done in the studio.
Lament is a great track that has one of the best endings for any song. I absolutely love the way all the band members just stop playing on a dime- it's great! I'll never forget the first time i hear this song and being completely blindsided by the ending of the track.
It's King Crimson, there are no bad King Crimson songs, pick it up!
Once again AJFOne23 come in clutch with a great venue!
King Crimson - Doctor Diamond (Live)
Just in time for the Corona virus! YAY!
Funny thought this song actually isn't about viruses, the character of "Doctor Diamond" seems to be more of a grim-reaper-type-train-conductor.
This long lost King Crimson track, only ever performed live, and never recorded in the studio. I didn't really find out about this track until the band started doing their 50th anniversary special tracks. It's honestly a pretty straight forward tune which is pretty rare for King Crimson. I'd compare it with "Lament" and "The Great Deceiver", all three and all really good songs, but less complicated (I'd say) then something like "Lizard" for example.
Being a live only I had to decide on which version to use, and to make a long story short I found that the April 2nd show had the best balance of audio quality, performance, and a proper intro. See the band would sometimes do straight improv into the song - which as a listener I love - but I didn't think it really worked well with "Rock Band" the game, so I picked a version that had just a straight forward intro. Now those with sharp eyes might notice that the Mainz show version (which is the version found on Spotify and the like) is the artwork used for this custom, and yeah you're right, it's the only cover for Doctor Diamond I could find!
Now the song itself has a great syncopated violin and guitar pattern / arpeggio and Bill is firing hard with a drum pattern that sound kinda similar to the one Neil Peart is famous for. I doubt there is a connection, just a fun observation. This leads into the verses which are spoken so fast I'm pretty sure he's mumbling the first couple words. The verses go into an instrumental section which has a steady quarter note pulse but holy crap is it hard to count where the one is (something like a couple bars of 6/4, and a couple bars of 5/4, then 4/4, rinse, repeat). We get a mellow verse with a buildup to the outro and in typical King Crimson fashion (cough *Lament* cough) they just all stop playing.
This song was once lost, but it's back! and now officially a rock band custom!
Starless (And Bible Black)
One of the BEST King Crimson songs ever composed, and it has a very fascinating story.
This song was initially supposed to show up on their previous album "Starless And Bible Black" But apparently Robert Fripp and Bill Bruford didn't like the tune that much, so they ended up calling one of their improv pieces that for the record. They would perform the song in early 1974 with various lyrical changes and such, until finally when the "Red" sessions came about all the members came to a consensus.
The early live versions of the song actually have David Cross playing the lead melody on violin with Fripp playing the mellotron for that section. There was no saxophone, and the guitar part didn't come in until the buildup section after the verses. The saxophone solo that's in the studio version was also performed on the violin during those shows. The 13/8 section in the latter half of the song was actually written/performed even earlier with some early versions of "Fracture" having that same 13/8 section in it.
It's a fascinating story about this song, It's kind of crazy to think of a King Crimson WITHOUT this in their repertoire, but that seemed to have been a real possibility. It's a great example of tension and release. That build up is so subtle yet near the end it's so satisfying. The reincorporation of the main melody at the end of the song just ties it all into a perfect little 12 minute bow. It's on of the few songs where 12 minutes feels like 2. It's a King Crimson classic, and it's now finally a full band custom!
Special thanks to AJFOne23 for the glorious venue
And to NSW1-6 for helping me with the guitar and bass parts
The King Crimson Collection Pt. 3/4 The "rest" of Red (side 1), and New Wave KC
This song has its origins all the way back in 1972 when Jamie Muir was still in the band. The riffs originating from improv back at that time, it wasn't until 2 years later when they were actually used in a proper song. Other fun tidbits are the 13/8 section in "Starless" used to be in "Fracture". This makes the King Crimson boxsets from this era so fascinating because you get hear different parts of the song in different contexts. According to wikipedia this is also the last King Crimson recording to feature Robert Fripp on acoustic guitar, and wasn't played live until 2017.
