16 base demos that have become classics
South Park was first a Christmas cartoon with flimsy figures and mouths flying all over. Now, without any doubt, a draft sketch of “The Last Supper” from the cult animated series is changing hosts for billions in the finest auction houses in the world.
The same thing with songs – masterpieces that are ready to smash the charts do not fall on groups in their heads. Often at first there is a lousy refrain, a slurred text, a solo on a grater, and all this is recorded on film and gives the impression of something concrete or a product of atomic decay. Let’s recall some cult songs in their original form, even before they ceased to sound terrible. Do you know more examples?
Muse – Plug In Baby
No terrific song had to pray in such desperation for attention to be paid to it, as this early incarnation of Plug In Baby in 1997 – an enthusiastic chorus turns into a shapeless couplet, and the best solo of the 21st century melts like a dying dwarf star.
Oasis – Live Forever
Come back, Owen Morris, we all forgive! Liam (obviously before the god of rock struck him with his lightning) was kindly and shyly purring, and the musicians seemed to have forgotten all the energy and pressure on the threshold – the song, which subsequently dispersed the clouds over Britain, sounded frankly languid.
Queen – Under Pressure
The song “Under Pressure” was called “Feel Like” and consisted of a sequence of perky rock chords until David Bowie came along and said, “That’s what you lack – pressure!”
Michael Jackson – Billie Jean
Michael Jackson went up to the microphone before he thought up who Billy Jean was, mumbled something, composed words as well as asked to be given more sound through the headphones, although most of all he needed to be kicked under ass and sent to append text. He seriously sings about how “sits in a mug and rides.”
The Libertines – Music When The Lights Go Out
The most piercing moment in The Libertines’ career began when Pete Doherty needed an excuse to portray the howls of The Phantom of the Opera. He marks Ziggy Stardust, but Tim Curry comes out.
Blur – Beetlebum
If you start recording a song before you finish composing it, it’s unlikely that anything worthwhile will come out, but Blur’s early attempt to capture “Beetlebum” is a curious indication that compiling the basic structure of the song is not all. Of particular note is Damon, who is trying his best, although only four words are written, and the one who in the middle of the song is trying to turn it into a doom-gothic-synthetic track.
Gorillaz – Dirty Harry
Damon Albarn never hid his creative process from strangers, in 2003 he even published the EP “Democrazy”, consisting of draft demos recorded in his hotel room. Including, there was this glorious record “Dirty Harry”, where the future clock size is present only in its infancy, and the delightful electro-rap while spinning circles in Damon’s head.
Kasabian – L.S.F./Where Did All The Love Go
When Kasabian was still Saracuse, some of their best songs were already preparing to emerge from the womb of passage numbers. So, the innocent composition “Come Back Down” of 1999 is fraught with rhythmic roots “L.S.F.” among the slack bass and joyful chants in the style of The Rolling Stones. and the tune of “Where Did All The Love Go”. But then again, with some kind of doom-gothic-style sideshow – maybe someone was supplying British demo studios with batches of mogadon in the late nineties?
MGMT – Time To Pretend
Here is the main proof of how important it is to find the right sound on the synthesizer. We can only thank God that the recording lasts only 30 seconds, otherwise each time, listening to the final version, we would imagine this agony of the crushing dubstep.
The Human League – Don’t You Want Me
In order to listen to this track recorded in someone’s bedroom, consisting of a melody played on the synthesizer with one finger and not falling into any notes howling, you should think: “This is a single on the first line of the charts!” possess supernatural predictive abilities, especially at that moment when the keyboard player is trying to make an incredible breakthrough and start playing real chords, in which he suffers a complete defeat.
The Cure – 10:15 Saturday Night
It’s funny that if Toy had been released today, this song would immediately have become a modern classic, but compared to the feverish energy that opened the Three Imaginary Boys album, this lazy demo suggests that the somewhat drunk Robert Smith just didn’t want to take for fixing the faucet in the kitchen.
The Cure – 10:15 Saturday Night (Robert Smith Home Demo 2/78) from ucftaic on Vimeo.
Manic Street Preachers – Motorcycle Emptiness
Evidence that even in the lightest and most airy electronic melody – in this case, this is a Beatle Behave Yourself Baby hip-hop guitar composition, on which there are as many PIPES as possible – you can find the germ of your future best song.