RED nightmare. The story of a bad dream essentially. With the lyrics describing a terrible flight with the thought of a possible plane crash, when the worst comes our character wakes up to find that he had just fallen asleep on the greyhound bus. What's also interesting about this song is that the lyrics were not written with aid from Richard Palmer-James - a founding member of Supertramp. In fact this is the only King Crimson song from the "Wetton-era" to not have a Palmer-James credit for the lyrics (including "Doctor Diamond, which King Crimson never did record in the studio).
A killer tune of the record, "Frame by Frame" features one of the coolest used of two guitar i have ever heard. Ok so the guitar part is 7/8 leading into - and including - the verses. However instead of just playing straight 7/8 the whole time Robert Fripp decided, "hey, what if every other bar i drop a note so I'm essentially playing on bar of 7/8, then a bar of 6/8, or 13/8" So there would be on guitar part playing in 7/8, and the other playing in 13/8. And they did. And it's awesome. And it is such a simple thing to do however it creates such, synchronized dysfunction and it makes it that much more satisfying when the two guitar parts line up again. this technique is littered throughout the whole album, and I think it's amazing. This song (and record) is easily one of my favorite guitar tracks to listen to (not to mention Bill Bruford, and Tony Levin who kill it in the rhythm section).
Arpeggios, Arpeggios for days. This song is crazy convoluted mess of time signatures, but because good ol' Billy kept a 4/4 pulse we never know. That isn't to suggest that he's actually playing in 4/4 no no, he's actually playing in 17/16, with a 4/4 bass drum pattern to "give it a dance feel" (and he's kinda right). What are the other guys doing? playing anything from 5/8 to 7/8 dropping a note every other bar so they go out of sync but keep playing until they sync up again, ya know- simple stuff. Not only does mess of signatures and arpeggios insanely hard to play, but it also gives the song a sort of hypnotic feel, like you're in a trance. Just watch out for that ending, because it truly will "snap you out of the trance".
Venues for the "Red" tracks are provided by AJFOne23.
Black Sabbath - N.I.B
Do I need to do a write-up for this track? You all know it, it's a classic at this point. I do wanna say how straight up blues this tracks feels, and it kinda reminds me of Led Zepplin or something (but heavier).
This custom does feature the bass solo at the beginning of the track, and the guitar solo is double tracked, so the chart follows the solo that you can "hear the best".
The "Original Version" amendment does not appear in-game.
Venues provided by: AJFOne23
Arguably the most cathartic Rush song... at least in relation to Neil Peart, the song is about that feeling of processing difficult and troubling emotions- Neil described is best with an analogy that went something like:
"When a baby is restless you rock it too sleep, you take it for a drive to calm the baby down"
It's like the adult version of that. Neil describes it better then I could (I mean he did write the lyrics) and the documentary "Beyond the Lighted Stage" goes into more detail about that aspect of his life. I guess I'll leave it there.
As with many songs off Vapor Trails, They only played it on the Vapor Trails tour, which is a shame, I really like a lot of those songs from Vapor Trails. Luckily for their R40 Tour they brought back some songs and even played "How It Is"- a song never before played live. Sadly, Ghost Rider wasn't included, but at least it made it on Rush In Rio!
I want to thank ejthedj for providing me the RPP for the remixed version, which made charting this a whole lot easier! Thank you!
The "Original Mix" amendment doesn't appear in-game
That's all for now! Have a great Canada Day eh! Enjoy your Molson Canadian while grilling up some burgers and hot dogs! (and playing these customs of course!) there's plently more down the pipe, with King Crimson, Rush updates, Genesis and ELP in the future!
Famous for being a member of "The Band", this song is one of the more well-known from his solo career.
If I had to describe this song in one word, the word I would use is "sexy", and while I'm not sure if I can fully explain myself- let me try.
I guess a good place to start with his voice, Robbie Robertson doesn't do that much actual singing on this track as all the verses are just him talking. Apparently they tried to have him sing the verses but it didn't turn out too good, lucky for us- the sing is better for it! His voice super smooth during the chorus and the bridge yet during the verses is sounds a bit more harsh, like it has a bit more edge to it. And the lyrical content describes this, verbal-dance i'll call it, between him and this woman in the song. I can't quite put my finger on it, and I haven't dived deep into the meaning behind the lyrics, but there does seem to be some, "sexual tension" lets say.
And this of course is supported by the instrumentation, let's start with the drums. the use of hit-hat and ride bell, and putting the beat accents not only on the 8th notes (as supposed to the 2 and 4 like in a typical rock/pop song), not all the accents are on the snare. In fact there's a rotation of snare, low-tom, hi-tom. It's very creative drumming which helps to build this tension without it getting in the way on the song.
Rounding out the rhythm section is the bass part played by Tony Levin (King Crimson fans might recognize that name). His bass playing is just super smooth, not flashy, it just "slides" right into place exactly where it needs to be, with little flourishes to keep it interesting.
Finally there's the keyboard part which is mainly a dotted 1/4 note pattern. The dotted pattern works because it makes the song feel a lot slower then it actual is, letting you hear the other instruments and giving it a relaxed feeling.
This song -while not being too challenging- is fun on all instruments, and a song I'm little surprised took so long to be made.
Ooo, this song rocks, like, really rocks. This might be the heaviest song that Rush has made since... Bastille Day? This song proved that even in 2002, about 26 years after their first record, they hadn't lost their edge.
A very special thanks to ejthedj for providing me the Remix rpp which made creating this custom A LOT easier!
One of the hit singles from the Vapor Trails album. It was played live until only the R30 tour, sadly being dropped and never made a return to stage.
A very special thanks to DoNotPassGo for providing me the Remix rpp which made creating this custom A LOT easier!
Pt. of the "Fear" trilogy
The lyrical content focus on the reaction that someone has when faced within a moment of danger, and the fight or flight response. It's a nice addition to the "Fear" collection, and also fits the theme of the record really well.
A very special thanks to ejthedj for providing me the Remix rpp which made creating this custom A LOT easier!
A bonus track I should have added to the triple pack from the other day, the second track off of Vapor Trails....
A bonus track to the Rush-Triple-Threat pack, This is the second song off their first album of the 21st century, and like the rest of this album it's really good. Highlights of this song are defiantly the bridge, where Geddy slap-dat-bass like it owes him money! He rocks it so hard I figured it deserved a solo marker, and there is a guitar solo that gets unearthed for the remix version!
The only pop hit that King Crimson ever had, "Cat Food" still features odd times and has a more jazzy feel to it. One of the members of the band even commented how difficult it was for people to try and "dance" to it (the verse has a bar of 3/8 thrown in there). The keyboard part is absolutely absurd and is deffinatly the standout in terms of difficulty. Drums and guitar are challenging and while the bass part might be the easiest, it is still fun to play.
Venue for the following custom provided by:
The impossible guitar song. In a recent(ish) blog post Robert Fripp describes his experience relearning the song for the latest incarnation of King Crimson, and describes at "impossible to play". And it's hard not to agree; the amount of precision that is required to play the middle section (and at that tempo) is something I couldn't imagine. Bill Bruford doesn't disappoint with the drum part, creating something challenging and fun to play. Bass and keys are a bit easier, but are also fun instruments to play with this song.
Bass, Keys, Venue:
A simple cute Genesis tune that rounds out the whole record. Featuring duet vocals with Peter Gabriel and Phil Collins, the song features three separate guitar tracks, plus some overdubs. I did my best to cover the various guitar and overdubs to just three parts. The bass is playing a guitar here as a result, and the keys fill in the other guitars and the overdubs.
This song isn't the most memorable, or that challenging, but it completes the album now, but I now we can say that the whole Nursery Cryme is playable in full band! So enjoy!
Jethro Tull - Thick as a Brick
Lyrics by Gerald "Little Milton" Bodstock. The lyrics were considered to controversial and as a result he was disqualified from the poem competition. Well Jethro Tull wrote a 40 minute epic around those lyrics and what we get is considered by some to be the best progressive rock album ever made. You know everything about this song already, it's Thick as a Brick!
Special thanks to Bsbloom who let me work on this with him, it great fun and a pleasure to work on this project. As a final note, there is a "full song" version in the "other" downloads section, it's the whole album as one custom (when researching the album Ian Anderson stated that part of the concept was that it was supposed to be one song spanning two sides of an LP). The midi is well over the minimum, but when playtesting I came across no issues.
Here's Bsbloom's Origonal post.
Yes - Close to the Edge (album)
Yes (no pun intended). Now these are not original customs, these are upgrades from sideshows releases. They are upgrades, but the changes go all the way down to new tempo maps, there is a credit list with each song, if i forgot anyone or misslabeled anything, please let me know and I'll fix it.
Multi-track upgrades coming soon
Close to the Edge
What can be said that hasn't already been said. So let me try, after listening to this song for the 10,000th time, I realized that the song works so well because it has the basic arrangement of a pop song (verse, chorus, verse, chorus, bridge, chorus), but stretched for 18 minutes. When compared to songs like "Supper's Ready" and "2112", CTTE just has a better flow than those songs, and i think that the basic pop structure is the main reason for it. Besides that, I don't know what else to add, we all know that the instrumentation and the vocals and just everything is perfect. You've heard it 10,000 times, and now you can play it as a full band 10,000 times.
Guitar: Meander (Fixes: MrBurpler)
Bass: Meander (Fixes: MrBurpler)
Drums: Meander (Fixes: Oscarj08 / MrBurpler)
Keys: Meander (Fixes: MrBurpler)
Conversion: Sideshow / MrBurpler
And You And I
The precursor to "To Be Over". Although I still think "To Be Over" maybe a better song, but "And You And I" is definitely the more intimate of the two. The acoustic guitars and keyboards give it an almost folky feel. Like a folk song that was written for the big stage. The song ebbs and flows on a musical journey that feels like it can last forever. One thing to note about this album, even though the songs are at least 10 minutes in length, the arrangement and writing of the songs is so good that you never feel the songs length. Yes knows exactly when to put you into an emotional state, and how long to keep it there. "And You And I" is a great example of that.
Guitar: Meander (Fixes: MrBurpler)
Bass: Meander (Fixes: MrBurpler)
Drums: AJFOne23 (Fixes: MrBurpler)
Keys: Meander (Fixes: MrBurpler)
Conversion: Sideshow / MrBurpler
And now we get to the last track on the album. This is the more rock oriented song, the whole piece has a drive to it that never lets up, but it never feels like it's rushing to get to the end. Again the band knows when to move from section to section with such precision that it never feels forced, unlike other songs with a similar run time. My only complaint about this song (and i guess that album as a whole), is that it ends on a fade out. Now AJOne23 did a great job editing the track to minimize the fade-out by using a part of the final guitar solo. However I wish the band could have come up with something back in 1972 when they released this. Having said that, this is still a great song, and now (like the others) it's full band for you guys to enjoy!
Drums: Narutostarwars12345 (Fixes: Oscarj08 / MrBurpler)
Vocals: MrBurpler (Fixes: Narutostarwars12345)
Harmonies: MrBurpler (Fixes: AJFOne23)
Conversion: Sideshow / MrBurpler
Slint - Spiderland
The three most well-known tracks off of Spiderland. A very great record that should get more attention then it has, this is quite possibly one of my favorite albums of all-time, which makes me really happy to release it to you guys. This is a "math rock" album that has some of the most bold production choices i've come across when looking for music. This band/record is characterized with odd times and very muted vocals. There is a Pt.2 hat has the other three tracks off the record (which are more deeper cuts). If you love different songs and songs that are kinda out-there, be sure to pick this up!
So here it is! The last three songs off the truly one-of-a-kind record "Spiderland". I feel like those that picked up part 1 will definitely pick up part 2, but either way, pick up the rest of this great album. Admittedly "Don, Aman" and "For Dinner..." are not the greatest Rock Band tracks, but i like seeing full albums in Rock Band, so they're in anyway. There isn't much more that i can add, but "Washer" is by far the highlight in my opinion.
As a Final note, all the metadata has been fixed so now it's consistent across the whole album.
Album now has pitched vocals, visualizer is from an older version.
Rush - Permanent Waves
The Spirit of Radio
I added a bass an guitar chart (sourced from the DLC, modified to fit the studio version) fixed the drum chart, added CAT EMH.
-New venue track (and practice sections)
-New keys track thanks to ejthedj!
One of Bansheeflyer's favorite rush songs. And it's hard not to like this track. The highlight of the track is the latter half where the time alternates between 6/8 and 7/8 bars, making a 13/8 bar pattern. What I love about Rush is that you'd have no idea this song was in an odd time, unless you actually counted it out. The lyrics are typical weird rush lyrics, but what's also interesting to note is that there is only 3 verses in the whole song.
-Prokeys thanks to Bansheeflyer!
-New tempo map
-Minor changes to drum track
-Minor tweaks here and there
The best song off of Permanent Waves? I don't know, but it's up there! This song goes from a calm acoustic beginning to blisteringly fast arpeggios, drum patterns, and Geddy's signature high range singing. The song then calms down near the end with a nice 12/8 shuffle pattern that kind of combines the beginning calmness and the middle madness to help ease the listener at the tale end of this track.
As I'm typing this it's hard to think of another song Rush released since then, that has the same amount of energy over such a long period of time (maybe Headlong Flight). It's a classic Rush song, and beyond that, just a classic song.
-Tempo map updates
-Minor G,B,D changes
Rush - Hemispheres (album)
I was working on these songs for a while, specifically hemispheres for a long time.
I don't know who the authors for the individual songs are, so i'm just gonna give credit to people who worked on the whole album.
Original Charters: Farottone, Puppetz, Trunks252, Drihscol, DoNotPassGo and Ejthedj.
The title track. The epic conclusion to the space drama that is, Cygnus X-1. This is a fairly straight forward track, but with some difficult fills and the length really add to the songs difficulty.
Keys track thanks to ejthej!
The closest thing to a pop number on the record. IMO the weakest of the four songs, but an interesting bridge and a fun keyboard part still make this a fun one to play!
One Day as a Lion - One Day as a Lion (EP)
If You Fear Dying
One Day as a Lion
A small project by ex- Mars Volta drummer Jon Theodore and ex- Rage Against the Machine singer Zack de la Rocha. It some very interesting stuff and reminds me more of Rage than anything the other Rage members did since the break-up(ie. Prophets of Rage). The lineup currently has Joey Karam on keys, bring the power-duo to a power-trio. However with no activity since about 2011 it kind of begs the question if they will ever release anything else.
I first discovered this EP after trying to find more project that Jon Theodore was a part of. This little EP features some great power drummer by him and Zack de la Rocha brings his signature style very reminiscent of Rage. This EP really does sound like Rage Against the Machine but with a keyboard instead of a guitar.
I really like this EP. I really want there to be more material from this band, but in the meantime, this will have to suffice.
The Mars Volta - Selections from De-Loused
The monster! Cicatriz! This monster of a song features a great groove and a really challenging drum part to play (both in-game and irl). this song features some great guitar work, some great performances all around. The vocals are top notch (as usual). There are great jams and solo that take up the middle of the track.
Personally i enjoy the live version of this track from their live album. The live version stretched this monster to a body-aching 30+ minutes! It's great! It's pure improvisation! And it something I wish more bands would do. I love the idea of taking a song, and using it as a blueprint for a live jam session. Tack down their live album, it's totally worth it!
Now this is legacy only, the long guitar solo is actually two solos played over top each other (with some fancy panning and stuff on the final mix). If you track the "demo" version of this song, you can hear the different solos being panned hard left and hard right. As a result, this custom is legacy only, the keys track is just the normal guitar part but with the second solo, instead of the first.
What's interesting to note about this song is the very ending drum solo. Although this custom version has the drum track playing forward, on the final recording the drum solo is actually reversed. However cool it is to listen to (and it is), I didn't find it worked that well for rock band, so I opted to use the "demo version" drum solo. The demo and the final master are identical is every way with the exception of some panning of the guitars and keys. The demo is also unmastered, so you get the full dynamic range of the song (something I complained about in the write-up for "Roulette Dares"), I'm sorry to go on about this for two write-ups, but it really bothers me!
Take the Veil Cerpin Taxt
The last track off the best album of the 2000s (and maybe of this millennium so far?). This track has a great bass groove and guitar lick during the begging verses. the track continues into a Improvisation section that leads into the second chorus. It's after the second chorus where things get interesting.
the middle of the track features alternating bars of 11/8 and 8/8 (or 19/8) with changing tempos and stuff, before the band come back in. this section, of like 8 bars or so, features some of the best drumming ever! Especially in terms of "sounding like you're gonna miss the beat but you don't". I could not imagine playing this song live, I've play-tested this song a crap tonne of times, and I still can't get this section in real life. Jon Theodore, you truly are a master of your craft.
This leads to the only bass solo on the record, and a guitar solo which becomes a sort of a jam (the scabdates version of this track has s really cool interlude here). The chorus comes roaring back in, and we get the outro. This is the most intense thing, the whole album has been building up to this moment, and it's pure musical extacy. And just like that, the song's over.
The Mars Volta - Tremulant (EP)
The first track off their debut EP. Cut That City features a great high energy into which alternates between 9/8 and 10/8. The part is pretty easy to listen to but very hard to play along with. There are bootlegs of this song from about 2001 where the band is just playing this section as fast as they can and it just.... ppfffssstt that's hard.
This song is relatively short when compared to other Volta tracks, however even off their first track you can hear the sparks of what would appear on other tracks; time signature changes that would be found in Cygnus, Jon Theodore's drum-roll-crash-accents that would appear on Drunkship of Lanterns, even Omar's playing during the guitar break is like an early version of the guitar break in Take the Veil Cerpin Taxt. It's a track that doesn't get enough attention, if you like The Mars Volta you'll like this track.
Gonna be honest. This is my least favorite track from "early volta", the verses bore me, the chorus bores me. Cedric does sing in Spanish so that's cool (and if i made any errors with the vocal phrasing for that part let me know). The song does pick up a bit near the end where it crescendos back into a Post-verse section which does cap off the song quite nicely. Of the three tracks that are off this EP, this one is defiantly the weakest for me, the one I'm most likely to skip. However saying that, it's still better then most (of not all) rock music that it produced today.
The Scabdates version of this song it a lot better. It's played a bit faster so the verses and chorus have a bit more energy, and it was recorded during the 04/05 tour so there is a great saxophone section in the middle that they added (because they had a sax player with them when they recorded it).
This song is great! So freaking awesome, I have nothing but good things to say about this song. The guitar, drums, and bass part all are fun and complement each other musically. The vocals complement the energy of the guitar playing. Everything about this song just screams high energy volta. Then in typical volta fashion, the volume, speed, intensity, the band, they all stop. 100 to 0. It's so perfect and it just makes you wanna listen to the song again, and again, and again.
Every instrument if fun to play on this track, and the vocals are even fun too. There's something for everyone on this song, if you must only pick on track off their debut EP, pick this one. It's one of my favorite Volta songs.
These tracks are upgrades from sideshows customs. A while ago I spoke to him about updating various Mars Volta Tracks. All credits for the original drum-only custom go to sideshow and ItalianStal1ion. I initially sent my guitar/bass charts to him, but I re-worked some parts and he gave me permission to release the new versions on my own.
The New Things:
- Drum/Guitar/Bass fixes
- Vocal Chart
- Custom Venue
King Crimson - Lizard (Album)
The follow up after Cirkus. How do you follow up such a great song?
By playing "Indoor Games"
The cryptic lyrics hint at some more... PG-13 rated things going on in the... bedroom, if you choose to read it that way. It's the main reason I have it listed as SR, however as a young-wee-lad I never noticed the connection. MEH!
It's a fun song and has some great guitar work and drumming and piano playing and everything you've come to expect from a King Crimson tune. There isn't a dull instrument on this track, and the jam section is in 7/8 so ain't that something!
Meet the family...
I've heard that this song is about the four member of the Beatles and what they did after that band. After hearing that it's kinda easy to see why. Now the lyrics are very cryptic and you can easily brush it off, however it's still there if you wanna look into it.
The keys part is really the main instrument on this track, with Keith Tippett at it with his crazy antics that I just cannot get enough of. A great flute solo that leads to the last verse when the song just sorta stops. Jazzy guitar playing, a solid bass line and some great drumming make this track one that all instruments will be fun on.
Lady of the Dancing Water
A nice little piece that separates the craziness that underpins the rest of the album. Lady of the Dancing Water isn't a flashy song, It doesn't over stay it's welcome, It acts as a sort of "calm before the storm" before you flip the side and play the title track.
Some quaint guitar work, and pretty flutes, with some trombone that ass nice bass without being a gut punch that would ruin the feel of the song.
My least favorite track on the record, however it really is a pretty tune and flows into "Lizard' really well.
The titular track. Featuring Jon Anderson of "Yes" fame on the open section of the track. The song is a 20 minute epic tale of Prince Rupert and his battle for... something. Fighting a lizard? I don't know. The Bolero section and subsequent instrumental passages just burst with various instrumentation and variety that with every listen you can find a new instrument in the mix. I was really hard trying to funnel all those instruments to just one keys, guitar and bass track.
Keith Tippett really does shine on this track, especially in the bolero section. The way he'll throw in a bunch of chords in such a quick fashion that both fit in the key of the song but sound so disjointed and off-center that it's something I'll never get tired of listening to.
Andy McCulloch is the drummer and he really shines during the "battle" section during the second part of the track. He's keeping the beat but throwing in fill and coming back in on the 2nd beat not the first and he's like a master a using rests in his fills. His style of drumming is something that I wish a lot more drummer would try as it's so much more interesting to listen to.
Thank you to AJFOne23 for doing the venues and helping to make these customs as good as possible!
The Rush Canada Day Celebration - RUSH'S FIRST SINGLE!
Rush - Not Fade Away
Happy Canada Day everyone! And to celebrate, We got the first Moon records track, and the first RUSH song ever to be released. Not fade away is a cover of the Buddy Holly song of the same name and honestly, there isn't much going on. It's a pretty basic cover, there are no real Rush-isms that appear on even songs like Finding my way (a track that came out a year later). This does a pretty sweet guitar solo near the end that really gives Alex a chance to shine.
Now good luck finding this song, it was only pressed to vinyl back in 1973, never got a reissue of any kind and I was only aware of it for about a couple years ago. It currently sits at about $1000 if you wish to buy it off Discogs, but otherwise you'll have to get from a bootleg of some sort. It's interesting how this single has been more-or-less forgotten.
A special thank you to Cringe Lord and Rocker1999 for doing DIY stems for this track.
Rush - You Can't Fight It
This song is the B-side to the single and is in my opinion the better of the two songs. It's basically an extended guitar solo with some cheesy lyrics about "common and dance, don't fight it". It does sound a lot more Rush then the cover track. Comparing this stuff to records like 2112 (which came out 3 years later) it's incredible to hear where the band came from. I honestly listen to this and not fade away more as historical pieces then something I would put on to listen to.
Standout tracks are the guitar part since it is just a really long solo, the drums shine a little bit but nothing to spectacular, and the bass part on here. Geddy Lee does not sound like himself on this record and it's either because he was very young and not that good, or the studio/record company was trying to emulate a Bad Company / Foreigner / generic 70s rock band (not to dump on those two bands but you get my point).
Tool - With DenVaktare
Fear Inoculum (album)
DenVaktare did the impossible.Chart all of Tool's new album in full band in just over 2 months. I was happy to have helped, working on the drum parts, pitching vocals, venues, and creating the keys parts. Den was clearly the spearhead in all of this and this is a crazy achievement by him that I'm glad to have worked on with him. The guy went above and beyond.
all 7 songs
all 85 minutes
all BRAND NEW TOOL
all now available in full band for your Rock Band playing pleasure!
I hope you enjoy playing them as much as Den and I did making them!
Yes - Relayer (Album)
The 20 minute epic anti-war song. Going through all the stages of a battle; before, during, and after. The first couple of verse touch on the moral complexities of actually going to war, and the brainwashing that can occur. Not from a 3rd party perspective though, it's being sung from a more 1st person perspective. This leads into a monster of an instrumental section... the battle section.
The battle section of the song is basically a call and answer solo between the guitar and keys and that's where things get intense. The key board melody, OH MAN!! It's sooo good! then the tension builds and builds and everything slows down until we get possible the best example of tension and release I have ever heard from any song. The 11/4 melody again with the keys. Oh man..... it's so good. And it reflects some type of "victory" that has taken place at this point in the song, but all the dust settles. People ask "was it all worth it?"
Then we get to the "Soon" section of the song. Was it all worth it? All this bloodshed and destruction, for what? From my understanding the people left after the battle vow to never have such an act committed again ("The sun will lead us Our reason to be here")
The guitar part is taken from Meander's chart, modified to match the new tempo map, and some edits were made.
A special thanks to AJFOne23 for the super awesome venue!
The search for sound, hence the title of the song. This is basically an instrumental track, with elements of jazz and that jazz fusion sound with the syncopated keys and drums at the beginning and middle of the track. Then Alan White's only drum solo (basically) with the keys on top, it's like there's no time signature, SWEET STUFF. Then the band comes in with the main riff and it's awesome and then the verses come it and it's also awesome. Then after the verses it's like some type of bass break and Chris Squire it just KILLING IT with that main riff. Then it's builds and builds and BAM! Steve Howe does this no-quite-solo-solo, and the mood of the song completely changes.
The songs get's all mellow and rises and falls with the guitar playing (again, like no time signature). After the guitar section there's a mellow verse then we're back into the action.
the main riff is played at medium tempo. then a fast tempo, then they slow it right down and out of nowhere there's this weird chant and then... a keyboard solo! Guitar takes a back seat, the bass and drum holding a solid foundation and Patrick Moraz just kills it will excessive use of the pitch bend. The solo ends and then we get essentially an extended outro with that main rill and then more chanting. the main riff plays one more time and then with a flurry fill the song ends.
This is up there for most difficult song I've ever had to chart, I hope you enjoy!
A very special thanks to AJFOne23 for creating the awesome venue!
I love this song, everything about it just works, the lyrics, the musicianship, the arrangement, everything. This song isn't too difficult, guitar and keys will certainly be a highlight on this track. The Venue track was done by AJFOne23, who elevates the custom to something beyond that which I could have done. This song does have charted vocals and prokeys, which were transposed from a different source, so if there are charting errors with those tracks let me know!
Update - 12/30/2019:
Guitar, Bass, Keys, and Vox all have chart fixes/upgrades
The best cover of all time? Well, if it's not, it's only second to Jimi Hendrix's "All Along The Watch Tower". This Yes cover takes a 3-minute Simon and Garfunkel tune about traveling america and turns it into a 10+ minute jam song- it takes 3 minutes for the Yes version to get to the first verse- with the live version clocking in upwards of 17 minutes around the time they recorded this in the studio. Now this track was never featured on a studio album by them. It was released on "The New Age Of Atlantic", a compilation album by Atlantic Records with acts the record company was signed to at the time including; Led Zeppelin,
Buffalo Spingfeild, Gordon Haskell, and The J. Geils Band to name a few. Yes' cover of "America" is the only material on that compilation to have not been released previously (and since it's the earliest release of the song that's why I decided to use the metadata from that version). It would take another 4 years, when the Yes compilation "Yesterdays" came out in 1975, for it to get released on an actual "Yes" title. The band still plays "America", having performed it on the last tour.
A big thanks toooooooooooooooooooooooooooooooooooooooo AJFOne23
for that oh-so-tasty venue!